DipLCM Viva Voce

[tompilk]

Hi. I'm taking this exam on Monday. I like to think that my pieces are fine but my sight-reading and viva voce leave a lot to be desired.
I'm playing:
Scarlatti Sonatas Kp. 535 and Kp. 213
Beethoven - Pathetique Sonata Movt. 2 & Movt. 3
Schumann - Aufshwung

What sort of stuff do I need to know about the music itself? It says:

******************************************************************
Component 2: Viva voce
The examiner will lead the candidate in a discussion about the music performed in Component 1. The
candidate will be expected to demonstrate detailed technical and contextual knowledge about the
repertoire. Questions may be asked on the following:
• explanation of musical symbols and terms as found in the scores
• basic formal, structural, tonal, harmonic, melodic and rhythmic structures
• background knowledge of the composer and the historical context
• the candidate's personal response and approach to learning and performing the music.
******************************************************************

I think I understand the relations of the keys in the pieces e.g. Schumann goes from Fm to Db which is subdominant relative major I believe. Is this the sort of thing they mean? And how delving will they get?
What does harmonic and melodic structures entail?
Any help is much appreciated. If you think of any questions that I might be asked, I'd really appreciate it.
I'm happy with my pieces and my sight reading I'll just do my best, so it's really the viva voce - I've already thought about what to say when they ask "Why did you choose these pieces?" or "What period are they from?".
Thanks,
Tom

[nomis]

Hi. I'm taking this exam on Monday. I like to think that my pieces are fine but my sight-reading and viva voce leave a lot to be desired.
I'm playing:
Scarlatti Sonatas Kp. 535 and Kp. 213
Beethoven - Pathetique Sonata Movt. 2 & Movt. 3
Schumann - Aufshwung

What sort of stuff do I need to know about the music itself? It says:

******************************************************************
Component 2: Viva voce
The examiner will lead the candidate in a discussion about the music performed in Component 1. The
candidate will be expected to demonstrate detailed technical and contextual knowledge about the
repertoire. Questions may be asked on the following:
• explanation of musical symbols and terms as found in the scores
• basic formal, structural, tonal, harmonic, melodic and rhythmic structures
• background knowledge of the composer and the historical context
• the candidate's personal response and approach to learning and performing the music.
******************************************************************

I think I understand the relations of the keys in the pieces e.g. Schumann goes from Fm to Db which is subdominant relative major I believe. Is this the sort of thing they mean? And how delving will they get?
What does harmonic and melodic structures entail?
Any help is much appreciated. If you think of any questions that I might be asked, I'd really appreciate it.
I'm happy with my pieces and my sight reading I'll just do my best, so it's really the viva voce - I've already thought about what to say when they ask "Why did you choose these pieces?" or "What period are they from?".
Thanks,
Tom

I've never taken Diploma before so I can't help you there, but it sounds as if you are not quite ready for this exam. Anywho, it seems that you have to know your pieces inside out for this exam.

Harmonic structures is probably referring to the types of chords used (maj,min,dom7,dim and their inversions), the harmonic progression (how fast the harmony is changing) and how it affects the structure, and maybe special "surprise" chords if there are any.

Melodic structure is probably referring to how the melody is constructed, whether it is a fast instrumental melody or a vocal melody, special intervals (larger intervals in Romantic music are usually there to imitate the difficulty of larger leaps for the voice, hence enhancing expression and intensity), register (where the melody is on the piano. For example, in the 2nd mov of Pathetique, the repeat of the melody an octave higher increases intensity) and other things maybe.

Anything else?

[tompilk]

THanks for that. Here is what I have noted as important:
I've learnt the keys of the ABACA (the final movement is ABACABA I believe which is also a rondo - can someone please elaborate on why they are both rondos?) and Ive learnt the relations of the keys e.g. the f minor "B" (relative major) section turns to eb major (dominant of tonic). Section "C" is in Ab minor (the minor of the tonic) and diminished sevenths are used in the left hand to return to the tonic key, in triplets. There is a short coda, which is an extreme simplication of the main theme (unusual for beethoven).
This is what I've worked out, but I am really unsure about the music theory and didn't even take it for GCSE (15+) so I'd be greatful if someone can confirm that this is right. Is this the sort of answer they want if they ask for "basic formal, structural, tonal, harmonic, melodic and rhythmic structures"?
Could someone please check whether I've done the above correctly.
I'll post my sort analysis of the other works if someone is willing to check them.
I already know enough about the composer's life and contemporaries through genuine interest, so I should be ok on that section.
Thanks,
Tom

[mephisto]

Do you know the difference between a sonata-form, a rondo-form and a sonata-rondo-form?

[tompilk]

Do you know the difference between a sonata-form, a rondo-form and a sonata-rondo-form?

from what i know, sonata form is: introduction, exposition, development, recapitulation (repeated exposition), coda.
I'm only playing movts. 2 and 3, so neither is sonata form i dont think.
Rondo is ABACA or ABACABA
and i dont know what sonata-rondo form is (or sonata allegro for that matter). Could you provide the details please?
Thanks,
Tom

[mephisto]

I think that a sonata-allegro is just a regular sonata-form. As you have probably already noticed the sonata-form is most commonly used in the 1st mvt of a sonata. And the first mvt is usually in allegro.

Rondo:

Usually A-B-A-C-A-D-A

A rondo is actually a dance(round dance), and you will notice that main theme(A) is returning all of the time, just with minor intermezzos of other themes(B-C-D).

Sonata-rondo:

A-B-A-C-A-B-A

The C works as a development section and what should have been A-D-A becomes A-B-A and can be consider as a recapitulation of the exsposition(A-B-A).

So you have:
A-B-A as an exsposition
C as a development
A-B-A as a recapitulation.

So it is a mixture of rondo-form and sonata-form.

[tompilk]

Here is what i have "discovered" if you can call it that. I'd appreciate it so much if some one could either add to the list or correct me (help on the scarlatti is needed the most i would say). In return I'll upload the "The Piano - A Love Affair" documentary from BBC and perhaps a dvd rip of lugansky playing Prok PC 2 to anyone who assists. (mephisto, I'll message you with the links for your kind information).

Movt. 3:
A. Starts off in C minor. almost humorous. key changes into section b.
B. Eb major (relative major). nothing much else to say.
A. straight forward repeat in C minor.
C. Ab major (subdominant relative major of tonic)
A. repeated slightly different
B. in C major this time round
A. diverts to coda
coda. energetic. Full "grave" force of the first movement brought back. snippet of 2nd movement in quiet last few bars, then final flourish.

Hope that's ok if they ask me on "basic formal, structural, tonal, harmonic, melodic and rhythmic structures".

The viva will only be about 5 mins so they dont have time to go into great detail.

And here's my Aufschwung short analysis:
ternary form (ABA) and there is a ternary form within A itself.
A: a. F minor. Sweeping powerful theme. repeated and ends in relative major of Ab.
b. What i think is the "soaring"- fast notes with variable tempo to indicate gliding through the sky. in the key of Db (subdominant relative major).
c. identical to first time.
B. F major for a bar then modulates to Bb major. (rising pattern a semitone perhaps indicates soaring higher?). Use of diminished sevenths and Bb chords to return to F minor.
A. a. same
b. same as brevious A. b. but in Ab major
a. same but ends in F minor after a brief repetition of the Ab major (relative major).

Scarlatti - why are there two methods of listing (Kk. and L.)?
Both the scarlatti sonatas are binary (AABB). what should i answer when they ask why i dont play repeats? not enough time? or that it gets boring - you can have too much of a good thing, right? and all dynamics etc are editorial.

Scarlatti Sonata Kk. 535: (is it a good idea to take the sheet music which is from a grade 8 book for a diploma exam??!?)
A. D major. alternates between D and A (dominant of the tonic) and then A minor scales. ends in A (dominant).
B.alternates between different keys (Bm, Em, C, Gm, etc.) and then chrmoatic leads into D minor scales which then returns to the tonic of D at the end.

Scarlatti Sonata Kk. 213: (hardest one to analyse. any help much appreciated!!!)
A. D minor. dissonance and interest created by holding on to "wrong notes" and resolving them a semi-quaver later. Then similar pattern repeated in plain semi-quavers. diminished 7ths used a lot - overall very thin texture, except bb. 11 - 13. ends in A minor (dominant of tonic).
B. starts in A major. repeated rhythm/pattern using more diminished 7ths and "holding over" of notes to create interest - frequently changing keys because you can from dim7ths. finishes off in D minor.

If you can help i'd really appreciate it.
Thanks,
Tom

[tompilk]

also, they don't ask for program notes in the syllabus, but do you think it would be nice just to do a list of the pieces and about 2 sentences about the piece? surely i can't get marked down, and it might help show my enthusiasm and also give us something to talk about in the Viva Voce?
Thanks,
tom

[pianowelsh]

you could also save that info to tell them if they ask. If you put it on a programme note they may think - he knows that so lets ask him about this insead?!?! - possible - I know examiners!  If they ask for them thats different  - which I believe they do for the next dips up.  Here your knowledge isnt expected to be vastly higher than grade 8 I suggest looking at the part 2 theory book of ABRSM grades 6 -8 and look at the kind of knowledge that is expected...here they are looking for you to be building on that and developing your own ideas and opinions.  You should be fine. Just say it with confidence and if you dont understand what they are asking from you - ask them to clarify - they are trained to do that and to put you at ease!