Galicia PAU Music Analysis II / Análisis Musical II 2º Bachillerato CIUG study plan

Reproduce from memory the diatonic chord table for major and minor keys, writing Roman numerals with correct case and inversion figures (6, 6/4, 7, 6/5, 4/3, 4/2) for all seven degrees.

Identify and label every chord in twenty short four-part or homophonic fragments of eight to sixteen bars drawn from Baroque, Classical and Romantic repertoire, marking root, quality, inversion and tonal function (T, S, D and their substitutes).

Classify and notate the standard cadence types (auténtica perfecta e imperfecta, plagal, semicadencia, rota, de engaño) with the exact voice-leading and metric conditions that define each one.

Build a personal Spanish-English-German glossary of forty harmonic terms (nota de paso, bordadura, retardo, apoyatura, dominante secundaria, sexta napolitana, acorde de séptima disminuida) and test yourself until you can translate all forty without notes.

Detect and label applied (secondary) dominants, tonicisations and pivot-chord modulations in at least fifteen excerpts, stating the pivot chord in both keys and the confirming cadence in the new key.

Distinguish chromatic chords (napolitana, augmented sixth, borrowed chords, diminished seventh) from true modulations in ambiguous passages, and justify each decision in two or three sentences.

Write three short harmonic commentaries of 150-200 words each that move from global key plan to local chord detail to cadential articulation, using correct Spanish terminology.

Annotate a figured bass or Roman-numeral skeleton of your own for one eight-bar chorale phrase and check your realisation against the rules of voice leading you have studied.

Segment four melodies into motives, phrases and periods, marking antecedent/consequent, phrase lengths in bars, and the cadence that closes each phrase.

Map the phrase structure of eight binary and ternary pieces (dance movements, minuets, Lieder) using a letter diagram (A-B, A-B-A, A-B-A') with bar numbers and cadence labels at every boundary.

Recognise and define in Spanish the formal vocabulary of the exam: frase, semifrase, período, motivo, tema, puente, desarrollo, reexposición, coda, estribillo, episodio.

Read a full score of a short movement and mark every structural boundary directly on the score with bar numbers before writing anything.

Analyse the exposition of two Classical sonata-form movements, labelling first theme, transition, second theme, closing section, and the key relations between them.

Trace the development section of the same movements, identifying the motives used, the keys visited and the retransition back to the dominant.

Explain in writing how sonata form, rondo and theme-and-variation differ in their handling of key, thematic return and cadential closure.

Compare two variation sets and describe at least four techniques of variation (melodic decoration, change of mode, rhythmic displacement, change of texture, change of metre).

Classify the texture of ten excerpts as monophony, homophony, polyphony (imitative or free), melody with accompaniment, or mixed, and justify each label with two observable features.

Identify and notate the rhythmic profile of a theme (metre, note values, syncopation, hemiola) and explain how the rhythm supports the phrase structure.

Describe melodic design using contour, ambitus, interval types, sequence and ornamentation, applying the terms to real themes rather than definitions.

Relate a change of texture to a formal boundary in at least five examples, showing how texture marks the arrival of a new section.

Place twelve unseen excerpts into a period (Baroque, Classical, Romantic, early twentieth century) using concrete evidence: instrumentation, cadential idiom, harmonic vocabulary, texture and notation conventions.

Match stylistic features to named genres (suite, concerto grosso, sonata, symphony, Lied, character piece) and justify each match from the score.

Use the standard European terminology for tempo, dynamics and articulation markings found in the exam scores, translating each into Spanish and explaining its performance implication.

Write a 100-word contextual note for six excerpts that names probable period, genre and stylistic traits without overclaiming a specific composer.

Produce three complete timed commentaries (45 minutes each) on unseen scores covering harmony, form, texture and context in a single coherent argument.

Structure each commentary with an introduction stating the global plan, body paragraphs by parameter, and a conclusion that ties stylistic identification to analytical evidence.

Self-mark each commentary against a rubric of accuracy, terminology, coherence and coverage, and rewrite the weakest paragraph of each.

Reduce your error log to a list of recurring mistakes and drill only those categories in a 30-minute focused session.

Complete two full mock exams under real time conditions, allocating minutes per section before starting and keeping to the allocation.

Review every wrong answer against your error log and classify it as knowledge gap, misreading of the score, or terminology slip.

Recite from memory the cadence types, formal schemes, texture types and period markers in a single 20-minute oral run-through.

Finalise a one-page personal checklist of steps to follow when facing an unseen score, ordered from global listening and key plan down to chord-level detail.