EXAMPLE TESTING
Example 1. Pre-dominant power up in Mozart, Piano Sonata, K. 545/i (last PAC of exposition/recapitulation).
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Example 2. An excerpt of the dataset. Rows contain all dominant harmonies along with the three chords preceding each dominant in K. 545/i.
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Example 3. Frequency and percentages of V-1 based upon whether the chord is or is not at a cadence. (“Other” includes iii, vii°,
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Example 4. Frequency and percentages of bass scale degrees in V-1 based upon whether the chord is or is not at a cadence.
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Example 5. Chord types before V in the dataset along with their frequency at various locations, arranged by how often they lead to a cadence (rightmost column).
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Example 6. Raw counts of chords in V-1 at a cadence (y-axis, left) for the 31 rated chords (x-axis) in Brown, Tan, and Baker (2021), with perceptual ratings (1–7 scale) superimposed (y-axis, right).
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Example 7. Chord types in V-1 at the cadences ending main themes (MT1 and MT2), transitions (TR), and subordinate themes (ST1, ST2, and ST3) in both expositions and recapitulations.
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Example 8. Bass scale degrees that occur in V-1 at all cadences ending main themes (MT1 and MT2), transitions (TR), and subordinate themes (ST1, ST2, and ST3) in both expositions and recapitulations.
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Example 9. Chord types in V-1 at section-ending cadences in sonata form. For the main theme (MT), transition (TR), and subordinate theme (ST), the final V-1 chord was counted in the last section-ending cadence for these themes in the exposition and recapitulations. For codettas and coda, V-1 before the final V is counted. For the development, the V-1 chord before the final cadence in the submediant key (when present) and tonic key were counted.
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Example 10. (A) Heatmap illustrating the frequency of transitions from the chord occurring two chords before V (“V-2” on the y-axis) to one chord before V (“V-1” on the x-axis) in the dataset. (B) Heatmap illustrating the frequency of transitions at cadences from V-2 (y-axis) to V-1 (x-axis) in the dataset.
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Example 11. Heatmap organized by cadence type, illustrating progressions between all V-2 (y-axis) to V-1 (x-axis) chords.
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Example 12. A reproduction of frequent chord progressions in the major mode as illustrated in the Kostka and Payne textbook (2009, 111).
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Example 13. The seven most frequent V-2 chords (first leftmost column) and their minor-mode counterparts if present in the dataset (in grey), followed by subsequent V-1 frequencies (third column). All chords in V-2 are presented in descending order of frequency, based on major-mode appearances. All chords in V-1 are presented in descending order of frequency.
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Example 14. Location and frequency of all 36 augmented sixth chords in the dataset (in V-3, V-2, and V-1 positions).
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Example 15. Location and frequency of mode mixture in the dataset.
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Example 16. A pre-dominant power up in Mozart, Piano Sonata, K. 533/i (end of TR).
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Example 17. A pre-dominant power up with added measures in the recapitulation in Mozart, Piano Sonata, K. 332/iii (end of TR).
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Example 18. A pre-dominant power down in Mozart, Piano Sonata, K. 283/i (last PAC of exposition/recapitulation).
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