Harmony and Voice Leading: Workbook (Volume 2, Second Edition) [2 ed.] 0155315218, 9780155315211

Citation preview

1

WORKBOOK

FAR MoNyAND VOICE LEADING

|

:

VOLUME 2

SECOND EDITION

EDWARD ALDWELL The Curtis Institute of Music The Mannes College of Music

CARL SCHACHTER Queens College

of the City University of New York é

hi

HBY Harcourt Brace Jovanovich, Publishers San Diego NewYork Chicago Austin Washington, D.C. London Sydney Tokyo ‘Toronto

7

4

Copyright

© 1989, 1979 by Harcourt Brace Jovanovich, Inc.

reserved. No part of this publication may be reproduced or transmitted in any form or by electronic or mechanical, including photocopy, recording, or any information storage and means, any retrieval system, without permission in writing from the publisher.

All rights

should be mailed to: Permissions, Requests for permission to make copies of any part of the work Harcourt Brace Jovanovich, Publishers, Orlando, Florida 32887. those pages imAlthough for mechanical reasons all pages of this publication are perforated, only for removal. printed with an HBJ copyright notice are intended ~~

e

: ISBN: 0-15-531521-8 Library of Congress Card Number: 88-80627 Printed in the United States of America

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Taal PREFACE i

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This workbook, together with the exercises in the text, should provide more than enough material for homework assignments, classroom demonstrations, and periodic reviews. It also provides a generous assortment of excerpts from the literature for assignments in analysis. Naturally, the number and type of exercises vary somewhat from unit to unit, units are intended depending on the material covered. Thus the exercises for the opening is to give mainly as a review of the fundamental materials of tonal music. Their purpose

(

the student, as rapidly as possible, a secure grasp of scales, key signatures, intervals, and chords. Although Harmony and Voice Leading is not intended as an introduction to fundamentals, there is protably enough material in the workbook for a one-semester course in basic musicianship, if the instructor wishes to use it for that purpose. a Starting with Unit 6, the exercises in both the text and the workbook begin with series of short drills, called Preliminaries. These form a concentrated review of the most them well important topics discussed in the unit. The drills are not always easy, but doing will give the student the necessary technical foundation for the longer and musically more save interesting exercises that follow. If a class falls behind schedule, the instructor could time by occasionally assigning only the preliminary drills before going on to the next unit. But a steady regimen of these exercises alone is not recommended. The longer exercises are of various types, but most of them are melodies and basses (both figured and unfigured). It is now almost eighty years since Arnold Schoenberg decried the use of such exercises, but most harmony textbooks continue to include them, and most instructors continue to assign them. And with very good reason. There is no better way for the student to become aware of the interdependence of the elements of music—how a bass and a soprano combineto form good counterpoint, and how this

counterpoint relates to harmonic progression. A typical homework assignment might well consist of a melody and a bass; for this reason we have interspersed the two rather than separating them. For most units there are two groups of melodies and basses; those in the second group tend to be more difficult than those in the first. We might mention that, once past the beginning stages, students can benefit greatly from working out—and writing out—many solutions to an exercise, trying to determine the good and bad points of each, and deciding which is the best. The excerpts from the literature, which begin with Unit 7, are suitable for analysis students at sight during the classroom hour as well as for homework. As much as possible, should do more than merely label the chords; they should concentrate on ‘how the chords function, and they should be able to specify the techniques discussedin the unit that are exemplified in each of these excerpts.

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CONTENTS Preface

ill

List of Study and Analysis Examples

Vii

PART IV ELEMENTS OF FIGURATION 20 Melodic Figuration 21 Rhythmic Figuration

13

PART V DISSONANCE AND CHROMATICISM I 22 Mixture 23 Leading-Tone Seventh Chords 24 Remaining Uses of Seventh Chords 25 Applied V and VII 26 Diatonic Modulation

27 37 47 61 77

PART VI DISSONANCE AND CHROMATICISM II 27 28 29 30

Seventh Chords with Added Dissonance

The Phrygian II (Neapolitan) Augmented Sixth Chords Other Chromatic Chords 31 Chromatic Voice-Leading Techniques 32 Chromaticism in Larger Contexts

97 109 123 137 151 169

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LIST OF STUDY AND ANALYSIS EXAMPLES 24

4

21 20

3

2a 2b

20 20 20

la 1b

25 25 25

la ib

20

le la

1c

21

20

1d 1b

21 26

la

26 26 24 24 26 24 28

oO

DP

PH RW WwW

21 27 21 25 32 21 27 29 32 32

1b

28

DBWwWaMnDUNB

23 29

20 28 28 22

20 31

1

29

1

BAA

Chopin Chopin Chopin Chopin Chopin Chopin Chopin

Cantata 167, recitative Cello Suite, BWV 1007, Trio of Menuet Chorale Prelude, BWV 617 Chorale Prelude, BWV 644 Chorale 96 Chorale 99 Chorale 105 Chorale 108, beginning Chorale 108, end Chorale 111 Chorale 121 Chorale 122 Chorale 128 Chorale 263 Chorale 269 Chorale 274, first half Harpsichord Concerto, BWV 1052, I Little Prelude, BWV 938 Orchestral Suite No. 1, Menuet II Organ Fugue (““Wedge”), BWV 548 St. Matthew Passion, Aria, Erbarme dich Well-Tempered Clavier II, Fugue 9 Well-Tempered Clavier II, Prelude 12 Bagatelle, Op. 126/3 Piano Sonata, Op. 7, II Piano Sonata, Op. 26, II Piano Sonata, Op. 27/2, III Piano Sonata, Op. 31/2, II Piano Sonata, Op. 57 (“Appassionata’’), IT Piano Sonata, Op. 110, I Piano Sonata, Op. 110, III String Quartet, Op. 59/2, Il String Quartet, Op. 95, III Symphony No. 3, Op. 55, IT (Marcia funébre) Violin Sonata, Op. 24, I Capriccio, Op. 76/8 Handel Variations, Op. 24, Variation 5 Handel Variations, Op. 24, Variation 10 Intermezzo, Op. 116/2 Intermezzo, Op. 119/1 Nachtigall, Op. 97/1 Piano Concerto, Op. 15, II Etude, Op. 10/12 Nocturne, Op. 27/1 Nocturne, Op. 27/2 Polonaise, Op. 40/2 Polonaise, Op. 44 Prelude, Op. 28/5 Tarantelle, Op. 43

No.

21

24 30 31

28 30 30 29

1

DBGAnNTAD QM

Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Brahms Brahms Brahms Brahms Brahms Brahms Brahms

Unit

Unit Haydn Haydn Haydn Haydn

Liszt Liszt Liszt Liszt Liszt Liszt

Mendelssohn Mendelssohn Mendelssohn Mendelssohn

Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Rossini Schubert Schubert Schubert Schubert Schubert Schubert Schubert Schubert Schubert Schubert Schumann Schumann Schumann Schumann Schumann Schumann Schumann Schumann Smetana

Verdi Verdi

Fantasia, Hob. XVII/4 String Quartet, Op. 20/5, IV String Quartet, Op. 74/3, II String Quartet, Op. 77/2, IV A Faust Symphony (1853/4), I Consolation No. 3 Ich scheide (1860) Liebestraum No. 3 Sonetto 104 del Petrarca Tarantella, from Venezia e Napoli (1861) A Midsummer Night’s Dream, Op. 61, Wedding March Song without Words, Op. 62/1 Song without Words, Op. 102/2 Variations, Op. 82, Variation I Clarinet Trio, K. 498, I Clarinet Trio, K. 498, I Menuett, K. 355 Piano Concerto, K. 271, I, cadenza Piano Concerto, K. 271, II Piano Concerto, K. 503, I Piano Sonata, K. 533, I Piano Sonata, K. 533, 1 Piano Sonata, K. 576, II Sinfonia Concertante, K. 364, III String Quartet, K. 593, I The Magic Flute, K. 620, Act II Variations on an original theme, K. 54 Violin Sonata, K. 296, ITI Violin Sonata, K. 526, III Petite Messe Solennelle, Credo Schwanengesang, D. 957, Der Doppelganger Die Forelle, D. 550 Die Liebe hat gelogen, D. 751 Die Rose, D. 745 Die schéne Miillerin, D. 795, Die liebe Farbe Winterreise, D. 911, Gute Nacht Octet, D. 803, I Octet, D. 803, VI String Quintet, D. 956, I “Wanderer” Fantasy, D. 760, I ’ Carnaval, Op. 9, Eusebius Carnaval, Op. 9, Reconnaissance Humoreske, Op. 20, I Kinderscenen, Op. 15, Hasche-Mann Nachtsttick, Op. 23/2 Novellette, Op. 21/8 Piano Concerto, Op. 54, I, cadenza Symphony No. 2, Op. 61, IV String Quartet (“Aus meinem Leben”’), II Don Carlo, Aria, Don Fatale La Forza del Destino, Overture O

No.

31

23 29 30 31 32

30 27 30 30 26

10

26 27 23 32

20 30 29 31 22

29 31

29 31 25

24 25 26 28 29 29 25 30 23 22 24 30 31 32

20 20 31 32

20 25

24 29 27 27 30 25

13

Verdi Verdi Wagner Wagner Wagner

Wolf

Unit 22

La Traviata, Act

HII, No. 18 Irae Dies Requiem, Tristan und Isolde, Act II, Duet Tristan und Isolde, Act ITI, Scene Tristan und Isolde, Act III, Scene Herr, was tragt der Boden

No.

27 31 1 1

30 30

11 12

31

10

core

20 Melodic Figuration

PRELIMINARIES Adding Tones of Figuration

Add figuration to the lower three voices of the Bach chorale below, including tones and neighbors. chordal skips and accented and unaccented passing accented figuration will alter the position of some (Keep in mind that using the purpose of the printed notes.) Don’t worry about the unfamiliar chords; of this exercise is practice in adding tones of figuration.

THe

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20 NAME Copyright

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1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

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20 2. OUTER VOICES. Set for four voices, adding figuration (including incomplete and neighbors, accented passing tones and neighbors, chromatic passing tones to the soprano. Maintain throughout neighbors, chordal skips, and so forth) 1. bar in the begun

eighth-note rhythm

4

1

m5

I

—t

im

ws

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e

t

=

u C3)

r}

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+——

me

bf

a.

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i

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==

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if

. £

11}

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al, :

ah.

!

aul

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bad

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© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

20

LONGER ASSIGNMENTS Melodies and Basses 1.

FIGURED BASS. This exercise uses accented passing tones in the bass. Be sure you understand what each figure means; remember that the doesn’t figure ¢ always stand for an inversion of a seventh chord.

ne RNB VA

T

T

-

|

7

or

-

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2232 '—#

nd

ba

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7-7

voices.

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an

wa

rN

a

rt

hway

roy

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11)

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1 2. OUTER VOICES. Add the inner voices and label all tones

of figuration in all

Espressivo t

—te ———

7

er

WJ

CI

-

20 5

—

—

l

i

1

a

—-

C1

ows

T

—te

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a

15

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p*

5

ss

7

10

;

=

f

=

ae

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©

1989 by Harcourt Brace Jovanovich, Inc, All rights reserved.

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20 3. MELODY. Set in four voices

for piano or strings. The setting need not be restricted to vocal ranges and its bass rhythm may vary (sometimes just a dotted half). Label all tones of figuration (remember that some of them will be accented). Do not add figuration to the lower three voices. Tempo di menuetto

5

ee _

IN

SS

ao

10

e

ee

9)

iz #2JJ7]

|

ee

—= bul

eo

=

i

@

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Se

—_—-_.

4!

yee

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20

STUDY AND ANALYSIS Don’t worry about unfaLabel and be able to explain all tones of figuration. miliar chords. (a) No. 96

re

SS

aa

ee

==

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t

1

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eee |

lady

fl¢

isis

1.

ra

go

*7th transfers to and resolves in bass.

why:

(b) No. 99

(last phrase)

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di

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a

.

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on

1. Excerpts from Bach chorales

(d) No. 122

amine (third phrase)

Eb

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AMA ‘BRYONY 21m ype ‘BRYsIU

aI

aa

A

i

CA

YoY (q)

as

te AS SO

me Se

nn

Mey nes

ee

ees GUNNA

i> ee

HAN SS

—

—— ——

SOE ee

WE

mn

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ce

SS ee

ee

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$C SIy3 S2Op

=

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wal

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$2.

ect

ei

ey

uap ssnajyos UnU 4305 429} (2)

LEO AMG ‘phe

wos syduaoxy

sapnyjaad ayesoyo yoeg

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Oz

Tele)

20 3. Mozart, Clarinet Trio, K. 498, !

Explain the “parallel Sths.”” (Andante) 35

a

ba

viola

vi

L

i

ai

J

————

4,

—

~

1

H

5

piano &-

muva

1d

=o

4. Beethoven, Violin Sonata, Op. 24,

1

f

—

c

ty

-

Discuss the use of the turn figure. Allegro —t

3}

ral

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+}

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on

if

t

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ed a» ns

10 mi

a

a

z

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a

ep |

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bb HF ete

fF ii

anaes |

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p

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3

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8. Brahms, Intermezzo, Op. 116/2

Explain the “parallel 5ths.”’ (Andante)

—

16

Aa ° a

Bg

a

d=

=

T |

nn

et ;

|

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PP

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+ T

2

5

5

i

ne |

|

4

rit.

SSS

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© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

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21 Rhythmic Figuration

PRELIMINARIES Adding Suspensions

Add suspensions and other figuration to the lower three voices of these excerpts from Bach chorales. Don’t worry about the unfamiliar chords. 1.

———

J

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z

te

PP

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aa _

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1

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21

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© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

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21

«

=

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eq

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7

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al a”

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TL)

till

mail Rh

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mm)

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7 om|

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2

ZI

ye

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—ve

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15

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© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

21

LONGER ASSIGNMENTS Melodies and Basses

1

OUTER VOICES. Fill in the inner voices, using suspensions (in quarter-note rhythm only) where appropriate. Supply figures for the bass.

1.

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ry)

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n

I

+

=

= .

Fe

et

1 Wy

@

+ +

SSS

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now

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2. FIGURED BASS

———— Kop

Wt

e

Ae

2 4

A

5

4

3

4

3

4

3

3

7

8 6

g

3

6

3

|

Las e

7 25

6

7

6

7

6

4 4

6

6 §

>

16

Zi

17

3. OUTER VOICES

an

sy

iD ee

Zz

=

ous

:

5

oan =

Hh

!

u

Vv

|

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=

==

==

i

= ==

—

ts

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=

: 3

rt

=

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Melodies and Basses 2

FIGURED BASS

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ey fry

wv

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PA

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1.

10 I

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2

Q

6

4 2

5

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3

@ 3

yw

8

§

876 f= ¢

3

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of the quarter-note suspensions in the melody, the bass be in half notes. Where does the tonicization of V begin? will often rhythm

2. MELODY. Because

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rt

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Indicate all suspensions, direct and indirect. (Presto agitato) 167 aa

a

4

iter

az

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170

é

ite =

bd

.

Grin will

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=

=

a

5)

4

1

th

Etwas langsam

——

é

pp —————}

t

————

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will dress in green, in green weeping willows: my love likes green so much.

3. Brahms, Handel Variations, Op. 24, Variation

1

Reduce bars 1-4 to a simple progression in quarter notes without changes of register. Compare with the theme. 3

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4. Verdi, La Traviata, Act ‘II, No. 18

Compare the function of IIJ# in bars 245-46 and 249-50. This excerpt contains interesting§ usages. Indicate the function of all of them. = Allegro dd 120) legate con espressione

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Analyze the A$ and C#

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4.

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as figuration.

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translation: Ah, dear God! to die so young, I who have suffered so much! To die so near to ending my unhappiness! Ah! hope, then, was a delusion! My heart remained faithful in vain.

23 Leading- Ione Seventh Chords

PRELIMINARIES Melodic Fragments

Given Use at least one leading-tone seventh chord in each of these fragments. bass tones may be repeated. 1. MINOR

KEYS (c)

(b)

(a) z

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(d)

buf

bu

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(g)

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ol

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bat

tt

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23 NAME

All rights reserved. Copyright © 1989 by Harcourt Brace Jovanovich, inc.

37

38

2. MAJOR KEYS (a)

(b)

ss ptt e

rn

ue

—

4

(c)

:

Bi

IL

gk (d)

(f)

{e)

f

[

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+

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(g) set differently from (f)

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expand V§

expand

V3

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LONGER ASSIGNMENTS

>

Melodies and Basses 1.

MELODY

Adagio

p+

4

!

=

{

se hat

§

e

a

a. oe

2. FIGURED BASS.

*

The voice exchanges in bars 5-10 form a prominent feature

of this exercise, hence the unusual figures in those bars.

5

=

rages ry)

|

i

rte \ I

rey

o— T

7}

6

7)


.

—

ad

=

t

_—

x¥ Pp

a

;

tT

=:

I

es

ee

t

|

a

ma

|

nal

val A

a

fq

eo

Pp

2 —

rg —

=

————

oe

“Tv

ft 0}2.—™

=

+

—

P

zs

175

| mn

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rs,

a

i

=

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q

q

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uf

a

2-

—

ol

=

a

= —_—_——

bre 4

=

|

2

—

l

—>

bs

cs

I

—S

——

T

A

185 ==]

I

— ! ¢

= +

i

= —,

~

t

—

*vire4

ve

eo te +

net

eed

Be; {

4

|

+

¥

i

5

—S

1

I

ul

—

t

+

+

> al.I

1

1

v6

*This applied 97 chord will be discussed in Unit 25.

i

J i

i

i

I

+

pay

Lt

TTR

16 || on

TTH

Sf

i

S

ws

§

1

Tt, ay iit. te

nnn)

rT rye ry ti) TIT9

TRIS

ne

TH} [

5

TTP

Ty] ae

re)

Te

+h. Tele ITS

TSS

itp |

yp

.

SS

rit} OTR Wl

i)

mm

rr

Nin) i LTP

My

1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

©

Copyright

NAME

2. Beethoven, String Quartet, Op. 95, HI

Analyze the first nine measures in C minor, and the remainder of the excerpt in F minor. The “C minor” of bars 1-9 tonicizes V of F minor. Relate bars 1-4 to bars 9-12. What is the function of the viola note on the first beat of bar 18? Allegro assai vivace ma serioso d. = 69

Pp

=

Pp

a

| ———

Pp

oft

he

:

—

+

>

——

P

om,

+g

he”

eresc

| =

——" 3

=

Sf

=

é

:

= Sf

—

fe eg ——

2

fife :

tt

—

=f

P

=

iz

P =

—

Pt a

tT

oor

2

+ O

*

pee)

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.



l| translation: dying,

4. Mendelssohn, Variations, Op. 82, Variation

4.

p———_

Vil *To be discussed in Unit 25.

wanted to speak

1

(Andante assai espressivo)

p———_

I

————_

I

F

J

rm

SOS

[of my brief, young life].

24 Remaining Uses of Seventh Chords

PRELIMINARIES Seventh Chords in Sequence

Note that all of these progressions except (h) start with

ra

1.

4

WEY

J

~

a

|

(b) set differently from {a)

~—

24

NAME Capyright

©

1989 by Harcourt Brace Jovanovich, Inc. Ali rights reserved.

47

24

=a

+417

dl

‘A

OU

(d)

a>

fe) |

n

famed

se

©

=

=

{

-G

2

e

=

r=

2S

d)

(d (f) |

a

Sy ry)

(9)

=

rey

}:

|

eo =- a"

—_

— aSaas |

— o-

Py)

|

t

2.

e

9

4

@

susp.

Melodies and Basses 2 1.

OUTER VOICES. What seventh chord technique is used in this exercise? Arioso

—

P|

SV

i

+

t

e

i

[|

10

[e 0-4

e

ttr oi

|

dh

i

15

—_—— }

i

L

=

++

p=

3

(—s

|

i

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

52

2. OUTER VOICES. This exercise includes seventh chords extended through transferred 7ths, as well as transferred and delayed resolutions of 7ths.

Tempo giusto, ma non troppo

pitai

&

ANS

bf

7

io

re)

=


t

a”?

{

p. ra

I

1

—

i”a

Pp C

sth

LJ

{

1

we

i

Z.

£.

w

J

J

5

+

tl

£¢.

L.

I

I

rd

£.

i I

+

£.

1d i’

mn

£.

£.

ial +

+

T

T

Pp

fe

ta

> — Ti —

.

t wv

NAME Copyright

©

1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

4. Beethoven, Piano Sonata, Op. 7, Ii

(

(Largo, con gran espressione) 15

PS K

i

nN

oy

©

Ns

Ses, OY A

YI

|

|

pp

3

72

5. Schubert, Die Forelle, D. 550 (Etwas lebhaft)

oe i>

55

$3

-_

1

pp

I

anf

XL

i

Doch end - lich

F

lem.

iN

ward

4

dem

Die

|

-

&@&tYy

=

60

—"

=" Zeit

die

>

3

+ Er

zu lang

I

om

—}—+

|e

a2"

a

;

- kisch

5

mf

a ve

7

eo

cresc.

Pp

crese.

tik

lein

Bich:

macht das

1

|

ee

“neighboring tone

a “

ae

A?

ry

a

a

riL

inf

J.

-

tri

y

=

| OE ET

ar

|

v

e

ane

:

|

a

°

rf

-

=

2

ee

rf

s

e

Ru

Li

-

te,

a das

L

it

-

Fisch

so

x.

lein,

#

ee

L

.

das

fs J

—

a4

Fisch-lein

«¢

=: se

s

a

zuck - te sei - ne

ha a

aa

$432

@

P

65

st

¥

om

A

7

ry

eo}

ich es ge-dacht,

und ch

be

1

«

$F

h__. 8

.

vv

=

ta + zap-pelt

und

dran,

>

SS

TTT TT

'

1

P

|

ry)

ae

i

i‘

|

translation: But finally the thief grew impatient. Spitefully he muddied the fish struggled. stream, and before I knew it his fishing pole jumped and the

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, inc. All rights reserved.

6. Schumann, Nachtstuck, Op. 23/2 Markirt und lebhaft

7. Verdi, La Forza del Destino, Overture (Allegro brillante)

y

ry)

‘

i

f

wt

ua

=

==

}

3

£

Le Fee PEE “ I

T

i

“+

Et.

a

t

|

r

T

~

va

=

£

I

e]

:

_

f

P

orch.

7

+

efit,

TT

;

auf

+t

a

ul

eta» T

}

“T

|

leggero

——-

==

fet

fh)

TT?

>

ALD

RJ ity

f

ff

ef,

t

pfs

eee

ili?

ia

t

ty

iL

d

74

TT? y

V

75

140

i. Bt

J

_

mal

i

P

2

=

J

t

C=

4

t

;

2 i

T

=e

+

—_—

——

a

Fx =G

{

BEL

=

~_~

=

e

IS.

a

145

I |

x

=

————

t

1

t

I

waa

—

= ate e Pi

3.

er AS

SS

I

5.

uP

1B)

'

e

—_—_—

e i

aa

/

J

. £. ° an

1

:

¥

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, inc. Ali rights reserved.

2)

\

) |

) |

|

. |

) |

) )

) )

)

) ) ) 2) ) °

) |

) )

7 ’

)

.

) .

}

) |

} )

|

)

}

’

7

26 Diatonic Modulation

PRELIMINARIES Modulating Melodic Fragments Most of these fragments are taken from Bach chorales. As a first step, sketch in provisional cadences. (a) '

|

(b) {

|

SS

a

oO

°

Sire

(c) z

Fh

(d) |

——

Oh

op

os

lon

NAME Copyright © 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

26 77

ps)

(f)

(e)

1

ts e

——

|_|

tab

fA

+—t+—4

|

oy

———

¢

us

cae

(g)

CN

(h)

yy

5

-

-

———

ry)

5 L

.

tonicize

B

minor

Ii

VW

don’t tonicize B minor

I

=

ND

(i)

not the same cadence as in (k)

]

26

LONGER ASSIGNMENTS

79

Chorale Melodies

Don’t harmonize the rests.

1.

yd

oe

ty)

na yn,

Oa

N29

e

|

At the

asterisk and at other cadences, harmonize the repeated notes with a repeated chord. In other places, the repeated notes might be harmonized by a single chord, possibly animated by eighth-note figuration in the bass.

Gud

J dd

:

;

hee

ek

2.

oo

9

NAME Copyright

©

1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.



——a

pis

melee)

Lean!

)

—

20

frst

ass

e

.

2 a

ra BN 8

>

e+

=

o 1

25

Sj

“t

|

==

=

“pensases S3YBL

fly

“du; “YOIAOURAOS a9e1g UNCWEH AG GB6L

® iuBuAdop BWVN

ol

425

tr r

yim

i

692 “ON (9)

or

ocrere

£92 ON (2)

|

sojesoyo yoeg

SISATVNV GNV AGNLS

18 ar

——

=

Fr.

i

|

on

L

\

i

‘mee ay

ao

—_~

= Lh

tt

i

F I

‘hits

=

|

_

J,

is

|

|

mm.

ami

1

re

|

:

{

IZ.

if

40

a»)

‘Alita

(c) No. 274 (first half)

i

1/2

*Doesn't sound like g; in performance, instrumental bass is doubled at the lower octave.

=!

a=

== ia

Sot —

gle SS

Ff

SS

=

AO

89

2. Bach, Orchestral Suite No. 1, Menuet II

fo

(s

a

)

What is the function of the tonicizations following the double bar? | AR

HTS

Qu

TTA fe

&

TNS &

1

TT

NI

he

a

re

qT

a

i

+

i

J

i

i

nN

é

cai

@

uy

I

4.

4

=

4

i

nena

1

ee

t

i

-—.

———

|

o

J

i

L

i mI

s+

J a

vf

ai

i

a

>

4

==

a

ne

i

A.

T

el im aI

|

ke

= a

+—_—» et

——_-

+l

J

|

eT , i 1

+

tT

|

£.

a

i

i

ind

i

a xa

£.

=

4.

7

3

rd

i Ma

$42

i—}

au

a

]

i

nf

J

al.

£.

4.

—

ai

Se

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc.

All rights reserved

26

90

.

3. Mozart, Violin Sonata, K. 296, II] a kind of rondo form (ABACBA). The excerpt the C section, and the beginning of the second section,

This movement is written in shows the second A B section. (Allegro) 54

Ve

Qe

p=

z

:

tat

60

¥.

£

we

td

a

-

~

|

Ld

=

~~

~_

5

TO,

£0 ‘NS

a.

al

70

oH

t 2.

75

80

al i]

£

NAME Copyright © 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

26

Jp

ers ri

—_

6.

a

ay

Lf

ee

CT WI

ee”

ae

a

ba’

~

— eee

I

100

105

Pa

110 rN

4.

ae

fos m

vw

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

20

94

4. Mendelssohn, Wedding March (from A Midsummer Night's Dream, Op. 61) Lee)

MR |

J

J

eed

eos

Es ae

4

orch.,

| oe

ane

HH

a

| |

rf

SH

4

2 we

eee

Lae)

ay

Alllegro vivace

10

alll

IF f

(=m. 2) fi.

ad

15

a

tr

4

|

-

—

alla

RTT!

ae

aA

aK

SEE FE

3

|

ot

1

aio

20

a

rT}

pal

ron

bet

S$

el

eu et

™

3 (=m. 5)

C=

wil +

nk!

a

aT

:

25

1) !

|

ls

IF

|

£

5, Mendelssohn, Song without Words, Op. 62/1 does the passage that begins in bar 10% lead? Is there a key that contains as diatonic elements all the chords on the downbeats of this passage? _

To what gol

Andante espressivo

j—

"Pp

— =

a.

ad

@

ord

tierce

TA

RTet

—————*

a

ure!

ry

re

s

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

27 Seventh Chords with Added Dissonance

|

PRELIMINARIES Melodic Fragments

Set for four voices, using major except (a) minor

as indicated. *

= dominant harmony. _

‘

(b)

r+ |

z &

-

o—,

A

i

t—§r.

5

—

:

al

5

re t

+

3

(d)

(c) o-

—

e

a

ini

+

rau

(f)

(e) minor

A_} e)

Fe

|

*

pa

eS

* i]

aaa

:

1

‘

=

bp 27 NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

97

|

3

LONGER ASSIGNMENTS Melodies and Basses 1.

OUTER VOICES. What is tonicized in bars 4-6?

pt,

xt 5 CHD

2

pe

a

os =

JJ.

4

a

iL

a

==

—

2. WALTZ. Use free keyboard texture. Many, but not all, of the first-beat melody tones will form 9ths with the bass.

file

|

10

15

_

3. MELODY. Set in four-part instrumental style, using 9ths wherever practical.

Look for opportunities to use pedal points, both tonic and dominant. Lt,

All

molto ae

——

“ere

:

>

=

==

NAME Copyright © 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

00

oy

un

Z

15

Pa

25

Pp

eee

——

pp

a. aa

Bay

Te

q

wid

nasal

~Te

i

=

{

ritardando

STUDY AND ANALYSIS

q

— ae

a

—

be

¢

Re

1. Bach, Well-Tempered Clavier II, Prelude 12

La

{

20

‘

{

:

t

he

2

a

aoe,

~ aL

|

el

PL

;

Je

a = ae =za

e

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

102

2. Beethoven, Piano Sonata, Op. 31/2, II (Adagio)

ac)

EN

th

ANY ue

‘all

all

tH

Pam

All

ae ae

wat

ae

“th

HD

Ly

‘>

rT!

=

Q,

dl

We

a ae

~~

40

crese

ja

ee ee

——

ng

wee

en

decresc. Ty

=!

“es

45

|

“2 f

|

50f

PP

on

i

yf

ZF

Pp

ke

|e

2

ame

3. Mendelssohn, Song without Words, Op. 102/2

)

Adagio

aie

|

PoE

= crese

—=

Sf

Sf

EEEF

eres

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. Ail rights reserved.

cy

olin 4. Schumann, Symphony No. 2, Op. 61, IV (winds and brass omitted)

-

(Allegro, molto vivace)

vi

35

:

ee

—

I

ae

2

as

as

at

——

i

i

mdf

v

4.

‘

*

wo)

vic.

ee

ee al i

—— i

mi

i

¥

q

4

T

qT

ee L

i

il

i" as

hdl

i

1" 4

|

+t

A.

I

af

I

iol

ew avi

7

~

o

bee

>. yy. }

z.

if

qT

via.

5.

U

4

4

1

re]

Zz

v

i

i

if

tt.

=

vn

=

3

cb.

TZ as

ste

i.,

we

a ,

eebe:

4

eo ig 4

vf

= Sod.

4

i"

12) 14

ii

5. Liszt, Liebestraum No. 3 (Poco allegro, con affetto) . 8

4

)

a

50

==

'

i

:

appessionato assai

y

O ©

lpetd

|

T

f

a

me

z—~,

«

_

3

4

wa mY |

Zz

én,

}

|

A.

[amt

|

od

i}

_iy 2

t

try

Th

4

i

LIZ.

p

(i)

4)

tonicize

ts He

4

iBea

€

bs

=

|

ae t6

(k) (modulates)

A_i

i

|

(t) (modulates) I

i

_t

|

eee (b6

£0

111

LONGER ASSIGNMENTS

)

Melodies and Basses 1. MELODY

of

=

|

=e

3

ch 4

6 6

‘

5

4

4

ee

8

2

6

if ..

—}

6

4

10 nm Wf

7

|

65

-

2

e

AN Fd

»r e

,

o-|

:

|

ba!

t

i

1

7

§

;

}

x

y

‘

6

3

6

6

7

h7 5

§

4

;

same upper voices both measures 15

A

t

20

a

ete

i

Sw

eo

fee

al

~

us 6

6— 6 5

6

¢

;6.

4

k6

=e f—

2

4

6

G

2

:

I 4

molto ritardando 25

hk

1}

mm

ran:

t

Si

e

+

0

r

—_—

7

é

;

5

io

6 4

8

(47

3

2

4

746

8

#7

3

2

5

4

f

_ ij

=}

£V

113

3. MELODY

)

Poco agitato

A4

J

an

.

iN

_

a

mi me

l

2 9)

i aa

i

Ss

a fee:

eer

—o-

__

Ep NAME Copyright

©

1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

£0

2

114

pcb

Se

53

eo

=

—a

2

P=

—_

|

3b

—

—,-

ee

oF

.

Sy 7

hs

b

be.

we

+

4

Zip

fz

= -

a

|

°

°

Ean

—

Lee

—__ 30

=

|e

morendo

=

q

ow

118

STUDY AND ANALYSIS

an (violin solo)

el

y

1. Bach, St. Matthew Passion, Aria, Erbarme dich

NAME Copyright

©

1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

2. Mozart, Violin Sonata, K. 526,

116

111

(Presto)

ee

132

TI

:

Sa

f

Se

Loo

ra

mf

nae

ee

oat

Rit

qi

H}

rk

it

pill

al

TL

Nee

tt

ee

lip di

200

ue

oy

oT

md

a

Ce:

116

117

a

e

of— a

@

"5

zy

:

=

’

=

—————

210

'

ee NS CRE

SORES

——

URN

EE

oe

|

a |

be

~

a

Ty

f

——

>

0-9

Pp

in,

aa

34116

a

wi

U

a

all

i

ay > es LD RN

aa

ae #15 za Pp

2

Sf

ory

#

——

‘

ry)

5

Vis

=.eee

=

2 >

7 crese.

0,

.

== tv

ose

oar

“=

oon

aa

-

rt}

205

| ON.

SEA

NAME Copyright

©

1989 by Harcourt Brace Jovanovich, Inc. All rights reserved.

Pao)

118

3. Beethoven, String Quartet, Op. 59/2, III

_

[2

|

|2.

S——"|P

|

he

th ti

4}

Nall

iN if

Aue,

10

|

2 5

li

ti

WH

Tt

I 3

ff

and

rd

z.

I

¢

o—s.

al

|

a

cresc.

119

1h

tat

i ik

HK

+t

r+

Lo

re

it

TAPS

TT

(TRS TT]

.

ing.

rT

Pa

RE at

| ie

nie

Th

ot

TS

|

°

f=

1s

Lact

ae

re HIKE orn

1

af

\

Mleg

i

Pa AD

)

TT}.

ine

4

be

Ay

i

ile

els

a!

il a

eu

MH

Pr

H

iT qi)

il elu

H

Ue

MIL

w

5

3

8

F

3

§

:

8

a

5

5

2

©

5

Copy

ry

ily aa

fe

T

Sf

1)

at)

T

all

a

£

——,

~-

=¢

£ 25

re Ht

b

el

» 20

Mir aS

=

£0

4. Chopin, Polonaise, Op. 40/2 (Allegro maestoso)

A L

WBJ

i

1

J

at

al.

J

4,

uM

al

J i

uM

4

erese

=

!

|

3

:

Vepes

Cd

®

Ren.

Ww

_

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LONGER ASSIGNMENTS Melodies and Basses

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MELODY. Maintain the given accompaniment pattern of mostly one chord How do the modulations to E per measure throughout most of the piece. Db? of the to relate tonality major and D major Andante amoroso

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