Music Theory Remixed: A Blended Approach for the Practicing Musician Workbook [1 ed.] 0199330565, 9780199330560
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Online Workbook to Accompany
MUSIC THEORY REMIXED A Blended Approach for the Practicing Musician
Kevin Holm-Hudson
New York Oxford
OXFORD UNIVERSITY PRESS
Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © 2017 by Oxford University Press For titles covered by Section 112 of the US Higher Education Opportunity Act, please visit www.oup.com/us/he for the latest information about pricing and alternate formats. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer.
CONTENTS PRELUDE: SETTING THE STAGE 1 CHAPTER 1: Dimensions of Pitch: Notation, Scales, and Key Signatures 2
CHAPTER 15: Secondary Chords and Tonicization 94 CHAPTER 16: Mode Mixture 104
CHAPTER 2: Dimensions of Pitch 2: Modes, Intervals, Consonance and Dissonance 12
CHAPTER 17: Modulation 1 110
CHAPTER 3: Duration, Rhythm, and Meter 23
CHAPTER 19: Canon and Fugue 126
CHAPTER 4: Triads and Seventh Chords 32
CHAPTER 20: Binary and Ternary Forms 135
CHAPTER 5: Diatonic Chord Labels 38
CHAPTER 21: Sonata Form 162
CHAPTER 6: Introduction to Counterpoint and Voice Leading 46
CHAPTER 22: Rondo 182
CHAPTER 7: Forces of Resolution: Tendency Tones, Cadences, and Closure 49 CHAPTER 8: Part Writing with Root-Position Triads 57 CHAPTER 9: Part Writing with First-Inversion Triads and Seventh Chords 61 CHAPTER 10: Part Writing with SecondInversion Triads and Seventh Chords 65 CHAPTER 11: Melodic Figuration: Non-Chord Tones 69 CHAPTER 12: Motives, Phrases, and Periods 74 CHAPTER 13: Harmonic Function Applied: Prolongation and the Phrase Model 80 CHAPTER 14: Harmonic Progression and Sequence 87
CHAPTER 18: Modulation 2 117
CHAPTER 23: Variation Forms 215 CHAPTER 24: Chromaticism 1: The Neapolitan Chord and Augmented Sixth Chords 248 CHAPTER 25: Alterations and Additions to Triads and Seventh Chords 253 CHAPTER 26: Chromaticism 2: Further Chromatic Enrichments 257 CHAPTER 27: Modulation 3 262 CHAPTER 28: Contemporary Techniques 1 269 CHAPTER 29: Contemporary Techniques 2 278 CHAPTER 30: Contemporary Techniques 3 284 CHAPTER 31: The Stories We Could Tell: Musical Narrativity and Intertextuality 289 ANSWERS 300
| iii
PRELUDE
SETTING THE STAGE PRL.1. YOUR OWN LISTENING DISCOVERIES—1. This is an opportunity to listen deeply. Choose five of your very favorite pieces of music. They can be any genre or style, but you are encouraged to choose a variety of styles, much like the selections presented in this chapter. In the same way that each example in Chapter 1 suggested different approaches to listening and analysis, uncover the questions or topics suggested by each of your listening examples. Sample questions might include: What is the instrumentation? Be as specific as you can. For instance, if you hear guitars, are they primarily electric? acoustic? How many guitars are there, and do they seem to have different roles? If there are woodwinds, which instruments seem to have “starring” or prominent roles? • Referring to the categories for texture in Chapter 1, what is the predominating texture of your selection (monophonic, homophonic, polyphonic, heterophonic)? • Does the melodic line move smoothly or does it appear to “leap” frequently from note to note? • What can you determine about the form? Do certain sections of music return? Do some sections return more than once? Are there changes in volume? Does the key change? Does the instrumentation or role of instruments change with apparent changes of sections in the piece? •
Other topics will likely be suggested to you by the nature of the music you have chosen.
PRL.2. YOUR OWN LISTENING DISCOVERIES—2. For this exercise, visit your music library and find a recording of an example of each of the following (or your instructor may substitute other selections): • • • • • •
A work or movement by J. S. Bach A movement from a string quartet or other chamber music piece by Haydn or Mozart A choral work or movement by Palestrina A work by Anton Webern A recording of Tibetan monks A piece of electronic music
Record your observations in listening to each of these examples, considering and answering the questions asked in “Your own listening discoveries—1” above. |1
CHAPTER 1 DIMENSIONS OF PITCH: NOTATION, SCALES, AND KEY SIGNATURES NAME: 1.1. Provide ASA pitch labels for the following pitches:
2 |
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
PART 1: Fundamentals and Diatonic Harmony
NAME: 1.2. Notate the indicated pitches, given their ASA labels.
1.
2.
3.
G 5 11.
D6 12.
D 5 22.
31.
F6 41.
A 6 51.
G 4
B
F5
5
G 42.
5
E 4
E 5
E 4
A 2
C 2 45.
D2
G3
B 3
F 2
35.
44.
53.
A6
G 3
54.
G 4 55.
B 3
7.
B 1
8.
E4 16.
25.
34.
43.
52.
D 4 24.
33.
D 3 15.
C 6
32.
6.
B 2 14.
23.
D 4
5.
A 4 13.
B 4 21.
4.
A 1 26.
D5 17.
27.
36.
A3 46.
F 3 56.
C 3
37.
C 5
47.
57.
F 4
D 3 30.
E3
A4
39.
A3
D 4 58.
C 3
20.
A 4
48.
B2
B2
29.
38.
E 4
C3 19.
28.
F 3
10.
G 3 18.
E 3
F 4
9.
B4
40.
B
A 3
4
49.
50.
G 3 59.
E 4 60.
A 2
CHAPTER 1: Dimensions of Pitch
F 3
|3
NAME: 1.3. For each of the notes below, provide an enharmonic equivalent. (For some notes, there may be more than one equivalent.) The first is done for you.
EXAMPLE 1.
4 |
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
PART 1: Fundamentals and Diatonic Harmony
NAME: 1.4. Write the key signatures for the following major keys in the specified clefs:
1.
2.
3.
4.
5.
6.
7.
B
E
D
A
G
F
9.
10.
11.
12.
13.
14.
B
C
C
D
A
E
C
15.
16.
17.
18.
19.
20.
21.
G
B
A
G
F
G
C
22.
23.
24.
25.
26.
27.
28.
B
E
G
D
B
G
29.
30.
31.
32.
33.
34.
35.
A
C
F
E
A
C
E
36.
37.
38.
39.
40.
41.
42.
G
A
C
E
F
E
B
F 8.
43.
44.
45.
46.
47.
48.
A
D
B
E
C
E
G
49.
F
50.
C
CHAPTER 1: Dimensions of Pitch
|5
NAME: 1.5. Write the indicated scales, using accidentals where they are needed. Be sure to notate the ascending and descending form of melodic minor.
1. E major
2. F harmonic minor
3. G natural minor
4. B major
5. F melodic minor
6. E melodic minor
7.
A harmonic minor
9.
B melodic minor
8. F major
10. G melodic minor
11.
C natural minor
12.
B harmonic minor
(Continued)
13.
6 |
C harmonic minor PART 1: Fundamentals and Diatonic Harmony
14.
B major
11.
C natural minor
12.
B harmonic minor
14.
B major
(Continued)
13.
15.
C harmonic minor
F natural minor
16. D harmonic minor
CHAPTER 1: Dimensions of Pitch
|7
NAME: 1.6. Fill in the blanks below. Be sure to specify the type of minor scale if the pitch fits only one scale form. PITCH
SCALE DEGREE NAME
SCALE
__________
supertonic
F Major
G D ♯
subtonic
__________ minor
raised submediant
__________
__________
E major G♯ harmonic minor
A
__________ submediant D
mediant
__________ major
F G♯
leading tone
__________ major
__________
A harmonic minor
F
__________
__________ mediant
8 |
PART 1: Fundamentals and Diatonic Harmony
A♭ major
G minor (which forms?)
NAME: 1.7. Identify the form (or forms) of the minor scale used in the following musical excerpts. If more than one form of the minor scale is used, draw boundaries around the passages where one or the other form appears to be used exclusively. a. Brahms, Intermezzo, op. 117 no. 3, mm. 1–5.
Andante con moto
molto
e sotto voce sempre
b. Bach, Toccata and Fugue in D minor, BWV 565, mm. 30b–32a.
c. Chopin, Nocturne in G minor, op. 37 no. 1, mm. 1– 8a.
Andante sostenuto
3
3
5
3
3
CHAPTER 1: Dimensions of Pitch
|9
NAME: 1.8. Write the key signatures for the following minor keys in the specified clefs:
1.
2.
3.
4.
5.
6.
7.
c
a
f
b
a
c
f
8.
9.
10.
11.
12.
13.
14.
d
b
b
f
a
c
g
16.
17.
18.
15.
19.
20.
21.
e
d
f
e
g
a
a
22.
23.
24.
25.
26.
27.
28.
d
c
g
b
e
e
a
30.
31.
32.
33.
a
d
g
37.
38.
39.
a
d
e
f
43.
44.
45.
46.
47.
48.
49.
50.
g
e
d
g
b
a
c
f
29.
a 36.
10 |
PART 1: Fundamentals and Diatonic Harmony
34.
35.
b
c
40.
41.
42.
e
e
g
d
NAME: 1.9. Provide the following pitch names:
the subdominant of the relative major of G♯ minor: ________ the subtonic of the parallel minor of G major: ________ the raised submediant of the melodic minor form of the relative minor of D major: ________ • the leading tone of the parallel minor of the major key that has five sharps in its key signature: ________ • • •
CHAPTER 1: Dimensions of Pitch
| 11
CHAPTER 2 DIMENSIONS OF PITCH 2: MODES, INTERVALS, CONSONANCE AND DISSONANCE NAME: 2.1. Identify the mode of the following excerpts. Assume each melody ends on the tonic. a. Mussorgsky, “Il Vecchio Castello” (“The Old Castle”), Pictures at an Exhibition
Andantino molto cantabile e con dolore.
7
con espressione
13
12 |
PART 1: Fundamentals and Diatonic Harmony
b. Puccini, “Io de’ sospiri” (“Day Now is Breaking”), from Tosca, Act III. (Disregard the boxed chords in your modal analysis.)
UN PASTORE (Ragazzo) A shepherd
a voce spiegata, ma molto lontano (in a clear voice, but very distant)
Io
de’
so - spi - ri,
3
3
3
3
3
3
3
Te
3
ne
ri
-
3
man
-
no
3
3 3
3
3
3
3
3
(Continued)
tan - ti 3
3
3 3 CHAPTER 2: Dimensions of Pitch 2 3
| 13
3 3
3
3
3
3
3
3
3
(Continued)
tan - ti 3
3
3
3
Pe’
3
quan
-
3
te
fo
-
3
je 3
3
3
3
3
3
3
3
3
(Continued)
Ne
smo - ve - no 2
li
ven - ti
2
3
3
14 |
3
2
2
PART 1: Fundamentals and Diatonic Harmony
3
3
3
3
3
3
3
3
(Continued)
Ne
smo - ve - no 2
li
3
3
ven - ti
2
3
3
3
3
3
2
2
c. Ravel, “Là-bas, vers l’église” (“There, toward the Church”), from Cinq Melodies Populares Grecques, mm. 4–10.
4
3
Là - bas,
vers l’é - gli
-
se,
Vers
l’é - glise Ay - io
Si - dé -
(Continued)
8
ro,
l’é
-
glise,
ô
Vier - ge sain
-
-
-
te,
CHAPTER 2: Dimensions of Pitch 2
| 15
(Continued)
8
ro,
16 |
l’é
-
glise,
PART 1: Fundamentals and Diatonic Harmony
ô
Vier - ge sain
-
-
-
te,
NAME: 2.2. Identify the following generic intervals.
1.
2.
3.
4.
11.
12.
13.
14.
5.
6.
7.
8.
9.
10.
19.
20.
15.
16.
17.
18.
21.
22.
23.
24.
25.
26.
27.
28.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
29.
30.
CHAPTER 2: Dimensions of Pitch 2
| 17
NAME: 2.3. Using the first interval in each row as a starting point, alter the interval quality using the “floor and ceiling” analogy discussed in this chapter, following the instructions for each interval. Then, identify the interval that results from the change, making sure to include quality labels (M, m, º, +). In each example do not change the generic size of the interval. The first change in the first row is done for you as an example, but the interval identification is left for you to solve.
1.
[lower floor]
[lower ceiling]
[lower ceiling]
[lower floor]
[raise ceiling]
[raise ceiling]
[raise floor twice]
[raise floor]
[lower floor]
2nds
2.
[lower floor]
[lower ceiling]
[raise floor]
[raise floor]
[raise ceiling]
[raise ceiling]
[raise ceiling]
3rds
3.
[lower floor]
[lower ceiling]
[raise floor]
[raise ceiling twice]
[lower floor]
[raise floor twice]
[raise floor]
[lower ceiling]
[lower floor]
[lower ceiling]
[lower ceiling]
[lower floor]
[lower floor]
[raise ceiling]
[lower ceiling twice]
[raise floor]
[raise ceiling]
[raise floor]
[lower ceiling]
[lower ceiling]
[lower floor]
[lower floor]
[lower floor]
[raise ceiling]
[raise ceiling]
[raise floor]
[lower ceiling]
[lower ceiling]
[lower floor]
[lower floor]
[raise ceiling]
[raise ceiling]
4ths
4. 5ths
5. 6ths
6. 7ths
18 |
PART 1: Fundamentals and Diatonic Harmony
NAME: 2.4. Identify the following intervals. Be sure to use quality labels.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
21.
22.
23.
24.
25.
26.
27.
28.
29.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
20.
30.
CHAPTER 2: Dimensions of Pitch 2
| 19
NAME: 2.5. Notate the specified intervals above the note provided.
1.
2.
M3 11.
P5 12.
m2 21.
31.
M2
m6 32.
+6
41.
M3 42.
+5
4.
m6 13.
22.
o4
20 |
3.
m3
5.
o5
14.
P4 23.
o7
33.
o5
43.
M6
+4
15.
o3
24.
34.
o8
44.
26.
P5 36.
+4
46.
m2
PART 1: Fundamentals and Diatonic Harmony
8.
m7 17.
m6
M6 45.
M2
16.
M3 35.
7.
m3
M6 25.
P4
6.
m6
M6 18.
+5
27.
+2
28.
M6 37.
47.
+2
48.
+4
10.
M7 19.
M3
o7
20.
P5
m3
29.
+6
38.
m3
9.
30.
m3 39.
m6 40.
o7
m6 49.
50.
M7
M6
NAME: 2.6. Notate the specified intervals below the note provided.
1.
2.
P5 11.
m3 12.
m2 21.
13.
22.
31.
41.
M6
o4
m3
17.
26.
45.
46.
+4
+4
o
5
M6
+2
o
M3
m2
m6 30.
7
39.
48.
m7 20.
29.
38.
47.
o7
+4
M2
m2
o5
19.
28.
37.
10.
m2 18.
27.
36.
9.
M3
o3
M3
8.
P4
M6
M7
m6
m3
M3
7
35.
44.
o8
o
m7
7.
16.
25.
34.
43.
+2
+3
P4
6.
15.
24.
33.
42.
M6
14.
23.
32.
5.
M6
P5
m3
+2
4.
m6
m3
+6
3.
M3 40.
P5 49.
M7 50.
+6
CHAPTER 2: Dimensions of Pitch 2
+2
| 21
NAME: 2.7. Identify the inversions of the following intervals:
22 |
m6 ________
+
º3 ________
++
P5 ________
m7 ________
M6 ________
ºº5 ________
M7 ________
º4 ________
4 ________ 6 ________
PART 1: Fundamentals and Diatonic Harmony
CHAPTER 3 DURATION, RHYTHM, AND METER
NAME: 3.1. Match the durational values of the notes in each numbered measure with their equivalents in the lettered measures.
1.
7.
A.
G.
2.
3.
8.
4.
9.
B.
6.
10.
C.
H.
5.
11.
D.
I.
E.
J.
12.
F.
K.
L.
CHAPTER 3: Duration, Rhythm, and Meter
| 23
NAME: 3.2. Match the durational values of the rests in each numbered measure with their equivalents in the lettered measures.
1.
7.
A.
G.
24 |
2.
3.
8.
4.
9.
B.
10.
C.
H.
5.
6.
11.
12.
D.
I.
PART 1: Fundamentals and Diatonic Harmony
E.
J.
F.
K.
L.
NAME: 3.3. Identify the meter classification (simple/compound, duple/triple) of each of the following melodies, and provide the likely meter signature (adding it to the staff). a.
Meter classification:
b.
Meter classification:
c.
Meter classification:
(Continued)
CHAPTER 3: Duration, Rhythm, and Meter
| 25
(Continued) d.
Meter classification:
26 |
PART 1: Fundamentals and Diatonic Harmony
NAME: 3.4. The following measures are incomplete. Provide one or more rests at the end of each measure to complete it. Note: Just as syncopated notes are broken up and connected with ties to show the placement of the primary beat, rests are also broken up to show beat placement (although rests are not connected with ties).
a.
d.
b.
e.
c.
f.
CHAPTER 3: Duration, Rhythm, and Meter
| 27
NAME: 3.5. The following durational series of notes have bar lines, but no beaming. First, identify a likely meter for each series. Then, rewrite the line, beaming the notes according to the proper meter. Do not insert any rests or change any durations. Some durations may need to be broken up with ties to clarify the beat grouping. There may be more than one answer; if so, identify each possible meter and beam the durations accordingly for each one, using a separate sheet of paper. a.
b.
c.
d.
28 |
PART 1: Fundamentals and Diatonic Harmony
NAME: 3.6. Each of the excerpts below is notated so that the beat placement is unclear. Without changing the durations or the order of notes, rewrite each excerpt in the indicated meters, changing beaming and/or note grouping to clarify the notated meter. a.
b.
(Continued)
CHAPTER 3: Duration, Rhythm, and Meter
| 29
(Continued) c.
d.
30 |
PART 1: Fundamentals and Diatonic Harmony
NAME: 3.7. Write the indicated tuplets in the blank measures provided. Provide the rest or rests after each tuplet necessary to complete the measure.
a. [4 in the time of 3 quarter notes]
b. [7 in the time of 4 sixteenth notes]
c. [3 in the time of 2 quarter notes]
d. [5 in the time of 4 eighth notes]
CHAPTER 3: Duration, Rhythm, and Meter
| 31
CHAPTER 4 TRIADS AND SEVENTH CHORDS
NAME: 4.1. Write the specified triads below, in root position. Use accidentals, not key signatures.
1.
2.
C+ 11.
12.
21.
B+
B+
Eo
G M
43.
Em
BM
26.
35.
F+ 44.
G +
PART 1: Fundamentals and Diatonic Harmony
Co
Fm
G o
A m 40.
D+
F o 49.
A M
D + 30.
39.
48.
B o
A +
DM
GM
Cm 20.
29.
38.
47.
D M
Dm 28.
37.
46.
B M
C M
10.
19.
18.
G m
A o
9.
A+
G o
27.
36.
45.
E o
G+
A m
8.
17.
E M
E+
A +
CM
16.
25.
34.
7.
D m
B m
C o
D m
6.
15.
24.
33.
42.
A M
F +
Am
5.
14.
23.
32.
41.
Gm 13.
22.
31.
4.
A o
G M
32 |
3.
B o 50.
F m
B+
NAME: 4.2. Given the note and chord member provided, complete the specified root-position triads.
1.
11.
21.
31.
41.
root
5th
3.
3rd
M
m
5th
12. 3rd
13. root
+
m
o
3rd
M
3rd
32. root 33.
5th
o
+
m
42. 3rd
o
root
m 14. 3rd
M
22. 5th 23. root 24.
o
5th
4.
+
m
M
2.
root
o 34. 3rd
+
43. root 44. 5th
m
+
5.
3rd
6.
o 15. 5th
M 16. root
m 25. 3rd
+ 26.
+
45. 5th
m
7.
root
+ 17. 5th
M 5th
3rd
o 46. 3rd
M
8. 3rd
m 18. 3rd
o
9.
5th
10. root
o
M
19. root
30. 5th
M
m
+
37. 3rd
38. 5th
39. 3rd
M
o
47. 5th
+
48. root
m
M
29. root
o
m
20. 3rd
m
27. root 28. 3rd
m
35. root 36.
M
5th
49. 5th
40. root
+ 50. 3rd
M
CHAPTER 4: Triads and Seventh Chords
o
| 33
NAME: 4.3. Write seventh chords of the indicated quality or Roman numeral label below, in root position, using the note provided as the root.
1.
11.
34 |
o7
2.
MM 7 3.
mm7 12. ø7
ø7
4. mm7
13. MM 7 14. o7
5. Mm7 6.
o7
7. ø7
15.Mm7 16. Mm7 17. ø7
PART 1: Fundamentals and Diatonic Harmony
8. MM 7 9.
18. ø7
7
mm7 10. Mm
19. MM7 20. o7
NAME: 4.4. Identify the quality and inversion of the following triads and seventh chords. Use inversion symbols (use “R” for root position). Some are in grand-staff notation—for these, use octave equivalence to stack the notes above the bass line, as shown in the first grand-staff example. Do not place any notes below the bass note.
Quality:
Inversion: Quality:
Inversion: Quality:
Inversion: Quality:
Inversion:
CHAPTER 4: Triads and Seventh Chords
| 35
NAME: 4.5. Spell the chords indicated by the figured bass, in three- or four-part keyboard texture (as indicated by the figured bass) above the bass note provided in each measure below. Each example is an isolated chord—no progression is implied.
6 4
6
36 |
PART 1: Fundamentals and Diatonic Harmony
6`
6
4+ 2
7
7
6
NAME: 4.6. Spell the chords indicated by the pop chord symbols, in three- or four-part keyboard texture. Each example is an isolated chord—no progression is implied.
B7
Gmin7
Dmin/A
Bdim/D
Fmin7 5
CHAPTER 4: Triads and Seventh Chords
| 37
CHAPTER 5 DIATONIC CHORD LABELS
NAME: 5.1. Write the specified triads below, in root position. Use accidentals, not key signatures.
1.
2.
G:
iii
11.
A : I 21.
E : vii o 31.
F:
IV
41.
3.
D : vi
38 |
iii
ii
12.
13.
B: V
d: V
22.
23.
+
5.
e: iv 14.
e :
6.
VI
15.
c : iio 24.
B:
7.
IV
16.
c :
19.
20.
26.
27.
28.
29.
30.
C: iii
b : III
C : iii
38.
39.
40.
c:
32.
33.
34.
35.
36.
37.
B: vi
g: VII E: vii o b :
43.
44.
iii
18.
f : iio
25.
d : V
vi o A:
A: vii o E : ii
d: ii o
f: VI
c :
10.
g: III
vi
a : iio
e : iio
V
9.
F : ii
B :
D : vi
a : ii o
8.
17.
a: III
42.
D:
F:
4.
45.
46.
A : vi
f:
PART 1: Fundamentals and Diatonic Harmony
iv
VI E: ii 47.
iv
e:
V
b: VI
G : IV
c: VI
f : III + d : ii
48.
49.
D : ii
G:
o
50.
vii o C :
vi
NAME: 5.2. Write the specified triads below, in the inversion indicated. Use accidentals, not key signatures.
1.
2.
D : ii 6 11.
21.
A :
31.
6
I4
6
6
F: vi 4
b:
VI 6
33.
6
6
V6
E : vi 4
d : VI
A:
15.
6
6
a : III 4 34.
6
6
7.
8.
g: III 6
b:
iv 6 D:
17.
6
f: ii o 6
b : ii o 4 a:
25.
26.
27.
E : iii
6
b : ii
6 b: ii o 4
36.
o6
c : V6 37.
6
G: IV 4
9.
6
vi 4
18.
D : vi 4
35.
F: ii 4
6.
16.
6
ii 4
24.
6 6 d: VI 4 G: vii o 4
A : IV
e:
5.
14.
23.
32.
VI
4.
13.
22.
b : vii o 6
6
g: iv 4 12.
a: vii o 6
e:
3.
E: vi 6
10.
B : ii 6 19.
6
E: ii 4 20.
6
vi o 6 e : VI 4 F : ii 6
28.
29.
6
f: iv 4 38.
D: iii 39.
6
F : V4
30.
A: V 6 40.
g: VI 6
CHAPTER 5: Diatonic Chord Labels
a : V6
| 39
NAME: 5.3. Write the specified seventh chords below, in root position. Use accidentals, not key signatures.
1.
2.
ii ø7
e: 11.
3.
C : IV7 12.
ii ø 7
c: 21.
C : vi 7 22.
g: III7 31.
d: V 7 32.
e: i 7
40 |
4.
5.
6.
7.
8.
9.
10.
G : vi 7 e : vii o7
A: vi 7
B : vii ø7 A : V 7 b : ii ø7 a:
13.
15.
16.
f : III 7 23.
E: IV 7 33.
ø A : ii 7 d : ii 7
14.
B: V 7 24.
B : vi 7 34.
F: iii 7
G : ii
7
25.
E : ii 7 35.
17.
18.
C: vi 7
B: ii 7
F : iii 7
26.
27.
28.
b: ii ø 7 36.
c: III 7 B: IV 7
PART 1: Fundamentals and Diatonic Harmony
a: viio 7 f: 37.
38.
iv7
19.
20.
d: ii ø7 29.
VI7
E : vii ø7 30.
D: iii 7 39.
A: I 7 B : iii 7 g:
c : V7
D : V7 40.
ø vi 7
e : iv 7
NAME: 5.4. Write the specified seventh chords below, in the inversion indicated. Use accidentals, not key signatures.
1.
2.
6
4
11.
4
b: V 2 21.
6
D : vii ø 5
4
6
5.
4
6.
4
d: iv 3
G: vi 2
12.
13.
14.
15.
c :
vi ø 5 D: IV 2
22.
23.
6
4
a : iv 3 32.
e: i 3
4.
F: IV 5
b : III 5
f : iv 2
31.
3.
4
A : iii 2 34.
6
A : ii 2 d : ii ø 5
6
16.
6
25.
4
6
D: IV 5
6
6
6
b : V5
4
36.
4
c: III 3
37.
6
B: ii 5
4
4
4
D: I 3
29.
30.
6
4
d: VI 2
4
E: iii 5
38.
A: I 3
20.
C: V 2
28.
o4
B: iii 2
19.
6
f: vii 3
4
6
a: VI 5
27.
10.
f: vii o 5
18.
6 4 e: ii ø 5 b : iv 3
4 b : ii ø 2
9.
b: III 3
17.
26.
35.
F: iii 5
8.
a: VI 5 f : iv 5
d: VII 3 G : ii 5 24.
33.
4
4
7.
D : V2
39.
6
f: VII 5
d:
40.
4
6
vi ø 2 d : V 5
CHAPTER 5: Diatonic Chord Labels
| 41
NAME: 5.5. Look at the score to Bach’s Prelude no. 1 in C major, from The Well Tempered Clavier, Book 1, BWV 846, found on the following pages. In the blanks below, identify the quality of the chords specified (be sure to indicate if the chord is a seventh), the inversion (using the appropriate inversion symbol), and the Roman numeral label for the chord if it is diatonic to the key of C major. (Not all of the chords are diatonic.)
QUALITY:
INVERSION:
RN ANALYSIS:
Measure 1:
__________
__________
__________
Measure 2:
__________
__________
__________
Measure 3:
__________
__________
__________
Measure 5:
__________
__________
__________
Measure 6:
__________
__________
Measure 7:
__________
__________
__________
Measure 8:
__________
__________
__________
Measure 9:
__________
__________
__________
Measure 10:
__________
__________
Measure 12:
__________
__________
Measure 16:
__________
__________
__________
Measure 17:
__________
__________
__________
Measure 20:
__________
__________
Measure 21:
__________
__________
Measure 22:
__________
__________
Measure 25:
__________
__________
__________
__________
Measure 32:
__________
__________
Measure 33:
__________
__________
Measure 28 (do not count the G in the bass; count the E♭ as the “bass note”):
__________ __________
__________ (Continued)
42 |
PART 1: Fundamentals and Diatonic Harmony
(Continued)
4
7
10
(Continued)
CHAPTER 5: Diatonic Chord Labels
| 43
(Continued) 13
16
19
22
(Continued)
44 |
PART 1: Fundamentals and Diatonic Harmony
(Continued) 25
28
32
CHAPTER 5: Diatonic Chord Labels
| 45
CHAPTER 6 INTRODUCTION TO COUNTERPOINT AND VOICE LEADING NAME: 6.1. Examine the four-part texture below, and fill in the blanks with the appropriate type of voice-leading motion (contrary, parallel, similar, oblique) between each pair of voices indicated (from among soprano, alto, tenor, and bass). If there is no motion in the parts, write “stationary.”
a.
b.
c.
d.
e.
f.
g.
S
A
T
B
A
→ B
B
→ C
C
→ D
D
→ E
E
→ F
F
→G
S & A: ___________ ___________ ___________ ___________ ___________ ___________ S & T: ___________ ___________ ___________ ___________ ___________ ___________ S & B: ___________ ___________ ___________ ___________ ___________ ___________ A & T: ___________ ___________ ___________ ___________ ___________ ___________ A & B: ___________ ___________ ___________ ___________ ___________ ___________ T & B: ___________ ___________ ___________ ___________ ___________ ___________
46 |
PART 1: Fundamentals and Diatonic Harmony
NAME: 6.2. For each cantus firmus below, write an appropriate first-species counterpoint, observing the rules and guidelines outlined in Chapter 6. a.
b.
c.
CHAPTER 6: Introduction to Counterpoint and Voice Leading
| 47
NAME: 6.3. For each cantus firmus below, write an appropriate second-species counterpoint, observing the rules and guidelines outlined in Chapter 6. a.
b.
c.
48 |
PART 1: Fundamentals and Diatonic Harmony
CHAPTER 7 FORCES OF RESOLUTION: TENDENCY TONES, CADENCES, AND CLOSURE NAME: 7.1. Resolve the following dominant and diminished seventh chords, in the keys indicated, using the tendency tone patterns discussed in this chapter. Label each chord with Roman numeral and inversion symbol (all chords will be a V7 or viiº7, in root position or in some inversion). Then label your tendency-tone pairs voice by voice, using scale degrees.
1.
F : 5.
b : 9.
d: 13.
2.
3.
4.
e:
D:
6.
7.
8.
G :
E :
c :
g :
10.
11.
12.
a:
F:
e:
14.
15.
16.
(Continued)
CHAPTER 7: Forces of Resolution
b:
E:
c:
f :
| 49
9.
(Continued) d:
13.
b: 17.
d :
50 |
10.
11.
12.
a:
F:
e:
14.
15.
16.
E:
c:
f :
18.
19.
20.
f:
f :
G:
PART 1: Fundamentals and Diatonic Harmony
NAME: 7.2. Given the key for each example, provide Roman numeral/inversion symbol analysis, and label the cadence that each progression constitutes. Do not attempt to identify chords marked with an X.
1.
Cadence:
2.
A: 5.
f: Cadence:
F : 9.
Cadence:
g: 13.
6.
Cadence:
Cadence:
d:
Cadence:
4.
10. Cadence:
14. Cadence:
18. Cadence:
Cadence:
B :
7. Cadence:
8.
E :
e: Cadence:
3.
b:
E:
b : 17.
Cadence:
Cadence:
G:
11. Cadence:
12. Cadence:
X
D : 15. Cadence:
c :
c: 16. Cadence: (Continued)
F:
19. Cadence:
20. Cadence:
CHAPTER 7: Forces of Resolution
| 51
Cadence:
9.
g: (Continued) 13.
b :
E:
52 |
11. Cadence:
E:
Cadence:
17.
10. Cadence:
D :
14. Cadence:
15. Cadence:
e: Cadence:
c :
18. Cadence:
f :
19. Cadence:
X
PART 1: Fundamentals and Diatonic Harmony
D:
12. Cadence:
X
c: 16. Cadence:
F: 20. Cadence:
A :
NAME: 7.3. On the following pages you will find the complete score to Bach’s Prelude no. 1 in C major from Book 1 of The Well-Tempered Clavier. In Chapter 7 we located tendency tone resolutions in measures 1–4 and 12–15. Continue in the same manner for the rest of the piece. When the tendency tone pairs involve scale degrees in the tonic key of C major, identify the scale degrees involved. When they involve scale degrees in other keys (as we saw in measures 12–13, for example), determine the key in which they would function as tendency tone resolutions, using the four-step procedure outlined in the discussion of measures 12–13 in Chapter 7. If the resolutions can also be accounted for by other principles, such as chord sevenths resolving downward by step or chromatically altered tones resolving in their direction of alteration, cite those as well.
4
7
(Continued) 10
CHAPTER 7: Forces of Resolution
| 53
7
(Continued) 10
13
16
19
(Continued)
22
54 |
PART 1: Fundamentals and Diatonic Harmony
19
(Continued) 22
25
28
31
33
(Continued)
CHAPTER 7: Forces of Resolution
| 55
31
(Continued) 33
56 |
PART 1: Fundamentals and Diatonic Harmony
CHAPTER 8 PART WRITING WITH ROOT-POSITION TRIADS
NAME: 8.1. Spell the following triads in the indicated spacings and inversions, in four-part texture with proper doubling. Do not use key signatures.
1.
open
b : VI 9.
open
A: ii6
2. close
3. close
4. open
E: I 4
a : vii o6
D : I4
D: iii
e :
10. open
11. close
12. open
13. close
c : VII
f: vii o 4
F : iii6
d:
6
E :
6
I4
6
6
5. close
6. open
iv6
7.
open
8. close
f : III
B: vii o6
14. close
15. open
16. close
iio6
G : I4
6
g : V6
CHAPTER 8: Part Writing with Root-Position Triads
| 57
NAME: 8.2. Spell the indicated dominant seventh chords, in the proper inversion and spacing. Then, resolve the chords to I as indicated, following tendency tone resolution patterns for all voices, unless there is a common tone or a free resolution is indicated. In the blanks above the staff, indicate whether the chords are complete (C) or incomplete (I). Use key signatures. The first one is done for you.
C
C
I
^ ^ 2–1 ^ ^ 4–3 ^ ^ 7–1 C:
6
V5
I
e :
4
V2
i6
D :
V
7
I
g :
4
V3
i
C
(free)
4
A : V2
I
6
B:
V7
I
g:
4
V 3
i
d :
6
V5
i
C
D:
58 |
4
V3
I
e:
6
V5
i
PART 1: Fundamentals and Diatonic Harmony
b :
4
V2
i6
F:
V7
I
NAME: 8.3. Given the first chord, add a soprano part to the bass lines below, following the chord progressions given. Then, add alto and tenor voices, using common tones as much as possible and following the “law of the shortest way” otherwise. Use proper doubling and spacing.
c :
i
b: III
A :
III
VI
I
ii
VI
iv
iv VII
V
vi
F: IV ii
G :
c:
V
vi
g:
vi IV V I
i VI VII
iv
i
VI
iv
D: I
f : i VI III
iv
B:
ii V iii vi
b :
i
E:
V
vi IV V iii
V
vi
VI iv
CHAPTER 8: Part Writing with Root-Position Triads
IV
V
| 59
NAME: 8.4. Add the alto voice to the three-part progressions below, using proper doubling and spacing.
B :
I
f:
III VI
e :
60 |
ii
i
V
iv
vi
e:
VII
III VI
i
E : vi
iv
B:
VI
VII
iv
IV
V
I
IV
ii
V
PART 1: Fundamentals and Diatonic Harmony
F :
vi
vi
V
iii
d : i VI III
iv
a:
iv
i
IV
V
VI
d:
A:
i
VI
iv
V
vi
ii
V
iii
F: I
V
vi
IV
CHAPTER 9 PART WRITING WITH FIRST-INVERSION TRIADS AND SEVENTH CHORDS NAME: 9.1 Provide alto and tenor for the following progressions. Begin each progression in the spacing indicated (you may change spacing by the end). Make sure that your doubling in the first-inversion triad does not create parallel fifths or octaves with the chords before or after it.
open
g:
close
ii o
VI
6
V
i
iv
III6
iv
ii o 6
V
b :
i
vi
G: I
open
vi V6 close
F:
open
V6
E : I
close
close
g :
i6
f : i
open
c : VI
close
I
VII 6 III
d :
D:
VI close
V
6
IV
V
open
iv 6
V
A :
V6
I
I
open
V6
I
A:
I
I
6
CHAPTER 9: Part Writing with First-Inversion Triads and Seventh Chords
V
| 61
NAME: 9.2. Provide alto and tenor for the following progressions. These contain consecutive first-inversion triads, sometimes with the outer voices in parallel motion. Begin each progression in the spacing indicated (you may change spacing by the end). Make sure that your doublings do not create parallel fifths or octaves.
c:
i6
iv 6
V
i
G:
(open)
g:
VI 6
i
ii 6
V
vi
f :
V6
i
E:
IV 6
I
ii 6
V
e :
i6
VI 6
i
VII 6
III
(open)
V6
I
d:
(open)
I6
I
I6
(close)
(close)
D:
(open)
(close)
(open)
i6
iv 6
V
i
(close)
ii o
6
V
i
B:
I
V6
vi 6
IV (Continued)
(open)
62 |
(open)
PART 1: Fundamentals and Diatonic Harmony
(close)
D:
I
I6
ii 6
V
i6
e :
ii
o6
V
i
V6
I
B:
vi 6
IV
V
I
(Continued)
(open)
A :
I
(open)
vii o 6
I6
IV
e:
i
(close)
v6
iv 6
V
D
:
I6
ii 6
CHAPTER 9: Part Writing with First-Inversion Triads and Seventh Chords
| 63
NAME: 9.3. Provide the indicated first-inversion seventh chord, in the specified spacing. Then, resolve each chord as indicated. Use proper voice leading and spacing. You may use key signatures.
(close)
B:
6 ii 5
(open)
V
f:
(open)
e :
64 |
6 V5
6 vii o 5
(close)
i
E :
(open)
i
C :
6 vii ø 5
6 iii 5
(open)
vi
c :
(close)
I
6
PART 1: Fundamentals and Diatonic Harmony
B :
6 vi 5
ø6 ii 5
V
(open)
ii
E:
6 ii 5
V
CHAPTER 10 P ART WRITING WITH SECOND-INVERSION TRIADS AND SEVENTH CHORDS NAME: 10.1. Given the key, bass line and figured bass in the progressions below, provide upper voices and harmonic analysis. Label the type of 64 or 43 chord being used (cadential, passing, neighboring, arpeggiating, pedal).
c:
6
A:
6 4
b:
6 4 3
D:
6 4
6 4
D :
6 4
6
F:
6 4
4 3
A :
6
6
e:
e :
6 4
g :
6 4
6 4
g:
6 4 3
6
6 4 3
c :
(Continued)
E : 6
6 4
6 6 4 6 B CHAPTER : B: d : Chords 10: Part Writing with Second-Inversion Triads and Seventh 3
4
4
| 65
b: (Continued)
E : 6
66 |
6 4
6 4
6
F:
6 4
e :
B :
4 3
B:
PART 1: Fundamentals and Diatonic Harmony
6 4 3
6
6 4
6 4 3
c :
d :
6 4
6
NAME: 10.2. Locate the 64 or 43 chords within each of the excerpts below and label by type (cadential, passing, arpeggiating, neighboring, pedal). a. Wagner (arr. Liszt), “Lohengrin’s Admonition” (from Lohengrin), mm. 54–63.
54
57
più
61
(Continued)
CHAPTER 10: Part Writing with Second-Inversion Triads and Seventh Chords
| 67
(Continued) b. Beethoven, Piano Sonata no. 8 in C minor, op. 13 (“Pathétique”) (iii), mm. 33–36. (Note: The tonic in this excerpt is E ♭ .)
c. Beethoven, Piano Sonata no. 31 in A ♭ major, op. 110 (ii), mm. 9–12a. (Note: The tonic in this excerpt is A ♭ .)
(Klagender Gesang.) Arioso dolente. 9
11
68 |
PART 1: Fundamentals and Diatonic Harmony
CHAPTER 11 MELODIC FIGURATION: NON-CHORD TONES
NAME: 11.1. Add the indicated unaccented non-chord tones to the harmonic fragments below. Use the empty measures to copy the fragments and then add the specified non-chord tones.
1. two passing tones
2.
neighbor tone
3.
escape tone
4. neighbor group
5.
anticipation
6.
passing tone
9.
escape tone
7. two neighbor tones
8.
chromatic passing tone
CHAPTER 11: Melodic Figuration
| 69
NAME: 11.2. Add the indicated accented non-chord tones to the harmonic fragments below. Use the empty measures to copy the fragments and then add the specified non-chord tones.
1.
accented passing tone
2.
accented neighbor tone
4.
two accented neighbor tones
5.
appoggiatura
7.
accented passing tone
70 |
8.
accented neighbor tone
PART 2: Form and Chromatic Harmony 1
3.
appoggiatura
6.
two accented passing tones
9.
appoggiatura
NAME: 11.3. Add the indicated suspensions or retardations to the harmonic fragments below. Use the empty measures to copy the fragments and then add the specified non-chord tones. Provide the proper numerical labels (7–6, 4–3, etc.) for each suspension.
1.
suspension in soprano
4.
suspension in bass
5.
suspension with change of bass
7.
suspension in alto
8.
two retardations
2.
suspension in tenor
3.
suspension with ornamented resolution
6.
9.
two suspensions
suspension in tenor
CHAPTER 11: Melodic Figuration
| 71
NAME: 11.4. Analysis. Circle and label (by type) the non-chord tones in the following excerpt. Begin with the “pop-chord” analysis above the staff; use that to determine Roman numerals. (Note: The key changes from A major to E major at measure 4. Do not assign Roman numerals to chromatic harmonies in the excerpt, for which no blank is given.) Marianna von Martines (1744–1812), Piano Sonata in A major (i), measures 1–6.
Allegro ( = 120)
A
G dim/B
A/C
A
A: A/C
D
Bmin7
E7
A
2
F m/C
D
3
Bmin7
E7
A
3
3
E/G
6
B7/D
B7/D
E
A
(Continued)
4
72 |
6 1 PART 2: Form and Chromatic Harmony 3
3
6
3
6
(Continued)
E/G
B7/D
B7/D
E
A
4
3
6
3
6
E: E/G
B7/D
E
E/G
E7
5
3
6
3
3
3
(E:) F min/A
F
F 7/A
B
6
3
3
CHAPTER 11: Melodic Figuration
| 73
CHAPTER 12 MOTIVES, PHRASES, AND PERIODS
NAME: 12.1. For each of the musical excerpts below, label the cadences in the blanks provided. Label any instances of antecedent phrases, consequent phrases, and periods. Finally, identify the overall form of each excerpt: period (label by type—parallel, similar, or contrasting), double period, three-phrase period, or phrase group (identify the thematic form with letters, such as abb′). a. Mozart, Piano Sonata in D major, K.576 (i), mm. 1–8.
Presto.
9
(Continued)
74 |
PART 2: Form and Chromatic Harmony 1
(Continued) b. Schubert, Trio in E ♭ major, op. 100, D. 929 (ii), mm. 3–14a.
Andante con moto 3 Violin
Cadence: _________
Cello
9
Cadence: _________
Cadence: _________
decresc.
(Continued)
CHAPTER 12: Motives, Phrases, and Periods
| 75
(Continued) c. Mozart, Piano Sonata no. 9 in D major, K.311 (ii), measures 1–12a. (The key of this excerpt is G major; disregard the repeat in identifying the cadence at measures 11–12a). Cadence:
Cadence:
7
Cadence:
(Continued)
76 |
PART 2: Form and Chromatic Harmony 1
(Continued) d. Handel, “Menuet” from Music for the Royal Fireworks, HWV 351. (In considering the phrase structure, you may disregard the repeats.)
Cadence: Tromba I.
Tromba II.
Principal.
Tympani.
Oboe I. (Violino I.)
Oboe II. (Violino II.)
(Viola.)
Tutti Bassons. chords: (Continued)
CHAPTER 12: Motives, Phrases, and Periods
| 77
(Continued)
Cadence:
9
chords: (Continued)
78 |
PART 2: Form and Chromatic Harmony 1
(Continued) e. Claude-Michel Schönberg (b. 1944) and Herbert Kretzmer (b. 1925), “Castle on a Cloud” (from Les Misérables, 1980), mm. 4–11. Cadence: _______
Cadence: _______
4
There is a cast-le on
a
I like to go there in my
Cadence: _______
8
Aren’t an-y floors for me to
cloud,
sweep,
sleep.
Cadence: _______
Not in my cast-le on a
cloud.
CHAPTER 12: Motives, Phrases, and Periods
| 79
CHAPTER 13 H ARMONIC FUNCTION APPLIED: PROLONGATION AND THE PHRASE MODEL NAME: 13.1. Label the harmonic function above each of the chords in the progressions below.
1.
2.
e:
VI
ø4 ii 3
V
4.
3.
B:
I
V
vi
5.
B :
vi
ii7
IV
7.
80 |
iv
ii o
6
V
6
V5
6.
vi ø
f:
6
7
V5
i
A:
8.
c:
4
ii ø 2
c : i
G :
I
V
vi
IV
9.
I
PART 2: Form and Chromatic Harmony 1
vii o 6
I6
E:
I
IV
vi
NAME: 13.2. Provide a harmonic analysis (Roman numerals and inversion symbols) in the blanks below the staff (some chords that you will encounter in future chapters are provided for you). Above the staff, provide a harmonic function analysis (T, PD, D, etc.) in the blanks. Identify the cadences in each example. a. Johannes Brahms, “Erlaube mir, feins Mädchen,” from Deutsches Volkslieder, Book 1, no. 2, measures 1–8. Non-chord tones are indicated with parentheses.
Zart [Tenderly] ( ) Er
-
lau - be mir,
( )
(
feins Mäd - chen,
(
) in
den
( )
( ) Gar - ten
zu
gehn,
dass
)
Key: 5
ich
dort
( )
( )
mag
schau
( -
en,
)
wie
die
( )
( ) Ro
-
sen
so
schön.
( )
(
)
(Continued)
CHAPTER 13: Harmonic Function Applied
| 81
(Continued) b. Mozart, Piano Sonata in C major, K.545 (ii), mm. 1–16. (Note: The key of this movement is G major. Some—but not all—non-chord tones are indicated with parentheses.)
Andante.
dolce
legato
o4
ct 3
4
7
legato
(Continued) 11
82 |
PART 2: Form and Chromatic Harmony 1 o4
legato (Continued) 11
4
ct o 3
14
( ) ( ) dim. ( )
c. John Philip Sousa, “The Stars and Stripes Forever,” mm. 20b–36a (piano reduction). The prevailing harmonic rhythm is one chord per measure.
21
E :
(Continued)
F7/A 26
CHAPTER 13: Harmonic Function Applied 6
| 83
E : (Continued) F7/A 26
6
V5 /V 7
32
Gm 5 /D
ø4 vii 3 /IV
84 |
A m
iv
PART 2: Form and Chromatic Harmony 1
NAME: 13.3. For each of the following excerpts, provide a harmonic analysis (Roman numerals and inversion symbols). Above the staff, provide a harmonic function analysis as directed in Exercise 12.1 above. Finally, below the Roman numeral analysis, label any instances of prolongation; use brackets to show the extent of the prolongation and label by type (N, P, IN, CS, PED). a. Handel, “And the Glory of the Lord” (Messiah), mm. 11–17.
And the
And the
glo - ry, the
glo - ryof the
glo - ry, the
glo - ryof the
Lord
the
glo - ryof the
Lord
And the
glo - ry, the
glo - ryof the
Lord
And the
glo - ry, the
glo - ryof the
Lord
Lord,
(Continued)
CHAPTER 13: Harmonic Function Applied
| 85
(Continued) b. Mozart, String Quartet K.458 (“Hunt”) (iii), mm. 1–3.
Adagio.
c. Schumann, Arabeske, op. 18, mm. 41–48.
Minore I.
Etwas langsamer.
86 |
PART 2: Form and Chromatic Harmony 1
CHAPTER 14 HARMONIC PROGRESSION AND SEQUENCE
NAME: 14.1. Spell and resolve the following half and fully diminished seventh chords, in the keys and inversions specified, using the tendency tone model provided in Examples 14.3 and 14.5 in the text.
1.
2.
f :
4
vii o 3
3.
vii ø 7
c :
vii o 5
4.
b :
4
viio 2
5.
6
6.
F:
4
vii ø 3
7.
D:
B:
4
vii ø 2
b: 8.
4
vii o 2 (Continued)
CHAPTER 14: Harmonic Progression and Sequence
a :
vii o 7
| 87
5.
6.
(Continued) F:
4
vii ø 3
7.
B:
88 |
4
vii ø 2
PART 2: Form and Chromatic Harmony 1
4
b: 8.
vii o 2
a :
vii o 7
NAME: 14.2. For each of the chords below, provide its Roman numeral and inversion symbol in the left blank for the keys indicated, along with its harmonic function (T, PD, or D) in the right blank. One option in the first example is provided for you as a model.
1.
2.
3.
4.
C:
F :
f :
B :
e:
g :
A:
g:
D:
B:
5.
6.
A :
V6
D
7.
8.
F:
D:
g :
d:
d:
A:
c :
B :
f :
B:
e :
CHAPTER 14: Harmonic Progression and Sequence
| 89
NAME: 14.3. Spell the following ii(7) and IV(7) chords, in the keys and inversions specified, and resolve them to V referring to the discussion in the text and using the models provided in Examples 14.6 and 14.7 in the text.
1.
2.
ii ø 7
g:
b:
5.
4
iv 3
ø6
ii 5
4.
B :
6.
e :
90 |
3.
4
ii 2
A:
7.
B:
IV7
PART 2: Form and Chromatic Harmony 1
4
IV 3
8.
c :
4
iv 2
F:
6
ii 5
NAME: 14.4. Spell the following iii(7) and vi(7) chords, in the keys and inversions specified, and resolve them as indicated, referring to the preceding discussion and the models provided in Examples 14.8 and 14.9.
1.
2.
E:
vi
3.
iii 7
IV
4.
f :
VI
ii ø7
5.
4
6
B :
vi 2
c :
VI
ii ø 3
VI
ii ø 3
ii 5
6.
G:
4
iii 2
vi 6
7.
4
8.
A :
E :
V
6
iii 4
vi
b :
4
CHAPTER 14: Harmonic Progression and Sequence
| 91
NAME: 14.5. Using the first two chords as a model for your sequence, construct a diatonic circleof-fifths sequence ending with an imperfect authentic cadence in D minor.
d:
92 |
PART 2: Form and Chromatic Harmony 1
NAME: 14.6. The following passage from Bach’s Invention in A minor contains a harmonic sequence. Provide harmonic analysis (Roman numerals and inversion symbols) in A minor for measures 1–4, then in C major for measures 5–8 (do not attempt to connect these two keys—that will be covered in Chapter 17). Blanks are provided for you to fill in to help clarify the harmonic rhythm. Next, provide pop-chord symbols for measures 3–6. Finally, locate and identify the harmonic sequence in this excerpt.
3
5
7
CHAPTER 14: Harmonic Progression and Sequence
| 93
CHAPTER 15 SECONDARY CHORDS AND TONICIZATION
NAME: 15.1. Provide the Roman numeral and inversion symbol label for the following secondary dominant triads and seventh chords, given the key. Label the chord with an “X” if the chord does not function within the key provided (because it is not the correct quality, because it tonicizes a chord that is not diatonic to the key, or because the chord being tonicized would be diminished in the key indicated).
1.
2.
C:
3.
G :
4.
E :
g :
5.
6.
b :
f:
7.
8.
9.
10.
11.
12.
b : 13.
g:
A: 15.
f : 16.
A: 17.
c: 18.
14.
c : 19.
G: 20.
F: 21.
c: 22.
G: 23.
f : 24.
F :
A
d:
B:
f :
g:
26.
27.
28.
29.
30.
b:
D:
b :
D:
25.
f:
A :
31.
32.
B :
94 |
a:
33.
34.
35.
36.
C :
C:
e :
f:
PART 2: Form and Chromatic Harmony 1
NAME: 15.2. Spell the indicated secondary dominant triads and seventh chords. Use key signatures.
1.
2.
B:
6
V5 /V
7.
4
V 2 /iv
8.
c :
V 6/VII
13.
g :
b:
b :
6
V 4 /V
F:
V7 /III
4
c:
4
V 3 /ii
a:
6
V 5 /iii
G:
V6 /V
6
D :
6
V 5 /III
D:
4
V 2 /vi
e :
6
V 4 /ii
6
d :
V 6/VI
4
V 2 /VI
e:
4
V 3 /iv
C :
4
E :
V 7/vi
4
B : V 3 /iii 18.
V 7/vi
23.
V 3 /VII
A : 12.
17.
22.
V 4 /iii
f :
6.
11.
16.
21.
V 5 /VI
g:
5.
10.
15.
20.
V 3 /III
E :
4.
9.
14.
19.
d:
3.
A:
V 7/IV
24.
4
V 2 /ii
F:
6
V 5 /ii
CHAPTER 15: Secondary Chords and Tonicization
| 95
NAME: 15.3. Using Example 15.5 in the text as your model, spell and resolve the following secondary dominant seventh chords. Use key signatures. As with Example 15.5, label the tendency tones involved (as applied to the key being tonicized).
1.
2.
A :
6
V 5 /vi
3.
vi
D:
6.
4
V3 /iii iii
7.
e:
6
V 5 /V V
D :
11.
4
f :
96 |
4
V 2 /V V
B : 17.
6
d:
4
V 2 /iv iv 6
8.
4
V3 /ii
ii
12.
e : V 2 /III III6 16.
g:
4.
A:
4
6
V
V 5 /V V
6
V 5 /IV
IV
6
4
vi
E : V 3 /vi vi
c : V 7/VII VII
G:
4
V 3 /vi
vi
15.
4
c: V 7/III 20.
F: V 3 /ii ii 19.
f:
4
E : V 2 /ii ii 6 10.
14.
E: V 5 /vi 18.
PART 2: Form and Chromatic Harmony 1
V 7/VI VI
9.
13.
V 3 /V
b:
5.
6
V 5 /VI
VI
III
B: V 7/IV IV
NAME: 15.4. Provide the Roman numeral and inversion symbol label for the following secondary leading-tone (diminished) triads and seventh chords, given the key. If the chord is a seventh chord, be sure to include the appropriate quality symbol indicating if the chord is half or fully diminished. Label the chord with an “X” if the chord does not function within the key provided (because it is not the correct quality, because it tonicizes a chord that is not diatonic to the key, or because the chord being tonicized would be diminished in the key indicated).
1.
2.
D: 7.
E: 13.
F: 19.
A: 25.
f: 31.
4.
5.
a:
B :
b:
G:
8.
9.
10.
11.
12.
E :
f :
g:
c :
c:
14.
15.
16.
17.
18.
B:
C:
A :
g :
20.
21.
22.
23.
d:
D :
g:
26.
27.
28.
29.
30.
B:
e :
d :
B :
D:
34.
35.
36.
32.
E :
3.
f :
33.
G:
b:
b :
e:
6.
f:
F : 24.
E:
c:
CHAPTER 15: Secondary Chords and Tonicization
| 97
NAME: 15.5. Spell the indicated secondary leading-tone (diminished) seventh chords. Use key signatures.
1.
2.
F:
o7
vii /vi
7.
g:
4
vii o 3 /iv
13.
19.
98 |
o6
o4
ø4
E: vii 3 /IV
c:
8.
9.
10.
b : vii o 7/VI
b:
15.
16.
4
f : vii ø 2 /VII
f:
6
vii o 5 /III
20.
vii 3 /IV
4.
B : vii 5 /V
14.
A: vii o 7/ii
C:
3.
F :
ø4
vii 2 /V
4
5.
o4
vii 2 /III
o6
vii 5 /V
o4
o7
A : vii o 5 /ii
11.
12.
o4
D : vii o 2 /V
17.
18.
d:
21.
22.
23.
PART 2: Form and Chromatic Harmony 1
6
4
c : vii 3 /III
B: vii 2 /iii
g : vii o 5 /III
6
D: vii /iii
E : vii o 3 /vi
e : vii o 7/iv
6.
o vii 7/V
e:
6
viio 5 /VI
24.
ø4
a: vii 3 /VI
c:
o4
vii 2 /V
NAME: 15.6. Using Example 15.15 in the text as your model, spell and resolve the following secondary leading-tone (diminished) seventh chords. As with Example 15.15, label the tendency tones involved (as applied to the key being tonicized).
1.
2.
A:
6
vii o 5/vi
4
D : vii o 3 /iii iii
vi
6.
6
7.
d:
6
vii o 5 /V V
B :
11.
ø4
b:
o4
6
4.
4
6
e: vii o 2 /iv iv 4 8.
4
vii o 3 /iii iii 6
12.
a : vii 2 /VI 16.
3.
g:
6
vii o 5 /III
III
13.
4
6
vii 2 /VII VII 4
o6
g: vii 5 /VI VI
ø e : vii 7/VII VII
9.
6
4
E : vii o 3 /ii ii
g : vii o 7/VI
6
ii 4
4
4
VI
c: vii o 3 /V 15.
V6
6
f : vii o 7/III 20.
III
F : viio3 /ii ii 19.
6
4
B: vii o2 /ii 10.
14.
G : viio3 /vi vi 6 D: vii o 5 /V V 17. 18.
VI 4
5.
6
c : vii o 5 /VI VI G: vii o7/IV IV
CHAPTER 15: Secondary Chords and Tonicization
| 99
NAME: 15.7. Locate and label (providing Roman numeral and inversion symbol) the secondary dominant or secondary leading-tone (diminished) chords in the following musical excerpts. If a diminished seventh chord is not spelled properly for its resolution (for example, if it is spelled enharmonically), mark that chord with an X. a. Cole Porter, “It’s De-Lovely,” mm. 5–20. The key is F major throughout; use the chord symbols to assist you in locating secondary chords.
8
HE:
5 F
I
feel
B m
I
100 |
a
sud
-
den
Gm
C7
urge to sing,
F
The kind of dit - ty that in -
Bdim.
vokes the
11
F7
Spring,
So con - trol
C7
cru - ci - fy
F
the
verse.
PART 2: Form and Chromatic Harmony 1
your de - sire
F dim.
C7
to
C7 SHE:
F
This
verse
curse
while
(Continued) F7
I’ve start
-
ed
vokes
the
Spring,
So con - trol
your de - sire
to
curse
while
(Continued)
11
B m
I
C7
F
cru - ci - fy
the
verse.
Gm
14
C7 SHE:
F
This
verse
C7
seems to me
17
F dim.
Dm7
G7
spare
you all
the
Gm6
the
pain,
Tin
Pan - ti -
A7
I’ve start
-
ed
F
thes - is of
Dm
I’ll
F7
mel - o - dy,
F
skip the darn thing and
Bdim. G7
sing
So
to
C
the re - frain.
(Continued)
CHAPTER 15: Secondary Chords and Tonicization
| 101
(Continued) b. Norah Jones, “Don’t Know Why,” harmonic reduction [0:00–0:10].
( ) (NCT)
key: B c. Beethoven, Piano Sonata no. 18, op. 31 no. 3 (i), mm. 237–246.
237
ritar
E :
a tempo
241
-
do
244
cresc.
102 |
PART 2: Form and Chromatic Harmony 1
-
dan
-
NAME: 15.8. Using the first two chords as a model, construct a chromatic circle-of-fifths harmonic and melodic sequence ending with an imperfect authentic cadence in A ♭ major.
V of F
V of B
CHAPTER 15: Secondary Chords and Tonicization
| 103
CHAPTER 16 MODE MIXTURE
NAME: 16.1. Each of the following chords is missing at least one accidental. Add the missing accidentals to properly spell the chord indicated by the Roman numeral label.
6
C:
III 4
E:
G :
VI 6
4
VI 2
4
I
D :
VI 3
A:
ii ø 5
6
B:
iv
D:
E :
ii ø 2
e:
4
III
G:
6
6
B :
VII
4
A :
iv 3
F:
VII 4
6
6
iv 5
F:
v
G:
ii o6 (Continued)
E :
104 |
ii ø 7
F :
VI 6
f:
PART 2: Form and Chromatic Harmony 1
4
vi ø 3
g:
IV 6
A:
v6
4
(Continued) VI 2 G :
D:
ii ø 7
F :
E :
III
6
6
B:
iv
VI 6
f:
vi ø 3
4
6
F:
VII 4
G:
ii o6
g:
IV 6
A:
v6
CHAPTER 16: Mode Mixture
| 105
NAME: 16.2 Spell the indicated borrowed chords in four-part texture, using correct doubling.
1.
2.
VI 6
C:
ii o6
B:
6.
4.
IV
ii ø 7
12.
E :
VII
D :
6
VII 4
b:
4
VI 3
G : 18.
4
vi ø 3
G:
PART 2: Form and Chromatic Harmony 1
III
vi ø 7
iv 6
g :
14.
6
6
VII 7
F :
A :
IV 6
15.
19.
ii ø 5
iv 2
10.
B :
ii ø 5
4
E:
9.
13.
A: 17.
16.
e:
5.
A :
8.
D :
11.
4
ii ø 3
D:
7.
f:
106 |
3.
F:
4
VI 3
20.
v
E:
6
VI 5
NAME: 16.3. Provide harmonic analysis. Some, but not all, non-chord tones are indicated with parentheses. a. Brahms, Symphony no. 3 in F major, op. 90 (i), mm. 3–7a.
I Violin
passionato
II passionato
Viola
Cello
Contrabass (Continued)
CHAPTER 16: Mode Mixture
| 107
(Continued)
% (
)
(
)
(Continued)
108 |
PART 2: Form and Chromatic Harmony 1
(Continued)
b. Attributed to Maria Theresa von Paradis (1759–1824), Sicilienne in E ♭ major, mm. 1–6.
Andantino Violin
Piano
CHAPTER 16: Mode Mixture
| 109
CHAPTER 17 MODULATION 1
NAME: 17.1. Each of the common chords in the progressions below is missing one of its Roman numeral labels, in either the opening or closing key. Fill in the blanks to show the chord’s dual labeling. 4 6 6 a. F♯: I V 3 I IV
g ♯: _____
VI
iiº 6 V 7 i
b. e: i viiº 7 i _____
F:
V
c. E ♭: I iii7 vi
I6 IV V I
ii6
c: _____
i64 V i
6 d. D ♭: I ii42 V 5 _____
e.
vi
ii6 V I
b: i V 7 VI
110 |
G ♭: iii
D: _____
PART 3: Form and Chromatic Harmony 2
I64
V I
NAME: 17.2. Each of the chromatic pivot chords in the progressions below is missing one of its Roman numeral labels, in either the opening or closing key. Fill in the blanks to show the chord’s dual labeling. a. B ♭: I V _____
D ♭: IV ii65 V 7 I b. c: i V 43 i6 IV
A:
_____ iiº 65 V I
c. F♯: I viiº 6 I6 _____
E:
6 4 7 V 5 /vi vi ii 3 V I
CHAPTER 17: Modulation 1
| 111
NAME: 17.3. Determine the opening and closing keys of the following excerpts. Then, prepare a harmonic analysis and provide both labels for the pivot chord shown with a box in each example. Provide both harmonic labels for the pivot chord, and determine the type of modulation. a. Beethoven, Piano Sonata in G major, op. 79 (iii), mm. 67–75.
70
3
3
3
3
3
3
3
3
3
3
75
(Continued)
112 |
PART 3: Form and Chromatic Harmony 2
(Continued) b. Louise Farrenc (1804–1875), Trio for Violin, Cello, and Piano, op. 45 (1857) (ii), mm. 25–51a. This excerpt contains mode mixture and tonicizations. Some, but not all, non-chords are shown with parentheses to facilitate your analysis. The chord in measure 29 is labeled for you—this kind of chord will be examined in Chapter 25.
25 Violin cresc.
Cello pizz.
cresc.
cresc.
Piano
Key: 6
(type of 4 ?)
29
Ger+6 (Continued)
CHAPTER 17: Modulation 1
| 113
(Continued)
33
arco
37
(Continued)
114 |
PART 3: Form and Chromatic Harmony 2
(Continued)
41
(
) ( )
) (
(
(
( )
( )
) ( )
)(
(
)
)
45
(Continued)
CHAPTER 17: Modulation 1
| 115
(Continued)
49 (
)
(
)
(
)
( ) ( )
(
116 |
PART 3: Form and Chromatic Harmony 2
)
(
)
( )
CHAPTER 18 MODULATION 2
NAME: 18.1. Choose the label that best describes the type(s) of modulation that occurs in each of the excerpts that follow. Your choices are: diatonic common-chord, chromatic, commontone, sequential, direct. In some excerpts there may be more than one analyzable modulation. If the modulation is common-chord or chromatic, be sure to provide the chord’s harmonic label (Roman numeral and inversion symbol) in both the old and new key. (The opening key of the excerpt may not always be that implied by the given key signature.) a. Chopin, Prelude in E major, op. 28 no. 4, mm. 9–12.
9
3
3
3
3
3
3
3
3
11
3
cresc.
3
3
3
3
3
ritenuto
(Continued)
CHAPTER 18: Modulation 2
| 117
(Continued) b. The Beatles, “Penny Lane” (piano only, [0:18–0:53]). Non-chord tones are indicated with parentheses.
[0:18]
( )
( )
( )( )
[0:30]
( )( )
[0:43]
( )
( ) (Continued)
118 |
PART 3: Form and Chromatic Harmony 2
(Continued) c. Brahms, “Das Mädchen spricht,” op. 107 no. 3, mm. 5–19.
5
Schwal
-
be,
sag mir
an,
ists
dein
al - ter
Mann,
mit
9
dem
dus Nest
ge -baut,
mit dem
dus Nest
ge - baut?
(Continued)
CHAPTER 18: Modulation 2
| 119
(Continued)
12
o
-
der
hast
du
jüngst
p
erst
dim.
d. Mozart, Mass in C major (“Coronation”), K. 317, “Gloria,” mm. 96–113.
96 Sop. Qui
tol
-
-
-
lis,
qui
tol -
-
- lis
Qui
tol
-
-
-
lis,
qui
tol -
-
- lis
Qui
tol
-
-
-
lis,
qui
tol -
-
- lis
Qui
tol
-
-
-
lis,
qui
tol -
-
- lis
Alt.
Ten.
Bs.
(Continued)
120 |
PART 3: Form and Chromatic Harmony 2
(Continued)
100
pec - ca
-
-
-
ta
mun
-
-
-
di,
pec - ca
-
-
-
ta
mun
-
-
-
di,
pec - ca
-
-
-
ta
mun
-
-
-
di,
pec - ca
-
-
-
ta
mun
-
-
-
di,
(Continued)
CHAPTER 18: Modulation 2
| 121
(Continued)
105
sus
-
ci - pe
de
-
pre
-
ca
sus
sus
-
ci - pe
de
sus
-
-
pre
ci - pe
-
ca
-
ti
-
ci - pe
-
-
ti
-
o
-
nem,
de
-
o
-
nem,
de
-
pre
pre -
-
(Continued)
122 |
PART 3: Form and Chromatic Harmony 2
(Continued)
110
de -
-
- pre
ca
-
-
-
de -
-
-
-
ca
-
ca
-
o
- pre
-
ca
-
-
o
ti
ti
-
-
ti - o
-
-
-
nem
ti - o
-
-
nem
nem
no
-
no
-
nem
no
-
-
-
-
no
-
-
-
-
-
-
stram.
-
stram.
-
stram.
-
stram.
(Continued)
CHAPTER 18: Modulation 2
| 123
(Continued) e. Bruckner, “Virga Jesse,” mm. 1–20.
cresc. sempre Soprano Vir
-
ga
Jes
-
se,
vir
-
ga
Jes
-
se,
vir
-
ga
-
se,
vir
-
ga
-
se,
vir
-
ga
-
se,
vir
-
ga
cresc. sempre Alto Vir
-
ga
Jes
-
-
se,
vir
-
ga
Jes
cresc. sempre Tenor Vir
-
ga
Jes
-
se,
vir
-
ga
Jes
cresc. sempre Bass Vir
-
ga
Jes
6
G. P.
Jes
-
se
flo
-
-
-
-
-
-
-
-
ru - it,
Jes
-
se
flo
-
-
-
-
-
-
-
-
ru - it,
Jes
-
se
flo
-
-
-
-
-
-
-
-
ru - it,
Jes
-
se
flo
-
-
-
-
-
-
-
-
ru - it,
(Continued)
124 |
PART 3: Form and Chromatic Harmony 2
(Continued)
cresc. sempre
11
vir
-
ga
Jes
-
se,
vir
-
ga
Jes
-
se,
vir
-
ga
Jes
-
se,
vir
-
ga
ga
Jes
-
se,
vir
-
ga
ga
Jes
-
se,
vir
-
ga
cresc. sempre
vir
ga
-
Jes
se,
-
vir
-
ga
-
-
cresc. sempre
-
vir
ga
Jes
-
se,
-
vir
-
cresc. sempre
vir
-
16
G. P.
Jes
-
se
flo
-
-
-
-
-
-
-
ru - it;
Jes
-
se
flo
-
-
-
-
-
-
-
ru - it;
Jes
-
se
flo
-
-
-
-
-
-
-
ru - it;
Jes
-
se
flo
-
-
-
-
-
-
-
ru - it;
CHAPTER 18: Modulation 2
| 125
CHAPTER 19 CANON AND FUGUE
NAME: 19.1. The two musical examples on the following pages, from Bach’s Goldberg Variations, are examples of canons. Locate the dux and the comes in each example. In addition, determine the time interval and pitch interval of imitation. Comment on the relationship between dux and comes in the first example, as well as what happens to the relationship between the two parts beginning at measure 17. a.
Variation 12.
4
8
(Continued) 11
126 |
PART 3: Form and Chromatic Harmony 2
8
(Continued) 11
14
17
20
(Continued) 23
CHAPTER 19: Canon and Fugue
| 127
20
(Continued) 23
26
29
b.
Variation 18.
(Continued) 6
128 |
PART 3: Form and Chromatic Harmony 2
Variation 18.
(Continued) 6
12
17
23
(Continued) 28
CHAPTER 19: Canon and Fugue
| 129
23
(Continued) 28
130 |
PART 3: Form and Chromatic Harmony 2
NAME: 19.2. For each of the fugue subjects below, determine if the answer should be real or tonal. Write the appropriate answer in the blank staff provided. If the answer is to be real, make sure it is an exact transposition to the dominant key. If it is to be tonal, you will need to decide which notes are to be altered, and how; try to make your alterations as unobtrusive as possible, and avoid awkward melodic motion such as augmented seconds. a.
SUBJECT:
ANSWER:
b.
SUBJECT:
ANSWER:
c.
SUBJECT:
ANSWER:
CHAPTER 19: Canon and Fugue
| 131
NAME: 19.3. Using the analysis of Bach’s G minor Fugue in the text as a model, prepare an analysis of Bach’s Fugue in D major (BWV 874) from Book 2 of The Well-Tempered Clavier, below. Include in your analysis the end of the exposition, the beginnings and endings of all subjects and answers as well the keys in which each entry appears, countersubject (if there is one), and beginnings and endings of all episodes and links. In addition, if you spot any special devices such as inversion, augmentation, or stretto, indicate that in your analysis as well.
a 4.
6
11
16
(Continued)
132 |
PART 3: Form and Chromatic Harmony 2
(Continued) 21
25
29
33
(Continued)
CHAPTER 19: Canon and Fugue
| 133
(Continued) 37
41
45
48
134 |
PART 3: Form and Chromatic Harmony 2
CHAPTER 20 BINARY AND TERNARY FORMS
NAME: 20.1. For each of the pieces or excerpts below:
Locate cadences and determine the phrase and period structure. As a result of your findings, prepare an arch map formal diagram using Examples 20.2 and 20.3 from the text as your models. • Finally, determine the type of binary form for each example, using as many specific labels as apply (sectional vs. continuous, simple vs. rounded, symmetrical vs. asymmetrical, balanced). • •
a. Bach, Variation 7 from Goldberg Variations, BWV 988.
5
(Continued) 9
13
CHAPTER 20: Binary and Ternary Forms
| 135
5
(Continued) 9
13
17
21
(Continued) 25
136 |
PART 3: Form and Chromatic Harmony 2
21
(Continued) 25
29
b. Beethoven, Romanze from Sonatina in G, Anh. 5, no. 1, mm. 1–28.
6
(Continued)
12
CHAPTER 20: Binary and Ternary Forms
| 137
6
(Continued)
12
19
25
c. Turlough O’Carolan, “Lady Gethin”
9
138 |
PART 3: Form and Chromatic Harmony 2
d. Scott Joplin, “Pine Apple Rag,” mm. 5–36.
5
9
13
17
1
(Continued)
CHAPTER 20: Binary and Ternary Forms
| 139
(Continued)
20
2
22
26
30
(Continued)
140 |
PART 3: Form and Chromatic Harmony 2
(Continued)
34
1
2
CHAPTER 20: Binary and Ternary Forms
| 141
NAME: 20.2. The following pages contain materials for composing a short piece in binary form by rolling dice, erroneously attributed to Mozart. There are two dice-roll tables, measures corresponding to the outcomes of the tables, and a page of blank music paper for writing down your results. You will need a pair of dice to complete this activity. Each of the two sections of the piece will be eight measures in length; Table I pertains to the first section, and Table II pertains to the second. The columns of each table (A, B, C, D, etc.) refer to measure numbers; thus, A refers to the first measure of the section, B to the second measure, and so on. The rows of each table correspond to the dice-throw results, 2 through 12. Throw the dice to get the result for a particular measure; look up the result in the table and find the corresponding numbered measure. Write that measure in the corresponding blank measure of the music paper. When you have finished, compare your result with a classmate’s. How are they different from one another? In what ways are they similar? How does the composer “load the dice” to ensure the same formal result each time? TABLE I
142 |
A
B
C
D
E
F
G
H
2
96
22
141
41
103
122
11
30
3
32
6
128
63
146
46
134
81
4
69
93
138
13
133
33
110
24
5
40
17
113
83
161
2
139
100
6
148
74
169
43
80
97
36
107
7
104
157
27
167
154
68
118
91
8
152
60
171
53
99
133
21
127
9
119
84
114
50
140
86
169
94
10
98
142
42
156
75
129
62
123
11
3
87
165
61
135
47
147
33
12
54
130
10
103
28
37
106
5
PART 3: Form and Chromatic Harmony 2
TABLE II A
B
C
D
E
F
G
H
2
70
121
26
9
112
49
109
14
3
117
39
126
56
174
18
116
83
4
66
139
15
132
73
58
145
79
5
90
176
7
34
67
160
52
170
6
25
143
64
125
76
136
1
93
7
138
71
150
29
101
162
23
151
8
16
155
57
175
43
168
89
172
9
120
88
48
166
51
115
72
111
10
65
77
19
82
137
38
149
8
11
102
4
31
164
144
59
173
78
12
35
20
108
92
12
124
44
131
6.
7.
14.
15.
MEASURES CORRESPONDING TO DICE OUTCOMES:
1.
2.
3.
4.
5.
8.
2. 1. 9.
17.
10.
18.
11.
19.
12.
20.
21.
13.
22.
23.
16.
24.
(Continued)
CHAPTER 20: Binary and Ternary Forms
2.
| 143
9.
10.
11.
12.
13.
14.
15.
16.
(Continued)
17.
18.
19.
20.
21.
22.
23.
24.
2. 1. 25.
26.
27.
28.
29.
30.
31.
32.
2. 1. 33.
34.
35.
36.
37.
38.
39.
40.
2. 1. 41.
49.
144 |
42.
50.
43.
44.
51.
PART 3: Form and Chromatic Harmony 2
45.
52.
46.
53.
47.
54.
48.
55.
(Continued) 56.
41.
42.
43.
44.
45.
46.
47.
48.
(Continued)
49.
50.
57.
58.
65.
66.
73.
1.
60.
67.
82.
2.
52.
59.
74.
81.
51.
61.
68.
75.
83.
53.
55.
62.
69.
63.
70.
76.
84.
54.
85.
64.
71.
77.
72.
78.
86.
56.
79.
87.
80.
88.
(Continued)
CHAPTER 20: Binary and Ternary Forms
| 145
73.
74.
75.
76.
77.
78.
79.
80.
(Continued)
81.
82.
83.
84.
85.
86.
87.
88.
2. 1. 89.
90.
91.
92.
93.
2.
98.
95.
96.
2.
1. 97.
94.
1.
99.
100.
101.
102.
103.
104.
111.
112.
2. 1. 105.
106.
107.
108.
109.
110.
2. 1. 113.
146 |
114.
115.
116.
PART 3: Form and Chromatic Harmony 2
117.
118.
119.
120.(Continued)
105.
106.
107.
108.
109.
110.
111.
112.
2. (Continued)
113.
121.
1. 114.
115.
122.
116.
123.
117.
124.
118.
125.
119.
126.
127.
2.
130.
137.
138.
145.
146.
128.
2.
1. 129.
120.
1.
131.
132.
139.
147.
133.
134.
140.
141.
148.
149.
135.
142.
150.
136.
143.
151.
144.
(Continued) 152.
CHAPTER 20: Binary and Ternary Forms
| 147
137.
138.
139.
140.
141.
142.
143.
144.
(Continued)
145.
153.
161.
169.
148 |
146.
147.
154.
162.
148.
155.
163.
170.
171.
149.
156.
157.
164.
172.
PART 3: Form and Chromatic Harmony 2
158.
165.
173.
150.
151.
159.
166.
174.
167.
175.
152.
160.
168.
176.
Use the following blank staves to notate your dice composition.
Tempo di Menuetto
5
9
13
CHAPTER 20: Binary and Ternary Forms
| 149
NAME: 20.3. Prepare a formal analysis of each of the compositions on the following pages, using Example 20.12 in the text as a model. Prepare an arch map for each piece, and be prepared to discuss which elements (theme, key, harmony, texture, dynamics, etc.) provide contrast for the B section and which retain some continuity from section to section. Some sections within each piece might independently be in binary or ternary form. The examples may be in simple ternary, compound ternary, or song form. a. Mozart, Piano Sonata no. 11 in A major, K.331 (ii)
MENUETTO.
cresc.
8
14
(Continued)
19
cresc. - - - - - -
150 |
PART 3: Form and Chromatic Harmony 2
-
14
(Continued)
19
cresc. - - - - - -
-
25
31
36
cresc.
(Continued)
41
CHAPTER 20: Binary and Ternary Forms
| 151
36
cresc.
(Continued)
41
45
L.H.
49 Trio.
56
(Continued)
62
152 |
PART 3: Form and Chromatic Harmony 2
56
(Continued)
62
68
74
cresc.
-
-
-
-
-
-
-
-
-
80
85
(Continued)
CHAPTER 20: Binary and Ternary Forms
| 153
80
(Continued)
85
92
98
1.
2.
Menuetto D. C.
154 |
PART 3: Form and Chromatic Harmony 2
b. Handel, “Where’er You Walk,” from Semele JUPITER.
Wher - e’er you walk,
cool gales shall fan the glade;
Violin I
Violin II
Viola
Cello, Bass
4
trees, where you sit,
shall
crowd in - to a shade,
trees, where you sit, shall crowd in -
(Continued)
CHAPTER 20: Binary and Ternary Forms
| 155
(Continued) 7
to
a shade;
wher - e’er you walk,
cool
10
gales shall fan
the glade;
trees,
where you sit,
shall crowd in - to a
shade,
(Continued)
156 |
PART 3: Form and Chromatic Harmony 2
(Continued) 13
trees, where you sit,
shall crowd
in - to
a shade.
Fine.
17
Fine. (Continued)
CHAPTER 20: Binary and Ternary Forms
| 157
(Continued) 20
Wher-e’er you tread,
the blush-ing flow’rs shall rise,
and
all
things flour-ish,
and
Adagio.
23
all
things flour - ish wher- e’eryou turn your eyes, wher-e’eryou turnyoureyes,wher-e’er you turn your eyes.
Da Capo.
158 |
PART 3: Form and Chromatic Harmony 2
c. Robert Schumann, “Kinder Sonata no. 1,” from Drei Clavier-Sonaten für die Jugend, op. 118a
Allegro
lebhaft
5
cresc.
9
13
(Continued)
CHAPTER 20: Binary and Ternary Forms
| 159
(Continued) 18
23
28
33
(Continued)
160 |
PART 3: Form and Chromatic Harmony 2
(Continued) 37
41
cresc.
45
48
CHAPTER 20: Binary and Ternary Forms
| 161
CHAPTER 21 SONATA FORM
Answer the questions that follow each of the two sonata-form movements found below and on the following pages.
NAME: 21.1. Mozart, Piano Sonata no. 12 in F major, K.332 (i)
Allegro.
8
15
(Continued) 22
162 |
PART 3: Form and Chromatic Harmony 2
(Continued) 22
27
31
35
(Continued) 39
CHAPTER 21: Sonata Form
| 163
35
(Continued) 39
45
3
3
3
50
3
3
3
56
(Continued) 62
164 |
PART 3: Form and Chromatic Harmony 2
56
(Continued) 62
67
73
80
(Continued) 85
CHAPTER 21: Sonata Form
| 165
80
(Continued) 85
88
93
101
(Continued) 109
166 |
PART 3: Form and Chromatic Harmony 2
101
(Continued) 109
114
119
124
(Continued) 130
CHAPTER 21: Sonata Form
| 167
124
(Continued)
130
136
143
149
(Continued) 156| 168
PART 3: Form and Chromatic Harmony 2
(Continued) 156
161
165
169
(Continued) 173
CHAPTER 21: Sonata Form
| 169
(Continued) 173
178
184
3
3
3
3
3
3
190
(Continued) 196
170 |
PART 3: Form and Chromatic Harmony 2
(Continued) 196
202
208
215
(Continued) 221
CHAPTER 21: Sonata Form
| 171
(Continued) 221
225
EXPOSITION
1. The 2. The 3. The
first tonal area/primary theme is in the key of __________. transition begins at measure __________ and ends at measure __________. secondary theme begins at measure __________. What gesture is found in the measures immediately preceding that signals the arrival of the secondary theme? 4. The second tonal area is in the key of __________. What is this key’s relation to the tonic? ______________________________ Is this relationship expected for a classical sonata exposition? Yes No 5. Does the closing section begin at measure 71 or measure 86? Explain the reasoning behind your answer. 6. Is this a monothematic exposition? Yes No
DEVELOPMENT
7. Examine
the thematic material from measure 94 to measure 108. Does this material come from somewhere in the exposition (if so, where?) or does it appear to be new material?
172 |
PART 3: Form and Chromatic Harmony 2
8. Which
theme is developed in measures 109–132? Assuming that this section opens in the key of C major (moving quickly to C minor), what other keys are tonicized in this passage? (Hint: The cadence at measures 123–126 is a half cadence.)
RECAPITULATION
9. Compare
measures 155–176 in this section with measures 23–40 in the exposition. Which measures are similar to one another? Which measures have been changed? How does Mozart change the material to ensure that the section concludes with a half cadence in the tonic key? 10. Does this movement have a coda? If so, where does it begin? (provide measure number) __________
CHAPTER 21: Sonata Form
| 173
NAME: 21.2. Haydn, Piano Sonata XVI/36 (i)
Moderato.
5
8
11
(Continued)
174 |
PART 3: Form and Chromatic Harmony 2
(Continued) 15
18
22
dol.
25
(Continued)
CHAPTER 21: Sonata Form
| 175
(Continued) 28
31
35
38
(Continued)
176 |
PART 3: Form and Chromatic Harmony 2
(Continued) 42
45
49
52
(Continued)
CHAPTER 21: Sonata Form
| 177
(Continued) 55
58
61
64
(Continued)
178 |
PART 3: Form and Chromatic Harmony 2
(Continued) 67
71
74
76
(Continued)
CHAPTER 21: Sonata Form
| 179
(Continued) 79
dolce
83
86
6
89
(Continued)
180 |
PART 3: Form and Chromatic Harmony 2
(Continued) 91
94
EXPOSITION
1. The 2. The
first tonal area/primary theme is in the key of __________. secondary theme begins at measure __________. What gesture immediately beforehand marks its arrival? 3. The second tonal area is in the key of __________. What is this key’s relation to the tonic? ______________________________ Is this relationship expected for a classical sonata exposition? Yes No 4. Is this a monothematic exposition? Yes No DEVELOPMENT
5. The
opening of the development (mm. 34–35) most closely corresponds to which measures in the exposition? __________ What section of the exposition was this passage? (provide measure numbers) __________ 6. What type of circle-of-fifths harmonic sequence (diatonic or chromatic) is found in measures 48b–50? __________ RECAPITULATION
7. Where
does the recapitulation begin? __________ How can you tell, given how saturated this movement is with the same thematic material? 8. Measures 73–74 (and continuing onward to measure 77) develop a “Scotch snap” rhythmic motive. From where in the exposition is this passage likely derived? (provide measure number) __________ 9. Does this movement have a coda? If so, where does it begin? (provide measure number) __________
CHAPTER 21: Sonata Form
| 181
CHAPTER 22 RONDO
Using Tables 22.1, 22.2, 22.3 and 22.4 in the text as your models, prepare a similar diagram of the formal structure of each of the pieces on the following pages. In addition, answer the following questions about each example: Which of the main Classical rondo types discussed (five-part rondo, seven-part rondo, or seven-part sonata-rondo) does this example most closely resemble? • (Workbook Examples 22.1–22.3 only) Analyze the phrase/period structure of the refrain of each example. • Comment on the presence/absence of transitions, retransitions, or a coda. •
NAME: 22.1. Mozart, Eine Kleine Nachtmusik, K.525 (iv)
Allegro. Vln. I
Vln. II
Vla.
Cello / Bs. (Continued)
6
182 |
1.
PART 3: Form and Chromatic Harmony 2
2.
Vla.
Cello / Bs. (Continued)
6
1.
2.
11
(Continued)
17
CHAPTER 22: Rondo
| 183
(Continued)
17
23
(Continued)
29
184 |
PART 3: Form and Chromatic Harmony 2
(Continued)
29
35
(Continued)
41
CHAPTER 22: Rondo
| 185
(Continued)
41
47
(Continued)
53
186 |
1.
PART 3: Form and Chromatic Harmony 2
2.
(Continued)
53
1.
2.
58
(Continued)
63
CHAPTER 22: Rondo
| 187
(Continued)
63
68
(Continued)
74
188 |
PART 3: Form and Chromatic Harmony 2
(Continued)
74
79
(Continued)
85
CHAPTER 22: Rondo
| 189
(Continued)
85
91
(Continued)
97
190 |
PART 3: Form and Chromatic Harmony 2
(Continued)
97
103
(Continued)
109
CHAPTER 22: Rondo
| 191
(Continued)
109
115
(Continued)
121
192 |
PART 3: Form and Chromatic Harmony 2
(Continued)
121
127
(Continued)
133
CHAPTER 22: Rondo
| 193
(Continued)
133
139
(Continued)
145
194 |
PART 3: Form and Chromatic Harmony 2
(Continued)
145
151
(Continued)
157
CHAPTER 22: Rondo
| 195
(Continued)
157
196 |
PART 3: Form and Chromatic Harmony 2
NAME: 22.2. Beethoven, Piano Sonata no. 2 in A major, op. 2 no. 2 (ii)
Largo appassionato. tenuto sempre
staccato sempre 5
10
tenuto sempre
staccato sempre
(Continued)
15
CHAPTER 22: Rondo
| 197
staccato sempre
(Continued) 15
19
24
(Continued) 28
cresc.
198 |
PART 3: Form and Chromatic Harmony 2
(Continued) 28
cresc.
32
tenuto sempre
staccato sempre 36
(Continued)
41
tenuto sempre
CHAPTER 22: Rondo
staccato sempre
| 199
(Continued)
tenuto sempre
41
staccato sempre 46
49
(Continued)
200 |
PART 3: Form and Chromatic Harmony 2
(Continued) 54
58
tenuto sempre
staccato sempre 62
(Continued) 67
tenuto
CHAPTER 22: Rondo
staccato
| 201
(Continued) 67
tenuto
staccato 71
75
202 |
PART 3: Form and Chromatic Harmony 2
NAME: 22.3. Schumann, Arabeske, op. 18.
Leicht und zart. [Easily and tenderly]
5
10
15
(Continued)
CHAPTER 22: Rondo
| 203
(Continued)
20
25
30
35
(Continued)
204 |
PART 3: Form and Chromatic Harmony 2
(Continued)
Minore I.
Etwas langsamer. [somewhat slower]
40
46
52
58
(Continued)
CHAPTER 22: Rondo
| 205
(Continued)
64
70
76
cresc.
-
-
-
-
-
-
-
82
(Continued)
206 |
PART 3: Form and Chromatic Harmony 2
(Continued)
88
94
100
ritard.
ritard.
ritard.
ritard. ritard.
ritard.
ritard.
Tempo I.
105
(Continued)
CHAPTER 22: Rondo
| 207
(Continued)
110
115
120
125
(Continued)
208 |
PART 3: Form and Chromatic Harmony 2
(Continued)
130
135
140
Minore II.
Etwas langsamer.
145
(Continued)
CHAPTER 22: Rondo
| 209
(Continued)
153
161
168
173
(Continued)
210 |
PART 3: Form and Chromatic Harmony 2
(Continued)
178
183
188
193
(Continued)
CHAPTER 22: Rondo
| 211
(Continued)
198
203
ritard.
Zum Schluss. [in the end] 209
Langsam.
[slowly]
214
3
(Continued)
212 |
PART 3: Form and Chromatic Harmony 2
(Continued)
219
ritard.
-
-
-
-
-
CHAPTER 22: Rondo
| 213
NAME: 22.4. Jeff Beck, “Beck’s Bolero.” (This is a recording; a score is not provided. For your diagram, use timings instead of measure numbers).
214 |
PART 3: Form and Chromatic Harmony 2
CHAPTER 23 VARIATION FORMS
NAME: 23.1. Beethoven, Six Variations on an Original Theme, op. 76. What is the form of the theme? What are the distinctive elements of each variation? (Consider melodic aspects such as the use of non-chord tones as well as textural/harmonic aspects.) Comment on the work’s lengthy coda—what structural function does it serve?
Allegro risoluto.
TEMA.
1.
2.
VAR. I.
1.
2.
(Continued)
CHAPTER 23: Variation Forms
| 215
VAR. I.
(Continued) 1.
1.
2.
2.
(Continued)
VAR. II.
216 |
PART 3: Form and Chromatic Harmony 2
(Continued)
VAR. II.
VAR. III.
1.
(Continued)
CHAPTER 23: Variation Forms
| 217
VAR. III. (Continued) 1.
2.
1.
2.
dolce
3
3 3
VAR. IV.
3
leggiermente
3
(Continued)
218 |
PART 3: Form and Chromatic Harmony 2 3
3 3
3
3
3 3
VAR. IV.
3
leggiermente
3
(Continued)
3
3
3
3
3
3
3 3
3
legato
VAR. V.
dolce
(Continued) 1.
2.
CHAPTER 23: Variation Forms
| 219
VAR. V.
dolce
(Continued) 1.
2.
cresc.
-
1.
-
-
-
-
-
-
-
-
2.
-
VAR. VI.
La 2da parte due volte.
(Continued)
220 |
PART 3: Form and Chromatic Harmony 2
(Continued)
1.
2.
sempre
(Continued)
CHAPTER 23: Variation Forms
| 221
(Continued)
cresc. -
-
-
-
-
-
La 2da parte due volte.
222 |
PART 3: Form and Chromatic Harmony 2
-
-
-
(Continued)
(Continued)
La 2da parte due volte.
1.
2.
(Continued)
CHAPTER 23: Variation Forms
| 223
(Continued)
224 |
PART 3: Form and Chromatic Harmony 2
NAME: 23.2. Johan Halvorsen, Passacaglia for Violin and Viola, after Handel’s Passacaglia from Suite no. 7 in G minor for Harpsichord (1893). What sort of harmonic sequence is used as the basis for this composition? Are there any sections that depart from this progression, and if so how are they different?
Largamente. Violin
Viola
4
8
dolce
dolce (Continued)
12
dolcissimo
dolcissimo
CHAPTER 23: Variation Forms
| 225
8
dolce
(Continued)
dolce
12
dolcissimo
dolcissimo con agilità
16
segue 19
22
spiccato 3
3
(Continued)
25
226 |
con grazia
PART 3: Form and Chromatic Harmony 2
22
spiccato 3
(Continued)
3
25
con grazia
spiccato 28
5
30
33
5
5
a tempo rubato 6
a tempo rubato
6
35
7
6
(Continued)
Rep. ad lib.
CHAPTER 23: Variation Forms
| 227
33
a tempo rubato 6
7
a tempo rubato
(Continued)
6
6
35
Rep. ad lib.
37
con precisione
spiccato
spiccato 40
possibile
possibile 43
(Continued)
46
228 |
PART 3: Form and Chromatic Harmony 2
43
(Continued)
46
Andante. Andante.
49 49
53 53 2te mal 2te mal
2te mal 2te mal
Più mosso.
pizz.mosso. 57 Più 57 pizz.
arco arco
(Continued)
segue segue
60 60
con spirito con spirito
pizz. pizz.
CHAPTER 23: Variation Forms
con spirito
| 229
53
2te mal
(Continued)
57
2te mal
Più mosso. pizz.
segue
arco
con spirito
60
pizz.
con spirito 63
65
arco
spiccato arco
(Continued)
66
230 |
PART 3: Form and Chromatic Harmony 2
65
arco
spiccato arco
(Continued)
66
spiccato 67
68
Rep. ad lib. 69
a capriccia
a capriccia 71
(Continued)
CHAPTER 23: Variation Forms
2te mal ponticello
| 231
69
a capriccia
(Continued)
a capriccia
71
2te mal ponticello 73
flautato
2te mal ponticello
flautato 75
flautato
flautato 76
rit.
saltando
sempre
rit. Rep. ad lib. 78
232 |
saltando
sempre (Continued)
PART 3: Form and Chromatic Harmony 2
76
rit.
saltando
sempre
rit. Rep. ad lib.
(Continued)
saltando
sempre
78
Molto energico. 81
5
83
85
5
87
rit.
(Continued)
Allegro con fuoco. CHAPTER 23: Variation Forms
| 233
85
(Continued)
5
Allegro con fuoco.
rit.
87
ritard. 90
92
(Continued)
94
234 | 96
PART 3: Form and Chromatic Harmony ten. 2
Adagio.
(Continued)
94
96
ten.
ten.
Adagio.
rit.
rit.
CHAPTER 23: Variation Forms
| 235
NAME: 23.3. On the following pages is a transcription of John Coltrane’s solo from “Giant Steps.” Transfer the solo to the blank “score” that follows, being careful to line up the solo with the chord changes provided. (Each staff of the “score” signifies a chorus in Coltrane’s solo, which runs for eleven choruses.) When you have finished, observe the remarkable consistencies in Coltrane’s solos from chorus to chorus. What parts are retained/ repeated, varied slightly, or transformed altogether?
( C m7
5
9
13
G
F 7)
1
B
B 7
D7
G
E
E
B 7
F 7
Am7
B
Fm7
E
B
D7
G
B 7
Am7
D7
Fm7
B 7
C m7
E
F 7
C m
F 7
3
B
D7
G
B 7
E
Am7
D7
17
2 G
B 7
E
F 7
B
Fm7
B 7
21
25
29
E
B
236 | 33
Am7
Fm7
D7
B 7
G
E
D7
G
B 7
F 7
(Continued) F 7
C m7
3
PART 3: Form and Chromatic Harmony 2
B
C m7
E
Am7
D7
21
25
E
Am7
D7
G
C m7
F 7
(Continued) 29
B
Fm7
B 7
E
C m7
F 7
3
33
B
D7
G
B 7
G
B 7
E
Am7
D7
3 E
F 7
B
Fm7
B 7
37
E
Am7
D7
G
C m7
F 7
41
45
49
B
Fm7
B
D7
G
B 7
B 7
G
E
B 7
C m7
E
Am7
F 7
D7
4 E
F 7
B
Fm7
B 7
53
57
E
Am7
D7
G
C m7
F 7
3
B
Fm7
B 7
E
C m7
F(Continued) 7
61
| 237
CHAPTER 23: Variation Forms
B
D7
G
B 7
E
Am7
D7
G
B 7
E
F 7
B
Fm7
B 7
53
57
E
Am7
D7
G
C m7
F 7
(Continued)
3
B
Fm7
B 7
E
C m7
F 7
Am7
D7
Fm7
B 7
61
B
D7
G
B 7
E
65
5 G
B 7
E
F 7
B
69
E
Am7
D7
G
C m7
F 7
73
3
B
Fm7
B 7
E
C m7
F 7
77
81
B
D7
G
B 7
E
Am7
D7
6 3
85
89
G
B 7
E
F 7
E
Am7
B
Fm7
D7
G
B 7
C m7
F 7
3
3
B
Fm7
B 7
3
E
C m7
F(Continued) 7
93
238 | 97
PART 3: Form and Chromatic Harmony 2
B
D7
G
B 7
E
Am7
D7
85
89
G
B 7
E
F 7
E
B
Am7
Fm7
D7
G
B 7
C m7
F 7
3
(Continued)
3
B
Fm7
B 7
3
E
C m7
F 7
93
97
B
D7
G
B 7
E
Am7
D7
7 G
B 7
E
F 7
B
Fm7
B 7
101
105
E
Am7
D7
G
C m7
F 7
3
109
B
B
Fm7
D7
B 7
G
E
B 7
C m7
E
Am7
F 7
D7
113
8 G
B 7
E
F 7
B
Fm7
B 7
117
3
121
125
E
Am7
B
Fm7
D7
G
C m7
B 7
(Continued) C m7 F 7
E
F 7
| 239
CHAPTER 23: Variation Forms 129
B
D7
G
B 7
E
Am7
D7
117
3
121
E
Am7
D7
G
C m7
F 7
(Continued) 125
129
B
Fm7
B
D7
B 7
G
E
B 7
C m7
E
Am7
F 7
D7
9 3
133
G
B 7
E
F 7
B
Fm7
B 7
3
E
Am7
D7
G
B 7
E
C m7
F 7
137
B
Fm7
C m7
F 7
141
B
D7
G
B 7
E
Am7
D7
145
10
3
3
G
B 7
E
F 7
B
Fm7
B 7
149
E
Am7
D7
G
C m7
F 7
153
3
B
Fm7
B 7
E
C m7
157
240 |
PART 3: Form and Chromatic Harmony 2
B 161
D7
G
B 7
3
E
Am7
D7
(Continued) F 7
149
E
Am7
D7
G
C m7
F 7
153
3
(Continued)
B
Fm7
B 7
E
C m7
F 7
157
3
B
D7
G
B 7
E
Am7
D7
161
11
3
G
B 7
E
F 7
B
Fm7
B 7
165
3
E
Am7
D7
G
3
C m7
F 7
169
173
CODA 177
B
B
Fm7
D7
B 7
E
C m7
F 7
G
(Continued)
CHAPTER 23: Variation Forms
| 241
(Continued)
( C m7
F 7 )
B
D7
G
B 7
E
1
2
3
4
5
6
7
8
9
10
11
(Continued)
242 |
PART 3: Form and Chromatic Harmony 2
(Continued)
Am7
D7
G
B 7
E
F 7
B
4
1
2
3
4
5
6
7
8
9
10
11
(Continued)
CHAPTER 23: Variation Forms
| 243
(Continued)
Fm7
B 7
E
Am7
D7
G
8
1
2
3
4
5
6
7
8
9
10
11
(Continued)
244 |
PART 3: Form and Chromatic Harmony 2
(Continued)
C m7
F 7
B
Fm7
B 7
E
12
1
2
3
4
5
6
7
8
9
10
11
(Continued)
CHAPTER 23: Variation Forms
| 245
(Continued) 16
1
2
3
4
5
6
7
8
9
10
B
D7
G
11
246 |
PART 3: Form and Chromatic Harmony 2
NAME: 23.4. Write the following scales in the indicated clefs. Use accidentals, not key signatures.
G minor pentatonic
blues scale on G
C minor pentatonic
E major pentatonic
A
major pentatonic
blues scale on F
CHAPTER 23: Variation Forms
| 247
CHAPTER 24 C HROMATICISM 1: THE NEAPOLITAN CHORD AND AUGMENTED SIXTH CHORDS NAME: 24.1. Given the key and spacing, spell the appropriate Neapolitan (N) or Neapolitan sixth (N6) chord.
close
N6
g:
open
e:
open
E:
248 |
N
N
close
E :
close
B :
N6
N6
open
c :
open
f :
PART 3: Form and Chromatic Harmony 2
N
N
close
b :
close
B:
N 6
N6 open
A :
N
NAME: 24.2. Complete and resolve the indicated Neapolitan sixth chords, according to the correct voice leading model shown in Example 24.3 of the text. (Stem direction indicates voice part.)
B :
g:
N6
N6
V
V
d:
d :
N6
V
N6
E:
V
N6
b:
V
N6
N6
a :
V
f:
N6
CHAPTER 24: Chromaticism 1
V
V
| 249
NAME: 24.3. Complete the following augmented sixth chords and resolve them as indicated. (Stem direction indicates voice part.)
C:
E :
d:
250 |
It +6
V
Ger +6
It +6
6 4
– –
V
V
Ger +6
g :
6 4
– –
V
5 3
Fr +6
D :
V
b:
Ger+6
6 4
– –
V
6 4
5 3
c :
B:
Fr +6
Fr +6
V
V
PART 3: Form and Chromatic Harmony 2
f:
g:
It +6
Ger +6
A:
V
6 4
– 5 – 3
V
E:
Ger +6
Fr +6
5 3
– –
V
V
5 3
NAME: 24.4. Beethoven, Piano Sonata op. 27 no. 2 (“Moonlight”) (iii), mm. 1–9a. Provide harmonic analysis (Roman numerals and inversion symbols). Locate and identify the augmented sixth chord in this passage. What is unusual about its resolution? How does Beethoven arguably avoid parallel fifths in the resolution? (The apparent “parallel octaves” are an instance of octave doubling.)
3
5
7
CHAPTER 24: Chromaticism 1
| 251
NAME: 24.5. Given the key, specified chord, and bass pitch class provided, complete the chord by filling in the proper pitch class names in the remaining blanks.
B♭: Gerº3 E ♮ _______ _______ _______
G: Ger++43 E♭ _______ _______ _______ f ♯: Frº3 B♯ _______ _______ _______ E♭: Ger++43
252 |
C♭ _______ _______ _______
PART 3: Form and Chromatic Harmony 2
CHAPTER 25 A LTERATIONS AND ADDITIONS TO TRIADS AND SEVENTH CHORDS NAME: 25.1. Identify the following root-position extended tertian sonorities, given the key. The first is done for you as an example.
C:
A:
V 11
E :
D:
g:
B:
D :
A :
e:
F:
c:
G:
CHAPTER 25: Alterations and Additions to Triads and Seventh Chords
| 253
NAME: 25.2. Spell and resolve the indicated extended tertian sonorities, using proper spacing and voice leading. Be mindful of the indications where certain chord members are to be omitted. The first is done for you as an example.
G :
V 13
I9
f:
B :
V 11 (omit 5th)
I7
g :
d:
V /III III
254 |
13
9
E:
V9
V
i
11
(omit 7th)
ii
13
V
9
c :
i7
V
i
13
e :
b:
11
7
V /V V
9
V /iv
iv
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
b :
9
f :
F :
VI
9
V
vi 9
iv
9
i
ii
NAME: 25.3. Identify the altered dominant chords below, and provide the key if requested. The last four examples are altered secondary dominants.
Key:
Key:
Key:
C :
Key:
Key:
Key:
Key:
Key:
F:
B:
F :
CHAPTER 25: Alterations and Additions to Triads and Seventh Chords
| 255
NAME: 25.4. Given the key and harmonic label, spell the indicated root-position altered dominant and altered secondary dominant chords.
7
C:
V5
A:
V 5 /iii
G:
V 5
256 |
b:
7
7
7
V 5
7
g:
V 5 /III
a :
V 5
7
7
A :
V 5
c :
V 5
c:
d:
7
a :
7
V 5 /VI
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
B:
7
V 5
7
V 5 /V
7
V 5
CHAPTER 26 FURTHER CHROMATIC ENHANCEMENTS
NAME: 26.1. Precede the following chords with a common-tone diminished seventh chord, adding your chord to the first part of each measure, in the manner of Level Mastery 26.1 in the text. Make sure that your chord is the correct inversion, and be sure to use the spacing of the chord provided to properly guide your voice leading.
D:
A :
G:
4
cto 3
cto 7
6
cto 5
4
V2
V6
6
I4
f:
B:
E :
6
4
cto 5
C :
V3
4
cto 2
4
cto 2
IV
I
c:
b:
6
6
cto 5
4
cto 3
4
cto 2
I4
VI
V7
4
B : cto 2
E:
d:
I
4
V7
cto 2
cto 7
III 6
CHAPTER 26: Further Chromatic Enhancements
| 257
NAME: 26.2. Provide harmonic analysis for the excerpt below. Label any linear chords as LIN. Note that your goal is to uncover the functional harmonic progression underneath the surface—some linear chords might be identifiable as “chords” out of context but not function as such in the key. Also label the non-chord tones that give rise to these linear chords. Johannes Brahms, Variations and Fugue on a Theme by Handel, op. 24, Variation 20, mm. 1–4.
Var. XX.
Andante.
legatissimo
3
258 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
NAME: 26.3. In the blanks under each excerpt below, provide the missing neo-Riemannian transformation label. Be sure to consider enharmonic equivalence where it would result in a simpler transformation.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
CHAPTER 26: Further Chromatic Enhancements
| 259
NAME: 26.4. Given the first chord and the neo-Riemannian transformation label, provide the missing chord to complete the progression, following parsimonious voice leading.
1.
2.
PL 5.
RP 6.
PL 9.
4.
S 7.
RP 10.
RP
260 |
3.
LP
PR 11.
PL
PR 8.
12.
PR
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
S
NAME: 26.5. Determine the neo-Riemannian relationship between the bracketed pairs of chords in the example below. Remember that you might need to invoke enharmonic equivalence to determine the most economical path. Sufjan Stevens, “The Emperor of Centrifuge,” from The BQE, movement VII (Finale)
CHAPTER 26: Further Chromatic Enhancements
| 261
CHAPTER 27 MODULATION 3
NAME: 27.1. Provide an enharmonic equivalent for each of the chords below, and label the chord’s function as it would be used in an enharmonic modulation. The first example has one of its chords labeled for you.
(You may change the spelling of notes, but do not change their octave register or the spacing of the chord.)
e:
4
vii o 7
g: vii o 2
(You may change the spelling of notes, but do not change their octave register or the spacing of the chord.)
(Respell each triad and arrange so it is in root position.)
A :
262 |
V 5
:
V 5
:
:
:
V 5
F:
7
V 5
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
NAME: 27.2. Schubert, String Quartet no. 13 in A minor, D.804 (i), mm. 140–158.
Provide harmonic analysis for this passage. The blanks (to be filled in) indicate the harmonic rhythm. Some details are provided for you to assist you. 140 Violin I
Violin II
Viola
Cello
d:
(Continued)
143
(d:) e :
(enh.)
CHAPTER 27: Modulation 3
| 263
Viola
Cello
(Continued)
d:
143
(d:) e : (enh.) 147
(e :) D : (Continued)
151
264 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(e :) (Continued)
D :
151
(D :)
155
(D :) E: (enh.)
CHAPTER 27: Modulation 3
| 265
NAME: 27.3. Schubert, “Totengräbers Heimwehe,” D.842, mm. 58–74. This excerpt contains a common-chord modulation, two enharmonic modulations, and a chromatic modulation. The brackets show the location of pivot chords. The blanks (to be filled in) indicate the harmonic rhythm. Provide harmonic analysis.
60
winkst
mir von fer
-
ne, du
e
-
wi - ges Licht,
du
winkst
mir von fer
-
ne, du
d: F:
e
-
wi - ges Licht!
Es
schwin
den
(F:) (Continued)
65
die Ster - ne,
266 |
das Au
-
ge schon
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
bricht,
(F:) (Continued)
65
die Ster - ne,
das Au
-
ge schon
bricht,
(F:) b: (enh.)
es schwin - den
die Ster - ne,
das Au
-
ge schon
(b:) a: (enh.) 70
(Continued)
bricht!
Ich
sin
-
ke,
ich
sin
-
ke!
CHAPTER 27: Modulation 3
(a:) b :
ihr
| 267
(b:) a:
(Continued)
(enh.)
70
bricht!
Ich
sin
-
ke,
ich
sin
-
ke!
ihr
(a:) b :
Lie
-
ben,
ich
kom
-
me,
ihr
Lie
-
ben,
(b :)
268 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
ich
komm'!
Ich
CHAPTER 28 CONTEMPORARY TECHNIQUES 1
NAME: 28.1. Provide the integer label for each of the pitches below. 1.
7.
2.
3.
8.
9.
4.
5.
6.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
CHAPTER 28: Contemporary Techniques 1
| 269
NAME: 28.2. Complete the indicated scales, given the initial pitch. Some of the scales are modes introduced in Chapter 3, here for review.
1.
OCT 0, 1 2.
WT1 3.
A Mode 6 (Mode of Limited Transposition) 4.
B Mixolydian 5.
OCT 2, 3 6.
A Mode 5 (Mode of Limited Transposition) 7.
F Locrian
270 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
NAME: 28.3. Label the following chords as quartal (QT), quintal (QN), or quartal-quintal (QT-QN).
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
CHAPTER 28: Contemporary Techniques 1
| 271
NAME: 28.4. Answer the following questions below about Debussy’s “Feuilles Mortes” (Dead Leaves), from Preludes, Book 2, which is found below:
What type of planing is found in the boxed area of measure 8? What type of planing is found in the boxed area of measures 8–9? What type of chord is found in the boxed area of measure 15?
a) Quartal
b) Quintal
c) Quartal-Quintal
What whole-tone pitch collection is the basis for the upper two staves in measures 21–23? What octatonic pitch collection is the basis for the uppermost staff in measures 25–28? What type of planing is found in measures 47–48? Locate one other example of planing. Lent et mélancolique
doucement soutenu et très expressif
(Continued)
272 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued)
5
10
( )
( )
( )
più
15
( )
m. g.
(Continued)
CHAPTER 28: Contemporary Techniques 1
| 273
(Continued)
un peu plus allant et plus gravement expressif 20
25
un peu en dehors
(Continued)
Plus lent 30
marqué
274 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
3
en dehors
3
(Continued)
Plus lent 30
marqué
3
3
en dehors
35
marqué
3
3
3
molto dim.
(Continued)
CHAPTER 28: Contemporary Techniques 1
| 275
(Continued)
Cédez _ _ _ _ // 3
3
3
3
40
Mouvt (dans le sentiment du début)
( )
8va bassa
( )
(Continued)
( )
lointain
m. g.
276 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
8va bassa
(Continued)
8va bassa
( )
( )
lointain
m. g.
8va bassa 50
m. g. m. d.
CHAPTER 28: Contemporary Techniques 1
| 277
CHAPTER 29 CONTEMPORARY TECHNIQUES 2
NAME: 29.1. Construct a matrix for the following P0 row:
Using that matrix as a guide, identify the following row forms.
278 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
NAME: 29.2. Provide labels using integer notation for the following sets. Enclose your integers in the appropriate brackets for unordered sets (chords) or ordered sets (melodic fragments). Integers in unordered sets should be arranged in ascending order.
1.
2.
3.
6.
11.
7.
12.
4.
8.
5.
9.
13.
10.
14.
15.
CHAPTER 29: Contemporary Techniques 2
| 279
NAME: 29.3. Arrange the sets in Workbook Exercise 29.2 as unordered sets in normal order (some are already unordered sets, and some may already be in normal order), and provide their set class labels (SC) and interval vectors (IV).
1.
2.
3.
4.
5.
7.
8.
9.
10.
12.
13.
14.
15.
SC: IV: 6.
SC: IV: 11.
SC: IV:
280 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
NAME: 29.4. Provide the set at the indicated Tn or TnI relation to the sets below. Provide your answers in the form of unordered sets in normal order.
1.
{3, 4, 7}
2.
{4, 5, 8, T}
3.
{5, 6, 9, E}
4.
{1, 3, 4, 7, T}
5.
{1, 5, 7}
6.
{2, 4, 8, T }
7.
{5, 6, 9. 0, 2}
8.
{3, 4, 7, 9}
9.
{2, 3, 5, 8, E}
10.
{2, 6, 7}
←T4I→ ________________ T8→ ________________ ←T2I→ ________________ ←T5I→ ________________ T6→ ________________ T3→ ________________ ←T0I→ ________________ T4→ ________________ T9→ ________________ ←T5I→ ________________
CHAPTER 29: Contemporary Techniques 2
| 281
NAME: 29.5. Determine the Tn or TnI relation of the sets below. Be sure to connect your sets with single-headed arrows for transposition or double-headed (two-way) arrows for inversion, as appropriate.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
282 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
NAME: 29.6. The following passage is a strict canon. Find the pitch that is the axis of symmetry, and determine the TnI relation between the two parts. Then, complete the comes based on what is provided in the dux.
maestoso
CHAPTER 29: Contemporary Techniques 2
| 283
CHAPTER 30 CONTEMPORARY TECHNIQUES 3
NAME: 30.1. On the following pages you will find an extended excerpt from “Spring Rounds,” a section from Igor Stravinsky’s The Rite of Spring. Consult the score and answer the questions below.
excerpt is an excellent example of Stravinsky’s use of stratification, discussed in the text. Briefly describe the interaction of the various layers of musical elements in this passage? How many motivic ideas are used? Which materials develop, and which are left essentially static?
1. This
Describe the transformations of the motivic material in the boxes labeled a (measure 10) and b (measures 17–18).
2. Assuming the tonal center is E ♭, what mode is found in the box labeled A? 3. Stravinsky also makes use of planing in this excerpt. The ostinato in box A
is arguably one example, with its use of parallel fifths. Compare and contrast the types of planing used in boxes b (measures 17–18) and B (measures 32–34).
Sostenuto e pesante
10
a
Sostenuto e pesante
A (Continued)
284 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
A
(Continued)
15
b
(Continued)
20 3
| 285
CHAPTER 30: Contemporary Techniques 3 3
b
(Continued)
20 3
3
25 3
3
3
3
3
3
(Continued)
30
286 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued)
30
B
(Continued)
35
CHAPTER 30: Contemporary Techniques 3
| 287
B
(Continued)
35
40
288 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
CHAPTER 31 T HE STORIES WE COULD TELL: MUSICAL NARRATIVITY AND INTERTEXTUALITY NAME: 31.1. On the following pages you will find the complete score to Schubert’s song “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”). This song, set to a text by Johann Wolfgang von Goethe, depicts a scene from Goethe’s drama Faust; Gretchen, at her spinning wheel, is troubled by her feelings for Faust, whom she just met and barely knows. The text translates as follows:
My peace is gone, My heart is heavy, I will find it never and never more.
And his mouth’s Magic flow, His handclasp, and ah! his kiss!
Where I do not have him, That is the grave, The whole world Is bitter to me.
My peace is gone, My heart is heavy, I will find it never and never more.
My poor head Is crazy to me, My poor mind Is torn apart.
My bosom urges itself toward him. Ah, might I grasp And hold him!
For him only, I look Out the window Only for him do I go Out of the house.
And kiss him, As I would wish, At his kisses I should die!
His tall walk, His noble figure, His mouth’s smile, His eyes’ power, With this background information, analyze this song for evidence of anaphones (define by type), episodic markers, tone painting, and—if applicable—other examples of intertextuality. Your findings and interpretations will no doubt be different from those of your classmates—be prepared to discuss and defend your findings.
CHAPTER 31: The Stories We Could Tell
| 289
Nicht zu geschwind. [Not too quickly.]
Mei - ne
Ruh
ist
hin,
ich
fin
mein
sempre ligato
sempre staccato 5
Herz
ist
schwer;
ich
fin
cresc. -
-
-
de,
-
-
-
-
de sie
-
9
nim
-
mer
und
nim
-
-
-
mer - mehr.
decresc.
(Continued)
290 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued) 13
Wo ich
ihn
die
gan
nicht
hab,
ist
mir
das
17
Grab,
-
-
-
ze
-
-
mer
Welt
ist
mir
ver -
21
gällt.
Mein
ar
-
cresc. -
Kopf
-
ist
-
-
-
mir
-
ver -
-
-
-
-
(Continued)
CHAPTER 31: The Stories We Could Tell
| 291
(Continued) 25
rückt,
mein
-
-
-
-
ar
-
-
-
mer
-
Sinn
ist
mir
zer -
cresc.
29
stückt.
Mei- ne
decresc. -
-
-
-
-
Ruh
ist
-
33
hin,
mein
Herz
ist
schwer;
ich
fin
-
de,
ich
cresc.
(Continued)
292 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued) 37
fin
-
-
de sie
nim
-
mer
und
nim
-
-
-
mer - mehr.
41
Nach
decresc. -
-
ihm
nur
schau
ich
geh
ich
zum
-
45
Fen -
-
- ster hin - aus,
nach
ihm
nur
(Continued)
CHAPTER 31: The Stories We Could Tell
| 293
(Continued) 49
aus
dem
Haus.
Sein
ho
-
-
-
her
Gang,
sein’
-
Lä - cheln,
sei - ner
scen -
- do
53
ed -
-
- le
Ge - stalt,
sei - nes
Mun
-
-
des
cre -
-
57
Au -
-
-
-
- gen Ge - walt,
-
-
-
poco
und
-
-
a
sei
-
-
-
-
-
-
ner
Re
-
de
poco
(Continued)
294 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued) 61
Zau
-
-
-
ber - fluss,
sein
cresc.
Hän
-
de-bruck,
acceler.
65
und
ach,
sein
Kuss!
70
(Continued)
CHAPTER 31: The Stories We Could Tell
| 295
(Continued) 73
Mei - ne
Ruh
ist
hin,
mein
Herz
ist
77
schwer;
ich
fin
-
cresc. -
de,
ich
-
fin
-
-
de sie
nim
-
mer
und
-
81
nim
-
-
-
mer - mehr.
Mein
decresc.
(Continued)
296 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued) 85
Bu
-
-
-
sen
drängt
cresc. -
-
sich
-
-
nach
poco
-
und
hal
ihm
-
-
hin.
Ach,
- a - - poco
-
-
89
dürft
e
ich
-
-
-
-
-
fas -
-
sen
accelerando
-
-
-
-
ten
ihn!
ich
wollt,
und
-
93
küs
-
sen
ihn,
so
wie
an
(Continued)
CHAPTER 31: The Stories We Could Tell
| 297
(Continued) 97
sei
-
-
-
nen
Küs - sen
ver - ge
-
-
-
hen
sollt,
o
101
könnt
ich ihn
küs
-
sen,
so
wie
ich
wollt,
an
hen
sollt!
an
105
sei
-
-
-
nen
Küs
-
sen
ver - ge
-
-
-
(Continued)
298 |
PART 4: Advanced Chromatic Harmony and Contemporary Techniques
(Continued) 109
sei
-
-
-
nen
Küs
-
sen
ver - ge
-
-
-
hen
sollt!
decresc. e
113
Mei - ne
Ruh
ist
hin,
mein
ritard.
117
Herz
ist
schwer!
dimin.
CHAPTER 31: The Stories We Could Tell
| 299