Workbook/Anthology for use with Harmony in Context [2 ed.] 0073137952, 9780073137957

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Workbook and Anthology for use with

Harmony in Context Second Edition

Miguel A. Roig-Francoli University of Cincinnati

Qe

\ Connect Learn

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The

McGraw-Hill Companies

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Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2011, 2003. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning.

This book is printed on acid-free paper.

1234567890 ISBN: MHID:

QDP/QDP 0

978-0-07-313795-7 —_0-07-313795-2

Cover: Vicente Pascual: Aquatio I, mixed media on canvas. 2005. Madrid.

© Artists Rights Society, New York/VEGAP,

The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a Web site does not indicate an endorsement by the authors or McGraw-Hill, and McGraw-Hill does not guarantee the accuracy of the information presented at these sites.

www.mbhe.com

Preface This workbook is meant to be used in conjunction with the study of the textbook Harmony in Context. The textbook provides, at the end of each chapter, a set of exercises in the form of a worksheet. A second set of exercises for each chapter is provided in this workbook. Exercises here are similar to, but not always of the exact same type as, those found in the corresponding worksheet. Both sets for each chapter begin with several analytical exercises, followed by writing and composition exercises of many types: chord spelling and recognition, realization of short and long progressions based on given Roman numerals, realization of figured basses, harmonization of melodies, composition of keyboard-style accompaniments, composition of original harmonic progressions, and so on. Instructors may want to use one of the two sets for practice in class and the other one for homework assignments, or they may choose to use one of the sets as a pool of possible questions to be used in quizzes and exams. Chapters also include an assignment of keyboard harmony in which the chords and most standard progressions studied in each chapter are practiced at the piano in a variety of keys and through a variety of exercises. Playing and practicing these keyboard exercises will reinforce the understanding of the harmonic materials studied in the book, and will help students familiarize themselves with the sound of specific harmonic progressions. Finally, this volume also includes an anthology of fifty-nine musical excerpts and complete pieces by twenty-six composers ranging from the sixteenth century to the twentieth century. The anthology is widely used as a source of examples from the literature throughout both the textbook and the workbook, and it allows for analyses of and references to numerous complete pieces or movements which otherwise could not have been addressed. Because of this close relationship between the book and the anthology, the latter is not meant to be an optional supplement to the book, but rather an essential and required component of the pedagogical packet.

iii

|

|

4 Es

3.

3

AN

Contents iii

Preface

Chapter 11 Melodic Organization I: Phrase Structure 97

WORKBOOK *

|,

Chapter 12 Melodic Organization II: Thematic Development; Phrase Extension 101

Introduction Lhe Fundamentals of Music

y ChapterA

Chapter 13 Harmonic Rhythm; Metric Reduction 109

1

Pitch: Notation and Intervals 3

Chapter B Rhythm and Meter 7

Chapter C Tonality: Scales and Keys

11

Chapter 16 Harmonic Sequences 131

Chapter E The Rudiments of Harmony II: Labeling Chords; Musical Texture 23

Part 2

Counterpoint 31

) Part

Chapter

Chromatic Harmony and Form Chapter 17 Secondary DominantsI

139 141

Chapter 18 Secondary Dominants II 149

1

Diatonic Harmony

}

Chapter 15 Other Diatonic Seventh

Chords 123

Chapter D The Rudiments of Harmony I: Triads and Seventh Chords 17

Chapter F Introduction to Species

a

Chapter 14 The Mediant, Submediant, and Subtonic Triads 113

1

35

The Connection of Chords 37

Chapter 2 The Tonic and Dominant Triads in Root Position 41

Chapter 3 Harmonic Function; The

Subdominant Triad in Root Position 47

Chapter 4 Triads in First Inversion 53

Chapter 5 The Supertonic 59 Chapter 6 Nonchord Tones 65

Chapter 7

Chapter 19 Secondary Leading-Tone Chords 157

§

Chords 69

Chapter 8 The Dominant Seventh and Its Inversions 77

Chapter 20 Modulation to Closely Related Keys 167 Chapter 21 Small Forms: Binary and Ternary; Variation Forms 181 Chapter 22 Contrapuntal Genres 193 Chapter 23 Modal Mixture 195

Chapter 24 The Neapolitan Chord 205 Chapter 25 Augmented Sixth Chords 211 Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I 219

Chapter 9 The Leading-Tone Triad 83

Chapter 27 Modulation to Distantly Related Keys II; Linear Chromaticism I 231

Chapter 10 Cadences 89

Chapter 28 Introduction to Large Forms 241

é @)

WORKBOOK

vi

Contents

Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II 245

14

J.S. Bach, The Well-Tempered Clavier,

I, Fugue no. 2 in Cm 289 15

Chapter 30 The German Romantic Lied: Chromatic Harmony in Context 257

J.S. Bach, The Well-Tempered Clavier, I,

Fugue no.

11

in

FM 291

16 George Frideric Handel (1685-1759), “Lascia ch’io pianga,” from Rinaldo 293

Chapter 31 Toward (and Beyond) the Limits of Functional Tonality 261

17 Handel, “Amaz’d to Find the Foe So Near,” from Belshazzar 295

ANTHOLOGY Tomas Luis de Victoria (1548-1611), “Kyrie,” from Missa O magnum

18 Anna Amalie (1723-1787), Sonata for Flute in FM, I, mm. 1-21 299

1

mysterium 271

19 Joseph Haydn (1732-1809), Minuet and Trio, from Divertimento in CM, Hob.

2 Johann Jakob Walther (1650-1717), Chorale Prelude, “Ach Gott und Herr,” verse 6 273

XVI:1 300

20 Haydn, Piano Sonata in DM, Hob. XVI:24, II, mm. 1-24 301

Henry Purcell (1659-1695), “Ah, Belinda,” from Dido and Aeneas 275 3

21 Haydn, Piano Sonata in DM, Hob. Ti 303

4 Friedrich Wilhelm Zachau (1663-1712), Chorale Prelude, “In dich hab ich gehoffet, Herr” 278

XVI:37,

22 Joseph Boulogne, Chevalier de Saint— Georges (1739-1799), Violin Concerto no. | in GM, I, mm. 1-12 307

5 Antonio Vivaldi (1678-1741), Concerto in GM for Violin, Strings, and Continuo, from

L’estro armonico, op. 3, no. 3, Il (keyboard

23 Chevalier de Saint-Georges, Symphonie Concertante in AM, op. 10, no. 2, II, mm. 1-24 308

reduction) 279

6 Minuet, from Notebook for Anna

Magdalena Bach 280

7 Polonaise, from Notebook for Anna Magdalena Bach 281

'

Johann Sebastian Bach (1685-1750), Chorale 41, “Was mein Gott will, das g’scheh 8

24 Wolfgang Amadeus Mozart (1756-1791), Piano Sonata in DM, K. 284, Theme and Variation7 309 25 Mozart, Piano Sonata in CM, K. 309, I 310

Il,

allzeit” 282

26 Mozart, Piano Sonata in CM, K. 309, mm. 1-19 316

9 J.S. Bach, Chorale 65, “Was Gott tut, das ist wohlgetan” 283

27 Mozart, Piano Sonata in AM, K. 331, I 317

10

J.S. Bach, Chorales 29, 64, and 76, “Frew’

dich sehr, 11

0

meine Seele” 284

J.S. Bach, Minuet, from French Suite no. 3

28 Mozart, Piano Sonata in BbM, K. 333, Tt 325 29 Mozart, “Wie Ungliicklich bin ich nit,” K. 147 334

in Bm 285 12

J.S. Bach, Gavotte, from French Suite no. 5

in GM 286 13

J. S. Bach, Invention no. 3in DM

30 Mozart, “Die Zufriedenheit;” K. 349 335

Maria Theresia von Paradis (1759-1824), Sicilienne 336 31

287

Contents

WORKBOOK

32 Ludwig van Beethoven (1770-1827), Piano Sonata in Fm, op. 2, no. 1, land HI 338

47 Schumann, “Ich grolle nicht,” from Dichterliebe, op. 48, mm. 1-19 396°

33 Beethoven, Piano Sonata in Cm, op. 10, mm. 1-16 345 no. 1,

48 Schumann, “Widmung,” from Myrthen, op. 25 398

34 Beethoven, Piano Sonata in Cm, op. 13, III 346

49 Schumann, “Am leuchtenden Sommermorgen,” from Dichterliebe, op. 48 402

I,

35 Beethoven, Piano Sonata in CM, op. 53, Waldstein, 1 356 36 Beethoven, Piano Sonata in EbM, op. 7, II, mm. 15-58 371 37 Friedrich Kuhlau (1786-1832): Piano Sonatina, op. 55/4, II 373 38 Franz Schubert (1797-1828), Erlkénig, op. 1 374 39 Schubert, Waltz op. 9, no. 14 383 40 Schubert, Originaltdnze, op. 9, no. 26 384 41 Schubert, Ecossaise no. 2, from Waltzer, Léndler und Ecossaisen, op. 18 385

42 Schubert, “Auf dem Flusse.” from Die Winterreise 386 43 Fanny Mendelssohn Hensel (1805-1847), “Bitte,” from Six Songs, op. 7 390 44 Frédéric Chopin (1810-1849), Mazurka 43 in Gm, op. posth. 67, no. 2 391 45 Chopin, Mazurka 49 in Fm, op. posth. 68, no. 4 393 46 Robert Schumann (1810—-1856),-Kinder Sonate no. 1, from Three Piano Sonatas for the Young, op. 118a 394

vii

50 Schumann, “Folk Song,” from Album for the Young, op. 68, mm. 1-8 405 51 Franz no. 4 406

Liszt (1811-1886), Consolation

52 Giuseppe Verdi (1813-1901), “Libiamo ne’ lieti calici,” from La traviata, mim. 22—42 407

53 Verdi, Il trovatore, act II, no. 11, mm. 1-11 408 54 Verdi, I] trovatore, act Il, no. 14, mm. 15-24 409 55 Verdi, “Celeste Aida,” from Aida, mm. 1-29 410 56 Clara Schumann (1819-1896), Trio in Gm, op. 17, I, mm. 249-287 412 57 Hugo Wolf (1860--1903), “Das verlassene Magdlein,” from Gedichte von Morike, no. 7 414

58 Richard Strauss (1864-1949), “Ruhe, meine Seele!,” op. 27, no. 1 417 59 Amy Beach (1867-1944), Ecstasy 419

J

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t

yes coc

Harmon harmony

‘Context Workboagk

INTRODUCTION The Fundamentals

of Music.

;

Ee

a

:

Chapter A Pitch: Notation and Intervals

EXERCISE 1

Notate the following notes on the grand staff, in the correct octave.

ASSIA

E2

Bb5

Gt4

Al

C3

Eb4

AbDS

F6

D7

B4

CHE

ES

FR

G3

Des

C2

EXERCISE 2 1.

In exercise 2a write P4s above and below each of the given notes.

2. In exercise 2b write P5s above and below each of the given notes. 3, In exercise 2c write M3s above and below each of the given notes.

4, In exercise 2d write m3s above and below each of the given notes.

c. M3

=

—*

toy t

t

pay

A

ZO oe

a po

eS

tay

{

d. m3

A

_|

1

I

ANSP

7X0)

Rae

Q

eo

Ea

b. P5

;

a. P4

INTRODUCTION

4

The Fundamentals of Music

NOTE In this exercise and the ones that follow, do not write enharmonic equivalents unless specifically requested to do so. In other words, F-Bb (a P4) is not the same as F-At (What interval is this?), although the two intervals sound the same.

EXERCISE 3

Write the following intervals above the given notes.

f\ fam’

tf

AAS

e

+} vA

Oo

P= —

m2

P5

eo

(0)

M7

m6

4

Oo

M6

M3

|

‘

KO)

M6

P5

m6

ira fam’

and

ASU

po dine

pay

P4

m3

bul

f

tS

bal

be

m7

ra"

©)

yan —

m7

P4

bo lined

re)

P5

m2

Cy)

M2

EXERCISE 4 4h

ney dno r

he EO)

M6

P4

Write the following intervals below the given notes. |

«so

e

eS

——————

€

m3

+

——te a

wa

ANSP

®

PS

m2

M6

M3

ta

o——

as

m7

m6

M3

P5

P4

m3

fy__| _————

FS

Po

fam’

)

ANSP

ry)

M7

M2

m6

EXERCISE 5 M7

6

ts ANSE

@

1

m2

°5

re

m3

+4

EXERCISE 6

M6

m7

P4

m6

m3

m2

Write the following intervals above and below the given notes.

P4

= _—

P4

M6

©): Zo

+5

Po M3

°5

+4

m3

6);

I

m6

+4

M2 I

aan

M3 fd P="

ui

°7

m7

Identify the intervals in this exercise by size and quality.

+2

a

Cs a M3

o7

PS

tS—

thoy

P4

+2

it

bil

Chapter A

Pitch: Notation and Intervals

5

EXERCISE 7

Identify the following intervals by size and quality. Then renotate the higher note enharmonically and identify the resulting interval.

mY

|

a hall

wre)

ANSP

iT

i]

ome

Pa"

(mT

—*

o

to

&);eT

g ~*

y

i) TZ

i

T

&

P=

_—

—*

A.

oe

oad

i!

7

T

1

A

TRY

I

e

|

ay

tebed

at:

>

maa

| I



ANSP

an

ry)

Ionian

Mixolydian fal

6): ANS

Oo

oo

EXERCISE 5

Sing or play each of the following melodies. Then analyze the melody to determine the following items: tonic pitch, tonic triad, range, mode or key, and scale. Write in each of the items in the spaces provided under each melody. This same process is illustrated in example C.1 of the textbook, and in exercise 6a in worksheet C. For the item “mode or key,” the following options are possible: any major or minor key, any of the Church modes (Dorian, Phrygian, etc.), pentatonic, or whole tone. Among the scales, the chromatic scale is also a possibility (in the context of any major or minor key). a 4

Ff

= 65

Sweden

ee

eee

2 __|

B

—

|

=

I

eo

I

f

i

~—

e

TONICTRIAD

TONIC

4

i

{

I

RANGE,

=

—

t

|

aa

MODE/KEY

i

it

I

|

iz

|

SCALE:

})

b.

ee

,

4

ae

ae

Denmark |

Pang

Gea I

TONIC fh

ee

I I

m7)

rv

[ I

{

if |

{ | I

| {

t

TONICTRIAD

~—RANGE

|

MODE/KEY

SCALE:

|

|

The Fundamentals of Music

INTRODUCTION

14

c. :

i

fh Fe

he

S

=

—_

TONIC TRIAD

TONIC

-

I

a a

rs

- o glo - ri

lin - gua

Pan - ge

e

——

{

si

Plainchant

SCALE:

MODE/KEY

RANGE

2

a d.

a

=

a7

aa

i

~—--

7

on {

eoi I

-

.

Sul

—

ft e_ -

.

te?

.

-

-

Hungary os | mall

if i

Ine

mn .

2

eo

i” }

I

|

t

|

=

a Tj

——— |

»

>

—_o—+ ~

¥

SCALE:

MODE/KEY

2.

Ravel

.

_

_———

—+—

TONIC

TONIC TRIAD

-

i

}

7Ns

SCALE:

MODE/KEY

RANGE

t

6

ts

ASSP

ry)

f. ANS

(7)

TONIC A

f t

TONIC TRIAD

RANGE

4a 2

¢

MODE/KEY

————

¢

SCALE:

Britain

Chapter C

= _

ee

oe

ANS

ne—ya—

‘

TONIC

L

TONIC TRIAD

Ty oe

Je eae co

ts

t

oe

WI

RANGE

|

+4 p— P—p

15

Wagner

r

Y

Tonality: Scales and Keys

=

ae

ne

:

=

A

a

|

MODE/KEY

ao

7

)

SCALE:

:

|

1

f

|

oo

t

= ¢

7

-

oe Scotland

a TONIC

TONIC TRIAD

RANGE

MODE/KEY

SCALE:

Chapter D_ The Rudiments of Harmony I: Triads and Seventh Chords

EXERCISE 1

Identify and label the following triads by root and type (M, m, °, *), and label each triad as shown

in the example.

uta

4

fan

vies

hl

ASV ®

g o

XO)

tT ¢> OO

>=4

bund

LQ

bad

Loe

oe

7A

yy

he gd

Lg «>

i

Ce}

aes ™

Le =2s LV

yO

Li

©

1}

Cim

uta

a

Car:

ime)

Wa

gy id)

eos

=4

Cer.

o

Q

h

qo @

Lut

Tt

Tr

qy

[fs KY uf

oO

Q cey

I

Vy

yy

qo

|rr.

==

hes m=

“*

Oo

I

hY es =


eo

be

M

°

i

f

re]

>

M

m

nm

t

rr’)

+

M

m

°

EXERCISE 3 Ina major key, the diatonic triad on scale degree dis :M/m/°/* (circle one)

Tis :M/m/°/* 3 is :M/m/°/* Lis :M/m/°/* 6 is :M/m/°?/* 5 is :M/m/°/* 4is :M/m/?/* In a minor key, the following are the most usual diatonic triads, which result from the harmonic-minor scale (with the only exception of the chord on 3, which includes a}7): The triad on 2 is :M/m/°/*

Tis :M/m/?/* 3is :M/m/°?/* Lis :M/m/?/* 6is :M/m/°/* 5 is: M/m/°/*

4is :M/m/°/* Write and play the following M, m, or ° triads in first inversion on the given bass (the third of the chord). Identify the root for each triad and notate it under the triad type, as indicated in the given example.

EXERCISE 4

fh

.

= “

e

¢5}

I

Po

it m6

Mg

= 26

Mg

m6

D

A

I

7K @)

6

M

y~*

yA fan’

[ UL

#2

6

26

f

be

@

m 6

°6

re)

Ce)

wa

Mm

e Mg

{

7X @)

4

e 1° M

6

m

6



WU ry)

ad

EDM:

©

@)

°o

oo

A

7

o

©o

WA

fo b= oe

a (8) Pat eo

Em:

vV§

ANS

o (@) 0

a0 Je #

oS

a

~

> S

Ce}

ye

45

Ss

oS

Dm:

oS e> bared

o

C0]

GM:

EXERCISE 5

Write the seventh chords represented by the following Roman numerals in the given keys.

+—

7

WZ

oes bil

5)

Gm:

W

vii

iv,

I,

1

fh

Bm:

iv,

Vy

ii%,

vii’,

Vy

vii?

ii7

4

hy or Zt t

bot —-p

ANSP

ry

EDM:

ii,

vi4

Iv+

V4

DM:

iit

Chapter E

The Rudiments of Harmony II: Labeling Chords; Musical Texture

25

EXERCISE 6

Realize the following isolated figured bass chords. Items a and b are ail triads, and you will need two voices to notate a complete chord. Items c and d are all seventh chords, and you will need three upper only voices for upper complete sonorities.

owe

halfXI

CM

TTS

#6

is |

Bm:

FM:

4+

7

2

4

6

b7

5

EXERCISE 7

Analyze the following chorale by J. S. Bach with figured bass symbols, That is, imagine that you want to write a figured bass reduction of this chorale for a keyboard player, using exactly Bach’s harmonies. Under the chorale, notate the exact figures you would need to have in your figured bass.

. Example EB.

J. S. Bach, Chorale 204,

““Wer weiB, wie nahe mir,” mm. 1—5

t

i

t

t

i

i

t

L

i ]

fp. 1

]

iad i

+—

i

|

=

o——_* t I

| |

|

Cy

=

THO) OQ

?

1s

;

INTRODUCTION

26

The Fundamentals of Music

EXERCISE 8

Refer to the passage by Mozart reproduced in example E.2, Seven chords are boxed and numbered. Study each chord, and determine whether it is consonant or dissonant, a triad or a seventh chord, its position, and, for all chords except chord 3, the complete Roman numeral (with figures indicating position, e.g., iig) in the key of CM. Provide all of the above information in the following chart (the information for chord 1 has been provided as an example).

Example E.2

Woligang Ainadeus:Mouzart, Pianu.Sonata in. CM, -K..309, TD

9

— Ee

\

1

é

had

3

¢

|

ae

|

t

f—e+e

im i

t-

i!

SSS

t

d

——

a

1

Consonant (CV dissonant (D)

Cc

Triad

TR

(TRY

2

3

4

5

6

7

2

3

4

5

6

7

seventh (7th)

Position

(, 5, 4, 7,5, 3

Chord Roman numerals in CM

2

5

1

I

x

f-

r

Bl F

Dah

CHORD

x|t,

1

iI

4

cresc.

7

6

5

13 |

|

2

“|e

1

==

=

917

soe,

Chapter E

EXERCISE9

The Rudiments of Harmony II: Labeling Chords; Musical Texture

27

Analysis.

Texture. On a separate sheet, briefly discuss the texture of the following examples: a) Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, mm. 1-8.

b) Anthology, no. 22, Chevalier de Saint-Georges, Violin Concerto. c) Anthology, no. 27, Mozart, Piano Sonata in AM, mm. 1-8. d) Anthology, no. 26, Mozart, Piano Sonata in CM, III. e) Example E.3. f) Anthology, no. 15,

J. S. Bach,

The Well-Tempered Clavier, I, Fugue no. 11 in

FM

In each of these examples, answer the following questions: 1) Is it homophonic or polyphonic (contrapuntal)?

2) If it is homophonic, what kind of accompaniment does it feature? a. Melody with block chords. b. Melody with broken (arpeggiated) chords.

c. Melody, chords, anda parallel supporting melody. d. Accompaniment (mostly) homorhythmic with melody. e. Other (explain).

3) If it is polyphonic, explain the exact relationship among voices. a. Chorale texture. b. Free counterpoint: voices unrelated, nonimitative counterpoint.

c. Imitative counterpoint: voices share same thematic material. All voices are similar in importance.

d.

I

I

1

t

‘a

>=

yy

=

iv,

VI¢

3,

a

f

8

83

@—e—

oe

CM

.

76

6

"6

v4

yy etc.

Am

oS

#8

6 iv

oOo

6

etc.

v

etc.

hapter Introduction to Species Counterpoint

EXERCISE 1

Write six melodies, one in each of the modes, following the guidelines discussed in the textbook Line in Species Counterpoint” and the models provided in example F.1).

(see the section “The Melodic a.

b.

fh

raT

Nz

BG

N¢

aN RY

L&N\

ANSP

EXERCISE 2

Write first-species counterpoints above and below the following cantus firmus. As a suggestion, it you may find helpful to first write the opening pitches, then the cadence, and then plot a curve for your melody before you realize the rest of the counterpoint. a.

[@)

@

9

b.

C@)

a>

31

INTRODUCTION

32

The Fundamentals of Music

EXERCISE 3

Write second-species counterpoints above and below the following cantus firmus. In the Lydian mode it is acceptable to write Bbs in your counterpoint if you need to do so to avoid a melodic or harmonic tritone. a.

6

4

fh

10

o

f

ANS

P= —

Ce)

ao

c@)

a

@

bo

@®

o

12

CO)

q

~—*

I

b.

6

4

f

10

12

ANS ry)

eo: {ie

P=

ch

EXERCISE 4

P=

—*

oOo

herve

banal

[@]

ray

Pa

o

> *

a

>

Oo

Pas

Write third-species counterpoints above and below the following cantus firmus.

a.

2

4

6

8

10

oy ry)

=

=

6

=

2

6

=

ts

e

a

S

o

b. 2

4

FA

SF o e)

="

ell

©

_

6

8

ay

J

°

a

o

S$): Zz

2-3

9-8

P A

“P” for

Pp

|

Jaw’ NSW

ao

7-6

4-3

-

9-8

9-10

R

EXERCISE 6

Complete the following cadences in two voices, following the clausula vera and Phrygian cadential models in example F.16e in the textbook. a.

b.

c.

d.

6 |

Lam’

NSU

+-@}se ZZ.

ee bd

YO)

ao

e =

baad

o

a

had

I

5

ao

c>

hed

Vv

I

?

o

e

INTRODUCTION

34

The Fundamentals of Music

EXERCISE 7

Write fourth-species counterpoints to the following cantus firmi. As a suggestion, you may find it to work from both ends toward the middle. First write the opening pitches and the cadence, and then plan a helpful tentative curve for your melody before you realize the rest of the counterpoint.

4

19

ce)

10

6

9

2

Oo

12

C@)

10

e

ow

12

10

cee

0)

ma

@

AAS

@

C@)

Chapter

|

The Connection of Chords

EXERCISE 1

Study the part writing and voice leading in the following examples from Bach chorales. Identify one case of each of the listed events, and label each one with the corresponding “event number” (1, 2, 3, etc.) with an arrow pointing at the exact location of the event. For each example of chord connection, write “yes” or “no” to indicate whether Bach follows our guidelines for voice leading according to the corresponding root motion.

A unison approached and left by contrary or oblique motion.

QP ~Yyoattrt —~o

“sR

TR Hel

Q

J. S. Bach, Chorale 102, “Ermuntre'dich, mein schwacher Geist.” mm.1=8°

a

i

mm)

» Example: 1.

—D ALE

10.

A root-position chord connection with root motion by descending 5th (or ascending 4th). A root-position chord connection with root motion by step. A root-position chord connection with root motion by 3rd. A root-position chord connection with root motion by ascending Sth (or descending 4th). A chord in open position. A chord in close position. A V-I progression in GM in which the LT resolves to i in the same voice. A melodic leap balanced by contrary motion before or after the leap. A triad in § position.

Gm

PWN

DP

Example 1.1.

CS WMANDA

1.

37

PART

38

1

_—

Diatonic Harmony

2. Example 1.2. 1.

A root-position chord connection with root motion by descending 5th (or ascending 4th). A chord in open position. A chord in close position. A change of voicing within the same chord. A V-I progression in CM in which the LT resolves to i in the same voice. A melodic double leap that outlines a triad. A single leap balanced by contrary motion before or after the leap. A descending diminished leap in the bass. Label the exact interval. Does the diminished leap resolve up by step?

A

unison left by similar motion which results, lo and behold, in an overlap! (Yes, Bach did this type of thing every once in a while. It’s also all right if you do it every once in a while, but not too often!) 10. A triad in § position. 9.

11. 12.

A seventh chord in root position. A seventh chord in position.

J. S. Bach, Chorale

Example 1.2.

ee ee

sted J ==

ee

J :

191, “Von Gott

ee

ts iudel

cia

epi

ee ee

Peg!

will ich nicht lassen”

ray

A

—

a

2

sd Poy

ky

—J

}—--

12

EXERCISE

2 Write root-position triads in four voices with the requested spacing (o for open, c for close), without key signatures (write only the necessary accidentals before each triad).

c

oO

c

c

c

o

)

c

f

yY fam’ KKU

&

33 aL DM: ii

Am: VI

EbM: IV C{m: V D>M: ii EM: iii ADM: vi

Bm: iv

Fm:

GM: V

Chapter

EXERCISE 3

b. |

a

by

hid

a

a

?

at

|||

|

et

a

hal

bh

e.

d.

c.

a

ANS

39

Complete the following changes of voicing or position in four voices.

a.

A

The Connection of Chords

1

if

had

bh

P

ft

i

4)

0

|

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_d

4d

o

v

i

ad

1

fot my

re a v a I

re)

I

|

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5 ?

tt

i

I¢

i

ig

ig

EXERCISE 4

Complete the following progressions in four voices. All your chords should be in root position, and you should apply the principles of voice leading according to root motion, which we studied in this chapter.

c

b

a.

A

f.

e€

a

|

mon

|

5 x

ff,

d.

hall

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5 ¥

Vp

i?

ANS

| |

is

d

{

mer

hal |

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ly

Ve

FM:

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Iv

I

Vv

ELM: I

IV

J

i.

h

&

I

Vv

Dm:

|

AM: IV

DM

4

V

iii

o

-

P—b

j

IV

Cm:

iv V

iv

GM: I

vi IV

I

Write a melody in good style, following the guidelines for melodic style discussed in this chapter.

N

EXERCISE 5

P

1 2

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|

ea

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ot ——t

iv

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Chapter2. The Tonic and Dominant Triads in Root Position

EXERCISE 1 1.

Analysis. Study example 2.1.

What is the key of the piece? (Careful: note that this little dance piece does not begin on the tonic.)

2. Analyze the complete example with Roman numerals (RN). Notice that the left hand uses the bass afterbeat keyboard pattern, and that the complete measure is analyzed as one chord, with the position determined by_ the bass on the downbeat.

a) On what harmony does this piece begin?

b) On what two chords is the piece based?

c) The first section of the piece (mm. 1-8) has two phrases (1-4 and 5-8). Is there any difference between the two phrases? What kind of cadence occurs in mm. 4 and 8?

d) The second section (mm. 9-16) also contains two phrases (9-12 and 13-16). How are they related? Are the cadences in mm. 12 and 16 the same? Identify the cadence type for both of them.

e) Is the complete melody based on a short rhythmic pattern (a rhythmic motive)? Write this rhythmic pattern here:

41

PART

42

Diatonic Harmony

1

|

~SExample

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p

am

1

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cA

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t {

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1

it

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-sf at Eeaf@teE =

a

{

y

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6

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L

16

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ff

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f

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= tte a.

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ii

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ii

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2.1

+.

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|

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t t

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if 3

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f t

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} T

Compare the melody in mm. 1-8 and 9-16. The basic principle by which these two melodies are related is called inversion. Examine carefully the melodies (focus, for instance, on mm. 1 and 9) and explain precisely what inversion is.

3. Provide a brief explanation of the formal role of the I-V-I progression in the following two fragments: anthology, no. 28 (Mozart, Piano Sonata in BbM, K. 333, TI, mm. 1-8), and anthology, no. 26 (Mozart, Piano Sonata in CM, K. 309, UI, mm. 1—19). Play or listen to these examples. Determine their phrase and cadential structure, and discuss the role of I and V in shaping the form of these fragments.

The Tonic and Dominant Triads in Root Position

Chapter 2

EXERCISE 2

Write the following progressions in four voices, with correct voice leading. Always

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“TO

=

EM:

I

f.

—j-#rat t fam ANSP

Tt

V

Am:

i

V GM:

Fm:

VI

voi

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4 pny La

2

BOM:

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h.

8. 0

| |

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y

9

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e

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oye t 4

He

d

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Fim:

cb

fT

4

bil

bil

i

Vv

DM:

i

EXERCISE 3

Realize the following use the required voice-leading model. 3a: Passing progression.

I

v

I

Gm:

i

Vv

i

I-V-I (or i-V-i) progressions in four voices. In each of the progressions,

3b:

Upper-neighbor progression.

3c: 3e:

Lower-neighbor progression. Upper-neighbor progression with an unresolved LT (and a complete final triad). Resolve the LT in the voice above it.

3f:

A descending °4 leap in the soprano.

3d:

PLAY and

al

N

NTT

LISTEN to your part-writing exercises before you turn them in to your teacher.

43

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= a= jeje

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AM:

Diatonic Harmony 1

PART

Chapter 2

The Tonic and Dominant Triads in Root Position

45

KEYBOARD HARMONY 1.

Play the following keyboard progressions and listen to the chords and their connections as you play. Play them in several keys. Begin with CM and Cm, and then play them in major and minor modes on G, D, and F (except for example 2.2a, which you should be able to play in all M and m keys).

Example 2.2

Se {

eli

{

a{

Notice that these progressions are written in keyboard texture, rather than four-part vocal texture. In chordal keyboard texture, it is customary to play the bass alone with the left hand, and the three remaining voices in close position with the right hand. All the same voice-leading rules studied in this and the previous chapters apply to keyboard block-chord style. 2. Refer to example 2.3 in the textbook. Play the soprano-bass patterns in that example at the piano, adding inner voices in keyboard texture, in major and minor modes on C, G, D, and F.

Naa

ee ei

ee

Quit

Soe

Neo

Foe

i |

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'

{

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l

Chapter Harmonic Function; The Subdominant Triad in Root Position

EXERCISE 1 1.

Analysis.

Example 3.1. a) Analyze the passage with RNs (Roman numerals). b) What is the function of the chord in m. 100? Explain its voice leading and how it relates to the previous and following chord.

c) Study the voice leading for the whole passage, focusing especially on the right hand. Does it conform with the voice-leading guidelines we studied in chapters 2 and 3?

Analyze it with RNs. Compare its voice leading with the voice leading for this progression studied in this chapter and comment on your comparison.

2. Example 3.2. Study the progression in this excerpt.

(Clara Schumann, Trio). On what type of cadence does Clara Schumann end this piece? Can you identify any specific voice-leading licenses taken in the left hand of the piano (mm. 284—285)? This type of open voicing is characteristic for the lower register of the piano, and open fifths provide a very strong harmonic support for such broad instrumental sonorities. The deliberate parallel voicing used here by C. Schumann may be found in instrumental writing and should not be considered a voice-leading “mistake.”

3. Anthology, no. 56

47

PART I

48

Diatonic Harmony

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< 4

8

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mm.

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Harmonic Function; The Subdominant Triad in Root Position

Chapter 3

49

EXERCISE 2

Realize the following progressions in four voices. First add RNs if missing, then write the bass line if it is not provided. Next, write a good soprano line, making sure that it forms a good contrapuntal frame with the bass. Finally, add inner voices using correct voice leading. Use only, in all cases, tonic, dominant, or subdominant chords in root position. Remember: Before turning in a part-writing exercise, play it and listen to it. c.

b.

a.

#

an

me Za

I

IV

|

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i

T

|

rb

—

b

i iv

Em:

FM:

i

I IV

f.

e. +

2

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|

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DM:

d.

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cs

i

8.

ut,

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r

ry)

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o

a

r

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patty t-#

P—b

I

AM:

Ivv_

I

Cm:

iv

V

a

z

ao

4

T+?

EM:

i

EXERCISE 3

Write four-voice harmonizations for the following melodic fragments. Write the bass first, and then fill in with the inner voices. Sing each melody before writing the harmonization, and after writing it play the complete harmonization at the piano. b.

a.

4

|

|

|.

|

_|

AASV

4

oe

—

=

5)

3.

ae

eit

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ma I

nl

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bid

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IV

V

I

Fim:

i

iv

i

iv

V

i

PART

50

1

Diatonic Harmony

EXERCISE 4

Each of the following melodies is made up of two melodic patterns that in this chapter have been associated with specific harmonic patterns. Harmonize each of the melodies with one of the following progressions; 1IV V ILIV 1I;I VIIVIV;orl IVI IV V LI, matching the progressions with the respective melodic for Besides looking patterns, also make sure that the progression you choose is the correct one to harmopatterns. nize each particular melody by checking each pitch from the melody with the corresponding RN. Write only bass line and RNs under each melody (you need not add inner voices). Begin by singing each melody, and play each two-voice harmonization after you write it.

Out

|

— Zp

I FM:

#

DM:

Harmonic Function; The Subdominant Triad in Root Position

Chapter 3

51

KEYBOARD HARMONY 1.

Play and learn the progressions in example 3.7 of the textbook. Listen to the role of the subdominant in these elaborations of the I-V_I progression.

2. Play the following keyboard progressions in the following major keys: minor keys: C, A, D, and E.

C, F, G, and D; and in the following

-¢ Example 3.3

= I

Iv

z I

c. C@ S

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+

Pt

z

Ce}

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42

e. (In m

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tig

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ah hy |

|

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Lites)

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an f

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ae

|

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ai V

i

mT

_|

a

is

ate

bet =

iiv

only)

.i

t

iv

V

3. Soprano-bass patterns. Refer to example 3.6 in the textbook. Play the soprano-bass patterns in that example at the piano, adding inner voices in keyboard texture in the same major and minor keys listed previously in key-

board exercise 2. 4. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 3, exercise 2; and workbook, chapter 3, exercise 2. 3. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 3, exercise 3; and workbook, chapter 3, exercise 3.

f

i

00

Chapter4

Triads in First Inversion

EXERCISE 1 1,

Analysis.

The harmonic phrase in example 4.1 is a prolongation of I. Analyze with RNs (Roman numerals). (Notice that the first inversion of V; is labeled V’, a chord very similar to V,), and explain the prolongation of I in terms of voice leading.

Example

4.1

4,

” 8, no. Felix Mendelssohn, “Im Griinen’ from op. Gestnge, Zwolf mm. -

14-15.

14

A_# tt. 7 #

15 my

v1

aa

Tj

|

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|

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ry)

Will

h# LY a

[fe

dy

La

69

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=

kom - men im I

=

i

®

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Gri

LE

r

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I

[

—

I

I

i

if

a V

an

Lj

4

Ly

Him - mel ist blau,

der J

I

{

:

;

4

Al

iw)

I

:

P e

te

Dot

—— oe

eg

—— oe

2. Analyze mm. 15-16 and 18-19 of example 4.2 with RNs. Measure 15, beats 1-2, presents an incomplete chord, which could be read as an A or an F chord if we imply the missing pitch. If we consider the F chord in beats 3-4, and by analogy with m. 16 (all of it is one chord), we will hear the complete m. 15 as an F chord. The symbol V{3, which will be explained in chapter 7, should be interpreted as a dominant chord (the 3) embellished melodically by the preceding $ (which we call a “cadential $”).

a) What is the role of first-inversion chords in this passage? Mark all changes of position with a bracket, and explain them.

b) What kind of cadence occurs in m. 21?

53

PART

54

Diatonic Harmony

1

Ree

WW.

¢

= f

o> = P

ft =

4%

mm. 15~21

~

+

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2

f

P

of

2

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er

tf

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>>

p

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a

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hed

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.

1,

17

ee

4

A. Mozart, Piano Sonata in CM, K. 309,

[

f

1

==

f

fp

P o

e

o

ee

= .

EXERCISE 2

2

o ef

-—\8

-“~»

#

—

vac3

Write the following triads in four voices with correct doubling.

6 tS)

DM:

Ve

Fm: ig

GM: IV,

Cm:

Vg

AbM:

Em: ivg

I,

AM: Vg.

BbM:

IV

EXERCISE

Bm: ig

Ebm: V6

3 Realize the following progressions in four voices. Use voice exchange where possible. Always the sound of what you write by playing and listening to it. (and enjoy) verify b.

a.

A+ LY 31

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Hh

|

|

J

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po

4

Tf,

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ivg

Vv

AbM:

f I

IV

vVYNG

I

Chapter 4

EXERCISE

4

55

Triads in First Inversion

Figured bass realization. Provide a RN analysis and a four-voice realization of the following

figured basses.

i” oe

c

b,

a.

4

A

9

ft

rw

bt

SU

?

tt

ASW

®

a

en

Hp wall t—f

oO

ELM:

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2.

ball

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ld

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6

BbM:

EXERCISE 5

6

4

6

Na CM:

Gm:

eit

“Te

TTH

Harmonize the following melodies with a bass line and RNs (no inner voices), using standard harmonic patterns that correspond with the melodic patterns.

Chapter 4

57

Triads in First Inversion

KEYBOARD HARMONY 1.

Play and learn the progressions in example 4.10 of the textbook. Listen to the role of first-inversion chords in these elaborations of the I-V-I progression.

2. Play the following progressions in CM, GM, DM, and FM; and in Cm, Gm, Dm, and Am. You can also use them to practice harmonic dictation. A friend can play them in any order while you notate the bass and Roman

numerals and recognize which one of the progressions is being played.

ve Example 4.3

|

|

eee == il

oe sy

c.

b.

a. |

|

T

T

oe

t

I

Is

h

i]

|

d

.

rae Bee See

|

|

i

|

|

ee

3 =

Vv

I

f

a

a

sy

|

a>

ra

\

|

im

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i:

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Zo

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=

y+

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ig VV

I

I

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I

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|

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1

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WW

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Ye

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THT?

ett

oe

Bul.

les

f.

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3. Soprano-bass patterns. Refer to example 4.9 in the textbook. Play the soprano-bass patterns in that example at the piano adding inner voices in keyboard texture, in the following major keys: C, G, D, and F; and in the following minor keys: C, G, D, and A.

4. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 4, exercise 3; and workbook, chapter 4, exercise 3. 5. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 4, exercise 4; and workbook, chapter 4, exercise 4. 6. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 4, exercise 6; and workbook, chapter 4, exercise 5.

I

ChapterS The Supertonic

EXERCISE1 1.

Analysis.

Analyze the opening phrase of Beethoven's Piano Concerto no. 4, III (example 5.1) with Roman numerals (RNs). What is the harmonic function of mm. 11-15? How does this phrase illustrate the close relationship between ii and

IV?

mcineasmee

LL.

v. Beethoven, Piano Concerto no. 4, op. 58,

Il, mm..11-20 (piano part)...

-

-.

tr fo

0-4-8

r

ef

EFfp ft»

1

E:

;

|

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ya!

\

——

re

a=

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tf:

rte

ie

ree!

cor

NT

(flop

te Tt

tf 15

2. Analyze examples 5.2a, b, and c with Roman numerals.

59

a) A a)

E S. *

2

i

t

ot i

-

a)

N

2

ay

=

5.

x

pa af

a

a

Ww .

h= i

rT

ry

e a! ry

ENG Io

el

Oh

alt ea aE)

H+} io

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T

(

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we

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all

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ch

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ae Hie

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TT

(Ul

A

i

1 il [; LL

Nee

hte

Met

ll

A

shy

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TT

all

12

1

in C#M, from The Well-Tempered Clavier, 3

J. S. Bach, Fugue no. ma

fN 55

W. A. Mozart, Piano Sonata in BbM, K..333,1et

a

C77 A

L

arg al ssa

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Diatonic Harmony 1

PART 60

1m Lh

(Allegro)

EXERCISE

61

The Supertonic

ChapterS

Realize the following progression in four voices. Remember to double-check the outer-voice

2

frame for good first-species counterpoint.

e)

I

EMM:

ii

IV

V

I

Vo oI

ig

&

%

I

EXERCISE

3 Provide a RN analysis and realize in four voices. Remember to double-check the outer-voice frame for good first-species counterpoint.

fh

4

I

Ae. 0

fragt

a. = —_

e)

aa Fitat

.

=

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mal

Y

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i

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i

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4

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T

|

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6

asl

|

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~~

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4

Melody harmonization. Write a bass and RNs (no inner voices) harmonizing the following meloharmonic The dies. rhythm (HR) is given.

EXERCISE 4

b.

a. fh

Sy

|

|

|

1

a

fa

6

mer .

|

|

|

@

z

t

mI

a

=

—5

=" §

6

op

etre

f

=

7

6

6

Gm PoP

R

OTE

Sing each melody several times before writing the harmonization.

2. Use only I, IV, or

V

in root position or first inversion.

3. First try to identify any melodic patterns that may be harmonized with some of the harmonic patterns you have learned.

4, Harmonize the notes marked with a 6 with first inversion triads. position triad.)

(If necessary, a 5 is used

to indicate a root

5. Check your two-voice contrapuntal frame to verify good voice leading.

6. Always play your harmonizations (as well as all your other exercises) before you turn them in. Make sure you are satisfied with them, and enjoy them!

PART

62

Diatonic Harmony

1

EXERCISE 5

Harmonize the following melodies with a bass and RNs (no inner voices). Use I (i), IV (iv), V, or ii (ii°) in root position or first inversion. Remember to double-check the outer-voice frame for good first-species counterpoint.

t

ir bil

ry

t

i

C

i"

T

i

a} iwi

al 1

r

t

6

mPF

6

a)

os ls

|

6

(Zz

re

v

I

6

DM:

OF

F

PF

PF

PF Of

Chapter5

The Supertonic

63

KEYBOARD HARMONY 1.

Play and learn the progressions in example 5.6 of the textbook. Listen to the role of both first-inversion chords and the supertonic in these elaborations of the I~V-I progression.

2. Play and learn the progressions in example 5.3 (in CM, DM, AM, and ELM; play progressions 5.3c and also in Am, Bm, Fim, and Cm), paying attention to the voice leading to and from the supertonic chords. Listen carefully to the progressions as you play them (or as a classmate plays them).

Example 5.3

at I IV ii V

I

I

Ig

r

J

|

|

°

N

.,

|

ii

V

I

I

iig V

I

3. Soprano-bass patterns. Refer to example 5.5 in the textbook. Play the soprano-bass patterns in that example at the piano, adding inner voices in keyboard texture, in the same major and minor keys listed in keyboard exercise 2.

4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 5, exercises 2 and 3; and workbook, chapter 5, exercises 2 and 3. 5. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 5, exercises 4 and 5; and workbook, chapter 5, exercise 5.

1

‘

*

.

hapter Nonchord Tones

EXERCISE 1 1.

Analysis.

Identify and label all NCTs (nonchord tones) in the Corelli phrase reproduced in example 6.1. Besides the NCTs actually present in the melody, is any other NCT suggested by the figured bass?

2. Identify and label all the

NCTs in anthology, no.

8 (Bach, Chorale

41), mm. 1-5.

3. Identify and label all the NCTs in anthology, no. 34 (Beethoven, Piano Sonata in Cm, op. 13, II), mm. 1-8. Because in this example the left hand arpeggiates chords, all the left-hand pitches may be interpreted as chord tones, with the only exceptions to be found in m. 1, beat 2 (notice the meter signature) and m. 3, beat 2. Identify the NCTs in these left-hand passages, besides the numerous NCTs throughout the right-hand melody.

eu

Archangelo Corelli, Sonata La Folia,

§

op. 5;no.12)

Adagio fj—.

5

1

AAS

Zz.

1 | 1

| 1

a | = ind

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I

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T

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an

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t

tf?

|

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=

5 T

re

1

|

at Le tT

inal I

?

I

5

EXERCISE 2

as the given figures. If you Add NCTs to the following chorale. Provide suspensions required by NCTs in different voices, make sure they are consonant among themselves. Be careful not to

add simultaneous

“overembellish”!

65

PART

66

1

_—_

Diatonic Harmony

fr

(Based on Bach, Chorale 27)

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4

4-3

=

vo

pa _4

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dl

Jd

ee

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pe eet er

\Y

9-8

43

EXERCISE 3

Harmonize the given two-voice framework with i, iv, V, and their first inversions. First add inner voices. Then embellish the texture with NCTs.

P :

J

=a

e

f

js

7

+s

eT

2p

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y=

Dp,

4

=

e—

p

Fm:

EXERCISE 4 Realize the following progression in four voices, including the suspensions indicated by the fig. ures in the required voices.

pts

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==

=

rae t

Em:.

He :

V74¢ (sop)

V4483

(alt)

= t

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5

a V6

igg (alt)

Vo3g (ten)

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Vv 4 8

tog

Vv

(alt)

(sop)

(bass)

2.3

I

Chapter 6

A

4

Ete

7

Complete the chain of 2-3 suspensions that has been started for you.

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¢

1

TT

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a |

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fe

P= =

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TH

EXERCISE 5

67

Nonchord Tones

|

5

2-3

2-3

5

5

2-3

5

2-3

6 Folk melodies often display a slow harmonic rhythm and numerous NCTs, as in the melodies below. Harmonize these melodies with a bass line and RNs (no inner voices). Use only I, ii, IV, V, and reproduced their first inversions. Note that for melodies a and b you will need to use V; in your harmonization. Sing, play, and Be careful with the sing again each of these melodies, and try to hear their harmonization as you play or sing. all NCTs. and label For each framework. mark, of two-voice voice leading melody, identify, your

EXERCISE

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PART

68

Diatonic Harmony

1

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ELM

HR

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Chapter 7 Chords

c

EXERCISE 1 1.

Analysis.

Circle and identify the § chord(s) in the following excerpt. Notice that the double bass sounds an octave lower than notated.

_

, Example 7.1

L. v. Beethoven, Piano Concerto no. j,op.15,,mm.1-8

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t 1

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il il

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25

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2

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2. Refer to anthology, no. 22 (Chevalier de Saint-Georges, Violin Concerto no.1). Turn in a copy of the excerpt, in which you will have circled, identified, and labeled the following:

All § chords. b) All NCTs (nonchord tones) in the first violin melody. a)

69

PART

70

Diatonic Harmony

1

3. Circle and label the § chords in the following excerpt.

Example 7.2

Gaetano Donizetti, Don Pasquale, act II, no. 7, Finale LI, mm. 90-96

90

;

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da‘u - na

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§ Chords

Chapter7

4. The following questions refer to example 7.3. a) What NCT is featured in the opening motive?

b) Measures 5-6 are linear elaborations of the tonic triad. On the score, provide RNs for all the chords in these two measures. Explain here how each of the chords functions linearly to prolong the tonic harmony. How are the outer-voice pitches in m. 5 related linearly?

c) What kind of cadence closes the first phrase (m. 8)? What kind of cadence closes the period?

Explain the chords in mm.

15—16.

d) How are the two “moving voices” in both hands related in mm. 1-4? By contrast, compare the outer voices in mm. 5—6. How is the contour of these voices designed in relation with each other?

Finally, compare the contrapuntal motion in both hands in mm. 7-8. How are the melodic contours related in these measures?

L.v. Beethoven, Piano Sonata no.

Allegretto

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9, op. 14, no.

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PART

72

EXERCISE 2

Write the following triads in four voices with correct doubling.

EM: V§

14

D>M:

Cm: iv§

Fim: v$

Iv§

a

Gm

Diatonic Harmony

1

BM: V§

Am: iv$

FM: 18

EXERCISE 3.

AbM: 18

Dm: iv§

Realize the following short progressions in four voices. Provide RNs (Roman numerals) where

needed. b.

a. A 1”

i?

ama

byD

c.

ot, Spine

d.

P i

#

2

ry)

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Dm:i

rod

6 N§_

ae

ot

5 . 6

EM

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e.

44 7

a

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FM:

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Em:

Pf)

I

6

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8.

f. ft

4

|

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| om

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ry)

d

md ty P

A tt

AM

IV

Vv

,

35

I

Gm

La

ii%

Vv

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5

i

Bm:

i

rd J

—

eo i

§

ul

ii

8

Chapter7

Chords

§

73

EXERCISE

4 Realize the following progression in four voices. Provide RNs where needed. Remember to double-check the outer-voice frame for good first-species counterpoint.

fal

Dm:

:

i

Ng

:

i

Pé

ig

:

i

Vive A

©

V

ft

:

ig

Pa

Va

iv

3

EXERCISE 5

Harmonize the following melody with a bass line and RNs (one chord per melody note). Include at least one of each of the following chords: passing §, neighbor §, cadential §, and ii? (besides i, iv, and V in root position or inversion).

ae

e

fan Wa

ANS

e)

ot

ra

oT Dp h a

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:

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T

NN *

=

e €

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i

|

Chapter7

§

75

Chords

KEYBOARD HARMONY 1.

Play and learn the progressions in example 7.12 of the textbook. Listen to the role of § chords in these elaborations of the I-V-I progression.

2. The following keyboard progressions contain all the § chord types studied in this chapter. Play and learn the progressions in CM, FM, BbM, EM, and in their relative-minor keys: Am, Dm, Gm, and Cm.

woke

_» Example 7.4

:

t

T

1

CM: I

i

1

6

P,

{

;

Ig

V

I

6

N,

t

|

Z

z

I

ii

I

2.

rJ

= t

t

Iv

vi

6—5 3

=

it

om

it |

I

}

I

6

t

P, I,

i

t t Pn

lig

OV

f

1

if

= 6—5

4-3

I

6

N,

3. Soprano-bass patterns. Refer to example 7.13 in the textbook. Play the soprano-bass patterns in that example at the piano, adding inner voices in keyboard texture in the same major and minor keys listed in keyboard

exercise 2. 4, Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 7, exercises 3 and 4; and workbook, chapter 7, exercises 3 and 4. 5. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 7, exercise 5; and workbook, chapter 7, exercise 5.

Chapter 8 The Dominant Seventh and Its Inversions

EXERCISE 1 1.

Analysis. Refer to anthology, no. 20, Haydn, Sonata in DM.

Analyze mm, 9-15 with RNs (Roman numerals).

2. Measures 9-15 can be explained as a harmonic prolongation of I in chord and how it contributes to this extended prolongation.

FM. Explain the linear function of each

3. Provide RNs for the chords in mm. 17-19, Explain their voice leading, noticing the resolution of any possible chordal dissonance.

EXERCISE 2.

Write the following root position and inverted V; chords in four voices, and resolve each of them to the appropriate tonic chord. Write the key signature for each.

ND

$ ELM: V7

AM: V7

Gm: V7

Fm:V7

Em: V8

Dm:

V$

FM:V4_— Am: V3

77

PART

78

EXERCISE 3

1

Diatonic Harmony

Realize in four voices.

b.

a.

pty

|

Bt

e #4

;

wal

—#

Bm:

i

Vv

ii'¢

i

Vv,

IV

EbM:

8-7

V6.5

I

4-3

e.

c.

t.

A4 [7N

e

4 4

4 4

p—-4

4

5

1

roe} :

EM:

I

Vg

IVs

EXERCISE

4

i

Dm:

1

iv ig

Vf

Am

i

i

iv

V

ig

V3_

Provide correct RNs for the following bass. Include a passing § and one each of the three

EXERCISE 5 .

|

|

{

Te

Analyze with RNs and realize in four voices. Remember to double-check your outer-voice frame

for good first-species counterpoint.

tye

Op Cy

e © eu

eo

°

Lif

6 5

Q

e411

S14

inversions of V3.

4

2

6

6

6

6 4

6

7

Chapter 8

The Dominant Seventh and Its Inversions

79

EXERCISE 6

— DM

@uUt

Harmonize the following melody with a bass and RNs. Include as many dominant seventh chords (in root position or inversion) as possible. The harmonic rhythm is one chord per note, except for the two notes marked with a bracket, which will be harmonized with the same chord.

|

f

The Dominant Seventh and Its Inversions

Chapter 8

81

KEYBOARD HARMONY 1.

Play and learn the progressions in example 8.12 of the textbook. Listen to the role of inverted dominant-seventh chords in these elaborations of the I-V-I progression.

2. Practice the keyboard progressions from example 8.1 in the following major keys: Ab; and in the following minor keys: A, D, G, C, F, E, B, and Ft.

C, G, D, A, E, F,

Bb, and

Example 8.1 b.

a.

h

eee FA

it

oe

oe

en

oo

fA

i!

ioe

c

|

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ae

{

Iv

8-7

I

I

Vv,

a

ae

ig V6-5

I

1

f. !

1

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4

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I

SS 1

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7)

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+

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4

V3

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of

SS

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t

=

t

:

+

6

I

|

a

|

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V5

|

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4

ve

1

— I

}

t

4

ov

6

vg

i

6

IV, V;

!

{

{

>

zi

tee

f2

iad

|

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-

F

I

W

Vy

4

ie

|

a

aa

vit 4

Soprano-bass patterns. Refer to examples 8.8 and 8.9 in the textbook. Play the soprano-bass patterns in those examples at the piano, adding inner voices in keyboard texture in the following major keys: C, G, D, A, and F; and in the following minor keys: A, D, G, C, and F.

Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 8, exercises 4 and 6; and workbook, chapter 8, exercise 3. .

|

T

ical

o

:

:

I

Vv,

|

LAs.

2

aa 3

Vv

ae ee |

|

FA

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ote

a

6

:

ae

I

WV

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t

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Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 8, exercise 8; and workbook, chapter 8, exercise 5.

Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 8, exercise 9; and workbook, chapter 8, exercise 6.

Chapter9

9

The Leading-Tone Triad

EXERCISE 1 1. a)

Analysis.

Identify a leading-tone triad in each of the following examples: anthology, no. 20 (Haydn, Piano Sonata in DM), mm. 1-4; and anthology, no. 32 (Beethoven, Piano Sonata in Fm, op. 2, no. 1), mm. 1-8. Explain how each of these triads functions linearly, and comment on the voice leading used in their resolution.

b) Analyze mm. 1-8 of the Beethoven example (anthology, no. 32) with RNs (Roman numerals), and explain how the initial tonic is prolonged through m.7 by linear means.

2. Analyze example 9.1 with RNs. Two areas extend I: mm. 21-23 prolong I and lead to the half cadence at m. 24, Then, mm. 25-30 again prolong I, leading to the final pre-dominant/dominant/tonic cadential pattern. On the score, indicate linear chords in these areas, showing their passing or neighbor function by means of a P or an N, respectively. ,

83

PART

84

Diatonic Harmony

1

-R. Schumann, “Freue.dich, o meine Seele,” from Album for the Young, op. 68, ~ mm.

21-32.

22

21

t——J

pe—-j

2

25

24

23

t

26

|—+-—

}—-

|

—S—

J

eee

|e

4.

:

J.

4

———

=

wy

27

28

r

4

4

4

2

——————

Iu

32

31

oN

=

{

\

5)

ee

30

29

=A

|

r

r

a

ZZ

a

6

2

8

——

oF

wy

ww

3. Example 9.2 shows mm.

3-6 of Bach’s Chorale 96.

a) Analyze mm. 3-4 with RNs. b) Circle and label all NCTs (nonchord tones). c) Measure 3, beats 3-4 and m. 4, beat 1, feature a progression studied in this chapter. What is unusual, in a minor key, with the chord in m. 3, beat 32? Why does Bach use this chord here? Could there be any melodic reasons that would preclude the use of the corresponding minor key chord?

[

t

,

|

ay

2 —

|

fA

#

?

a

2

0] -)

tN i

Freude,” mm. 3-6

a

p

WS. ‘Bach, Chorale 96, “Jesu, meine

‘A

Example 9.2

The Leading-Tone Triad

Chapter9

85

EXERCISE 2

Analyze the following figured bass with RNs, and realize it in four voices. End the phrase with a melodic fragmentin the soprano. Remember to double-check your outer-voice frame for good firstspecies counterpoint.

546-471

f

i 4

=

— ee Am =o

6

#6

6

°

oe 4

#4

[=o

af

6

6

6

6

$6

¢

§

b6

#3

EXERCISE 3

Harmonize each of the following short melodic fragments in four voices. Write the bass and RNs then fill in the inner voices. Use leading-tone triads for the notes marked with an asterisk. first,

b 4

WA

\

|

th

-

ANS

on

co

.

*

t

h TV

‘an die

AbM:

DM:

|

|

-—g--+-

{12 =

mr

t

bh

19

d

A

Gm:

|

|

|

e

J.

BH aye a

:

++ fat Fem:

EXERCISE

4 Harmonize the following melody in four voices, with a correct chordal progression and good voice leading. Harmonize all the soprano pitches as chord tones. Three of the pitches may be harmonized with in root position or inversion. Remember to double-check your vii°s, and for the rest you may use I, IV, ii, or outer-voice frame for good first-species counterpoint.

V

pes (5? Sy)

!

— |

= 2b

eo

BbM:

4

=

FI 3

oa

=

Chapter9

The Leading-Tone Triad

87

KEYBOARD HARMONY 1.

Play and learn the progressions in example 9.8 of the textbook.

2. Play the keyboard progressions in example 9.3 in a variety of keys as assigned by your instructor. Notice that example 9.3c can be played only in M if you want to avoid the 16-47 augmented 2nd. Example 9.3d provides a version of the same progression with 6 and 7 in different voices, suitable to be played in both M and m.

Example 9.3

D>

p

b.

Cc.

d.

™ only)

(M and m)

ce)

Ce) ©

{

:

j

e.

fo! I

j

viZI,

t

{

o

|

if

l

z

e

>

|

i

z

e

mn

=

e

IW

wif

i

Vv,

I

1

vit I, vit

I

Io

IV

vwiS

I

oT

1

3. Soprano-bass patterns. Refer to example 9.7 in the textbook. Play the soprano-bass patterns in those examples at the piano, adding inner voices in keyboard texture in the keys assigned by your instructor.

4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 9, exercises 2 and 3; and workbook, chapter 9, exercise 2. 5. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 9, exercise 4; and workbook, chapter 9, exercises 3 and 4.

Chapter Cadences

EXERCISE 1

Analysis. Study and label each of the following cadences. Name the cadence type, and list specific RNs (Roman numerals) and other characteristics to justify your choice. Anthology, no. 52, Verdi, La traviata: Measures 31-32:

1.

.

Measures 41—42:

Anthology, no. 19, Haydn, Minuet, m. 8.

Anthology, no. 31, Paradis, Sicilienne:

.

Measures 3-4:

Measures 27-28:

Anthology, no. 28, Mozart, Piano Sonata in BbM, III, m. 76.

.

Example 10.1.

Example 10.2.

Example 10.3. Measures 19-20:

Measures 20-22:

.

Example 10.4.

89

PART

90

Diatonic Harmony

1

George Frideric Handel, “Hallelujah;’ from Messiah, closing measures

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Example 10.2

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Robert Schumann, “Ich will meine Seele tauchen,” from Dichterliebe, op. 48,

Example 10.3,

no, 5

————

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|

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91

Cadences

Chapter 10

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EXERCISE

2 Realize the following cadences in four voices as required. Some soprano melodic patterns are and so are some Roman numerals. Provide RNs where missing. provided,

b.

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PART

92

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_Diatonic Harmony

1

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EXERCISE 3

Complete the following figured bass progressions in four voices, after analyzing each of them with RNs. Name the cadence type in each case.

a.

CAD:

b.

a

ey «)

M, and Gm. Learn to recognize the various cadential formulas aurally as you play them, and do aural recognition drills with a friend.

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3. Example 12.2. How is fragment b related to fragment a?

-J.S. Bach,

+ rete ao

Fugue no. 9 in:-EM, from The Well-Tempered

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Bach, Fugue no

8

in Dim, from The Well-Tempered Clavier, II

+

a i!

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7}

Melodic Organization I: Thematic Development; Phrase Extension

Chapter 12

103

5. Example 12.4. How is fragment b related to fragment a?

ww

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Provide a RN analysis for the following bass line, treating each pitch as a chord tone.

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EXERCISE 4

4

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119

The Mediant, Submediant, and Subtonic Triads

Chapter 14

Harmonize the following melody with a bass line and RNs, using the given HR (harmonic rhythm). Include the following chords in your harmonization: III, vii°,, a deceptive resolution of V, a cadential §, and a plagal cadence at the end.

EXERCISE

5

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me pe

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Harmonize the following melodies with RNs and write a keyboard realization of your harmonization. You should begin by determining the correct HR for each melody, taking into account any possible NCTs. Use any of the chords we have studied so far.

EXERCISE 6

Moderato

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ii |

PART

120

1

Diatonic Harmony

EXERCISE 7 1,

Write progressions (bass and RNs) using the chords indicated in each case, in the required meters. a) iii, vi, V3 b) vii°s, a deceptive resolution of V c) VII, Il, V3, a cadential ¢

Lae

b.

EbM

AM:

Choose one of your own progressions from above, and use it as a harmonic basis to compose a phrase for a melodic instrument of your choice (such as flute, clarinet in Bb, violin, etc.) and keyboard accompaniment. Your phrase should consist of a simple melody (for the melodic instrument) with a keyboard-style accompaniment (both hands).

The Mediant, Submediant, and Subtonic Triads

Chapter 14

121

KEYBOARD HARMONY Play and learn the progressions in example 14.15 of the textbook. Listen to the role of the mediant, submediant, and subtonic chords in these elaborations of the I-V—I progression.

1.

2. Play the keyboard progressions in example 14.4 in the keys assigned by your instructor. (Suggested keys: CM, AM, EM, ELM, AM; and Am, Fim, Cim, Cm, and Fm)

>) Example

14.4

a.

b.

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(in m only)

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3. Soprano-bass patterns. Refer to examples 14.12, 14.13, and 14.14 in the textbook. Play the soprano-bass patterns in that example at the piano, adding inner voices in keyboard texture, in the same major and minor keys suggested previously in exercise 2.

4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 14, exercises 2 and 4; and workbook, chapter 14, exercises 2 and 3. 5. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 14, exercise 5; and workbook, chapter 14, exercises 5 and 6.

I

Chapter 15 Other Diatonic Seventh Chords

EXERCISE1 1.

Analysis.

Study mm. 1-12 of anthology, no. 47, Schumann, “Ich grolle nicht.” a) Provide RNs (Roman numerals) for mm, 1—9. Notice that the first chord in m. 3, which we studied in this chapter, actually belongs to Cm because of the Ab (6). Assign it the same RN you would in Cm, and think a RN to the second chordin m. 4, but of it as a chord “borrowed” from the minor mode. Do not assign rather explain how it functions linearly.

b) What is the underlying progression (think of downbeat chords for each measure) in mm. 4-9? Think of both root progression and chordal progression. Then, how do the “upbeat” chords in each measure function?

c) Think of mm. 9-12 as an extended V;—I progression. How are the V, at m. 9 and the I at m. 12 connected to 1. Then look also at the piano’s top voice, moving down linearly? Think first of the bass motion from 5 from 2 to 3. How would the term “wedge” apply to this contrapuntal gesture?

d) 1) In which ways is the melody unified —motivically? rhythmically? other?

123

PART

124

Diatonic Harmony

1

2) The words mean: “TI hold no resentment, and even if my heart breaks, O love forever lost, I hold no resentment.” How is the heartbreak (“Herz”) expressed and intensified musically?

How is the concept of love lost (and the subsequent feeling of grief) expressed (think, for instance, of the bass line on the words “ewig verlornes Lieb,” but also of how the singer expresses the loss: Where is the climactic high point of the fragment?)?

What bass motion accompanies the final two statements of “ich grolle nicht”? If this contour, as opposed to the bass line in mm. 4-9, shows some hope, is the feeling confirmed by the lines in both the voice and the piano’s right hand in mm. 9-12?

2. How does Paradis prolong the tonic in mm. 6-8 of example 15.1? What standard cadential (including formula the predominant chord—do not overlook the vocal line) does she use?

Maria Theresia von Paradis, “Morgenlied eines armen Mannes,” mm. 6-10

Be

7

A 7

|

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iJa

3

im

o. ~

=

ia

Ty T

C3)

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in

-

mei

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ner

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i i

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if

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Other Diatonic Seventh Chords

Chapter 15

125

3. Study mm. 1-4 of anthology, no. 27 (Mozart, AM Sonata). What is the chord at m. 2? Where does this chord really resolve? What is the function of the “provisional” resolution in m. 3, beat 1? What chord is this exactly (m. 3, beat 1)?

4. Analyze examples 15.2a and b with Roman numerals.

Example 15.2a

1 The Well-Tempered Clavier... J. S. Bach, Prelude no. in CM, from

1S. Bach, Fugue no.

Tf 16 in Gm, from The Well-Tempered Clavier,

vi 2

)

(

OL

83

Fis.

_f

did

»

2

» ——

>.

—

I

NJ)

PART

126

EXERCISE 2

1

_— Diatonic Harmony

Realize the following short progressions in four voices.

a.

b.

pf» :

i

{[2) 5

f rbby p

At

Em:

I

ii” £

i

V

VI

I

ALM:

2

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d.

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2

4

|

|

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t

iz i"

rs)

|

é

1

wd tt

Fim:i

ivg

EXERCISE 3

viie4

V4

ig

BM:

4 }—e

I

Iv7

v9r3

Provide RNs and realize in four voices.

rt

ae :

|

vi

a

4

|

AM:

vieg

77

6 45

g

7

7

7

7

6

7 4°

§

7

7 3

Chapter 15

Other Diatonic Seventh Chords

127

EXERCISE

nt

@

e

I oD

oe

=

|

ay

4 Harmonize the following melody with a keyboard texture. Include two leading-tone seventh chords, a deceptive progression, and a cadential 4-3 suspension.

\

oe

FM

EXERCISE 5 1.

Harmonize the following melody and realize the harmonization for keyboard. A harmonic rhythm is suggested. You may want to take advantage of the possibility to use neighbor § chords in mm. 1-2, and a V, in m. 3.

2. After you write your harmonization, circle and label all NCTs (nonchord tones) in the melody. Also, identify all the sequences in the melody and mark each sequence segment with a bracket.

pdth —J

C=

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me

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DM:

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att

Italy

PART

128

1

Diatonic Harmony

EXERCISE 6 1.

Write progressions (bass and RNs) in the keys and meters indicated below. Use the following chords (in any order, but correctly resolved): a) vii®, IV%, iif b) viiS, iv,, viieS

c) iif, vii%4, ii,

a

b. Th |

DM:

ae

Lame

2

Fm

ELM Choose one of your own progressions from above, and use it as a harmonic basis to compose a phrase for a melodic instrument of your choice (such as flute, clarinet in B}, violin) and keyboard accompaniment. Your phrase should consist of a simple melody (for the melodic instrument) with a keyboard-style accompaniment (both hands).

129

Other Diatonic Seventh Chords

Chapter 15

KEYBOARD HARMONY Play and learn the progressions in examples 15.19 and 15.20 of the textbook. Listen to the role of seventh chords in these elaborations of the I-V-I progression.

1.

2. Play the keyboard progressions in example 15.3 in a variety of M and m keys, as assigned by your instructor. (Suggested keys: CM, GM, DM, AM, EM, FM, BbM, EbM, AbM; and their relative minor keys.)

_-

2 eo

|

|

I

ma

li

|

it

vii’

vii’5 I,

wit I,

c

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at 1

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it

3

Vv.

7

oa

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3. Soprano-bass patterns. Refer to examples 15.17 and 15.18 in the textbook. Play the soprano-bass patterns in that example at the piano, adding inner voices in keyboard texture, in the same major and minor keys suggested in exercise 2.

4. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 15, exercises 3 and 4; and workbook, chapter 15, exercise 2. 5. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercise at the piano, using keyboard texture: workbook, chapter 15, exercise 3. 6. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 15, exercise 5; and workbook, chapter 15, exercises 4 and 5.

Chapter Harmonic Sequences

EXERCISE 1

exThe following examples are based on harmonic sequences. Identify the exact type of sequence for each of chords, and specific voice-leading patample, including root motion (by 5ths, 3rds, 2nds, etc.), position each terns for sequence.

A. Corelli, “Corrente.” from Sonata da camera a tre, op. 4, no. 11, mm, 20-24 20

a

?

a

had

e

|

e)

|

x


La?

Fal

ee




pees TN

ae

EXERCISE

2

The following statements refer to diatonic pivot chord relationships. Fill in the blank in each

statement. 1.

2. 3.

iiin

becomes iv in Am.

in AM becomes vi in DM.

viin FM becomes ii in

4. ii° in Bm becomes

EXERCISE 3

in DM.

The following two progressions represent modulations by diatonic pivot chord.

Progression a. Provide RNs (Roman numerals) for the given bass, accounting for the modulation and indicating the pivot chord with the usual bracket. Use secondary dominants or diminished seventh chords where possible.

SEE

Sai

o—

===

== |

Chapter 20

Progression

b,

Modulation to Closely Related Keys

173

Write a bass line for the given RNs. Be careful to modulate to the right key.

b.

I

vii’ fi jee

6,5 Vsi

viiG/V Vz

ii

Vali

V./V

26

I

V7

vil |

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yp?

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6

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5

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vS

1

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i

6

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vii?

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vé—3

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|

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lig V3/il

vi3

ig

ii V/V

Realize the following progression in four voices.

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pay At

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7

4 I

VaAIV

IV

iis

viiy/V

Voor

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The following progression represents a chromatic modulation. Write a bass line for the given

4

RNs.

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cy)

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5

86 ii”

f

7

I

Iv

viyV

v§ DS

I

Vv

OVO

Oi

PART 2

174

Chromatic Harmony and Form

EXERCISE

6 After you are sure that your bass line for exercise 4 is correct, realize the progression in four in the voices space below.

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4

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om) id

1

vi viav

WW,

V§~3

1

iis

V3)

re

ig

i

Vv

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Write the following modulations (bass and RNs). Choose an appropriate pivot chord for each of them, and indicate it with the customary bracket.

EXERCISE 7 A

modulation from Fm to AbM. Use the following chords somewhere in your progression, along with any other chords you want: vii°S/V, vii°$/ii, and an irregular resolution of V/V.

1.

p—4

a

a

@)

2.

A modulation from DM to GM. Use the following chords somewhere in your progression: V3/vi, vii°3/V, and viiS/IV.

3.

A

mu

KKU

chromatic modulation from EM to F#m, using secondary chords in various inversions in the process of establishing both keys.

®

eD ANSP

Chapter 20

Modulation to Closely Related Keys

175

EXERCISE 8

g

pote

NY

|

=

oN

|

Harmonize the following chorale (“Jesu, meine Freude”) with a bass line and RNs, accounting for possible modulations. After you are sure that your harmonization works, add the two inner voices.

NOT|

N

eo!

b

EXERCISE 9 Write simple keyboard accompaniments for the following modulating periods by Haydn. Provide RNs for your harmonizations and indicate your pivot chord in each case.

CAT

N

3

6

ky

ASF

12

PART 2

176

=

b.

A

Chromatic Harmony and Form

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an

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Chapter 20

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NT!

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ta N

N

STZ

177

Modulation to Closely Related Keys

Chapter 20

179

KEYBOARD HARMONY 1.

Practice the modulating keyboard progressions from example 20.7 in a variety of keys. Hear and understand the modulating process in each case (by either pivot chord or chromatic motion).

“Example 20.7 a. ‘

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Chapter 21 Small Forms: Binary and Ternary; Variation Forms

EXERCISE 1

Analysis. Analyze the following pieces. For each of them, determine and discuss the formal and tonal types, the key areas in the complete piece, and construct a bubble diagram using the given line. The diagram should show sections (labeled with letters) and tonal motion. 1.

Anthology, no. 12, Bach, French Suite no. 5, Gavotte. a) Form and formal type:

b) Key areas:

c) Bubble diagram:

181

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PART 2

Chromatic Harmony and Form

2. Anthology, no. 7, Notebook for Anna Magdalena Bach, Polonaise. a) Form and formal type:

b) Key areas:

c) Bubble diagram:

3. Example 21.1.

a) Form and formal type:

b) Key areas:

c) Bubble diagram:

Chapter 21

Small Forms: Binary and Temary; Variation Forms

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Small Forms: Binary and Ternary; Variation Forms

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b) Key areas:

c) Bubble diagram:

EXERCISE 2

Listen (with score) to Brahms, Symphony no. 4 in Em, op. 98, IV.

a) What kind of variations are these (sectional or continuous)? Explain.

b) Considering that mm. 1-8 are the theme.and mm. 253-end is a finale, and hence either not counting as a variation, how many variations are there?

c) What is the overall form of the movement? Provide a diagram.

d)

A new

section begins in m. 97, and it lasts until m.__._————- Which musical parameter(s) set(s) this section apart from the previous one?

The variations in this section are numbers through e) Are there any variations in the major mode? Provide measure numbers and variation numbers.

f) What is the formal function of mm. 81-96?

g) Is there a return (other than the finale at m. 253)? Where?

PART 2

188

Chromatic Harmony and Form

h) What instruments(s) carry the main melody (theme) in mm. 1-8?

And in mm. 49-56?

i) If we call mm. 57-65 a figural variation, (Listen for it!)

j)

notate the rhythm of the most characteristic motive/figure.

Measures 153-161 are an ornamental variation. What instrument carries the notes of the main theme, but now altered by the addition of other notes?

EXERCISE 3

Analytical paper. Choose one of the pieces you just studied in exercise 1, and write a brief analytical paper on it. With good narrative prose, discuss form, formal and tonal types, sections, key areas and tonal motion, and thematic/motivic relationships. Identify also special compositional techniques (such as imitation, sequence, textural inversion between hands), and discuss the techniques of motivic and thematic development used in the piece. Attach (and comment on) a bubble diagram. You may use the various analytical discussions of pieces you have found in this chapter’s text as possible models for your paper (and your narrative).

EXERCISE

4 Harmonize the following chorale (“Von Gott will ich nicht lassen”) with a bass line and RNs (Roman numerals), accounting for possible modulations. As an additional exercise, you can also fill in inner voices.

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Compose two modulating periods (melody and accompaniment in keyboard style) based on the given motives. The modulating periods by Haydn in the worksheet and workbook for chapter 20 may serve as models. You may compose the melody first and then write the accompaniment, or write both at the same time. Modulate to the key of V. A possibility is to write an antecedent in CM, ending on a HC, and a parallel consequent that modulates to V (as in Mozart’s familiar “Tema” from his DM sonata). Remember that the easiest way to modulate to V is to introduce #4, as in the example provided below.

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EXERCISE

Write a brief analytical paper on Bach’s Invention no. 4 in Dm (score and recording available at 1 You the library). may use the discussion of Invention no. 3 in DM in chapter 22 of the textbook as a model. The used in that analysis is perfectly appropriate for your paper. Make sure you discuss the sections organization by the Dm invention: following aspects of 1.

Sections and their function (exposition, episodes, return, codetta). Cadences and key areas. Any pedals? What is their harmonic and formal function?

2. How are all the keys in the piece related among themselves? 3. Thematic content: What are the musical characteristics of the subject? Is the subject always present? Does appear in any varied forms (such as inverted, or elaborated in any way)?

it

4. What developmental techniques are used and where (circle of fifths, sequence, fragmentation, etc.)? What is the role of imitation in the piece? Are there sections of “give-and-take” texture?

Analyze Mozart’s String Quartet, K. 173, IV (Fugue). Answer the following questions, and turn in an annotated copy of the score (which you will find at your music library).

EXERCISE 2 1.

Exposition: a) How long is the subject?

b) Is the answer real or tonal?

c) Is there a countersubject? If yes, where?

d) Is there a bridge? Where?

e) What are its specific formal and tonal functions?

f) The exposition ends with the first full authentic cadence in the piece. Where, and in what key?

193

PART2

194

Chromatic Harmony and Form

2. Middle sections:

a) Episode

1

(mm. numbers):

Its tonal function is:

in the key of in the key of

b) Middle entry group 1: It begins in m. It ends in m.

c) Episode 2 (mm. numbers): d) The entry in m. 28 is in the key of:

Its tonal function is:

e) Episode 3 (mm. 31-35) leads to a series of entries in mm. 35-44. Mark all of them on the score. What happened to the subject in these entries?

What is the effect of whatever happened to the subject from a metric point of view? What name does this type of section have in a fugue?

f) Mark on the score the entries in mm. 45-51. What is the key? g) Measures 52-61: Mark the entries. Again, what happens to the subject? What kind of section is this? Measures 58-61: What kind of texture is this? Why? Where does it lead? What is the chord in m. 61?

Why does it have a fermata? 3. Closing sections: a) What is the key of mm. 62-end?

b) What is the formal/tonal function of the section beginning in m. 62?

c) Considering the metric relationship among entries in this section (mm. 62-69), what is this section?

d) How are the viola and second violin subjects related to the cello and first violin in these measures?

e) Measures 70-73: What is this section? How are the entries related (metrically) to those in the previous section?

f) Is there a pedal in the closing section? If yes, on what scale degree?

EXERCISE

3 On your own music paper, write four fugal subjects in different meters and keys. Determine whether the answer to each of your subjects should be real or tonal. Then, write the appropriate answer for each of them.

Chapter23 Modal Mixture

EXERCISE 1 1.

Analysis.

Analyze and explain the type of modal mixture in the following examples. If borrowed chords are involved, be specific as to what they are. a) Example 23.1.

b) Example 23.2.

c) Anthology, no. 54, Verdi, II trovatore, act II, no. 14, mm. 21-24. Compare also the beginning and ending ,

keys.

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After you write the harmonization, write brief statements on the following questions. 1. Are the }II, chords used for expressive purposes in this song? What are the words and/or concepts the bII, chords harmonize?

2. What formal/tonal type, of the ones we studied in chapter 21, defines the passage you have harmonized? Name the type and explain your reasons for choosing it. To answer this question, consider carefully the sections and tonal motion in this song. Notice that the passage does not feature any inner repeat signs. If it did (and it certainly could), where would they be (think of the formal and tonal function of each section)?

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Chapter 24

The Neapolitan Chord

209

KEYBOARD HARMONY 1.

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Chapter 25 Augmented Sixth Chords

EXERCISE 1

Analysis. Identify the +6 chords in each of the following examples.

Identify the type of +6 chord (“nationality”). If it is

1.

a

Gr +6, is it spelled with a b3 or a$2?

2. Provide RNs for the actual +6 chord and also for the chords that precede and follow it. 3. Does the +6 chord resolve directly to V? Does

it resolve to V through some other harmonies?

Are parallel 5ths avoided?

Examples for Analysis: Example 25.1.

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Augmented Sixth Chords

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Chapter 25

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Augmented Sixth Chords

Chapter 25

KEYBOARD HARMONY 1.

Practice the keyboard progression from example 25.7 in a variety of M and m keys. Hear the sound and resolution of the +6 chords in the progressions. Notice especially (and enjoy!) the interesting harmonization of the descending chromatic bass, which you can now realize with chords you have studied (example 25.7c).

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Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I

EXERCISE 1 1.

Analysis.

The following modulation features a chromatic pivot chord. Analyze the complete passage with RNs (Roman numerals), and explain the modulation and the pivot chord.

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2. The following examples feature the HII key area and/or modulations by enharmonic reinterpretation of +6. Analyze each of them, identify the modulations or the bII key area, the keys involved, and the exact function of the pivot chord in each of the keys.

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b) Anthology, no. 51, Liszt, Consolation, no. 4. The phrase in mm. 16-18 is in DM. A sudden phrase modulation takes place in m. 18. To what key? How does the chord in m. 18, beats 1-2, function in each of the keys?

c) Example 26.3. 1) The main key of the passage is FM. What secondary key area of FM is featured?

2) Explain the return to FM in mm. 47-53.

Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I

Chapter 26

221

.

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9

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3. The passage by Schubert in example 26.4 begins in Bbm.

a) What is the chord in mm. 139-140, and to what chord does it resolve?

b) What is the key area in mm. 152-159?

c) The modulation to this second key area takes place in mm. 146-152. Explain how this modulation works.

PART 2

222

Chromatic Harmony and Form

d) What is the key in mm. 162-167? e) What is the chord in mm. 160-161, and how does it function in AM? Have we seen this same sonority elsewhere in this passage in a different key and with a different function?

f) The modulation in mm. 157-162 is to a closely related key by means of a diatonic pivot chord. Explain.

g) Comment on the compositional/contrapuntal techniques used in this passage, especially in mm. 142-166.

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Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I Chapter 26

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Chromatic Harmony and Form

4. The following examples feature modulation by enharmonic reinterpretation of vii°; chords. Analyze each of them, identify the modulations, the keys involved, and the exact function of the pivot chord in each of the

keys.

a) Example 26.5.

eg Example 26.5% Ly. Beethoven, Plan o Sonata in Cm, op. 13, Pathérique, I,mm. 133-136 13

134

PP

b) Example 26.6. This passage begins in AM. 1) What key area is featured in mm. 141-144?

2) What is the function of the first chord in m. 140 in each of the keys?

3) The same chord is featured again in m. 145, leading back to AM. What is its function here?

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Write the following chromatic pivot chord modulations (bass and RNs, with indication of the

pivot chord). 1.

From FM to AM using bII ¢ of AM as a pivot.

From AM to BM using a secondary dominant in AM as pivot

AM 3. From BbM to

BbM:

CM using a vii’; chord with a secondary function in both keys.

PART 2

226

Chromatic Harmony and Form

+6

EXERCISE

3 The following RNs represent modulations by enharmonic reinterpretation of the Gr Write the bass line for each progression, and indicate what key we have modulated to in each case.

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Chapter 26

Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I

227

EXERCISE 5 1.

Write and resolve vii°, in EbM in exercise 5a. This chord may be used to modulate to three other major keys the chord in the same poby respelling it enharmonically. Indicate the keys and provide the spelling (leaving of the new keys. For a each tonic in to the corresponding sition), the correct RN, and the orrect resolution in the textbook 26.15b (although in that example the reference of what you are doing exactly, see example chords are not resolved).

2. In exercise 5b follow the same process as in Sa, but now show how

vii°, in Gm functions in three other minor

keys. b

a

key 2:

key 1: ELM

key 4:

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in D.

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E becomes vii°S in Bb.

c) vii$in___—————s becomes vii®, in A. d) vii°s in F becomes vii°, 7 in

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6 The following RNs represent a modulation by enharmonic reinterpretation bass line, and indicate what key we have modulated to.

of vii°7. Write

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PART 2

228

Fr+6

Write your own modulating progressions (bass and RNs) using Gr +6 and vii°, chords

A modulation from Fm to Em using an enharmonic reinterpretation of the Gr +6.

Fm: A modulation from AM to Cm using an enharmonic reinterpretation of vii°S in AM.

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229

Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I

Chapter 26

KEYBOARD HARMONY 1.

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2. To practice playing modulations by enharmonic reinterpretation of the Gr +6 from Roman numerals, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 26, exercises 5 and 6; and workbook, chapter 26, exercises 3 and 4. 3. To practice playing modulations by enharmonic reinterpretation of vii°; from Roman numerals, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 26, exercises 8 and 9; and workbook, chapter 26, exercises 6 and 7.

Chapter 27 Modulation to Distantly Related Keys II; Linear Chromaticism I

EXERCISE 1

Analysis.

how the chords Study the chordal relationships in the following passage, and explain with the correct terms

1.

are related.

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2) These two harmonies are repeatedly embellished by means of the same two types of linear chords, which you will first find in mm. 30-31. What are they?

Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism

Chapter 29

I

249

2. The following examples include chromatic sequences. Name the exact type of sequence, and provide the necessary figures to identify the sequential pattern.

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2) Study the chord succession in mm. 15-17. How are these chords related (take into consideration root relationships and triadic quality)?

3) Explain the modulation from CM to EbM in mm. 18-20. What key relationship is this? What chord is used to modulate, and how does it function in each key?

b) Example 29.7. In this excerpt you will find two of the sequence types we have studied in this chapter.

3. Example 29.8 a) On a separate sheet, explain the linear process in mm. 17-25 using the same concepts we applied to the analysis of Chopin’s Prelude no. 4 in Em. Provide a diagram for these measures similar to the graph in example 29.20a of the textbook.

b) What degree is tonicized in mm. 29-30?

Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II

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