Workbook: Harmony And Voice Leading 015531520X, 9780155315204

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WORKBOOK

HARMONY AND

VOICE

LEADING VOLUME

|

SECOND EDITION CUD

EDWARD ALDWELL

CARL SCHACHTER

WORKBOOK

Mo:

\

“AND VOICE LEADING \

\

VOLUME 1 SECOND EDITION

.

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

CARL SCHACHTER Queens College

of the City University of New York

Harcourt Brace College Publishers

Fort Worth Philadelphia San Diego New York Orlando Austin San Antonio Toronto Montreal London Sydney -Tokyo |

ee

Copyright

© 1989, 1978 by Harcourt Brace Jovanovich, Inc.

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

Requests for permission to make copies of any part of the work should be mailed to: Permissions Department, Harcourt Brace and Company, 8th Floor, Orlando, Florida 32887. Although for mechanical reasons all pages of this publication are perforated, only those pages. imprinted with an HBJ copyright notice are intended for removal.

'

ISBN: 0-15-531520-X Library of Congress Card Number: 88-80627 Printed in the United States of America

89012345

066 18 17 1615 1413 12 1t

.

4

PREFACE — This workbook, together with the exercises in the text, should provide more than enough material for homework assignments, classroom demonstrations, and periodic reviews, It also provides a generous assorttnent of excerpts from the literature for assignmerits in analysis. Naturally, the number and type of exercises vary somewhat from unit to unit, depending on the material covered. Thus the exercises for the opening units are intended mainly as a review of the fundamental materials of tonal music. Their puipose is to give the student, as rapidly as possible, a secure grasp of scales, key signatures, intervals, and chords, Although Harmony and Voice Leading is not intended as an introduction to fundamentals, there is probably enough material in the workbook for a one-semester course in basic musicianship, if the instructor wishes to use it for that purpose. Starting with Unit 6, the exercises in both the text and the workbook begin with a series of short drills, called, Preliminaries. These form a concentrated review of the most important topics discussed ih the unit. The drills are not always easy, but doing them well will give the student the necessary technical foundation for the longer and musically more interesting exercises that follow. If a class falls behind schedule, the instructor could save time by occasionally assigning only the preliminary drills before going on to the next unit. But a steady regimen of these exercises alone is not recommended. The longer exercises are of various types, but most of them are melodies and basses {both figured and unfigured). It is now almost eighty years since Amold Schoenberg decried the use of such exercises, but most harmony textbooks continue to include them, and most instructors continue to assign them. And with very good reason. There is no better way for the student to become aware of the interdependence of the elements of music—how a bass and a soprano combine to form good counterpoint, and how this counterpoint relates to harmonic progression. A typical homework assignment might well consist of a melody and a bass; for this reason we have interspersed the two rather than separating them. For most units there are two groups of melodies and basses; those in the second group tend to be more difficult than those in the first. We might mention that, once past the beginning stages, students can benefit greatly from working out—and writing out—many solutions to an exercise, trying to determine the good and bad points of each, and deciding which is the best. The excerpts from the literature, which begin with Unit 7, are suitable for analysis at sight during the classroom hour as well as for homework. As much as possible, students ,

should do more than merely label the chords; they should concentrate on how the chords function, and they should be able to specify the techniques discussed in the unit that are exemplified in cach of these excerpts,

E, A. CG. §.

.

Preface.

iti

vii

List of Study and Analysis Examples

PART I THE PRIMARY MATERIALS AND PROCEDURES 1

1

Key, Scales,andModes

2 Intervals

\

3 Rhythm and Meter 4 Triads and Seventh Chords 5 Procedures of Four-Part Writing

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AS

9. 25 35

_

PART II I-V-l AND ITS ELABORATIONS 6 I, V, and V” 7 16, V6, and VII6 8 Inversions of V7

.

V: IV, II, and IIé The Cadential § VI and Ivé

9 Leading to

10 11

|

.

,

‘12 Supertonic and Subdominant Seventh Chords 13 Other Uses of IV, IV6, and VI 14 15

Vasa Key Area Ii. and VII

PART III

-

16 17 18 19

§, §,

AND

§

.

41 47 53 59 65 73 81 89 101 119

TECHNIQUES

3-Chord Techniques Diatonic Sequences §-Chord Techniques §-Chord Techniques

131 2

/139 159 171

+

LIST OF STUDY AND ANALYSIS EXAMPLES

L’Echo

Bach Bach Bach Bach Bach ‘Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven: Beethoven Beethoven Beethoven. Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Brahms Brahms Brahms

*

—

I

|

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.

Brahms Brahms Brahms. Brahms

Chopin Chopin

Brandenburg Concerto No. 1, II Cantata 82, I Chorale 1 Chorale 56 Chorale 62 (adapted) Chorale 72 Chorale 73 Chorale 217 Chorale 296 Christmas Oratorio, BWV 248, Grosser Herr English Suite, BWV 808, I Flute Sonatain C; BWV 1033, Geistliche Lieder, No. 45 ‘Geistliche Lieder, No. 53 Harpsichord Concerto, BWV 1056, III Little Prelude No. 5, BWV 928 Jesu, meine Freude, BWV 227, Motet, Two-Part Invention No. 7 Well-Fempered Clavier I, Fugue 17 Well-Tempered Clavier HI, Fugue 11 Well-Tempered Clavier II, Fugue 16 Bagatelle, Op. 33/2 Missa Solemnis, Op. 123, Kyrie Piano Concerto No. 1, Op. 15, I Piano Sonata, Op. 2/1, II Piano Sonata, Op. 2/2, II Piano Sonata, Op. 2/2, Piano Sonata, Op. 10/1, II Piano Sonata, Op. 10/3, I Piano Sonata, Op. 14/1, II Piano Sonata, Op. 26, I Piano Sonata, Op. 28, I Piano Sonata, Op. 28, IV Piano Sonata, Op. 31/1, I Piano Sonata, Op. 78, II Piano Sonata, Op. 106, II Symphony No. 5, Op. 67, I Symphony No..6, Op. 68 (‘Pastorale”), 1 Symphony No. 6, Op. 68, V O kihler Wald, Op. 72/3 Romanze, Op. 118/5 ; f Sapphische Ode, Op. 94/4 Schon war, das ich dir weihte, Op. 95/7 | Symphony No. 1, Op. 68, I Variations on a Theme by Haydn, 56a Op. Violin Sonata, Op. 78, I Etude, Op. 25/9 Mazurka, Op. 33/2

Iv

II

.

.

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19 11 15 12 13 16

16 19 sam.

17 15 15

19 12 19 17 13

12 15 12

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Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Mozart Schubert Schubert Schubert -

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Schubert Schubert Schubert Schubert Schumann Schumann Schumann

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14 17 17 18 10

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PRERUDANNNNYVWOS

Chopin Chopin Chopin Chopin Corelli

Mazurka, Op. 59/2 Nocturne, Op. 15/3 Noturne, Op. 48/1 Prelude, Op. 24/9 Concerto Grosso, Op. 6/9 Trio Sonata, Op. 1/1, Allegro Trio Sonata, Op. 1/3, Allegro Trio Sonata, Op. 1/10, Allegro Trio Sonata, Op. 2/11, Allemande Concerto Grosso, Op. 6/1, IT Harpsichord Suite No. 2, Adagio Messiah, Lift Up Your Heads Serse, Va godendo Serse, Va godendo Heiligmesse, Credo Piano Sonata, Hob. XVI/35, III Symphony No. 83 (“La Poule”), I Symphony No. 103, I Symphony No. 104, I Symphony No. 2, IV Song without Words, Op. 62/1 Symphony No. 4, Op. 90 (“‘Italian’”’), III An Chioé, K. 524 Cosi fan tutte, K. 588, Trio Die kleine Spinnerin, K. 531 Don Giovanni, K. 527, Madamina. The Magic Flute, K. 620, Act I Finale The Magic Flute, K. 620, O zittre nicht The Magic Flute, K. 620, Priests’ March The Marriage of Figaro, K. 492, Overture The Marriage of Figaro, K. 492, Porgi amor. Piano Sonata, K. 311, I Piano Sonata, K. 311, String Quartet, K. 428, III String Quartet, K. 458, I Symphony No. 39, K. 543, Symphony No. 41, K. 551 (“Jupiter’’), H Violin Sonata, K. 296, I Violin Sonata, K. 296, III Violin Sonata, K. 377, II Violin Sonata, K. 377, Ill Violin Sonata, K. 380, I Die Forelle, D. 550 Die schéne Millerin, D. 795, Der Jager ; Die schéne Miillerin, D. 795, Eifersucht und Stolz ‘Du bist die Ruh, D. 776 Piano Sonata, D. 850, IV Piano Sonata, D. 850, II Two Dances, D. 365 . Album for the Young, Op. 68. Albumblatter, Op. 99 Arabesque, Op. 18

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No, 14

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Key, Scales, and Modes MAJOR SCALES 1. Given: pitch and scale degree. Write the complete major scale. SAMPLE 5

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MAJOR KEY SIGNATURES 1.

Given: major key signature and note in the key. Provide key and name of given scale degree.

SAMPLE

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RIADS IN

A KEY

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

28

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3.

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derived?

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4. From which harmonic minor scales could each of these triads be derived?

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From which melodic minor scales could each of these triads be derived?

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TRIADS IN INVERSION

i.Given:

bass. Build triads up.

SAMPLE

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Given: top voice. Build triads down

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as the root, build indicated triads, -

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.

NAME Copyright

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

4.Given : key, roman numeral,

and figured bass. Build indicated triads.

SAMPLE

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V3

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116

3

*use natural minor

5 Identi:ify these

triads , giving root, qualiity, and Inversion.

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seventh chords according to the major key and roman numeral given. Name the quality of éach chord.

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©

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

SEVENTH CHORDS IN INVERSION 1.

Identify, giving root, quality, and figured-bass symbol.

SAMPLE

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2, Given: root, quality, and inversion. Write indicated chords. SAMPLE

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g 3. Write dominant seventh chords on the notes given. Then indicate the major

key in which each chord occurs.

SAMPLE

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key: E

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key

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4 3

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key:

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Write the indicated chords then name the quality of each

SAMPLE

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B: IV?

quality:

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All ri

a

Procedures of

Four-Part Writing _

ay

CHORD IDENTIFICATION Triads 1.

(a) Identify the following triads, giving root, quality (M, m, A, or a), and inversion.

(b) Assuing a key signature with

bass symbols for these chords.

SAMPLE

ra si

fe.

(ay

no sharps or flats, write the correct figured-

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3. Mozart, Violin Sonata, K. 296, (Allegro vivace) |

|

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7

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The Cadential §

PRELIMINARIES Melodic Fragments

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3

Set for four voices, using the cadential § wherever appropriate. In some cases § is not appropriate. Tell why. (a)

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(c)

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pace OR

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.

©

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

65

0 ‘66

LONGER ASSIGNMENTS Melodies and Basses 1.

FIGURED BASS

Ho. +

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MELODY AND UNFIGURED BASS, Use cadential¢ where appropriate.

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4.

UNFIGURED BASS. Before setting this exercise for four voices, study the bass line and determine the function of each note. Then provide figures for the bass, looking for opportunities to use the cadential §. In some cases there may be more than one correct possibility—in addition to some very incorrect ones, Work out the soprano next, and finally fill in the inner voices.

,

Presto Lp

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NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Ine. Atl rights reserved.

5.

MELODY (adapted from Haydn). Write an accompaniment in four parts, the upper three parts of which may freely duplicate tones of the melody. The resulting apparent parallel octaves and unisons are perfectly correct. Andante

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TUDY AND ANALYSIS Mozart An Chloé, K. 524

Allegro

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1989 by Harcourt Brace Jovanovich, Inc.

Allr‘i bitsfa

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2, Mozart, Violin Sonata, K. 380,

|

What is the function of the chord in bar 2? Study the relation between the and harmonic Whatis the justification for repeatphrase groupings progression. of chord succession bars 7-8 7-8 in the bars and 11-12? 9-10 ing and Allegro

|

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45

50

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© 1989 by Harcourt Brace Jovanovich, ine. All rights ri

—

I Vi

and IV®

PRELIMINARIES Figured-Bass Fragments (b)

{c}

9

)

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

11

74

{p

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rth}

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(voice exchange),

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ONGER ASSIGNMENTS Melodies and Basses

1

MELODY

g

>

vi

VI

BASS

rvé

IV

Iv°

MELODY

i bass arpeggio

4. FIGURED BASS

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

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4. Corelli, Concerto Grosso, Op. 6/9

re

17

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Rh.

e_

Adagio

5. Bach, Chorale 56

=.=

=

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}

Ww

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e

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NAME Copyright

©

Inc All rights reserved 1989 by Harcourt Brace Jovanovich,

a 6 Mozart, Piano Sonata, K. 311, ! {Allegro con spirito)

p+

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G7

(a Bx

ore SA




a

panesoi-s1y6: ts ‘pry 79445“YO AOUBAOCP ADE/g WhoseH Ad BB6L @ WBAdeD SWYN

Sa wea7

SHSEN

ok

aae esee.

:

BS

oS 3

ON

xk

ceeeo ON ey

ON ecA

NN 13k x Rae

’


5

3

3s

3

“i

es a 3

a

&

">

dim

el

ie

L

Se

a

J

__——-——}

dim.

q

=)

o

wo

|

A

\

Yz

2

i

Tt

|

au

lel

|

| AF

an

|p

eel

Be

=>

—_

|

ml

nal t

|

+

tT

Ae

,

«|

"

utd

bpd

Pam

WY

.

des

lj

9

a

A

¥.

ei

t-{-

Bich - lein

nem

>

hel

-

le,

6

=

Alel

6

i in

|—#-

i.

|

==

—_] da

mn

a

| eu

ofejet

= ——

jot

eee

if

T

+

3 eel

——

io

——_+

j

ie

a

—t ¢

_

“ be

F|

ow

-

ni

lteH

re

hb

i$

MH

a

des

1s

T

Fo-

=

H

rye

H

.

i)

fe

na

sche

i

rel

1

-

le

+

=.

vor-

=

A

>

~

&

z

-

a

o

g

3

in fro - her

id

os

rE.

i

~~ ot

if

baad

fs

g

dem

Pe

g

g

3

| B

g

.

5

wie

vu

ber

&

He

-

-

de und

A

au

J

iy

H

ny

.

’

;

4)

te

iP

41

,

il i

7

|

Cannel

——_——

tet

ee

ay

ie

;

.

She.

7M

-

|

“94

oe

==

le des mun

-

tern

Fisch -leins

Ba

Fisch-lems

Ba

-

de

om

—

bb -

Co.

——

RF

kla

PE

ren Bach-lein

zu,

$

—#-

f

des

$

=

—

de

—————— rem

[.

\

‘

'

THY kia

=

Leg

\,

25

{

3

a

|

|

ren Bach-lei

> Us

t

t

a2 — ——

of t '

i

—T

ete.

aa

we tins,

translation: In a bright little brook, with joyous speed, the playful trout darted like an arrow. I stood on the bank and, happily at rest, watched the lively fish bathe in the clear brook.

oe

NAME Copyright

&

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

3. Chopin, Mazurka, Op. 33/2 Vivace

dey

a

BPs

+

v4

Yo

y°

Se

ae

v4

ad

PLL

30

pe

me bene

DN

Piet

V5

a




SL

gi

o

ae

Y

~

&

&

Aon

Beas,278

OS

Xie

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, {nc. All

ri ig hts

re se ved

>

14

PROJECT: Handel, ‘Va godendo” This excerpt from Handel’s opera Serse is an assignment that combines analysis and writing. It is presented here as in the original score: voice accompanied by continuo (unfigured bass), and orchestral interludes (violin and flute). Complete the accompaniment by adding three voices above the bass and by adding one voice between the violin and flute. In your analysis, note how the tonicized to the form of the excerpt. V relates

See

“

*

.

?

.

Romilda

.

.

= va

ie

T

ee es -

go

den-do

vez

soe bel-lo

scel-!o la

quel ru

:

|

|

le

¥

ey? y

¥

c=

etc,

orchestra I

fe.

te

x

|

‘

basses

fe =a

—

*

ee

"4

|

5

7

-

ber

-

ta.

wen

),

|

Fras

violins|

ee

li

=

al...

¢

ar

116

sak

rae

4

EG:

117 be

— basses

10 e¢

+

:

*

con

fy |

on

de

chia - re

im!

—

lie - to

ey al

—¥t

4a -

ma~-

re

cor - ren - do va,

.

e 2. e e

ef

a 7

‘dl

yx

J

5946

15

—— cor-ren-

=

os do

va.

x

a

vin

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, tne

_

All rights reserved.

14

118 :

.

fh

=

=

C2

}

Va,

vs

-

go

den - do

par,

ca

|

Hes ae

f. be

ra

2

Hers

ry]

i

Gj

A

vin.

basses

J

a

6o

a

Zz.

I

fn

20 |

vez

=|

- zo -

so

e

v

1

bel - lo

quel

i

ie

ru

{

scel - lo

la

By oe

\ |

=

= fe

1” was

e BP

7

:

+

:

tos

usa

|

,

vin.

basses

li

- ‘ber

e

ite

1

basses

ta,

fl

+

te

A

vin.

j

translation: Merrily and gracefully flows the freely runfting brook. And with limpid waves, it rushes ously through the grass to the sea.

15

If

and VII

PRELIMINARIES Bass-Line Fragments with III

n th following exercises. Write a different soprano for Use HI, but not the each repeated bass lines. ‘hese basses are mostly unfigured,

VI,

(c)

(b)

(a

D9 POET

o

rane an

a any

.

as

le

a

tL?

5h

F

is

III

Vv

(d)

ay

III

Vv

Vv

(e)

4

-

¢——

— _—

.

he

Rf

oe

|

P|

|

(f

(h)

(g}

Le

|

J

p-

E pag

Il

ms “4

4

{

LIZ td

.

Ill

. 2

NAME Copyright

:

a

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

om

15

449

a

41) bu

St

ill Til

RECON

IRI SSN ASU

| GUI

ALL

ee

. oe SMT

Bo

SON

ONSEN OAS

15

Figured-Bass Fragments with II] and VI

121

Use both Hi and VIE in this group of exercises. Again, do not repeat over a repeated bass. (c}

{b}

(a)

tat

——

a

soprano

soprno in parall el LOths

2

|

Da a _

Oo

6

6

soprano not in parallel 10ths

(d}

{e)

+

et ft

ft

te

4

oF

x») 4

:

'

"

Ce

\ 6

LA

=

zi \

6

*

a

6065

(g)

vs

|

S

Se

6ors

~(h)

»*

—

5

a

a

:

oe

|

7

rx .

2 7

~—-unfigured

a

6

$

#

bass

2 x:

L%]

=

oo

—¥

;

&é

NAME Copyright

-

©

1989 by Harcour t Brace Jovanovich, Inc. Ali rights reserved.

15

122

LONGER ASSIGNMENTS Melodies and Basses with ITI Use

IE, but not VII, in the following settings.

FIGURED BASS

1.

A 1. lz

o

]

we

Bt

fo

as 6

f

f

6

[

,

y

7

‘

*

i ‘

an

e Lt &>* Bs;

f

ae: lz.

fei

-

6

6

\

g

r

7

MELODY

2.

tonicize III

A

NS

*

=

=

J 1

e

=

]

—}}

I

=

fi

0

|

=

e

‘ ryt

i

¥

ee

il

L

oo

eo

overlap

OK

|

=

LD.

t—f -

deceptive cadence 1

|

I

A |

|

IN

—s e)

|

== *

=

S

=

i

1

ry

N u -

+}

I

or

*The 16ths need not be harmo

.

4.

a:

|

a

aa

|

)

=

Allegro

>

FIGURED BASS. Set in keyboard style. 3.

e e

[

lf va)

°

°

ay WRN NON

6

i

5

15

7

4, MELODY

4

te

Jeet

hd

TT?

‘

TW

+

:

-

a KOA

Os.

PS xX

.

Yea

ES

bd

S PNY

oh

ARPES

a

KG anhas of en eeskin

'

|

’

NAME

5 8-

ag

z

2

=)

x

=

=

3

8

&

g

ao

9° o =

an

Be

=

a

FA

©

to

“ =

>

8

.

yd

43

|

‘

|

O43

»

fs

a

4,

|

|

|

|

15 5, FOLKSONG. When the

melody skips down, the right hand of the accompani-

ment can stay above it.

(English)

{

A

il

al

Bee

@|

Ml

|

peas

124

nA

10 |

(P)

wr

vo

eu

15

NAME Copyright

© 1989 by Harcourt Brace Jovanovich, Inc. All-right

15 ,

126 ~~ Melodies and Basses with III and VII

UNFIGURED BASS

1.

=F po *The 16ths are figuration; sustain the upper voices. 5

ps ey

1

.

tr.

=

iy

eT

MELODY (adapted from Chopin). Either a four-voice or a piano setting is possible. ‘Use two different chords per measure.

2.

=

=

|

——

ii,

ie.

PAPEETE

Ws 3

pp e

hy 7#—1t

2

2

i

+

®)

. .

bate hig

Sus |

vv

§

¥

Tre

nm

+

MELODY

ey? 3 x)

el

[>]

Mat

A

4

yj

III

ae

10

QO

3.

aH

15

I ii

a

4

J

oe

ae ae |

|

O

J

3

*don’t harmonize

NAME Copyright

a

© 1989 by Harcourt Brace Jovanovich,Ine. All

git

15

STUDY AND ANALYSIS 1. Schumann,

Symphonic Etudes, Op. 13, Etude 9

—

(Presto possibile) ¢

s¥

e

¢

i

—

iw

_

:

as

be

fge0tt

:

faggettg

—

2. Bach, Geistliche Lieder, No. 45 fp

=

by

k

ty

1

;

=

: 6

5b

5-6

6

SN

4

6

4

b

3. Bach, Chorale 62 (adapted) i

t

|.

|

es.

|

1

3

ON

\

}

jt

T

SS

fa .

£ t

43 t

! t

/

ae

Jaye—*ad

oo

,

Sp}

i

L

13

+

ve \

\

|

‘i

t

toe fad

ia.

4. Bach, Geistliche Lieder, No. 53. 5

Ihr

tie

Ge - fes

-

stirn,

Rund,

ihr ihr

ho -

hen

dunk-len___

Lif Klif

-

te, te,

$4

und die

du, der

lich Wi

der

Fir - ma schall zer

a

ar

ATK

128

ment, trennt,

15

ir

ts F 4

itzt_

itI

6

6

4

7

as

=

|

bis

-

Vt

13

durch.

die

-

Wot

[—~

i -

an

4

kid

6

6

6

|

T

OO

.

ial

.

—H

i

6 4

6 5

ee

drin- gen .

ra

|

t

3

ken

p-

4

2 i

i

a

i i

aL}.

I

3

translation: Bright stars dark chasms, shout with joy! Let your singing reach the clouds!

{from Marriage of Figaro, K. 492}

5, Mozart, “‘Porgi amor’

x

(Larghetto) Contessa

he

qu

“oe”

=

orchestral reduction

|

~

T

t

mio

t

t

2 my

—_———-7

¥

-

a’

duo

T

|

a

lo,

Meee2

Md

T

+

-

miei

i

so

x

Sos

i

-

spir

2

: }

i

|

I

T

7

if

¢

=3

t——t

—

~e

J

~e

|

on

rt

3

translation: Deliver, love, some solace to my grief, to my sighs.

.

NAME Copyright

© 1989 by Harcourt Brace Jovanovich,

Inc. AH rights reserved.

67 .

eS

Yb BO

ben's

per

Eh

15

33/2 Beethoven, Bagatelle, Op.

|

4

Ya

¢

Sy

ze"

NaN ae, eo

*

ip

estes

Ke

sete

6

Pe Sy

p

T

os

Zz

Myus

——___ +

25

ae

f

= a

oy

=

if

Z T

7

q

i tc.

—

digit

Minore

17

alll

6.

ry

130

|

16 3-Chord Techniques

Because exercises using root-position chords alone are necessarily artificial, the writing assignments for this unit consist only of short drills and one longer exercise using V in minor as a minor triad. But, needless to say, the techniques you will practice in this unit are important for your written work in all subsequent units,

PRELIMINARIES 1.

BASS-LINE FRAGMENTS

\

rx)

1

(b}

.

5

3

— '

o-

+

°

VL

VL*

{c)

o

{d)

= |

CY)

é |

+e

; t

+

Tt

i=

r

|

*VL = voice-leading chord .

NAME Copyright

=

© 1989 by Harcourt Brace Jovanovich, tne: ALE rights reserved.

16

131

16

132

>

fe)

"nF L

>

:

v4

—s

Z

G |

(a

th) |

|

cz :

_—-

~

—

Ff t

I-

Tt

md

\

i)

[

|

e my

i. 4

2.

Supply the missing chord, using root-position triads only. (b)

fa)

(c) {

4 13

##N

IN |

|

if

+

G—

:

i

{

i .

8

-

5

8

8

I

10

4

g A)

I

i

|

B

8.

3

aS

(e}

1

(f)

133

(h)

(g}

Ih

10

6

Thy

Sy

ARES oe

Be

cs

L

oN

an

=

& |

NAME Copyright

.

© 1989 by Harcourt Brace Jovanovich,

Inc. All rights reserved.

16

134.

LONGER ASSIGNMENT Sarabande

©

Set in free keyboard style, using V as a minor triad where appropriate. The number of voices may change as necessary. Not too slow

b

oF

+2

——

}

|

an

t

A.

;

hb e

I

e-

=

—~—

i

.

i

10

{

j

:

ad

eo

+

d

_

|

1

.

.

J

=

we

3aN s

us

4# ee,ate

Ny “

Sy ROA

s

NN

GS

erraove ox coeth

e

Se ae aia Oe COVE

#

3

i

Re aue Soe yeteeaohens sn "ones‘ws mae ce Ss

a we

]

oo

%

Cliduenccue, Rats

ee

“

vengoaabae

RaMCE TC

ENON

Ly

Me.

ot

Loa

resered

3

36

20

=

‘etycs

NAME

Al taht

1989 by Harcourt Brace Jovano vi ich. In

©

Copyright

7 3

La

r id 6

xansKe ail

ae

LJ

.

|

Ir

j

}

¢

AND ANALYSIS

e the

function of the starred chords in the first five excerpts,

Chorale 296

a;

ws

Chorale 217 Om 1

dd La

|

|

eid tT T

¢

ws

st

=

iz

2 1

|

|

NN. =

f°

w

oven, Piano Sonata, Op. 14/1,

10

legretto)

| “TR

i,

oft

30

5

'

+

y

?

'

16 4. Schubert, Piano Sonata, D. 850, IIt

137

(Allegro v:I¥ace,)

310

Be, Ys

aeaN; oe

vé

COS

31

“gh LL

: Ail

WAR

Scone

32

be

dinnit,

5. Chopin, Prelude, Op. 24/9

F

ml

gait

|

|

le

Se {|

*

a

*

EBL!

@

*

ia

Copyright

© 1989 by Harcourt, Brace Jovanovich

All rights resetv

ed

NAME

”

sa SSE

|

oven, Piano Sonata, Op. 2/2,

EI

nifies the chord succession in this excerpt? argo appassionato)

a

|

ft

sf r

|F

a rk

SSS=: ieee

—

Hat

a) QIN)

aL

J) wall

ent

A

Qu

J

4

)\

kd

+

3

a

J

(Allegro con spirite)

HH

eh eH

HF

ae al

i

Cae

eel

fT

all

a

A

le

i”

ULL

Rr

“7

all)

*

il

AR

DR ar

SH |

|e

(.

D

i

;

al ry

Uh

LS, Hd

4) te b

ii )

55

@

|

ees

TT

am

i

i aan REAL

rr]

raise

Wi

eu

Re!Ss

ka

ni

|

Us

ot

AIT

|

Hi

WH

|

4 CY

tl

|

Te

Al, .

|

WH

thyee

ry Te

ithe

:

LU

°

_

a»

= oe

ae

nee

HT

;

bs

oi bebe

a

,

1.

’

‘

a

Lil

el

ane

na!

tHE el

-

aie

ce

ior

Cae

Ot

Lt

LY

-

M4

TH LLL

it

sane

al HH]

ned

§ &

'

§ 2

4

1

q

Taga

ir

§ e ‘

q

‘

H

8




a?

_-

f

:

;

2

a

z

_ tS

a

e

*+ = iz

oe.

j

4

t

+

be

*

*

*

*

ha

*

kf

NAME Copyright

© 1989 by Harcourt Brace Jovanovich,

Inc. Alt rights reserved.

19 4-Chord Techniques

PRELIMINARIES Strong and Weak Beats

Put in correct bar lines, using

3 and 3

only. In some cases two versions are ,

possible. |

tb)

ta)

a

re

J

,

.

[|

a

4

|e

,

——— +

J

2

¢

2

|

—-—-

|

|

{co}

fy}

'

|

|

T

—_t

(a)

I

T

T

IA:

‘

=.

|

re Fi

as

i

4

i i

|

—-——— ; |

5—

r

f

r

°

T 1

|

]

7

.

|

-

a :

4 oH

=o

Fr

an ant

i

==

42

:

i ]

I

\

|

i

P

= 19

NAME Copyright

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

171

19 _

Melody and Bass-Line Fragments .

(c)

(b}

fab

_f_

{

|

n

aa

:

—

|g

lL

li

tt

a

|

_d

e—

——

(d}

_t

|

|

e—

:

6

; +—

§

(e

§

+

(f :

+

by

2

+

aaa ry

J

1

bass: whole note

f

—

b—

i

different whole note

|

(g)

6

th)

#

1

|

8

(i)

fy

ae

ae

i

Ae

OH

—

T

bp?

bass: whole note

:

= |

(9)

‘WD

fh

{k}

4

“6 }

im +

-

e 3

qT

()

t

bil

|

{

i

n

13

LONGER ASSIGNMENTS Melodies and Basses

1

OUTER VOICES

1.

A

a

—|

|

V

Can 4 oe,

:

wa

|

e rFAu

al

Le

= ‘

¥

=

}

+

|

|

¢

\

‘

{

|

10

S

Zz

@)

>

o

beers

b=—

2.

OUTER VOICES

—~

=

i

:

|

@)

=

==

——

NAME Copyright

——

i Jovanovich, Inc. All rights reserved, © 1989 by Harcourt Brace 3

19

174 3..MELODY

ee

a

as

10),

e-

Melodies and Basses 1.

2

175

FIGURED BASS Mesto

(O4

|

|

ae

ery 49-54"

h

fo

De

5 3

6

4

85 3

6

6

4

6

[7]

6

4

4

7

2

(or

6

4) 3

|ct

o

=

Le] [>] [pT 74

Tr

me

—

deg

XY

\¢

10 | 7

5

id

:

~

se)

a

ft |

NAME Capyright

oH

Ww

yg

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

19

MELODY. Use § chords at the starred points.

.2.

Scherzando, ma non troppo allegro *

Pi

Vv

iu

b

EEE +

a

zt

l

x

P.

:

ou

Sete w—t te ee

= 45

t

Pp

at

J = t

:

ry

6

4

207

i

|

*

176

STUDY AND ANALYSIS

-

1. Corelli, Trio Sonata, Op. 1/1, Allegro 40

38

or

he

=

violins

|

Qi

ote

«

—

—

Lal

45 Q

i

rf

T

+

t

:

¢__ |

F}

2. Bach, Motet ont. ;

iL

“sopranos das -

Ge

des | Geistes,

r

altos denn

Denn,

ma - chet

~

(from Jesu, meine Fr

:

.

in Chri-sto

stes, der

da

|

a

ji - setz Ge

das

in

Je

le~ ben -

-

-

der

dig

ma

-

chet in

da

z

r}

@

des

Gei

Chri

Chri

ben

te-|

sto

-

sto

translation: For thg law of the Spirit, which flouri

NAME Copyright © 1989 by Harcourt Brace Jovanovicl

19

3. Bach, Harpsichord Concerto No.5, BWV 1056,

111

(Presto) 93 1

95

———_————— di

go

harpsichord

hl

A >}

+

.

=

4

oo

.

&

ee es

|

a

lat

Sc [

|

t

ee es |

Sens

ay

|

(piano)

rir

eu

orchestra

ql

178

SE

|

aa 4. Bach, Cantata 82,

179

!

7

oboe BES

aN

Niven

violins 1

and 2

5?

violas

-

continuo

.

8

(from Christmas Oratorio, BWV 248)

5. Bach, Aria, “Grosser Herr’

i

—

ey

——]

|

trumpet

+

=

flute and violins 1

=f

:

{

oe

fort -

violins

———

2.

J—

¥

forte

violas

Ly.

y.

ja

i,

fe

a ———— a

a

a

continuo

fe

|

6

6

4

ee

|

6

rn

=

1

2

+

eens

ees

a

NAME Copyright

© 1989 by Harcourt Brace Jovanovich,

ese

—

.

if

+

F

tT

Te

ie

ie .

hel

+

=

—

——

4.

ae

me)

ie

—

re

Lf

Es

$6

4

}

5

t

5

6

6

6g 4

g

°

¢

A

\

\\ art, O zittre nicht

(from The Magic Flute,.K. 620)

is unusual about the treatment of the starred chord? ©

(Allegro moderato)

L

of

64 nc

ae

ht

@

m

+

++

—+

p Y«

a E

al

sie

du,

SS

©

ie

oe

j

p-¥

=:

zu be-frei -

a

1

ert

hen,

oe —,

p

2

i]

.

rl

-

ge

|

fal

:

.

tt I

=

J]

.

I

Du,

at

ine

ae

.

ne

a

i

roy i conan oe

|

f 1

t

iI

{

i

|

r

oe

hel

translation: You ‘will go to set her free.

7, Mozart,

Violin Sonata, K. 296,

1

19

481.

Alt gro

Nr?

rT

FO

ed

5

TN,

LL

Ted

aft

Cyne

a

Ou

&

AL

CU

SMe?

aK

i

a

ri

ui

lo

Rid

__ GN

4 Hh

mth

a)

tik abe

At an

sett

e111

WI108

eee

tt

eS

——

feted

tas!

Te

eB

ans

toes

i]

4.

10, +—

{

a

ae

a

I

ws ao

ee

Sy a =a...

NAME Copyright

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

19

182

8. Beethoven Piano Sonata, Op. 2/1 (Adagio) =

9

f

7

{

102! Poa

|

I

of

Re

f

o

+

S—

———a

ry

fas _!

9. Beethoven, Symphony No. 6, Op. 68 (‘“Pastorale”’), |

2

(Allegro ma non troppo) In

clar.

3

3

:

j

=

:

.

re

bees

=

‘ey

4

bsn.

.

Ups

10. Beethoven, Piano Sonata, Op. 78, I! (Allegro vivace)

—

N

a

t

rf

~

®t

oF

|

cresc.

a a

15

_~

£

7 7

{

a

:

_—

a

ba

&

-

'

%

3 41. Schubert, Eifersucht und Stolz”

(from Die schdne Miiilerin, D. 795}

ox

¥.

ih

-

ren

a

-

ten,

lo - sen,

kiei - nen

ae 1

= ~

fe

rin

4

fiir

TSS

re leich

-

k

wl

Mil

aap

*

Tt

Flat

ae

2 a

-

3

Ty

ter -

sinn,

a

STs SSCS |

LA

Mil

schilt erst

a

translation: Come back and chide your milleress for her thoughtless, fickle, petty, and flirtatious ways.

12. Schubert, Piano Sonata, D. 850,

IV

{

Allegro moderato

mil oe

.

“Tl

ey, Maes

TW

(Geschwind)

2 NAME 1989 Harcourt Bface Jovanovich, inc. AX rights reserved. by Copyright ©

.

_

oS .

19

184

13. Schumann, String Quartet, Op. 41/1,

Discuss the unusual treatment of §. (Allegro) 46

|

————___

14, Schumann, “Du Ring an

(from Frauentiebe und Leben, Op. 42)

Finger’

meinem

‘

(Innig) 13

j

rr

I

=

fand

:

;

t

x at

————t

Tz

Th

mich,ver - lo

al-Jein

+ f

ram e

-

Ten

+ ©

rs

im

0

t t

tk

t

-

den

wl

i

t

un-end

-

li-

*

t

a ne

2.

oi

chen Raum.

rd =

Du.

rl

t

*

€

aL

ay

PH

_

|

(P}

translation: [I] found myself alone, lost in a bleak and boundless space. Oh ring on my finger . . .

19 15. Brahms, *’O kiihler Wald,’’

p.

185

72/3

(Langsam) 4

ay

TEE:

:

sind

ver

- weht

if ———

—_—_=—=

op

—+.

ae

—_

=

ae

wy

:

16. Brahms, Sapphische Ode, Op. 94/4 Ziernlich langsam

—=

1—t

©

I

T

1

_

Ro - sen

Ld

ich

brach

T

f

t

|

(

1

nachts

¥

ss

Cd

mir am dunk - len

Ty

V

+

|

1

1

i

t

t

T

Pee

Jd

Ld

\

kt

t

{

T

Ha

7

-

a ges

¥

jp mezza vace

2

=

2

vs

a

=

;

translation; At night I would pick roses on the dark meadows.

&

NAME Copyright

.

© 1989 by Harcourt Brace Jovanovich,

Inc. All rights reserved.

15,

Schén war, das ich dir weihte, Op. 95/7

nfach Ly

¥

.

P

¢

wo»

ra

-

Ty

==

the

t ut

das gol-de - ne

Ge-schmei

A

i

SS

a.

Bat

=—

—

tle Ty

1

t

t

te,

#@

t-

?

{

z

-

das ich dir weih

Schon

=

>,

Ld

SSS

it

I

a

SS

SS

=

der Lau -te

de;

pup

translation: Lovely was the golden jewelry with which I honored y sweet was the lute’s [tone] ,..

if yy

4

OO any

mene

ne ne

my

ILIUM SECOND EDITION

eile

EDWARD ALDWELL

CARL SCHACHTER

a eos

ati

am

ig

2

PO

ww

gett

£

SO

cape

Tie

Qe

We

wie he |

ad

og

SRR TS

St MA “Hg AT ae