WORKBOOK FOR
ona arm on WITH AN INTRODUCTION TO TWENTIETH-CENTURY MUSIC FIFTH EDITION
Stefan 'Kostk.e:, 'Dorothy :Payne-'
Workbook for
Tonal Harmony with an Introduction to Twentieth-Century Music Fifth Edit i on
Stefan Kostka The Un;vers;ty of Texas at Aus6n
Dorothy Payne The Un;vers;ty of South CaroUna
Boston Burr Ridge , IL Dubuque, IA Madison , WI New York San Francisco St. Lou is Bangkok Bogota Caracas Kuala Lumpur Lisbon London Madrid Mexico City Milan Montreal New Delhi Santiago Seoul Singapore Sydney Taipei Toronto
CHAPTER 9
PART I Fundamentals
Triads in Second Inversion
1
CHAPTER 10
CHAPTER 1
Elements of Pitch
Cadences, Phrases, and Periods
1
Elements of Rhythm
Non-Chord Tones 1 87
11
CHAPTER 3
CHAPTER 12
Introduction to Triads and Seventh Chords 19
Non-Chord Tones 2 93
PART III
CHAPTER 4
Diatonic Seventh Chords
Diatonic Chords in Major and Minor Keys 31
The V7 Chord
The 117 and VIF Chords
CHAPTER 5
Principles of Voice Leading
35
CHAPTER 6
Root Position Part Writing
41
117
CHAPTER 15
Other Diatonic Seventh Chords 125
PART IV
CHAPTER 7
55
Chromaticism 1
CHAPTER 8
\...../ Triads in First Inversion
99
CHAPTER 14
35
Harmonic Progression
99
CHAPTER 13
PART II Diatonic Triads
79
CHAPTER 11
CHAPTER 2
~
71
135
CHAPTER 16
61
Secondary Functions 1 135 v
vi
Contents
CHAPTER 17
CHAPTER 24
Secondary Functions 2 149
Augmented Sixth Chords 2 235
CHAPTER 18
CHAPTER 25
Modulations Using Diatonic Common Chords 163
Enharmonic Spellings and Enharmonic Modulations 239
CHAPTER 19
CHAPTER 26
Some Other Modulatory Techniques 179
Further Elements of the Harmonic Vocabulary 249
CHAPTER 20
Binary and Ternary Forms
187
CHAPTER 27
PART V
Tonal Harmony in the Late Nineteenth Century 261
Chromaticism 2 197 CHAPTER 21
Mode Mixture
PART VI Late Romanticism and the Twentieth Century 261
CHAPTER 28
197
An Introduction to Twentieth-Century Music 279
CHAPTER 22
The Neapolitan Chord
209
CHAPTER 23
Augmented Sixth Chords 1 221
•
Thi~ icon denotes a listening example. For a list of the recorded examples, see the last page of the workbook.
Part I Fundamentals
TS OF PITCH
EXERCISE 1-1 A. Name the pitches in the blanks provided, using the correct octave register designations.
C4
1
2
ex.
3
4
5
6
7
B. Notate the indicated pitches on the staff in the correct octave.
' •
G2
l fJ=
CS
F3
B4
llllR
1 lR
E2
AS
03
G4
II E3
BI
OS
F4
A3
04
C2
A3
E6
Student Wo rkbook
Chapter 1
EXERCISE 1-2 \____./
A. Notate the specified scales using accidentals, not key signatures. Show the placement of whole and half steps, as in the example. A~
T\
C S
I S T S
...... !
I
S
7 \
I S~
' ~.
(
I\
S 7 < r
SJ
I
S
•
~>
I
•
S
•
2
<
A
#
major
119:
II
0 major
G major
llE
119:
II
m major
B major
& &
119:
m major
II
D major
llllE
II
B. Identify these major key signatures.
_f_ major
1
ex.
C.
major
2
major
3
major
4
major
major
5
6
major
7
Notate the specified key signatures.
& A~
major
major
9: m major
11!2= E major
11& G major
11& F major
11:1= m major
119:
II
C major
11& C# major
II
3
4
Tonal Harmony
D. Fill in the blanks.
Key signature
Name of key
1.
Nmajor
8. seven flats
__ major
2.
G major
9.
F major
3. five sharps
__ major
10.
E major
4.
Eb major
11. two sharps
__ major
5. two flats b
__ major
12. three flats
__ major
6. three sharps J:J::
__ major
13.
G~
7.
C# major
14. six sharps
__ major
Key signature
Name of key '----"
E.
Fill in the blanks, using the example as a model. Major key
Key signature
Scale degree
ls this note
Ex.
c
()#/~
G
1.
E
5 3
2.
2#
C#
4
3.
~ ~
4.
5.
3ll
6.
6#
2 C#
major
Student Workbook
Chapter 1
EXERCISE 1-3 ~
A. Notate the specified scales using accidentals, not key signatures. The melodic minor shou ld be written both ascending and descending. c (natural)
• f2= • •'* I
•
~.
e (harmonic)
b.
II
b (natural)
ab (harmonic)
lR
II
g (melodic)
a# (natural)
d (harmonic)
11:2=
llE
II
d# (melodic)
~
' ,.e
II
B. Identify the type of each scale as major, natural minor, harmonic minor, or melodic minor. Any melodic minor scales will be shown in the ascending version only. 1.
2.
Ha tto #11 a ~II la U11 l f2= &a
3.
llE ~a #11 a la
II
a lz1 a bo II
la ~II 11llR&a ,,, , a lz1 &a I
I
lz1 I
a lz1 II I
6.
5.
\.J
lz1 I
4. II
9:
II
&a
u
a ,,, , &a
II
a
II
a
ll@n-ftu a tfo la
II
a ~II II
5
6
Tonal Harmony
C.
Identify these minor key signatures.
a
minor
ex.
minor
minor
minor
2
1
3
minor
4
minor
5
minor
minor
6
7
D. Notate the specified minor key signatures.
9: e~
c~ minor
minor
~:
a~
11&
g minor
119:
11&
e minor
E.
119:
11&
a minor
11&
d~ minor
minor
II II
fminor
Fill in the blanks. Key signature
Name of key
1. three sharps
_jJL minor
8.
2.
e~ minor
9. two sharps
minor
3.
c# minor
10. seven flats
minor
4. five flats
5.
minor a minor
Key signature
11. 12. one flat
Name of key g minor
e minor minor
6. four flats
minor
13.
c minor
7. seven sharps
minor
14.
g# minor
Chapter 1
Student Workbook
EXERCISE 1-4 "--../
A. Provide the numerical names of the intervals by using the numbers 1 through 8 .
I
I
I\
.
\I .II
~
I
..II....
-
--
-
..,_
--
v
-
" 11-
..--
--
Tl
<
It \
L
,_
..
-
-
•0
2
1
--,.._
-
5
6
4
3
-
,.
"-
8
9
7
" "
--
--
10
11
,.._
-
-~
,.
12 13
14
15
EXERCISE 1-5 A. All the intervals below are 4ths, 5ths, unisons, or octaves. Put a "P" in the space provided only if the interval is a perfect interval.
"---'
' fJ=
II&· ~·11
•• 4
5
1
II • II 5
5
12
4
5
5
6
4
5
14
~=
4
15
16
4
5
8
7
i II : II •• II ~U: II
8
13
II •• I &= I b II
h, 2
: II
9
~:
II 8
10
II #: II 4
5
18
17
19
3
12
3
13
7
5
6
1:
II ~. II
7
14
I: 11 b: II· ·11
3
7
4
3
~· II &&:s: II &Z II
6
11
2
3
6
1
'
4
II #: II i II !z: II ·&·II
20
All the intervals below are 2nds, 3rds, 6ths, or 7ths. Put an "M" or an "m" in each space, as appropriate.
fl= : 1
\.J
t: II
:
11 • ·11
4
3
......
#:
:
8
2
11 B.
t: II
3
6
15
16
8
II
I: I 7
10
9
t: II -= II -= II 7
2
17
I 3
2
6
7
&..
~·
18
7
6
19
20
7
8
Tonal Harmony
9=,,. &.II -
c.
2
21
.....
~.
lz•
11 •• n-11 -
2
3
22
I k~ I #' I 6
2
7
24
23
1:
25
I ; I 7
26
27
••• I
6
.
2
3
28
29
I
30
Notate the specified intervals above the given notes.
=~= • I &. I • I • I &. I #· I • I • I &• I #• I P4
m3
m6
M2
P4
PS
m2
PS
M7
m7
1
2
3
4
5
6
7
8
9
10
&
~.
I
I #• I • I • I • I • I &. I
lz•
I • I
M3
•·
P8
M6
____l!!2_ •
M3
M7
P8
PS
M6
m2
11
12
13
14
15
16
17
18
19
20
I I· I &. I • I • I
t>= •
n· I • I &. I
&.
I ~· I
m3
M2
M7
M3
M6
m7
P4
M7
M6
m2
21
22
23
24
25
26
27
28
29
30
lz•
I H• I
&
&. I I I ~- I &. I #• I • I I • • ~· M6
M3
m3
M3
PS
m2
m6
m7
M7
M2
31
32
33
34
35
36
37
38
39
40
I =~= • I lz• I #• I #• I #• I &. I • I • I & . . . m6 M2 P4 m3 m7 PS m6 PS M7 41
&&.
42
II • II
PS
P4
51
52
43
45
44
•· •· II
II
1z •
46
47
48
49
•· I m2
50
II &. II • II • II #• II ..... II
m3
m7
M2
P4
M6
m6
m2
M3
53
54
55
56
57
58
59
60
Chapter 1
Student Workbook
EXERCISE 1-6 \..J
A. Most of the intervals below are either augmented or diminished. Name each interval.
u: 11 ~: 11 ~1·: 11 u: 11 ~:
f>:
1
2
ti: II
'
~
.
11
3
b..a. ~·
II
12
4
1•
II
5
14
*:
6
15
II
~...
II :
8
9
7
•: II ••
II ~= II n= II
13
II
16
II ft: II 18
17
II
~: 10
II
·= #: 19
II
II
20
B. Label what each interval becomes when it is inverted.
1. m3 becomes
2.
5. M2 becomes
+s becomes
6. +4 becomes
3. M6 becomes _ _ _ _ __ 4.
c.
' ~:
0
7. PS becomes
7 becomes
8. m7 becomes
Notate the specified interval below the given note. (You might find it helpful to invert the interval first in some cases.)
•
II • II • II II• II
b...
II
•
b..a.
II ~- II • II ft• II
II
M7
P4
m6
+2
m7
M3
+6
05
+4
M6
1
2
3
4
5
6
7
8
9
10
lz•
ti• II ~- II II
U• II • II
lz•
II
~.
II
•
• II I• II II
m2
M3
+6
M2
05
m3
07
P4
+2
+4
11
12
13
14
15
16
17
18
19
20
9
10
Tonal Harmony
• II tt• II • II
' ~:
b~.
II
~
.
•·
II
~.
II lz• II
II • II ~· II
m7
P5
m3
m2
P4
M7
m2
05
M2
+6
21
22
23
24
25
26
27
28
29
30
• II
b. • • • II II II • II II #• II • II II
iJ•
II
m6
•·
P4
M3
P5
+1
m3
P5
07
M2
M6
31
32
33
34
35
36
37
38
39
40
D. Label each interval in this melody (from Wagner's Gotterddmmerung) .
@~ I r 1
10
E.
11
I ~t=1
.w 2
13
14
15
l:ij;I J
!J.
4
3
12
3
-----
5
16
17
J
7
6
18
19
8
20
21
9
22
23
Beneath each harmonic interval below, indicate whether it is consonant ("c"), dissonant ("d"), or dissonant only if the bass has the bottom note of the interval ("d bass"). 1. m3
2. M7
4. PS
5. M6
9. m2
10. M3
c d d bass
6.
c d d bass
0
5
7. P4
8. PS
!J.
24
TS OF RHYTHM
EXERCISE 2-1 A. Show how many notes or rests of the shorter duration would be required to equal the longer duration .
B.
ex.
J x__L = o
1.
.J x _ = J
9.
2.
) x_ =J
3.
J1 x
4.
/" x
~x
= .J
10.
.J. x _
=J
= .J._,)1
11 .
J1 x
=
= ...-.•
12.
~ X_= /
5.
~ X_ = ~
13.
6.
.... x _ _ =
i:
14.
~ x_
7.
.J x --=
~
15.
) x _ = J.
8.
Ji x
~-
16.
) x __ = o
=
~· X
__
.J.
= ._.•
= ~·
Sing aloud each of the songs listed below. Then identify the meter type of each, using the terms duple, triple, and quadruple.
1.
"Auld Lang Syne" _ _ _ __ __
2.
"Star-Spangled Banner" _ __ _ _ __
3.
"Pop Goes the Weasel" _ _ _ _ _ __
4.
"America" ("My Country, 'Tis of Thee") _ __ _ _ __
5.
"Swing Low, Sweet Chariot" _ _ _ _ _ __
11
12
Tonal Harmony
C. Scale review. Fill in the blanks, using the melodic minor for all minor-key examples.
ex. 6 is F# in
_2L_ (M)
1. i7isCin __ (m)
8. __ is C# in b
2. 4is __ inc#
9.
3.
4.
is A in F
5is C# in
5. 2.is
i6 is
__ (M)
10. __ is F# in g
__ (m)
11. 4 is G in __ (M)
in E
12.
6. 7 is A in __ (M)
7.
6is C in
in c
13. 14.
5 is
in G is Al. in f
t6 is C# in
__ (m)
Student Workbook
EXERCISE 2-2
V
A. Fill in the blanks.
Beat and meter type
Beat note
Division of the beat
1.
c
2.
Simple triple
3.
Simple duple
B.
J
.n
Ji
4.
5.
Time signature
Simple quadruple
2
n
Renotate the excerpts from Example 2-1 using the specified time signatures.
"Jingle Bells"
"America the Beautiful"
" Home on the Range"
Chapter 2
13
14
Tonal Harmony
EXERCISE 2-3 A. Fill in the blanks.
Beat and meter type
1.
Compound triple
Beat note
Division of the beat
.J.
2.
m
3.
4.
~.
~
Renotate the excerpts from Example 2-2 using the specified time signatures.
"Take Me Out to the Ball Game"
'~Bi "Down in the Valley"
&*nti I
/
6 16
t2
.J .J .J
Compound duple
5.
Time signature
9
Student Workbook
EXERCISE 2-4 A. Fill in the blanks.
Beat and meter type
Beat note
Division of the beat
Time signature
m
1. Compound quadruple
2. Simple triple
n
3.
J J
6
~
4.
4
¢
5.
J J J
6.
9
B. Each measure below is incomplete. Add one or more rests to complete the measure.
6
1. 4
d......._........ ~.
7.
¢ j ...._... Jl.
2.
c
J..
8.
!
0•
3.
A~
9.
I
j
4.
li J.
10.
i J. J. J
11.
3 J.
Chapter 2
15
16
C.
Tonal Harmony
Provide the best time signature for each measure. In some cases more than one correct answer might be possible.
n1
1. _
~ ~ ~
2. _
J nJ nJ
3. _
O·
7. _
J nm .rrn1
n
J JJ
1
a. _
JJJI
9. _
4. _
I1 J f"n I
10. _
~ ~ ~ ~ ~. ~.
5. _
~. ~.
I
11. _
cJ.
6. _
JJJJ
1
12. _
~ ~
cJ.
m
n
cJ
1
JJJnI
I
JJl l l JI
n
1
D. Each fragment below is notated so that the placement of the beats is obscured in some fashion. Without changing the way the music will sound , rewrite each one to clarify the beat placement.
1.
t J m m 1J J. J. 1
2.
~ - cJ
3.
~
4.
i J JJJJ~ I ~ J
5.
ti
4 4 _ _ _ _ __
JJJTIJI Jo JI
J J J J. I J. JJTI JI
~nJ
n1
~I
~.J n~.1
2 4 _ _ _ _ __
ti _ _ _ __
Chapter 2
Student Workbook
17
E. Add stems as required.
1.
Each duration is a half note.
t2
a
II
0
2.
Each duration is a sixteenth note. Beam them in groups of four.
9=• i · -
F.
. · . · · · . I. . • • • . • •
II--
-
Scale review. Fill in the key, scale degree, or note, whichever is missing. Assume the melodic minor form for all minor keys.
ex.
1
&
j
D:
.e
11&
#11
6
5
e
& (m)
~:
e
11& 4
F:
c:
e
4
2
A:
9
119:
Ek
14
119: U"
119:
119: @11
11:2=
+6
g:
3
(m)
13
6
II
+6
f:
12
(M)
e
11:2=
11
Bk
II
11&
e
8
11&
d:
10
11& 7
11&
+7
3
+7
(m)
4
2
lz11 S
(M)
b:
II
G. Interval review. Notate the specified interval above the given note.
1
&
2
119:
&e
3
e
11&
+4
M6
6
5
4
e
119: Jiu 11&
.e
M2
M3
m6
7
11:1=
11&
II
8
&e
07
9
11:1=
M7
e
11&
+2
II
II
PS
H. Interval review. Notate the specified interval below the given note.
1
~:
2
e
11& os
4
3
e m6
119:
~II m7
11&
6
5
&e P4
119:
e M3
8
7
e
11& M7
119:
II
m2
11&
9
lz11 PS
119:
~II +6
II
IN UCTION TO TRIADS AND SEVENTH CHORDS
EXERCISE 3-1
A. Spell the triad, given the root and the type. 1. g
4. a 0
1. c +
2. E ~
5. f
8.
3. d 0
6. D ~
9. E
10. f#
a#o
11. B+ 12. d
\,____,
B. Fill in the blanks.
C.
ex.
1
5th:
~
~
3rd:
E
Root:
_DL
Type:
m
5
9
8
7
6
B~
~
D
+
M
10
B
F#
FJ,
1
2
~ 119: ~a
m
0
m
llllB
m
11&
a
11@
0
G#
FJ,
m
M
A
+
0
m
~a +
119:
a
11:2=
a
Ii
M
11&
11@
no
+
11
~u M
11llR
11:2=
m
12
m
119:
II
11@
II 0
11@
.a
II
0
m
14
13
a
7
6
5
M
10
9
.a
4
3
M
m
8
~:
4
3
Notate the triad, given the root and the type.
ex.
'
2
15
~a M
11:2=
a
II
m
19
20
Tonal Harmony
16
17
18
II
II
'
~II
0
M
24
=~=
~e
26
II #11 II
M
e
II
m
25 II
19
,,, ,
II
0
22
II #11 II
II
23
29
II
e
II
0
II
e
+
0
30
le
M
II
&e
m
28
II tj11 II
m
21
+
M
27
&e
m
20
31
II
II
&e
m
II
M
D . Given the chord quality and one member of the triad, notate the remainder of the triad.
ex.
' '
1
r 5th
M
11@
119:
e
lz11
11@ lz1 119: I
e
5th
root
3rd
5th
3rd
+
m
M
m
0
m
11
11@ #11 11:>=
II 5th
root
0
M
m
18
17
~e
II
II
7
6
M
3rd
e
llllR
5
3rd
10
11:>=
e
~~II
4
3rd
9
16
II
II
11@
13
14
119:
e
e
11@
llllR
e
~e
3rd
3rd
root
5th
+
m
M
0
M
20
le
II
21
~e
22
23
II lz1 II
II
I
II
3rd
root
5th
3rd
5th
root
3rd
m
+
m
M
0
M
m
#11 II
26
le
27
II #11 II
28
le
II
29
e
root
3rd
5th
3rd
root
0
M
+
m
M
II
0
M
25
II
15
5th
19
&e
II
12
5th
24
=~=
3
119: Un 11@
8
~:
2
II
30
~e
bo
II
II
31
II
II
3rd
5th
5th
+
m
0
II
Chapter 3
Student Workbook
21
EXERCISE 3-2 ~
A. Identify the type of seventh chord, using the abbreviations given in Example 3-3.
ex.
1
3
2
. 4
5
6
7
' H1w>= IH llllM 1ri= uttlH 11& b'B 119: ~a 11& ttll llllM ~~a I 1
Mm7
8
9
10
11
12
13
14
5
6
15
' bl,tu 1ri= ll 11& •H 1ri= &H 11& fl 1ri= •H 11& &~ta 1ri= ~H I
B.
Notate the seventh chord, given the root and type.
ex.
1
3
2
.
4
7
11:>= ~ 0
u M7
8
'
Mm7
9
10
fin 119: fin 11& 07
m7
"'7
M7
11
0 °7
119:
Mm7
12 11
m7
0
M7
13
Mm7
14
11& fiu 119: &a llllM °7
7
m7
II
15 11
Mm7
119:
11 °7
II
22
c.
Tonal Harmony
Given the seventh-chord quality and one member of the chord, notate the rest of the chord.
ex.
' '
1
1)'~
11:1:
5th m7
II 7th M7
~e 7th 07
119:
e
II
root Mm7
11:>=
3rd m7
10
9
8
11&
4
3
2
llllR
e
11&
5th "'7
11
lz1 I 11:>= 3rd M7
5
ff 11 5th m7
12 e 3rd m7
llllR
11&
II
11&
3rd Mm7
13 e 5th 07
7
6
119:
lz1 I 7th "'7
14
#11 11& root m7
119: ~e
II
root M7
15 e 7th "'7
11:>=
e 5th 07
II
Chapter 3
Student Workbook
EXERCISE 3-3 \._,I
A. Identify the root and type of each chord and show the correct inversion symbol. 1
2
3
4
5
6
7
8
Root Type Inversion symbol
9
10
11
12
13
14
15
16
&D<'f ll:n?§>ll & niil f1="1111& ttY•11:>= "011& D~llllB~1i II Root Type Inversion symbol
B. Fill in the blanks below each figured bass with the root and chord type that would be played at the corresponding point in the excerpt by using lead sheet symbols. The figures 5 and ~ both mean to use a root position triad.
1. Bach, "Gott lebet noch" (adapted) 7
J II 2
1
3
4
5
6
7
8
9
10
11
12
13
2. Bach, "Dich bet' ich an, mein hochster Gott" (The first C#3 in the bass is not to be harmonized.) 7
7
6
s
6
~
4 2
I":'..
f3 J r J r J r r r 1
1
1
2
3
4
5
6
7
8
9
1
6
s
6
c rnr r r r J 1
10 11
12 13
14 15 16
11
23
Tonal Harmony
24
3. Corelli, Sonata V, Op. 2, Sarabande 6
~:~
!
3
~
r I r r l''r
1
2
3
6 4
5
6
5
6
7
7
~:~
9
n
------
10 11
6
12
13
14
1
6
J I~
J :Ill:
r r r I ~- ~ •r I r r J
15
16
18
19
r
17
20
7b
21 6
22
~ lzr
29
34 35
30
31
32
33
25
26
27
6
5
J I r r r I ~-
-- -- --
23 24
Ir ~ J Ir 36
37
J I =I
40
39
38
Notate using half notes on the bottom staff the chords indicated by the lead sheet symbols. Notate all chords in root position .
•
Terry, "Serenade to a Bus Seat"
Bb
-- -· ....
••
,_
r Ir r I
r
28
C.
8
6
6
~~=~
6
J Ir J I~
--- ---
4
6
5
• •
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07
I -
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Gm7
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F
C7
v
I
r
fllllll.
v
I By Clark Terry. © 1958 (renewed 1986) Orpheum Music, Berkeley, CA.
-..-1111r.-1 -
--
-
···11...-1
Student Workbook
Chapter 3
EXERCISE 3-4 ~
A. Identify the root and type of each chord and show the correct inversion symbol. All the notes in each example belong to the same chord. The lowest note in each example is the bass note for the purpose of analysis.
1
3
2
4
Root Type Inversion symbol
5
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9 I
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--
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25
26
Tonal Harmony
B. The excerpts below are to be analyzed in a similar way. Each chord is numbered. Put your analysis of the chords in the blanks below the excerpt. Notes in parentheses should be ignored for the purposes of this exercise . •
1.
Bach, "Wer weiss, wie nahe mir mein Ende"
\;./
\;./ Root Type Inversion symbol
1
---- ---
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--
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--
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--
2
3
4
5
6
1
8
9
10 11
12
13 14
15 16
17
Root Type Inversion symbol
18 19 20 21 22 23 24 25 26 27 28 29 30
31
32
33
34
Chapter 3
Student Workbook
•
2.
Schu mann, "lch will meine Seele tauchen," Op. 48, No. 5 Leise
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Tonal Harmony
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Student Workbook
•
3.
Gottschalk, "Jerusalem"
sva
sva sva
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.
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3
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1
sva
4
sva
A
y
y
y
y
y
5
6
7
8
9
Root Type In vers ion sy mbol
29
DI IC CHORDS IN MA OR AND MINOR KEYS
EXERCISE 4-1 A. Given the key and the triad, supply the roman numeral. Be sure your roman numeral is of the correct type (uppercase or lowercase). Inversion symbols, where required, go to the upper right of the roman numeral (as in I6 ). eL 1 2 3 4 5 6
Ak
vii 0
Eb:
8
9
' .u
llfJ:llll
A:
10
c#:
E:
f#:
11
g:
12
F:
13
7
c:
G:
14
.
15
11@ jj ii:>= ,,kl} 11 & &~0 11 l R h 11 & Dl2 11:>= Bii II Bk
g:
c:
Dk
E:
f#:
B. In the exercise below you are given the name of a key and a scale degree number (in parentheses). Without using key signatures, notate the triad on that scale degree and provide the roman numeral. In minor keys be sure to use the triad types circled in Example 4-7 (p. 61).
ex.
,~ll
e~:
'III
(6)
8
\___,;
1
2
3
4
11:1:
11@
119:
11&
5
6
7
11:1:
11118
11:1:
e:
F:
(6)
(3)
a~ :
C~:
G:
c:
F#:
(:2)
(7)
(7)
(3)
(:2)
-
9
10
11
12
11:1:
11@
llllR
119:
f:
C#:
g#:
m:
f#:
Bk
D:
Ek
(7)
(3)
(6)
(4)
(.S)
(:2)
(6)
(7)
'
13
11&
14
15
119:
11@
II
II 31
32
C. •
Tonal Harmony
Analysis. Write roman numerals in the spaces provided, making sure each roman numeral is of the correct type and includes an inversion symbol if necessary. 1.
Handel, "Wenn mein Stiindlein vorhanden ist"
B~:
1
•
2.
2
3
4
5
6
7
8
7
8
Handel , "Wenn mein Stiindlein vorhanden ist"
Bk
I
1
2
3
4
5
6
D. Fill in the blanks, using the example as a model.
Key
This chord
Has this bass note
E
ex.
c
J6
1.
a
v6 JV6
2. 3.
d
4.
B
6.
ji06 -6 4 .6 14
5. F
c
viio6
C# D
Chapter 4
Student Workbook
33
EXERCISE 4-2 \.__..; A. Given the key and the seventh chord, provide the roman numeral. Be sure your roman numeral is the correct type and includes an inversion symbol if necessary.
ex.
1
2
3
4
5
6
7
$ nB llfl=g. 11$ niU llfl=~tB 11$ ~!<> W•a llllR~B llfl=~bJt II
a:
vii 0 7
8
G:
9
c#:
f:
10
11
B~:
12
e:
Ak
g:
13
14
15
$Jtt! llfl=•IB 11$~4! W•B 11$&•fi llllBndf 11$&B llfl=•B 1 E:
d:
F:
A:
c:
b:
D:
B. In the exercis.es below you are given the name of a key and a scale degree number (in parentheses). Without using key signatures, notate the seventh chord on that scale degree in root position and provide the roman numeral. In minor keys, be sure to use the chord types shown in Example 4-9 (p. 65).
ex.
1
2
3
4
5
6
7
$#1
11:>=
llllB
11:1=
11$
119:
11$
11:>=
Bk
F:
b:
f#:
A:
g:
D:
(4)
(i)
(3)
(2)
(7)
(7)
(6)
G:
iii7
(3)
8
9
10
11
12
13
14
15
'
119:
11$
119:
11$
llllB
11$
11:1:
c:
E:
G:
Ek
c#:
f:
e:
Ak
(i)
(4)
(2)
(3)
(S)
(S)
(2)
(6)
\
II
II
34
Tonal Harmony
C. Analysis. Put roman numerals in the spaces provided, making sure each roman
numeral is of the correct type and includes an inversion symbol, if needed . •
1.
Beethoven, "Variations on a Theme" by Paisiello
•
2.
Brahms, "Minnelied," Op. 44, No. 1 Con moto
Soprano I
se
Ii - gen
son - der
Wank
Soprano II
·~ Alto I
Alto II
I
I
Part II [PLES OF VOICE LEADING
EXERCISE 5-1 A. Criticize each melody in terms of the rules for simple melodies discussed on pages 71-72. 1
@~II J J J F:
v
I
1 IJ IV
J
r
Ij
r
-
II
IV
-
2
@ti " e:
a r a a a 1 ttJ a r r ~ 1
V
-
1
V
i
V
iv
11
V
3
@ti" 11 J D:
rrr rr 1
IV
v
V
J
a J -
-
IV
1
11
B. Compose simple melodies that will conform to these progressions. 1
II Bk
IV
V
vi
IV
ii
v
35
36
Tonal Harmony
2
'& I
d:
II v
v
iv
VI
v
iv
3
,~ G:
I
II iii
IV
v
IV
v
Student Workbook
EXERCISE 5-2 A. Analyze the excerpt below, using roman numerals. Then show beneath each roman numeral the structure of the chord by writing "C" or "O" for close or open structure. The notes in parentheses are not part of the chord and should be ignored for the purpose of harmonic analysis. •
A:
B.
Schumann, "Roundelay," Op. 68, No. 22
'1)7
Review the two conventions concerning spacing on pages 74-75. Then point out in the example below any places where those conventions are not followed.
Chapter 5
37
Tonal Harmony
38
Fill in the circled missing inner voice(s) to complete each root position triad, being sure that each note of the triad is represented. Follow the spacing conventions and stay within the range of each vocal part.
C.
1 I
~
0
~
"· "
~
B
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,...
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I
,,
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n
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T
iv
ii
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v
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v
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6
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s
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4
d:
f\
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iii
g:
D. In the examples below you are given the soprano note for each chord. Supply the alto, tenor, and bass notes to complete the specified triad in close or open position, as indicated. Be sure to double the root of each chord and to follow the spacing conventions. 1 Close ; f\ ~ H
. ,, ,1
11 Tl
,,
3
Open
..
llf1..1o 11
I\
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A:
6
vi
LL
IJ
v
c:
7
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v
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VI
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D:
8
Close
I
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v
g:
-
1! 11
a:
iv
Bk
v
f~:
IL
m
Student Workbook
EXERCISE 5-3 A. Label the chords in the excerpt below with roman numerals. Then label any examples of parallelism (objectionable or otherwise) that you can find. •
Bach, "Ermuntre dich, mein schwacher Geist"
B. Find and label the following errors in this passage: 1. Parallel 8ves 2. Parallel 5ths
3. Direct 5th 4. Consecutive 5ths by contrary motion
5. Spacing error (review pp. 74-75)
Chapter 5
39
40
C.
Tonal Harmony
Find and label the following errors in this passage: 1. Parallel 8ves 2. Parallel 5ths 3. Direct 8ve 4. Spacing error
Using repeated triads
EXERCISE 6-1.
Fill in the inner voice or voices in the second chord of each exercise. The key is F major throughout. Double the roots of the triads in the four-voice examples. 1 four parts
fl
I
I
I
r,J
h
v
r,J ·~
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- ....
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r-
r,J r ,J r,J
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three parts
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I
I
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-
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,_
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r ,J r,J
I
41
Chapter 6
Student Workbook
Using roots a 4th (5th) apart
EXERCISE 6-2.
'-----" A. Add alto and tenor parts to each exercise below. Each progression involves roots a P4 (PS) apart. Use one of the three methods outlined on pages 87-88 in each case and state which you have used.
1
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-
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v
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IV
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r-
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iii
vi
I
ii
I v
-
-
r-
-
,_.
,_.
I
I
v
43
44
Tonal Harmony
B. Add an alto part to each exercise. Be careful to observe conventions concerning spacing, parallels, and doubling. Each triad should include at least a root and a 3rd.
2
1
F:
ii
v
IV
f#:
3
v
iv
A:
iii
vi
ii
V
Student Workbook
Chapter 6
Using roots a 4th (5th) and 3rd (6th) apart
EXERCISE 6-3.
'--./ A. Add alto and tenor parts to each exercise below. Use the smoothest voice leadi ng in each case. For roots a 4th (5th) apart, state which method you have used .
vi
F:
IV
ii
v
O '
o·
VI
iv
5
4 I\
.
,1
.II
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I
I
,_
J-
-
_,
-
I
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Chapter 6
Student Workbook
EXERCISE 6-4. Using all root relationships A. Complete each progression. Make two versions of each: one for three parts (adding an alto) and one for four parts (adding alto and tenor). In the four-part versions, state which method you have used for any progression by 4th or 5th. 1
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Tonal Harmony
B. Fill in alto and tenor parts in these exercises. 1
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Tonal Harmony
D. Write the following short progressions in root position for combinations of three and four parts .
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Chapter 6
EXERCISE 6-5 A. Notate the chords below for the specified instruments. Each chord is written at concert pitch, so transpose as needed for the performers. Use the correct clef for each instrument. Note that the instruments are listed in score order, the order used in Appendix A, which is not always the same as order by pitch.
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Tonal Harmony
B. Set the following progression for combinations of three and four parts. If possible, score for instruments in your class. Use root position only.
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53
54
C.
Tonal Harmony
Write a version of the excerpt below on a grand staff by transposing the parts to concert pitch. Play your version on the piano and analyze the harmonies if you can.
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EXERCISE 7-1 A. Complete each progression to conform with the chord diagrams on pages 103-109. The chord in the blank should be different from those on either side of it. In most cases, there is more than one correct answer,
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Analysi~ Label all chords with roman numerals and bracket any successions of chords that do not agree with the chord diagrams on pages 103-109 .
1. Bach, "Du Friedensftirst, Herr Jesu Christ"
55
Tonal Harmony
56
Vivaldi , Cello Sonata in G Minor, Prelude. Unfigured bass realization by S. Kostka. Non-chord tones in the solo part have not been put in parentheses, but the harmonic analysi s can be done by concentrating on the accompaniment. The key is g minor, despite what appears to be an incorrect key signature. Key signatures had not yet become standardi zed when this work was composed. 39
ft ..
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D. Analyze the chords specified by these figured basses and add inner voices to make a four-part texture. Bracket all circle-of-fifths progressions, even those that contain only ~ two chords. Before beginning, review the partwriting for deceptive progressions.
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57
Tonal Harmony
58
E.
Analyze this figured bass, then add a good soprano line and inner voices. Bracket all circle-of-fifths progressions.
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G. Below are two unfigured bass lines. Using triads in root position and first inversion only, show a good harmonization of each one by placing roman numerals beneath the bass line. Be sure to refer to the diagrams on p. 109 whi le you work on your harmonizations.
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H. Harmoni ze the melodies below by using root position major or minor (not diminished) tri ads in an acceptable progression. Try to give the bass a good contour while avoiding parallel and direct 5ths and 8ves with the melody. Be sure to include analysis. Finall y, add one or two inner parts to make a version for SAB three-part chorus or SATB four-part chorus, as indicated.
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59
Tonal Harmony
60
5
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Review : Label the chords with roman numerals and inversion symbols (where needed).
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EXERCISE 8-1 A. Analysis. 1.
•
Bracket the longest series of parallel sixth chords (tri ads in first inversion) that you can find in thi s excerpt. Do not attempt a roman.numeral analysis. Does the voice leading in the sixth-chord passage resemble more closely Example 8-8 (p. 12 1) or Example 8-9 (p. 122)? Beethoven, Sonata Op. 2, No. l , Ill
61
Tonal Harmony
62
2.
•
Label all chords with roman numerals. Then classify the doubling in each inverted tri ad according to the methods shown in Example 8-IO (p. 123). Bach, "Was frag' ich nach der Welt"
3. •
Label all chords with roman numeral s. Bracket the circle-of-fifths progression (rev iew pp. 101 - 102). Handel , Passacaglia
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B. The excerpt below is from Mozart's String Quartet K. 428 . Supply the missing tenor line (viola in the original).
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Supply alto and tenor lines for the following passages.
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Student Workbook
Chapter 8
D. Supply alto lines for the following passages.
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v
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rv6
E. Analyze the harmonies impl ied by the soprano/bass lines below and add one or two inner parts, as specified by your instructor.
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r-
-
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65
66
Tonal Harmony
The following passage is reduced fro m Beethoven's Sonata Op. 10, No. 3, III. Analyze the implied harmonies (more than one good solution is possible) and add an alto line (only). Use only triads in root position and first inversion.
F.
. - ..
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G. Continue your solution to Part D with a second eight-measure segment. The second part should be similar to the fast, but if it starts exactly like it, objectionable parallels will result. Maintain the three-part texture.
I
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f\
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... ""
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rJ 0
Chapter 8
Student Workbook
H. Review the fi gured bass information on pages 45--46. Then realize the figured basses below by following these steps: a. Provide the roman numerals specified by the figured bass . b. Compose a simple melody that will conform to the progression and at the same time wi ll create a good counterpoint with the bass. c. Make two completed versions of each, one for three parts and one for fo ur parts . 1 I
~ ~
Three parts
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2
Three parts (The horizontal line beneath the last measure means that the 3rd above the bass should be retained in the next chord.). JJ,
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e: Four parts JJ,
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67
68
Tonal Harmony
I.
Review the chord diagrams on pages 103-109. Then assign roman numerals to each of the bass notes in the exercises below, usi ng triads (onl y) in root position and fi rst inversion to create a good tonal progression. Then follow steps b and c fo r Part H. If possible these settings should be for vocal or instrumental combinations fo und in your cl ass.
1
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Student Workbook
J.
Chapter 8
69
Select roman numerals with which to harmonize this melody, changing chords every place there is a blank. Be sure your progression is a good one. Then write out the melody with a bass line, using fust inversion triads where appropriate. Make sure that the bass creates a good counterpoint with the melody and that there are no objectionable parallels. Finally, make a piano setting, using the bass line you composed. Keep the piano texture simple, perhaps like that in Example 8-3 (p. 118).
I
J. J.
k
J i:J\J
J. J. J. I J~J.
I
I
J. J. J.
I
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I
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J. J. J.
I
J~J.
II
EXERCISE 9-1 A. Analysis. In addition to the specific instructions for each example, label each six-four chord by type. 1. •
Schumann, "The Wild Rider," Op. 68, No. 8
2. •
Label all chords with roman numerals:
Label chords with roman numerals. Handel, "Wenn mein Stiindlein vorhanden ist"
71
72
Tonal Harmony
3.
•
Label the chords with roman numeral s and put parentheses around all nonchord tones. Clara Wieck Schumann, Scherzo, Op. 15, No. 4
Published 1976 by Willy MUller-SUddeutscher Verlag and 1994 by Bre itkopf & Harte l.
4.
•
In thi s excerpt, six-four chords are formed by arpegg iations in m. 1 and by a melodic bass in m. 2 (the bass in mm . 2-3 imitates the soprano melody in mm . l -2). Put roman numerals in the blanks provided and put parentheses around all non-chord tones. Then show where any six-four chords occur, no matter how briefly. Bach, Engli sh Suite No. 2, Courante
Chapter 9
Student Workbook
5.
73
Label the chords with roman numerals. As before, identify the type of any sixfour chord you encounter.
•
Haydn, Symphony No. 100, I
.. - - -- - -- . - -32
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Tonal Harmony
74
6.
Label the chords with roman numerals, and identify the type of any six-fo ur chord you encounter.
•
Beethoven, Pi ano Concerto No. I , Op. 15, I
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Student Workbook
Chapter 9
B. Fill in one or two inner parts, as specified. Identify any six-fo ur chords by type. \......./
1
2
Add A lto and Tenor
4
-
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vi
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Add A lto and Tenor I I
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,J
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v
a: i
Reali ze these figured basses for three or fo ur voices, as specified, striving to create good outer-voice counterpoint. Notice the freq uent use of j (or the equivalent, such as#) to indicate root-positi on triads following an inverted chord. Analyze with roman nu merals and label six-four types.
1
2
Add Soprano, Alto, and Tenor
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75
76
Tonal Harmony
D. Harmonize each unfigured bass with a good tonal progression. Then compose a soprano line that will both fit the progression and create a good outer-voice counterpoint with the bass. Finally, fill in alto and tenor parts to make a four-part texture. Be sure to include a six-four chord in each one and identify the six-four type.
1
. ... ..,...
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Harmonize each melody by composing a bass line that will create a good counterpoint with the melody and that will imply a good harmonic progression. Complete the harmonization by filling in two inner parts. Try to include an appropriate six-four chord in each harmonization .
1
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r
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Student Workbook
Continue the accompaniment of this violin melody. Non-chord tones are in parentheses. Be sure to use at least one cadenti al, pass ing, or pedal six-fo ur chord. Incl ude a harmonic analysis.
F.
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Chapter 9
v
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77
EXERCISE 10-1 A. Cadences. Using only triads in root position and first inversion, compose examples of the following cadences. Each example should include three chords-the two cadence chords plus one chord preceding the cadence chords. Include key signatures and roman numerals. 1
three parts
2
four parts
g:
A:
three parts
G:
6
4
F:
four parts
d: (PAC)
three parts
(DC-careful!)
(root position IAC)
5
3
b:
(HC)
1 three parts
Bk (PC)
four parts
(inverted IAC)
8
four parts
e: (leading-tone !AC)
(Phrygian HC)
79
80
9
Tonal Harmony
three parts
,.
10
four parts
11
three parts
12
four parts
ti II
,, '~
r
L
..
,.
I
(DC-careful! )
D:
f:
C:
a:
(PAC)
(PC)
(HC)
B. Analysis. The cadence chords have been analyzed for you in each example. Make a diagram of each excerpt similar to the diagrams used in the text. Include phrase labels (a, b, and so on), cadence types and measures, and the form of the example.
1. •
Be sure to listen to this stirring theme in its original orchestral version as well. Schumann, Symphony No. 1, Op. 38, Ill (piano reduction) Molto vivace
iv
V
v
Student Workbook
2.
Chapter 10
Diagram and name the form of this excerpt. Also: a. Bracket all sequences in the melody. b. Find the best example of imitation between the melody and the bass. c. Label the chords implied by the two voices. Non-chord tones are in parentheses in the bass (only). Note: The best choice form. 5 is not a ii chord. (Compare m. 5 with m. 13.) Anonymous: Minuet in G, from the Notebook for Anna Magdalena Bach
•
v
IV
v
IV
3.
•
F:
Do the two phrases here begin with similar material? Compare mm. 9 to 10 with mm . 13 to 14. Diagram and name the form. Mozart, Violin Sonata K. 377, fII
v
81
82
Tonal Harmony
y7
4.
•
Diagram and name the form of this excerpt, and copy out any rhythmic motives found in both of the phrases. The progression at x resembles an TAC in what key? What is the relationship between that key and e minor? Mendelssohn , Song without Words, Op. 62, No. 3 3
p r
v
·6
e:
~ v
x
vii 0 j
Student Workbook
5.
•
Chapter LO
Thi s excerpt is in the form of a three-phrase period (some would call it a phrase group). Would it be better to say that it has two antecedent phrases or two consequent phrases? Why? Which phrase features a circle-of-fifths sequence? Analyze all the chords in that phrase and diagram the form of the excerpt. Mozart, Sonata K. 545, I
y4
2
83
84
Tonal Harmony
y7
6.
Diagram the form of thi s excerpt in four ways, all of which are possible interpretations: (I) all four-measure phrases: 4+4+4+4+4; (2) four phrases, the last one extended:
4+4+4+8; (3) two long phrases plus a short final phrase: 8+8+4; and (4) two phrases, the second extended: 8+ 12. Which interpretation do you prefer? Why? •
Mozart, Sonata K. 3 10, Ill
v
~
v
v
v
VI
f
v
Student Workbook
7.
V •
Chapter LO
Diagram and name the form of this theme, then label the first five chords. Also, see if you can find a di sgui sed sequence hidden in the soprano and another in the bass in mm . I to8 . Beethoven, Sonata Op. 13, II
v
85
86
Tonal Harmony
y7
C. Review. Notate the chords in the keys and bass positions indicated. 1
2
3
4
5
6
7
8
9
10
'
II
II
II
II
II
II
II
II
II
E:
16
Bk vi7
G: 1v6 4
·-4 D: 113
• f:
YI
d: vii 0 ~
A~:
iii
Ek vii"'?
f# : y42
II A: rvM7
HORD TONES 1
EXERCISE 11-1 A. Analysis. 1.
2.
•
Go back to Example 8- l 9 (p. 128), which shows NCTs in parentheses, and identify in the blanks below the type of each NCT found in the solo horn part. Always show the interval classification (4-3 and so on) when you analyze suspensions.
m. 6
m. 7
m. 10
m. 11
m. 8
Analyze the chords and NCTs in this excerpt. Then make a reduction similar to those seen in the text by ( I) removing all NCTs, (2) using longer note values or ties for repeated notes, and (3) transposing parts by a P8 where necessary to make the lines smoother. Study the simplified texture. Do any voice-leading problems appear to have been covered up by the embellishments? Discuss the reasons for the leap in the tenor in m. 3 . Bach, '.'Hilf, Herr Jesu, lass gelingen"
87
88
Tonal Harmony
B. After reviewing pages 172- 176, decide what one suspension would be best in each excerpt below. Then renotate with the suspension and at least one other embellishment. Remember to put parentheses around NCTs and to label NCTs and arpeggiations.
1
2
I\
~
~
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,
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.-
4
3
fl
I
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.... "·
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I
I
t
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.
I
....v
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t.J
•
~t .... ... ,_ ~
"
\
....v
"
The examp le below is a simplified excerpt from a Bach chorale harmonization. Label the chords with roman numerals and activate the texture with stepw ise NCTs, including at least one suspens ion. Label all embelli shments.
I\ \I II
....v "
Student Workbook
Chapter I I
D. In the figured basses below, the symbols "4 #" call for a 4-3 suspension, with a sharp applied to the note of resolution. The symbols "6 -" indicate that a first inversion triad "-----' is to be used above both C's in the bass. For each figured bass, do the following: 1.
Analyze the harmonies with roman numerals.
2.
Compose a simple but musical soprano line.
3. Fi ll in one or two inner parts, as specified. 4.
Add some stepwise NCTs to each example and label them.
1
. ..••
I\ II ~
-
, "· s
~
A T
-
-.......
L '-•
11
r-
.--W
- I-
-
-
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r-
6
6
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I
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.
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6
4
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t
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.
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J
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s A
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v
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r
....
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g:
tt• 6
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-
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I
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I
6
-
-
r-
I 4
-,J
--
89
90
Tonal Harmony
E.
Using the fo llow ing progressions, compose a good soprano/bass framework, using inversions where desired. Next add one or two inner parts, as specified. Show with an x every possible location for a 9-8, 7-6, 4-3, or 2-3 suspension. Finally, create an elaborated version of the simple texture, including at least one suspension. Other embellishments shou ld be limited to arpeggiations and stepwise NCTs. 1.
Three-part texture. (Remember that diminished triads should be used in first inversion.) vii 0
e:
I
I\
jj
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""
,#{
It
...
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iv
iv
r Ii
r Ii
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r Ii
v
r Ii
II
Student Workbook
2.
Four-part texture. v
A:
vi
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Compose your own harmonic progression and follow the instructions for part E. Try a two-, three-, or four-part texture.
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Chapter 11
91
92
Tonal Harmony
G. Analyze the chords implied by this two-voice framework. Then embelli sh the framework in an arrangement for stri ng quartet. A suggested beginning is given.
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Analysis. 1.
Go back to Example 7-18 on page I08 of the text, where NCTs are shown in parentheses, and identify the type of each NCT in the blanks below. Always show the interval classification (7-6 and so on) when you analyze suspensions. m.3 _ _ __
m. I
2.
3.
4. •
Do the same for Example I 0-14 on page J58 of the text. m. 10
m. 11
m. 13
m. 14
m . 15
m. J 6, violin:
piano:
Do the same for Example 9-12 on page 142.
VI. I:
m. 23
m. 24
VI. II:
m. 23
m. 26
m. 25
m. 26
Label chords and NCTs in thi s excerpt. Mozart, Piano Sonata, K. 545 , II
G:
93
Tonal Harmony
94
5.
The chords in this excerpt have been labeled for you . Put parentheses around all NCTs in mm. 1 to 6 (only) and label them . The roman numeral s in parentheses are part of a " nonfunctional" series of parallel sixth chords (review pp. 120-122), and some other chords have been left unlabeled because they are too advanced for you at this point. The last three measures are included for context, but they are not part of this exercise. Clara Wieck Schumann, Larghetto, Op. 15, No. I
•
Larghetto
F:
y7
ii
y4 3
- - - - om i t - - -- - - •
Published 1976 by Willy Mliller-Sliddeutscher Verlag and 1994 by Breitkopf & Hartel.
6.
•
The chords in this excerpt have been analyzed using lead sheet symbols. Put parentheses around all NCTs and label them. Brahms, Intermezzo, Op. 76, No. 7
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Student Workbook
B. Using a three-part texture, write authentic cadences in five different keys, employing a different NCT from the following list in each cadence: p, n, ant, app, e.
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Analyze the chords in this phrase with roman numerals. Then renotate the phrase on the staves below, adding at least 4 NCTs, at least 2 of which should be suspensions. Label all the NCTs, and show the interval classifications of the suspensions.
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Chapter 12
95
96
Tonal Harmony
In this example, use a V chord on beat 3 of m. 1. Also, the symbols "6 - -" mean that a first inversion chord is to be maintained throughout m. 2.
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Compose a passage in four parts in the key of b minor employing a 7-6 suspension near the beginning and a tonic pedal near the end.
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Compose eight measures to continue Part A, number 3, on page 72 of this workbook. Maintain a similar texture and end with a PAC. Include an NCT studied in this chapter.
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Student Workbook
G. The framework below is a simplified version of a passage from Mozart's Magic Flute. Embellish the framework, turning it into a vocal part (to be sung on neutral syllables) with piano accompaniment. Try to include at least one chromatic NCT.
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Chapter 12
97
Part III D;atonjc Seventh Chords
CHORD EXERCISE 13-1 A. The note given in each case is the root, 3rd, 5th, or 7th of a V7 chord. Notate the chord in root position and name the major key in which it would be the V7 .
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Analyze chords and NCTs in the excerpt below. Then discuss the voice leading in the two V7 chords. (Note: You might have analyzed the B's in the V chords as passing tones, but consider them to be chord 7ths for the purposes of your discussion.) Bach; "Wir Christenleut' "
99
Tonal Harmony
100
Resolve each chord to a root position I. (Note: c means complete chord, i means incomplete chord.)
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Student Workbook
Chapter 13
D. Notate the key signature and the V7 chord and then resolve it.
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four parts
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four parts
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101
102
E.
Tonal Harmony
Analyze the chords specified by this figured bass. Then make two harmonizations, one for SAB chorus and one for SATB chorus. 1
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Analyze the chords implied by the soprano and bass lines below. Then fi ll in inner parts. Remember that the tenor part sounds a PS lower than written.
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Student Workbook
G. Analyze the harmonies implied by these soprano/bass frameworks. Then make fo urpart versions with embellishments and at least one root position V7 chord. 1
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Chapter 13
103
104
Tonal Harmony
H. Set a short text for four-part chorus. The text might be a poem, a headline from a newspaper, or anything. Include at least one V7-I progression. Try to keep the motion going through the use of elaborations. I\
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Student Workbook
Compose a period in a simple three-part texture. End the first phrase with a V7-vi DC, the second with a V7-I PAC. Then create a version for three instruments, the top part being elaborated by arpeggiations and NCTs, the other two parts in an accompanying role. Turn in both versions.
I.
1. Simple version
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Chapter 13
105
106
Tonal Harmony
2. Elaborated version
Student Workbook
Chapter 13
107
EXERCISE 13-2 "-----'
A. Notate the specified chords. Use accidentals instead of key signatures. 1
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Dk
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2
3
4
5
6
7
8
119:
11@
11:2:
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y4
3
m:
y4
D:
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y4
3
c:
y4
2
F:
y6
5
b:
y4
2
B. Label chords and NCTs in the excerpts below. Comment on the treatment of the leading tone and 7th in any V7 chords in root position or inversion. Notice that in Exercises 1 and 3 the key signature does not agree with the given key. This is because in each case the music has modulated (changed key) to the dominant. Modulation wi ll be introduced in Chapter 18 . •
1.
Bach, "lch dank' dir, lieber Herre" (Which is the more sensible analysis of.beat 4 of m. 3: iii ~ or V6 ?)
F:
•
2.
Beethoven, Sonata Op. 2, No. 1, III ~
10
p
E:
II y6
5
108
Tonal Harmony
•
3.
Mozart, Quintet K. 452, I (piano reduction)
4.
Schumann, "Im Westen," Op. 25, No. 23
Bk
•
(Do not label NCTs in this excerpt.)
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Chapter 13
Student Workbook
Resolve each chord to a tonic triad (except as indicated). Analyze both chords.
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109
Student Workbook
\.__./
Chapter 13
D. Supply the key signature. Then notate and resolve the specified chord. Finally, begin the passage with a chord that will allow good voice leading and provide the indicated approach to the 7th. Notate as quarter notes. Label all unlabeled chords.
1
2
n
3
p
4
s
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111
112
E.
Tonal Harmony
Show with roman numerals the chords that this figured bass calls for. Then complete the realization in four voices.
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Student Workbook
F.
Analyze the chords implied by each soprano/bass framework. Then add inner parts and embellishments to make a four-part choral texture. Include an inverted V7 chord.
.
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Chapter 13
113
Tonal Harmony
114
G. Analyze the chords implied by this soprano/bass framework. Then create a piano texture by fi lling out some of the chords and adding embellishments. Arpeggiations will be especially useful for prolonging the I chord in mm. I to 2. Be sure to include an inverted V7 chord.
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Student Workbook
H. Make one or more settings of the following song. 1.
Write an arrangement for two B ~ trumpets, unaccompanied. Analyze the harmonies implied by the two lines. Include at least one inverted V7 .
2.
Make an arrangement for four-part chorus. Try to elaborate the other voices slightly. Include at least one inverted V7 . Watch out for parallel 8ves and 5ths throughout.
3.
Compose a version for piano solo, including at least one inverted V7 . Be prepared to play it or find someone else in the class who will do so.
Chapter 13
115
116
I.
Tonal Harmony
Compose a period for a string trio (violin, viola, cello) or for some other combination of instruments in your class. Include at least two inverted V7 chords.
EXERCISE 14-1 A.
Notate the followi ng chords. Use accidentals, not key signatures.
1
' '
g:
'---'
vii 0 7
9
c:
vii 0 g
2
3
4
5
6
7
8
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11:2:
11&
119:
11&
11:2:
ii 7
C:
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f#:
II
vii 07
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10
11
12
13
14
15
16
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d:
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b:
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a:
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.. 6 115
A:
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F:
c#:
II ii7
II vii 0 7
B. Analyze the following chords. Be sure your symbols indicate chord quality and inversion.
f:
G:
f#:
D:
Ek
e:
C:
g:
117
118
C.
Tonal Harmony
Analyze the chords and NCTs in the following excerpts. Whenever a ii 7 (ii"' 7 ) or vi i"' 7 (vii 07 ) chord in root position or inverted is encountered, di scuss the voice leading into and out of the chord .
•
1.
Bach, "Jesu, der du meine Seele"
•
2.
Bach, "Herzliebster Jesu, was hast du verbrochen"
3.
Bach, Well-Tempered Clavier, Book I, Prelude I
b:
•
C:
Student Workbook
\____,; •
Haydn , Quartet Op. 50, No. 6, IT
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Label the chords in the blanks provided. Do not label NCTs in this excerpt. The m. v. dynamic markings stand for mezza voce, "half voice," which means approximately the same thing as mezw forte, or mf The tempo is Poco Adagio.
4.
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Chapter 14
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120
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Label the chords and NCTs in this excerpt. These are the third and fourth phrases of the double period that mak~s up the opening theme. Although too long to be quoted here, the entire theme (mm. 1-30) is worth studyi ng. Haydn, Quartet Op. 20, No. 4, I
/ fl
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Student Workbook
'----'
D. Notate, introduce, and resolve the specified chords. Approach each chord 7th as a suspension, a neighbor, or a passing tone, as specified. Include key signatures and roman numerals.
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121
Tonal Harmony
122
E.
Analyze these figured basses and continue the realizations, keeping the keyboard texture but following conventional partwriting procedures.
1.
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F.
Harmonize these chorale phrases for four-part chorus. 1. Include a root position ii7.
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123
124
Tonal Harmony
G. Make a setting of the folk song below for some combination of voices and/or instruments avai lable in your class. Include one of the chords di scussed in thi s chapter.
EXERCISE 15-1 A.
Notate the following chords. Use accidentals, not key signatures.
1
& Ak
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9
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2
3
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B. Analyze the following chords. Be sure your sy mbols indicate chord quality and inversion.
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125
126
C.
Tonal Harmony
Analyze the chords in the excerpts below. Comment on the voice leading involving any of the chords di scussed in this chapter.
•
1.
Chopin, Mazurka in a minor, Op. Posth .
•
2.
Bach, "Herr Jesu Christ, du hochstes Gut"
•
3.
Corelli , Concerto Grosso Op. 6, No. l , VII
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•
4.
Haydn, Piano Sonata No. 30, I
\.___.,
After you finish labeling all of the chords, complete the three-part reduction of mm. 86-92 that follows the excerpt. The neighbor figures in 16th notes in mm. 84-91 are NCTs, not the sevenths of chords.
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127
Student Workbook
Chapter 15
D. Continue this four-part elaboration of Example 15-1 9 (p. 238).
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Notate, introduce, and resolve the specified chords. Approach each chord 7th as a suspension, a neighbor, or a passing tone, as specified. Include key signatures and roman numerals.
E.
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129
130
F.
Tonal Harmony
Analyze the chords called for by the fig ured bass below. Remember that the figured bass symbols are part of the music, not part of the harmonic analysis, which should be written beneath it. Then continue the four-part realization of that fi gured bass. Note: Be sure to review pages 176-177 before proceeding. (Figures in the fifth measure added by the authors.)
•
Corelli, Concerto Grosso Op. 6, No. 12, V
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Student Workbook
G. Analyze this figured bass and continue the realization, keeping the keyboard texture but following conventional partwriting procedures. Corelli, Concerto Gross, Op. 6 No. 9, "Preludio" Largo
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H. Compose a passage for three voices or inst~uments containing a sequence of seventh chords similar to that used in the excerpt of Part F.
7
Chapter 15
131
132
I.
Tonal Harmony
The following is a simple note-against-note contrapuntal framework. Analyze the implied harmonies, then elaborate it into a passage containing several seventh chords. Use four parts or a free keyboard texture. Your final version might be complex, but the original framework should be retained. Include roman numerals and NCT analysis.
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Student Workbook
Create a framework similar to Exercise I but in the minor mode. Be sure that it implies a good harmonic progression. Then create an elaboration that employs some of the seventh chords discussed in this chapter. If possible, score for a combination of instruments in your class.
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Chapter 15
133
Part IV Chroma6dsm
EXERCISE 16-1 A.
"---'
Review the material on spelling secondary dominants (p. 248). Then notate these secondary dominants in the specified inversions. Include key signatures.
1
2
3
4
5
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119:
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d:
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II vj;v
135
136
Tonal Harmony
B. Label any chord that might be a secondary dominant according to the steps outlined on page 248-249. Label all others with an x.
1
2
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Student Workbook
Chapter 16
EXERCISE 16-2 \_____,/
A. Analysis.
1.
•
Label chords and NCTs. Identify any six-four chords by type. This excerpt contains a set of parallel 5ths in a context that Bach must have found acceptable because he used them so often in this situation. See if you can find them . Bach, "Freuet euch, ihr Christen alle"
f:
2.
\.____..,·
•
Label chords and NCTs. Notice that the right hand is in bass clef throughout. Discuss the sequence implied by mm. 5 to 8. Is the excerpt an example of a period? If so, is it a parallel period or a contrasting period ? Beethoven, Sonata Op. 13 , II
137
138
Tonal Harmony
Label the chords with roman numerals. Thinking in terms of chord roots, fi nd the longest harmonic sequence in this excerpt. Beethoven, Sonata Op. 2, No. 1, I
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Student Workbook
4.
Chapter 16
Label chords and NCTs. Ignore the grace notes in your harmonjc and NCT analysis; for example, the E~5 in m. I is an upper neighbor ornamented by the appoggiatura grace note. Comment on Chopin 's use of F# and fl in this excerpt. Where do they occur? Are they ever in conflict? The form of the excerpt is a (parallel/contrasting) (period/double period).
•
Chopin , Mazurka Op. 67 , No . 2
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139
140
Tonal Harmony
5.
Label chords and NCTs. What is the form of thi s excerpt? (Note: Measures 1- 2 are introductory.)
•
Beethoven, Quartet Op. 135, III Lento assai, cantante e tranquillo
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Student Workbook
6.
•
Chapter 16
Label the chords with roman numeral s. Label NCTs in the solo bassoon part only. The note under the fermata in m. 49 represents a V chord. It was at this point that the soloist improvised a cadenza. The conductor waited until he heard the soloi st arrive at the G3 (often trilled) , at which point he would signal the orchestra to be ready for their entrance in m. 50. Mozart, Bassoon Concerto K. 191 , lI
141
142
Tonal Harmony
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For each of the follow ing problems, first analyze the given chord. Next, fi nd a smooth way to lead into the chord. Although there are many possibil ities, it will often work to use a chord whose root is a PS above the root of the secondary dominant. Experiment with other relationships also. Then resolve each chord properly, taking special care with the leading tone and 7th resolutions. Analyze all chords. 2
I
Chapter 16
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Tonal Harmony
144
D. Provide roman nu merals to show how the first note could be harmonized as a secondary do minant. The second note should be harmonized by the tonicized chord.
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Student Workbook
F.
Harmonize each chorale phrase for SATB chorus. Include one or more secondary dominants in each phrase and activate the texture with some NCTs.
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146
Tonal Harmony
G. Analyze the harmonies implied by the following soprano/bass fra mework. Then make a more interesting version for piano, beginning with the two measures given below.
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Chapter 16
147
H. Continue the example below to make a total of at least eight measures. Include one or more secondary dominants and end with a PAC. Then score it for four instruments found in your class. Analyze all chords and NCTs. I\
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Tonal Harmony
I.
Finish the analysis of the phrase below. This phrase is to serve as the a phrase of a longer theme you will compose. The theme will be in the form of a parallel double period. Include at least one secondary dominant.
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EXERCISE 17-1 A . Review how to spell secondary leading-tone chords (pp. 264-265). Then notate these secondary leading-tone chords in the specified inversion. Include key signatures. 1
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Tonal Harmony
150
B.
Label any chord that would be a secondary leading-tone chord according to the steps outlined on page 265. Label all others with an x.
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Chapter 17
EXERCISE 17-2 \____.,,
A.
Analysis. 1.
In the brill iant and witty concluding passage below, Mozart combi nes the antecedent and consequent phrases from the beginning of the minuet (marked a and b in mm. 55- 58). a. Mark all occurrences of a and b. b. Find where the b phrase is used in imitation. c. Find inverted (upside dow n) statements of a and b. d. Find a place where origi nal and inverted statements of b occur si multaneously. e. Put ro man numerals in the blanks prov ided. NCTs are in parentheses. Mozart, String Quartet K. 464, II
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Tonal Harmony
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2. "'-
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Chapter 17
Label the chords with roman numerals (the Italian augmented sixth chord in m. 4 will be discussed in Chapter 23). Use your imagination and your ear in analyzing the last chord in m. 2 . Schumann, "Die Lowenbraut," Op. 31, No. I
1t+6
153
154
Tonal Harmony
3.
•
Label chords and NCTs. (An optional piano accompaniment is omitted from the example.) What is the form of this excerpt? Brahms, " Und gehst du iiber den Kirchhof," Op. 44 espress.
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Student Workbook
4.
•
Chapter 17
Analyze chords and NCTs. Find two circle-of-fifths progressions that contain more than four chords. What is the form of this excerpt? Tchaikovsky, "Morning Prayer," Op. 39, No. I Lento
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155
Tonal Harmony
156
5.
•
Thi s short song is given here in its entirety. Analyze the chords and NCTs. There are some places where alternative analyses are possible-in m. I, for example, where the line G!l-F!l-E could be analyzed as chord tones or as passing tones. Think of two analyses for the second chord in m. l I, one of them being a secondary function. Schumann, "Aus meinen Thranen spriessen," Op. 48 , No. 2 Nicht schnell
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Student Workbook
"-.,
Chapter 17
B. For each of these problems, first analyze and resolve the given chord , being especially carefu l with the chord 7th and the leading tone. Then find a smooth way to lead into the given chord. Analyze all chords.
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Analyze the harmonies specified by each figured bass and make an a.1Tangement for SATB chorus. Try to use smooth voice leadi ng, even at the expense of an interesting soprano line.
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158
Tonal Harmony
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D. Harmonize each of these chorale phrases fo r SATB chorus. Include at least one secondary leading-tone chord or incorporate some other aspect discussed in thi s chapter in each harmonization. 1
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Student Workbook
E.
Each item below contains two versions of the same excerpt, one of them in a simple texture and one more elaborate. Continue the simple texture first, including some aspect of harmony discussed in this chapter. Then continue the elaboration, using your simple version as a framework. Label chords and NCTs.
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159
Tonal Harmony
160
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F.
Compose a setting of the following poem for chorus (three, four, or five parts) or for solo voice with piano accompaniment. Use at least one secondary leading-tone chord and one deceptive resolution of a secondary dominant. Try to put your special harmonic effects at appropriate places in the text. (Use either or both stanzas.) A bird came down the walk; He did not know I saw; He bit an angle-worm in halves And ate the fellow raw. And then he drank a dew From a convenient grass, And then hopped sidewise to the wall To let a beetle pass. -From "A bird came down the walk" by Emily Dickinson
Reprinted by permission of the publishers and the Trustees of Amherst College from THE POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed., Cambridge, MA: The Belknap Press of Harvard University Press, Copyright © 1951 , 1955, 1979, 1983 by the President and Fellows of Harvard College.
Chapter 17
161
162
Tonal Harmony
M ATIONS USING DIA ONIC COMMON CHORDS
EXERCISE 18-1 A. Name the relative key in each case.
1.
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F# 8. c#
4. g
9. M
2. A
5. B.
6. d
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7.
10. a~
Name all the keys closely related to the given key. Be sure to use uppercase for major, lowercase for minor.
1. b 2. d 3. G
4. B 5. F
6. C.
f#
Name the relationship in each case (enharmonically equivalent, parallel, relative and closely related, closely related, foreign).
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163
164
Tonal Harmony
EXERCISE 18-2 A. Analysis.
•
1.
This excerpt modulates from B~ to F, its dominant. Label the chords, being sure to show two roman numerals for the common chord. The blanks beneath the music show where the bass changes, but not where the common chord occurs. NCTs in mm. 1 and 8 (only) have been identified for you.
2.
Label chords and NCTs in this chorale, which is presented in its entirety. Which two phrases are very similar melodically? What portion of these phrases is harmonized similarly? What chord is emphasized in the first half of the second of these two phrases? Bach, "Uns ist ein Kindlein heut' geborn"
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Student Workbook
3.
•
Chapter 18
This example, also a complete chorale, is in g minor, although it ends with a major triad (the "Picardy third"). Label chords, but not the NCTs. Notice how often the melody follows an arch contour (inverted in the second phrase). Bracket those arch contours in the melody. If you find any similar contours in the bass, bracket them also. Bach, "Jesu, der du meine Seele"
165
l66
Tonal Harmony
4.
•
Label the chords with roman numerals. How do the pickup notes at the beginning of the excerpt help smooth the return to the first key when the repeat is taken? Mozart, Sonata K. 330, II
5. •
Label the chords with roman numerals. Fanny Mendelssohn Hensel, "Das Meer erglantze weit hi naus."
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6.
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Chapter 18
167
Listen to this song all the way through. Then li st every tonality that is touched on in the song, either by simple tonicization or by modulation. Which (other than tonic) is referred to again at the end of the song? Decide on one or two tonalities (other than tonic) that represent modulations rather than tonicizations. Then label all chords with roman numerals. Schumann, "Wenn ich in deine Augen seh' ," Op. 48, No. 4 Langsam
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Student Workbook
7.
169
This excerpt begins in AJ, and ends in g minor, modul ating thro ugh yet another key in the process. Label all chords, and label the NCTs in the vocal part. The German augmented sixth chord in m. 49 will be discussed in a later chapter.
•
Mozart, Marriage of Fi garo, K. 492, "Voi che sapete"
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Tonal Harmony
8. Label the chords with roman numerals. In an Alberti bass accompaniment, such as the left hand in this example, the bass note for each chord is usually considered to be the lowest note struck. So in m. 9 the only bass notes are D and C# .
•
Beethoven, Sonata Op. 10, No. 3, II
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Chapter 18
Student Wo rkbook
B. Fill in the name of the new key on the second line of each exercise.
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172
Tonal Harmony
List the diatonic triads that could serve as common chords between each pair of keys . In minor keys, assume the usual chord qualities: i, ii 0 , III, iv, V, VI, vii 0 •
C.
ex. First key, C: Triads: Second key, G:
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3. First key, c: Triads: Second key, B ~:
4. First key, f: Triads: Second key, Ak
5. First key, B: Triads: Second key, F#:
6. First key, Ak Triads: Second key, B ~: D. Choose two of the progressions from Part B. Arrange one for SATB chorus and the other for SAB chorus. Activate the texture with NCTs and/or arpeggiations. Arrange the metric and rhythmic structure so that the last chord comes on a strong beat. Label chords and NCTs.
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E.
Harmonize the fo llowing chorale tunes for SATB chorus.
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Chapter 18
In the first phrase, modulate from i to III. The second phrase should return to i.
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174
Tonal Harmony
G. Continue this soprano/bass framework, analyzing the implied harmonies. Phrase l (mm. 1-4) should end with a HC inf. Phrase 2 (mm . 5-8) should end with a PAC in Ab. The resulting form is a modulating period. Then arrange for some combination of instruments in your class, filling in as many inner parts as needed . Elaborate your final version with NCTs and arpeggiations.
Student Workbook
\___,
H. Compose a double period for some solo instrument with piano accompaniment. As the diagram indicates, the first phrase stays in A, whereas the second tonicizes (or modu!ates to) E. Phrase 3 returns briefly to A but turns quickly to D. The fourth phrase returns to A for the fina l cadence.
A:
A: IAC
E : PAC A:
D: IAC
A : PAC
Or, in the larger view:
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(IV)
The beginning of phrase I is given below. CDmpose the soprano/bass framework first.
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175
I 76
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Student Workbook
I.
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Usi ng a text of your own choosing, compose a passage for chorus (three or fo ur parts). If in major, it should have a tonal scheme of f- vi-1- ii-I. If in minor, use i-VI-i-iv- i.
Chapter 18
177
SO THER MODULATORY TECHNIQUES
EXERCISE 19-1 0
A. Analysis. (Note: Some of the modulations below might be of the diatonic commonchord type.) 1.
a. What three keys are implied in this excerpt? b. How would you explain the modulations? c. Continue the two-voice reduction below the score but avoid the change of register in m. 36.
•
Beethoven, Sonata Op. 10, No. 1, I
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I
180
Tonal Harmony
2.
•
Bach, "Warum betrUbst du dich"
3.
•
There are two modul ations in thi s excerpt. Label chords and NCTs. At what point does Bach not follow the conventions of spacing discussed on pages 60-61? What is achieved by the spacing he uses? Where is there a sonority used in an unusual bass position ? How is the reason for thi s bass position related to the question about the spacing?
What two keys are found in this excerpt? How are they related? What is the best way to describe the modulation ? Label the chords with roman numeral s. HUllmandel, "Un Paco Adagio "
Chapter 19
Student Workbook
4.
181
Two di stantly related keys are found in thi s passage. Label chords and NCTs. Schubert, "Auf dem Flusse," Op. 89, No. 7 14
sehr
15
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182
Tonal Harmony
5.
•
This excerpt modulates fro m F major to what other key? Of excerpts 1 through 4, which modul ation most closely resembles this one? In what ways? (The chords in mm. 35-36 are labeled for you because some of them involve concepts discussed in later chapters.) Mozart, Marriage of Figaro, K. 492, "Voi che sapete"
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B. Analyze the harmonies implied by this soprano/bass framework . Add an alto part to create a three-part texture. Embellish the texture with a few NCTs, including a 4-3 suspension. Identify the modul atory technique used.
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Tonal Harmony
184
D. Use the framework below as the basis for a repeated period. The second phrase should begin and end in D major (phrase modulation). Compose a first end ing that modulates back to F using some modulatory technique discussed in thi s chapter. Include NCTs and arpeggiations in your final version. Score for pi ano or some combination of instruments found in your class .
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E.
The framework below is also to be used as the basis for a repeated period for piano (or other instruments). The first phrase is in E~. and the second should be a sequential repetition of the first, in Ak Write out the repeat of phrases 1 to 2. Use more embellishments in the repeat than you used in the first eight measures.
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Chapter 19
185
EXERCISE 20-1 A. Diagram this excerpt down to the phrase level and name the fo rm . Assume all phrases are fo ur measures long. Also, answer the fo llowing questions :
1.
What is the form of mm. 1-8?
2.
Find and label a vii 0 j!Y and a vii 0 j/vi.
3.
Why do you think Mozart chose to use a double stop in the violas in m. 14? (A double stop is a technique that allows a stringed instrument to play two notes at once.) Mozart, Eine kleine Nachtmusik, HI
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188
B. Name the form of this piece (do not diagram phrases and cadences). Watch out for written-out repeats. Also, do or answer the following: 1.
Label the chords in mm. 5 to 8.
2.
What chord forms the basis of mm . 33 to 39?
3.
Analyze the last chord in m. 34.
4.
In what measures does the "boom-chick-chick" accompaniment drop out?
•
Chopin, Mazurka Op. 67, No. 3 Allegretto
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Chapter 20
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Tonal Harmony
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Student Workbook
19 l
C. This excerpt is the first part of a scherzo and trio (a scherzo is much like a minuet, only faster). The trio is not shown. 1.
Diagram this scherzo at the phrase level. The key implied by mm. 17 to 20 is d minor, not A major.
2.
Identify the form. Do not be misled by the written-out repeat in mm. 9 to 16--this is a two-reprise form.
3.
Find two examples of chromatic mediant relationships.
•
Beethoven, Violin Sonata Op. 24, III
Scherzo
La prima parte senza repetizione Alleg ro mo/to
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Tonal Harmony
192
D. Diagram this piece down to the phrase level and name the form . Also, answer the following questions:
•
1.
Where is a sequence involving both hands? Bracket it.
2.
What does the 0#4 in m. 6 accomplish?
3.
What material in mm . 10 to 22 is obviously derived from mm. 1 to 9. March from the Notebook f or Anna Magdalena Bach
Student Workbook
Chapter 20
193
194
E.
Tonal Harmony
This excerpt, the final movement of a piano sonata, is a minuet and trio, although Haydn did not label it as such.
1. Diagram phrases and cadences, treating the minuet and trio as separate pieces. Be sure to play or listen to the music because some of the returns are disguised. (A melodically varied return of phrase a is still labeled phrase a, not phrase a'.)
2.
Name the forms of the minuet and the trio.
3.
In performance, the trio is followed by a return to the minuet (although the repeats are omitted), ending at the fermata. What is the form of the movement as a whole?
4.
Find the one phrase in this movement that is not four measures long and compare it to its earlier four-measure version. How does Haydn extend this phrase?
5.
Provide roman numerals for the following chords:
a. _ _ _ _ _ m. 17, beats 1to2 (in
E~)
b. _ _ _ _ m. 19, beat 3 (in E~) c. _ _ _ _ m. 35, beat 3 (in M) m. 44 (inM)
d.
e. _ _ _ _ _ m. 46, beat 3 (in M) •
Haydn, Piano Sonata No. 38, III Finale
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Student Workbook
Chapter 20
195
Part V Chromahdsm 2
EXERCISE 21-1 A.
Notate these chords in the specified inversions. Include key signatures.
1
& A:
3
4
5
119:
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6
~: Ab:
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B. Label these chords. Include inversion symbols. 1
F:
2
4
3
D:
Bb:
5
A:
Ab:
197
Tonal Harmony
198
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1.
•
Label the chords with roman numerals. NCTs have been put in parentheses (other interpretations are possible). Which chord could be considered an example of secondary mode mixture? Bach, "Herr Jesu Christ, wahr'r Mensch und Gott"
C:
2. •
Label the chords and NCTs . Circle the roman numerals of any borrowed chords. Schumann, "Ich grolle nicht," Op. 48, No. 7
Nicht zu schnell
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Student Workbook
3.
Chapter 2 1
Label the chords, circl ing the ro man numerals of any borrowed chords. Label the cadence ty pe.
•
Brahms, Symphony No. 3, Op. 90, II ~
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200
Tonal Harmony
4.
•
Schumann uses mode mixture in thi s passage to modulate from E to its minor dominant. Label all the chords and the common-chord modulation . Schumann, "Liebeslied," Op. 51 , No. 5
so
trau
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Chapter 21
Student Workbook
5.
In the passage below, Mozart uses mode mixture twice to move fro m E major to the very distant key of c minor and then uses mode mi xture twice more to return to E major. Label all chords, including the common-chord modulations fro m E to c and back. (Remember that the bass voice is always the lowest-sounding voice, so that the bass note in m. 22 1, for example, is the cello G, not the piano$.)
•
Mozart, Piano Trio K. 542, I
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202
Tonal Harmony
225
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Student Workbook
6.
•
Chapter 21
This excerpt modulates from Al> to some other key and then back to Al>. Label all chords and NCTs . Schubert, Impromptu Op. 90, No. 1
203
204
Tonal Harmony
Student Workbook
Chapter 2 1
D. Part writing. Analyze the chords implied by the soprano/bass framework . Then fill in alto and tenor parts. Be sure to use the specified mode mixture.
1. Include a ii 0 l
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205
Tonal Harmony
206
E.
I
The first two phrases of a chorale melody are given below. A bass line is included for the first phrase. Complete the four-part texture, including in the second phrase a modulation to B~ and a borrowed iv 6 chord. Label all chords and circle the roman numeral of the borrowed chord. Activate the texture with NCTs and/or arpeggiations.
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Analyze the harmonies specified by the following fig ured bass and then make an arrangement for SATB chorus. This passage modulates.
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Student Workbook
Chapter 21
G. Arrange the first modulation below for SAB chorus and the second one for SATB chorus. Activate the textures with NCTs and/or arpeggiations. Arrange the metric and rhythmic structure so that the last chord comes on a strong beat. Label chords and NCTs.
1.
D:
v
16
vi
~ F.
116
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16
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5
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207
208
Tonal Harmony
I
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H. Use the framework below as the basis for the beginning of a passage that starts in F major and modulates to D~ major by means of mode mixture. Score for piano or for some combination of instruments in your class.
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APOLITAN CHORD
EXERCISE 22-1 A. Label each chord. Include inversions, if appropriate. 1
F:
6
D:
2
3
4
b~:
D:
c:
7
9
8
E:
5
d:
e:
10
flt:
A~:
209
210
Tonal Harmony
B. Notate each chord. Include key signatures.
1
'
a:
3
4
5
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6
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8
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10
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II N6
II N6
Student Workbook
C.
Analysis. 1.
•
Chopin, Prelude Op. 28, No. 20
2. •
d:
Label chords and NCTs.
Label the chords in tills excerpt. Beethoven, Sonata Op. 27, No. 2, I
Chapter 22
211
Tonal Harmony
212
3.
•
Label the chords in thi s excerpt. Where does the most unusual progression occur? (Don ' t let Beethoven's interesting use of 6 and 7 in mm. 1-3 confuse you-there is really just one chord in these three measures.) Beethoven, Violin Sonata, Op. 47, II, Variation 3
~.
*
Chapter 22
Student Workbook
4. This beautiful and moving theme illustrates the expressive power of the Neapolitan chord. Label all the chords and NCTs. The B# in m. 6 is not a chord tone but instead delays the arrival of C#. By the time the C# arrives, however, the harmony has moved on. Does something similar happen in m. 8, or is the A# a chord tone? Be sure to listen to or play this example. Mozart, Piano Concerto, K. 488, II
•
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Tonal Harmony
2 14
5.
At this point in Schubert's famous "Erlkonig," the evil personality of the title character is finally expressed, with the help of the Neapolitan triad. Label the chords.
• fl ,.
Schubert, "Erlkonig," Op. I
11 3
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6.
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At the end of the song, the father's fra ntic ride comes to an end, and we hear the Neapolitan again . Label the chords .
acce/erando 134
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Chapter 22
.... I
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'
Tonal Harmony
216
7.
•
Mode mixture is involved in thi s excerpt in modulations to the key of the Neapolitan and back again. Label all chords, including common chords for both modulations. Beethoven, Rondo, Op. 51 , No. I
105
Ta r
dan
C:
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Chapter 22
Student Workbook
D. For each exercise, provide the correct key signature and notate the specified chords preceding and following the N6 . Use the given three- or four-part texture in each case. 2
1
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Analyze the harmonies implied by the soprano/bass framework. Then fill in inner voices to make a fo ur-part texture. Each exercise should contain a Neapolitan chord.
b:
N
y7
217
Tonal Harmony
2 18
3
c:
F.
Analyze the chords specified by thi s figured bass and then make an arrangement for SATB chorus.
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G. Make settings of the following progressions for three or fo ur parts, as specified. Arrange the rhythm ic/metric scheme so that the final chord of each progression comes on a strong beat. Activate the texture with arpegg iations and/or NCTs.
1.
(4 parts)
O ' O '
v
2.
(3 parts)
e:
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3.
(4 parts)
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(3 parts)
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s
v
Student Workbook
H. Use the framework below as the first phrase of a three-phrase excerpt having the following structure:
HC
b:
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HC
f#:
PAC
Phrase 2 modulates to f# minor. Phrase 3 remains in f# minor and contains a Neapolitan triad. After completing the framework, make a more elaborate version for piano or for some combination of instruments in your class.
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Chapter 22
219
220
I.
Tonal Harmony
Make a setting of the following text or another text of your choice for three-part chorus. Include in your setting examples of the following: Neapolitan triad Mode mixture Common-chord modulation Your composition should begin and end in the same key. Be sure to include a harmonic analysis. A storm of white petals, Buds throwing open baby fists Into hands of broad flowers. -From "The Year," in Cornhuskers by Carl Sandburg, copyright 1918 by Holt, Rinehart and Winston, Inc.; renewed 1946 by Carl Sandburg. Reprinted by permission of Harcourt Brace & Company.
EXERCISE 23-1 A. For each exercise below, provide the key signature, and then notate #4 to 5 on the top staff and 6 to 5 (or, in major, ~6 to S) on the bottom staff. Finally, show an analysis of the implied chords as in the example.
1
2
3
4
e:
B~:
a:
G:
5
6
7
8
9
d:
f~:
E ~:
b'
o·
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Example
C:
+6
v
221
222
Tonal H armony
B. Label each chord, using inversion sy mbol s where appropri ate.
1
2
d:
6 I
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7
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v
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Notate each chord in close position. Augmented sixth chords should be in their customary bass position (6 in the bass in minor, ~6 in major). Include key signatures.
1
B~:
v
~
E:
C.
~ ~
2
3
4
5
llllB
11&
119:
11&
Fr+6
d:
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bk
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11+6
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6
7
8
9
10
~:
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A:
Ger+6
c:
Fr+6
G:
vi i0 7/v i
e:
II ··06 5
II
II Ger+6
Student Workbook
Chapter 23
223
D. Label the chords in each example below. Also, discuss the details of the resolution of each augmented sixth chord. Do ~4 and b6 follow their expected resolutions to S? How are parallel 5ths avoided in the Ger+6 resolution(s)?
\___,,
1.
•
Measures 2 to 5 of thjs excerpt are in d minor, although the key of VI (Bb ) is strongly tonicized in mm . 2 to 3 (the second chord in m. 2 shou ld be analyzed as a secondary function of VI) . Common-chord modulations to two other keys occur in mm . 5 to I I. Schumann, "Sehnsucht," Op. 51, No. I
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224
Tonal Harmony
Student Workbook
2.
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This excerpt begins and ends in g minor, but it contains modulations to two other keys (or tonicizations of two other chords). How do those keys relate to the "parent" tonality of g minor? Schumann, "Die beiden Grenadiere,'' Op. 49, No.
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3. This very chromatic excerpt from an early Mozart string quartet contains an augmented sixth chord that resolves quite irregularly. Before you begin to label the chords, review the use of the subdominant chord in minor on pp. 64-65 and 243. •
Mozart, Stri ng Quartet, K. 168, II (piano arrangement)
C:
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Student Workbook
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This excerpt begins in C major and modulates. Where is there a 9-8 suspension? Haydn, Quartet Op. 74, No. 3, II 30
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227
228
Tonal Harmony
5.
•
Thi s excerpt modulates to the dominant, passing through another key on the way. The first chord in m. 8 is spelled enharmonically (imagine a Gq instead of the Fx). Be sure to analyze a chord on beat 2 of m. 8. Schumann, Tragodie, Op. 136, No . 3
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Student Workbook
6. \.__,, •
Chapter 23
The slow tempo of this theme allows some measures to contain several chords. In the first measure, for example, each bass note is harmonized by a new chord, with the exception of the B2. Discuss the various uses of the pitch class G#I AJ, in this excerpt. Beethoven, String Trio Op. 9, No. 3, II
Adagio con espressione
229
230
Tonal Harmony
Chapter 23
Student Workbook
E.
Supply the missing voices for each fragme nt below. All are four-part textures.
1
2
fl
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Complete these harmonizations, adding one or two inner voices, as specified.
1
2
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231
Tonal Harmony
232
G.
Analyze the harmonies specified by this figured bass and then make an arrangement for SATB chorus.
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H. Analyze the harmonies implied by this soprano/bass framework, being sure to include an It+ 6 . Then fill in the inner voices, following good voice-leading procedures. There are no NCTs in the bass and soprano lines .
I.
I
I I \
Given below are mm. I to 2 of a four-measure phrase. Continue the passage to make a period (parallel or contrasting) that ends with a PAC in the key of the dominant. Include an augmented sixth chord.
H . -"" . I\ ~
I\
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11 L '-• 1111 - • • Jttt I
-""
Student Workbook
J.
Make a setting of the following text or another text of your choice for three-part chorus. Include in your setting examples of the following: Neapolitan triad Mode mixture Secondary function Augmented sixth chord Remember to include tempo indication and dynamic markings. Two roads diverged in a wood, and II took the one less traveled by, And that has made all the difference. - From "The Road Not Taken," by Robert Frost. From The Poetry of Robert Frost, edited by Edward Connery Lathem. Copyright 1916, © 1969 by Henry Holt and Company, Inc. Copyright 1944 by Robert Frost. Reprinted by permission of Henry Holt and Company, Inc.
I
I
I
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t
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Chapter 23
233
NTED SIXTH CHORDS 2
EXERCISE 24-1 A. Label the chords in the keys indicated.
f:
7
8
d:
4
A ~:
b:
g:
6
3
2
1
5
G:
9
E~ :
10
E:
Bk
235
Tonal Harmony
236
B.
Analysis. 1.
•
Tchaikovsky, "The Nurse's Tale," Op. 39, No. 19
2.
•
Label the chords in this example. Measures 10 to 12 could be analyzed in terms of secondary functions or as a modulation .
In a number of his works Scriabin used the chord found at the end of the first measure. Label the chords. Scriabin, Tragic Poem, Op. 34
Student Workbook
•
3.
\.____.,,
Chapter 24
This excerpt will give you practice with both alto and tenor clefs. Label all chords and NCTs . Schubert, String Trio D. 47 l
fp::=-
237
238
Tonal Harmony
4. This example begins in A and modulates. Label the chords. •
Schumann, "Novellette," Op. 21, No. 7 (simplified texture)
ti ~ I
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Beethoven, Violin Sonata Op. 23,
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Label the chords.
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EN ARMONIC SPELLINGS AND ENHARMONIC MODULATIONS
EXERCISE 25-1 A.
Analyze the given chord. Then show any possible enharmonic reinterpretation(s) of that chord, keeping the same key signature. The enharmonic reinterpretation should involve a new key, not just an enharmonically equivalent key (like g# and aJ,). Number I is supplied as an example.
2
1 ~
'& F:
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4
B.
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g:
II ~ti
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Each of the following short passages contains an enharmonic modulation. Analyze each passage after playing it slowly at the piano and listening for the point of modulation. Do not try to analyze these passages without hearing them.
1
239
240
Tonal Harmony
2
3
Analyze the progressions impl ied by these soprano and bass lines and fi ll in the inner voices. Analyze enharmonic common chords where indicated.
C.
Use two different chords on the last beat of m. 2 and the first beat of m. 3 in Exerci se I.
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Student Workbook
D. Compose short passages similar to those in Part B. The given chord is to serve as the common chord in an enharmonic modulation. (Hint: As you sketch out your progression, notate the given chord first. Then find satisfactory ways to lead into and away from that chord.)
"----'
1. G to B. Common chord: y7;1v in G. ~
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Chapter 25
241
242
E.
Tonal Harmony
Analysis. Be sure to play as much as you can of each excerpt. 1.
•
This passage modulates from f# minor to Ab major by way of E major. The bass notes are found above the "Ped." markings-the other notes in the bass clef are arpeggiations into inner voices. Label all the chords, including common chords for both modulations. Chopin, Nocturne Op. 27, No. I
.... appassionato
'.feo~·-----*
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Student Workbook
2. This excerpt begins in g minor. Label all the chords. "--"
•
Beethoven, Sonata Op. 13, I
3. This excerpt is from the end of the exposition and the beginning of the development of a movement in sonata form (review pp. 332-334). The final cadence of the last B theme is shown in the first few measures of the excerpt (in E~ major). The music then leads to a modulation to C minor in the first ending and to A minor in the second ending. Notice that the sonority first heard in m. 76 is used again twice, each time in a different way. (Bonus question : what other sonority in these measures is treated enharmonically?) Brahms, Quartet, Op. 51 , No. I, I
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Chapter 25
243
244
Tonal Harmony
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Student Workbook
Chapter 25
4. The next excerpt is qui te challenging. Label both chords and NCTs. You might fi nd it
•
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helpful to label the chords with pop symbols before ass igning ro man numerals . Haydn, Quartet Op. 76, No. 6, II ~
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Tonal Harmony
246
D~ to A and back again. Although both modulations involve enharmonicism, only one of them is a true enharmonic modulation-the other uses en harmonic spellings for convenience.
5. This dance modulates from
a. Label all the chords, including two common-chord modu lations. b. Label the enharmonic modulation . c. Name the form of this piece. •
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F.
"----
Use mm. 31 to 34 of Part E, number 4, as the first phrase of an eight-measure parallel period. The second phrase should include an enharmonic modulation to a foreign key.
Chapter 25
247
248
Tonal Harmony
G. Compose the beginning of a song with pi ano accompaniment, using a text of your choice. Include two enharmonic modulations, o ne of them using a Ger+6 chord, the other a dimini shed seventh chord.
FU RJ ER ELEMENTS OF THE HARMONIC VOCABULARY
EXERCISE 26-1 A.
In each frag ment below, analyze the given chord . Then notate the specified chord in such a way that it leads smoothl y into the g iven chord with acceptable voice leading. Some of the problems use a fi ve-part texture fo r simpler voice leading.
1
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249
250
B.
Tonal Harmony
Compose four short passages for piano, each one making use of a different progression from Part A. The half-note durations do not need to be retained, but use the same voice leading.
Student Workbook
C.
Analysis. Throughout thi s section highlight (using arrows or whatever is convenient) any occurrences of the chords discussed in this chapter. 1.
•
Label chords and NCTs. Schumann , Humoresque, Op. 20 Einfach
~
=80
2. Thi s excerpt features one of the chords discussed in the chapter. The last chord in m. 8 should be analyzed as a secondary fu nction. What is the for m of the excerpt? •
Chopin, Nocturne, Op. 32, No. 2
sempre piano e legato
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*
Chapter 26
251
252
Tonal Harmony
3.
a. Analyze thi s excerpt in f minor throughout. One of the chords is best analyzed as a chord with an added 6th . b. Put parentheses around NCTs and be prepared to di scuss them. c. Diagram the phrase structure and label the form. Assume four-meas ure phrases.
•
Chopin, Mazurka, Op. 63 , No. 2
'fro.
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Student Workbook
4.
Chapter 26
The excerpt below is written for barbershop quartet. The treble clef part sounds an octave lower, and the melody is given to the second tenor (the bottom voice in the treble clef). Music for barbershop quartet frequently uses ct 0 7 chords, and you will find some in thi s excerpt, including one that embellishes a secondary dominant. Label all chords and NCTs, analyzing in A~ throughout. Ayer (arr. by Campbell), "Ohl You Beautiful Doll"
Oh 1 _ _ __ Oh,
oh,
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you
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li ve
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you.
oh,
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oh,
oh!
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oh!
you
253
254
Tonal Harmony
5.
Harmonic sequences occu py most of this excerpt. Find the two sequences and bracket each occurrence of the seq uenti al patterns. If it is poss ible to do so, label the chords in the sequences with roman numerals, perhaps in terms of shi fting tonalities. Di scuss briefly the large-scale harmonic/melodic function of each sequence. In other words, just what does each sequence accompli sh harmon icall y and melodically? Schumann, "Die Lowenbraut," Op. 3 1, No. I
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Student Workbook
Chapter 26
255
6. This fa miliar excerpt is easier to li sten to than to analyze. The transpositions do not make the analysis any easier-clarinets in A and horns in F-nor do the fo ur clefs in use. Do your best with the score (after all , conductors face thi s sort of problem every day), then check your work with the piano reduction that fo llows the excerpt. •
Tchaikovsky, Symphony No. 6, Op. 74, I
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256
Tonal Harmony
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Student Workbook
7.
The chord in m. 4 should be analyzed in two ways: the way in which we ex pect it to resolve when we fi rst hear it and the way it actuall y fu nctions. Schubert, Schwanengesang, " Kriegers Ahnung"
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Chapter 26
257
Tonal Harmony
258
8.
•
This excerpt ends with an enharmonic modulation leading to a cadence that implies the key of e, although it is not confirmed by the following phrase. Schubert, String Quintet, I (piano reduction)
Allegro ma non troppo I
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9.
•
Label with roman numerals the two chords in this excerpt that are the most important structurall y. The other chords are simultaneities connecting the structural chords. Label their roots. If any of these chords imply fleeting tonicizations, indicate this with roman numeral s. The chord in m. 2 could be heard as a g triad with raised and lowered 5th (G-Bi>-Di>-D#) because the FJ, ascends chromatically to E, as we would expect D# to do. Find another chord in this passage that could be interpreted similarly. Wagner, Siegfried, Act I (piano-vocal score)
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Tonal Harmony
10. In some ways this excerpt pushes traditional harmony toward its limits, especially th rough its disregard fo r conventional resolutions of di ssonance. Nevertheless, the entire passage can be analyzed reasonably well in traditional terms. Label all the chords. Which portion of the excerpt is the most unconventional in terms of disso nance treatment? •
Grieg, "The Mountain Maid," Op. 67, No. 2
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Part VI Late Roman6dsm and the Twen6eth Century
TON~
HARMONY IN THE LATE NINETEENTH CENTURY
EXERCISE 27-1 A.
Examine the first twenty-five measures of the opening of Tannhiiuser; given below, and do the following: 1.
The opening eight measures show rather traditional harmonic function. Analyze these measures, using roman numerals (do all work on the music).
2.
The following eight measures, which may also be analyzed with roman numeral s, show less traditional harmonic movement. Cite at least three instances in which this is true (show measure number). a. b.
c. 3.
Analyze the sequence that begins at m. 17 and continues through m. 21.
m . 17
m. 18
m. 20
m. 19
m. 21
Use pop symbols, roman numerals, or a mixture of both , whichever seems appropriate. Circle those chords that are most strongly tonicized. How is such tonicization accompli shed ? •
Wag ner, Tannhi:iuser; Prelude to Act I (piano reduction) Andante maestoso
3
261
262
Tonal Harmony
Student Workbook
B.
Chapter 27
263
Analyze the fo ll owing chromatic seq uences, then continue each as indicated.
II
II Select one of the above sequence patterns to serve as the basis fo r a piano composition. You might want to create a melody over the background of block chords or perhaps modify the texture of the harmonies themselves. Nonessential or embell ishing chords may be inserted within the seq uence for the purpose of color. C.
Continue the fo llowing sequences as indicated. Then select one to serve as the harmonic basis for a piano or vocal compositi<'m in the style of one of the post-Romantic composers studied. Strive for contrapuntal interest and smooth voice leading.
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264
D. Examine the following excerpt. 1.
The opening key is designated as E major. What is interesting about the structure of the scale that forms the basis for mm. 2 and 3?
2.
Provide roman numeral analysis for m. 2. In what way does the music in mm. I 0 to I J suggest more traditional treatment of tona]jty?
3.
Describe the modulatory procedure that takes place in mm. 12 to 13.
4.
Name the key introduced in m. 14. What is its relationship to the opening key? _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
5.
Name two other keys hinted at between mm.land 14. _ _ _ _ _ _ _ _ _ _ __ and _________ These keys represent what relationship to each other and to the opening key? - - - - - - - - - - - - - - - - - - - - - - - - - - -
Student Workbook
•
Wolf, "Die ihr schwebet um diese Palmen"
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Chapter 27
265
266
Tonal Harmony
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Student Workbook
Chapter 27
E. 1.
ls there a clear tonal center in the opening five bars of the following excerpt? If so, what is itandhowisitdefined?_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ __ __
2.
Using pop symbols, name the two sonorities found in mm. 6 and 7._ _ _ _ _ _ __ and ln what way could these chords be said to suggest functional harmony in the key of D major, which ultimately concludes the excerpt, as well as the piece?
3.
What roman numeral s are used in mm. 9 to 12 to prepare the cadence in D major?
m.9
•
m.IO
Wolf, "Yerschwiegene Liebe"
ausdru cksvo!I und weich
m. 11
m. 12
267
268
Tonal Harmony
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Chapter 27
Er -
269
270
F.
•
Tonal Harmony
The first ten measures of Reverie may be analyzed with traditional roman numerals (if you watch out for enharmonic respellings). Do so, then comment on reasons for the rather contemporary sound of the piece. Payne, Reverie
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Student Workbook
Chapter 27
G.
1.
The following excerpt begins and ends in E major. What is unusual about the manner in which the key is established in mm . lO to 13?_ _ __ _ _ _ _ _ _ _ _ _ _ __
•
2.
Label on the music the harmonies found in mm. 14 to 22. Use pop symbol s for your analysis.
3.
What five-chord succession within mm. 14 to 22 represents an "omnibus" fragment?
4.
In what way is the approach to the closing E major harmony unusual?
5.
By what means does Faure make it convincing, nonetheless?
Faure, "Chanson d' Amour," Op. 27, No. 1 (mm . 10-22)
271
272
Tonal Harmony
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Student Workbook
Chapter 27
H.
1.
In the Siegfried excerpt, analyze one essential harmony for each of the first eleven measures of the excerpt.
m. I
•
m. 2
m. 3
m. 4
m. 5
m. 6
m. 7
m. 8
m. 9
m. lO
m. 11
2.
Name at least three keys (including the first one) that are established throughout the course of this excerpt. Show the measure numbers.
3.
Show two instances in which modulation is effected by deceptive resolution, either of chords or of single pitches. Describe the process that takes place.
Wagner, Siegfried (Act III, Scene 3) BRUNNHlLDE
273
274
Tonal Harmony
(feurig, doch za rt)
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Student Workbook
Chapter 27
I.
"'----'
1.
What is unusual about the treatment of tonality in the opening four measures of the Franck prelude? - - - - - - - - - - - - - - - - - - - - - - - - - - -
2.
Describe the nontraditional treatment of the dominant seventh sonority in mm. 5 to 9 of the e x c e r p t . - - - - - - - - - - - - - - - - - - - - - -- - - - - - -
3.
In what way is the musical style significantly influenced by the treatment of nonharmonic material? Consider both single tones and vertical sonorities.
•
Franck, Prelude, Aria, and Finale for Piano (Prelude) Allegro moderato e maestoso
275
276
Tonal Harmony
Student Workbook
J.
Chapter 27
The following excerpt is taken from the Barcarolle, Op. 17, No. 6, by Richard Strauss (mm. 21-30).
1.
What key is implied by the melody in the opening four bars? _ _ _ _ _ _ _ _ __
2.
What means does Strauss employ to negate that tonal implication and, indeed, any clear tonal implication? - - - - - - - - - - - - - - - - - - - - - - - - - -
3. Show the underlying harmonic structure of mm. 25 to 29, using pop symbols.
m. 25 4.
m. 26
m. 27
m. 28
m . 29
Within the passage shown above, locate and describe at least three examples of deceptive resolution that serve to make the chord succession convincing. a.
b. c. •
Strauss, Barcarolle, Op. 17, No. 6
21
der Pi a - ta
ne
277
278
Tonal H armony
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*
AN lN RODUCTION TO TWENTIETH-CENTURY MUSIC
EXERCISE 28-1 A. Add the appropriate accidentals to create the modal scale indicated: C-Mixolydian
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279
280
Tonal Harmony
B. Add the appropriate accidentals to create the modal scale indicated: D-Mi xolydian
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The three modes that are essentially major in quality are the , and
modes.
2. The three modes that are essentiall y minor in quality are the , and
3.
All the modes contain a perfect 5th from
modes.
I up to 5 except the
4. The two modes that contain a leadi ng tone are the
mode. and
modes.
5.
The two modes that contain a minor second from
i up to :2 are the
and
modes.
6.
The
1-4 tetrachord in the Mixolydian mode matches that of the
7. Likewise, the opening tetrachords of the Aeolian and
mode. modes are the
same.
8.
The four modes that contain a major 6th from
l up to 6 are the , and
9.
The three modes that contain a minor 6th from
l up to 6 are the
_ _ _ _ _ _____ , and _ _ ________ modes.
10.
Name the interval from
f up to 4 in the Ionian
mode. _ _ _ _ _ _ _ _ __
11.
Name the interval from
f up to 4in the Lydian
mode. _ _ _ _ _ _ _ _ __
12.
Name the interval from
13.
II
G-Locrian
C. Answer the fo llowing questions about t,he diatonic modes: 1.
II
G-Aeolian
E-Lyd ian
&
'---"'
4 up to 7 in the Ionian mode. _ _ _ __ _ _ __ Name the interval from 4 up to 7 in the Mixolydian mode. _ _ _ _ _ _ _ __
modes.
Cl
II
Student Workbook
D.
281
Using a key signature (rather than appropriate accidentals), notate the following modal scales in the clef indicated.
Ab-Ionian
D-Locrian
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llE
11118
D-Phrygian
F#-Dorian
:>= E.
Chapter 28
II
A-Phryg ian
II
F#-Aeolian
II':
II
Notate the fo llow ing pentatonic scales and hybrid modes starting on the pitch indicated. Be sure to include the octave-related pitch.
Major pentatonic
Maj or pentatonic
'u Hirajoshi pentatonic
II Lydian/Mixolydian
'u Lydian/Mixolydian
II Phrygian/Dorian
II
Tonal Harmony
282
F.
Notate the following synthetic scales starting on the pitch indicated. Be sure to include the octave-related pitch.
Whole-tone
Octatonic (half-whole)
II Who le-tone
Octatonic (half-whole)
II Half-step/ minor third
Octatonic (half-whole)
II G.
Add the appropriate accidentals (or delete the appropriate notes) to create the scale indicated. You may choose a starting pitch of B or m.
Mixolydian
'~
Maj or pentatonic
-&
u
a
II
a
II
a
Lydian/Mi xolydian
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II
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a
a
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a
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a
a
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II
a
a
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a
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a
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a
II
a
Whole-tone
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Student Workbook
Chapter 28
283
H. Identify the scale used in the following passages.
II
• •
284
• 4
Tonal Harmony
Student Workbook
I.
Analysis. The following examples represent three versions of the principal tune from Debussy's "Fetes." For each, identify the scale being used . Debussy's "Fetes," from Nocturnes (piano reduction) Animato e deciso
~.
*
Used by permission of Edward 8. Marks Music Co.
Chapter 28
285
286
Tonal Harmony
mm. 29-32
p
ii basso staccato
scale: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Student Workbook
J.
Chapter 28
287
Composition. Compose pieces according to the following specifications: Using the major pentatonic scale m -C-D-F-G-m as a basis, compose five brief melodies, each of which in turn establishes the indicated tone as a tone center. (Hint: D is tough. Why?)
1
II 2
II
3
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' ' '
u
II
4
II
II
a
II
5
288
Tonal Harmony
Create a melody based on the octatonic scale that emphasizes major and minor 3rds. Carefully use rhythmic interest to create an exciting melody.
6
Student Workbook
Create a two-voice composition based on a whole-tone scale. You might want to create a symmetrical relationship between the two voices or perhaps treat them imitatively. If your composition is for piano, experiment with the wide range of the keyboard.
\__...
7
Chapter 28
289
Chapter 28
Student Workbook
291
EXERCISE 28-2 \__
A. Describe the structure of the chords shown below by providing the correct symbol: use the symbol "Q" for quartal/quintal chords, "S" for secundal chords, and lead sheet symbols for tertian sonorities and polychords. 2
1
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B. Identify the following sonorities as a quartal/quintal chord (Q), split-third chord, whole-tone chord, or tone cluster. 1
2
3
4
5
6
7
..
8
292
Tonal Harmony
Describe the types of vertical sonorities found in the following examples as tertian, polychord, quartal, quintal, or added-note .
C.
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Student Workbook
Chapter 28
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293
Tonal Harmony
294
D. Complete the following passages using chromatic planing, or strict parallelism. That is, use the given initial sonority to create a passage where all voices move in the same direction by the same interval.
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Student Workbook
Chapter 28
E. Complete the following passages using diatonic planing. That is, use the given initial sonority to create a passage where all voices move in the same direction by the same diatonic interval within the key signature indicated. 1
ti.
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295
296
Tonal Harmony
Complete the following passages, using the triad type indicated for each hand. Continue the scoring suggested by the firs t polychord, using the given outer parts consistently as either roots, 3rds, or 5ths of the sonority.
F.
1 R.H. major, L.H. major
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Student Workbook
Chapter 28
G. Analysis. Try to play or listen to the following example and answer the following questions: 1.
What technique is used to create form in this piano composition?
2.
Notate the scale that forms the basis of the opening four measures:
Does the piece have a tone center? _______ If so, what is it? ______ If you do not perceive one, why ?
3.
What are the distinguishing characteristics of the opening two measures?
4.
In what ways is the character of the opening maintained throughout the piece?
5.
What is the derivation of the thematic gesture found in m. 3 of the right-hand part? __________ Locate three other instances in which that intervallic pattern appears (other than in the bass line). a. b.
c.
297
298
Tonal Harmony
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Student Wo rkbook
H. Composition. Devise completions for the following passages. Incl ude both bl ack and whi te keys in your solution. Try to maintai n styli stic consistency.
1
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Chapter 28
299
300
3
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Tonal Harmony
Student Workbook
Chapter 28
EXERCISE 28-3 "----
A. Which of the fo ll owing rhythm ic procedures-added value, asymmetric meter, displaced accent, metric modu lation, mixed meter, or non-retrogradable rhythm-are illu strated by the fo ll ow ing examples: 1
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302
Tonal Harmony
B. Analysis. Comment on the rhythmic and metric devices employed in the following excerpts.
Student Workbook
Chapter 28
Stravinsky, "Danse de la fo ire," from Petrouchka (piano reduction) Stringendo
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303
Tonal Harmony
304
C.
Composition . Compose a piece according to one of the fo llowi ng specifi cations: 1.
Create a polyrhythmic composition for two percuss ion ists. Use any two li ke non-pitched percussion instruments (claves, cowbell s, hand-claps, etc.).
2.
Create a composition for any two instruments that feat ures a passage based on poly meter.
3.
Create a melody that utilizes two or more of the fo llowing rhythmic devices : added value, asymmetric meter, displaced accent, metric modulation , mixed meter, or nonretrogradable rhythm .
Student Workbook
Chapter 28
305
EXERCISE 28-4 \____,
A. First notate each pitch-class (pc) set on the staff provided (i.e., using staff notation). Then determine each pc set's normal order and prime form. (Use the space indicated on the staff as a workspace for your calculations.)
1
PC Set: (A,E,Eb)
2
PC Set: (D,A,F#)
STAFF NOTATION WORKSPACE
' 3
5
Normal order: [ _,_ ,_] Prime form: (
Prime form: (
4
___ )
PC Set: (D,E,A,G)
II
11& Normal order: [ _,_ ,_) Prime form: (
Normal order: [ _,_ ,_ ,_ ]
___ )
Prime fo rm: (
6
PC Set: (Bb,A,C,B)
'
Normal order: [ _,_ ,_]
___ )
PC Set: (C#,G#,D#)
'
II
11&
____ )
PC Set: (G,F,Eb,D)
II
11& Normal order: [_,_,_ ,_) Prime form : (
____ )
Normal order: [ _ ,_ ,_ ,_] Prime form: (
____ )
306
Tonal Harmony
B. For each of the following sonorities (trichords and tetrachords), provide the normal order, prime form, Forte name and interval class (ic) vector.
2
4
3
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Forte name/Prime form:
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( ___ )
3-_
( ___ )
4-_
3- _ ( _ _ _ )
( ____ )
IC Vector:
5
.
6
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4- _ ( _ _ _ _ ) IC Vector: - - - - - -
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------
4- _ ( _ _ _ _ )
4- _
( ____ )
Student Workbook
C. "-----'
Chapter 28
Analysis. from ritual to romance for solo piano by Reginald Bain, 1st movement, mm. 1-8, which follows, opens with an atonal passage. Try to play the example and then answer the following questions: 1.
Determine the normal order of the initial four-note melodic gesture (C,C#,G,F#). To what set class does this pc set belong? Normal order:[_,_,_, _) Belongs to set class: 4-_ ( _ _ _ _ )
2.
Find two other melodic instances of this set class in the passage. Circle these occurrences on the score and mark them with the appropriate Forte name.
3. The three-note melodic cell (G,F#,m) plays an important role in this introductory passage. Determine this pitch-class set's normal order. To what set class does it belong? Normal order:[_,_, _) Belongs to set class: 3-_ ( _ _ _ ) 4.
Find four instances of this set class in m. 6. Circle them on the score and mark them with the appropriate Forte name.
5. Determine the normal order of the chord (B,E,m) in the right hand, m. 2. To what set class does this pc set belong? Normal order:[_,_, _) Belongs to set class: 3-_ ( _ _ _ )
6.
Find another instance of this set class in the right hand. Circle it on the score and mark it with the appropriate Forte name.
7.
To what interval class does the left hand gesture in m. 2 belong? ic _ Is this interval class prominently featured in the set classes you identified above? Yes/No (circle one)
8.
A new set class begins to play an important role in m. 5. Two occurrences may be found in the. right hand melody, mm. 5-6. What set class is it? Set class: 3-_ ( _ _ _ )
In the melody mm. 5-6, circle both occurrences and mark them with the appropriate Forte name.
307
308
Tonal Harmony
Bain, from ritual to romance, 1st movement, mm. 1-8 With great intensity (~ =ca. 66-72) f reely, 111.olro espr.
a tempo
poco rit.
mp
poco accel. _____________ ri t. ____________ _
4
mp
7
Homage to AS
f sub. 3 vb - - - - - - - - -'
© 1985 Reginald Bai n, BMI All ri ghts reserved
Student Workbook
Chapter 28
D. Composition. Compose a piece according to one of the fo llowing spec ifications:
1. Create a melody that begins with a statement of set class 3-1 (012) and goes on to emphasize the fo llow ing interval classes: ic2 (e.g., M2 or m7), ic l (e.g., m2 or M7) and ic5 (e.g. , P4 or PS).
2.
Create a compos iti on for piano that is based on two harmonic cells and two melod ic cell s. For example, you might choose set classes 3-9 (027) and 3-7 (025) for your harmonic cell s and ic I and ic2 for your melodic cell s.
309
310
Tonal Harmony
EXERCISE 28-5 A. The series given below forms the basis for Berg's Lyric Suite. Notate the Io form on the staff provided, then complete the 12 X 12 matrix. Label the series forms using the blanks provided. Po 0
&
II
Ii
0
II
II
0
lo
&
II
II
Io Ro
Po
-Rio
t
Student Workbook
Chapter 28
311
B. Answer the following questions about the series from Berg's Lyric Suite. 1.
In the fo llowing trichordal segmentation of the series, identify the set class to which each discrete trichord belongs by providing its Forte name and prime form. 0
0
II
II
0
3-_ ( _ _ _ )
2.
3-_( _ _ _ )
In the following tetrachordal segmentation of the series, identify the set class to which each discrete tetrachord belongs by providing its Forte name and prime form .
II
0
''
0
4-_ ( _ _ _ _ ) 3.
3-_ ( _ _ _ )
3-_ ( _ _ _ )
II
4- _ ( _ _ _ _ )
4-_ ( _ _ _ _ )
Determine the normal order of the two discrete hexachords. 1st Hexachord Normal order:[_,_,_,_ , _ ,_ ]
2nd Hexachord [_, _,_, _,_, _]
From what scale do the two hexachords appear to be derived? The _ __ _ __ _ scale.
4.
Examine the intervallic structure of the series by filling in the blanks to indicate the number of semitones up to the next pitch class. For example, F-E is up 11 semitones. 0 II
0
II
II
0
II
What is interesting about the intervallic structure of thi s series? _ _ _ _ _ _ _ _ _ _ _ _ __
II
312
Tonal Harmony
c. 1. Notate the Is and R3 seri es for ms on the staves provided. The first note has been done for yo u. Po
&
II
J,,,
go
~o
0
J,,,
0
II
Is
~o
&
II
II
&
II
II
2. Mi rro r (invert) the intervals.
3. Transpose a m3 higher.
4. T ranspose the retrograde a P4 higher.
5. Mirror (invert) the retrograde.
R3
Ii
6. Which of the above is not a twelve-tone series? - - -- - - - - - - -
Student Workbook
Chapter 28
D.
Analysis
1.
" Full Moon" by Otto Joachim is based on a 12-tone series. It employs a single series form that we will call P0 . First, identify the series and notate it (using the treble clef) on the staff provided below. (Hint: The series is presented for the first time in mm . 1-3. The order of the pitch classes in m. 3 is H-m-rn-rn.)
Order numbers:
3
2
5
4
6
8
7
9
10
11
Now trace the presentation of the series in mm. 1-24 by marking series forms (remember, the piece only employs P0 ) and order numbers ( 1-12) on the score .
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from Twelve 12-Tone Pieces.for Children © Copyright 196 1 by BM! Canada Ltd . Copyright assigned 1969 to Berandol Music Ltd. Scarborough.
12
313
3 14
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Tonal Harmony
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Student Workbook
Chapter 28
In some ways, "Full Moon" sounds almost impressionistic. What compositional devices has the composer employed to create this effect?
315
Student Workbook
Chapter 28
3 17
2. "The Moon Ri ses" by Ernst Krenek is based on the following 12-tone series:
"-----'
Po
~~e Order numbers:
~o 2
II
3
qo qo 4
5
u 6
~ bu- q-u 7
8
-&
9
bu 10
lz1 I
II
11
12
Like Joachim 's "Full Moon ," it employs a single series form (P 0). Trace the presentation of the series throughout the course of the piece by marking order numbers (1- l 2) on the score. Krenek, "The Moon Rises," from Twelve Short Piano Pieces, Op. 83
"The Moon Ri ses" from Twelve Short Piano Pieces by Ernst Krenek. Copyright © 1939 (renewed) by Associated Music Publi shers, Inc. (BMI). International copyright secured . All rights reserved. Reprinted by permi ssion.
II
3 18
Tonal Harmony
10
PPP
Student Workbook
Chapter 28
3. "Glass Figures" by Ernst Krenek, is based on the following 12-tone series. ln preparation for the work that follows, notate the Ia and Ra forms of the series on the staves provided:
qo
II
u
II
J,,,
qo qo
In examining the music, you will note that the first measure of the right hand opens with the first three notes of la, whereas the left hand features the first two notes of Ra. The third note of this latter series form rn, is accommodated by the right hand because the third note of Ia is also a rn. Following thi s, the roles of the series forms are reversed, with the left hand picking up Ia while the right hand continues with Ra. Because of the frequency of thi s type of exchange where two or more series forms are involved, it is advisable to use different-colored pencil s to indicate different series forms in operation.
Krenek, "Glass Figures," from Twelve Short Piano Pieces, Op. 83 Andante ben tenuto ~
=63
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"Glass Figures" from Twelve Short Piano Pieces by Ernst Krenek. Copyri ght © 1939 (renewed) by Associated Music Publishers, Inc. (BM!). Intern ational copyright sec ured. All rights reserved. Reprinted by permission.
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Tonal Harmony
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Student Workbook
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Chapter 28
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Composition. Using the series for "The Moon Rises" shown below, compose a two-voice composition, the upper voice of which is based on a transposed series form while the lower voice makes use of a retrograde series form. You might want to try using instruments other than piano, such as violin and cello or two flutes.
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Student Workbook
Chapter 28
EXERCISE 28-6 A. With the help of your instructor, find works that illustrate the principles of aleatory or chance, minimalism, the use of texture and expanded instrumental resources, and electronic music discussed in Chapter 28. Then try the following exercises. 1.
Compose a short piece featuring aleatoric or indeterminate elements. Prepare a performance for class.
2.
Analyze and write a summary of a piece that combines live performer and recorded music. On the basis of your findings, compose a piece in this style.
3.
Compose a piece featuring special effects for your instrument or voice. Perform the piece in class.
4.
Compose a one measure melodic gesture (theme) that will form the basis for a minimalist piece. Your composition should be based entirely on rhythmic modifications of this theme. Have the piece performed in class. Be sure that your performance directions are perfectly clear. (Hint: Your class performance will go much better if you arrange at least a brief rehearsal first!)
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Compact Discs to Accompany Workbook THE PERFORMERS Jana Holzmeier, soprano Jennifer Murray, soprano Julia Armstrong, mezzo-soprano Tim Campbell, tenor David L. Jones, tenor David Stevens, tenor Joel Quade, baritone Richard Womack, baritone Elizabeth Wh itten, flute David Pinkard, bassoon Michael Misner, horn James Wester, horn Jennifer Bourianoff, violin Marian Mentel , violin Roger Graybill, organ Jeff Hell mer, piano (popular and jazz) Myra Spector, jazz vocals David Mead, Alejandro Hernandez-Valdez, piano and harpsichord Kyle Sigrest, piano II The Barton Strings Beth Blackerby, violin Jennifer Bourianoff, violin and viola Martha Carapetyan, Bruce Williams, viola Carolyn Blubaugh-Hagler, violoncello Tosca String Quartet Leigh Mahoney, 1st violin Tracy Seeger, 2nd violin Ames Asbell , viola Sara Nelson, cello Chamber Choir-David Mead, conductor Judith Kanana, Carol Hopkins, soprano Brooke Lehr, Kellie McCurdy, contralto Oliver Worthington, tenor Te Oti Rakena, Steven Olivares, bass
Orchestra-David Mead, Alejandro Hernandez Valdez, conductors Elizabeth Whitten, Michelle Clover Neal, flute Pamela Whitcomb, Lana Neal , oboe Marisa Bannworth Wester, Shannon Thompson, clarinet David Pinkard, Rhonda Collison, bassoon James Wester, Michael Misner, Richard Wheatley, Kellie Babcock, horn Thomas Caswell, Stephen Mi les, trumpet Sean Scot Reed, David Garcia, David Hendricksen , trombone Richard Short, timpani Marian Mentel , concertmaster; Tera Shimizu, principal violin II Jennifer Fedie, Wei He, Daniel McAtee, Sean Milligan, Hye-Sung Oh, Sue-Jean Park, Linda Piatt, Thomas Sender, Marvin Suson, Alicija Usarek, violin Joseph Tan , Mark Sattler, Jason Elinoff, viola Paul Rhodes, Kirsten Eggen, Sara Nelson, Victoria! Wolff, violoncello John Rosenkrans, Robert Jenkins, contrabass Mark Ellis, announcer David Mead, producer Andrew Murphy, Frank Simon, engineers J. Burke Hunn , Michael Czysz, assistant engineers Recorded at the School of Music, University of Texas at Austin
Listening Example track information on next page.
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LISTENING EXAMPLES [11] [13]
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Bonus CDs Enclosed! Mastery of music theory does not come easily, but McGraw-Hill has provided resources to help smooth the way. Each new copy of this workbook includes 2 audio CDs and a CD-ROM. The 2 ·audio CDs contain audio examples for many of the assignments- in the workbook. All examples are performed in their original instrumentation by students and faculty members of the University of Texas at Austin. The CD-ROM contains McGraw-Hill's exclusive Finale™ Workbook software. Based on the best-selling Finale™ notation software, this new tool can be used to complete many of the exercises included in the workbook. At the same time, students become familiar with the basics of working in Finale™, the industry standard for music writing and printing. Assignments can be completed electronically and then printed for submission or sent .xia email.
Templates for the assignments and other learning resources can be found at www.mhhe.com/tonalharmonyS
ISBN 0-07-285261-5 90000 The McGraw·Hill Companies
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9 780072 852615
www.mhhe.com
