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CARRERP. '7 No. L\1-C'O
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Workbook for
Tonal H-armony
with an Introduction to Twentieth-Century Music
Fifth Edition
Stefan Kostka
The University of Texas at Austin
Dorothy Payne
The University of South Carolina
.-Bastan Burr Ridge, IL Dubuque, lA Madison, Wl New York San Francisco St. Louis
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U NIVER§fD¡:,o JP.V!:?:RIAN&
81BL!OTEC!: GE1'!ERN~
CARRERf<7 No. !:1-CO
The McGraw·Hiff Componies .~-:--~ ·
Workbook for Tonal Harmony

with an Introduction to Twentieth Century-Music
Copyright © 2004, 1995, 1989, 1984 by The McGraw-Hill Companies, Inc.
All rights reserved. Printed in the United States of America Except as per-
rnitted under the United States Copyright Act of 1976, no part of tlús publi-
cation may be reproduced or distributed in any form or by any means, or
stored in a data base or retrieval system, without the prior written perrnission
PART I CHAPTER 9
of the publisher. Fundamentals 1 Triads in Second Inversion 71
This book is printed on acid-free paper. CHAPTER 10
CHAPTER 1
6 7 8 9 O QPD/QPD 9 O 9 8 7 6 Elements of Pitch 1 Cadences, Phrases, and Periods 79
ISBN-13: 978-0-07-285261-5
ISBN-lO: 0-07-285261-5 CHAPTER 2 CHAPTER 11
Elements of Rhythm 11 Non-Chord Tones 1 87
http://www.mhhe.com
• )·:!.
'• CHAPTER 3
-
Introduction to Triads
and Seventh Chords 19
CHAPTER 12
Non-Chord Tones 2 93
·PONTIFICIA UN1VERSIDP.Ll JAVERIAl'!A

BIBLIOTECA GENERAL CHAPTER 4 PART III
··;c__ ADQUISICIONES Diatonic Seventh Chords 99
Diatonic Chords in Major
COMPRA~ and Minor Keys 31
CANJEO DONACIOND CHAPTER 13
FECHÁ: MA.,o \O OC ZOC>'1-
PRo·cEDENCIA: {}.)¡.)~00.91 9C..IA The V7 Chord 99
SOLICITADO POR: 1'-105 teA PART II
Diatonic Triads 35 CHAPTER 14
sBJ. o..7~1 es 1 M./)/
¡
CHAPTER 5
The II 7 and VII 7 Chords 117
Principles of Voice Leading 35 CHAPTER 15
CHAPTER 6
Other Diatonic Seventh
Chords 125
Root Position Part Writing 41
CHAPJER 7 PART IV
Harmonic Progression 55 Chromaticism 1 135
• J). CHAPTER 8
Triads in First Inversion 61
CHAPTER 16
Secondary Functions 1 135
Uí,W!ERSIDt:.L:' JP.VERI/'.r-.1&
V
SIBLIOTEC¡:: GEi\JER/\6
CARRER!'.' 7 No. t!l-00
h~.f\JTf\~~ DE ÓOG;C·T~.
vi Contents
Part I
CHAPTER 17 CHAPTER 24
Secondary Functions 2 149 Augmented Sixth Chords 2 235
Fundamentals
Modulations Using Diatonic Enharmonic Spellings and Enharmonic
Common Chords 163 Modulations 239
CHAPTER 19
Sorne Other Modulatory
CHAPTER 26
Further Elements of the Harmonic TS OF PITCH
Techniques 179 Vocabulary 249
CHAPTER 20 PART VI
Binary and Ternary Forms 187 Late Romanticism and the Twentieth Century 261
CHAPTER 27 EXERCISE 1-1

PART V Tonal Harmony in the Late Nineteenth A. t:rame the pitches in the blanks provided, using the correct octave register designa-
Chromatidsm 2 197
Century 261 twns.
Mode Mixture 197 An Introduction to Twentieth-Century
Music 279
CHAPTER 22
The Neapolitan Chord
CHAPTER 23
Augmented Sixth Chords 1 221
209
• 2 3
C4
ex.
B. Notate the indicated pitches on the staff in the correct octave.

4 5 6 7
• This icon denotes a listening example. For a list of the recorded examples, see the last page of the workbook.
&: F5 D6
llf>=
C4 F2 C3
IIIIR
E4 B3 G4
IIIIR
E3 D4 A3
11
G2 C5 F3 B4 E2 A5 D3 G4 B1 D5 F4 A3 C2 . E6
1
Student Workbook Chapter 1 3
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.
e major 1 1 l!z 1 1 1 l!z Ab major
~ (' \ T'\ UA 1
1\ \ /1\
S/S1\ Z6<
1 T C\ 1 S 1 SJ ' ' • •
llfJ=· 11
Gmajor eb major
IIR 11
B major Gbmajor
~ llfJ= 11
mmajor D major
~ 11118 11
} B. Identi:fy thes_e majar key signatures.
e major major major major major major major major

ex. 1 2 3 4 5 6 7
C. Notate the specified key signatures.
~
Abmajor
lltJ=
Emajor
11~
Fmajor
119:
emajor
11
f)=
11~ llfJ= 11~ 11
Gbmajor Gmajor Ebmajor en major
tjl J)
4 Tonal Harmony Student Workbook Chapter 1 5
•
D. Fill in the blanks. EXERCISE 1-3
Key signature Name ofkey Key signature Name ofkey
A. Notate the specified scales using accidentals, not key signatures. The melodic minor
1. D~major 8. seven flats __ major should be written both ascending and descending.
.
2. G major 9. F major
e (natural) e (harmonic)
\. k.
3. :five sharps
4.
__ major
E~ major
10.
11. two sharps
Emajor
__ major
:>=. • ,,_ • ~
11, 11
5. two flats __ major 12. three flats __ major
b (natural) a~ (harmonic)
6. three sharps __ major 13. G~major
7. C# major 14. six sharps __ major IIB 11, 11

g (rnelodic)
E. Fill in the blanks, using the example as a model.
Majar Key Scale Is this

key signature degree note
a# (natural) d (harmonic)
Ex. e 0#/()i, 5 G
1. E 3 IIR ·.119: 11
2. C#
d# (rnelodic)
3. 4 »
4. » • }
11
5.
6. 6ti
2
C#
'
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.
,.0
1.
tJn o tJn lo #u uo #o
119:&o •• &o
2.
J,. 1
.
o ,,, o ko
11
3. 4.
lo i~n
o ,,,, &o t~ •• o
lz11
IIR#o #n o •• lo IIIIB&o
11
J,,, 11
...
5. 6.
:>= u o J,,. &o o o

o Un lo •• o
11 #u 11
t) '1
)
11
11&#-#u
6 Tonal Hannony Student Workbook Chapter 1 7
C. Identify these minor key signatures. EXERCISE 1-4

·~
'J A. Provide the numerical names of the intervals by using the numbers 1 through 8.
1 1\
a minar minar minar minar minar minar minar minar
ex. 1 2 3 4 5 6 7
D. Notate the specified minor key signatures. .,
. :>= 11& llfJ=

11& 11 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
e~ minar e# minar gminar a minar

EXERCISE 1-5
A. A1l the intervals below are 4ths, 5ths, unisons, or octaves. Put a "P" in the space pro-
:>= 11& llf2=
11& 11 vided only if the interval is a perfect interval.
~.11 t: : u: :
e minar a~ minar d# minor fminor
&• • ll&· 11 : 11• •11 11 11 11 ll: 11·&·11
E. Fill in the blanks.

Key signature
1. three sharps
Name ofkey
_JiLminor
Key signature
8.
Name ofkey
g minor
• J.
1
4
2
......
5
3
8
4
4
5 6
5
7
4
8
5
9
4
10
t: ~~
#:
2. eb minor 9. two sharps minor :>= #: 11
• 11 .11 : : 11 11
•• 11 ~#: 11 11 11 #: 11
3. e# minor 1O. seven flats minor
4. five flats mmor 11. e minor 5 5 8 5 4 4 8 5 4
11 12 13 14 15 16 17 18 19 20
5. aminor 12. one flat minor
6. four flats minor 13. e minor
B. A1l the intervals below are 2nds, 3rds, 6ths, or 7ths. Put an "M" or an "m" in each
7. seven sharps minor 14. g# minor space, as appropriate.
:>= : 11 kl 11. -11 &i 11 b 11 1: 11 t: 11• •11 kl 11 ¡; 11

6 3 2 7 3 7 6 2 3 7
1 2 3 4 5 6 7 8 9' 10
&;;
':.11
#1 11
&ks: 11 &Z 11 ~H: ·11
#s 11 11
t: 11
-=
11
-· 11
• J) 11
6
12
3
13
3
14
7
15
6
16
3
17
2
18
7
19
6
20
7
8 Tonal Harmony ¡ . t Student Workbook Chapter 1 9
. -1
EXERCISE 1-6
~ ~ k.
9\. &.11
1
11 •• ~-11 k.. 11 ; 11 #il! 11 1: 11 : 11 . . . 11 ... 11
) A. Most of the iritervals below are either augmented or diminished. N ame each interval.
&: ~k: ~ ~.
2 3 2 6 7 2 7 6 3 2
21 22 23 24 25 26 27 28 29 30
:J= k: 11 11 11 k: 11 #: 11 ftl 11 ti: 11 ... 11 : 11 11
C. Notate the specified intervals above the given notes. - - - - - - - - -

1 2 3 4 5 6 7 8 9 10
t>= • 11 &. 11 • 11 • 11 &. 11 U· 11 • 11 • 11 &. 11 U· 11
P4 m3 m6 M2 P4 P5
- - - m2 P5 M7 m7
1 2 3 4 5 6 7 8 9 10
. 11 12 13 14 15 16 17 18 19 20
' ~- 11 •· 11 #• 11 • 11 .. 11 • 11 .. 11 &. 11 k.. 11 • 11

M3 P8 M6 m7 M3 M7 P8 P5 M6 m2
B. Label what each interval becomes when it is inverted.
11 12 13 14 15 16 17 18 19 20
1. m3becomes _ _ __ 5. M2 becomes
2. +s becomes 6. +4 becomes
: 1
:J= • 11 ~· 11 &. 11 • 11 • 11 n· 11 • 11 &. 11 b

• 11 ~· 11
• i 1
3. M6 becomes _ _ __
4. a7 becorp.es
7. P5 becomes
8. m7 becomes
m3 M2 M7 M3 M6 m7 P4 M7 M6 m2
21 22 23 24 25 26 27 28 29 30
1
1. C. Notate the specified interval below the given note. (You might find it helpful to invert
-
l the interval first in sorne cases.) -
' &. 11 • 11
• 11 ,,. 11 &. 11 ft· 11-
• 11 ~· 11
,,. 11 n· 11
1
b~
M6
31
M3
32
m3
33
M3
34 35
P5 m2
36
m6
37
m7
38
M7
39
M2
40 ' • 11 .. 11 • 11 ¡¡.. 11 11 • 11 n· 11 • 11 ~ u- 11 11
M7 - P4 m6 +2
- - - - m7 M3 +6 °5 +4 M6
1 2 3 4 5 6 7 8 9 10
:J= • 11 k.. 11 ft· 11 #• 11 ft• 11

&~
'm6
41
M2
42 43
P4 m3
44
m7
45
P5
46 47
m6 P5
48
M7
49
m2
50 :J=
1
'" 11 #• 11 ti• 11 ft· 11 .. 11 k.. 11 ~- 11 .. 11 •· 11 • 11
'l m2 M3 +6 M2 m3 P4 +4
1
11 12 13 14 15 16 17 18 20
' h. 11 .. 11 •• 11 •• 11 k. 11 &. 11 .. 11 • 11 ft· 11

~
11
P5 P4 m3 m7 M2 P4 M6 m6 m2 M3
51 52 53 54 55 56 57 58 59 60
•
10 Tonal Harmony
'
•
m7
21
11
#•
P5
22
11 •
m3
23
11
t~-
m2
24
11 &.
P4
25
11
ti•
M7
26
11
!, •
m2
27
11
~.
os
28
11
M2
29
• 11
ü•
30
+6
11
•
• k.
:>= • ti• t~· • • • • g1NTS OF RHYTHM
11 11 11 11 11 11 11 11
#• 11 11
m6 P4 M3 P5 +2 m3 P5 07 M2 M6
31 32 33 34 35 36 37 38 39 40
D. Label eaeh interval in this melody (from Wagner's Gotterdiimmerung).
EXERCISE 2-1
&~ r fiSl
3
1 tiJ 1
i l]JI; $ i
A. Show how many notes or rests of the shorter duration would be required to equal the
longer duration.
------ ex. d X_g_= o

1 2 3 4 5 6 7 8 9
1. Jx _=d 9. Jx =J
~X _=d Jx
q .r:, • }
,o.'
2.
3. )x =J )
10.
11. )x
=J.
=J
4. "f"x --=~· 12. ~X_= "f

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
5. ~X_=~ 13. ~·X = ......
E. Beneath eaeh harmonie interval below, indieate whether it is eonsonant ("e"), disso- 6. ...-x __ =J: 14. :¡x_=~·
nant ("d"), or dissonant only if the bass has the bottom note of the interval ("d bass").
7. JX_= 1=1 15. ~X_= d..
l. m3 2. M7 4. P5 5. M6
8. )x =~- 16. ~X __ =o
e
d
B. Sing aloud eaeh of the songs listed b'elow. Then identify the meter type of eaeh, using
d bass the terms duple, triple, and quadruple.
1. "Auld Lang Syne" _ _ _ _ _ __
2. "Star-Spangled Banner" _ _ _ _ _ __
6. 0 5 7. P4 8. P8 9. m2 10. M3
3. "Pop Goes the Weasel" _ _ _ _ _ __
e 4. "Ameriea" ("My Country, 'Tis of Thee") _ _ _ _ _ __
d 5. :~Swing Low, Sweet Chariot" _ _ _ _ _ __
d bass
l) '
'
11
12 Tonal Hamzony Student Workbook ehapter 2 13
C. Seale review. Fill in the blanks, using the melodie minar for all minor-key examples. EXERCISE 2-2
ex. 6is F# in ____,2L (M)
A. Fill in the blanks.
1. !'lis e i n - - (m) 8. __ is e# in b
2. 4is _ _ in e# 9. 6is e i n - - (M)
Beat and meter type Beat note Division of the beat Time signature
3. is A in F 10. __ isF#ing
4. Sise# in _ _ (m) 11. 4is Gin _ _ (M) 1. e
5. lis in E 12. 5 is inG 2. Simple triple J
6. 7is A in
7. !6 is
__ (M)
in e
13. is AJ, in f
14. .t6 is e# in __ (m)
3. Simple duple n
~
2
4.
5. Simple quadruple n
B. Renotate the exeerpts from Example 2-1 using the speeified time signatures.
• -.~
'J
"America the Beautiful"
....
,.
"Home on the Range"
&& e
··:·.
-~
:J
EXERCISE 2-3 EXERCISE 2-4
A. Fill in the blanks. A. Fill in the blanks.
Beat and meter type Beat note Division of the beat Time signature Beat and meter type Beat note Division of the beat Time signature
1. Compound triple J. 1. Compound quadruple ITI

2.
6
16
12
2. Simple triple n 4
3. ITI 3. ~ ~
6
4. Compound duple ~ ~ ~ 4.
)\
9
5. J\. 5. ~
9
6. ~ ~ ~
B. Renotate the excerpts from Example 2-2 using the specified time signatures.
"Take Me Out to the Ball Game"

B. Each measure below is incomplete. Add one or more rests to complete the measure.
&q¡¡
1.
6
4 d..,__... ~- 7. ~ d......_...... JI.
• )
e d.. 8.
9
2. 4 O•
3. l6 ~ . 1
9.
3
2 d ~ ~ ~
4. ti J -10. ~ J ~- ~
5. ~ n ~- 11. 3 ~-
6. ~ ~ JJ~ 12.
6
4 ~ ~ nn~
/ i.\
3
C. Provide the best time signature for each measure. In sorne cases more than one cor- E. Add stems as required.
rect answer might be possible. ) 1. Each duration is a half note.
7. Jnmirnl a
11
o
·2._j nJñJI 8. nJ MI 2. Each duration is a sixteenth note. Beam them in groups of four.
9=- i . . . . . . 1 • • • • • 11
3 . - O• d. JJJ 1 9.- d J J J n1 • • • • •
F. Scale review. Fill in the key, scale degree, or note, whichever is missing. Assume the
melodic minor form for all minor keys.
·4. _ nJ rn1 10.
ex. 1 2 3 4
5. _ ~.~.m 1 11. - d. JJJ J JJ 1

& Hu 11& -o 11& 11& o 11& 11
D: j (m) +7 F: e: A: 2
5 6 7 8
6._J333M 1 12.
o
9
o
D. Each fragment below is notated so that the placement of the beats is obscured in sorne
,- } &
.
o
11& 11& llf2= llfJ= 11
fashion. Without changing the way the music will sound, rewrite each one to clarify
(m) t7 d: 4 Eh: f: +6 (m) 3
the beat placement.
10 11 12 13 14
1. t ~ m m 1~ ~. ~. 1 9: o 119: Uu llfJ= 119: ftu 119: J,, 1

11
Bh: 6 +6 5
~ d ~ liD~ 1~o ~
(M) b: (M)
3 cr•
1
b"
2. 2
G. Interval review. Notate the speci:fied interval above the given note.
~ ~ ~ ~ ~.1 ~. JJTI ~ 1 1 2· 3 4 5 6 7 8 9
~~: ~~: ftu 11& fo ~~: " ~o ~~:

3.
0
& &o 0
11& 0
11& 11& " 11
4. ¡ ~ Jjjj~l ~~ ~1 2
4: M6 M2 M3 m6 M7 +z PS
'·'
H. Interval review. Notate the speci:fied interval below the given note.
i
5.
12
16 nn~ ñl ~. ~ JJ~.I li _____ 1 2 3 4 5 6 7' 8 9
:r 11, o le>= ti .. 11, &o 11:>= o 11, o 1~= .. 11, ~ .. 1~= ¡¡ .. 11

'.._/
l) o
6. ~ d~~o ~~~~~ do· o 1 6

2 0
5 m6 m7 P4 M3 M7 m2 P5 +6
\. :
UCTION TO TRIADS
SEVENTH CHORDS
EXERCISE 3-1
A. Spell the triad, given the root and the type.

1. g 4. a0 1. e+ 10. f#
2. E~ 5. f 8. a#o 11. B+
3. d 0
6. D~ 9. E 12. d
:)
• .
B. Fill in the blanks.

ex. 1 2 3 4 5 6 7 8 9 10
5th: _(JjL A], F# B
3rd: E EJ, B~ A
Root: ....Q!L D A], G# EJ,
Type: m M + m m o m M + m o
c. Notate the triad, given the root and the type.
,.
ex.
& 119:
1
&o
2
IIIIH o
3
11& o
4
119: o
5
11& nu 119:
6
••
7
11& fo 11
m M o M + o
m m
8 9 10 11 12 13 14 15
:>= ~o 119:
fo
m
11&
+
11
M
11& bu 11IIB o 119: .11
o
11& ~o 119: o 11
M m M m
I>
19
•
16 17 18 19 20 21 22 23 EXERCISE 3-2
ftn e
,,,, •• Un e ) A. Identify the type of seventh chord, using the abbreviations given in Example 3-3.
'
11 11 11 11 11 11 11
11
~e &e
4 5 6 7
M o m M + m + o ex. 1 2 3
24 25 26 27 28 29 30 31
& 1119= IH IIIIB &tii~J= #n¡o 11& kkH 119= ~~11& 11 1111118 ~~13
:>= •• 11
Un 11 &e 11 Un 11 e 11 ~~ 11
11
11 &e 11
Mm7
o M o m M
M m m
8 9 10 11 12 13 14 15
D. Given the chord quality and one member of the triad, no tate the remainder of the triad. & k~tu lit?= ti 11& ulilf>= ~~~~& #1119= •111& ~~t1112= k~H 1
ex. 1 2 3 4 5 6 7
r llfJ= ttu Un IIIIE •• llfJ= hll

11&
t~ll 119: e
11& 11& e
'
11 B. Notate the seventh chord, given the root and type.
5th 3rd 3rd 5th root 3rd 5th 3rd
o
M M + m M m m ex. 1 2 3 4 5 6 7
~
10 11 12 13 14 15
8 9
11&
,,, 1
llfJ= •• 11& llfJ= &e
' 11&
11118 e 119: e
e ~e e u
11
e llfJ= •• 11& Hu llfJ= •• 11& e 119:
11& e 11118 M7 Mm? M7 fil7 M7 07
'
11 Mm? Mm?
3rd
o
5th
M
root
m
5th
+
3rd
m
3rd
M
root
o
5th
M
• ) 8 9 - 10 11 12 13 14 15
16 17
~e
18 19 20 21
o
22 23
' #" l fJ= #n 11& 0 jj!)= " 11& fio jj!)= &o 11118 11
jj!)= " 1
a· ~e
9= 11 11
&e 11
le
11 11 11
J,,. 11 •• 11
m7 m7 m7 Mm?
5th 3rd root 5th 3rd 5th root 3rd

+ M o M m
M m m
24 25 26 27 28 29 30 31
~e bo
f)= ftu 11
le
11 Un 11
le
11
e
11 11 11
11
11
root 3rd 5th 3rd root 3rd 5th 5th
o + o
M + m M m
1.
!
'
;:&
':J
c. Given the seventh-chord quality and one member of the chord, notate the rest of the EXERCISE 3-3
chord. ) A. Identify the root and type of each chord and show the correct inversion symbol.
ex. 1 2 3 4 5 6 7
1 2 3 4 5 6 7 8
¡}'~ llf}= ••
lzll
llf}= a Un llf}=
11& &*ü II:J=ü IIIIBJI II:J=',·fi 11&·~ 119:§ 11&&~. 119=¡Ji•i! 11
11&
"'
a •• &a
IIIIB
& 5th 7th 3rd 5th 5th 3rd 7th root
11
rn7 M7 rn7 12J7 rn7 Mrn7 12J7 M7

Root
Type
8 9 10 11 12 13 14 15
Inversion
syrnbol
~a a
llf}= ftn a
llf}= a
& llf}= •• 111\B ],,, 119: 11& a

11& 11
9 10 11 12 13 14 15 16
7th root 3rd 3rd 5th root 7th 5th
&D<@II!Nf§>lli Diillf>=bllll &DI!JIII9:k011& D§llll~~ati

07 Mrn7 M7 rn7 07 rn7 I2J? 07
11
Root
Type
Inversion
syrnbol
) B. Fill in the blanks below each figured bass with the root and chord type that would be
played at the ~orresponding point in the excerpt by using lead sheet symbols. The fig-
ures 5 and j both mean to use a root position triad.
1. Bach, "Gott lebet noch" (adapted)

. i
4
'6. 2 6 6 6 7
:>=& 2 ar r Jr r r r r r r r r 1 1 1 1
1':\
J 11
1 2 3 4 5 6 7 8 .9 10 11 12 13
2. Bach, "Dich bet' ich anL~ein hOchster Gott''
(The first C#3 in the bass is not to be harmonized.)

1
7 6 4 6
! 7 " 6 5 2 6 5
1':\ 1':\
fJ J r a r J r r r r r. Hr r r r J 11
1
1 1 1 1
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
-i
,á Corelli, Sonata V, Op. 2, Sarabande EXERCISE 3-4
5 6
;) A. Identify the root and type of each chord and show the correct inversion symbol. All
6 6 3 4 5 6 6
the notes in each example belong to the same chord. The lowest note in each example
n.~~-~ r F F 1
r "r 1
J 1 r J 1
r 1!
1 1 r F 1
1
is the bass note for the purpose of analysis.
2
m:.~
3 4
1 1\
. 1
.
,
·-
-
------ ------
1 2 3 4 5 6 7 8 9 10 11 12 13 14 1
@) 1 1 1
¡
7 6 7b 6 6 J
.. ~ ~ e. ~ ~ e. ~f=
':~ F J
j 1
J =111= F F F 1
r· v-r 1 F r J
~
I!J f~
Root
------ ------
15 16 17 18 19 20 21 22 23 24 25 26 27 Type
Inversion
symbol
6 7b 6 5 6
v=~
r J F F F 1 1
r· p''F 1
r JJ 1 r J =11 5 6 7 ~· fL 8 9
1\
.
1= . 1-- 1 1 1
---- ------ @)
28 29 30 31 32 33 34 35 36 37 38 39 40 ""'
) f
f .. ~ -U'lJ ~=~= ~~
~
l \
1
• •
•-,r)
C. Notate using half notes on the bottom staff the chords indicated by the lead sheet sym-
•
bols. Notate all chords in root position. Root
Type
··• Terry, "Serenade toa Bus Seat''
Inversion
symbol
fl . l
Bdirn7 Arn7b5
1
-
D7 Gm7 C7
- F
,
t.
@)
- 1 r .......
J
t ..
\
1
By Clark Terry. © 1958 (renewed 1986) Orpheum Music, Berkeley, CA.
Üf\IIVERSIDf..;D Jt'.VERltlf"<J§
81ElLIOTECA GENERAL.
1
e ! Cr,RRERf' 7 No. 41-08
. .-
.. ~ : " . . . r-o .... ~ ,....,.. 1'1 r-r- """'~ ~o""""\r:!r""l.'í""..:;
26 Tonal Hannony
B. The excerpts below are to be analyzed in a similar way. Each chord is numbered. Put 2. Schumann, "Ich will meine Seele tauchen," Op. 48, No. 5
•
your analysis of the chords in the blanks below the excerpt. Notes in parentheses :)
should be ignored for the purposes of this exercise.
Leise
• 1. Bach, "Wer weiss, wie nahe mir mein Ende"
1\~
p 1
-
@.) Y r y y y r r y y
Ich will meine See - le tau - eh en in den
1 1\ ~
1 @.)
__J _.J
~==~ ~~
....J __j j j
) ~
1...
¡.-
p ¡iiii lO"' ¡iiiill"" li"' ~ f-'-
..
1,.1:!... 1~ l•I.JI 1.1 .... 1• !.JI
Root
1\
1• 1.. 1....
1 1 1 1 1 1 1 1
Type
Root
Inversion
symbol
1 23 45 6 7 8 9 10 11 12 13 14 15 16 17 Type
Inversion
symbol
1 2 3 4
o )
1\~
. 1
@.) r - y y
Kelch der Li - Iie hin - e in, die
1 1\ ~ 1 T 1
Root ---- ------ -------- ------ --

,
t
<
@.)
i"""
...J
~- - 1
.J
==~ lii"
__:¡
""',_. lii" i"""'
~-
i"""1"'"
j
1""" ~
j
l::!_ 1~ 1... 1~
,_. ,... ,. ,_..
~ ..
Type ---- ------ -------- ------ -- 1• 1• ~ 1.- 1.- l•
Inversion
symbol
31 32 33 34 \
1 1 1 1 1 1 1 1
Root
Type
Inversion
symbol
5 6 7 8
1\lol
@.) r
:)
.3. Gottschalk, "Jerusalern"
Li - Iie son k! in - gend hau - eh en e in 8Va

8Va 8Va
filo! J ..) 1\ 1 1
3
::!
1 ~ _. ::4 ~ 5
~ ~ ...
1
J
~
@.)
1""' -- _,...
li""l""
,......
""'"
- -
,... :!.._ ... ""'" ""'"
- li""
,... - - -
"""
¡¡iiii
""'"
~
1
J
@.)
.. 1
>
~
J .J
~~
>
t--
¡.-
t ..
1
¡...... _ ¡... = ¡... ~ ,... :!.._ ¡_. ¡_. 1
l• l•
1-- 1--
\
~ ¡.-
Root
Root
Type
Type
Inversion
symbol - - Inversion
9 10 symbol
11 12
1 2 3 4
1\lol 1
8Va 8Va 8Va

@.) r t" t" 8Va
Lied von der Lieb - sten mein. Das
1 1\ 1
Maestoso =1
- :: ~ ::! qb!¡¡,... ¡
l ú) :)
\
1 1\ lo! 1 1
@.)
~ ~
¡.-
~ q- ~ ¡.o
t
)
@.)
1'""""
- ¡::::=::
- ~
-
~
.. -_I 55¡ 55¡ 5~5·

~
1
t ..
A
l ben misurato1
A
1
A
J L.
A
J
A
.J
... """'""" ,__ -,_1=
' .. =
•• )~-lo!
~- .-
IL
• ~
~
l• ¡ ... ol l• -
¡¡:: ~ q~
\
] V V V
i V V
Root
Root
Type
Type
Inversion
symbol Inversion
13 14 15 16 17 18 19 symbol
5 6 7 8 9
,¡
( 1 '
i '
i :
IC CHORDS IN
' '
R AN D MINOR KEYS
1
! . .
1
1 '
1 • EXERCISE 4-1
A. Given the key and the triad, supply the roman numeral. Be sure your roman numeral
i : is of the correct type (uppercase or lowercase). Inversion symbols, where required, go
to the upper right of the roman numeral (as in 16).
ex. 1 2 3 4 5 6 7
(~ :J &&~o II~B~~ 11&"o lltHIH 11&&! llfHI 11&s 119=~! 1

f#: E: g: F: G: e:
8 9 10 11 12 13 14 15
:• &uo 119=m 11&0 119}0 11&&~0 IIIIBh 11&#f2 119=nn 1

32 Tonal Hannony Student Workbook ehapter 4 33
.1.
C. 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.
Handel, "Wenn mein Stündlein vorhanden ist"
( ' -)'.
¡
EXERCISE 4-2
A. Given the key and the seventh chord, provide the roman numeral. Be sure your roman
ex.
numeral is the correct type and includes an inversion symbol if necessary.
1 2 3 4 5 6 7
1 1\ 1 1 1 1 1 1 1
~ @)
J ; ¿.a II:J=g.11&üiU W&tB II,&!>II:J=•a 1111~~~ II:J=bkft 1
~ ~ J
1
1 r 1
.. _J .J - - - a: e#: f: Bk e: Ak a·
o·
t
1 1
1 1
8 9 10 11 12 13 1~4 15
Bk
1 2 3 4 5 6 7 8
¿m W•IB 11¿&ee w•B 11¿&·ñ 11IIBulli 11&~1 II:J=•B 1
d: E: F: A: Ek b: e: D:
11 2. Handel, "Wenn mein Stündlein vorhanden ist"
B. In the exercises below you are given the name of a key anda scale degree number (in
1 1\ 1 1 1 1 1 1 1 1 1 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
t the chord types shown in Example 4~9 (p. 65).
1J 1 11
@.) 1 1
1 1 1
J 1 _d (» :) ex. 1 2 3 4 5 6 7
t ' .. - - - - -
\
1 1 1 1
1
&*1 119: IIIIE 119: 11& llf2= 11& 119: 11
Bk I G: iii7 Bk F: b: f#: A: a· D:
o·
1 2 3 4 5 6 7 8 (3) (4) (1) (3) (2) ('l) ('l) (6)
D. Fill in the blanks, using the example as a model.

8 9 10 11 12 13 14 15
llf2= 11& 119: 11& IIIIE 11& 119: 11
'
This Has this
Key chord bass note
e: E: .. G: Ek e#: f: e: Ak
ex. e J6 E (i) (4) (:2) (3) (S) (S) (:2) (6)
1. a v6
2. JV6 e
3. d ü06
,6
4. B 4 e#
.6
5. 14 D
F viio6
6.
(
1
1··
34 Tonal Hannony
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

/
1
Part II
Diatonic Triads
1'\ ~· 1 1 1
t
.
@.) 1 r
1
1
.. ,._,_ ~ .-f'-. PLES OF VOICE LEADING
t
---:- ~ ~~ ......... ........
• 2. Brahms, "Minnelied," Op. 44, No. 1

EXERCISE 5-1
Con moto A. Criticize each melody in terms of the rules for simple melodies discussed on
P--==== pages 71-72.
Soprano I
1
l. Der Hold - se - li - gen son - der Wank
J J J J J -
Soprano TI
p =
f :)
'&
F:
2
e
J J V
1
IV
r r
IV
1 11
-~
e J J J J #J J r j
Alto I
p -=
'ti
e:
J r V
1
V V
1
iv
r
V
11
2. Ach, bin in - nig - lich min - ne - wund, 3
= J J J
Alto TI
p i.
'tift
D:
e
r
IV
r f r rV
1
V IV
1
;j - 11
I
B. Compose simple melodies that will conform to these progressions.
I
¿r 1
1
11
Bk I IV I V vi IV ¡¡ V
.!
e '¡
35
1
:¡
Tonal Harmony Student Workbook Chapter 5 37
36
2 EXERCISE 5-2
:)
&~ 2 11
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 elose or open structure.
The notes in parentheses are not part of the chord and should be ignored for the pur-
d: V VI iv V iv V
pose of harmonic analysis.
3
'ti
G:
i
iii IV V IV V
11
1
•
fl ~ ft
Schumann, "Roundelay," Op. 68, No. 22
Moderato
-- 1
.
--.... 1 1 1 1
\~
~
t~r
p
V '-...../ ~~
JÍ~"'V 7 7
-
.. tL
..
1 1 ~ .r-.
. J~J J J'
.- •
t
...._.... ~ 1 r 1 1
1
A:
B. Review the two conventions conceming spacing on pages 74-75. Then point out in the
example below any places where those conventions are not followed.
:) fl ~
. j .h, . .
i - .- .
1 1
.
1 1 1 1 \.
.
t
¡· j· r·
. .,_r·. .
~ t-
j· #¡·
..,...
t
.. •• . . . .
1
( ;1 •:j
1
1
• 1
.- 1
¡
C. Fill in the circled missing inner voice(s) to complete each root position triad, being EXERCISE 5-3
sure that each note of the triad is represented. Follow the spacing conventions and stay (
within the range of each vocal part A. Label the chords in the excerpt below with roman numerals. Then label any examples
ofparallelism (objectionable or otherwise) that you can find.
1 2 3 4
1\ 1 1 ~ 1 ~ 1 • Bach, "Ermuntre dich, mein schwacher Geist''
S
® t @.) -6-
J
"~ J ~ 1 1 1 1
1"':'\
1
B
1
t
.. n
~ @.) 1
1 1 1 1 1 1
Ek ¡¡
~
1 ..d_ 1 _J 1 1 1
..
d: iv b: D: V -
5 6 7 8 ! t
~~~ ~ 1 1 1 1
1 1 1
r l.
,
S
® t @.) V
B. Find and label the following errors in this passage:
0B ' ..
t
1
n
1
1. Parallel 8ves
2. Parallel 5ths
3. Direct 5th
G: IV e: V Bk ¡¡¡ g:
4. Consecutive 5ths by contrary motion
D. In the examples below you are given the soprano note for each chord. Supply the alto, 5. Spacing error (review pp. 74-75)
tenor, and bass notes to complete the specified triad in close or open position, as indi- :)
cated. Be sure to double the root of each chord and to follow the spacing conventions. 1 1 1 1 1 1 1
1 " 1
1 Close 2 Open 3 Close 4 Close
/ 1\ ~ ·~ 1 1 ~ \
)
@)
j ~ j r r r r 1
j
@.) .. 1 1 1 1 J
1
\
.. IJ.
1
1 1 1
1
A: ¡¡ F: vi e: V D:
5 Open 6 Open 7 Close 8 Open

,//) 1 1 1 ~ ~ 1
@)
..
' [
IJ.
g: VI a: iv Bk V m
e ' ; 1
-- ../' ~-~ ~;~:·~~'~;;.,
(- ,, .. /'}::,
~-<:~(~?>--.~
--:..,_
--.·._.··
:: ~-
_::--. ------:/
~
--·:-·:..-
"'· / ~ ' -
'"..:):~-~,~~~_.:;_:.::./
40 Tonal Harmony
-- 1
! ::_;:.::_,:;
C. Find and label the following errors in this passage: /2/

1. Parallel 8ves
2. Parallel 5ths
3. Direct 8ve
1 1\
4. Spacing error
1 1 1 1 1 1 1
.
1
.
1 ;
1¡
RO(®LPOSITION
1 ._¡
' .. ~ PARf,WRITING
r 1 1 1 1 1
r 1
) ~J 1 ~J J 1 1 J J.
1
\
1 1 1
.
1 1 1 1
1
! f ¡
EXERCISE 6-1. Using repeated triads
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
1\ 1 1 1 1 1 1 1 1
:)
, ._¡
'
j
1
..
1
_J ~
1
_d_ J o
1
d
1 1 1
2 three parts
1 1'1 1 J L 1 1 1 1
1 ._¡ C¿l
) 1 1
1 1
)
.. I":J I":J J -P- j 119-
t
\
1
·.r
i
l ! 1
¡ 41
1
EXERCISE 6-2. Using roots a 4th (5th) apart
A. Add alto and tenor parts to each exercise below. Each progression involves roots a P4
(P5) apart. Use one of the three methods outlined on pages 87-88 in each case and
state which you have used.
1 2 3
1 1\ 1 1 1 ¡,¡ 1 1 1
1 ~
~ ~
1
' @)
j
1 .. hd
\
1 1 1 1 1
e: V G: ii V V Ek iii vi ii V
4 5
1 1\ ¡,¡ 1 1 1 1 1 1 1 1 1 1
~
1
' @)
)
. ~
( :) 1
\
o
1
~ h, ~ ~
1
1.
b: i iv 1 V i F: vi ii I I
6 7
1 1\ 1 1 J ¡,¡ 1 1 1 1 J 1 1
t @.) 1
1 1
1 -J J
t
\
.. "'
----
-
1 1
1 1 1 1
1
a: V- iv D: ¡¡¡ vi ii V V
B. Add an alto part to each exercise. Be careful to observe conventions concerning spac- ,) EXERCISE 6-3. Usjng roots a 4th (5th) and 3rd (6th) apart
ing, parallels, and doubling. Each triad should include at least a root and a 3rd.
A. Add alto and tenor parts to each exercise below. Use the smoothest voice leading in
1 2 3 each case. For roots a 4th (5th) apart, state which method you have used.
1\ ~ H 1 1 1 ~ H 1 1
, r-
1
1 2 -- - 3 ---
1 J J J .J
@.)
1
r 1
t
1\ 1 1 1
-
~ 1 1 1 1
'
1
. . 1 ll 1 LL 1 1
@.}
1
1
1
)_.
.. J
1
\
F: ii V IV f#: V iv A: iii vi ii
1
V t
•
\
1 1 1 1
1
F: vi IV ii a·
o· V VI iv D: vi ii V
4 5
1\ 1 1 1 1 ~ 1 1 1
.
1
,
1 @.) 1
J
r
-.
'
1
\
.
.
-
1
~
•
1
.
1
1
1 1
1
1
1
.
Ek iii vi ¡¡ V e: VI iv V
:)
B. Add an alto part to each exercise below. Be careful to observe the conventions con-
ceming parallels, spacing, and doubling.
1 2 3
1\ 1 1 1 1 1 ~ 1 J 1 1 ~ 1 1 1 1 1 1 1
t @.} 1
1 1 1
..,... ..,...
..
1
• • n -11'-
t
1 1 1
Ek IV ii V b: III VI iv G: V IV ¡¡ V
4 5
1 1\ 1 1 1 1
1
) @.}
1 1
-
'
)
t
\
.. • ~ '
.• 1 1 1
1 1
e
1
IV ¡¡ V d: iv VI iv V
EXERCISE 6-4. Using all root relationships

('
1
\ ')' 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 three parts fourparts 2

1 1\ 1 1 1 1 1 1 1 1 1\U 1 1 1 u 1 1 1
i t @) t @)
1 ' 1 1
1
t
\
• • '
t
\
- • -•-
1 1 1 1
g: m VI m VI D: ü V vi ü V vi
3 4
1 1\ J 1 1 J 1 1 1 1\ 1 1 1 1 1 1 1 1
1 @) 1 @)
1 1
'
1
\
..
1 1 1 1
1
t
\
Bk
• •
( :) a: iv V VI iv V VI V 1 vi V 1 vi
5 6
1 1\ !.1 1 1 1 u 1 1 1 1\ 1 1
\
)
@) 1
J
@)
..
1
\
1
1 1
1
'
1
\
1
r 1 1
r 1
G: 1 vi V 1 vi V F: vi ü V vi ü V
!
,.1 .
B. Fill in alto and tenor parts in these exercises. 5
( ) 1 fl 1 1 1 1 1
1
fl ~ ft 1 1 1 1 1 1 1 1
.
1
1
t
1
@.) .
t ._¡· )
1 1
1 t
..
1
1
.. ll ....... \
1 1 1 1
r 1
1
1 1 1 d: IV V IIl iv V VI iv V
1 1 r
( 'l~t)
1 1..
A: VI IV V IV 11 V
1
2 i:
fl 1 1 !
i C. Narne the keys and analyze the chords specified by these figured basses. Then com-
1 ._¡
1
., '1- pase a good melody line for each. Finally, fill in alto and tenor parts to make a four-
part texture.
)
j .. 1
\
fl ~ ft 1
1
1 1 1 1 1
f: V VII IIl iv V 1 @.) 1
3 ~
J
1 fl ¡,¡ 1 1 1 1
~
.. il
-=- •
1
l ._¡ ;¡t•
:) 1
1 1 1
1
l .. - 2
fl ¡,¡
1 1 .
1
~
\
• 1 1 1 1 1
1 1 1 1 1
@.)
e: VII IIl iv V VI iv V 1 1
4 ) . 1
~ . .
fl 1 1 1 1 1 1 1 1
~ -@)
• 1
r
1 r r
~ 1
t
.. n
1
1 1 1
Bk V V vi IV V
D. Write the following short progressions in root position for combinations of three and EXERCISE 6-5
four parts. ( :) A. Notate the chords below for the specified instruments. Each chord is written at con-
1 three parts cert pitch, so transpose as needed for the performers. Use the correct clef for each
1\ 1 j.j. ~ j.j. ~ 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.
l @.)
J
1
.. tl tl
Ek ii V e#: VI iv A: IV V vi
Fl. Ob. Ciar. inBb Bsn. A.Sax
2 four parts
1\ 1 j.j. ~ ll ~
1 @.)
1 T. Sax. Hn.inF Tpt.inBb Trb. Hn.inF
)
1
\
.. tl tl
e#: Vi a. VI. Ve. D.B. Tuba

Ek ii V VI iv A: IV V vi
3 three parts
1 1\ ll 1
í
r
\.
:)
\ @.)
~
t
..
F: iii IV D: vi ii V a·
o· VI iv V
4 fourparts
/1\ j.j. 1
@..)
..
F: iii IV D: vi ii V a·
o· VI iv V
(
\__
1i
52 Tonal Hannony
B. Set the following progression for combinations of three and four parts. If possible, 2 four parts (reduced score)
score for instruments in your class. Use root position only.
f
1 three parts (reduced seo re)
d: iv V VI iv V
(full score)
d: iv V VI iv V
(fui! score)
(
'( ·)·
1 ·:
'!
' {
; 1
'
!
1
(\_ .,
·¡
:)
1
¡'
54 -- Tonal Harmony
C. Write a version of the excerpt below on a grand staff by transposing the parts to con-
cert pitch. Play your version on the piano and analyze the harmonies if you can. (
)/)~ 1 1
..
o o
Oh.
@.) 1 r 1 1 r 1
lla~ 1 1 1 1 l
Ciar.
mm
@.)
o
o
NIC PROGRESSION
~
_,_..,...._
o o
o o
-
Bsn.
1 1 r
lla 1 1 1 1 l
Hn. EXERCISE 7-1
o
inF o
@.)
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.
1. IV _1_ I ( __ or __ ) 4. iii _1_ V (_)
2. vi _1_ I (_) 5. Vll
0
_1_ Vl (_)
3. I _1_ 11 ( __ or __ ) 6. vi _1_ 11 (_)
: ) B.
Bracket any portions of these progressions that do not conform to the chord diagrams
on pages 103-109.
1. i Vll
0
iv VI V
2. I vi ii IV I V I
3. I m IV Vll
0
I IV V I
4. i m iv lV V
C. Analysis. 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 Friedensfürst, Herr Jesu Christ"
o o
o o
~ 1
1
' .. 1
1
'V
e 1
~ :
1
1
~
:~
55
' 1
}.
'
D. Analyze the chords specified by these figured basses and add inner voices to make a
Vivaldi, Cello Sonata in G Minor, Prelude. Unfigured bass realization by
S. Kostka. e ) four-part texture. Bracket all circle-of-fifths progressions, even those that contain only
two chords. Before beginning, review the partwriting for deceptive progressions.
Non-chord tones in the solo part have not been put in parentheses, but the
harmonic analysis can be done by concentrating on the accompaniment. The
key is g minor, despite what appears to be an incorrect key signature. Key 1
signatures had not yet become standardized when this work was composed. 1 1\ ~ ~ 1 J J 1 1 1 1 1 1
11.;9
rtTl:T
rTI"h: TT
~-
.
.. .
40 ... .... ~.._ -· . . .
l ,/ 3 ~
~
-,..
i
1
l
1
@)
- .. - ..J "'-' ¡;;;;;;¡:;¡¡¡¡

3
1
1 j
J
.. ll -
1 \
1 1
1 T
fl l 1
1 1 1
.
1
'.
7f. 1
~
1 -~
~ • ---:::¡ r
1
1
) lll• 2
1
) 1 1\ 1 1 1 1 1
r--..... 1
. . 1
.
l
\
~-
;-r.
T r 1 T
lll
1
1
\ @).
• ....
1 J
.. .....
.....
1 t .
m!n
I"'T~
ITifT
l._
~-
45
- . 1
. . fl
•fl
1
1
1
1 1
11
--====
3
--:;- ~
3 ~ r·
\
1
1
t7\ 1
~
1\
íT
7t; . . ..
1
1
1
1
11 1 1 1
t @) 1111 •
• • 1 •
i: 1 @)
•
' 1
J
J
. . 1
..
1
j .. -
..
""'i•
1 7
1
\ --v
1
lll
1
1
1
1
r
1
1
; 1
1
1
1
1
1
.1
58 Tonal Hannony
Student Workbook Chapter 7 . 59
E. Analyze this figured bass, then add a good soprano line and inner voices. Bracket all
H. Harmonize the melodies below by using root position majar or minar (not dirninished)
circle-of-fifths progressions. ( .) triads in an acceptable progression. Try to give the bass a good contour while avoid-
ing parallel and direct 5ths and 8ves with the melody. Be sure to include analysis.
1\ Finally, add one or two inner parts to make a version for SAB three-part chorus or
L5._
tr SATB four-part chorus, as indicated.
1 "'@.)
l 1 SATB
J 1 o~ 1 1 1 1 1
l
\
~. ~·
7
j
1{
@.)
.
1 1 1 1
1
r 1 J
F. Add an alto part (only) to mm. 1 to 2. Then compase a good soprano line for min.
J
1 L
..
3 to 4 and fi1l in an alto part.
G:
1\ 1 1 1 1 1
2SAB
~ "'
-¡y 1 --G: ~ J 1 1 1 1 1 1 1
J
1' "
J
1",.... ..
1 1 1 1 1) @.)
\
(JI
1 1
~·
~·
'
F: V vi IV V vi ii V V 7
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
e ¡.
''
.-)
1
, .
D:
orb:
the bass line. Be sure to refer to the diagrams on p. 109 while you work on your 3 SATB
1
harmonizations. fJ fT
1 1 1
1
1
~
@.) - :
:>=V· 2r r r 1 r r J 1 J r r 1 ~- 11
J
~·
1 ~·
\ 7
Ek
2
r r r 1 r r e 1 E r r 1 ~-
4SAB
_fj
:>=• 2 11
1
-.
.
~) -
~IL
@.) • •
'
'-'--1•
1 ~·
_f
\
¡;}
(_ 'J
60 Tonal Hannony
1
5 SATB i. 1
1.
1 1\ ~ ft 1 1
1} ! -·
Ch~~,~"
'-'
@)
..
~~
1!
~
E: TR'~ IN FIRST INVERSION
I. Compase a simple melody, then follow the instructions for Part H. You might need to
revise the melody as you work on the harmonization.
EXERCISE 8-1
A. Analysis.
1. Bracket the longest series of parallel sixth chords (triads in :first inversion) that you can find
in this excerpt. Do not attempt aroman numeral analysis. Does the voice leading in the
sixth-chord passage resemble more closely Example 8-8 (p. 121) or Example 8-9 (p. 122)?
• Beethoven, Sonata Op. 2, No. 1, ID
fl ~---55~· ~ IL ~
.
Q_o
J. Review: Label the chords with roman numerals and inversion symbols (where needed). :) 53 - - - - - - - - - -
.
t @) 1 -1
1 1
ex. 1 5 6 7
.. 1,~. 1
,~,R 119\H IIIIEü~g II,D?Ifll9:&&1ll t
'-'
.
. ..... ----. ---
111!.1
1 1
e: iv6 f: Bk G: d: b: E: Ak
8 9 10 11 12 13 14 15
ff
IIE ti¡¡ 119:l,kH 11& &8 Wi§ 11&8 119:HU§ 11& ~& Wn1&> 1 ---
--- ---
..-
.. ..
A: 65
f#: ,.
a· Ek D: e: e#: F: 1
.~
'
pp p
-(2-·- ~"~· ~ _,_ ~
1\ 70
1
- Men.D.C.
..
@)
_,_ 1
- 1
.. -
..
,j!_- "lof -- - • 61
1- .
2. Label all chords with roman numerals. Then classify the doubling in each inverted triad according to the ! C. Supply alto and tenor Iines for the following passages.
methods shown in Example 8-10 (p. 123).
e -)
1 2 3
• Bach, "Was frag' ich nach der Welt" 1 1\ l 1 1 1 1 ·.u ~ 1 1 1 1 1
7t
\
~-
!'
@,) .,
i
i:
i Y•
. tl
1
1
1 1 1
1 [ 1 -¡ r 1 1 1
! ,.
a· ¡6 iv6 ¡¡o6 V A: V 16 v6 f: viio6 ¡6 ¡¡o6 V
1
4 5 6
-~~
1 1 1 1 .u 1 1 1 _l
'(L
7í
1
@,)
'
¡
3. Label all chords with roman numerals. Bracket the circle-of-fifths progression (review pp. 101-102). !
• Handel, Passacaglia
1
1
1
1
-- 1 ..\
L_
1 1 1 1 1
¡ 1 1 1 1 1
.. .. .. .. .. .. .. .. .. . ...., ...., .- .- 1 d: ¡6 iv ¡6 b: Eb:

lll ~
. .
1
1) .... . 7
tl~H
8-~ 9
@,) 1-
-- 11 Jl' '1 1
( ·) 1
1.
íT
1 1 1 l 1 1 1 1
~
-
.. ~ f9- 9- ~
....., -. -¡)
\ 1
!' )
-,;- .....
:
tl
1
1_ j ~~·
_Lo
--,
\
1 1
1 1 1
1 i
E: ii 6 G: I v6 16 Bk r6 ¡¡6 V
B. The excerpt below is from Mozart's String Quartet K. 428. Supply the missing tenor
Iine (viola in the original). 10 11 12
1 ()
1 1 1 ~ 1 1 l 1 1 1 1
1\ l 27 L. ~ L L. ~ \ L. _l L. \ ~ L_[ la
1 i jJ
1, p -, V p p p -, p p p
@,) 1 1 1 1 ~
1' 1 1
V' 1 ~ i ¡
--
jJ ~ ·-~·
-,.
1 .. -
1 1 1 1 1
1
1 1
r F: r6 IV V D: r6 v6 ¡¡o6 V
V \
IV e: VI
Ek r6 5
3
6 IV r6 IV v43 v6 5
3 ir ,.,1
¡ ¡~
(_
i
1 1
¡1
1 ¡
.;¡
1 Student Workbook Chapter 8 65
i D. Supply alto lines for the following passages.

( 1
)
1 2 3
i. fl 1 1 1 1 1 ~ ~ 1 1 1 1 1 1
', .
1
.,
1
1 : :
@)
)
¡ i
t . 1 rl 1 1
\
1 1 1 - •
a•
o·
¡6 ¡y6 ¡¡o6 V A: V ¡6 v6 f: y¡¡o6 ¡6 ¡¡o6 V
1.
4 5 6
fl 1 1 1 1 ~ ~ 1 1 1
1
) @)
¡ i
' )
..
.
1 : 1 1
1
1' \
1 1 1 1
1
d: ¡6 iv ¡6 b: Ek
1 1
1 1
··) E. Analyze the harmonies implied by the soprano/bass lines below and add one or two
' .
inner parts,- as specified by your instructor.
1 11 _1_ 1 1 1
¡ ;
\ @)
~
t ..
1 1
1 1 1
F:
¡ í 11 ~ 1 1 -
1 1
-.
.¡
1 @)
'
t .. .
1 1 1 1
1 1 1 1
i i e:
( 1 :)
¡
J
1
F. The following passage is reduced from Beethoven's Sonata Op. 10, No. 3, m. Analyze H. Review the figured bass information on pages 45-46. Then realize the figured basses
the implied harmonies (more than one good solution is possible) and add an alto line ( )
' ) below by following these steps:
(only). Use only triads in root position and first inversion.
a. Provide the roman numerals specified by the :figured bass.
'¡
:
1 1\ lJ, 1
. .
1
.
1- .
1 1
.
/,
b. Compose a simple melody that will conform to the progression and at the same
. .
¡
- time will create a good counterpoint with the bass.

1, @) ~
c. Make two completed versions of each, one for three parts and one for four parts.
.. . . . . 1
1
\
1 1 1 1
. .
....._...... 1
1
_L5._
fl
Three parts
1
llll"'
1 -...:17
1 @.)
}
G. Continue your solution to Part D with a second eight-measure segment. The second ~·
• - •
part should be similar to the first, but if it starts exactly like it, objectionable parallels
will result. Maintain the three-part texture.
1
\
T•
1 T
.
\. \ 6 6 6 6
<!
'i Bk
. ; '
Fourparts
1 i
i 1 -(} 1
j ~
1-¡:y
1
)
. • ..
1!
1
\
7
1•
1 1 1
.
6 6 6 6
Bk
1 i
2 Three parts (The horizontalline beneath the Iast measure means that the 3rd above the bass should be retained in the next chord )
o o
1 fl lJ,
_L5._
; i
trll""
1
l @.)
)
1
. 1
i 1,
\
1
1•
1 --
6 6
• ... 5 6
3
e:
Fourparts
1 fl lJ,
1 \i
' ;¡ 1 llll"'
-...:17
@.)
)
1
_1
..
\
1
1 1 1
6
1
r
6
r ¡- 1
5
3
6
1
e:
68 Tonal Hannony i Student Workbook Chapter 8 69
f 1
1 ~ i
1
I. Review the chord diagrams on pages 103-1 09. Then assign roman numerals to each J. Select roman numerals with which to harmonize this melody, changing chords every
of the bass notes in the exercises below, using triads (only) in root position and first
inversion to create a good tonal progression. Then follow steps b and e for Part H. If
(
1
) place there is a blank. Be sure your progression is a good one. Then write out the
melody with a bass line, using first inversion triads where appropriate. Make sure that
1
possible these settings should be for vocal or instrumental combinations found in your the bass creates a good counterpoint with the melody and that there are no objection-
class. able 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).
¡ 1
1
¡ i
1 1\ !
1 @)
)
1 J. J J d. J.
o o
1 ......_.... .
1
) i
o
1 o
1
@Vi w. r· ,Ji¡J ,;~:,J a. w~J.

\
F:
1 1 1 1
1 1 1
"-'
1 1
J. J. 1 1 J. J. 1 1
2 ', 1
1 1\
~ @)
~
o
o
-
1
1 1 1
1 1
J~J.
1
a: (
\,
k~
(r') 1 J. J. J. 1 11
3 .i
1\ .lJ.
'1
~ @)
1
~
J
o
o
~
- • o
\
1
1 1
D:
4
1 1\ lJ.
t @)
1 1 !
)
o • _O 1
1 o o 1
\
,¡
1 1 1
1
e:
( i :1)
\
' 1
' 1
(
'. 1
1
i
. '
EXERCISE 9-1
; 1
1
: A. Analysis. In addition to the specific instructions for each example, label each six-four
!
1
chord by type.
1
1. Label all chords with roman numerals.

i
• Schumann, "The Wild Rider," Op. 68, No. 8
- . ..
1
. .. ,...._
(., i
·) 1 1\ """""""' . ... . .~
- . . . .. r
'!
: 1
1
'
J
@.) ";'"
mf
";'"
- sf
--.....,¡
sf
~
' '
'
1
1
i '
1
1\
:
1!. t. -t -t Ll.
1
i
1
\@.)
:1: ::1 :1 :: :1:
1
1
2. Label chords with roman numerals.
1
• Handel, "Wenn mein Stündlein vorhanden ist"
1 1\ 1 1 1 1 1 1 1 1 1
,
t @.)
1
1 1 1
1 1 1 1 1
1
.,
1 ) - 1 1
- 1 1 1
- -
1
- _d_
1
.,
1 1 1 1 1
l 1)
71
3. Label the chords with roman numerals and put parentheses around all non- 5. Label the chords with roman numerals. As befare, identify the type of any six-
chord tones. e '1 ) four chord you encounter.
• Clara Wieck Schumann, Scherzo, Op. 15, No. 4 • Haydn, Symphony No. 100, I
.
i 1
i
1 1\ ~
32
~.:.
.1- 1 . r. •
35
l""'r""'T"'
i Vln. I .
1
@) ¡,¡ 1 1 ¡--.....¡¡ - ~.
p
1 f
! 11 1\ ~ 1- 1 1
1
Vln.II
~ 1 1
'-'
'---'
. ---=
. l-d~-9
p "!"o"!"o ...
f
Published 1976 by Willy Müller-Süddeutscher Verlag and 1994 by Breitkopf & Hiirtel. 11 ~ -.
1 1 1
4. In this excerpt, six-four chords are formed by arpeggiations in m. 1 and by a p f

o ú· o ú·
melodic bass in m. 2 (the bass in mm. 2-3 imitates the soprano melody in mm.
1-2). Put roman numerals in the blanks provided and put parentheses around o
1 1 1 t a.J.Jj 01 .J.Jj J~ 1~ J ~
01
.J t mi rT
o
all non-chord tones. Then show where any six-four chords occur, no matter
how briefly.
' p
- r
f
• Bach, English Suite No. 2, Courante
t
fl
@.)
o
mf
l
o
o
... o r
------
- '"'--
1
o
r
1
...,. ~
1
o
pi
1
o - - 11
:-:._ ~~:(!:.~f!:_-fl-...,._ • _,._o
t o 1 1
\
1 l 1
1
\11
1
1 1)
1
' 1
1 1
1
6. Label the chords with roman numerals, and identify the type of any six-four B. Fill in one or two inner parts, as specified. Identify any six-four chords by type.
chord you encounter. ( ) 1 Add Alto and Tenor 2 Add Alto 3 Add Alto and Tenor
• Beethoven, Piano Concerto No. 1, Op. 15, I 1 f¡ 1 L 1 1 1 1 1 1 J J ~ tf 1 1 1
1
.... . . . . . ..
l
.. .
.
'
.. .
.
5 ) @)
} 11 ~
Vln. I
@)
P.P
.g
~
V
~
. L..l..l
~
.. - ...,...
• • ? ll ...,......,... ?
1 1
11 . .. .. . .. d: i (v~) i6 iv V Ek vi IV ¡6 V vi V
~
Vln. II
@)
?)
.. . ... 1 ?JII 1
~-
.. 1 V
P.P
.. . .... . . .. . . ..
4 Add Alto and Tenor 5 Add Alto
'1
VI a.
.. .
1 f¡ 1 1
. 1 1 1 1 1 1 1
V 1 1 t @)
P.P
.. .;,.;,.;,. . .;,.. .. . .~4 ..;,. 1

..
Ve.
Ch.
1
.. .
1
t . 1 1 1
1 1
1 1
P.P
Bk ¡6 IV V a: i
JO C. Realize these figured basses for three or four voices, as specified, striving to create
1 11 -19- ~..¡,. ~ f:-1"-~• .h· ... .. n • :----... 15 .....---::-... good outer-voice counterpoint. Notice the frequent use of ~ (or the equivalent, such
Vln.I
#)
as to indicate root-position triads following an inverted chord. Ana!yze with roman
@.)
eresc. f - 1
::;
numerals and label six-four types.
ff 1 Add Soprano, Alto, and Tenor 2 Add Soprano and Alto

11 .. ....
~
1 1\ ~ tf ~ tf.
-
Vln. II
@) 1 1 1 1 V ~ ~
.__,~
::; 1 @)
cresc. · f )
ff
.. 1 1 1 1 ·....----..... 1
)
.. ll ll
VI a.
.'----'""'
... ..f -
r
\
1 1 "?; 1 1 1 1 1
eresc. 1
1 1
ff
11 6 6 6 5 6 6
..
~
.d jjjj ;! . . .--........
4 3
Ve.
.. - -
- &
- 1 .1 .1 ,.---.. 1
·¡
Ch.
\ 3 Add Soprano, Alto, and Tenor 4 Add Soprano, Alto, and Tenor
cresc. f ff '1
• ! 1 1\ 1 L
'¡
.
\
~
~
@)
.. .•
...,... .
(_ 1 1 1 1
1
1
6 6 6 6 6 6 5 6
4 4 3
D. Harmonize each unfigured bass with a good tonal progression. Then compase a F. Continue the accompaniment of this violin melody. Non-chord tones are in parenthe-
soprano line that will both fit the progression and create a good outer-voice counter-
point with the bass. Finally, fill in alto and tenor parts to make a four-part texture. Be
( ) ses. Be sure to use at least one cadential, passing, or pedal six-four chord. Include a
harmonic analysis.
sure to include a six-four chord in each one and identify the six-four type.
1
) 1\ 1 ,---. . t.f!:1 -fll- (~) ( 111!11 ) .
VI. I
1 1\ ._¡ 1
1 ._¡
) 1\ 1
VI. II
)
j
\
.. . ._¡ "11
--. "11
1 1 1 1
1
Ve.
..
2 1
1 1\ ,¡,¡.
..
Bk 6
1
@.) ) 1\ • .,_. (---) .. •
' ..
1 ( )
) .,_
1 - .
._¡ 1 3
1 1 1
\
1
1 T 1
1
1 ll 1
._¡
-
E. 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 har-
..
monization by filling in two inner parts. Try to include an appropriate six-four chord
in each harmonization.
( ". 1 1 1 1 1 1 1
) @.)
f
..
G:
,.
1
2 1
1\ 1 1 1 1 1 1
1
j ._¡
. 1 ·. 1
j ..
(
f:
e
EXERCISE 10-1
A. Cadences. Using only triads in root position and fust inversion, compase 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 3 three parts 4 four parts
')
A: g: F: b:
(root position IAC) (DC---careful !) (HC) (inverted IAC)
5 three parts 6 four parts 7 three parts 8 four parts
G: d: Bk e:
(PAC) (PC) (leading-tone IAC) (Phrygian HC)
79
9 three parts 1O four parts 11 three parts 12 four parts 2. Diagram and name the form of this excerpt. Also:
1 fl ( ) 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
t
.. the bass {only). Note: The best choice for m. 5 is nota ü chord. (Compare m. 5 with
m. 13.)
• Anonymous: Minuet in G, from the Notebookfor Anna Magdalena Bach

a: C: f: D:
(DC---careful!) (PAC) (PC) (HC) 5~
1 fl ,¡,¡ • """"'-- ~ 1
.
B. Analysis. The cadence chords have been analyzed for you in each example. Make a
t, ~ 1~ 1
(~=~~J~r~-~0·~-rr~··~~~~~~~~~~~~m
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. . -!'-. -!'- E• •) f':Jo ,.,.
•
1. Be sure to listen to this stirring theme in its original orchestral version as well.
Schumann, Symphony No. 1, Op. 38, m (piano reduction) IV ¡6 V

---
.--r"""'l o
fl ,¡,¡ ~
• ~
. ..
1 """""--- 15 1 ,...._
Molto vivace ;1
,
t ~ 1 --.....,¡ 1
(
J
t
.. n
-
• -6-" • (1'-) •r- ,.,·
• 1~-f'-
..
1
IV V
iv V 3. Do the two phrases here begin with similar material? Compare mm. 9 to 10 with mm.
13 to 14. Diagram and name the form.
fl .
1 JO 1 1 1 J~J 1 1 ,¡,¡ J--.J,¡,¡ J .J lt J 1 1
.
1
<
, ~ 1 1 1
(' 1 11 1 1 1 1
• Mozart, Violin Sonata K. 377, m
. ~:
1 ..L!~ . / !"'-. •
fl ~. JO
~~ ~~-. •
~
.
. 1
\ ~.
1 1
1
fl ~
- ...
)
)
~ :t .... "111 ::¡ ~
-
1· .. ...
. ¡...- r--1
\
e;.
.•
::¡ "111
( 1) F: V
82 Tonal Hannony
Student Workbook Chapter 1O 83
~- 5. This excerpt is in the form of a three-phrase period (sorne would call ita phrase group).
f) ~-f*- • ~~-it-f:-~15 ~- ( ) 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 a11 the chords in that
phrase and diagram the form of the excerpt.
@.) L_3__j
3
1 f) ~1 ¡-3---,
... ,....--:-::::: • Mozart, Sonata K. 545, I
,
t @.)
-.•r -J
. . ---;- 4- r
J~j
'
1
\
..
•
.
-6 :¡¡ 1
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 IAC in what key? What is the
relationship between that key and e minor?
• Mendelssohn, Song without Words, Op. 62, No. 3
1 f) .ü 5
3
¡-- 1"""" -. ¡¡¡¡¡¡;::::¡ (.) ~-
r6 vi
~ @.)
7 :j l "11 -. 111 . ..
---~ r r sfz p
'-- ( ·)
fl~ - ~~- __. ~ ~-f*- .ü
-
) . mf tranq. e legato
•
r
~ . . @.)
\
~ -6 ... ....::::: :¡¡. j fl 1
~ 1
e:
@.) -,¡• 1 .... 1
-:J:-+1' -,¡• 1
1 f) .ü
10
-~ .......-._
.
\ @.) ...../
,.,
r-r rftr ......... -. , .ft• I(H:J~
dim.
l .. ~ -......
/'
1
.
\
- ..... #
... l
-r
X
VIl
··o4
3
(
7. Diagram and name the form of this theme, then label the first five chords. Also, see if
tr . .... ................... ............... ......
.,
1LX-_ ~
-a- ~ ~
~ _,__ ~ . , 25 ••"'*"'*~···
(
1
11 \ ) you can find a disguised sequence hidden in the soprano and another in the bass in mm .
1 to 8.
\ 11
- - - - - -
@.)
Beethoven, Sonata Op. 13, II
11 --"""!! --"""!!
:-r 1
...,.... 1
...,.... 1 l
t
-J: ~~
. cantabil e
AdagiO
• • • • • • • • J. -J~
11
@.)
v7 1 .. J' .J - • /J t •• _q_.,
t
J -
6. Diagram the form of this excerpt in four ways, all of which are possible interpretations:
(1) 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?
J
t
..
p
....--
1
~--
._.... 1
- .... --...
11
'-..
Mozart, Sonata K. 310, m

V
-:.J_
5- 3
( ')
• i
a: V
·1-
. J~~
1 1'\
. •
1 1-
. 10 1
.
1
.
- l ~ 1 1
1 l
,
~ @.) 1 r' 1 1 r' r f 1 1 1
<
1
.. ~~ !:: Fr
.
,_-
~
- .~J -~ -~ fi:'~
1 i
t
\
~,.. .... 1 ¡,.....-
V V
1
1
' 1
( 1)
86 Tonal Harmony
"c~'::il2-s-...
. . . . . . . ' .. .:. :>,,
1 1
1
Ncf'-~HORD
~
TONES 1
C. Review. Notate the chords in the keys and bass positions indicated.
' ¡
1 2 3 4 5 6 7 8 9 10 í
j
EXERCISE 11-1
&
E: r6
11
Bk vi7
11
G: rv6
11
··4
D: 113
11
f: VI
11
d: vii0 g
11
A k ¡¡¡
11
Ekvii"7
11
f#: y4
11
A:rvM7
11 A. Analysis.
1. Go back to Example 8-19 (p. 128), which shows NCTs in parentheses, and identify in the blanks below
4 2 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 ID. 7 ID. 8
m. lO ID. 11
1 ¡
2. Analyze the chords and NCTs in this excerpt. Then make a reduction similar to those seen in the text by
(1) 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
1 i problems appear to have been covered up by the embellishments? Discuss the reasons for the leap in the
tenor in m. 3.
11 Bach, "Hilf, Herr Jesu, lass gelingen"
1\ 1,.--_1 J ~~~ 1 1--1 1

/":',
.
1
.
~ @.) 1~1 1
.. -
~1 1 r--r 1 l~f r·
( J.~~J 1 l~j
..
1
_J_ J.
i 1
)
.. 1
1
\
- ~1 1 1 ~1 r·
¡
! Reduction
l ¡j
87
B. After reviewing pages 172-176, decide what one suspension would be best in each D. In the figured basses below, the syrnbols "4 #'' call for a 4-3 suspension, with a sharp
excerpt below. Then renotate with the suspension and at least one other embellishment. ) applied to the note of resolution. The syrnbols "6 -" indicate that a first inversion triad
Rernernber to put parentheses around NCTs and to label NCTs and arpeggiations. is to be used above both C's in the bass.
1 2 3 4 For each figured bass, do the following:

f'¡,¡¡. 1 1 1 1 lJ. ~ 1 1 1 1 1 1 i !
1. Analyze the harrnonies with rornan nurnerals.
l)
)
@)
1
rr ¡- IJ J.l
_d__
1 "1 1 1 1 2. Compase a simple but musical soprano line.
3. Fill in one or two inner parts, as speci:fied.
1
\
.. .U. _lffl_ Ll. -(9- f':) ~ ~
4. Add sorne stepwise NCTs to each exarnple and labe1 them.

1 1 1
1 1 1 1
b: v6 i ¡¡o6 V A: rv6 I V 16 g: iv ¡6 y¡¡o6 Ek IV v6 I v6 1 11
1 lL!'r"l_.
. 1\ ,¡.¡ ,¡¡. ~ _l 1 @) S
1
A
1
) @)
~
.. T
ll
-
}
1
.. ll
1
1
6 6
1
6
1
1
1
4 i ¡
\ 1
a:
1
C. The exarnple below is a sirnpli:fied excerpt from a Bach chorale harrnonization. Label
the chords with roman numerals and actívate the texture with stepwise NCTs, includ-
ing at least one suspension. Label all embellishments.
2
1\
lL
1 .
_.J!J.
_fl!'\__v:
. .
1
1
J @) S
J
1
1 1\ 1 1 1 1 1 1 1 1 1 l 1 1 l 1 A
..
1
1
1 1
~ .
1
1
)
@)
1 1
1 1 1 1 1 1 1
1 1 1 1
J 1
1 1 \L::
L
__v:
r .
1 1)11 =11
1
H' .. -,J-
1 j111 J J
1 1
~
1
} 6 6 6 4
1
\
.
o
-.--~_..-_
g:
1 1
1 1
1 1 1 1
Bk
' 1
1
\ '1
¡ 1
. 1
' 1
~ J
E. Using the following progressions, compose a good soprano/bass framework, using 2. Four-part texture.
inversions where desired. Next add one or two inner parts, as speci:fied. Show with an
x every possible location for a 9-8, 7-6,4-3, or 2-3 suspension. Finally, create an elab-
) A: V vi ü V vi IV V
orated version of the simple texture, including at least one suspension. Other embell-
ishments should be limited to arpeggiations and stepwise NCTs.
r r r r r r 1
o
11
1. Three-part texture. (Remember that diminished triads should be used in first inversion.)
iv iv ¡¡o V
r r r r r r
1 1 1 r 1 1 11
1.
1
1
1:
F. Compose your own harmonic progression and follow the instructions for part E. Try
1 ¡ a two-, three-, or four-part texture.
i
!'.1
!
1 ¡
,,
( ,¡'
1)
¡
1 ·,
1i
'1
92 Tonal Hannony i
1
1
G. Analyze the chords implied by this two-voice framework. Then embellish the frame-
work in an arrangement for string quartet. A suggested beginning is given.
1 1\ ¡,¡ o o
1
1
@.)
)
) 1 1 1
1 o
o
\
'""
o
- o
j
1
Vl.I
- 1 1
1
EXERCISE 12-1
i.
A. Analysis.
1
1. Go back to Example 7-18 on page 108 of the text, where NCTs are shown in parentheses,
Vl.II
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.
11 l
m.l _ _ __ m.3 _ _ __
V! a.
r ¿ 2. Do the same for Example 10-14 on page 15 8 of the text.
~-- ' ) m.10._ _ m. 11 m.l3
m.14 m.15 m. 16, violin: _ _ piano: _ _
Ve. i;
1¡ 3. Do the same for Example 9-12 on page 142.
1
1;' VI. I: m. 23 m.24 m.25 m.26
1 VI. II: m. 23 m.26
H. Continue your solution to Part G to form a parallel period. !
1
i 4. Label chords and NCTs in this excerpt.
¡
j • Mozart, Piano Sonata, K. 545, II
!1
ii
!!
i l
1
1 1
i 1
11
1
1 !
1' t
i \
!
¡ G:
i
'\ ( 1
)
! 1 93
1
1
1
J[
1 i
1 •
5. The chords in this excerpt have been labeled for you. Put parentheses around all NCTs B. Using a three-part texture, write authentic cadences in :five different keys, employing
in mm. 1 to 6 (only) and label them. The roman numerals in parentheses are part of a ) a different NCT from the following list in each cadence: p, n, ant, app, e.
"nonfunctional" series of parallel sixth chords (review pp. 120-122), and sorne other
chords have been left unlabeled because they are too advanced for you at this point. The 1 1\
last three measures are included for context, but they are not part of this exercise.
11 Clara Wieck Schumann, Larghetto, Op. 15, No. 1

'
J
@.)
1 ..
Larghetto
¡ 1
t
\
C. Analyze the chords in this phrase with roman numerals. Then renotate the phrase on
1 ''' the staves below, adding at least 4 NCTs, at least 2 of which should be suspensions.
Label all the NCTs, and show the interval classi:fications of the suspensions.
11 l
F: ¡¡ y7
@)
~ 4 f. 1
J_ ~ ~
1 r- ~ -
e-
1\ ~ .. 1
1
5 1 1
. l
.
., 1.. 1
. •
L. 1""""'-
~
1 1 1 - u
p r-
1
....
@.) 1 v-i 1 IP' •
11
¡- 'ir¡- 1
r ..jíL .... -JI
.. ~-
11
~~ !..~-~6-~ ~
t 1
··~ -
.
@)
.
\
::¡ ....- ~ ¡: .......... • ..
vj I ---omit------
. : 1
¡ j
Published 1976 by Willy Müller-Süddeutscher Verlag and 1994 by Breitkopf & Hartel.
D. Compose a simple melody for each :figured bass below and :fill in inner voices to make
a four-part texture. Include sorne of the NCTs studied in this chapter. Analyze chords
andNCTs.
6. The chords in this excerpt have been analyzed using lead sheet symbols. Put ¡j
parentheses around all NCTs and label them.
i1 1
11 Brahms, Intermezzo, Op. 76, No. 7
1
i 1
i
1 1
¡
1 1\ 1
1 '
i 1
1 @.) ---
)
5
••. .. ~ .. ---;--..,. i1
)
..
..
~
~
1\ ""'
1
. ""'
. . . .
11
¡i 1
\ @.)
mp
~- '- v .... ....
~
.. • ::¡ ::¡
p
lj
l!
l j
\
r 1 L J
6
1 1
6
~r
6
1 1
4 í# r
1 ..
l
. . 1
!i
. 1.
g:
\
. . ~= ~ =6 e:; . . . 1. . ..... #....
'-----
-.11 _3 :::::;
-.11
i
;l
¡
e
(
E Am Bdim Am E Am E Am
¡j
1;
1
i.
In this example, use a V chord on beat 3 of m. l. Also, the symbols "6 - -" mean that G. The framework below is a simplified version of a passage from Mozart's Magic Flute.
a fust inversion chord is to be maintained throughout m. 2. {
( ) Embellish the framework, turning it into a vocal part (to be sung on neutral syllables)
with piano atcompaniment. Try to include at least one chromatic NCT.
2
fl fl • • 1
.
1 1
t ~
1
~ 1 1 1 1
) ) 1 1
)
1 .. )
1 .. . .
\
1 1 _l J 1
rrrr r
E ~
E ~ 1
r· \
1 1 -.
1
4
t3
6 6
F:
! 1
E. 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.
'' ¡
i ·.i
( ')
H. Continue your solution to Part G to form a parallel period.
i !
1 !
F. Compose eight measures to continue PartA, number 3, on page 72 of this workbook.
Maintain a similar texture and end with a PAC. Include an NCT studied in this chapter.
1
1
1 ¡
i1
i(
1
1 1
'l
i
¡¡
( i! 1)
1
i 1
'
i1
(
Part III
Diatonic Seventh Chords
CHORD
EXERCISE 13-1
' !
A. The note given in each case is the root, 3rd, 5th, or 7th of a V 7 chord. Notate the chord
in root position and name the major key in which it would be the V7 .
1 2 3 4 5 6 7 8
o o o
o
llfJ= 11
11& 119: IIIIR lo llfJ= 11& •• 119: 11
'
&o
5th 3rd 7th root 3rd 5th root 7th
( )
1'
B. Analyze chords and NCTs in the excerpt below. Then discuss the voice leading in the
1 l j two V7 chords. (Note: You might have analyzed the B's in the V chords as passing
l;
tones, but consider them to be chord 7ths for the purposes of your discussion.)
• Bach 'Wrr Christenleut' "

' "
i ; 99
r,
1 l
LJ
lOO Tonal Hannony Student Workbook Chapter 13 101
_[
1
C. Resolve each chord to a root position I. (Note: e means complete chord, i means D. Notate the key signature and the V 7 chord and then resolve it.
! !
incomplete chord.) ( )
1 three parts 2 three parts 3 four parts 4 four parts 5 four parts
1 2 3 4 5 1 1\
1\ ~ ~ 1 1 ~ 1 1 1 1
.' j
j i
1
@.)
1
@.)
.. 11
(.¿/
J h~
1 1
_J
- ~ ;
-
; ;¡
¡ i
)
1 ..
j \
1
y7
1
r
y7 D: y7
1
y7 I Bb: y7 I !
1
1
G: y7 d: y7 E: y7
(e) (i)
Ab: y7
(e)
I
(e)
f«: y7
(i) (e)
E: e: Ab:
(e) (e) (e) (i) (i) (e) (e) (e) ·i
1 1
6 three parts 7 three parts 8 four parts 9 four parts 1O four parts
6 7 8 9 10 !
1 1\ ~ 1 1 1 L 1 1 ~ ~ 1 1
1 1\
t -¡¡
1 1
1
T 1 íll \ @.)
)
j .. _J -(9-
_d_ _J _d_
1 ..
\
\
1 1
' i
Eb: y7 vi A: y7 vi f: y7 VI bb: y7 VI D: y7 vi
! 1
G: y7 f: y7 C: y7 I D: y7 I a·
o·
y7
(e) (e) (e) (i) (i) (e) (i) (e)
)
11 12 13 14 15
1 1\ 1 1 ~ ~ ~ ~ 1 ~ ~ 1
j :¡
l @.) 1 11r 1 1 i
_J
)
.. j ll ~ ,, - ~_J 11
_d_
1 l
\ íi 1
1 1
1
Eb: y7 f«: y7 B: y7 I d: y7 A: y7 I j
(i) (e) (e) (i) (e) (i) (e) (e)
1 1
¡
i J
i
!
( 1
J )
!
1
l
1
' 1
1 1
102 Tonal Hamzony Student Workbook Chapter 13 103

~ j
1
1
E. Analyze the chords speci:fied by this :figured bass. Then malee two harmonizations, one ;
G. Analyze the harmonies implied by these soprano/bass frameworks. Then malee four-
r
for SAB chorus and one for SATB chorus.
e 1
) part versions with embellishments and at least one root position V 7 chord.
1
lfl~
1
fl ~ . ~
S
A 1
@) @) 1 1
1 1 1
)
B
.. r.; 1 1
1 .. •
i
\ 1 1 1
1
\
1 .
6 6
2
S
lfl~
1
2
fl ~ 1 . ~
A
@)
.. 1':) ;,
\) @)
·- 1 1 1
t ..
.! 1
T
B
1
6
1
6
1 \
1 1 1 .
)
: ¡
3
~
o
F. Analyze the chords implied by the soprano and bass lines below. Then :fill in inner fl 1 1 ~
parts. Remember that the tenor part sounds a P8 lower than written.
t
.
@) 1 1 . 1
) fl ~ 1
r.;.
• 1
S
• ..
1
@) 1 r 1 1
1 1 1 -:
.
~~~
A
@)
~~~
:.i T
~
r.; • • •• 1
B
\
1
1
: -1
1 Compase a period in a simple three-part texture. End the first phrase with a V7-vi DC,
H. Set a short text for four-part chorus. The text might be a poem, a headline from a l.
newspaper, or anything. Include at least one V7-I progression. Try to keep the motion (
'·
1
1
) the second with a V 7-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
going through the use of elaborations.
1 role. Turn in both versions .
.i 1
1. Simple version
1
1
1
1
1 1
! 11
1 1
. 11
; :!
~ }¡
!1
1
1
( )
1
:-¡1
1
1 1
1
!
1
i 1
(
2. Elaborated version EXERCISE 13-2

( ) A. Notate the specified chords. Use accidentals instead of key signatures.
1 2 3 4 5 6 7 8
119: 11& llf>= 11& 119: 11& 11118 11
'
Dk y6
5 a: y4
3 Ek y4
2
B. Label chords and NCTs in the excerpts below. Comment on the treatment ofthe lead-
D:. y4
3 e: y4
2 F: V~ b: y4
2 E: y6
5
ing tone and 7th in any V 7 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 m u sic has modulated (changed key) to the dominant.
Modulation will be introduced in Chapter 18 .
• 1. Bach, "Ich dank' dir, lieber Herre"

(Which is the more sensible analysis of beat 4 of m. 3: iii or V6 ?) i
f.\
1 1\ 1 1 3 1 1 1
- 1
) @.)
1 1 ~r 1
1' ---r 1
~p
t
)
1 .. J .n 1 1 J J j J
\
1 1 1 1 1
1
r
F:
• 2. Beethoven, Sonata Op. 2, No. 1, III
1 1\ 1
......--..._ 10
J 1 1 1
\ @.)
f
-- 1
- 1
. 1
<
t .. :J: ... .... . - • (9- ~ ......

\
!~ [
)
• 3. Mozart, Quintet K. 452, I (piano reduction) 1

C. Resolve each chord toa tonic triad (except as indicated). Analyze both chords.
( 1 : )
1 2 3 4 5
1
-- ..
1
1\ 1 1 ~ 1 1 1 J.l 1 1 1
1\ f=o o lj¡' •. n -
1
1 6 _,_.
o o - ~
. 1
1 !
~
'l
- ~
@)
l @.) ~~ r
1 1 1 1 1
1 _J
J h,.j
l .
_l
J 1\ l.~ fL
e .J--L;,~
i
.... ¡L ~ 1
l
1
: . 1
1
\
o
1
@.) •
1 Bb: D: e: G: f: VI
Bb: 1
1
1
• 4. Schumann, "Im Westen," Op. 25, No. 23
1
1 6 7 8 9 10
(Do not label NCTs in this excerpt.) 1 1\ ~ ~ 1! 1 J.l 1 1 1 1
1
1\ 15 1
ritard
1 1
. 1
) @) 1
~~ rJ 1
. .
fll
1
) ,.J J
-
@.)
mi eh und me in
1
Kind - le in
1
an's
--=-
Herz _ _ ged- rückt.
1
1 1
1
\
.
o
n ll -6 n
1
-......... 1
r
1
~ritard. l 1 1 1 1 l f.\
1 1\ 1
) C:
e: a•
o· Ab:
. 1 1
t
1
)
@.) .... 1
·u n•
~
-(9.• 1
1 '
12 13 14 15
-~.. .... f.\ 11
~\ . -·.
1
¡L 11 ""'• 1 1\ 1 ~ ~ 1 1 1 J.l 1
o
. 1
1
~ H~
1 1 1 1
' @)
1 i
_d_ J
~ .
Jl J.!. .....
1 o
1
1 1
1
Eb: vi d: E: Db: b:
1 i (e) (e)
1 1
1
1
1
1,
1\ '
1
1
! 1
e ,·
1,
)
D. Supply the key signature. Then notate and resolve the speci:fied 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 n 2 p 3 S 4 app
fl
t @)
t o
o
Eb: --- vg --- g: _ _ _ V~--- D: - - - v7 --- b: _ _ _ ví ---
5 S 6 n 7 S 8 p
1 fl
t @)
J
)
'
o
o
) G: - - - v7 vi f: _ _ _ vg ___ Bk
---
v7
--- eH: _ _ _ VÍ ¡6
1 9 app 1Q S 11 p 12 n
l 1'
1 fl
1
1
) @)
)
t o
o
E: _ _ _ v7 - - =___ e: _ _ _ V~ ___ Ak_ _ _ VÍ fH: - - - v7 VI
i 11
( )
1 ;'
E. Show with roman numerals the chords that this figured bass calls for. Then complete F. Analyze the chords implied by each sopranolbass framework. Then add inner parts
the realization in four voices. (< ) and embellishments to make a four-part choral texture. lnclude an inverted V 7 chord.
.
1 fl 1 1 1
fl ¡.¡ 1
. ¡.¡
1 11 1
~
•
1
J
@.)
rl @.) 1 1 1 -
l .. ~
.. 1
~
r 1 1 1 1 1 1
'j l 1 1 .
6 6 4+ 6 6 6
2
!' .
2
l ¡
fl 1 ,...... .1
1 @.) 1 1
) 1
'
1
\
..
1 1 f1' ...... .
)
1 1
! !
!
1 ¡
l.
)
1_ !
G. Analyze the chords implied by this soprano/bass framework. Then create a piano tex- H. Malee one or more settings of the following song.
! !
ture by filling out sorne of the chords and adding embellishments. Arpeggiations will
be especially useful for prolonging the I chord in mm. 1 to 2. Be sure to include an
( ) 1. Write an arrangement for two B~ trumpets, unaccompanied. Analyze the har-
inverted V7 chord. monies implied by the two lines. Include at 1east one inverted V7 •
2. Malee an arrangement for four-part chorus. Try to elaborate the other voices
1 1\ 1
. . - 1 1
slightly. Include at least one inverted V7 . Watch out for parallel 8ves and 5ths
throughout.
1 1 1 1 1
' @) 3. Compase a version for piano solo, including at least one inverted V7 . Be pre-
pared to play it or find someone else in the class who will do so.
(
\
.. . . .
1 1 1 1 1 1 1
1 '
& r r r r r A J r r· r
8
F 1 1 1 1F 1 1 1 rJ J 1 Jd.J ~ 11
'
' '
1,
( )
1
¡_ l
116 Tonal Hannony
I. Compose a period for a string trio (violin, viola, cello) or for sorne other combination i
1
(
1
of instruments in your class. Include at least two inverted V7 chords.

'
AND VII¡- CHORDS
EXERCISE 14-1
A. Notate the following chords. Use accidentals, not key signatures.

•JI
~
<1
1 2 3 4 5 6 7 8
e
~
.
..
11118 11& 119: 11& 119: 119:
' 11&
'"' 11
i ¡
g: y¡¡o7 C: ¡¡7 e: y¡¡o~ Ek ··4

113 D: vii1 f~: ··..4
11 3 G: vii"'7 Ak ¡¡7
( )
9 10 11 12 13 14 15 16
119: 11118 119: 11& 119: 119: 11

.1 1
'
e: y¡¡o~ d: ··..4
112 Bk ··..tí
vn5 b:
B. Analyze the following chords. Be sure your symbols indicate chord quality and
··..tí
115 a: y¡¡o~ A: ··6
115
11&
F: ··4
112 e~: y¡¡o7
inversion.
1 2 3 4 5 6 7 8
f: G: f~: D: Ek e: C: g:
( )
117
C. Analyze the chords and NCTs in the following excerpts. Whenever a ü 7 (ü 07 ) or vü07 4. Label the chords in the blanks provided. Do not label NCTs in this excerpt. The m. v. dynamic markings
(vii 07 ) chord in root position or inverted is encountered, discuss the voice leading into (
( ) stand for mezza voce, "half voice," which means approximately the same thing as mezzo forte, or mf. The
tempo is Poco Adagio.
•
and out of the chord .
• 1. Bach, "Jesu, der du meine Seele" 1 1
Haydn, Quartet Op. 50, No. 6, II
) 1\
. 11
55
.¡,....¡,... .;.. ..,...
-
_,_...,.. .. .. ..... _,_...,..
-
@.)
1\
- 11
fz fz
....
@.) ~"f"':.
:._¡ +__)
--=··. '- '- ....... ....__,-
1 1 m.v.
,,
.
!!
m.v.
• 2. Bach, "Herzliebster Jesu, was hast du verbrochen"
·..¡.__,_.\ • . ~
:
1 1\ ~ 1 1 1 1 1~1 .1 \ 7- r = = l::::!:!::j ~ ~
,
m.v.
t
,,
''"
~
¡- r 1 1 1 1
1 " 1
.. ..
. 1(
( .. ~ J
rl) ~) n 1
-.-
J
~:
1-.- 1-
l
1111 ..... ...-:-- il•
.
··..-....
-
-
. .
-. ...1
. '
... .._....., ..._..-...___/

@.)
~
\ -
1111
..
b:
'¡
@.)
~~ 1 r ........ . . .... 0
..
• 3. Bach, Well-Tempered Clavier, Book I, Prelude I ol
.
-
.. -f'- ... ... . .
i
! 1
1 11 11 60 ~ -- :. ._,_~ :¡!: #
~
• • ... ·.~_,_.~
1 .
~ 1 @.) 1
= = ====
~J ~J
1
11 11
J ~ ~
. ...____......
J
,
1 1\ 1 1
1 . .
·\ 1
1 @.) .... . .. .' a·~
i ~'-'r p-----r P'----:"r
-....._/
.
~ i ~'-'r i i J
.
. -. • •
'
1
\
.. n n -(T -(T
( i
:. i
1
---.,
_y . ....--.....
. /
' ~
' ' \
ll . b~"""' ~f::-~~ .
fl:-- -.
~
. (
D. Notate, introduce, and resolve the specified chords. Approach each chord 7th as a sus-
pension, a neighbor, or a passing tone, as specified. Include key signatures and roman
' numerals.
@.)
mf
f¡ u fr .., b•
. .
,..;;;¡
'
1
1
1\
n 2 p
1
3 S 4 S
@)
f-
• \) @.)
1
-
• r .. J
~\
/
..........._
f
:
-=tF"
__, .
. . C: D: vii'1 a·
'\
- f
b'
mf
5 n 6 S 7 n 8 p
1\
t
!l
. !~
5. Label the chords and NCTs in this excerpt. These are the third and fourth phrases of the double period that
makes up the opening theme. Although too long to be quoted here, the entire theme (mm. 1-30) is worth
@.)
-¡ í
....
J
..
.
: P•
studying .
. . 11 Haydn, Quartet Op. 20, No. 4, I

t
'i
1
: 1
. 1
¡ 1\ ~13 15 20 r.
) e: .. ,4.
11 3 F: Ek
1 1 1
.
.,__.....
..
........
@.) "=""="!
,__..... :.J
GI.... 1
=== 1
----tr
1•
9 S 10 11 p 12
'.\ ~~~ ~
S S
1\ 1 1
• 1
@.) ':"~!
,__.....
Gl•
"-
re-· ·- --- .,__.....
..
----=v--'=
V'-- 1~ • t, @)
J
..
IL 1
. .
-- - ~
1
-
' 1
,__.....
':' ":" ':'
¡-e-·
~
t1-,f~ ..
.,__..... f+ ,__.....
"="'="'=" Gl~ ~·.
1
1
1
1
.. . .
1
1
b: -- -d: ....6
115 A: ¡¡7 e: ....4
11 2
! ! ! -rf· -rf· 7/· !!! ...... .. .-e-~'"" __./

1
·, 1
i
1
.í
j
.1
1 1
(
'
1 1 )
E. Analyze these figured basses and continue the realizations, keeping the keyboard F. Harmonize these chorale phrases for four-part chorus.
texture but following conventional partwriting procedures. (
1. Include a root position ü7.
1. 1 !
1\ ¡,¡
1\ jJ. 1
1 1 1 1 1 1
.
1
) @)
(!) . 1
)
..
.. 1
\
1 1 1
8 7 6
..... G:
5 4
7 #
e: i
2. Bach, St. Matthew Passion, No. 20 1\

2. Include a root position vü0 7 anda 4-3 suspension. (.\,
1 1 1 1 1 1
.
69
(Andante)
70 71 ~ @.)
1\r l
'--!l
.
ll
::..
...
j
@.) ~\ ..
' .
1(
1 .. 1 1 1 1 L- 1 1 1
a·
. 1
~ 1
' )
o·
! 7 6 (i 6 (i 6 6 6 5
q 5 4 q
[b]
,¡ e: y7 3. Include a ii~ and a deceptive cadence. Sorne eighth-note chords will be

,, necessary.
1\ 1
(.\,
~ @.)
. ., ~
'
1' 1 ..\
i' d:
j.
4. Include a vü~ and a passing tone.
.J j ; j J
.
1 1\ 1
.
1
! . 1
) @.)
.•
)
(_ ) 1 ..
\
¡ q
124 Tonal Hamzony l !
J !
1
1 1
G. Malee a setting of the folk song below for sorne combination of voices and/or instru- 1 i
ments available in your class. Include one of the chords discussed in this chapter. ( 1[
1
i1 i
! ap en~ ·-"·'~,,-
J/ \~~1l-·u
1
'
1
1
1 ;
t"'i
OT~ DIATONIC SEVENTH CHORDS

1 ¡
1 !
1i
1
1
:
1
1
¡
;
1
1 !
1
EXERCISE 15-1
1 !
j ¡
[IICj
A. Notate the following chords. Use accidentals, not key signatures.
:2~
"~1
1 2 3 4 5 6 7 8
•il:
ÍJ. 1,
; :~1
1
119: IIIIH 119: llfJ= 119:

"' 11
~ •;1
11&
'
lu••
'
~
~~:
.., i'
: e: Ak ¡M7 o· #vi"'7 G: vig f: mM6 b: ¡7 Bk IVM4 a: VIM7 e:
O' ivj:
·, t:
~
'!:
¡; ( ''
1
) 5 3
9 10 11 12 13 14 15 16
1 ¡
119: IIIIH 119: 119:

¡
'
Ek IVM4
2
e: ·4
13
"' e#: IV7 F: y¡7
"' E: ¡M6
5
f#: ivj
"' d: y¡M6
5
A: ---4
1112
11
B. Analyze the following chords. Be sure your symbols indicate chord quality and inver-
sion .
.¡
E: a: G: Ek f: C: f#: d:
( )
Uf-JIVERSIC,¡:,D JP.\'ERifiT\l&
BIBLIOTECA GENERA6 125
1
CARRER/\ 7 Nc. 41-00
1.1 SANT AF[!; DE BOGOT &.
126 Tonal Hannony 1 Student Workbook Chapter 15 127
J!
!1
C. Analyze the chords in the excerpts below. Comment on the voice leading involving .. ¡1 Haydn, Piano Sonata No. 30, I
any of the chords discussed in this chapter. ( ! r
•
After you finish labeling a11 of the chords, complete the three-part reduction of
1. Chopin, Mazurka in a minor, Op. Posth. 1
1 l mm. 86-92 that follows the excerpt. The neighbor figures in 16th notes in
i
1 i mm. 84-91 are NCTs, not the sevenths of chords.
i
~
1
1\ /~ 1 l 1
i 1
,11~~~1 85
• .. • •
.
~
¡
. . 1
1) @) • •p 1 ..~-r • • ~ r ...... •
j 1 1
.
'F-'-.........! @)
~ .. 1 ~
!
i i
1
l!
!
1
'
) 1\ ~ ¡.¡
'--
~
__./
:
,._~.-- --.~ .~ .... ~.. )#111 ~~,._~.
1i
.... .... .... '._¡
r
1 1
1 1 11' r @)
1 1
i [
f#:
i
• 2. Bach, "Herr Jesu Christ, du héichstes Gut" . 1
! 1
1 ~~~¡.¡. • • • 90
Ll
1 ¡
. 1 ._¡
'
1
1 1 1
1\ ' 1
-
1
' ..... (cresc.)
) 1\
.!l:
lJ,
:~1
·•1
'•••• ~
@)
r i lr r i uur i
.1
1
j
~ ¡.¡ ""--
:
~f!.~.~h.
'._¡
• . 1 _ffi#l J-- .¡ ....................-:¡): 11' ft•
.J J J 1
1 . (
~
: 11
)
\
1 ' ¡
1
1 1
r
• 3. Corelli, Concerto Grosso Op. 6, No. 1, Vil
! ;
) 1\ ~ 6 -6- • '• 1
@) 1
1\ ~ ~ 1
@) 1 1 1
. Textura! reduction
1\ ~ ¡.¡ 86J 90
1
1!
- •• • 1':) 1
l ._¡
1 1
j .. 11 1':)
,...- ['.
.. • \
""
1 1 - 1
D: ¡¡¡
)
r Student Workbook Chapter 15 129
¡
) D. Continue this four-part elaboration ofExample 15-19 (p. 238).

(
fl 1 1 1
- 1 1
t @)
i1
¡
1 rr 1 '
l....
1
t
.. (";)
i 1
1
1
f: rnM7 VIM7 y7
i ; E. Notate, introduce, and resolve the specified chords. Approach each chord 7th as a sus-
1
1 l pension, a neighbor, or a passing tone, as specified. Include key signatures and roman
numerals.
l \
1 p 2 S 3 p 4 S
1'1
,
1
...
iCI
oC,
!
t @.)
·~(
!J:
j
..
(J;
:=·
ott(
t
1t: 1 ¡ \
•1
e i l
11
1~ ( ! ¡ F: E: rvM6
5
g: _ _ b:
!: ¡
; ¡ i
¡ i 5 n 6 S 7 p 8 S
1 i ! 1 1'1
i
1 1 1
) @)
1 i
1
)
..
;
i ¡
1
! ! \
1
1
l
1 J f: rnM7 cft: ivj ¡M4
2
D:
¡1
9 S 10 S 11 S 12 n
1 1'1
i1
t @.)
1
;
1
t
\
..
( ) G: 6 rvM4
5 2
6
5
e: 7 Bk 7 ¡M7 7 d: rv6
5
(circle of fifths) (circle offifths) (circle offifths)
i1
;¡
L
1 1
G. Analyze this figured bass and continue the realization, keeping the keyboard texture
F. Analyze the chords called for by the figured bass below. Remember that the figured
bass symbols are part of the music, not part of the harmonic analysis, which should ( J but following conventional partwriting procedures.
be written beneath it. Then continue the four-part realization of that figured bass.
Note: Be sure to review pages 176--177 befare proceeding. (Figures in the fifth meas- Corelli, Concerto Gross, Op. 6 No. 9, "Preludio"
ure added by the authors.)
1, i Largo
• Corelli, Concerto Grosso Op. 6, No. 12, V ! 1\
~
...
11\ . . . . . . ..
@)
. . .
. -· -·
VI. I
~
p
T 1 ~ •..::- ...
.....,...t
..... f
.. . . . . . .
f
o
. . . . . .
¡,:;
. .
1\
...
e 1 1 1
-~
u
e
o
VI. n
r
. r 6 7 7 7 7 6 4 6 7 7
1 I..I..J I..I..J
u @)
p } 2
-
F:
·~CI
Ve.
..
____._
-· -
.111-f/P-
. 1 1
.. r ;
:2:
·~t p
........ ¡,..¡...¡
f • -:¡J. Q.
H. Compase a passage for three voices or instruments containing a sequence of seventh
ñ:IJJ 7 7 7 7 7 7 7 4 3 ' i chords similar to that used in the excerpt of Part F.
...::>·•r
1\ . . . . . . ..
(:
VI. I
@)
. 1 1 ~ 1•.:..,.., +.....,...t
. ..... .
•G p f
'~
u
1)
~~ o
"'
VI. Il
1\ 1
. . . . . . . .
1
.
1
... e ! 1
8"' 1 r I..I..J r
• bll
o
@)
p I..I..J
J [ ¡
. . . • _y
t:
Q)
u
(.)
e
o
VI a
. . . . . . ...
r
1
p 1
f 1 1
D.B
.. . •• . . . . . . . . . 1 1 1 1
..
p f • ~~·
7 7 7 7 7 7
[~ 7 4 3
Realization
1\ 1
. .
1
..
~ 1 1
1 @)
1
f .. J.. .J: ..
..:1
1
1
\ i '
!
¡ 1
i
1
1
' ¡
( !! 1
\
)
1 i
1
1
:
!
1i
\
1
¡_ '
.¡
l. The following is a simple note-against-note contrapunta! framework. Analyze the J. Create a framework similar to Exercise I but in the minor mode. Be sure that it implies
implied harmonies, then elaborate it into a passage containing several seventh chords.
Use four parts ora free keyboard texture. Your final version might be complex, but the
) a good harmonic progression. Then create an elaboration that employs sorne of the
seventh chords discussed in this chapter. If possible, score for a combination of instru-
original framework should be retained. Include roman numerals and NCT analysis. ments in your class.
1\ l
1
1
1 !
1
1
1 1
i 1
' 1
(
1 i
1
i
í
1
l
!
1
!
!
1
\
1
1
¡ 1
!
! 1
!, 1
( ! ¡
i
)
1 1
!
~, .,<; - . .
~
"-,<.,;. ',__,'v')¡
~ ¡
( 1
1
i
1
Part IV Chromaticism
1
¡~.¡
1
1 lj
' 1
SE@iQr)liDARY FUNCTIONS 1
~
i 1
1
•,
'
·'
EXERCISE 16-1
,,., A. Review the material on spelling secondary dominants (p. 248). Then notate these sec-
:2~1 ondary dominants in the specified inversions. Include key signatures.
·~[:
o: ! 1
l
1 2
IJJ
:~>i
1.
! 3 4 5
··~
··~¡ 1
d llfJ= 119:
·~
'~
1
& 11& 11118 11
""li
¡j ( 1
i -) e#: y7¡¡y Ab: y6/V e: V1/VI e: y6¡m F: v 4zn
r
1.1
-~
·~
.
~
6 7 8 9 10
9= 11& 11118 11& 119: 11"

D: y6¡y¡ b: y7¡y A: vg/üi a·
b" V/iv a: v~v
11 12 13 14 15
119=. llfJ= 11&

1
l & 11& 11
1
' 1
Ek vg!Iv f#: v 61vrr C: y7¡ü Bk v~rv G: V1/V
• 1
1 ¡
)
! 1
' 1
! 1
i 1 135
:¡
'i
EXERCISE 16-2
B. Label any chord that rnight be a secondary dorninant according to the steps outlined
on page 248-249. Label all others with an x.
e ) A. Analysis.
1 2 3 4 5 1. Label chords and NCTs. Identify any six-four chords by type. This excerpt contains a set
IIE"~&" qq•ñ llfJ=iuUI

#l 11&~ ua·
of parallel 5ths in a context that Bach must have found acceptable because he used them
11 11& Us llf2=ti 11 so often in this situation. See if you can find them.
• Bach, "Freuet euch, ihr Christen alle" .

f: E: C: e: o·
o•
li
1'
il1
6 7 8 9 10
.1
:¡
"
'1
11
9:&1'1, 9R !!&tia# 1i llfJ=ti# Uofl 11&& q#ofJ 11118"~& "u 11
,,11 E~: f#: D:. F: e:
:1
1'
rl
1
.l.
1 11 12 13 14 15
¡
&ün# 9$
:¡
!:
1[
l:
119:1#
#1 11&& #lL 119:&1, qgo ¡¡&ti fitF 11 f:
IJ 1 1
:~ !
·~·~ A: b: d: Bk G:
2. Label chords and NCTs. Notice that the right hand is in bass clef throughout. Discuss
:ti the sequence implied by mm. 5 to 8. Is the excerpt an example of a period? If so, is it a
¡n·~ parallel period ora contrasting period?
¡;:
l:í
l.t
:::;
e ) • Beetheven, Sonata Op. 13, II
;¡
,..
Ad agiO
. can tab'l
1e
j
1
.. ~~- J J.
- • JJ 1 -~ ~ q~ -J~
•• _q __
t iiiiiiiiliiiiii iiiiiiliiiiiiii
..
P_,.- r-- 1 ..-- ......
t
1 '-. ~ 1 ......
"1
5-
(_ .,
1
1
)
1
1
1
j
4. Labe1 chords and NCTs. Ignore the grace notes in your harmonic and NCT analysis; for
Labe1 the chords with roman numerals. Thinking in terms of chord roots, find
the 1ongest harmonic sequence in this excerpt. ( examp1e, the Eb5 in m. 1 is an upper neighbor ornamented by the appoggiatura grace note.
Comment on Chopin's use ofF# and Fq in this excerpt. Where do they occur? Are they
ever in conflict? The form of the excerpt is a (parallel/contrasting) (period/doub1e period).
Beethoven, Sonata Op. 2, No. 1, I
• Chapín, Mazurka Op. 67, No. 2
~ 146-&
fll-..0..
fl _l _l _l
o
n-r- ~
\ @.)
ff ff sf 1 4 1 ~ __l ~.~ r--

< o
_k_~ " _........

~' o
o
~~ L.:g: t 1= ~ ti= ;t_
i ; '
J
@)
p
• 1
e: ~ ~
1
''\,- ~IIL--IIL 1- 1- 1-
\
! j
o
~o
L
:¡ ----"-
::
1'
!
l.
:!
1 fl _l_t
150
. . 1 . . 1 . . o
o
-,¡
~-
*~· * ~-
*
\~ 1
sf
.
sf ff
, o
~~~
fl 1
5
1' 1 ~~ ~1 l ~1 1
-'--
r r'-- vr r
t
\
o
o
;t_ .;.. ;,.- i_
• ¡,._
'!'
1":\
o
o
'
1 L
o
o
. ~
•
sf,-- .........
-'1
sf~ b_ sf
r
(
\L_-'
- - - -
~- *~· *
·, '
1
11
-,.
IL
1 A __l
10
o
- ~------ ~ ~
~~@)
' 1
r f'- ,_
1
l_
~
e: J
1
~ &- &-
1 ~-=
\
1
il
~·
_\
i¡ ~- ~-
1 4 1 ......--Jí _l ............... ,_~.

* 15. - ~ ~
*
"
\~
~
1
-f ~
J .J
~'
~ ~ 1- ~ { • •
~o
~o
L o
. 1
\
1 .
--¡
~- ~.
* *
1
( )
r
1
140 Tonal Hamwny Student Workbook Chapter 16 141
¡
¡-
5. Label chords and NCTs. What is the form of this excerpt? (Note: Measures 1-2 are /
6. Label the chords with roman numerals. Label NCTs in the solo bassoon part only. The
introductory.)
( 1 note under the fermata in m. 49 represents a V chord. It was at this point that the soloist
1 improvised a cadenza. The conductor waited until he heard the soloist arrive at the G3
• Beethoven, Quartet Op. 135, ID 1 (often trilled), at which point he would signal the orchestra to be ready for their en trance
1
in m. 50.
Lento assai, cantante e tranquillo 1
) fl • Mozart, Bassoon Concerto K. 191, II
1
:1, 1 1
5
1
'1
:¡
•v•·
. . 1
-·~·
~
·~
1
·~+ 1 jfl 1-- 43
p erese.
sotto voce
'-"
Ob.
fl 1 1
. @)
@.)
-:i.:.'-- v/~·"--"-:!-· ~- -~· 4:__...- fl ~~ )
Hn.
1
p erese. inF
@)
- . . . . . -. . . . .... ~~ .... -
p
...... ...--· "--"
--- ~
.. ,.....--
- h 11 r-
...,....
--
cresc.
.. . .
Bsn.
===
..
~~
.. . .. -. . ~
\ 111•
p crescr
'--"'r 1
1 Vl.I
fl l
,-_.
r~~---~:. .. ..:...:. -~
..•
)fl 1 1 1 1
10
1 @.) - liiii- ............_
"""""" 1
!j)¡
l:t:
l.il
:;,,
@.) . - __./
p~
1 7
---=::: p
~ ....__ . ~_./
...
-===
f )
VI. II
fl ~
. -
~
. . ..
,.,:z: ---=::: p
• ,_._ ....
,...~
fl 1 1
@) +_) ~
-:¡¡_.
l . ...
q-:i.~T· ~1-,f.
@.) -:J:_+-,f ~ ;i· ·..._.+·~·
1
~
VI a.
'.._/ ........_/ ~ p "--"
-=:::p ---=::: p -=== _.......
C:::!:::::i:::: ~·
;::;::::::;::::
~·, _.,·~·· q+..__/

. ~
. . Ve.
.. 1 l
p~ D.B.
---=::: p ---=::: p
.. r--=
. ... . .
111• ~
-=:::p ~- -*" -:i.· [1-,f .. ~
-==:p
p
'¡
·¡
1
1
1; )
¡·:
¡·
'·
i !
B. For each of the following problems, first analyze the given chord. Next, find a smooth
Jll 45
Ob. ( i 1
) way to lead into the chord. Although there are many possibilities, it will often work to
use a chord whose root is a P5 above the root of the secondary dominant. Experiment
~ with other relationships also. Then reso1ve each chord properly, taking special care
with the 1eading tone and 7th resolutions. Analyze a11 chords.
Hn.
inF J i
@)_ 1 2 3 4 5
.. _,_ 1 LÚ~
. r~~.- _¡,._¡¡-:¡!: 11 1 J 1 J.l. J.l. li 1
¡·
¡;!
.,11
il
1
Bsn.
11 ~
- 3~
.
. ~~ ¡ 1
1 .._¡
'
)
.. hJ_
1 1 1
4 j f "ir
j
--
VI. I 11 1
!.
¡¡¡ 1
il
'1
11
~ 1 l 1 1
1¡
1' Vl.II
il g: _ _ _ _ _ _ C: _ _ _ _ _ _ G: _ _ _ _ o/~!o/ E: Ak
·¡·¡
1'!
lli
11'
._¡ •••• '1 ·-,;-+•
L :...___./
:ji ~
1-1
i1 ~ 6 7 8 9 10
¡:: V la.
w
::
~t
.. l ¡¡;;;;;;;¡:=; - . •
1 11 J.l. 1 1 1 1 ~ 1
j;'
JJ i
~> 1
Ve.
D.B.
1 .._¡
1 1 qr 1
_J
•( ~ )
~~ hj j
·1¡ó
•(j
1 .. 1
'~ j
l~l Jll J ,...,.;;;. --- 17\
50
~= f
1 1
I.L
:::.1
2!
Ob.
._¡
. f i
D: Bk e: a:
:o-' f 1
17\
f
~¡
1!1 Hn.
11 •
ll inF C. List below each note the secondary V and V7 chords that could harmonize that note.
1'
11 ._¡ -e-
11
1
=i f You might find it helpful to refer to the charts on page 247.
fl<~.... f
1
1
i Bsn.
.. b~,.-.... • 17\
. 1 2 3 4 5
-
¡,11
1'
11
1
VJ.I
11 1""'1""'1 '· .. ~ ............
.. .. 117\
~' .
&
f#:
11
e:
•• 11
D:
n.. 11
A:
¡Ju 11
Ek
&o 11
i ._¡
1
¡e::::::::;¡¡ f ..... 1
1
1'
1
11 f 17\ _, 6 7 8 9 10
i
.
&
VI. II
1 ,,,¡
o •• ••
@) \..!"~~~'- .. ..... o &o
~
f
1
~~~
17\ ? 1'
·'
! ·,
b:
11
Bk
11
d:
11
F:
11
Ak
11
,..... 1 :i
V! a. '
··.¡
;:::::¡;;:¡ ;:::::;:::::;:: ...... -,r 1 1
f
Ve.
.. .- * 1 l _117\ f 1
D.B.
1 ( 1:
1 )
f f i:
! 1
D. Provide roman numerals to show how the first note could be harmonized as a second- ! ,·
F. Harmonize each chorale phrase for SATB chorus. Include one or more secondary
ary dominant. The second note should be harmonized by the tonicized chord. ( dominants in each phrase and activate the texture with sorne NCTs.
,V, e 11
2
ll& •• •• ¡¡#u
3
11 e
4
ll&''"~ 11 e
5
¡¡üntiu 11 11
11
1
1
)
1
1\
@.)
1 1 1 1 r1 j J 1 1
"¡
.
2
•
17\
..
1 ..
a·
o· F: b: f: E:
\
6 7 8 9 10
¡¡üu#
'V\
e:
e e 11
C:
e u
11 &" ••
Bk
e 11#
e:
11 e
A:
e e
11
¡
'
Ek
3
d:
J .1
. .1
1 1\ 1 1 1 1 1 1 1 1 1 1 1 1 1 1
.
E. Analyze the chords specified by each figured bass, then make an arrangement for ~ @.)
SATB chorus. Strive for smooth voice leading, even if this results in a dull soprano
line.
t
..
1
1\ 1 1
\ 1
~ @.)
C:
1 (
1
.. j L 4
t fl 1 1 1 1 1 1 1 1
• 1
i
¡;
1
~
.
:¡ 4 6 7 6 6 @.)
2 5
l! 1
il
li
i
;
1
1
t
..
¡ 1
1! 2
1
" ' 11 ,¡,¡. H 1
1
i d g:
~ @.)
1
1 1 1
J 1
~ .. 1! -
r
\
1 1 1 1 1 1 1
1 r
'6.
4
3
4+
2
6 7 #
(
l '1 -)
., 1
G. Analyze the harmonies implied by the following soprano/bass framework. Then make 1
i H. Continue the example below to make a total of at least eight measures. Include one or
a more interesting version for piano, beginning with the two measures given below. ( 1 more secondary dorninants and end with a PAC. Then score it for four instruments
found in your class. Analyze a11 chords and NCTs.
~-
1 11 1 . . f':)o
. fL• -(Ir"
. f
1 11
1 @)
~
r
1
1
~ r'-~
@) 1
) 1
j .. .
1
. . . 1
. . ~ r
-. '
\
1 1--.L ) 1 )
ft c.;. 1 1
1 t- ('- 1 ('-
1 11 1 > - 1
.~
t i.J Gi j9-. ••
' ..
)
j
\
p
J
. 1 1 J
. 1 .~
"-.]./ J
~.
- 1
~.
r 1
( )
1 !
' 1
' '
1 1
''1li.
¡!
¡¡ \.
,!:
(
11
!'
! 1
.i
148 Tonal Hannony 1
¡
1
I. Finish the analysis of the phrase below. This phrase is to serve as the a phrase of a
longer theme you will compase. The theme will be in the form of a parallel double ( 1
1
1
period. Include at least one secondary dominant.
-~'fhap }
SE~
1 i
¡--------a ¡¡--b ¡-a
IAC HC IAC PAC
ARY FUNCTIONS 2
( 1\" H
@)
.
1
r· r·
r--r-1 1
.
r·
-- ....
__
""""l ¡_._h
.
1- f._
1.-J.--1
1
i 1
.
1 1
-
p EXERCISE 17-1
1
~ .. rl o.l!
_,.--......
.- ~ ...,... 1 1
1
A. Review how to spell secondary leading-tone chords (pp. 264--265). Then notate these
\
r 1 1 secondary leading-tone chords in the specified inversion. Include key signatures.
1
A: ¡· ¡
1 2 3 4 5
( )
&
A: y¡¡o6¡¡¡¡
11118
F: y¡¡o6¡¡¡
11&
e: y¡¡o6/VI
llfJ=
E: y¡¡o~/N
11&
Ak y¡¡o7/N
11
6 7 8 9 10
9= 11& 119: 11& 119: 11

d: y¡¡o~/V G: y¡¡o7/vi Bk y¡¡o6/vi a•
o·
y¡¡o7¡vrr F: y¡¡o7¡¡¡
. iJ
·: 11 12 13 14 15
1
1
'
i
1
1
&
C: vii1tv
119:
e: y¡¡o6¡¡y
11&
Ek viiÍIV
11118
f#: y¡¡o7¡m
11&
D: y¡¡o6/V
11
1
!
1
1
i
i
!
·¡
¡
( )
1
149
1
¡
'
1
150 Tonal Harmony Studellt Workbook Chapter 17 151
B. Labe1 any chord that would be a secondary 1eading-tone chord according to the steps EXERCISE 17-2
outlined on page 265. Label all others with an x. ( )
A. Analysis.
1 2 3 4 5 1. In the brilliant and witty concluding passage below, Mozart combines the antecedent
b~1t
,~. ~qo¡:¡
llfJ=~ ll$üft# Ug 11:J=v' §a· IIIIRu ~jj 11
and consequent phrases from the beginning of the minuet (marked a and b in mm.
55-58).
a. Mark all occurrences of a and b.
e: G: A: Bb: e:
b. Find where the b phrase is used in imitation.
c. Find inverted (upside down) statements of a and b.
6 7 8 9 10 d. Find a place where original and inverted statements of b occur simultaneously.
i
i
1[
1
:;: ,,l[j 11$~ ijl llfJ=IH#i
xnH 11$ft qg 11118"~&1'
~q- 11
•
e. Put roman numerals in the blanks provided. NCTs are in parentheses.
Mozart, String Quartet K. 464, II

11
,,
1,
li C: d: E: Ek Ak
¡¡_,
!l
!'
r
' 11 12 13 14 15
)I\~~55J
- -- a
- ~ ~~~ 60~ f~o~11-

~ 1
"R II:J=~#u qbR

'~
1
11$ ti# qÜ 119: lzjj 11$ ti¡¡D. iü 11 1\ ~ ~

p
b
f
~~ ~
F: f#: D: C: e#: @.) ~-tf-tf <-*j_-.f~ (:i) ~ ~ ~- ~ l•¿+o~:i

p-....._...., -....._...... f
( )
11 ~
o
-
o o o n--.. ~~~~
p f
~- :b~)'.
oo
11
1 .:...;
¡6
p f
A:
1 2 3 4 5
!
1
! J
)
( -~
¡
!
1
1
1
2. Label the chords with roman numerals (the Italian augmented sixth chord in m. 4 will be
,)1\~f± ~f:f: ~ ~~-~~ qi:~i: ~t 65
. . .
~
-. ( discussed in Chapter 23). Use your imagination and your ear in analyzing the last chord
in m. 2.
.._¡ 1 1 1 1
p • Schumann, "Die Lowenbraut," Op. 31, No. 1
c~T'.. h.- .. . . . .
1\ ~ f± ~ 1
. . .
1 1 1
. 1\ 1
Langsarn p
.._¡ L.......= 1
p"--"" .._¡ ,., ,.,
ll ~ ~- (~)'. . .. . . . .
~
. Mitder
1 fl 1 ~~ ritard.
.. ll /- ......
rb•" 1~;_ ;_ ;_ ~;_ 1
)
._¡
#~~ i:~ ~
ru ¡q~~
p
) p pp
..
1
¡oo.-
¡6 i 1
4
6 7 8 9 ' 1
1
\
=~
=t=i~ :::¡b;:; =6 --
"U
~ ~ ~ :::ill~:¡:::c:;;=-------::ill
=6 ...._,..,.=6 :=i := :=~=
·::¡ ... ~=6
..
-
1
,r
1/j~f±
- .....--~ ... --.. . .- 1
..
1
1
1\ 1 1
.
5
.
._¡ • r
- r r
11 1
._¡ 1 1 1 1 1 -...:::::1 1 ~ 1
1 r
- 1 Myr - the ge-schmückt und dem Braut - ge-schmeid, des Wiir - ters Toch - ter, die ro - si-ge Maid, tritt
IJ ~ f± ( )
..
1 1 1 -
1\ 1
,
1
....__......
---~----
~
._¡
#~~~ c#::il--7. C-#) • 1
t ,.,
......___,- 1 .._¡ -1
~==
r~::: q-t ~ rl-J •
ll ~
,....--..._
L. • • • ,¡, --.. .LL •
~
• • .. ..
1
1
1
)
..
p
r"\
\
1 1 1 1 r r 11 11 V
.,_.. 1
..
J¡+6
IL
.
.......
1 1 1
.. .~
.. 1
'\ .!.
.......___,-
.. 1 1 1 1 ' 1
1
l 1\ 1 --¡ ritard.
1
p
1 .._¡ --~.
1 TI
1
10 11 12 13 14 15 ein in dem Zwin - ger des Lo - wen; er liegt der Her - rin zu Füs-sen, vor der er sich schmiegt.
! ritard.
1
1 1 1 1\ 1 ~~
1
.
1
~ \
~
._¡ • !
,.,
'r> TI • •
~
j:l:-tl ~-ill
~TI ¡2......-....,_
1
')
1
~ .. '
\
( ;
:1
i
i
l
11 11 11 11 11 1
i 1
!
1
:~ ¡
3. Labe1 chords and NCTs. (An optional piano accompaniment is omitted from the exam- 4. Analyze chords and NCTs. Find two circle-of-fifths progressions that contain more than
ple.) What is the form of this excerpt? (
..
1
'
'
1 four chords. What is the form of this excerpt?
• Brahms, "Und gehst du über den Kirchhof," Op. 44 • Tchaikovsky, "Morning Prayer," Op. 39, No. 1
Lento
1 1\ .1! 1 1
.. 1 1 1 1 1
.
5 1 1 1
-
.
lei se flü stem die Win de, es
\ @.)
p
.._.. - ftGo•
~
===-
q-¡
===-
r· r -==::::
. ~
====- 1 .. ..
11!... IL• IL .. 2.. 1 1 1 1
-=::::
\
1 1 trí 1 ~r
rr 1
-=:::: ====-
~
lei se de, es
1 1\ ~ ............. .
N 1
.
1 1
..
1 lO 1 1
.. l 1
1
~.
j t
:l
-=::::: @.)
T T 1~1 1
1
.
lii.
(' mf p
<
ti
l( 1 J~1 .._ ~~
} 1 .. .
iL
.
IL• ¡IL ~ -f'- "fl- •
~~ \
r: J
Ll - 1
)~
2:
:l¡:
i >
1
,,...... >
i J~,
1 1\ .1!
.. . I----. 1 1 15 ~
. 1
\ @.)
f
1
''
''
''
''
1 1 1 1
r V /r
) r-~ ;
1 .. ~-· IL.- ll"- L 11!... ¡IL b-· 1
\
~
- 1
'----i. .r .r .r
11
f1
f1
~
1
1'
( )
156 Tonal Hannony Student Wo.rkbook Chapter 17 157
.¡
i
5. This short song is given here in its entirety. Analyze the chords and NCTs. There are B. For each of these problems, first analyze and resol ve the given chord, being especial! y
careful with the chord 7th and the leading tone. Then find a smooth way to lead into
sorne places where altemative anaiyses are possible-in m. 1, for example, where the
line G#-F#-E could be analyzed as chord tones or as passing tones. Think of two analy-
( the given chord. Analyze all chords.
ses for the second chord in m. 11, one of them being a secondary function.
1 2 3 4 5
• Schumann, "Aus meinen Thranen spriessen," Op. 48, No. 2 1 1\ 1 jJ. 1 ~ l± 1 1 1 1 1
fl ~ l±
Nicht schnell
p r':\ 5
\~ b)
1 1 '1 1 1
_J
~J !,~
1 1
o o
o
- 1L
bl
~ r r r r r r r r r" r r r r r r r r ¡i f o
Aus mei - nen Thrii-nen spries-sen vi el blü-hen-de Blu-men her - vor, und mei - ne Seuf-zer 1 1 1
r':\~ C: D: A: Ek
1 1\ ~ ~
Bk
o
~
o o
r--::1 o
~
o o
o o
o o
~
J
~ V >.._.. ••
> ...
\....
pp
•• ~ V 1 1
i
1
1
.
'
¡ 6 7 8 9 10
1\ ~ ~
~~~
p 1 1
~~
1 1 1 1 1 1
:¡
t \
fl ~ l±
..;
l
-.. ::i'
:
~ l
.
i i t ~
~-r 1 r 1
1
~·
o '":'
~
-.,¡¡¡¡¡¡
~
-.:¡-
~ o
• 1L
j b) 1 1 tiJ 4
t o
o
1\ ~ ~ 1 r':\ LO l j
1 1
1
!1
o o 1
o
( i1 E: e: f: g: F:
@.)
wer-den
r
ein N ach - ti- gal - len - chor.
r r r r- r- r r
Und wenn du mich lieb hast, Kind - chen,
1 1
schenk'ich dir die Blu-men

r r' 1
; i
1
)
r':\ 1 i
1 1\ ~ ~ ~ ~ 1 L. i C. Analyze the harmonies specified by each figured bass and make an arrangement for
o
... o
--
i SATB chorus. Try to use smooth voice leading, even at the expense of an interesting
.
o o
- _,·
\ ~ >'-- •• ~ ~ ..._
--r
- :t• soprano Iine.
---
> '
pp p
1
6""'J ~JJt 1 fl ~ ~
~~- -':t ~#~ ..,..._ 1
;. ;,_
1 \
fl~l±
~
:
~ ~.:...
\) ~ -,
• ::i' """""iil
\!Y J-
~
1L
o
o
ritard
1\~~ 3 15
1 r':\ \ o
1 1 1 1 1
o o o 1 1
o 1
7 6 4 6 7
~
r r r r 1 4 2
all', und vor dei - nem Fen-ster sol! klin - gen das Lied der N aeh - ti - gall.
r':\
1 fl ~ l± k == --= o
o
---::
o
o
-L.
~
o
o
ritard.
--=!
o
o
\
<
~ 11' o "--- "1
pp
o . o
o
-
o
o
up ••
> ~
pp
-.v-.. \ ~
~J ........
t \
o
o
11 ~ 4 . . o o
1
J---h ~
""""l
~ !:---~·
o -.;¡¡;-
-
)
~-
* ¡!
l i
'
.i
2 E. Each item be1ow contains two versions of the same excerpt, one of them in a simple
1 1\ 1
( ) texture and one more elaborate. Continue the simple texture first, including sorne
aspect of harrnony discussed in this chapter. Then continue the elaboration, using your
t ._¡ simple version as a framework. Label chords and NCTs .
1 1
J 1a.
'
t
\
.. -
1 1\
1 1 1
4+ 6 4 6 6
1
6 i 1 ', ._¡ 11
~~g~J::i~~$:::~~~~~~~~~~
2 2 4 ¡
D. Harrnonize each of these chorale phrases for SATB chorus. lnclude at least one sec-
ondary leading-tone chord or incorporate sorne other aspect discussed in this chapter
in each harrnonization. 1 1
1 '
1
1\ 1 1 1
f.\
2
1 1 1 1 1 1 1
.
1 1b.
t ._¡ 1 '
~ i i
t ..
;
1 i
i
1
F: a: 1
\
)
3
1\ 1 1 1
,
l 1
t ._¡ •
' ..
t
\
F:
1 t
!
\
1
¡!
1 j
( )
¡
-
i
2a. F. Compose a setting of the following poem for chorus (three, four, or five parts) or for
1\
1
1 1
( ) 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 har-
1 ._¡ i (
monic effects at appropriate places in the text. (Use either or both stanzas.)
) 1 1
A bird carne down the walk;
) J. _d_. He did not know I saw;
1 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
2b.
,)1\
Adagio
-. - .- . To let a beetle pass.

VI. I
._¡
1\
- 1 l 1
- ~....=.....~ 1
1 !
-From "A bird carne down the walk" by Emily Dickinson
Reprinted by permission of the publishers and the Trustees of Amherst College from THE
POEMS OF EMITX DICKINSON, Thomas H. Johnson, ed., Cambridge, MA: The Belknap Press
VI. II
._¡
. .. . . .. . of Harvard University Press, Copyright© 1951, 1955, 1979, 1983 by the President and Fellows of
Harvard College.
.
~~
1~ VI a.
. . . . . . . .
·~ 1 r 1 r 1 r 1 r
1
.. . . . . . . . .
!] Ve.
i' \
;
,)1\
._¡
1\
._¡
' 1
( i!
~
)
1 l
1 ¡
L
162 Tonal Ha77nony
' 1
' ¡
TIONS USING
NIC COMMON CHORDS
EXERCISE 18-1
1~
1~
A. N ame the relative key in each case.
t
1. G~ 6. d
;~ 2. A 7. F#
t
·.~ ( )
3. e 8. e#
1·
',1
4. g --- 9. A!,
., 5. C# 10. a~
B. N ame ail the keys closely related to the given key. Be sure to use uppercase for major,
lowercase for minor.
1. b
2. e~
3. G
4. B
5. F
6. f#
c. Name the relationship in each case (enharmonically equivalent, parallel, relative and
closely related, closely related, foreign).
1. D/e 6. Ah/d
2. e~/G 7. C#ID~
3. Ala 8. g#lc# .
4. d#IG 9. a~/b~
5. :8~/F 10. eJE!,

( ,,,/
'i
)
163
164 Tonal Hannony
.¡'
,l
1
1
EXERCISE 18-2 1 3. This example, also a complete chorale, is in g minor, although it ends with a major triad
( 1 ) (the "Picardy third"). Label chords, but not the NCTs. Notice how often the melody fol-
A. Analysis. ! 1 lows an arch contour (inverted in the second phrase). Bracket those arch contours in the
1 melody. If you find any similar contours in the bass, bracket them also.
1. This excerpt modulates from Bb to F, its dominant. Label the chords, being sure to show
two roman numerals for the cornmon chord. The blank:s beneath the music show where 1
• Bach, "Jesu, der du meine Seele"
the bass changes, but not where the cornmon chord occurs. NCTs in mm. 1 and 8 (on1y) !
have been identified for you. !
• Szymanowska, Nocturne 1
111
Moderato
. . la•) . . . __¡_
! 1
. . 1
.,. .
@.) !
:
~ .. ~ .. ~. ~ ~ ¡11. .,. !
'
¡
~ ¡,..,;...-
C::..W itC::.. w 1
Bk
1
1 1
l 1
1~
1;1
i2
¡1 :~
(~
:l
n
.: '· 11. 11.
11.
) ~
'f
~ ;
't<i'
- o
~ í !
2. Label chords and NCTs in this chorale, which is presented in its entirety. Which two
phrases are very similar melodically? What portian of these phrases is harmonized sirni-
larly? What chord is emphasized in the first half of the second of these two phrases?
1 ¡
• Bach, "Uns ist ein Kindlein heut' geborn" l __j
1':\ i ~
1
1 1
1 1
1 1
1 1
\ 1
1
( 1
)
1
\;) ' 1
!
l
!
j
1
-
1
1
4. Label the chords with roman numerals. How do the pickup notes at the beginning of the 6. Listen to this song all the way through. Then list every tonality that is touched on in the
excerpt help smooth the return to the first key when the repeat is taken? ( 1 ) song, either by simple tonicization or by modulation. Which (other than tonic) is
1 referred to again at the end of the song? Decide on one or two tonalities (other than
• Mozart, Sonata K. 330, II 1 tonic) that represent modulations rather than tonicizations. Then label all chords with
roman numerals.
. . . ,.----- r-i=~
1
..
pooo.., ~
11
..
--21
1
.
1
• Schumann, "Wenn ich in deine Augen seh' ," Op. 48, No. 4
1 ._y
-i!·~'-~
..... . . . 1-,::: j:¡.
. L 1 1
1
J 1 Langsarn
pp"--" ~ p
J
1
.. .. ~ ::;:::Fl 1 ~~~
. . .
1
--
1
\
i .._, r r r
• • q+ i
1' 1' 1' 1' ¡.." ¡.." 1
P.P 1
Wenn ich in dei - ne Au - gen seh', so schwin-det al!' mein Leid und Weh; do eh
1
1 ~~~
.. .. --¡;;;¡ 1...
1
1
t ._y e:;;. _ ..... ...
.. •• •
,._ ,._ =-
,._,._ ---===
p
1
1 .. rr-. 1-:
• • ...-...-...-..-...-
! t
i
1 ¡ 1'
i
5. Label the chords with roman numerals. '
1
! 11 ¡.,_.
- .. ~ ~- .
~ 5 ....._,_
• Fanny Mendelssohn Hensel, "Das Meer ergHi.ntze weit hinaus." ~-
1
) . 1
1 ._y r r r r r r 1
~~~ 14
. - . 15
-----
. - wenn ich küs - se dei - nen Mund, so werd' ich ganz und gar ge - sund. Wenn
.._,
~~~
-
wir_ sas
- - sen am
...,..,.,
1.
em -
.........sa-men
I"""Ti
Fi
-----
..
- scher - haus,
1
..
--
wir_
r- ,
t .._,
~~~ ...--..... 1 ¡, ..
.
•• ¡,
..
1
. ~ .J,-_J
...
·¡ ;;
.. . = f
~ 1 1
1 .._,
- -- bS
. ~J~.J
~:::¡ il~lll ~
.
J ~,-......-
......,....., .. ...-: e-'"'• ~ ~·
.. ~ . . ~-· ~ . t
t
.... .... .... .... 1 --- 1 IIJ!) ...............
~~~
. - ._,
.
20
1
!
¡
.._, .......- • -
. ... 1
--
1 1
sas - sen_ stumm und al - lei - ne.
'¡
~~~
. .
~
. . :\ 1
' .._, .
....._....
-, ..
. .... ~ ••
.. •
.
....._....
,.......
••
. .,_.
'i
: J
t
.. ,........ ~ _,~_. 1
--
'1
• • • 1.-
( 1 )
1 1
© MCMXCV by Alfred Publishing Ca., Inc. Used by pennission of the Publisher. 1
1
1 ¡
-¡
1 7. This excerpt begins in Al. and ends in g rninor, modulating through yet another key in
.
10
_flJ.t
. 1
. l
1 the process. Label all chords, and label the NCTs in the vocal part. The German aug-
.._¡ r Y' r
ich mi eh lehn' an dei - ne Brust,
1
kommt's
r
ü - ber mich wie Him - mels - lust;
- doch wenn du
1
1
1
•
mented sixth chord in m. 49 will be discussed in a later chapter.
Mozart, Marriage of Figaro, K. 492, "Voi che sapete"
Jr-J
•. .
~
1\ ~ p.:•
.. fll-•
.. (2-""
.. ~·. .. •- 1
1 1\ 1 41 ----.. ~
-- 1 l 1
~
-
15. _h
1 (fll"\
._,
V
@.) l.......= ~
1 r ..........- liíiiool
i 1\J.l ~
1 E in_ un mo - men - to _ _ tor - no a ge - lar.
i
t . . .. ...-·....
1
,.,..
.._¡ 11c:;; • _""ii • ::¡ :¡
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11 c.. • o
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o o
1
1 ~
15.
1\
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1
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t ·~
ve;.. ....
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1 ""jJ o ..... V • ..:_,- o
1\J.l
ritard-,
. 1 ..1 15 1
. 1
1
1
l .
J
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o
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o~ r""""""]j_J M'T~
o o
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o
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o
o
.:.
-
1
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o o o o o
.._¡ r
-
o
1
r 1 ~ o o o
o ~
~
1
sprichst: Ich lie - be dich, so muss ich wei-nen bit
lr11 "11 ~ ~
- ter - lich.
1\ J.t JL~¡_¡.,_~
ritard.
ILI'.-
. ~
. . l _h h
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1 1
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1
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p ~
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@.) 1
Ri -
r
cer-co un
r
be -
1
ne fu o - ri
1
di me,
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._-i- -i-~ -~=-=
1\Jt ~ -
1
1
. o o o o o
1 _{j_ 1 ~ ·-~· ~ j
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)
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@.) ~ e::::::::- ~
1\ ~ 20 'J -----------
~
.. L.
L
@.) \1- ~
rit.
1 _ftJ.l l~k ritard.
. . .. . .
\ .._¡ r. • 1"!"' "!"' "!"' "!"' "!"'
r·:rr r r r, vr· l
1\ 1 50
1
~f
15.
~ 1
~
~
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~
1
1
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e.,
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1
L-
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..... Non so chi il ti e - ne, non so cos'
l . ----- i\ r---1
o o o o o
.
1
~
o 1
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\
. ... . 1 ~ fiL#~
r- ~-~ -&- -51t
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1 _(1 1 1-- 1--
1
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o
o
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o ..:. o
o
•
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- - Ger+6
- ¡¡¡¡¡¡..--
- r
- 1 '-
8. Label the chords with roman numerals. In an Alberti bass accompaniment, such as the B. Fill in the name of the new key on the second line of each exercise.
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#.
(
1. e: iio6 v4 i6
2
• Beethoven, Sonata Op. 10, No. 3, II
i6 v4 i6 iio6 v7
2
11 9 ..,.
~lO
.----:- ~------. .. - ....--...... . /""""
• .!. l
.., .
~ @) • 1'f -=E=es ¡;¡¡¡;¡.-
1'f
1 2. D: 1 V ¡6 vüo6J
) ,...- ,.,..... ~
Üo6 ·6 V
~
.. - ~ .1
/- '4
L--...y------..
V
\
- 3. F: vüo6 ¡6 vi
1 11 .--:- ~ .. - ~..~ ....___ .~ .. . n . J..

. .
...¡
.r-Fi
-
.. ii vüo6. vg
~ @)
rf - -
1 1
1 1
4. g: v6
5 iv6 V i6
y:----..... I~J~ 1~1! 1~

l -:1"1.J J ..J ~ iio6 v7
.... ~~
\
.. ~l
.
- - ( ' 1 ) 5. b: ··..4
n2 v6
5 VI iv6
1
11 15 =9 ql:::!r
._ ~f-
~
.Pr: r~ ~~ ... . . . ,......-......_
.
1 1 ii6 ¡6
4
v7
L--...y------..
V
.
\ @.)
cresc.
f
r -r-qr
p
~ --- 6. Ek é V vi
'
··..6 V
,... iv ll5 V VI iv
, .. 1 1 1 T -1 -1 1 1
\
r ftr
.
~ T 11
1 1 1
7. A: v4 ¡6 v6
3
1
rv6 v6 ··..6 ·6 v7
5 ll5 '4
L--...y------..
V
i
1
¡: 8. e: v7 VI iv
11
!
vi rv6 (IÍ) ··6 V
1' n5
1
11
'1
]\
-!
"!1
¡,
i
( )
11 1 1
¡:
1
C. List the diatonic triads that could serve as common chords between each pair of keys. E. Harmonize the following chorale tunes for SATB chorus.
In minor keys, assume the usual chord qualities: i, Ü 0 , III, iv, V, VI, vii 0 •
( ) 1. In the first phrase, modulate from i to III. The second phrase should retum to i.
ex. First key, C: I 111 V vi
Triads: e e G a
i '
1
1\ ¡,¡ 1 1 ,...., ~ 1 1 1"""'"'1 • 1 1 ,...., ~ 1 1 1
.
Second key, G: IV VI I ii
1. First key, E:
1
~ @.)
Triads:
Second key, f#:
1
1
1
'
)
1
..
2. First key, D~: \
1
Triads:
1
Second key, Gk
1 2. Modulate from I to vi in phrase l. Retum to I in phrase 2.
3. First key, e:
Triads:
1
1 ll 1 . 1 1 1 .
Second key, B k 1
1
!
1 @.) •
.
4. First key, f: )
1
Triads: )
Second key, Ak
1 1
1
..
\
5. First key, B:
Triads:
Second key, F#:
1 F. Analyze the chords specified by this figured bass and then make an arrangement for
6. First key, A!.: SATB chorus.
Triads: ( 1 i
1
Second key, B k 1 1 ll
1
D. Choose two of the progressions from Part B. Arrange one for SATB chorus and the
otlier for SAB chorus. Activate the texture with NCTs andlor arpeggiations. Arrange
the metric and rhythmic structure so that the last chord comes on a strong beat. Label
1
¡
\ @.)
.. -
1
chords and NCTs.

~
1
1
1 .
r¡ r
1 1 1 1
1 1
! 6 6 6 6
1 5 4
1
¡
1
1
1 !
1
1 i
1\ 1
1\
( 1
1'
-)
,_. t
¡ ¡
G. Continue this soprano/bass frarnework, analyzing the implied harmonies. Phrase 1 Compase a double period for sorne solo instrument with piano accompaniment. As the
) H.
(mm. 1-4) should end with a HC in f. Phrase 2 (mm. 5-8) should end with a PAC in diagrarn indicates, the first phrase stays in A, whereas the second tonicizes (or modu-
Al>. The resulting form is a modulating period. Then arrange for sorne combination of lates to) E. Phrase 3 retums briefly toA but tums quickly to D. The fourth phrase
instruments in your class, filling in as many inner parts as needed. Elaborate your final retums to A for the final cadence.
version with NCTs and arpeggiations.
~ ~
J
,&\~ ¡ ;)1
k
1 ¡ 9 - 1 2 - ¡ ¡B-16~
f:
r y¡¡o6 ¡6
i ,'
¡------1-4- ¡------5-8---¡
A: A:IAC E: PACA: D:IAC A:PAC

1 1
1
Or, in the larger view:
,&\~
I: (I) V (IV) I
l
The beginning of phrase 1 is given below. Compase the soprano/bass frarnework first.
1 Andante con moto

- .
·~
j i fl ~ ~ ~ ~
·~
,1
( )
1
@.)
.. ll
p
.....
~~~~
--- sf
~ ~
' p
- - - -
f .. 11
. .
- - - .....
::¡· ::¡ ......
! i
¡
!
"!!
11
1
! -i
( 1
)
1- .¡,
I. Using a text of your own choosing, compose a passage for chorus (three or four
¡ i
) parts). If in major, it should have a tonal scheme of I-vi-I-ü-I. If in minor, use
i-VI-i-iv-i.
i 1
..
•i!!
i~ ' 1
~ ' '
1
.·~ 1
1 i
-
:~
i¡\
( ¡ ¡
)
:1
l\
( )
( 1 '
THER
: i
LATORY TECHNIQUES
~
¡ :
1 1
EXERCISE 19-1
..
A. Analysis. (Note: Sorne of the modulations below might be of the diatonic common-
1 chord type.)
1. a. What three keys are implied in this excerpt?
' b. How would you explain the modulations?

o ( ) 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
fp
~J40 -J
1\ .. ...
fP~------~------~--~
Textura! reduction
35 40 -
e J
179
1
2. There are two modulations in this excerpt. Label chords and NCTs. At what point does 4. Two distantly related keys are found in this passage. Label chords and NCTs.
Bach not follow the conventions of spacing discussed on pages 60--61? What is achieved
·
) • Schubert, "Auf dem Flusse," Op. 89, No. 7
by the spacing he uses? Where is there a sonority used in an unusual bass position? How
is the reason for this bass position related to the question about the spacing?
fl ¡,¡ 14 l 15 sehr
• Bach, "Warum betrübst du dich"

. . . . .
l
@.) ..... /
b:Sr -,fl 1 r
Mit bar - ter, star - rer Rin - de hast du dich ü - ber - deckt, liegst
1 fl ¡,¡
1
1
@.)
ft1·1
"'--"' pp
-i il -¡ ft-t -¡ ií . ft-J
J
.. ., .,
1
.. r --,
1e¡se
.
fl ~ l
. l 1 1 1 20~ ~ r,._ l
i @.)
.
-
•
"""" #:¡ ft•
1
.p
! .~
3. What two keys are found in this excerpt? How are they related? What is the best way to )
1-
fl¡,¡
kalt und un - be - weg - lich im San - de_ aus - ge - streckt.
: ·~
k
describe the modulation? Label the chords with roman numerals.
1
@.)
#ft::: ::: #R:: ~ ft-t #== X#1T =:¡: #fti
• Hüllmandel, "Un Poco Adagio" ppp
J
1
..
íl TI tr '[i
#TI
fl 1 -
1
.,......., 1 l 1
-..
~
1
@.)
r p L. ~_¡ v• ..... v•::i• ,..._.
p
• ( )
l
.. sempre legato erese.
.1
177 r 7 r
1
1. ·1
5. This excerpt modulates from F major to what other key? Of excerpts 1 through 4, which B. Analyze the harmonies implied by this sopranolbass framework. Add an alto part to
modulation most closely resembles this one? In what ways? (The chords in mm. 35-36 create a three-part texture. Embellish the texture with a few NCTs, including a 4-3
are labeled for you because sorne of them involve concepts discussed in later chapters.) suspension. Identify the modulatory technique used.
• Mozart, Marriage of Figaro, K. 492, "Voi che sapete" 1 1\ 1 1 1 1 1 1 1 1
30
l
1\ 1 29 i ...--...... 1 ) @.) íl 1 1
.._¡
Sen
1
-
r
to un af - fet -.
r
to pi en de
r
de - sir, _ _
- J
1
\
..
1
1
1 1
1
h.
'-~
1 1
1 1\ 1 -~ ~ ~ ~ ~ .-..o!!! !".!!!::~
1 ... . .. '1 • .. .. . . . ~
C. Analyze the implied harmonies and then add alto and tenor parts. Enliven the texture
) .._¡ -i! ~· "-.._/ with NCTs and/or arpeggiations. Identify the modulatory technique used.
.
. . .;. .. 1":\
) J
1 .. """'"""-
. .. 1 1\ 1 1 1 1 1 1 1 1 1 1 1 1
.
1
- - \
1 ..
@.)
.
-
.- - .
1\ 1 -L r:.. -~
35
1
\
1
.
1 1 1 1
¡¡¡¡¡;¡
@.) 1
- r 1
Ch'o - rae_ di - Jet - to, ch'o - rae mar - tir.
/'"""\
)
1\ 1 ~ ~ ~ ~ ~~~~
... . .. . ..
'
1
1
@.)
..
'1 • •
-i!'
. L. ~:e:
-. •• h.-
'1'""
. .. ...
. .
' r
-
Ger+6
-
V
~
1\ 1 1 1
- 40
1
.._¡ 1 r r --..,¡ -v-. ---.::

Ge - lo, e poi sen - to !'al - maav-vam - par,
1 1\ 1 1 ~------...........
l - ..... _
) .._¡ . L.-- .......
-.
- -. --.
\¡
J .. . . . t •
. . . . -. . -. . . . . L.
...
' 1
-
1
. . . . .. ' !
-
\
":" ~ ~
~
":"
-i! -i! ~ e:;¡¡¡¡¡.-'
( :¡ i )
D. Use the framework below as the basis for a repeated period. The second phrase should E. The framework below is also to be used as the basis for a repeated period for piano
begin and end in D major (phrase modulation). Compose a frrst ending that modulates (or other instruments). The fust phrase is in Eb, and the second should be a sequen-
back to F using sorne modulatory technique discussed in this chapter. Include NCTs tial repetition of the fust, in Ab. Write out the repeat of phrases 1 to 2. Use more
and arpeggiations in your final version. Score for piano or sorne combination of embellishments in the repeat than you used in the fust eight measures.
instruments found in your class.
, 1
1 1\ 1 ' 1
.
,.-...._
1\
.
.....-::::::
. . . .
--... 1
t @.) 1 1 , j \
)
@.) 1
~-
. . . . . ~\
.. ~· •
..
1
.- .- 1
t 1
.il
1
; .
i
1 1
1
:1
1
'¡
:\ 1
( )
¡fj' t.71-.~
cy
1 1
~r
' -~--.~_.-_
._._, .. ,
'!::.{~-\
;;~:~
BifiAiiY AN D TERNARY FORMS

~
' i
EXERCISE 20-1
i
1
i
A. Diagram this excerpt down to the pbrase level and name the form. Assume all pbrases
1
are four measures long. Also, answer the following questions:
!¡:
¡¡: i '
1. What is the form of mm. 1-8?
J.¡ 0
·i1¡ 2. Find and label a vii jN anda vii 0 j/vi.
)¡ 1 3. Why do you think Mozart chose to use a double stop in the violas in m. 14? (A double
el : !
stop is a technique that allows a stringed instrument to play two notes at once.)
~ (
~
-) • Mozart, Eine kleine Nachtmusik, ill
!:1
1' 11 ¡¡
Allegretto
;, .¡... -f-._ ~ .,.. -~ ,. 1"" ;;;--- ~ _;__.;.._ _,_ ~ .¡;::-;---f'+
Vnl
~
f b•
;;---....
" u
1 ·¡ Vn 11
1
V! a.
~
f•
~ . ~
~~
~~~-~ -/1- .,..
V.C.+ :
f. . -1'- b.... ,.
C.B.
f
.
1
' ! ,....-...__
" u ----.~ • -p.~
: : .fl- --
------
~ p cresc.
b~
" u
: : .
~
p ~
' - .,/
" ~--~ ·cresc:--
: :
p -...__..-
.,1 :
cresc:i-
....
--------
p cresc.
" ll ;, .¡._ _¡,_ ~ .r.-._;.,..

b b·
,;----. .,.. . :
~ f
Ú!--... b~
" u
:
( ·¡.
!! ' ) ~
f-J:_.
1
;, ~.,._----::-...
:
f;.
: :
j 187
l i'
188 Tonal Hannony 1~ Student Workbook Chapter 20 189
J 1
-
poco rit.
B. Name the form of this piece (do not diagram phrases and cadences). Watch out for
-- .
15
-
a tempo
written-out repeats. Also, do or answer the following: ( 1
1 1 11~ ¡-: ~
.
1. Label the chords in mm. 5 to 8. 1
V
7[
íT7!"'\
----
--=:::: -
1
1 @) .....
2. What chord forms the basis of mm. 33 to 39? 1
) ~ >
3. Analyze the last chord in m. 34.
1
)
ff >
¿-_ p ~ ~ . ~_1 !,~ ~
• • ~
4. In what measures does the "boom-chick-chick" accompaniment drop out? 1
\P
o
_Lo
/ - o . o
• Chopin, Mazurka Op. 67, No. 3 ::¡
Allegretto J =144
~.
* ~. *
,4 ----- .
~
--. -..... tr
~: p rubato -=::::
-....- 1
~d d .~ ~ L~ ~ _J_J
'
1 _~_:
\P
7
1
. . . .
~- * ~- * ~-
* ~.
*~· * ~.
* ~. *
tr
1
11_ 5 1 P""!'""'' ~>.....--.._ tr ~ • ..
~lO ,_11
__{J_25~ "'lt . ¡¡- r-- 1
tr 1
..
7[
~ ( 1
7[
V
.
•
~~ -
PI 1'1" o
! o
\ oJ T
., IT 1'1" -,~
~ .......__/
~d d
1' 1 ---
~ ,_ . t ... ~
• •
~ ~1-~ ~ .~~
~~ ~d ~ .~_1 !,~ -~-
::::=-
_J_J
11:; •
. . . o
.
~
. .
~
.
t
.
_Lo
\ I
ft• 1 1 1 \P
~.
*~· * ~. * ~.
*
1
~. *
1
~. * ~. *~· *
tr tr_L
poco rit.
a tempo >
. ,1l 1""'-
.
:::;--.......
1
f1301"'"'"""':~ o
ten.
1""""1""'" i11
~il·~
.Li
~ -.....__/ - .L
~~ - ----
...!"" l..-: :;. ~-
1
¡¡·
~~ ..
.
!,~ ~
.
_J _J
cresc.
t
-:::::::::sf
.. ~
'
t
-<sf
~ ~
ff
• • ~
sf
! Lm I1
.
¡~J
>
\
. \
c1o
~,0
~ -f' 1
.
1 '
~. * ~.
* ~.
* * ~. ~.
*
( )
190 Tonal Harmony ! Student Workbook Chapter 20 191
1
l '
!
> C. This excerpt is the first part of a scherzo and trio (a scherzo is much 1ike a minuet,
·J only faster). The trio is not shown.
1. Diagram this scherzo at the phrase 1evel. The key implied by mm. 17 to 20 is d minor,
notA major.
i ! 2. Identify the form. Do not be misled by the written-out repeat in mm. 9 to 16--this is a
1
two-reprise form.
3. Find two examples of chromatic mediant.relationships.
¡l
• Beethoven, Violin Sonata Op. 24, III
'iro. 'iro. 'iro.
* * * ¡ i fl
Scherzo
La prima parte senza repetizione
Allegro molto )
fl c---. l 1 ¡._ l l ~! l 1 ¡._ l
y y
~
~
'!
p
.¡. j: _h," ~
: -~ ~ ~ ~
. -~
'
h-i-
:
__;_ ...., y
'iro. * 'iro. *'iro·*

fl ~~ -j:. tf:. 10 ~ t ~ ~ .;, . .,..~ -j:. ~-j:. :t: :¡:;:::·
tr~
11 ~>..--..._ tr -(ir
• 50 r-1 ~
p
J
1'1-1
o
(
, -
~
¡
o ~ ~1
@.) 1 ,, 1"1'
fl l 1 ¡._ l l l !
.
....!.
~ ":' ~ p '! 1' 1'
-<f
1
o
~
• • ) .~~ ~ ) ~ ~ ) .~~ :
f.,
-~
.¡. ~ ~ ~
.'
·-i- hi- j:
t ~·
--
o
o o o
\
1
1 1
l
1
'iro.
* 'iro. * poco rit.
* 'iro.
* 1
¡
fl 15 ~ t ~~ t
:
. ~#-j:.
:
~ 20
:
. ~h.i.
:
~ t~
tr ~ 1
55 p
¡¡- :-- tr 1""""': ~ tr !
p eresc.
fl 1 ~ o
¡
1 ~1
f.,
"
,
o fl ¡._ l l l 1 l. 1 ~ 1
l ~
:
~
o
@.) "1
o
......._....-
~
o
......._., - ""' -= >
. 1
l el ~
- p cresc. p
<sf ! ..
. ..
<
1
t o
l~ ~
:::::=--
_J_J
erese.
1- .. ~
ff
• • ~ 1
:
h. ~
y
f.,
4
:
1 PI V V 1 r'l V V
..
o
o o 1
~
\
1 - Fine
::¡ 1\ +:= ~ ~ ~ 25
* 'iro. *'iro·* 'iro.

*
'iro.
*
¡'
1
1
l
~
:
'
l fl ¡._ l l
:
...
)¡
1 ....!.
~
~- ~
....!.
1: 'f -<f '! "!" T
( l.
1
! ... -i- ~ ~ o
l : :
....!.
-<f ~ ~ ~ -<f ~ 4 ~
~
1
1
192 Tonal Hannony : Student Workbook Chapter 20 193
·'
.1
D. Diagram this piece down to the phrase level and name the form. Also, answer the fol-
lowing questions: 1 1\ ~ • 15
-~
• _,_ b..,.... 1
1. Where is a sequence involving both hands? Bracket it. ~ ~ .,_. 1

I..J
2. What does the G#4 in m. 6 accornplish?
3. What material in mm. 10 to 22 is obviously derived frorn mm. 1 to 9.
.. LL
- ~
•
•
1\ 11
March frorn the Notebookfor Anna Magdalena Bach
- ...,... ..
1
- 1 _L
-
..,... ~·
1 1 1
1
1\ ~ ,.....,_ •-
20
..,...
\~ ..
1
..... .....
<
~ .. 1 ,......
1
)
J
~ ~ - """""""
1 1 1 1 1 ..... 1 .....
1
\
.. •
..
1 ....- ....- ....- ....--,;--,;- -,;- 1
~ 5
1\ r""o'
""""""
~ 1
. • . l _l ~ .J¿-"
..
1 ~ ........... 1
-
1
.. r""o' r""o'
..
-,;- 1-,J- -,;- 1 -,;- -:J_· 1
------
~
1\
~
~·
..
10
..,... - rt. ..,... 'rt. ..,...h. • -
.. .. _,_..,..._ _,_..,... _ - . ..,... _,_
¡,...¡ 1
1'
;
!.
( )
1
·l
E. 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 1
to play or listen to the music because sorne of the retums are disguised. (A melodically !
varied retum of phrase a is stilllabeled phrase a, not phrase a'.)
2. N ame the forms of the minuet and the trio.
3. In performance, the trio is followed by a retum 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 1 11 1 - '"'
25 -
1 1 1 T 1":\
.. _(_ _]_
,
its earlier four-measure version. How does Haydn extend this phrase?
5. Provide roman numerals for the following chords: t ~
~----
--~
~-4i:.. / i .._a •
@.) 111
/i i i i
.
i
a. _ _ _ _ _ m. 17, beats 1 to 2 (in E~)
) f
.. ~- '
......._:
"'' ---;.' '
1":\
b. _ _ _ _ m. 19, beat 3 (in E~)
t • • ..
c. _ _ _ _ m. 35, beat3 (inM) \
1 ....
d. - - - - ID. 44 (in M)
e. _ _ _ _ m. 46, beat 3 (in M) 11 1 1
..
(Trio)
~
•
-- 30 f.. 1
- •
~ ....-....
t @.) 1 lo....= ........... 1 1 ¡,.=
• Haydn, Piano Sonata No. 38, III 1 1
.. do/ce
~ ~
..
'' !::
Fina le t .. ===
fl 1
Allegro
~
'"' '"' '"'
5
~ 01!.1 e;.¡ ... "1111 :¡ ::¡ 7
(
~ --,;- -_.,; ..... --,;- -_.,; ..... • }l ,.,....---.._ -fL _...,.... ·-f:.
@)
-~ 1 ~ 11 1 1 t.,- 35 1 ..,._ '
' .. .. •' . ...,._a-f/1-
t
.. f
...
-'
•i
" - 1..
.,
·"'""
... •
• t @.) 1 1 ...........
~
1
~ ~
---
' 11 1
.. .. 1 1 1
t
11 1 - 1 1 T
.. .. ............ - .::".. - 10
- ~ ~ - w- t
@) ..::::
e:; ~
:
..,
r. r ~
@) • ~
.,..
t
.. • . .i
..
-(1!- 1.. •
1 ..... 1 1
: '. l~
t
11
@)
L 1
45
-1
J. L 1 J 1 t.,
-
1
........
-- ...,....
- ('"')
1
fr
50 1
s·n
Da Capo
1 al segno f":\
.. 1
1 1
_, JJj
p
t
11 1 ~
1
. t.,
- _,.- J. J..- . ..
( ) @) - ............... 1 1 1 1 1
,·
¡,
!) ( ~~,;~('>:;';,
Part V
1
1 1
i
1
1 Chromaticism 2
i 1
1
1
1
j
1 1
1
¡ 1
i
1
1 l EXERCISE 21-1
1
! 1 A. Notate these chords in the specified inversions. Include key signatures.
1
i 1 2 3 4 5
1
1
& llf>= 11& llf>= IIIIK 11
1
A: ··..4 F: y¡¡o7 Dk ·6 C: ~VI E: ¡¡o6
1 112 14
j
1
)
6 7 8 9 10
1
1
1
:>= 11& llf>= 11& 119: 11
Ak ··o65
Vll Ek iv f#: D: ~III G: iv6
1
!
i l B. Label these chords. Include inversion symbols.
j
1
1 2 3 4 5
! 1 F: D: Bk A: Ak
.i
( )
197
!·· i
t
198 Tonal Harmony ',. j Student Workbook Chapter 21 199
!'
' 1
6 7 8 9 10 3. Label the chords, circling the roman numerals of any borrowed chords. Label the
~)
1 1\ ~ ~ ~ k 1
f 1
1
cadence type.
1 ¡ • Brahms, Symphony No. 3, Op. 90, ll
~
@.) TI~
..
) 1 ~ 1
)
1
.. J rl ,U·- j 1
1
1
pocorit. ~ ~
-< ~ _bl
3
........
...----....!•'
3
\
1
1 fl 130 l.~------~ b~ .~~~ ~ ~
1 1
1
' 1
FL.
G: C: E: d: Ek !
¡ @.) p
l.
~
! 1\ f::~~ 1 ~ ~b~.~ ~ ~/- ¡-.';::
1 Ob.
C. Analysis.
i
! @.) p -~
i
l fl ¡¡
l.
.-!""'1 1 f":\.
1. Labe1 the chords with roman numerals. NCTs have been put in parentheses (other inter- Ciar.
..
1
inB~
pretations are possible). Which chord cou1d be considered an example of secondary 1 @.)
'-"->::-- f-•..,;~ '-.Y ..... ....._ :Y 'U'
mode mixture? l < >- pÍit p-=. =-

• Bach, "Herr Jesu Christ, wahr'r Mensch und Gott"
! Bsn.
.. 1 . 1 /.1\ f":\.
...___
1
1
..
plll
1
p-=.
1
=-
u
~
• :¡ -e
Hn.
1\ 1 1 1
-~- be 1 f":\.
inC
e
~~ ve
@.)
1
pÍII p-=. =- * 1
¡;
P-= =- 1 1 f":\.
'{'_ ) Trb.
I-II
·---:.. /
..
.. ., .. ~-·
'-.._....)/
V~
-- ., ....
P-= =- p¡u p-=. =- f":\.
Trb. .
m
"-=--"
.... ___. ..... 'U'
C: P-= =- pizl p-=. =- zu 2 f":\.

.0.......---.....0.
-- --
2. Labe1 the chords and NCTs. Circle the roman numerals of any borrowed chords. 1\ ~------~ e~e
Vl.I
• Schumann, "Ich grolle nicht," Op. 48, No. 7 l @.! e
P-<=- -= ==-- -= ==-- f":\.
i fl
e ..... - e
Nicht zu schnell
¡ VI. II
1\ m '
l 1 @.) e
-= -= ==--
.
1
----
P-<=-
1
f":\.
@.)
-~·
Ich grol-le nicht,
- 1
Vla.
..
1 1\
und wenndas Herz auch bricht,
! 'U'
1
arco f":\.
1 1 Ve. :
) @.)
=: ... ·-.r-""11 :=:=: :=: :=: ~~~ ._.L_. - ::t :t :t l~!:t i1~=1·1 ¡=:~=::=:t=: ' \:
1
~·~
'U'
. ~ e
> > > > >
) p...__.,
1
.. mf j
i arco
,--... f":\.
\ ! D.B. -.
=6 :::::; ~
~
...::::::
=6 (' ' l ) ....
=6 =6 ~ • i 1
p
=6
1
1
l
1
l
¡
200 Tonal Harmony 1
- 1
1
4. Sehumann uses mode mixture in this passage to modulate from E to its minar dorninant. 5. In the passage below, Mozart uses mode mixture twiee to move from E majar to the
~)
Label all the ehords and the eommon-ehord modulation. ( ' 1
!
very distant key of e minar and then uses mode mixture twiee more to return to E majar.
Label all ehords, including the eommon-ehord modulations from E to e and baek.
11 Sehumann, "Liebeslied," Op. 51, No. 5 1
1
(Remember that the bass voiee is always the lowest-sounding voiee, so that the bass
note in m. 221, for example, is the eello G, not the piano Eh.)
1\ u. .H 7 1
11 Mozart, Piano Trio K. 542, 1
-----
o
@.)
wie blickt _;,o
1
trau - rio die
1\ u. f±210
o
...---....
o
1 1\ u. .H r--. ~ ~" ~!!""!
.. ..
@)
''
)
t
@)
o
Il -
-------=-
J~J_¡y
l!!!!or·~
-
.....-::::= -
J~J~T
!!!!oor r::----.
~
~
1
;-_; \:}) o
o
Il
-&:....___....-----
,-9,0 -·
- .....-.....
o
o
\ 1 1\ u. .H o o o /~ ~
1 V
-
1 1
~
o
1\ u. .H
E:
10
@.) - 1 1 liiiiil
r
o
1
ll ~~ ... ~ ~-~ ~
~-~ ~ ~~ ~ ~
• • •
@.)
Welt mi eh an.
t o
o
1\ ~ H /
........,_ f:f!._
- -
t: )
@) ............... \D.. '{.
'i ~
-
~1)7~~17-T
1\ u. .H 215 h.~ . . ._ ~
o
o
"! .,
@.)
o
f
- \
1'- ]1
~
q~q~ ~ ~1',._ q~
'
~ b* q~-
1 1
il
~o ~,._-;.
1 ! o
o
1
1 f
1
1\ u. H 1
mei nem Sin ne woh net míen Freund nur, 1
fpr l @) --+• ~ :¡ y• :¡ "1 :¡ qi q•--7 y• ~

l
)
f~
il
o
1 o
o
\ o o
~~o '1.:::: .::::
q~ o
: \! 1~ o
1?; o _?; o
:; ¡
1 1
)
1\ ~ tt h. 1..-.... 220 -r 11 1 1 P""' l.

- 6. This excerpt modulates from A], to sorne other key and then back to AJ,. Label all chords
(
1
andNCTs.
@.)
p
1
-
loooo..l
'--- ~·, 1
=-- • Schubert, Impromptu Op. 90, No. 1
rlb~~
o
o
l,_'(,._qe:~ 1
1\
rlt"\_
1
- 42
o o o o
-
-
o o
p ~- '11'- t 'CV
-¡¡ ~
~
1
1 1\~tt 1~ 1"\ ":"'\ 11 .. 1 _/

- """"""" )
1 (~o
p
___-...
- - n n .. ~
-
\)
7o
@.) 1 \V \
p ~ 1..-J.--1 ~ ·~~
¡.,..ooo" ~ ~ ~
~~o q®
__ q__ q~q~ ~q~ ~1"~
~
rl
o
o
\
¡:¡ ~·
1\ ~ tt 1
o
• •
1f#-h ...'j¡' ...--._ -Hn.- --
@.)
~·o
cresc.
rl
o
o
o o
1 1\ ~ tt
-- cresc.
~
___./
1 1 1 -- f
--.
t.:
~~t·
j
1
~
1\
7í
1 .........,_ l,_~
o
@) o o o '""' 1 r
l
- ---- mf~
decresc.
1
1
@.) JI
) ~~ ~~ • ~~ ¡IL
cresc.
- • 1 ~ 1
~
1
~ f 1 o
~~ •
o
'
t o
o
tl - ~b~ \ _L_
¡,;.,.¡ ¡...¡...¡ '~ ¡...¡...¡ ....... J.oo"""' ~¡....¡...- ........ ........
1\ ~ tt~ .. ---. ,,.. o
@.)
..
1
rl~·o -~
~
o
o
o
11 ~ H. -·~ "- .. ~,._~r: ~~~,._~. ~

e-
~'
-
t::-:---.... . . . . .. ...... .. ¡:1
•
1@.!
) rl ...........-!! ...........-'!! -flll!!!
~
F-
--
o
o :
IV ~~ • 111 • ti • ( )
204 Tonal Hannony
l.
~ ~ ~ ~· E_..) .. J D.
Part writing. Analyze the chords implied by the sopranolbass framework. Then fill in
alto and tenor parts. Be sure to use the specified mode mixture.
1 1\ 1
. • • E_..) • 55 9-"
1
. 1. Include a ii '1,
) @) •
p
...................
1 1
) ........,..., ,...,...., __......., -~~
l .. 1
• ----~
\
¡,....o-
- ........ ...... ........ ~
11
1 1 1
1 1
2. Include a iv6 and a ü 0 1.

1 1\ u. 1 1 1 1 1 1 1 1 1 1 1
1 @)
l
)
l ..
\
1 1 1 1 1 1
1 1 1 1
( )
206 Tonal Hamwny Student Workbook Chapter 21 207
,.
E. The :first two phrases of a chorale melody are given below. A bass line is included for G. Arrange the :first modulation below for SAB chorus and the second one for SATB
the :first phrase. Complete the four-part texture, including in the second phrase a mod- ( chorus. Activate the textures with NCTs andlor arpeggiations. Arrange the metric and
ulation to Bh and a borrowed iv 6 chord. Label all chords and circle the roman numeral rhythmic structure so that the last chord comes on a strong beat. Label chords and
of the borrowed chord. Activate the texture with NCTs andlor arpeggiations. NCTs .
1 1\ 1 1 1 1 1 1
. 1 1
t TI
•
1. D: V 16 vi
¿
j
@.)
J F. ll v4
2
16 vgtv 16
4 V
'-----y----l
)
~ .. V
vii j/IV~
0
\
2. F: y¡¡og 16 v6
5
L,..... 1 1 1 1 1
r '. bk ¡6 iv ·6
14 V
'-----y----l
V
1 1\ 1 1 1 r--, 1 1 1 1 r--"1 1 .1
\) @.)
~
..
\
F. Analyze the harmonies specified by the following figured bass and then make an
arrangement for SATB chorus. This passage modulates.
1\ ~ ~
~ @.)
~
1
.. ll
.
1 1
6
1 1
4
2
1
6
1
6
1 1
6
1
r
q
~
( )
208 Tonal Hannony
APOLITAN CHORD
EXERCISE 22-1
A. Label each chord. Include inversions, if appropriate.
1 2 3 4 5
r.
H. U se the framework below as the basis for the beginning of a passage that starts in F
major and modulates to Oh major by means of mode mixture. Score for piano or for
sorne combination of instruments in your class.
1 1\ -
1) @) 1
1 F: e: D: bk e:
'
~~~~~~~~~~~~ 6 7
...
8 9 10
D: E: d: Ak
1
\•
( )
209
1-
B. Notate each chord. Include key signatures. C. Analysis.

) 1. Label chords and NCTs.
1 2 3 4 5
• Chopin, Prelude Op. 28, No. 20
IIIIB 11& llfJ=
' 11& 11
a: N6 f: N Bk ··..4 A: vii"'7rN e#: N6

lJ 2
6 7 8 9 10
9: 11& 119: IIIIB 119: 11

Bk v43rlJ a·
o· vii0 6/V G: N6 Ek mr b: N6
2. Label the chotds in this excerpt.
• Beethoven, Sonata Op. 27, No. 2, I
Adagio sostenuto
)
sempre-P:P e senza sordino 1.
e#:
C/
(
Tonal Hannony Student Workbook Chapter 22 213
212
·i
3. Label the chords in this excerpt. Where does the most unusual progression occur? 4. This beautiful and moving theme illustrates the expressive power of the Neapolitan
(Don't let Beethoven's interesting use of 6 and 1 in mm. 1-3 confuse you-there is ( 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
really just one chord in these three measures.)
on. Does something similar happen in m. 8, or is the A# a chord tone? Be sure to listen
to or play this example.
• Beethoven, Violin Sonata, Op. 47, II, Variation 3
• Mozart, Piano Concerto, K. 488, II

Minore
~
1\ 1 1
. ------
@)
p
~
1\
@)
1
--.-.............
-----
11-¡r- .... ., .... il .... il :::
:
11'- h,. 11'- ,. ~ ,. ~~~
@)
'J
~
p
--= ~
~ .. J ..l J J T
\
1 1 ILJJ.. ~ 5 . c:::l
•
. .- (b)-h ~ l l
1\ 1 1 1 ~ b~ .fl-~.fl- .5~ 1 ·]
1
~
-¡y 1
r
- 1
,. • ~~ !~"-~
@) L ~ ·~:¡.¡ LL -
sf p fp espress.
-
erese.
1 1\ 1 1 r- ~-= ) 1
' 1 r
=: =:: -, _. ... ::t ...

1) 1-!~;f.='=
~ --
@) v•
~ • h..¡, _¡,._ ~
. .
_{j_ _¡! ~ 10
;;::;¡ sf p l
~
j ~
~~
espress.
7r
. .
~ ..\
r J-~
V ~ ~
1 ..,.-
·::i--
t
.
~
@.)
- :r-
- - .,...
~
,. -
::¡ =
~ .
1 ll l. 11
::¡
1\ 1
-- 1
___..._ e .----------- . .
V V V
--------
@..) eresc. r p
l: 1,-&- .. • 1- l: h~ ~
.,....... ;;,::~
1\ 1 """""-
..
1
l @) cresc.
/( .. 1-~
- p - ~ ~ -.....:::.....· ... 1
\l
.. l
.. '
'1
--.
~~-- - ::¡ • ::¡
~. ,,¡
* (
)
!
¡
)
5. At this point in Schubert's famous "Erlkonig," the evi1 personality of the title character 6. At the end of the song, the father's frantic ride comes to an end, and we hear the
is fina11y expressed, with the help of the Neapolitan triad. Label the chords. Neapolitan again. Label the chords.
11 Schubert, "Erlkonig," Op. 1 • Schubert, "Erlkonig," Op. 1

accelerando
134 135
1\ 113 115 1\ 1 1 l
• .-
@.)
@) 1 1 1 1
grau - set's, er rei - tet ge - schwind, er hlilt in
"Ich
1\
. . . . . . .. .. .. .. .. .. .. .. .. ..
1 ~ ~ ¡, ~ ¡, ~
1\ -~ . -". -". ·". ·". ·". -". . . . .~ .~ .~

.~ . ·". .". -". .". -". 1
1@.! - -
"lll•
- - - - - ·::¡ .
"lll• "lll•"lll• "lll•ll•-41
"lll• "lll • "lll•ll• "lll•"lll• ........
1, @) •• •• •• •• •• •• •• •• •• • • •• •• •••••••• J
.. ~
o
eres c.
-
. . .- .
o
1
1
~
\
.. /"J:'..
........ 3
o o
1
/"J:'..
¡,..ooo"
o o
T 1\ 1
•
h
¡,.¡....o 1
3
o
--= --= -=
-
"lll . . . . "lll • . . .
-
...
¡,.¡..o
140
1
o
.
::::
o
-
=i =i =i
o
-
o
-
o
3
d: @)
Ar - men das aeh - zen - de Kind,
1\ 1 . 1 1
. 1\ 1
-".. -"'.. .-.. ·". ~
...
~
....
~
... ... .~ .J.
... ...
J.
.. ...
@) -r 1 1
)@J •• •• • • •• . .
lie - be dich, mieh reizt dei - ne schéi - ne Ge - stalt; und
ff
t; J
.
... .. ... ... .. .. .. ... ...
't_ o
1\ 1 ~
-" .. -" ... ... .~ 1 1 o
. . . .
...
1
1 . . . . ~ 1
o ~ ~ ~ ~
-
~
o
-1/f
) @.)
.- -~ -- -~ -~ -- -~ 1'
1\
=i . =i. =i.
.
)
..
pp . j
1
. 1
1 @) 1 1 r 1
\ er - reicht den Hof mitMüh und
11-& 11-& 17-&
1 1\ 1
. . . . J. 1-
. . . . .. .. .. ..
¡,
... ... ....

J. J. ¡,
..
¡,. ¡,. ¡,.
~ @.) .... • -e¡• ......... ...... ..... ... . ..... -..¡ • -..¡¡. -Ji. • •• --:::¡ • -[l - . ••
1\ 120
. 1 1
.
1
1
fz fz
~
J
. ll . . . . l . . . .
@) 1 1 1 o o
---- . ,¡,. . . . ,¡,. . . . .
bist du nicht wil - lig, so brauch ich Ge - walt."
=6 ~~ qll ~ q~ ~ o
.- .-1":\ ·"' ·" ·" .~
1\ J.
... ... .. .. .. .. .. ..
J. .J. .J.
,¡,o ,¡,o .~ ,¡,o
.. .. . .
.~ ,¡,o ~ J. . . ¡ 1\ 1 145 1
R ecz.
"t
. . . .
l l l
~ @.) ..,
~
!
~~ 1" r
1
~::·t:t.
@.) 1
- - ,¡,
~
.fff 1 Noth; in sei 1 nen Ar-men das Kind
J
.. IL
- - 1\ 1 .. 1":\ . Andante
~ .. .. .. ..
1
11'~ -:~•..¡•..¡•..¡• ~
~
@) '1-j qTI:t~
~ 1
pp p =1
( d
1
1
) J
. {P. . . . lt 'f
1 o
.. .. .. ..=
1
.1
.~ ·" ·" ·" #~
1
)
L .
216 Tonal Hannony Student Workbook Chapter 22

. .1 217
7. Mode mixture is involved in this excerpt in modulations to the key of the Neapolitan D. For each exercise, provide the correct key signature and notate the specified chords
and back again. Label all chords, including common chords for both modulations. ) preceding and following the N 6• Use the given three- or four-part texture in each case.
• Beethoven, Rondo, Op. 51, No. 1 1 2 3 4

1\ 1 1 1
~3 ~ #
f~~É
.IL ql~~.
.. ~--- .!!._h._¡¡ L ~. ¡¡ L _1
.,..--..._. 105
- f':\ ,...--....
. . 1
- 'j
@)
~ 1 1
1
J 1 '1
_J
.. -
ri - tar - dan -
.. 1
f':\ ~
\
1
.., .... .... V . . b: iv
1
N6 V e: VI
1
N6 v42 e: iv N6 ·6
14 V f~: ¡6 N6 v42
C: ~
._,...--....._. V
. .
.--..f':'.. _,...--....._ 1 ~ b.-..--.... b.~
.,--...... 1 1 1 1 11 b.. ...
1 4!) 1 1 1
5 6 7 8
- do pp fl 1 1
1\ f':\ ,~JL J ~.JL J J 1

1 : t
'~
@)
........
J
1
~ v• • ! <
.J ~1
1
~ ..
¡,; ) d: V e~: VI g: iv f: v7/N N v7
~
E. Analyze the harrnonies implied by the sopranolbass framework. Then fill in inner
voices to make a four-part texture. Each exercise should contain a Neapolitan chord.
1 2
fl 1 1 1 1 1 1 1 1\ü 1 1 1 1 1
~ @) ~ ·~@Y
~
.. t~:
!":)
1 1
1
d: b:
\j
1
1
v7
( )
3 H. Use the framework below as the first phrase of a three-phrase excerpt having the
1\ 1 1 1 1 1 1 ) following structure:
1 ~
l
J b: HC f#: HC PAC
1
.. -'V"\.r-
Phrase 2 modulates to f# minor. Phrase 3 · remains in f# minor and contains a

1
r Neapolitan triad. After completing the framework, make a more elaborate version for
e: piano or for sorne combination of instruments in your class.
F. Analyze the chords speci:fied by this figured bass and then make an arrangement for
SATB chorus.
1\ ~
. . o
~ ~ 1 1 1 1 1
1\ ~
~ ~ .. . .
1
~
r \
- 1 Q•
..
1
1
t
1
6
1 1
r 1
11
1
1
r.
(; .)
1ft_
G. Make settings of the following progressions for three or four parts, as speci:fied.
Arrange the rhythrnic/metric scheme so that the final chord of each progression comes
on a strong beat. Actívate the texture with arpeggiations and/or NCTs.
l·
1. (4 parts) a·
o· V ¡6 VI
2. (3 parts) e: V~/iv ¡y6 ·6 N6 v4 ¡6 y¡¡o6

14 2
1 i
a
'
3. (4 parts) Ek I6 vi ¡¡ V I6
y¡¡o7¡v ·6 v7
14
'------y-------
V
4. (3 parts) b: V VI
¡6¿
G:IV6 vg V
( )
¡
' 1
1_:
220 Tonal Harmony
L Make a setting of the following text or another text of your choice for three-part
1
chorus. In elude in your setting examples of the following:
1
1
Neapolitan triad
Mode mixture
Common-chord modulation
Your composition should begin and end in the same key. Be sure to include a har-
monic analysis.
A storm of white petals,

Buds throwing open baby fists
Into hands of broad flowers.
-From "The Year," in Comhuskers by Carl Sandburg, copyright 1918 by Holt,

Rinehart and Winston, Inc.; renewed 1946 by Carl Sandburg. Reprinted by permis-
sion of Harcourt Brace & Company. EXERCISE 23-1
A. For each exercise below, provide the key signature, and then notate #4 to S on the top
staff and 6 to 5(or, in majar, b6 toS) on the bottom staff. Finally, show an analysis of
the implied chords as in the example.
Example 1 2 3 4
ll
t @.)
) 1
-
1
.¡
1
j
1
.. L~
C: +6 V e: Bk a: G:
5 6 7 8 9
1 ll
1
) @.)
)
1
..
\
d: f#:·- Ek A:
(
.
)
221
222 Tonal Harmony . 1
1 Student Workbook Chapter 23 223
i.
i'
B. Label each chord, using inversion symbols where appropriate. D. Label the chords in each example below. Also, discuss the details of the resolution of
J each augmented sixth chord. Do #4 and b6 follow their expected resolutions to S? How
1 2 3 4 5 are parallel 5ths avoided in the Ger+ 6 resolution(s)?
11 ~ H ~ l1
1 ' 1 1 ~
1. Measures 2 to 5 of this excerpt are in d minar, although the key of VI (Bb) is strongly
. tonicized in mm. 2 to 3 (the second chord in m. 2 should be analyzed as a secondary
í_ 11D
'
@.) ~ V
:t= 1
function of VI). Common-chord modulations to two other keys occur in mm. 5 to 11.
1
.. l1 ~
... ,... ,J ~-= =-= b.r • Schumann, "Sehnsucht," Op. 51, No. 1
t
~ p
.
1
2
1\ l l
e#: b: f: Ek D:
. . .
@.) __...
bliek' _ _ in mein Herz
-
Ieh und ieh bliek' in dieWelt, bis vom
6 7 8 9 10
' 11 ~- H l 1 l li 1\ """"' .............. = =~
1 ',i
~ @.)
::::: ::::: :: -j¡ .. ii ... 111 ..Ji·..Ji-~ ..Ji-~ • • • • •
)
@.) ft•
~ p
)
.. ~ ~ ~ . . . . .
...
IL
1
\
-~
V
ft• 1
t o
::¡·
... =ij.
-
E: Dk a: F:
f -:---... p
{ 1\ . -
5
1
. .
C. Notate each chord in clase position. Augmented sixth chords should be in their cus-
tomary bass position (6 in the bass in minar, b6 in majar). Include key signatures. @.) i"
sehwim - mem - den Au - ge die Thra - ne mir fállt; wohl
1 2 3 4 5 '
1.
1\ ¡::::: ~ !"!""""
& IIIIE 11& 119: 11& 11

, .... ... ... .... ... • • • • •
' ==
@) ~
Bk Frt-6 d: N6 bk Gert-6 Ak n+6 B:

.. .,6
11 5
t
1
..
f
............. -!--!--!--!--!- ~~~ ~~
-----
... .._
\
- ;¡¡¡¡¡¡¡¡¡¡; ;¡¡¡¡¡¡¡¡¡¡¡¡¡¡
9:
7
IIIIE
8
119:
9
11&
10
llf2= 11
V
- ---- -
f#: It+6 A: Gert-6 e: Frt-6 G: viio7/vi e: Gert-6 ,¡

')
1
\
!
..j
1
!
( "l )
:r
1
::J
¡·.

l'
1\ . r--2
~----, r - 2 --;¡ l
. )
2. This excerpt begins and ends in g minar, but it contains modulations to two other keys
(or tonicizations of two other chords). How do those keys relate to the "parent'' tonality
~ - r
.
"-""
of g minar?
leuch - tet die Fer - ne mit gol - de-nem Licht, ---

do eh • Schumann, "Die beiden Grenadiere," Op. 49, No. 1
1 1\ p 25
1\ 1 23 . 1
1 -@.)
~-¡
; !
. -
. . .. .. .. .. ..
1 p
111 11 111 111 111 11111111 11 :t:t:t=l:t ~==~=:=: ~ 1 1 .., ..,
j
.. . . . .
wohl ob der kHig - Ji - chen Kun - de. Der Ei- ne sprach: "Wie weh wird
1
. 1 1\ 1 1
.
\
~· -~.:... _::¡ •
1
)
~ ~'1-i
1 •
- ====- ~ ?;- "~-ó9-
~ .. ~
1\
- ----==
.
! !
~ v• • •. ·~·
....._....._..._,..._,..._ v• • ·• ..... ..._ • ..._,..._ \
> >....._..... :¡t• q... 11 q~
- ..::::: ~
htilt mi eh der Nord, ich er - rei - che sie nicht. O die =i ::¡ =?; b?;
1 !
1 1
1 1\
1\ 1
j
l ~
vr·=. l l l =t ~ ~ ~ =: ~ vr·=- =t l =t =t ~ =: ~ ~ ~ @.) • . .. .. .., . ................. ..... ...... •
J > > { ) mir, wie brennt meine al - te Wun- de!" Der An- dre sprach: "Das Lied ist
1
.. . . . .
-
\
1\ 1
~ll • ::¡ • !711 • ::¡ •
1
~
~L,_ --~ b~
~r--- --~
:t '1-ó9-
'
1 ~,_ ¡_.....-é
1\ 101 l
. . l . )
..
. 1
..
@.) r i"' i"' i"' r r
- ~ -
·..::::: ..LL.
--
.L..o
-
V~
...._...-e:: b?;
Schran - ken so eng, und die Welt so weit, ~ -e-_ _...=6 b~
1 1\ ~
= 1\ 1 30
... . .. .
\) @.) ... ... ... ... ... V • • • • •
= 1: . ''
;
~
..
..... ...... ......

~··
.....
.. .. .. .
1
.. L ,.. 1..-t t__1-__1-__1-_ b1: aus, auch ich mticht' mit dir ster - ben, doch hab' ich Weib und
g:~
1 i
f
L~~~ ~-e- -
-
L..:(1- -(2-
- -
\ 1\
- ! 1
--
r '- 17-r-_ p· .... :\ 1
1
:
1 @.)
:E .
!
1
)
1
..
\
1.
• 1
) ~
b~-------~
V~
--e-
-
q-e-
~ b=6 ""U" ""U"
l?NIVERSIDP.D JP.VERIM~&
1 1 81DLIOTECA GEI'JERAL.
CARRERr\ 7 Nc. 41-00
1 e r:r:- r. r-:o TR.
226 Tonal Hannony
4. This excerpt begins in C major and modulates. Where is there a 9-8 suspension?
mf
J 11
35
fl 1 . 1
@) 1
. ... ... ~"*o .....
o
]1 . .. ., .. / fl l.J.
Haydn, Quartet Op. 74, No. 3, II
Kind zu Haus, die oh - ne mi eh ver - der - ben." "Was schert mich Weib, 30 1
.... ,._ ....

1 o
_...o.
- ~--& - !IL ~ 1- 1- @)
p 1 1
,
o
t 1\l.J.
..._p .... ........

'
t
\
o
o
11:&
1 1 1 @)
Ll
·~·
'--""'
....... ........
_..--... ~
'--""' '--""'
~ ~
"1 "1
:n: ~
--
-e- ~u- ::¡
3. Tbis very chromatic excerpt from an early Mozart string quartet contains an augmented
·- p
1
o
o
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.
~ p·'-
_..-/ 1 -...... _./
11 Mozart, String Quartet, K. 168, II (piano arrangement)
)1\l.J. / 1 ........._ 35
- o
1
@) 1 1 1 1
( ) -
1\l.J.
@) ------ -- --fttll'l!l:' -
1!
C:
1 ..,....,.. • tll
o
o
.1 _L 1
( _)
.;,;.
1 1
228 Tonal Harmony ! Student Workbook Chapter 23 229
1
i
5. This excerpt modulates to the dominant, passing through another key on the way. The 6. The slow tempo of this theme allows sorne measures to contain severa! chords. In the
first chord in m. 8 is spelled enharmonically (imagine a G~ instead of the Fx). Be sure to )
analyze a chord on beat 2 of m. 8.
( . 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#lAJ, in this excerpt.
i l
• Schumann, TragOdie, Op. 136, No. 3 1 • Beethoven, String Trio Op. 9, No. 3, II
1
R ase h un d mi"tFeuer f sf
f\ ¡,¡ ~
. 1 1
Adagio con espressione
. . ........: . . . .. . .
Jf\ ( ~ ..-..
.
1
@.) r -- @.)
. .JI!..O .JI!..
_.... -__./ ~
1110.:1
Ent - flich' mit mir und sei me in Weib und ruh' an
r,-u-'-/r~ r~ r~' r· ~r~r~r~' ====-
.
. p
~
1 f\ ¡,¡ ~
. -. . . 1
.
1 ~
-"
)
@.)
..
s{f
11
~·
l l =t l ~ :j :j ~ ~ ~ ~~ ~
_....
... ::¡ ......::
p
1 r
- -. . . r -,
r
-=:::::: :::::=--
r-.
1
\
ll
.. ~
.
~
. . . ll
-
.L<
~ =6 - ~ 1 \ p~"':j~"J-¡f
-__./
> =6 -=:::::: :::::=--
1 1
i
11 ¡,¡
@.)
~
. 1
* 5
1
. 1
1
- lí' -
(~ ~ ~1
mei - nem Her - zen aus! In wei- ter Fer - ne sei mein
{ ) pp pp--=: rinf. pp
1 f\ ¡,¡ ~
.; ...:. ll • Ir :-'. r Ir
==
1
:: :: ...~
1 1 111 111 ...
@.)
~ :: :: ~ ~
~ #~ ~ ~ =: ~ ~
pp
-
.JI
l ~ =: lll
pp--=: rinf.
(pp)
:;; 1 ! - ..:. .:..
t .. 11
i
\
- 1- G ~ pp rmf. ::::::::=-- pp 1 1 "1 1
e;;; te;; t~
>
~- ~- ~.
11 ¡,¡ ~
. . *
@.) 1 1 r 1 r 1
Herz dir Va- ter - land und Va - ter - haus!
f\ ¡,¡ ~ tlllt..•
1
.... . 1
. •
r-r--T-1
•
\ @.)
·~ 11'1"~ r-'1 .. ~
,..
s~==- J ¡,¡]
r
r 1
)
1 .. ll sf =-= =-= 1: t
\
::¡ ::¡ lll ~
>>
-
lll
( )
~.
*
l
230 Tonal Harmony J Student Workbook Chapter 23 231
i
)1\ ~-e<
r
• e< • )
•
~(-
•
. . )
-
. ..........._ E.
1
Supply the missing voices for each fragment below. All are four-part textures.
2 3
~
1
@)
-....,¡ - 1\ 1 1 1 1 1 1
. -===
.
(. _;)
' rj TI
r -
~
@)
f...- ~ .! .J .,
1 l
-~ J
.
&4 &4 1 1
1" w'-'1 1 1 -...... /

. r
)
.. 1
1 1 1 ~ ~ --=:::::: ===- 1
\
.. ~: 1 1
a·
o·
··..4
11 3 ¡¡+6 V F: rv6 Ger+6 r2 V e: y¡¡o~ Fr+6 ·6
14 V
~~~~~~ • ~:¡~:¡~:¡ --=:::::: :::::::=--

~ ~
V V
4 5
1 fl ,¡.¡. J ,¡.¡. 1
1
-=== sf 1'1'
J
) @)
1
1 ..
.S
¡ \
1
D: vi rv6 Fr+6 v7 ¡6
F. Complete these harmonizations, adding one or two inner voices, as specified.
1 2
1\~ 1 1 1 1 1 1 1 1
.
t @) S S
1 A A
T T
1
t
.. B B
.
1 1 1 1
e: Ek rr+6
3 4
1\ 1 1 1 1 1 1 1 1 1 1 1 1 1 1
·,,
1
1
:
.
1
¡ '
J
)
@) S
A
T
S
A
B
'
1 ..
B
/
.
•
( ! ) \
¡ a: Bk
¡
1
1
1 ·•
1
1
G. Analyze the harmonies specified by this figured bass and then make an arrangement J. Make a setting of the following text or another text of your choice for three-part
for SATB chorus. (, J chorus. Include in your setting examples of the following:
Neapolitan triad
1 1\ 1 1
Mode mixture
1
, @) Secondary function
1 ..
\
J L 1
Augmented sixth chord
Remember to include tempo indication and dynarnic markings.

1 1 1 1 1
6 4 6 '6 6 4 6 '6 7 Two roads diverged in a wood, and I-
2 4 5 2 5h
3 I took the one less traveled by,
And that has made all the difference.
H. Analyze the harmonies implied by this soprano/bass framework, being sure to include -From "The Road Not Taken," by Robert Frost. From The Poetry of Robert Frost,
an It+6. Then fill in the inner voices, following good voice-leading procedures. There edited by Edward Connery Lathem. Copyright 1916, © 1969 by Henry Holt and
are no NCTs in the bass and soprano lines. · Company, Inc. Copyright 1944 by Robert Frost. Reprinted by permission ofHenry
Holt and Company, Inc.
r-r1
,
L. L.
1 1\ 1 1 1
.
1
. .
1 1 1
.
L. 1
. . 1
. .
1
1 @)
)
1 .. J 1
. . . . . .
r· ( )
\
r 1 r 1 1 1
V T
l. GiverÍ below are mm. 1 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.
1 1\ ¡.¡ fl. 1 \
..
1
)
@)
r P 1
~ 1 1 ~
J
.. 11 j .D. ~ ..J. \
1
\
.
1 1 1 T ~
{ )
.1
1
i -1
EXERCISE 24-1
A. Label the chords in the keys indicated.
o·
u· b: Ak G: f#:
6 7 8 9 10
1
~ .~~~~~~*~~~~~~~~
1
t,~~fi~~ª-~~~
f: d: Ek E: Bk
( )
235
236 Tonal Harmmzy Student Workbook Chapter 24 237
1'
B. Analysis.
-,
3. This excerpt will give you practice with both alto and tenor clefs. Label all chords and
1. Label the chords in this example. Measures 10 to 12 could be analyzed in terms of sec-
ondary functions or as a modulation.
{'
' ) NCTs.
• Schubert, String Trio D. 471

• Tchaikovsky, "The Nurse's Tale," Op. 39, No. 19
1
fl
@J_J
o
5
o
~
o 1 o
l _L"1
o
o 1
-~
o
-
T~o
,.....
~ TI
-
~o .
,....
~ ,.,~~~~
1 o
)
fl ~~ ~1..-i- ~~ ~1..-i- t>-. .. t>-. .. . . .
1
\ @) ~ 1.....1 ~ 1.....1 l... ._ V
:::::=- eresc.
/1\ 1 ~~~.
. >~~~ ~ .. . . >...........
..~~ ~ '~ _,_ . .. 195
~
-"
1 @) - - fp::=-
T
¡,..¡
u
1
1
1
>__.
~~-
..
. . >..-....... .:. .:. >~ . . >~ . .
~1'. ~~~ q~
1
1 - - 1
1 '
fp::::::=- f
2. In a number of his works Scriabin used the chord found at the end of the first measure.
Label the chords. 1110\ 1.. ~~q.
• >,.......
. ..;,
'
~
>
~ ............. ~ ~
>
................. ~-P-~ ¡., o . .. :
• Scriabin, Tragic Poem, Op. 34
- - fp::::::=- f
1 fl 1 IL !iL !iL L
- - - ~ ~
) 1\ 1 ..:...:._-....
"~·-'
.:..:._-..... 1,~~ · '
200
\) @.)
- ._:1 • • • • • .
mf,~ - @) 1 ""'-! -·
o......J ""'-! o.......J -6"""'-1 1
!IL ~~~ ~~
.-........
( !2 1- 1- 1-rq:= := pp
~ .. ~ 1• • • 1 -e- ho -e- o
fp:::::=-
-
\
;:: -....... - -
-- --
~
..
pp
/- . ~~~ ~~~ / - . ~~~---......._ 1
f;~
/
\ 1
1 1 1
fp:::::=- -
)
238 Tonal Harmony
4. This example begins in A and modulates. Label the chords.
• Schumann, "Novellette," Op. 21, No. 7 (simplified texture)
fl ~ H105 1_...----- J.
.. . J d.. _J _¡
...
1
J.
..
1 1 110j U. u.
1 . . p•
.. .
@)
) '11'
1 1 1
)
.. 11
. .
1 1 1
.
1
\ . (;¿10 (;¿~•
5. Label the chords.
•
EXERCISE 25-1
Beethoven, Violín Sonata Op. 23, ID
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 justan enharmonically equivalent key (like gjl and aJ,). Num-
fl 130_ -& - ..0..
""'
135-& .p..
• ber 1 is supplied as an example.
@) erese. p ( ) 1 2 3
''11 -lE ll&'' Ug· llüu R

1
1
fl
@)
/ ........
eresc.
~ o ~
p
'&
F: r¡Fm!
1
=Jt: (jer+ 6 a·
o· D:
11
) fl
1
4 5
., kR
\@) ...___ ~
llU .,~
V
~
-...... ll*n"fJ¡"
'&"
Bk F#:
11
B. 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 modu-
lation. Do not try to analyze these passages without hearing them.
'1' 1
1 fl 1
.. if"r
~ ~
'1
~~
~
\ @)
t l~.,f
<
.. J k j h'"'
,!i
'1 ) ~
239
2 D. Compase short passages similar to those in Part B. The given chord is to serve as the
.
1 f\ 1 1 1 1 1
{
' ) comrnon chord in an enharmonic modulation. (Hint: As you sketch out your progres-
sion, notate the given chord first. Then find satisfactory ways to lead into and away
\) @.) r.
..J r f r 1 1 x¡ ~r· ~~ -u
from that chord.)
_J _d_ ,J~ - ,,J ~ J 1. G to B. Common chord: y7¡rv in G.

( .. L.L
~
\
1 1 1 1 1'1'~
1 1
3
1 f\ 1 1 1 1 1 1 1
t @,)
t f
11
r 1 vr
' ..
1 1
) ...»
_ J-.. d ,J bd hJ lJ 2. b to B~. Comrnon chord: vü0 7/iv in b .
t
\
1 1
C. Analyze the progressions implied by these soprano and bass lines and fill in the inner
voices. Analyze enharmonic comrnon chords where indicated.
Use two different chords on the last beat of m. 2 and the first beat of m. 3 in Exercise l.
1 )
1 f\ ~ 1 1
~ @,)
1
'!'! ., ., ., q• 1 'U'
3. B b to E. Common chord: vii0 ~ in B h.
_d_
f\
..
1
1 1
1 1 1
b: V
2
. f\ 4. E to F. Comrnon chord: Ger+6 in E .
1
\
)
@.)
r
t
.. J
\
1 1 1 1 1 '~'~1 1 1 1
11 1 1 !7-9-
C:
( )
242 Tonal Harmony
E. Analysis. Be sure to play as much as you can of each excerpt.

2. This excerpt begins in g minar. Label all the chords.
•
te )
1. This passage modulates from f# minar to Ab majar by way of E majar. The bass notes ~·
are found above the "Ped." markings-the other notes in the bass clef are arpeggiations Beethoven, Sonata Op. 13, I
into inner voices. Label all the chords, including common chords for both modulations.
• Chopin, Noctume Op. 27, No. 1
1 1\ 1 17\ L
Allegro molto e con brio
1 . L • .. #f=== !:
--
,
t @.)
1~
decresc. pp
..,
p
. . .
eresc.
1
f
t
~
1\ ~ l±
o
~r 00
~ ~ ~
1- •
*-
45 o
.-=t •
--
f=-oo
1 00 00
o
o \
]::;!: ::;!: -, ... ... ... ... ... ... ... ... ...
\ ._¡
sf~~
appassionato
J
)
-~
ff
ol í 1 "ifJ E )
. .
o
'(_
f o
o
o o
3. This excerpt is from the end of the exposition and the beginning of the develop-
\
~~
]1 •
¡_..,...- ~:::::; ~ "'"': ment of a movement in sonata form (review pp. 332-334). The final cadence of
#t... o
~ the last B theme is shown in the first few measures of the excerpt (in Eb major).
~- * ~-
*
The music then leads to a modulation to C minor in the first ending and to A
minar 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 enharmonical1y?)
• Brahms, Quartet, Op. 51, No. 1, I
), 73 ......... ..-----;--
"'
_1'1_ -'-
-.¡,_j ~ =- '-= =-
~- ~- "' ~
U•
1~
p
fi_:
=--'
~ .. [Jt=
V'-----' ==- pizz.

-....___..../
:
\ p
.... - ;::::;!...-
{ )
*~· * ~-
*
.1
4. The next excerpt is quite challenging. Label both chords and NCTs. You might find it
,) ~9 1 1. 11 2. ...-----: ¡¡ b.9.· ~l.,..~-....
{ helpful to label the chords with pop symbols befare assigning roman numerals.
----.:::: V
: -
~ p
• Haydn, Quartet Op. 76, No. 6, II
:
-
"' u: ~-e:.· ~- btf: ~&·
~p
==-- ~
.
31
: : : /1\ ./1 ............ /
~
art:O pizz.
p ____,..__
..........__,
'\
:
-· .. ':::d!,!
:
pl1 ~·
@.)
p
1 1 ¡,.,..;¡il 1 1 1
~~~·~~
84
~?~'!?~., ~~ .P.' ;--.._
-......
~ .... ~ti~
1\
. . . __.,
"' p
fl
- 1"""'1 ,....,
- 1""'-1,....,_ - cresc. @.) . 1_
p·
--- f-.- -........:
"'~ ~Jo-"
......... ..~
¡¡¿-~ ~ - .--- ..Y-
-~. .... ~ -G:~-
...... ...... '"'-1
~~-~
~
- /-........,
- 1 ~
.
p
=-- =-- --- _;:<.
cresc. _____,...----._. p 1 .1 1 1
:
-e
p
~· U• -e· -e· ~·
cresc.
.. !, ..~.. ~ . ........ ........
. -
) jO ~ ¡,.,... ~ ~ ~ ¡¡;, . \ T 1
--
: p
"' _......----.... r 1 }.
"'
"' .--- ...... ...... lb~
-- f
f )
/1\ 35~
.
/"i"' 1 ~1
. ~- 1
@) 1 - 1 ~ ~ 1
: 3 1
U• -*"lf n
pp pocof
f 1\ 1
. TI
. .
@)pp ~ ~ T l'T
¡tt• .....
~
pocof
- - -
--
1 ~ 1 1
. .
1 1 1 /lf l 1 1
pp pocof
.. ~
.---- t---.
. .
\ 1 1 1
pp pocof
,¡
'!
1
1
( !¡ )
246 Tonal H armony Student Workbook Chapter 25 247
5. This dance modulates from D~ toA and back again. Although both modulations involve F. Use mm. 31 to 34 of PartE, number 4, as the first phrase of an eight-measure paral-
enharmonicism, only one of them is a true enharmonic modulation-the other uses ) lel period. The second phrase should include an enharmonic modulation to a foreign
enharmonic spellings for convenience. key.
a. Label all the chords, including two common-chord modulations.

b. Label the enharmonic modulation.
c. N ame the form of this piece.
• Schubert, Originaltlinze, Op. 9 (D. 365), No. 14
1 1\ 1 1 J. 1 1 J .J_ nJ bJ 1
o
5
J.
1 '1 1 T 1 1 1 1
,~ 1 1
~
o
o
p
l 1: l -= 1 ... ... 1= 1= 1: ~
\
1 1 1
1\ 1 1 1 J 1 1 1 J. 10 1 1 J
t ..., J i _./
-
1 1 1
1 r --.....:. 1
J 1: l 11L !IL ~
1: 1: ~ ~
t
..
o
\
o
)
1 1 1
1\ .J_ hJ bJ 1 J~l 1 1...-- .......... 1

151
1 1 1
,
1 1 o
1 ..., 1 1 1 1 1 1 1 1 1 1 1 1 1 _.,r r T
~ o
1 ~ ~ 1=1= l 1: ~~q 1= 1= IL~--- f/l..
'
o
\
1 1
q+
111 ~ J. ~J !1 J b-J b.J_ 1 1 1

20
1
o
o
~ -,
o
~ 1 T 1
~
1 ~~~
mf~~#~ 1: ~~# 1: ~ ~~q 1= 1= ~L.q 1= =1=
o 1
t o o
o
·1
-¡ -¡
1 1
l,,
112. ¡
~J. bJ 1
lt. 1
1\ 1 h ,.Jo J .J_ 1 1
,
1 ...,
~
1 1
o
o
1
( )
•
/¡
~~
~t.q=l=
,/
~
1
1 o
o
1= L~-= -= ~ ~ :f±
o
o
\
-¡
-~<
'" . .'-
248 Tonal Harmony
. <~}zl';L:•-e::. ,_
.'
C::Z0f\
t<':cl
G. Compase the beginning of a song with piano accompaniment, using a text of your
choice. Include two enharrnonic modulations, one of them using a Ger+ 6 chord, the
other a diminished seventh chord.
FU¡RJiiiER ELEMENTS OF
THE~ARMONIC VOCABULARY
EXERCISE 26-1
A. In each fragment below, analyze the given chord. Then notate the specified chord in
such a way that it leads smoothly into the given chord with acceptable voice leading.
Sorne of the problems use a five-part texture for simpler voice leading.
1 2 3 4
)
.1
D: rvM9 b: y7subs. A: y+7

6th
5 6 7 8
1\
1
: F#: Bk v+6rrv E: g: 'yb9
1
1
( .i
)
1
249
B. Compase four short passages for piano, each one making use of a different progres- C. Analysis. Throughout this section highlight (using arrows or whatever is convenient)
sion from PartA. The half-note durations do not need to be retained, but use the same ~ ) any occurrences of the chords discussed in this chapter.
~.
voice leading.
1. Label chords and NCTs.
• Schumann, Humoresque, Op. 20
Einfach J = 80
~-
2. This excerpt features one of the chords discussed in the chapter. The last chord in
m. 8 should be analyzed as a secondary function. What is the form of the excerpt?
• Chopin, Nocturne, Op. 32, No. 2
(
sempre piano e legato
*~-
( '
i. )
~-*~· *~- * ~- * ~- *
252 Tonal Harmony
3. a. Analyze this excerpt in f minor throughout. One of the chords is best analyzed as a 4. 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
chord with an added 6th.
clef). Music for barbershop quartet frequently uses ct 07 chords, and you will find sorne
b. Put parentheses around NCTs and be prepared to discuss them. in this excerpt, including one that embellishes a secondary dorninant. Label all chords
c. Diagram the phrase structure and label the form. Assume four-measure phrases. and NCTs, analyzing in Al. throughout.
Ayer (arr. by Campbell), "Oh! You Beautiful Doll"

• Chopin, Mazurka, Op. 63, No. 2
~
5 Oh oh oh'
1\ '
Lento
r::::::: - . -~
) 1\ ' 29 1 1 1 30 r 1 ~
1
,--
-
1
. 1 1
\) ._¡
p
...... 1 ¡..;-
-
I'""'J/fl_
~ r'-""r 1 - 1 1 1 1
t .. q=== ===
1 1 ~ -.- 1 q=== === ==--= 1-1- ~
.
-
~
Oh!
Oh,
J
oh, oh!
J J
yo u beau - ti - fui
y¡:-r;,)
doll,_ yo u
J
great
J
big beau - ti - fui doll!_
,--
'.S:W. * '.S:W. *
•
'.S:W. * '.S:W. * '.S:W.
.. 1 1 lrL\ 1 J ..1 J J"'""
'.S:W.
* * 1 T 1
1 1 1 1 J -1 1
~ ~r-1
1 1\ '
1 1
.===- ...,.¡_ ,) 1\ 1 ~1 ,,1~1 1 1 J ..J. ~ 1 1
\ ._¡ '1 4 1 .J._.~ 7T
~
.
~ r
1 11 V
.._ 1 lq~ ~ 1 :: .. 1 1
1
( .. ,~ q=== === q=== ===

{ )
Let me put my arms a - bout yo u,
~ ~
.. ~ .J7'111l l. ~ J
. 1
'.S:W. * '.S:W.
*
'.S:W. * '.S:W.
*
'.S:W.
* \ .... 1_..-'"' 1 1 11 1 1 1
r' 1 1
1\ 1 ~ 15 1 1 ,.......¡
' • L 1
Oh, oh, ohl
-, )1\ 11 35
1 J 1 1 1 1 1 1 1 ,,. 1 1 1
._¡ J¿_ - 1
TI
b~h~ q~b.$ ~ r~r

1
J l 1 V
.. -t-!- 1 1 1
1
1 == I could, nev - er live without you. Oh! yo u
--. ~ • I could nev - er

01'
oh, ohl
J.
.. 1 ~ J J J
* '.S:W. * '.S:W. * '.S:W. * '.S:W. * 1 1
. L. 1 1
I~L 1 L ..J
1 V 1 1 T 1 1
1
could nev - er
© Rob Campbell, 1987.
i.
!
,¡
( !
1¡
\
)
' '
5. Harmonic sequences occupy most of this excerpt. Find the two sequences and bracket '.· 6. This familiar excerpt is easier to listen to than to analyze. The transpositions do not
each occurrence of the sequential pattems. lf it is possible to do so, label the chords in i make the analysis any easier-clarinets in A and homs in F-nor do the four clefs in
the sequences with roman numerals, perhaps in terms of shifting tonalities. Discuss use. Do your best with the score (after all, conductors face this sort of problem every
briefly the large-scale harmonic/melodic function of each sequence. In other words, just day), then check your work with the piano reduction that follows the excerpt.
what does each sequence accomplish harmonically and melodically?
• Tchaikovsky, Symphony No. 6, Op. 74, I
• Schumann, "Die Lowenbraut," Op. 31, No. 1
)1\ A n d an te (J = 69) o
-
.. .
Ciar. I
73
1 > in A
1\ '
. q-u'-- / ......
@) -
mp~
•• ••• T 1 r r
@.)
1\ mp::::= pp
Die un - se-Ji- ge wagt's sich der Thü-re zu nah'n, da fállt er ver wan- delt die Her-rin an, die
Ciar. II
1
in A
1 1\ ' @)
1 ~~~ > =d'-'

@.)
> > ~ ~ ~ >
>
.. mp:::::::=--
Bsn.
mf ..t: ~~ /1:' r
~ .. . . . 1 1\
. 1
. pp-== ~p -::=-pp mp:::::::=--
::11"1
~ ,- ·q:! q-::~· ~ ::~
'1-
q=i
1:> lJ -
~::¡ 1\
= i=i > ~
1\ 1 75 1
::¡
.
>
.
1
. ' . . Hn.
inF
@)
~-==~~=== R~
pp
.. . ........~ :~~ c..
mp:::::::=--
r r
1\
@.) 1 r ~ T r 1
r "
1 1
scho-ne Ge - stalt, ein grass-li-cher Raub, liegt blu-tig zer - ris-sen ent - stellt in dem Staub. )
@)
=6 ::¡ ::¡
11=6
::¡ ::6 =6
1\ '~9- 1hn ~ - ~Q ª" 1 ~ í& r..f9- J.Hé pp-== mp -::=-pp '-' #=?;
mp:::::::=--
,
1
con sordini
1 @.) teneramente, malta callfabi/e, can espansiane
~~
n
1\ u '
-. 1
----- . l
{#'~::
1
~
\
.. L=l=::
.........
~::::::;
l ..
tHJ':s:::
1~=
t::¡
f.::J:::..
~~
fhf.a-::.. ( 'iJ:t::
=i q-= @./
....
., . . . . . .
:
#::¡
rq:s:::
=-••
q-. 111
Vl. I
@)
1\~
p - ::::=L - ~1
===-
VI. II
p 1 @)
1\ 1
.
f.)
.. > • Vla.
tl
Und wie er ver-gas - sen das theu - re Blut,

sf. ~sf
1 m sf
-
con sordini teneramente, malta cantabi/e, can espansiane
~
,11111
,
1 f.)
1~ ~
11
>
r--- /r >r f> 11
>
.
f '-'[J- ,.,. ~==
11~ Ve.
1110
V
.--..._ n
-~
-. r ___..
.~
~ 1
.
r
pp p ===- 1
===-
~$-. >
. J.
'
-6:-~ >..._
..
f ..
l
. . ~
D.B.
con sordini
111 111
T
111 1 1 r' ===e p r -'
1 1 1 1
> ( ) pp-== mp -::=-pp -====mp:::::::=--
L_-- 1
JI\
incal-ando
l
~
95 ritenuto
- mno re duc f10n
_---...__ ~
Ciar. 1
in A
1 1\ jJ.
90
.
1~ l .J 1 1 ~
. 1
--pp p
Ir
@.)
mf- 1
Ciar. 11
1\ l l
1
J
@.)
r l'P r P""l
""
r • ~i
in A
-- 1 .. ...... Ll ..... ......, ~
#~
@.)
__...,:il 7J ~
~ \
pp mf p-<mf p 1
Bsn.
..
pp-===::mf P -< fJnf ::::--=- P-== mf ===- P -==::::
1\ n jJ. 1..
Hn.
@.) ~ ......... 1 1
1 ~-6 c.. ~~ .........
inF pp-===::mf P-<lJ:f p-=:::: mf ::::::= 1- p--===
1\
@.) ::¡ ::¡ ::¡ G G

~-6 Tl=6
~ #?; ::¡ ::¡ ::¡ 7. The chord in m. 4 should be analyzed in two ways: the way in which we expect it to
pp-===::mf p-<mf p-=:::: mf ===- p -===:: resolve when we first hear it and the way it actually functions.
Vl. 1
1\JJ.
@.)
1\JJ.
1 ~.-
f
>...-,_ ;¡¡¡ ........ >.....--..__
mf--=::. f
_--.,
==- ~1
.
::::::=-
con sordini
l 1
-
• Schubert, Schwanengesang, "Kriegers Ahnung"
VI. 11
@.)
~:- V
con sordini
mf_ p
ll
Vi a.
___...... ,
/. ."-- ~~:__ /
Ve.
1110
mf'--
~;:;. . ...,...,.........
>.....--..__- >.....--,_ .--... ,...._,
mf_
-.
p
1 ~~ r 1
f mf--=::. f :::=- ::::::=- -
D.B.
..
1 1 1 '11'-
\
===- p1 -< mf ::::--=- p-== mf ===- p
1 1
pp-===::mf -==:::: ¡·. .
1
( )
··1
1
258 Tonal Hannony
9. Label with roman numerals the two chords in this excerpt that are the most important
8. This excerpt ends with an enharmonic modulation leading to a cadence that implies the
structurally. The other chords are simultaneities connecting the structural chords. Label
key of e, although it is not confrnned by the following phrase.
their roots. If any of these chords imply fleeting tonicizations, indicate this with roman
11 Schubert, String Quintet, I (piano reduction)
numerals. The chord in m. 2 could be heard as a g triad with raised and lowered 5th
(G-B¡,_D¡,_D#) because the EJ, ascends chromatically to E, as we would expect D# to do.
Find another chord in this passage that could be interpreted similarly.
1 1\
Allegro ma non troppo
~ "' 1 1 1
5
..
l 11 Wagner, Siegfried, Act I (piano-vocal score)
1
@.) . . . ,= ----~
T ·--..... ..,~ '-' t-•
. ~
1 f_
Heftig beschleunigend
)
1 ..
p
-& - ~'--a- -& :a. -&
p
,.....-6-"
f\jj 1 1 L.
Q)
\
Was frommt sei-ne he! - le Schnei - de,
fl¡,¡
> > 10
---.. 1-~
. t a:
,_ l
1\ 1 1
1
. . Q)
\) @.) 17
'-'
1 1
,._.
íl
bJ~
--....._/
P.P
p
'"''-
;u-
-==:::
freu'n.
., . ...,
•=~= .... . - . .
1\ ¡,¡
. .
P""
.. 1
.
,
-8- ~/'-
'
f t
\ Q)
f
• fp
~ 1~
) ~ .. 6.. . eresc.
... ~
15 1 - . > >
1 1\
"' ..
1
--¡;
~
~
Q)
f
~-:::::-- v~~
p
r 1
'---" q:J: ~=: f ¡· r·. 5
..
1
.. 11 ·n~ f::::-o ~/' -- ' ......
. . .
1\jj 1..
f
••
. Q)
1 r ' ist der Stahl nicht hart und fest?
fl¡,¡
1 1\
20 ~
.. . ~ 1"' ~ 1 ~··
..
,
o
Q)
\ QJ fH1...__/~ ....
P.P
"-6 •
cresc. r0r
.ff
1 1\ ¡,¡ 1
. ., .._
¡;J •
- r _¡¡-J. , ..h . .
l .. 1 1
.
P.P
. .. .
eresc.
.. .
.
1~1 ~'"loo
.. \ Q) ·-v 'V 1' V

L_
j
1 ~ :6· :¡ ~· ~
' l·
~
.. ll
- '
r"\
( )
·~.; __·.
'··
260 Tonal Harnzony
• 1
1O. In sorne ways this excerpt pushes traditional harmony toward its limits, especially
through its disregard for conventional resolutions of dissonance. 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 dissonance
treatment?
Part VI
Late Romanticism and the
Twentieth Century
• Grieg, "The Mountain Maid," Op. 67, No. 2
Chag;~et ~~). 27
fi_.::f '~1
1\ '
Allegretto tranquillo p
1 1 1 1
~~ 1'
TO~~[ HARMONY IN THE
1 o
o
@.) 1 r 1 ¡,...¡ 1 r
-:..-
,-......
She is slen-der and fair and young, With_ fea-tures so pure and pale;_ The_
LATE NIN ETEENTH CE NTU RY
1\ 1 1
1, @.)
=6 -6 c.. -6:._,.... ., -6 :._,....
p t9-" r---fr
1' .
. ..... ..... ,.,1"\_
V
(2. o 1
c.
EXERCISE 27-1
A. Examine the :first twenty-five measures of the opening of Tannhiiuse1; given below,
and do the following:
poco rit
1\ 1 1 1
. . )
1. The opening eight measures show rather traditional harmonic function. Analyze these
--
o measures, using roman numerals (do all work on the music).
@.) 1 r r • ~· 2. The following eight measures, which may also be analyzed with roman numerals, show
droop- ing lids of her eyes Their dream-y splen - dor veil._
less traditional harmonic movement. Cite at least three instances in which this is true
(show measure number).
l'J L r ~
1 a. ---------------~--------------------------------------------
}
<
@.) ..c.
=6 h~ ~# ~~
qv~
q~ ~qr
• q~ ~
¡e:;'-"..
b. -------------------------------------------------------
c. --------------------------------------------------------------
1 ===- poco rit.
::::::=- 3. Analyze the sequence that begins at m. 17 and continues through m. 21.
~ ..
..= h=i
\
e:; ...::::::
e:; ::¡ -e-- ~
- ::::::; ~ - m.17 m. 18 m.19 m. 20 m. 21
h~ ~ '-"....
-u-- _...
·~ Use pop symbols, roman numerals, or a mixture of both, whichever seems appropriate.
Circle those chords-tlfat are most strongly tonicized. How is such tonicization accom-
plished?
¡'
• Wagner, Tannhiiuse1; Prelude to Act I (piano reduction)
Andante maestoso
( )
1,
!¡
261
. ;
B. Analyze the following chromatic sequences, then continue each as indicated.

E
~.
11
11
Select one of the above sequence patterns to serve as the basis for a piano composi-
tion. You might want to create a ínelody over the background of block chords or per-
haps modify the texture of the harmonies themselves. Nonessential or embellishing
chords may be inserted within the sequence for the purpose of color.
C. Continue the following sequences as indicated. Then select one to serve as the har-
monic basis for a piano or vocal composition in the style of one of the post-Romantic ·
composers studied. Strive for contrapunta! interest and smooth voice leading.
1
1 1\ 1 1 1
{ 1
r r-
~~~ Lb~
) @) T 1
)
.. j 1 b~ I~J
1
\
1 1\ J.l. l± 1 ¡.. ,.j
.
-¡¡¡
1 1
.
1
.
~
25 '
t, .• 2
@) -1 1 ¡e;.. 1 1
• ri1r ~ r • 1 fl
J
.. 11 6.. l 1 J.l
..
1 ~
- - n
~. r ·r ~r ~~,,r r ~r
~
., . ~· ..... 1 ¡'
@)
:J tJ d ~J ~.J .J j
\
. 1 1
1 1
3
1
1 1\
1 ~
TI
@)
1
! '. ) i
:) .
1
.. 1
\
1
( )
264
D. Examine the following excerpt.

1. The opening key is designated as E majar. What is interesting about the structure of the
scale that forms the basis for mm. 2 and 3? _ _ _ _ _ _ _ _ _ _ _ _ _ __
¡;;·
~
)
•
1\ ~ H
Wolf, "Die ihr schwebet um diese Palmen"
z·ICffiiC
r hb eweg 1e1se
.
l
.
@.)· r 1 r
Die ihr schwe - bet
2. Provide roman numeral analysis for m. 2. _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ 1\ ~ l±.

In what way does the music in mm. 10 to 11 suggest more traditional treatment of tonality?
1 ..._ _....
~
/ /
1@..)
.. pp
~ b~ q~-~
3. Describe the modulatory procedure that takes place in mm. 12 to 13. _ _ _ _ __ '
t
t1
•
p
1\ ~ l±.
4. · Name the key introduced in m. 14. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ @..) r r r 1 1 1
1 1
What is its relationship to the opening key? _ _ _ _ _ _ _ _ _ _ _ _ _ __ .um die - se Pal - m en in Nacht und
5. Name two other keys hinted at between mm. 1 and 14. _ _ _ _ _ _ _ _ _ __ () ~ H ~

and _ _ _ _ _ _ _ _ These keys represent what relationship to each other and to t @..) _::/' ~
J
the opening key? - - - - - - - - - - - - - - - - - - - - - - - -
j
1
.. t1 ~ • b~ q~ ~ ~- . ~~ X~
---.....
\
1\ ~ H5 .
@..) Wind, ihr heil' - gen
¡
' 1\ ~ H ~-
....._ _....
\ @..)
.. Jl ~ :¡!::~ ~ ~l±. X~ ~ ~ :¡!::~

t
1
.. -
1\ ~ H. ~ n
@.)
~el!
1
En - gel, stil - Jet die Wip -
1\ ~ H ~- ~-~- ~ h
, 1 @..)
--..
:¡!::~ X~ ~#~ :¡!::
{ ) ' ..
1
\
ll -H. X~ ~ ~ -H. l
. 1
;
1
10 E.
Ai.
1. Is there a clear tonal center in the opening five bars of the following excerpt? If so, what
~
is it and how is it defined?_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
2. Using pop symbo1s, name the two sonorities found in mm. 6 and 7 ._ _ _ _ _ __
and In what way cou1d these chords be said to suggest functiona1
harmony in the key of D majar, which ultimate1y concludes the excerpt, as well as
the piece? - - - - - - - - - - - - - - - - - - - - - - - - - -
3. What roman numera1s are used in mm. 9 to 12 to prepare the cadence in D majar?
m.9 m. lO m. 11 m. 12
• Wolf, "Verschwiegene Liebe"
Sanfte Bewegung und immer sehr zart
1\ ~ f ll
1\ 1
~ .:¡=.:¡=:¡=~:¡=:¡= .. .. ,.. t-
@) Ihr Pal - men
( ) -
.. - ~IL,l ~IL
-
'
@)
,IJ ~. • • • ú
~ ~ pp
--------. /- ~ ~
1 1\ p/ ~¡
.
..
1 1 l
\ @)
f mf f
1 . . .
<
/ 1\
1
:
@.) ~ í~
. .. . ... ('-
r· ·~·
\@)
~
~-
i ffO =i "1111 ...
.. 1\
ausdrucksvollzmd weich
leise
1
. . 1
.
~~~
15
-¡)
Ü- ber
1
Wip -
1
fe!
r-
und Saa -
...
ten
@.)
~
von Beth
~._
- le - he m im
-
M--
~ q+= =l= ¡;k ~ ~f:
~-
f:f=
1\ ~ ~ - - 1\ 1 .-f-.--~ f-
~ @) t @)
f p 1
pp
.. 1 1\ p / --¡- ~ r
..
1 :
1
. . .. .
' =i 111 ... • -
"1111
"111 .... • \@.)
"1::¡ • ::¡· 1'·~·
('-
r~·
( )
• 1
fl 1, ~
.- 1 L ,U
. . 1
1
fl ~ . _l
. . ~
'
.
1
..., 1 1 r' 1 1 ...,

.
in den Glanz_hin-ein, wer mag si e er - ra - ten, wer
dan - ken sind freí. Er-
1 11 '
~l l. ~ 'H.- . •
,_ 1--_ 1 11Jl .....---. ~ ~ ~ ~ ~ 1
\ ...,
p
L J 1.....1....
1
J
...,
q-¡~·
p mf f
...
• -=:: • - ~
1 fl ~' ....._.
Jlb
1
\@.)
1
t-
.
.
1
.
L ,U
ft • • • ~-~
1
'
t .. l
.
.
.
.-
.
r _b_
'
~~· \
1 .....__..,
-~~~~""il lll!)p
~ C::•
n. .,
fl ~
. . .
..., - 1
---
1
hol - te sie e in? Ge -
1 fl .u e IIL • ~ IIL ~ H. rl# ~ •

-.......
!:
1 1
\ @.)
< pp rit.
1 fl ~ 1
:
\ ...,
+t • ..._____• • ~- • • ... ...../ .
• 1
------------------~
1\.U
a tempo
1 ~
p 10
1
pp
.
..., 1 __. r
. r
---·
dan
a tempo
- ken sich wie - gen, die Nacht ist ver-schwie - gen, Ge-
_Ó_~ -~ ~- ~-
t ...,
#:¡ ... ·:¡[ ...... ... ... q::¡ . ::¡ • ::¡ • ~""il • 111 •
p pji
~ ' .. 1 r-~ ¡-¡- r-~
• • • • . . "-"" · .....
• • '-"'
( )
1.
F. The first ten measures of Reverie may be analyzed with traditional roman numerals G.
(if you watch out for enharmonic respellings). Do so, then comment on reasons for
the rather contemporary sound of the piece.
J 1. The following excerpt begins and ends in E majar. What is unusual about the manner in
which the key is established in mm. 10 to 13?_ _ _ _ _ _ _ _ _ _ _ _ _ __
• Payne, Reverie
Languidly 5
1 1\
2. Label on the music the harmonies found in mm. 14 to 22. Use pop symbols 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 majar harmony unusual? _ _ _ _ __

r·
conPedale
r· r· r·
5. By what means does Fauré make it convincing, nonetheless?
10
1 1\ ,......_ !!'loo.. - 1 1
.
~ @.)
#?l ~ e::::=-' "-.-/ -
1
~
(
\
..
~
') -6
-=::mp
') n=:~ ') l. . /""'\. ') h~ ') h~ • Fauré, "Chanson d' Amour," Op. 27, No. 1 (mm. 10-22)
1\ ~ ~.
r· r· r· r· r· 10
~
@.)
- ront.
© Dorothy Payne
1
1
1\ ~ li
._¡
ate1~
- :+ ......
'
- ~
'r7 • ...
~
- ~
.... \9- • ...

lrr~•
.......
l ::::::=- ¡.... \9-- 111 ¡.... lfr
·\marñ
> >
1 .. 11 \ r-1
p
1\~~
.
15
> i
@.) 1
J'ai -
1
me
r
ta
1
voix,
1 r
j'ai - mel'é- tran- ge
"1
gra -
~-ce .. ~~---
de tout ce que
1
tu
1\ ~ ~.
1 ._¡
.
=±7
~=*~..
p ~. 1JI
"1 ..
1 ~ ~ q~
)
( ) j .. 1! 1
\
·1 1
q-u ~c..- '1
11 ~ ~
'poco a poco e,) cresc. 1
H.
1. In the Siegfried excerpt, analyze one essential harmony for each of the first eleven
@.) 1 1
. measures of the excerpt.
dis, o ma re-belle, 6 - mon- cher an - ge,
1 fl ¡.¡ l±
__......., m. 1 m. 2 m. 3 m. 4 m. 5 m. 6 m. 7 m. 8 m. 9 m. 1O m. 11
2. N ame at least three keys eincluding the frrst one) that are established throughout the
1 course of this excerpt. Show the measure numbers.
... ...
q~
=±7~ =l:~q
)
@.)
D t..:/ tV t.J #U
cresc.
J
1
.. 1! 1 1
3. Show two instances in which modulation is e:ffected by deceptive resolution, either of
\
chords or of single pitches. Describe the process that takes place.
íl
1T
11 ~ ~ - e,) 1
e,)P
• Wagner, Siegfried (Act m, Scene 3)
@.)
~· 1 r 1
Mon en - fer et mon pa-ra - dis! J'ai - me tes yeux BRÜNNHILDE
1 fl ¡.¡ l± ~
1
-TJY -+ .......
t.:J ~
~--
~ ~
@.)
)
mf XC/' p
)
.. 1! e'{_ )
1
\
1
q-d #-d 4
11 ~ 5 1
.
@.)
. r 1 r 1 1 1
---- l,ooooo
e - wig in--·-süss seh - nen-der Won-ne do eh e -
~~~ ~ r-Fir"""'1 . r-,

.
1 1 1
. 1 ---------
~
f: '--"1
'-" ~'-...../
@) 1
1
-
~
1
.. 1~ 1 ] J :
1 -
1 r 1....,.
-~ .---::: r----
.........
\
1 1 1
1
f
)
274 Tonal Harmony
(feurig, doch zart)

1\ ,¡,¡ 10
1
- 1 .,~· 1 1
I.
1. What is un usual about the treatment of tonality in the opening four measures of the
@)
wig zu dei- nem Heil! o k·1eg 1
- fried, Herr -
1
li - cher! Franck prelude? _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
~~~
1
1
1\
-¡y
.~.~~,
'V
lflp-<
----- p
1
1
1 11
1 ....___.....
Fi
2. Describe the nontraditional treatment of the dominant seventh sonority in mm. 5 to 9 of
n
::;::::.- poco.!f., --::;:::==;
)
.. ~ ~ ~~ q1: ~~ ~b~. ~~ ilieexce~t. - - - - - - - - - - - - - - - - - - - - - - - - -
l
\
..::;;1 sf
1\ ,¡,¡ 151 / - . 1
"""' 3. In what way is the musical style significantly influenced by the treatment of nonhar-
@)
Hort
1
der J.,elt! ¿ -
1 1
ben der
monic material? Consider both single tones and vertical sonorities. _ _ _ _ _ __
1 1\ ,¡,¡ 1 1
.
1 l 1 1...--- 1 1
.
t -¡;-
' ..
)
_ _lií
~,J.
¡---
~1
-- ~1
~
~
r ~t r s}
~~ q1:
lp
~~ 11 Franck, Prelude, Aria, and Finale for Piano (Prelude)
-
1
Allegro moderato e maestoso
\
r
... ....
1
sf 1\ ,¡,¡ ~ ~
.
.
1
1\ ,¡,¡ ~~~ ~-~
•
1~
20
-
)1
l
@.) "'il -a • 41. q~
~ ::i -i -t .....
mp
)
... ...
@)
Er -
1
de,
1
la
¡,..,..~
-
r
chen-der
r 1
Held!_
r 1
Lass',
1
ach, 1 .. IL ,¡,¡ 1 ~
1 1\ ,¡,¡ ~ 1 ~
.
1 ' F::; ,......,1 r1~1 1
- 1
1 1 -¡ 1 1
TI
~r 11 r 11
\ @) 1 r 1 1
s}
) ~b~-1- ~~ J-- :tJ nb..J ~1 ~ ~;
f ..
\
1\ ~
- ,...-..... -~'1~
sf~
1
~----¡ 3
@.)
lass'! Las - se
1
von
1illlf.
. ,_ _
r 1
Na
r r r
he mir nicht _ mit der
1\ ,¡,¡ ,... 1 r--,~, 1

_.J_
1 --------
1 @.) 1 1 1
'--l!r'-"C' r 11-GJ 1 1
1
.. >-fj 1
J- 1
1
-..::::: - -F :...-- - P.J eresc.

1
1 1 1 1 1 l....___ 1 1 _....1 ( )
sf
276
J. 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.
1 fl ¡,¡ ~. --=
. m. 25 m. 26 m. 27 m. 28 m. 29
1
)
@.) ""il -i • ""il • q:¡ -
""il ::1 -t 4. Within the passage shown above, locate and describe at least three examples of deceptive
resolution that serve to make the chord succession convincing.
)
t .. LL ¡.¡ • 1 1
a. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
\
1
1
1
t r b. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
c. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
• Strauss, Barcarolle, Op. 17, No. 6
-) -o¡ p a tempo
fl ¡.¡ -
1 l l l l l
•
. .
._¡ 1 r r
1 1\ ¡.¡
Schon
J~.
. . 11~;.--
.. .
auf dem Fe! -
--
sen durch's Grün
.
der Pla - ta
:J.
- ne
---...
11~
. .
,
t @.) '1
p atempa
1 ... 1 ~1 \
.
\ -
.........__.,
t .. ~ §\.~. ~- ~. ~~
\
-
1..1
-= - ....
-
¡,.
--- - - -
)
(j
278 Tonal Harmony
1\ ~
o
_.. - o
1
._¡ r
ge-~e
1
seh' ich das saü - len-ge - tra - Dach,
,ll~-~~ q.b~ q~
o -
o o
o
~-c;-r"
¡"~'
\f:l
j'~l
1 :r--T
AN~W7rRODUCTION TO
._¡ T~
1 -l /1 '--..!.. /
) ~~ ~L ?~!!~ -~
f
\
o
o
.. TWENTIETH-CENTURY MUSIC
flirn- rnem-de Licht _ _ arn Al - ta - ne
EXERCISE 28-1
A. Add the appropriate accidentals to create the modal scale indicated:
C-Mixolydian C-Dorian
'~
a 11 a 11
~. ~. a •• a 11
11& -e- a 11 a 11
11
IT
1\ ~ 1
poco ca1an do
o
1 * 1
o * { ) u u
._¡ r -1 C-Phrygian C-Lydian

kün - det mir, dass die Ge - lieb noch
-q~q~,~
'~
te
¡=:...:¡,.- a 11
•• a 11
1\ ~ 1--
u a •• a 11
11& -e- u a •• a 11
'( ._¡
--¡;; o
o
Q ._._o
"lc;,IO
~
l..-o
. --- 1
o
o
·q1 ....
1 1
- O+'
:
C-Aeolian C-Locrian
'~
o o
o
o
1 a 11 a 11
'1 ' - /1
~.
III!J
u a •• a 11
11& -e- u a •• a 11
11
*
1
30 a tempo
~~~ 1 1
o o
"._¡ wach.
v•
Flie -
1
ge, rnein
qif=~ ~ ~l.
-------------
a tempo
1 1\ ~ L. 1
7\ o
~~ o o o
) ._¡ 1 - o
-v• • o o-:::¡ o
o
1 b.-~ p~
!::~""T-., ~ T -.,
( o
o : o o
III!J r -___, ( )
ln1
~.
---------
*
279
B. Add the appropriate accidentals to create the modal scale indicated: D. Using a key signature (rather than appropriate accidentals), notate the following
) modal scales in the clef indicated.
D-Mixolydian B-Dorian
Ab-Ionian D-Locrian
o 11 o o
o •• 11& •• o ••
&u o •• "U -e- u o 11
11&
& 11
F-Phrygian G-Aeolian
o o o
o 11
o 11 o •• D-Phrygian A-Phrygian
o •• o 11
11& o ••
& •• 11
IIR IIIIR 11
E-Lydian G-Locrian
F#-Dorian F#-Aeolian
':
o o
o 11 o •• o 11 o ••
o •• 11& o 11
& o •• 11 11:>= 11
c. Answer the following questions about the diatonic modes:

E. N otate the following pentatonic scales and hybrid modes starting on the pitch indicated.
1. The three modes that are essentially majar in quality are the Be sure to include the octave-related pitch.
, and modes.
Major pentatonic Major pentatonic
2. The three modes that are essentially minar in quality are the
3.
, and
All the modes contain a perfect 5th from
modes.
l up to 5 except the m ode.
)& o 11& e 11
4. The two modes that contain a leading tone are the and
modes. Hirajoshi pentatonic Lydian/Mixolydian
5.
6.
The two modes that contain a minar second from
__________ modes.
The
1up to 2 are the ________ and
1-4 tetrachord in the Mixolydian mode matches that of the _ _ _ _ _ _ _ _ mode.

& o 11&- 11
7. Likewise, the opening tetrachords of the Aeolian and __________ m odes are the Lydian/Mixolydian Phrygian/Dorian
same.
8. The four modes that contain a majar 6th from 1up to 6 are the _ _ _ _ _ _ _ __ &&e 11& .. 11
__________ , and __________ modes.
9. The three modes that contain a minar 6th from 1up to 6 are the _ _ _ _ _ _ __
__________ , and __________ modes.
10. Name the interval from 1up to 4in the Ionian mode. _ _ _ _ _ _ _ __
11. N ame the interval from 1up to 4 in the Lydian mode. _ _ _ _ _ _ _ __
12. Name the interval from 4 up to 7 in thelonian mode. _ _ _ _ _ _ _ __
13. Name the interval from 4 up to 7in the Mixolydian mode. _ _ _ _ _ _ _ __
)
F. Notate the following synthetic scales starting on the pitch indicated. Be sure to include H. Identify the scale used in the following passages.
the octave-related pitch. { 1
Whole-tone Octatonic (half-whole)
IIE 2 .mur· )il Ji? r 11
11, 0 11
Whole-tone
,#0
Octatonic (half-whole)
11,#0 11 •
2
11
Allegretto
1"""'1 ~
,...., ,....,__ -""!!!
Half-step/minor third Octatonic (half-whole) 1 .._¡ ¡....¡ ¡¡....¡ looo..,j
11, u 11
t
.. ~ $ ~ ~ ~ $ ~ ~
• •
' 11
G. Add the appropriate accidentals (or delete the appropriate notes) to create the scale
indicated. Yo u may choose a starting pitch of B or m.
•
Mixolydian Major pentatonic
l.
'~
1
{ )
-e- u e •• e •• e
11, -u- -e- u e •• e 11 e
11
3
Lydian!Mixolydian Phrygian
'~ 11,
e •• e e 11 e
-e- u e •• -u- -e- u e •• 11
Whole-tone Locrian
'~ 11,
e •• e e •• e
-e- u e •• -u- -e- u e •• 11
( )
1
•
4
1\ 1 1 ~ ~ ~
J
L
mm.l-4
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 Noctumes (piano reduction)
Animato e deciso
~ @) 1 1 1 1 1\ 1 1
~~~~!:: ~~~~~ ~ ~~~~~ ~~~~~ ~
~ ..
;").,...-....__
\ @)
f
..........
>3
marcato
L__3___j > 3 ---- L__3___j >
liiiiiiiiliiiiiiii
~--
\
1
l .
..
\
~-
1\ 1 1
"""'"" """"""
""""""
~ @) 1 loo""" 1 loo""" 1
--.;;;;¡,
1
J
.. ~~ ~~ n. _,-
"'- .
\
5
~ )
*
scale: _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
v 1 r r tt r· ~
~ 1 J Jd J. J. 11
11
> r
1 1\ 1 1
>
~ .,._.,.... -- J.l·~ ~ ,.....,.... ,.... !-1
>
,_ ___ ,.... -- ¡J.·-- ~ ,.... ,.... ~ ,_
~ ........ .... ........
@)
.ff ---- ~......
1
\
.. .
1
r
q 1 q
r
) scale: _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
U sed by permission of Edward B. Marks Music Co.

J. Composition. Compase pieces according to the following specifications:

~ r-- ~
~ ~
1
mm. 29-32
1\ .1! ·~ ,... IL
- h: .... - ~
r--
r-- ~ r= !: ~ !: Using the majar pentatonic scale m-C-D-F-G-m as a basis, compase five brief
melodies, each of which in turn establishes the indicated tone as a tone center. (Hint
\~ D is tough. Why?)
<
t
.. 11
~.,...
•
/
f
•
J
lega/o
.. l"'i"' l - ,... . • • n:"'"J - l
-,L..-¡,...-
'1í
p - -
.....
il basso staccato - ~
.,
- - ....
11
1\ lJ. ~ • ----- ~ ~ h. --~ .

~ -¡y ·.__
. 11
-
V V
-
1
)
j ..
,, ,... ,... • .. l""i"'l ,... ,... • • r"'L'l
scale:
- ~
- -
'1r ....
-
1-
-
"1[ -·
....
3
& u 11
~ ) 4
&•• 11
& o 11
(/ J
. '
•
Create a melody based on the octatonic scale that emphasizes major and minor 3rds. Create a two-voice composition based on a whole-tone scale. You might want to create
Carefully use rhythmic interest to create an exciting melody.
•
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 .
6
7
12.
~
•
~ )
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 secunda! chords, and lead sheet
symbols for tertian sonorities and polychords.
1 2 3 4 5 6 7 8
fl 1 1 l 1'"' 1 .~-e- 1
@.) ~~)'-J
~ .~-ft-
..0..
~..o..
.. -e- ..0..
'"'
-e- -e- .~-e-
\
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
fl ~ ~
1
@.) ~ ft'-J" V~
.. ~ L ,o ~~Cq)-efl- -ft- -e- o l.~
) \
)
C. Describe the types of vertical sonorities found in the following examples as tertian,
polychord, quartal, quintal, or added-note. li:
1
•
1
f\ 1
Lento ~·l
.. 1
.. L.~
·~
1
1
1
3
f\ ~
@)
Allegro
f
>
1
• ¡q~ • >
.,.
qt >•
-
··q~
1
) @) r'
.....
1 • ~ ..... ~
J
.. ::;:-.
. > .. > .. :;;-..
.
>..... > .
.
1
1
p tranquillo
J .. r2- G- ...... 'n
1
\ ...._.....
f\ ~ 5 1 1
f\ 1
5 ,......,
. . ~ ¡.f
1
l
@.!
> q~ ~ qt ..... ;;:: ...
~ ..... ) >
.. .. :;:;..
.. ..
>
1
@)
~
1 1
p
1 .. ,.n. > >
.
f subito
\ •
J
.. .
~ ¡.f
t
.... . .. .........
.
--
•
11!!)
v• "i•- ~
•
2
1
1
4
f\
G rave
...
.. ~ .. lof-1~ 5#
. 9-"
.
....
@.)
1 f\ ~ 1 1
1 1 '~" r'
ff
\ @) >..::::::::::: V • • • - ........._ / ..... .--._/ -:¡J #=: )
1 .. {Lbl=: ~.- a- l b:s: &- =1= ~ '6 .. ---= r---. >-
-··. ...... ...., ..
p "---
~ mf 1
t \
.. -1- -t • -t (';)
,.---
• -
1 •
1\ ~
5
1
~ • -F ~ • • ~·
..JI
@.)
~ -,;- :1 ""iil
111
~ p
t .. / 1/
r.
\
__,~- • -éi
( )
D. Complete the following passages using chromatic planing, or strict parallelism. That E. Complete the following passages using diatonic planing. That is, use the given initial
is, use the given initial sonority to create a passage where all voices move in the same ) sonority to create a passage where all voices move in the same direction by the same
direction by the same interval. diatonic interval within the key signature indicated.
1 1
1 1\ 1 ~J hj 1 Hj hj 1 1
.1
1\ ¡,¡ ,...
- -(!T
• ,...
~ ~ ... ~ ~ 1
t
.. t
1\ ~
\
~ ~
2
. ~ J ¡.,_ 2
1 1\
. 1 l. 1- 1 1 1 1 1 _1
. 1 1\ 1 1 1 ""-" 1
\~
~
T t
1 ~
i
~
t .. . 1
• .. J
\
1
3
1
3
1 1\ 1 1 1
. ) 1 1\
..
1 1 1
. .
1
\~
~
• 11 "1 1
)
@..) -6"
-
t
.. - )
1 .. 1
..
1 \
4
1- L 4
1 1\ 1 1 1 1 1 1
~ ~ • - ¡'~-~~~~~~~
) ..... ~~\..~~~~~~~~~~~~~~~~~~~~
~
t
\
.. 1 ~
1 \
5
. 5
1 1\ 1 1 1
1 1\ 1 1 1 1 1 .
\~
~
]1 c..
~ ~ ~
• .. ~"
t
1
~ )
~ .. 1
F. Complete the following passages, using the triad type indicated for each hand. G. Analysis. Try to play or listen to the following example and answer the following
Continue the scoring suggested by the first polychord, using the given outer parts con- ) questions:
sistently as either roots, 3rds, or 5ths of the sonority. 1. Wbat technique is used to create form in this piano composition?
1 R.H. major, L.H. major
fl 1 1 J 11 1 ~ J 2. Notate the scale that forms the basis of the opening four measures:
t @)
t
.
o Does the piece have a tone center? _ _ _ _ _ _ If so, what is it? _ _ _ _ __
1 '1
¡,.._¡ If you do not perceive one, why? - - - - - - - - - - - - - - - - - - - -
1 1 1
3. Wbat are the distinguishing characteristics of the opening two measures? _ _ _ __
2 R.H. rninor, L.H. rninor

fl .. 1 ~ J. ~1 1 1 1 1 1 1
4. In what ways is the character of the opening maintained throughout the piece?
1 •
.
@) T
1
J ..
1 . 5. Wbat 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
1 1 '-"L!J 1 1 1 1 1 1
)
appears (other than in the bass line).
a. -~------------------~----------
b. - - - - - - - - - - - - - - - - - - - - - - - - - -
3 R.H. major, L.H. minor
c. -------------------- -------------------- ------------
~
1 fl 1 1 1
. ~ 1 1
.
1 1
~ @) ......
. •
.
1
\
o
1 1 1 V 1 1 '1
. V 1 1
4 R.H. major, L.H. rninor

fl 1 1 1 1 1 1 1
t @)
1
J
j ..
1
r 1
li: )
~
l
•1\
._¡
Payne, Arch
Andante 80
~--- • -,-
1
H. Composition. Devise completions for the following passages. Include both black and
1
white keys in your solution. Try to maintain stylistic consistency.
1\ 1 1 1 1 1 1 J 1 1
l -
~
.
T
pp molto legato
. /""" pp _,.... ~.6. ._¡
r
j
..
......, ~.6. 1 ......, -· 1 1 1 1 1
..
1
\
.......,¡ 1 """'"~ 1 1
~ n (T
-
- espressivo
1\
1 ._¡
1
1
1 ..
.,.... -....
-¡¡-. ~h.
10
b..... l.~ ...... .....
.;-;- ~--- .
1 1\ 1
.. ~--- ..............
t
J
._¡ 1
mf - -ff -
l...-
- - 2
#1-- )
~ 1. J J bJ6.1 J j ~~1. -J ·-.- 1\ 1
..
1
1 ..
\
t
)
._¡ !1 e;. •
-j ve..
""""--~
~
r
1 1
esp ressivo
)
1
\
..
1 1 1 1
marcato melody
1 1\
1
l @)
r>
r>
)
1 ..
\
1: )
~
r
>
3 EXERCISE 28-3
1\ 1 1
A. Which of the following rhythrnic procedures-added value, asymmetric meter, dis-
j placed accent, metric modulation, rnixed meter, or non-retrogradable rhythm-are
l
@.)
·~· illustrated by the following examples:
}
l .. 1 J =60
3
\
--- .......
--- ........ ~ ~
*iJ J J IJ J 1J J JJ1;Q J] 1J J J 11
1 1\
~-¡y 2
t .. ' ~ J J )J J 1J J ¡¡J J 1
*
3
J J J IJ J Jl J IJ JJ IJJ.J 11
&i~HJJJIRd J J lid JJJ lid~~ l«d ~ ~ ~ 1
&i J J J J IJ J J J IJ J J J1J J J J1
> > > >
'§J ¡¡J IBJ JliJ JlBIBJ JliJ Jl~ 1
.: )
~
1
B. Analysis. Comment on the rhythmic and metric devices employed in the following Stravinsky, "Danse de la foire," from Petrouchka (piano reduction)
excerpts.
•&& ~= =ffl11d
Stringendo ~- =J=46
2
74 75
> ,.¡,¡ >
1 1\ ~
~- ~.
'-' '-'
1 Maestoso
-
illd 1~ ffl~~d 1§
.._¡
=1e Q31g
/.h.
) 1\ -
~ -~ ~>
>>
f....____--
>> > ~
) .._¡ ..... ..........

>
,_,...-.. ... lW ... ..- W ..- ..- . ..... >
...-..
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1
.. ' .
~&§jJj
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ijll~jJj
~
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-
"111 ~e:...___....
- -
.
-
.... ~C:'-..
-
.
-"111 ~"111 ' - "
-
~-
psubito -
~&~km~~~)Fr~ 'ffili 8~ ~~ 8 ~~_wl§ 1 1\ ~ -~ - -- . >_

'-'
•
F=f.j tq: 1= t~ ~
@)
ff
1 1\
~&§~~~§~~1~$$:$:1$11
>> >> > >
1@) • • TI.
• • .... ........ >
.-,_,...-.. • •
..
-
\
. .
- - ........_..........
___.... - ~~
- ....
v"11-L >
U sed by permission of Edward B. Marks Music Co.
)
C. Composition. Compose a piece according to one of the following specifications: EXERCISE 28-4
1. Create a polyrhythmic composition for two percussionists. Use any two like non-pitched
percussion instruments (claves, cowbells, hand-claps, etc.). A. First no tate each pitch-class (pe) set on the staff provided (i.e., using staff notation).
Then determine each pe set's normal order and prime form. (Use the space indicated
2. Create a composition for any two instruments that features a passage based on on the staff as a workspace for your calculations.)
polymeter.
1 PC Set: (A,E,Eb) 2 PC Set: (D,A,F#)
3. Create a melody that utilizes two or more of the following rhythmic devices: added
STAFFNOTATION WORKSPACE
value, asymmetric meter, displaced accent, metric modulation, mixed meter, or non-
retrogradable rhythm.
11&
'
11
Normal order: [_,_,_] Normal order: [_,_,_]

Prime form: ( ___ ) Prime form: ( ___ )
3 PC Set: (C#,G#,D#) 4 PC Set: (D,E,A,G)
& ! 11& 11
Normal order: [_,_,_] Normal order: [_,_,_,_]

Primeform: ( ___ ) Primeform: ( ____ )
f ') 5 PC Set: (Bb,A,C,B) 6 PC Set: (G,F,Eb,D)
& 11& 11
Normal ordbr: [_,_,_,_] Normal order: [_,_,_,_]

Primeform: ( ____ ) Primeform: ( ____ )
)
306 Tonal Harmony
C. Analysis. from ritual to romance for solo piano by Reginald Bain, 1st movement,
B. For each of the following sonorities (trichords and tetrachords), provide the normal mm. 1-8, which follows, opens with an atonal passage. Try to play the example and
order, prime form, Forte name and interval class (ic) vector. then answer the following questions:
1 2 3 4 1. Determine the normal order of the initial four-note melodic gesture (C,C#,G,F#). To what
1\ ...., set class does this pe set belong?
1 @)
Normal order: [_,_,_,_] Belongs to set class: 4-_ ( _ _ _ _ )
'
J
1
.. ......
'
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 irnportant role in this introductory
passage. Determine this pitch-class set's normal order. To what set class does it belong?
Normal order: [_,_,_] [_,_,_] [_,_,_] [_,_,_,_]
Normal order: [_,_,_] Belongs to set class: 3-_ ( _ _ _ )
Forte name/Prime form:
3-_( _ _ _ ) 3-_( _ _ _ ) 4-_( _ _ _ _ ) 4. Find four instances of this set class in m. 6. Circle them on the score and mark them
3-_( _ _ _ )
with the appropriate Forte name.
IC Vector: - - - - - - ------ ------ ------ 5. Determine the normal order of the chord (B,E,m) in the right hand, m. 2. To what set
class does this pe set belong?
5 Normal order: [_,_,_] Belongs to set class: 3-_ ( _ _ _ )

6 7 8
1\ ....,
1
' 6. Find another instance of this set class in the right hand. Circle it on the score and mark it
~ @) 'UJ"
with the appropriate Forte name.
7. To what interval class does the left hand gesture in m. 2 belong?
) ~-&
1 .. _..,..,. !.. ......
ic_
\
Is this interval class prominently featured in the set classes you identified above?
Normal order:[_,_,_,_] [_,_,_,_] [_,_,_,_] [_,_,_,_]
Yes/No (circle one)
Forte name/Prime form:
8. A new set class begins to play an irnportant role in m. 5. Two occurrences may be found
4-_( _ _ _ _ ) 4-_( _ _ _ _ ) 4-_( _ _ _ _ ) 4-_( _ _ _ _ )
in the right hand melody, mm. 5-6. What set class is it?
IC Vector: _ _ _ _ _ _ Set class: 3-_ ( _ _ _ )
In the melody mm. 5-6, circle both occurrences and mark them with the appropriate
Forte name.
)
Bain,jimn ritual to romance, 1st movement, mm. 1-8 D. Composition. Compase a piece according to one of the following specifications:
1. Create a melody that begins with a statement of set class 3-1 (012) and goes on to
With great intensity (~=ca. 66-72) emphasize the following interval classes: ic2 (e.g., M2 or m7), icl (e.g., m2 or M7) and
firee1y, molto espr. a empo ic5 (e.g., P4 or PS).
..
1 1\
2. Create a composition for piano that is based on two harmonic cells and two melodic
1 l'J cells. For example, you rnight choose set classes 3-9 (027) and 3-7 (025) for your
~ ~ _:e;; • ~
/
)
u
1 1
}
..
p
-¡j ~
mf poco rit.
r:-..
p
~
harmonic cells and icl and ic2 for your melodic cells.
1
\
#=it' 1
mp
4 poco accel. _____________ rit. ___________ - - r:-.,

1\ ~ ~ ~-
..
.........
.
~ ~· e:;. r -
lh ..!.
~~
nif
J~ ~_;
.. ____--;----
- TI
..-;.
-.....,¡
#-.L~c::..___3: 1 1 ·¡.
mp
7
Homage toAS ~~-~~~ 3
fl a tempo ~f=l= a tempo r:-..

r- r-
: .
----------
~>
pp 1
/
p-r r
- mp~
.. 6
~J . 1'\ r:-..
:
... ov .t.oo~-
>
fsub.
8vb-------- -'
© 1985 Reginald Bain, BMI

All rights reserved
•
~ )
EXERCISE 28-5 B. Answer the following questions about the series from Berg's Lyric &tite.
A. The series given below forms the basis for Berg's Lyric Suite. Notate the lo form on &· ) 1. In the following trichordal segmentation of the series, identify the set class to which each
discrete trichord belongs by providing its Forte name and prime form.
the staff provided, then complete the 12 X 12 matrix. Label the series forms usina the
blanks provided. "'
o
Po
o
•• ¡.. o
11
~
o
•• o 3-_( _ _ _ ) 3-_( _ _ _ )
11 3-_( _ _ _ ) 3-_( _ _ _ )
•• o 11
Io
~ ••
2. In the following tetrachordal segmentation of the series, identify the set class to which each
11 discrete tetrachord belongs by providing its Forte name and prime form.
•• o
o •• 11
4-_( _ _ _ _ ) 4-_( _ _ _ _ ) 4-_( _ _ _ _ )
Io
3. Determine the normal order of the two discrete hexachords.
Po
1st Hexachord 2nd Hexachord
-Normal order: [_,_,_,_,_,_] [_,_,_,_,_,_]
From what scale do the two hexachords appear to be derived? The _ _ _ _ _ _ _ scale.
4. Examine the intervallic struc~re 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.
o o #o
- - t----'1----i--t--+--+-+-+-+-+---1---1--- -.-.j - - •• ~~~ fo
" o '' l 11
~
What is interesting aboiit the intervallic structure of this series? _ _ _ _ _ _ _ _ _ _ _ _ __
Rio
t
J
c. D. Ana1ysis
1. "Full Moon" by Otto Joachim is based on a 12-tone series. It employs a single series form
1. Notate the I8 and R3 series forms on the staves provided. The first note has been done for you. that we will call P 0 • 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. l-3. The order of the
pitch classes in m. 3 is B-Bt.-Gt.-m.)
o J,,, o
J,. 1 qu 11
Po
Is
Order
~o numbers: 1 2 3 4 5 6 7 8 9 10 11 12
'
11 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.
R3 FullMoon
1\ 1 1
---'f .. 1
Ouo J oach.1m
' •• 11 11
fll
@) '-../
mf
: '' .
1
~
:::::' . ..,
1
2. Mirror (invert) the intervals.
fl 1 1
3. Transpose a m3 higher.
1
1\.-.
@)
5
---....:
- -
- pp p
11 @.) "-" íl 1\
r ...____.....
?~!\~~~~~~~~~~~~~~~
@)
1
\~ 1\
@)
- -
..._____....
!
-
..._____....
- JO
- -
..._____....
1\ ¡,,
:
@)
4. Transpose the retrograde a P4 higher. 5. Mirror (invert) the retrograde.
1
1
!,....,. 1
-~
fl
'-" TI
1\
@)
- -
..._____....
- -
..._____....
- -
..._____....
)
1\
) :
1 -u- --u c:;J-___.
\ 8va _____________________ __, 8va ________ _
'[l
~
from ñvelve 12-Tone Pieces for Children

©Copyright 1961 by BMI Canada Ltd. Copyright assigned 1969 to Berandol Music Ltd.
Scarborough.
6. Which of the abo ve is nota twelve-tone series? _ _ _ _ _ _ _ _ _ __
••
~ )
1\ - - 15
- - - - In sorne ways, "Full Moon" sounds almost impressionistic. What compositiona1 devices has
•
the composer emp1oyed to create this effect?
1
)._; ~ ~ ~
J
1 ..
~ !:'·# #
'-/ ---------------------
(8vaJ--------------------------------------------~
1
1\ - - - - - -
) ~ ~ ~ ~
..
,..,.--- 1'-n ~....,
.. hn.
) .LI .....--.....
\
lll!.J 1 1
mf p
1 1\
20
- - - - - -
\~ ~ ~ ~
..
J 1\ ¡-..,,., .LI ...... -.._ ~~-
_,---..
t
.LI
.
\@.) 1 1 1 1 1 1
•
1 1\ - - __.., 25
- -
\ ._;
flr'\~
~
-......__./
di m.
---
(
@.)
1\ 1"--1 ~ 1
~ .v---
.
-:-
rit. ppp
1\
1
@)
J
-
2. "The Moon Rises" by Ernst Krenek is based on the following 12-tone series:
• Po
&o qo Qo ¡ J,,,
Order
'&o
numbers: 1 2
••
3 4 5
u
6
b-u q-u
7 8
-e-
9
bu
10 11
••
12
11
Like Joachim's "Full Moon," it employs a single series form (P0). Trace the presentation of the series
throughout the course of the piece by marking arder numbers (1-12) on the score.
Krenek, "The Moon Rises," from T1velve Shm1 Piano Pieces, Op. 83
.
Ad agiO J =42
.. ' 1 ... Lb~ .J..
h ))_J t ~: . ¡., ~
..
1 ~
1
1 1 r
. 'V .........
1
)
pp p
1 ..
h
.
!'.) •
.
\
q-e-:_._;--- -6- l:nr·'----"-.-
• 1 () -. -
- r'\ 1 ~
..
1 .
\ ~
~!
-~[
pp-=:::.
¡_---~
-===
b1. b).qq¡- ~1
-.,.¡
1 .. 1 1 -¡.,- - 'i
- -l q'\..../ 'V ~r· ~qr---
"The Moon Rises" from Twelve Short Piano Pieces by Ernst Krenek. Copyright© 1939 (renewed) by
Associated Music Publishers, Inc. (BMI). International copyright secured. All rights reserved. Reprinted
by permission.
)
3. "Glass Figures" by Emst Krenek, is based on the following 12-tone series. In preparation for the work
1\ --- . -.- =::::::::.- 10 ppp q,-(~1'-- ___!,~· b~~ • that follows, notate the 10 and R0 forrns of the series on the staves provided:
1
.
\ @.)
••
"··
pp p
••
~=.
._ l,n ...
~
u
1 1\ .1 l.
. 1
' ¡.,
1
@.) ...... 1 r
sva _____________________ , In examining the music, you will note that the first measure of the right hand opens with the first three
notes of 10 , whereas the left hand features the flrst two notes of R0 . The third note of this latter series
,..... ¡!::
b~ PPf ~
h .. rl~ q-r:_ t
f2. forrn m, is accommodated by the right hand because the third note of 10 is also a m. Following this, the
l\bl9= b~- b ~
•
roles of the series forrns are reversed, with the left hand picking up 10 while the right hand continues with
1
1
) @.)
•
11/ii;¡
R0. Because of the frequency of this type of exchange where two or more series forrns are involved, it is
advisable to use different-colored pencils to indicate different series forrns in operation.
pp p espr.
j ---
.. .
¡o......,
Krenek, "Glass Figures," from Twelve Short Piano Pieces, Op. 83
1
\
P?; "~~·o·-. ?;
. . -....;::-...____....- Andante ben tenuto J -- 63
bt- -t . ¡,.-,, . b.. - b_Q
,()
1 -¡y
r"\ * ~-
. .
J.l...:.
l ' molto stacc:-,

1== p:::::=- pp-=== pp
j 1\pp 1
l \L
"'
IT1I"''
\ @.) . ~
-¡;¡-~ ~!'
. ., . . ., . ~~
senza Ped.
"Glass Figures" from Twelve Slzort Piano Pieces by Emst Krenek. Copyrieht © 1939 (renewed) by Associated
Music Publishers, Inc. (BMI). Intemational copyright secured. All rights reserved. Reprinted by permission.
•
do/ce legato rit. E. Composition. Using the series for "The Moon Rises" shown below, compase a two-voice composition,
p_p
1
1\ 5 1 ~ ~~ ~ . ) L 1~1 . ~ )
- a tempo the upper voice of which is based on a transposed series form while the lower voice makes use of a retro-
grade series form. You might want to try using instruments other than piano, such as violin and cello or
two flutes.
. . . y(-
\) @.)
>
.. T . ~
1 11 11 ~ -
~ 11 "1 ¡;-r- Po
1
1\
:
L.
p_p
>
~ ~~b.i.k_-;J_#_ "1
.
::::::=- ppp-
stacc. $~ . ~o 11
¡qo qo
o :=~o qo 11 ¡~o J, •• 11 11
\ @J ":' r >
. . .
-=::::::
p_p espr. legato
\
1\
._¡
~~- ~~ ~
P-
>
f
i:
f-
- ~y::=-
>
l
1-r
l,5
1-r
nJ)
.
. ,v•~
. . .
::::::=-
1
.,•· •
t ..íD 1- --.-- LJ
::::::=--
. . p h.i. ff
.
\
> - V
1 f\
.
1
- . 1
..
\
1
@.)
-==:::
1 L........J
; ~r:~-;¡'-/
p_p~
. . . . ~
f .. ..:. &1 _}_ _}_
\
t7~ r . . . ~
1
f\ 20 .
:
L. 1 1 b.-
.
. -=
1-r
1:
iT
1 r @.)
.
'J
' ._¡ '-':'r p_p ppp
) J
.. . bi
-
1
1
.
\
q~) > . . ., . O!J
'
f
'
•
EXERCISE 28-6
A. With the help of your instructor, :find works that illustrate the principies 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. Compase 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, compase a piece in this style.
3. Compase a piece featuring special effects for your instrument or voice. Perform the piece in
class.
4. Compase a one measure melodic gesture (theme) that will form the basis for a minimalist
piece. Your composition should be based entirely on rhythrnic modi:fications 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 fust!)
t
'O rE'-'r:!:R~lL'!J~' J.".'C.'E:RJr.rl&J

s~c:cuC·T'ZCi·. GG:f'·l2Rl\~
· cr~pr=::::::s:·· :- i·!c. /~í-C:J
r "·.·-.· '"':-:· :-~~ :-_.- ~----::-~.
1
.:!
e Compact Discs to Accompany Workbook
THE PERFORMERS
' Jana Holzmeier, soprano Orchestra-David Mead, Alejandro Hemandez
1
Jennifer Murray, soprano Valdez, conductors
Julia Armstrong, mezzo-soprano Elizabeth Whitten, Michelle Clover Neal, flute
Tim Campbell, tenor Pamela Whitcomb, Lana Neal, oboe
David L. Iones, tenor Marisa Bannworth Wester, Shannon Thompson,
l
j
David Stevens, tenor
Joel Quade, baritone
clarinet
David Pinkard, Rhonda Collison, bassoon
James Wester, Michael Misner, Richard
Richard Womack, baritone
1 Elizabeth Whitten, flute Wheatley, Kellie Babcock, hom
David Pinkard, bassoon Thomas Caswell, Stephen Miles, trumpet
Michael Misner, hom Sean Scot Reed, David Garcia, David
James Wester, hom Hendricksen, trombone
Jennifer Bourianoff, violín Richard Short, timpani
Marian Mente!, violín Marian Mente!, concertmaster; Tera Shimizu,
Roger Graybill, organ principal violín JI
Jeff Hellmer, piano (popular and jazz) Jennifer Fedie, Wei He, Daniel McAtee, Sean
Myra Spector, jazz vocals Milligan, Hye-Sung Oh, Sue-Jean Park,
David Mead, Alejandro Hemandez-Valdez, piano Linda Piatt, Thomas Sender, Marvin
and hmpsichord Suson, Alicija Usarek, violín
Kyle Sigrest, piano JI Joseph Tan, Mark Sattler, Jason Elinoff, viola
Paul Rhodes, Kirsten Eggen, Sara Nelson,
The Barton Strings Victoria! Wolff, violoncello
Beth Blackerby, vio/in John Rosenkrans, Robert Jenkins, contrabass
Jennifer Bouriañoff, violín and viola
Martha Carapetyan, Broce Williams, viola Mark Ellis, amzouncer
Carolyn Blubaugh-Hagler, violoncello David Mead, producer
¡_
Andrew Murphy, Frank Simon, engineers
Tosca String Quartet J. Burke Hunn, Michael Czysz, assistant
Leigh Mahoney, 1st vio/in engineers
Tracy Seeger, 2nd violín
Ames Asbell, viola Recorded at the School of Music, University of
Sara Nelson, cello Texas at Austin
Chamber Choir-David Mead, conductor Listening Example track infonnation on next page.
Judith Kanana, Carol Hopkins, soprano
Brooke Lehr, Kellie McCurdy, contralto
L Oliver Worthington, tenor __
Te Oti Rakena, Steven Olivares, bass
1.
Gli3L!OT'::Cf-. GEI'l:C::Rt),!~ 329

Cr~RREht-. 7 r'!G. ~~1-CO
·'·
. BIBLIOJEGA GEtiERAL - UIIIUERSIDAD JAUERIAtiA
1
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LISTENING EXAMPLES 80000004003157
CDl 1111 WB 15-1 e2 []]] \VB 22-1 e4

Disc Duration:
45:13:14.
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WB
WB
WB
15-1 e3
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22-107
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ITl WB 3-3 e 1121 WB 16-2 A2 [3] WB 23-1 D2
W WB 3-4 Bl 00 WB 16-2A3 [j]] WB 23-1 D3 INV. 2009\
m WB 3-4 B2 ITIJ WB 16-2 A4 [TI] WB 23-1 D4
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W WB 4-2el 133] WB 17-2 A2 I2Il WB 24-1 B2
[]] WB 4-2 e2 ~ WB 17-2A3 In] WB 24-1 B3
[2] WB 5-2A ~TI] WB 17-2 A4 lnl WB 24-1 B4
[1]] WB 5-3 A ~ WB 17-2A5 1211 WB 24-1 B5
[] WB 7-1 el 132] WB 18-2 Al 1231 WB 25-1 El
[U] WB 7~1 e2 ~ WB 18-2A2 ~ WB 25-1 E2
[D] WB 8-1 Al [hlJ WB 18-2 A3 ITII WB 25-1 E3
[HJ WB 8-1 A2 !@ WB 18-2A4 I2.ID WB 25-1 E4
[3] WB 8-1 A3 ~§}] WB 18-2 AS 1221 WB 25-1 ES
[j]] WB 9-1 Al !MI WB 18-2 A6 00 WB 26-1 el
[TI] WB 9-1 A2 ~ WB 18-2A7 [TI] WB 26-1 e2
[J]] WB 9-1 A3 ~ WB 18-2A8 IJ2I WB 26-1 e3
[2] WB 9-1 A4 !@ WB 19-1 Al ITil WB 26-1 es
. [2Q] WB 9-1 AS !@] WB 19-1 A2 MI WB 26-1 e6
I2I] · WB 9-1 A6 lmJ WB 19-1 A3 ~ WB 26-1 e7
In] WB 10-1 Bl [ZQI WB 19-1 A4 00 WB 26-1 es
lnJ WB 10-1 B2 !TI] WB -19-1 AS !TI! WB 26-1 e9
1211 WB 10-1 B3 lllJ WB 20-1 A ~ WB 26-1 e10
1231 WB 10-1 B4 !TI] WB 20-1 B IJ2l WB 27-1 A
~ WB 10-1 B5 IHI WB 2o-1 e 00 WB 27-1 D r
G
ITII WB 10-1 B6 ITIJ WB 20-1 D I1Il WB 27-1 E
[2.ID WB 10-1 B 7 1m WB 20-1 E ~ WB 27-1 F
1221 WB 11-1 A2 I1Jl WB 27-1 G
00 WB 12-1 A4 CD2 1111 WB 27-1 H
ITIJ WB 12-1 AS Disc Duration: ~ WB 27-1 I MT50 80000004003157
IJ2I WB 12-1 A6 40:09:08 ~ WB 27-1 J K67 Kostka, Stefan M., 1939-
ITIJ WB 13-1 B 1111 WB 28-1 H2 GUIA Tonal harmqny [Partitura]
MI WB 13-2 Bl Track Name 0]] WB 28-1 H3 C.3 with an introduction to twen
~ WB 13-2B2 [I] WB 21-1 el 1121 WB 28-1 H4 tieth-century music 1 Stefan
00 WB 13-2 B3 W stka and Dorothy Payne
WB 21-1 e2 00 WB 28-2 el
ITIJ WB 13-2 B4 m WB 21-1 e3 ITil WB 28-2 e2
~ WB 14-1 e1 [1] WB 21-1 e4 1321 WB 28-2 e3
IJ2] WB 14-1 e2 13J WB 21-1 es ~ WB 28-2 e4
00 WB 14-1 e3 ffi] WB 21-1 e6 ~ WB 28-2 G
I1I] WB 14-1 e4 W WB 22-1 el 133] WB 28-3 Bl
~ WB 14-1 es []] WB 22-1 e2 )
I1J) WB 15-1 e1 [2] WB 22-1 e3
l'! ~-!1~_'-:RSI D/'. :~ . f'/\ \·~:::21 .~.P!::~

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!·

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·' .

' The McGraw·Hill Componies :i;,;

Workbook for Tonal Harmony

·PONTIFICIA UN1VERSIDP.Ll JAVERIAl'!A

CHAPTER 27 EXERCISE 1-1

B. Notate the indicated pitches on the staff in the correct octave.

of whole and half steps, as in the example.

e major 1 1 l!z 1 1 1 l!z Ab major

} B. Identi:fy thes_e majar key signatures.

e major major major major major major major major

C. Notate the specified key signatures.

7. C# major 14. six sharps __ major IIB 11, 11

Majar Key Scale Is this

:>= u o J,,. &o o o

C. Identify these minor key signatures. EXERCISE 1-4

D. Notate the specified minor key signatures. .,

. :>= 11& llfJ=

e~ minar e# minar gminar a minar

&• • ll&· 11 : 11• •11 11 11 11 ll: 11·&·11

E. Fill in the blanks.

:>= : 11 kl 11. -11 &i 11 b 11 1: 11 t: 11• •11 kl 11 ¡; 11

C. Notate the specified intervals above the given notes. - - - - - - - - -

t>= • 11 &. 11 • 11 • 11 &. 11 U· 11 • 11 • 11 &. 11 U· 11

' ~- 11 •· 11 #• 11 • 11 .. 11 • 11 .. 11 &. 11 k.. 11 • 11

:J= • 11 ~· 11 &. 11 • 11 • 11 n· 11 • 11 &. 11 b

:J= • 11 k.. 11 ft· 11 #• 11 ft• 11

' h. 11 .. 11 •• 11 •• 11 k. 11 &. 11 .. 11 • 11 ft· 11

D. Label eaeh interval in this melody (from Wagner's Gotterdiimmerung).

------ ex. d X_g_= o

4. "f"x --=~· 12. ~X_= "f

d 5. :~Swing Low, Sweet Chariot" _ _ _ _ _ __

"Home on the Range"

EXERCISE 2-3 EXERCISE 2-4

A. Fill in the blanks. A. Fill in the blanks.

1. Compound triple J. 1. Compound quadruple ITI

"Take Me Out to the Ball Game"

5. _ ~.~.m 1 11. - d. JJJ J JJ 1

1. t ~ m m 1~ ~. ~. 1 9: o 119: Uu llfJ= 119: ftu 119: J,, 1

~~: ~~: ftu 11& fo ~~: " ~o ~~:

:r 11, o le>= ti .. 11, &o 11:>= o 11, o 1~= .. 11, ~ .. 1~= ¡¡ .. 11

6. ~ d~~o ~~~~~ do· o 1 6

A. Spell the triad, given the root and the type.

B. Fill in the blanks.

c. Notate the triad, given the root and the type.

r llfJ= ttu Un IIIIE •• llfJ= hll

5th 3rd root 5th 3rd 5th root 3rd

rn7 M7 rn7 12J7 rn7 Mrn7 12J7 M7

& llf}= •• 111\B ],,, 119: 11& a

&D<@II!Nf§>lli Diillf>=bllll &DI!JIII9:k011& D§llll~~ati

1. Bach, "Gott lebet noch" (adapted)

2. Bach, "Dich bet' ich anL~ein hOchster Gott''

(The first C#3 in the bass is not to be harmonized.)

By Clark Terry. © 1958 (renewed 1986) Orpheum Music, Berkeley, CA.

Root ---- ------ -------- ------ --

Li - Iie son k! in - gend hau - eh en e in 8Va

8Va 8Va 8Va

.. -_I 55¡ 55¡ 5~5·

(~ :J &&~o II~B~~ 11&"o lltHIH 11&&! llfHI 11&s 119=~! 1

:• &uo 119=m 11&0 119}0 11&&~0 IIIIBh 11&#f2 119=nn 1

11 2. Handel, "Wenn mein Stündlein vorhanden ist"

: : ftu 11& fo ~~: " ~o ~~:

6. ~ do ~~~ do· o 1 6