Z Harmony in Context (Workbook y Antología) - Miguel A. Roig Francolí PDF

V
Workbook and Anthology

for use with
Hannony in Context
Second Edition
Miguel A. Roig-Francolí
University of Cincinnati
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• Succeed'
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Preface
This workbook is meant to be used in conjunction with the study of the textbook Har-
mony in Context. The textbook provides, at the end of each chapter, a set of exercises in
the form of a worksheet. A second set of exercises for each chapter is provided in this
workbook. Exercises here are similar to, but not always of the exact same type as, those
found in the corresponding worksheet. Both sets for each chapter begin with several
analytical exercises, followed by writing and composition exercises of many types:
chord spelling and recognition, realization of short and long progressions based on
given Roman numerals, realization of figured basses, harmonization of melodies, com-
position of keyboard-style accompaniments, composition of original harmonic progres-
sions, and so on. Instructors may want to use one of the two sets for practice in class
and the other one for homework assignments, or they may choose to use one of the sets
as a pool of possible questions to be used in quizzes and exams.
Chapters also include an assignment of keyboard harmony in which the chords
and most standard progressions studied in each chapter are practiced at the piano in a
variety of keys and through a variety of exercises. Playing and practicing these key-
board exercises will reinforce the understanding of the harmonic materials studied in
the book, and will help students familiarize themselves with the sound of specific har-
monic progressions.
Finally, this volume also includes an anthology of fifty-nine musical excerpts and
complete pieces by twenty-six composers ranging from the sixteenth century to the
twentieth century. The anthology is widely used as a source of examples from the liter-
ature throughout both the textbook and the workbook, and it allows for analyses of and
references to numerous complete pieces or movements which otherwise could not have
been addressed. Because of this close relationship between the book and the anthology,
the latter is not meant to be an optional supplement to the book, but rather an essential
and required component of the pedagogical packet.
iii
Preface iii Chapter 11 Melodic Organization I: Phrase
Structure 97
WORKBOOK Chapter 12 Melodic Organization II:
Thematic Development; Phrase
Extension 101
Introduction
1;, The Fundamentals of Music 1 Chapter 13 Harmonic Rhythm; Metric
Reduction 109
· . Chapter A Pitch: Notation and Intervals 3
Chapter 14 The Mediant, Submediant, and
Chapter B Rhythm and Meter 7 Subtonic Triads 113
Chapter C Tonality: Scales and Keys 11 Chapter 15 Other Diatonic Seventh

Chords 123
Chapter D The Rudiments of Harmony I:
Triads and Seventh Chords 17 Chapter 16 Harmonic Sequences 131
Chapter E The Rudiments of Harmony II: Part 2 ,,,

.y 'l
Labeling Chords; Musical Texture 23 tlJ

_C_h_n_v_m_a_tz_·c_R_a_rm_o_n_y_a_n_d_R_o_r_m
__l 3_9_ _
Chapter F Introduction to Species
Counterpoint 31 1''."-
4?. )
';
Chapter 17 Secondary Dominants I 141
Chapter 18 Secondary Dominants II 149

Part 1
, Diatonic Harmony 35 Chapter 19 Secondary Leading-Tone
Chords 157
} Chapter 1 The Connection of Chords 37
Chapter 20 Modulation to Closely Related
Chapter 2 The Tonic and Dominant Triads in Keys 167
Root Position 41
Chapter 21 Small Forms: Binary and Ternary;
Chapter 3 Harmonic Function; The Variation Forms 181
Subdominant Triad in Root Position 47
Chapter 22 Contrapunta! Genres 193
Chapter 4 Triads in First Inversion 53
Chapter 23 Modal Mixture 195
Chapter 5 The Supertonic 59
Chapter 24 The Neapolitan Chord 205
Chapter 6 Nonchord Tones 65
Chapter 25 Augmented Sixth Chords 211
Chapter 7 Chords 69
Chapter 26 Chromatic Modulatory Techniques:
Chapter 8 The Dominant Seventh and Its Modulation to Distantly Related Keys I 219
Inversions 77
Chapter 27 Modulation to Distantly Related
Chapter 9 The Leading-Tone Triad 83 Keys II; Linear Chromaticism I 231
Chapter 10 Cadences 89 Chapter 28 Introduction to Large Forms 241
V
vi WORKBOOK Contents
Chapter 29 Expanding Functional Tonality: 14 J. S. Bach, The Well-Tempered Clavier,

Extended Tertian Chords; Linear l, Fugue no. 2 in Cm 289
Chromaticism U 245
15 J. S. Bach., The Well-Tempered Clavier, I,
Chapter 30 The German Romantic Lied: Fugue no. 11 in FM 291
Chromatic Harmony in Context 257
16 George Frideric Handel (1685-1759),
Chapte:r 31 Toward (and Beyond) the Limits of "Lascia ch'io pianga," from Rinaldo 293
Functional Tonality 261
17 Handel, "Amaz'd to Find the Foe So Near,"
ANTHOLOGY from Belshazzar 295
1 Tomás Luis de Victoria (1548-1611), 18 Anna Amalie (1723-1787), Sonata for

"Kyrie," from Missa O magnum Flute in FM, I, mm. 1-21 299
mysterium 271
19 Joseph Haydn (1732-1809), Minuet
2 Johann Jakob Walther (1650-1717), and Trio, from Divertimento in CM, Hob.
Chorale Prelude, "Ach Gott und Herr," XVI:l 300
verse 6 273
20 Haydn, Piano Sonata in DM, Hob. XVI:24,
3 Henry Pureen (1659-1695), "Ah, Belinda," U, mm. 1-24 301
from Dido and Aeneas 275
21 Haydn, Piano Sonata in DM, Hob. XVI:37,
4 Friedrich Wilhelm Zachau (1663-1712), III 303
Chorale Prelude, "In dich hab ich gehoffet,
Herr" 278 22 Joseph Boulogne, Chevalier de Saint-
Georges (1739-1799), Violin Concerto no. 1 in
5 Antonio Vivaldi (1678-1741), Concerto in GM, I, mm. 1-12 307
GM for Violin, Strings, and Continuo, from
L'estro armonico, op. 3, no. 3, II (keyboard 23 Chevalier de Saint-Georges, Symphonie
reduction) 279 Concertante in AM, op. 10, no. 2, II, mm.
1-24 308
6 Minuet, from Notebookfor Anna
Magdalena Bach 280 24 WoifgangAmadeus Mozart (1756-1791),
Piano Sonata in DM, K. 284, Theme and
7 Polonaise, from Notebookfor Anna Variation 7 309
Magdalena Bach 281
25 Mozart, Piano Sonata in CM, K. 309, I 310
8 Johann Sebastian Bach (1685-1750),
Chorale 41, "Was mein Gott will, das g'scheh 26 Mozart, Piano Sonata in CM, K. 309, IU,
allzeit" 282 mm. 1-19 316
9 J. S. Bach, Chorale 65, "Was Gott tut, das 27 Moza:rt, Piano Sonata in AM, K. 331, I 317
ist wohlgetan" 283
28 Mozart, Piano Sonata in füM, K. 333,
10 J. S. Bach, Chorales 29, 64, and 76, "Freu' m 325
dich sehr, o meine Seele" 284
29 Mozart, "Wie Unglücklich bin ich nit,''
11 J. S. Bach, Minuet, from French Suite no. 3 K. 147 334
in Bm 285
30 Mozart, "Die Zufriedenheit," K. 349 335
12 J. S. Bach, Gavotte, from French Suite no. 5
in GM 286 31 Maria Theresia von Parad.is (1759-1824),
Sicilienne 336
13 J. S. Bach, Invention no. 3 in DM 287
Contents WORKBOOK vii
32 Ludwig van Beethoven (1770-1827), Piano 47 Schumann, "Ich grolle nicht," from
Sonata in Fm, op. 2, no. 1, I and III 338 Dichterliebe, op. 48, mm. 1-19 396 ·
33 Beethoven, Piano Sonata in Cm, op. 1O, 48 Schumann, "Widmung," from Myrthen,
no. 1, U, mm. 1-16 345 op.25 398
34 Beethoven, Piano Sonata in Cm, op. 13, 49 Schumann, "Am leuchtenden

III 346 Sommermorgen," from Dichterliebe,
op.48 402
35 Beethoven, Piano Sonata in CM, op. 53,
Waldstein, I 356 50 Schumann, "Folk Song," from Album for
the Young, op. 68, mm. 1-8 405
36 Beethoven, Piano Sonata in füM, op. 7, U,
mm. 15-58 371 51 Franz Liszt ( 1811-1886), Consolation
no.4 406
37 Friedrich Kuhlau (1786-1832): Piano
Sonatina, op. 55/4, II 373 52 Giuseppe Verdi (1813-1901),
"Libiamo ne'lieti calici," from La traviata,
38 Franz Schubert (1797-1828), Erlkonig, mm. 22-42 407
op. 1 374
53 Verdi, ll trovatore, act II, no. 11, mm. 1-11
39 Schubert, Waltz op. 9, no. 14 383 408
40 Schubert, Originaltanze, op. 9, no. 26 384 54 Verdi, Il trovatore, act II, no. 14, mm. 15-24
409
41 Schubert, Ecossaise no. 2, from Waltzer,
Liindler und Ecossaisen, op. 18 385 55 Verdi, "Celeste Aida," from Aida, mm. 1-29
410
42 Schubert, "Auf dem Flusse," from Die
Winterreise 386 56 Clara Schumann ( 1819-1896), Trio in Gm,
op. 17,I,mm.249-287 412
43 Fanny Mendelssohn Hensel (1805-1847),
"Bitte," from Six Songs, op. 7 390 57 Hugo Wolf ( 1860-1903 ), "Das verlassene
Magdlein," from Gedichte von Morike,
44 Frédéric Chopin ( 1810-1849), Mazurka 43 no. 7 414
in Gm, op. posth. 67, no. 2 391
58 Richard Strauss (1864--1949), "Ruhe,
45 Chopin, Mazurka 49 in Fm, op. posth. 68, meine Seele!," op. 27, no. 1 417
no.4 393
59 Amy Beach (1867-1944), Ecstasy 419
46 Robert Schumann (1810-1856),.Kinder
Sonate no. 1, from Three Piano Sonatasfor the
Young, op. 118a 394
Workbo.itk
INTRODUCTION
The Fundamentals
of Music
Chapter A
Pitch: Notation and Intervals
EXERCISE 1 Notate the following notes on the grand staff, in the correct octave.
...
..,."
•..., .
@:)
,,..
...
E2 Bb5 G#4 Al C3 Eb4 Ab5 F6 D7 B4 C#6 ES F#2 G3 Db5 C2
EXERCISE2
1. In exercise 2a write P4s above and below each of the given notes.
2. In exercise 2b write P5s above and below each of the given notes.
3. In exercise 2c write M3s above and below each of the given notes.
4. In exercise 2d write m3s above and below each of the given notes.
a.P4 b.P5
i 11
*
le
e b11 #o e #•• 11
c.M3 d.m3
2= ¡,4 11
e
e
e
#•• 11¡ ¡," l>• j
le
#o
lz11
e
11
3
4 INTRODUCTION The Fundamentals of Music
NOTE
In this exercise and the ones that follow, do not write enharmonic equivalents unless
specifically requested to do so. In other words, F-[jp (a P4) is not the same as F-A#
(What interval is this? ), although the two intervals sound the same.
EXERCISE 3 Write the following intervals above the given notes.
o
<ID ¡?= () #o -=--io l2•,
o
m2 P5 M3 M6 m7 m6 P5 M6 P4 m3
fo
I*
()
11 o ==-o:.
M7 m6 M2 P4 M6 m7 P4 m3 P5 m2
EXERCISE4 Write the followíng intervals below the given notes.
;-- 12= -0- ·i'.i

le
m2 P5 M3 M6 m7 P5 M3 m6 P4 m3
e f,,) bu o 11
¡,<, --==:J
M7 m6 M2 P4 M6 m7 m6 P4 m3 m2
EXERCISE5 Write the following intervals above and below the given notes.
M7 º5 P4 M6 +5 m3 +4 M2 M3 +2 07 P5
;)= lo #o #A» j
ii e il
------ ••
m2 m3 +4 M3 ºs m6 +4 07 m7 M3 P4 +2
EXERCISE 6 Identify the intervals in this exercise by size and quality.

Chapter A Pitch: Notation and Intervals 5
EXERCISE 7 ldentify the following intervals by size and quality. Then renotate the higher note enharmonically
and identify the resulting interval.
o
o
i?= o
3 o
I@ ' :: •> 1
#z o
EXERCISE 8 ldentify the compound intervals in this exercise by size and quality. Por each of them provide
labels for both the actual compound interval and its simple equivalent (e.g., Ml0-M3).
: bn bn
r :
_o_ -e- -e-
#-e-
* e 1 ;)= n u
o e 11
'"
EXERCISE 9 Write the intervallic inversion for each of the following intervals. Identify both the given interval
and its inversion.
... ;>= :: 9:
l1R•e
¡,ü 11
EXERCISE 10 Refer back to exercise 6. Under each of the intervals in this exercise, write a C or a D, depend-
ing on whether the interval is consonant (C) or dissonant (D).
EXERCISE 11 In the following melodic examples from the literature, identify each of the numbered intervals
by size and quality.
,,',,," Example A.la Johann Sebastian Bach, Fugue 20 in Am, from The Well-Tempered Clavier, II,
mm.6-9.
, w .r J1P r J J
7 9
1 •----+-1 --
2 3 4 5 6 7 8 9 10 11 12 13 14 . 15
_, Example A.lb J. S. Bach, "Kyrie," from Mass in Bm, mm. 5-7
' I¡ (" l f f J j j J J j j ¡J 1 Uf ) f f #r f #( 1 [ f J• p
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Béla Bartok, "Chromatic.Inventián," from Mikrokosmos, rió. 91, mni 3::-:-6 •
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
EXERCISE 12 Identify the numbered intervals in the following example. What characteristic can you recog-
nize in this succession ofintervals? (How many different intervals are there in this phrase?) How are intervals 1-6
related to intervals 6-11?
_- ,,,' Example A.2 Albán Berg, Lyri2 Sufte, I, nnn· 2-4..·.

- - - -
2 3 4 5 6 7 8 9 10 11
poco f
Chapter B
Rhythm and Meter
EXERCISE 1 Supply the information required in the blanks.
notes =2 o notes A i rest = rests
d notes =6 J notes A - rest = ¡ rests
notes d note A 1 rest = - rests
notes =3 notes A rest = rests
EXERCISE 2 For each of the following patterns, write the equivalent duration with only one note value. (You
will need dots in sorne cases.)
j JJJJJ
n !ñ
n j. j
7
EXERCISE 3 Show, by means of tied notes (as few as possible in each case), the value of each dotted or dou-
bly dotted note.
J· j) .. ..
EXERCISE 4 Using the fewest possible notes, along with ties where needed, write a single duration lasting the
number of beats specified in each of the following cases. Include bar lines if more than one measure is needed.
Example:
º- ¡ _J
3 112 beats 5 1/2 beats
5 1/2 beats 4 112 beats
g
3 1/3 beats 5 1/3 beats
5 2/3 beats 5 1/3 beats
EXERCISE 5 Write an appropriate meter signature for each of the following examples.
J nn 1 j. j) j 11
d JJJJ/d 1j. d 1d 11
d· 1 j j j j Jj 1 d· 11
11
Chapter B Rhythm and Meter 9
EXERCISE 6 Add bar lines to the following examples.
EXERCISE 7 Correct the notation of the following examples so that the beaming clarifies the meter and
rhythm.
a.
J. m J j n j. rn JJiJJ m j
1 1 J J J. 1 11
11
b.
IJjn n J j J nJJ j 1 n j Jmj mn 11
11
EXERCISE 8 Add ties to the following examples, in order to

1. Create syncopations in a.
2. Create hemiolas in b.
a.
b.
EXERCISE 9 Transcribe the following melody from :1 to and
AnnaAmalie
11
ª 11
Chapter C
Tonality: Scales and Keys
EXERCISE 1 ldentify the following majar and minar key signatures.
'¡ 51: 1##1 l B llS 9: f¡# llB tt1

. #
M m M m m M M m
lB
m M
9: l##f
m M
'¡l'b
m
llB 1,b
M
,1 M
9: b
m
9: #¡#t # lS 9: b''1,bbf, llB tt1### 9: llB t ' 11#11#1

#
m m m M m M m M
11
EXERCISE 2 Write the following majar and minar key signatures. Make sure to write sharps and flats in the
correct order and place them in the correct location on the staff.
' AM Cm
113
BM F#m AbM
* Bm
113 @ llB
BbM C#m Fm DbM EM Gm
@ llB llR
' G#m EbM Bbm Em
' GbM Ebm
EXERCISE3 Write the following majar and minar scales without using key signatures (use accidentals before
each note as needed). The tonic for each scale is given.
Natural minor Harmonic minor
#o
'
e
Major Melodic minor (ascending and descending)
115 113
Harmonic minor Melodic minor (ascending and descending)
9:
o
Chapter C Tonality: Scales and Keys 13
EXERCISE 4 Write the following transposed modal scales without using signatures (write accidentals before
each note as needed).
Lydian Dorian
2: o ¡ llB o
Phrygian Aeolian
113 o
Mixolydian Ionian
EXERCISE 5 Sing or play each of the following melodies. Then analyze the melody to determine the following
items: tonic pitch, tonic triad, range, mode or key, and scale.
Write in each of the items in the spaces provided under each melody. This same process is illustrated in ex-
ample C. l of the textbook, and in exercise 6a in worksheet C.
Por the item "mode or key," the following options are possible: any major or minor key, any of the Church
modes (Dorian, Phrygian, etc.), pentatonic, or whole tone. Among the scales, the chromatic scale is also a possi-
bility (in the context of any major or minor key).
a.
Sweden
11
TONIC TONICTRIAD RANGE. MODE/KEY SCALE:
11
b.
Denmark
s
J J , ;n1 J n Jf.l aJ 1 11
TONIC TONICTRIAD RANGE MODE/KEY SCALE:
11
14 INTRODUCTION The Fundamentals ofMusic
c.
*.... Pan - ge
TONIC
!in - gua
1• • • • •
TONIC TRIAD
glo - ri - o
RANGE
si
MODE/KEY SCALE:
Plainchant
11
11
9';d ct r
e@r cJj ífTPITTr i e a 1 1 1
Hungary
?' '« t r ee r r r·I@ r r Gr 1Ffr r ee [J ij?ff H

TONIC TONIC TRIAD RANGE MODE/KEY SCALE:
*
e.
TONIC
i Ce O di 1U Cr U 1¡;[ [j E Ci 1Ef r f JJ
TONIC TRIAD RANGE MODE/KEY SCALE:
1
Ravel
*
f. Britain
11
11
* 11
Chapter C Tonality: Scales and Keys 15
p r D 1r1n ir aj 1.PQ 11foGJ

TONIC TONICTRIAD RANGE MODE/KEY SCALE:
11
h.
ilf.ia ma 1w.ffl plJiJmi1

D Er
Scotland
J. z 1E" : J e r ; 1J. --- :r 1

3
Chapter D
The Rudiments of Harmony I:
Triads and Seventh Chords
EXERCISE 1 Identify and label the following triads by root and type (M, m, º, +), and label each triad as shown
in the example.
Clm
H H
EXERCISE 2 Write and play at the piano the indicated triads in root position. A triad member (root, third, or
fifth) is given. Identify the root for each triad, and notate it under the triad type, as indicated in the given examples.
Root Given
tu M
E
ªº
m
o
o
o
+
bo
m
()
o
2= o
m o
#o
M
••
m
o
o m
;>=o
m
#o
+
bo
o
bo
M
()
m
#o
m
t ()
+
()
m
1)
M 'º m
b
o
o
Third Given
t o ;>= ()
C> o ()
ªº
()
o o
m M + M m M
A
2= "º m
()
+
o
o
bo
m
(J
M 'º
+
(J
m
bo
o
17
18 .INTRODUCTION The Fundamentals of Music
Fifth Given
fto o
bo 9: o
* m
G
+
b()
o M + M m o
;>=
*º
o
'º
()
'º + M o M m M m o
EXERCISE 3 In a major key, fue diatonic triad on scale degree

2is: M/m/º ¡+ (circle one)
7 is: M/m/º ¡+
3is: M/m/ 0 ¡+
i is: M/m/º ¡+
6is: M/m/º ¡+
Sis: M/m/º ¡+
4 is: M/m/º ¡+
In a minor key, the following are the most usual diatonic triads, which result from the harmonic-minor scale (with
the only exception of the chord on 3, which includes 7):
The triad on 2is: M/m/º ¡+
7is: M/m/º ¡+
3is: M/m/º/+
i is: M/m/º ¡+
6is: M/m/º/+
5is: M/m/º ¡+
4is: M/m/º/+
EXERCISE 4 Write and play the following M, m, or º triads infirst inversion on the given bass (the third of the
chord). Identify the root for each triad and notate it under the triad type, as indicated in the given example.
fto o 9: o ()
()
o
m6 M6 º6 M6 º6 . m6 M6
D
f)= ¡ Jíl:)
o
«li
M
6
m
$#o M6
l1«))
m
6
()
º6
M
()
6
6 6
ChapterD The Rudiments of Harmony I: Triads and Seventh Chords 19
EXERCISES Write and play the following Mor m triads in second inversion on the given bass (the fifth of the
chord). Identify the root for each triad and notate it under the triad type, as indicated in the given example.
'f k!
m6
c4
o
() &o ;>:&o
m64
o #() o
9:
'
#o
C)
#o l>•) #o o
EXERCISE 6 The following triads are in first or second inversion. Identify the root, the type, and the inversion
for each of them, and label each triad as shown in the example. Your labels should be of the following type: Dm6 ,
E 6 , P%, etc.
0
8 1#2 §
;i:g
¡}&ª 18 .#.§
;>=
2 és ii #2 ba
EXERCISE7 Identify and label the following seventh chords by type (Mm, MM, mm, 0, º).
,.1 ;11 u tt#B ;>= bB bt'll
?=éu tu in i *kbB #u ••i .•u

EXERCISES Write and play the indicated seventh chords in root position. The root is given.
f,,, o
;>: ()
o
o .. J
#0 #o
* Mm 7 MM 7 ¡;f 7 º7 Mm 7 º7 MM 7 mm 7
9: CJ
«> o
o o o o
mm 7 Mm 7 fif7 º7
mm 7 MM Mm fif7
7 7
EXERCISE 9 Identify the following chord types and inversions. Notice that both triads and seventh chords are
included in this exercise. Label each chord with the usual chord-type symbols and with figures to indicate inver-
sion, and also write down its root (e.g., Mmj!G, mJF, etc.).
I! ,m= b .fi .fi
<i} ;¡: •: &8 -----
;>= ft•w &3 :: 1? #g
EXERCISE 10 Refer to the passage by J. S. Bach reproduced in example D.l. Fourteen chords are numbered.
Study each of the chords, and determine whether it is consonant or dissonant, a triad or a seventh chord, the root
and type of chord (DM, Cm, EMm7 , Fmm7 , etc.), and the appropriate figures to indicate the chord's position G.
7, j, etc.). You may provide all of the above information in the following chart (the information for chord 1 has
been provided asan example).
- -"' ;"Example-D.1- S. Bach, Chorale 334, "Für deinen Thron tret' ich hiermit," mm. l-8
- -
{.'\
2 3 4 5 7 8 9 10 11 12 13 14
CHORD 1 2 3 4 5 6 7 8 9 10 11 12 13 14
Consonant (C)/ e
dissonant (D)
Triad (TR)/ TR
seventh (7th)
Chord type/root DM
Position ( t t 7, j, i> 5
3
ChapterD The Rudiments of Harmony I: Triads and Seventh Chords 21
KEYBOARD EXERCISES Play the following exercises at the keyboard with the right hand. Exarnples for
each of the exercises are provided in example D.2.
l. Be able to play M, m, º and + triads in root position on any note.
2. Be able to play the diatonic triads on each of the scale degrees in the following keys:
CM, GM, FM, DM, and mM
Am, Em, Dm, Bm, and Gm
In minor keys, use the harmonic minor scale (except for the triad on 3, which you should play as a M triad).
3. Play the following triads in first inversions:
CM, GM, FM, DM, mM, AM, füM, EM, Al>M, BM, F#M
Am, Em, Dm, Bm, Gm, F#m, Cm, C#m, Fm, G#m, mm, D#m
4. Play the same triads in second inversion.
·.> Example D.2
l.
M m o
4 tl ###¡ #H
+
etc.
11 &¡ q##¡ H etc. 11 q#q¡ "u etc.
11 #¡ etc.
11
2.
@¡ H § n §
11! D i H #§ 11
CM: etc. Am: etc.
3.
* CM
8
¡¡ GM
8
FM
ns
DM etc. Am·
11 ii 8 8 #8
Em Dm Bm etc.
11
4.
@2 § n
-e-
11
CM GM FM DM etc. Am Em Dm Bm etc.
ChapterE
The Rudiments of Harmony 11:
Labeling Chords; Musical Texture
EXERCISE 1 Write the triads represented by the following Roman numerals in the given keys.
?= & 9: &1,f,
DM: V ¡¡ 1 vi FM: IV viiº ¡¡¡ V ¡¡ vi 1 IV
Gm: iv viiº V IIl

'iEm: iiº VI iv V
?=
Am: IIl viiº V iiº
9: 1##1 #
BM: vi IV ¡¡ V 1 ¡¡¡ V viiº
"EXERCISE 2 Write the following diatonic triads above the given bass notes. Triads are here represented by a
Roman numeral (and a figure to indicate an inversion) in a given key. ldentify the root for each triad and notate it
under the Roman numeral, as indicated in the given example.
o o ;>: o o o
o
•• o
DM: viiº6 vi vi ii 6 IV Vil 6 d v6
2= # o o
fo
-e- o o
Fm: ivi V iv6 Em: v6 •6 ••O
4 14 11 6 v6
23
EXERCISE3 Write the following diatonic triads, indicated by Roman numerals, in the given key.
$&6 2= 1#
•• o •. o
Gm: ¡6 iv vn 6 Bm: ll() v6 III
$ü## 2=
AM: viiº6 IV6 ii BbM: v6 ii6 vi
EXERCISE 4 Provide the Roman numeral and position for the following triads in the given keys. Triads may
appear in root position or inversion. Your labels should be of the following types, as shown in the example: v¡, ii 6 ,
IV, viiº6, etc.
EbM: Em:
n § #11 #3 2= 1 H 8 § s
Dm: GM:
EXERCISE5 Write the seventh chords represented by the following Roman numerals in the given keys.
$&6
Gm: V7
.. o
vu 7 ÍV7 IU7
1
Bm:
'ª iv7 V7 u"J2Í7
..o
Vil 7
l&bb 1
?= I@
EbM: ii, vi 7 IV7 V7 DM: iii¡ V7 viif2f7 ii7
Chapter E The Rudiments of Harmony II: Labeling Chords; Musical Texture 25
EXERCISE 6 Realize the following isolated figured bass chords. ltems a and b are all triads, and you will need
only two upper voices to notate a complete chord. ltems c and d are all seventh chords, and you will need three
upper voices for complete sonorities.
a. b.
" y
.......
#.
1
h
V
'-' I
CM: 6
....••
,_
1
- ,-...
1
1
-
1
6
,-...
1
.....
V
Dm:
-
6
-
1
-
1
-1
-6-
4 4
c. d.
J.I,
•'°'
_. IL 1
,. ....
.. V
.... • •
- •• ""l.L
/ ,. u
..
ilf
11
-
1
1
-
,_
1
1 -
1
1
1
1
h
V
-
1
1
1
-
1
1
-
r-
1
1
Bm: 7 7 4+ FM: 4
2 3
#
EXERCISE 7 Analyze the following chorale by J. S. Bach with figured bass symbols. That is, imagine that you
want to write a figured bass reduction of this chorale for a keyboard player, using exactly Bach's harmonies.
Under the chorale, notate the exact figures you would need to have in your figured bass.
,,,' Example E. l J. S. Bach, Chorale 204, "Wer weiB, wie nahe mir," mm. 1-5
EXERCISE 8 Refer to the passage by Mozart reproduced in example E.2. Seven chords are boxed and num-
bered. Study each chord, and determine whether it is consonant or dissonant, a triad or a seventh chord, its posi-
tion, and, for all chords except chord 3, the complete Roman numeral (with figures indicating position, e.g., ii6) in
the key of CM. Provide all of the above information in the following chart (the information for chord 1 has been
provided asan example).
Wolfgang Amadeus Mozart, Piano Son,ata in CM, K. 309, ·III, mm. 9-17
3 7
---
6
13 )
1\ - .. ;:
--..
-- ....... .;, )-_
- --....,..._
5
-------F-- -- ;:
;:
ir ) ..
1 ,_____
@!
··t:=: >--t-
,,- ......._
cresc.
-
4
- 1 J_ 1-->--
1
- :: - ::
"" ---
-
.¡. ... - "' .:::
1
CHORD 2 3 4 5 6 7
Consonant (é)/ e
dissonant (D)
Triad (TR)/ TR
seventh (7th)
Position Ct t t 7, t j, i)
Chord 2 3 4 5 6 7
Roman numerals X
in CM
ChapterE The Rudiments of Harmony II: Labeling Chords; Musical Texture 27
EXERCISE 9 Analysis.
Texture. On a separate sheet, briefty discuss the texture ofthe following examples:
a) Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, mm. 1-8.
b) Anthology, no. 22, Chevalier de Saint-Georges, Violin Concerto.
c) Anthology, no. 27, Mozart, Piano Sonata in AM, mm. 1-8.
d) Anthology, no. 26, Mozart, Piano Sonata in CM, III.
e) Example E.3.
f) Anthology, no. 15, J. S. Bach, The Well-Tempered Clavier, 1, Fugue no. 11 in FM
In each of these examples, answer the following questions:

1) Is it homophonic or polyphonic (contrapunta!)?
2) If it is homophonic, what kind of accompaniment does it feature?
a. Melody with block chords.
b. Melody with broken (arpeggiated) chords.
c. Melody, chords, and {l parallel supporting melody.
d. Accompaniment (mostly) homorhythmic with melody.
e. Other (explain).
3) If it is polyphonic, explain the exact relationship among voices.
a. éhorale texture.
b. Free counterpoint: voices unrelated, nonimitative counterpoint.
c. Imitative counterpoint: voices share same thematic material.
d. All voices are similar in importance.
· Example E.3 Antonio de Cabezón, Diferencias sobre el Canto del Caballero

Chapter E The Rudiments of Harmony 11: Labeling Chords; Musical Texture 29
KEYBOARD EXERCISES Play the following exercises at the keyboard with the right hand. Examples for
each of the exercises are provided in example E.4.
1. Play the triads represented by the following Roman numerals in each of the following M keys:
I, V, ii, vii º, IV, vi, iii
CM, GM, FM, DM, AND mM
Play the triads represented by the following Roman numerals in each of the following m keys:
i, iv, VI, V, viiº, III, iiº
Am, Em, Dm, Bm, and Gm
2. Play the following chords in each of the keys from exercise 1:
M: I6 , V6 , ii6' vii º 6 , IV 6 , vi 6 , iii 6
m: i6 , iv6 , VI 6 , viiº 6 , 1116 , iiº 6
3. Play the following chords in each of the keys from keyboard exercise 1:
M: It IVt
m: it ivt
l.
§
n
*
§
l H o
etc.
11
! H -§ 11
etc.
CM: 1 V ¡¡ vii Am: i iv VI V
2.
8 9 il
*CM: 16
3.
v6
ii
¡¡6
11
etc.
Am: ¡6
8 ii
iv 6 VI 6
11
etc.
g
* CM: ¡64
11
-e-
IV 46 v6
4
etc.
11
A m: 1.6
4 iv 64
Is
u
y6
4
etc.
11
Chapter F
Introduction to Species Counterpoint
EXERCISE 1 Write six melodies, one in each of the modes, following the guidelines discussed in the textbook
(see the section "The Melodic Line in Species Counterpoint" and the models provided in example F.l).
a. b.
c.
d.
e. f.
EXERCISE 2 Write first-species counterpoints above and below the following cantus firmus. As a suggestion,
you may find it helpful to first write the opening pitches, then the cadence, and then plot a curve for your melody
before you realize the rest of the counterpoint.
a. b.
,,. " ...

"' I
- --
- u -e- - u --e-
-e- -e- u -e- u
@)
-
/
..-· •• - ••
•• -- •• - •• --
•• ••
31
EXERCISE 3 Write second-species counterpoints above and below the following cantus firmus. In the Lydian
mode it is acceptable to write in your counterpoint if you need to do so to avoid a rnelodic or harmonic
tri tone.
a. 6 8
2 4 10 12
l'I
14
··- .... ....
,,,,,...
"
"'@.)
''./ 1 (!.JI
-- 11.D
u
-- 1111
." .... -- . "
L ,.. •
/
•• .,
1
b.
2 4 6 8 10 12
f\
··-
\1
,,, ,, 'IJ./
'"'@) I 1
._
- /
..... ··- 'IJ./
'
-- 1-11
-- --
-- -
-
-0- --
-- llll --
EXERCISE 4 Write third-species counterpoints above and below the following cantusfirmus.
a.
2 4 6 8 10
b.
f\ 2 4 6 8 10
Chapter F Introduction to Species Counterpoint 33
EXERCISE 5 Complete the following suspensions in two voices. Sorne of the given notes are marked "P" for
"preparation" or "R" for "resolution."
p R p
dq e J
u
4 - 3
11
7-6
11
2 - 3
11
9 - 8
11
r 1
2 - 3
11
p p
dj· 11 0 11 11 11 1 11
4 - 3 7-6
o
9 - 8 9 - 10
IR 2 - 1
EXERCISE 6 Complete the following cadences in two voices, following the clausula vera and Phrygian caden-
tial models in example F.16e in the textbook.
a. b. c. d.
/\
...
•
r
"". u - -- ... V .,
--
'
<
)
.. ... -- ...
-··
L .....
/
- -- h.
"
34 INTRODUCTION The Fundamentals ofMusic
EXERCISE 7 Write fourth-species counterpoints to the following cantus firmi. As a suggestion, you may find it
helpful to work from both ends toward the middle. First write the opening pitches and the cadence, and then plan a
tentative curve for your melody before you realize the rest of the counterpoint.
a. 2 4 10
6 8 12
f\
,...,
A'!
, ...
" 1
v
... ,..
.,.
/
1 ... i.11 -- -- ... •• - . " -- i.11
- .,.
b. 2 4 6 8 10 12
ur
" ··-
.,,, ,.,
#.
"'-
v
,
-
e- e- u "'-' e- - . " - "'-' e- u -
e-
L "'º
"º soa
/
"'
c.
2 4 6 8 10
,,,
". .... "" '""

".
PARTl
Diatonic Harmony
35
Chapter 1
The Connection of Chords
EXERCISE 1 Study the part writing and voice leading in the following exarnples frorn Bach chorales. Identify
one case of each of the listed events, and label each one with the corresponding "event nurnber" (1, 2, 3, etc.) with
an arrow pointing at the exact location of the event. For each exarnple of chord connection, write "yes"
or "no" to indicate whether Bach follows our guidelines for voice leading according to the corresponding root
rnotion.
l. Exarnple 1.1.
1. A root-position chord connection with root rnotion by descending 5th (or ascending 4th).
2. A root-position chord connection with root rnotion by step.
3. A root-position chord connection with root rnotion by 3rd.
4. A root-position chord connection with root rnotion by ascending 5th (or descending 4th).
5. A chord in open position.
6. A chord in close position.
7. A V-1 progression in GM in which the LT resol ves to i in the sarne voice.
8. A rnelodic leap balanced by contrary rnotion before or after the leap.
9. A triad position.
1O. A unison approached and left by contrary or oblique motion.
, 1.1 J. S. Bach, Chorale 102, "Ermuntre dich, mein schwacher Geist," mm. 1-8
37
38 PARTl Diatonic Harmony
2. Example 1.2.
l. A root-position chord connection with root motion by descending 5th (or ascending 4th).
2. A chord in open position.
3. A chord in close position.
4. A change of voicing within the same chord.
5. A V-I progression in CM in which the LT resolves to l in the same voice.
6. A melodic double leap that outlines a triad.
7. A single leap balanced by contrary motion before or after the leap.
8. A descending diminished leap in the bass. Label the exact interval. Does the diminished leap resolve up
by step?
9. A unison left by similar motion which results, lo and behold, in an overlap! (Yes, Bach did this type of
thing every once in a while. It's also all right if you do it every once in a while, but not too often!)
10. A triad position.
11. A seventh chord in root position.
12. A seventh chord in position.
,,' Example J .2 J. S. Bach, Chorale 191; "Von Gott willich nicht lassen"
EXERCISE 2 Write root-position triads in four voices with the requested spacing (o for open, e for close),
without key signatures (write only the necessary accidentals before each triad).
e o e o e e o e o o
f¡
, ""
"'-
t)
J
a
/
..
»O
DM: il Am: VI Eb M: IV V Db M: ii EM: iii Al> M: vi Bm: iv Fm: IlI GM: V

Chapter 1 The Connection of Chords 39
EXERCISE 3 Complete the following changes of voicing or position in four voices.
a. b. c. d. e.
,, .... -J
¡,¡. ¡,¡.
,,
1 1
,,1 1
....1
1
'-
11
...J
.. ll
,_-
h.
11
- JOll'l1
l...
,.,,,
"'-
V
,_ '11 V
,, TI u V
1 1
1
1 1
j
..
,,-·
rJ r .. .."' ..
,, ll
n
,.J
, ,, ••
1
,.J
-
."' '" J- ll
ll
,_ .....- --J -
-
'-"
11
n
11
,_
'-
V
"' 1
1
1
1
h.
V ,_ r-
1
l...
V
1 1 1
I----- I i
EXERCISE 4 Complete the following progressions in four voices. All your chords should be in root position,
and you should apply the principies of voice leading according to root motion, which we studied in this chapter.
a. b. c. d. e. f.
/\
1.6
1
11
J
.,.,
• l...
V
h.
V
1
11 ..J
1 h.
V
,
"'
r
""' 1
j
,.J -
' -·
,,•• l...
....- rJ '-
1
1
,, ,,
,, r- - r-
,_-
1
V V 11 "'
V
1 1 1
1 1 1
FM: I V I IV EbM: I V I IV Dm: i V iv
g. h. i. j. k. l.
/\
,.,.. ¡,¡. ,, 1
r1
1 ¡,¡. 1
"' -
1 1
• _,1 1
,,..... J..
, ...J
'l'T .... V
,_
"" -_,
r 1
J r i
J
- -r- -
- ,.J
L-,._e
-
,,••
111
.MI
ll
,, -
,_, rJ
1
rJ
1
,_-
1
....
V
',
íJ
r
1
.."' u
1
-
1 1
1
19'
.....-
1
1 1 1 1 1
1 1 1 1
AM: IV V iii IV Cm: iv V III iv GM: I vi IV I iii V
EXERCISE 5 Write a melody in good style, following the guidelines for melodic style discussed in this chapter.
j 11
DM:
Chapter 2
The Tonic and Dominant Triads
in Root Position
EXERCISE 1 Analysis. Study example 2.1.

1. What is the key of the piece? (Careful: note that this little dance piece does not begin on the tonic.)
2. Analyze the complete example with Roman numerals (RN). Notice that the left hand uses the bass afterbeat
keyboard pattern, and that the complete measure is analyzed as one chord, with the position determined by
the bass on the downbeat.
a) On what harmony does this piece begin?
b) On what two chords is the piece based?
e) The first section of the piece (mm. 1-8) has two phrases (1-4 and 5-8). Is there any difference between
the two phrases? What kind of cadence occurs in mm. 4 and 8?
d) The second section (mm. 9-16) also contains two phrases (9-12 and 13-16). How are they related? Are
the cadences in mm. 12 and 16 the same? ldentify the cadence type for both of them.
e) Is the complete melody based on a short rhythmic pattern (a rhythrnic motive)? Write this rhythmic pattern
here:
41
42 PART 1 Diatoníc Harmony
Fnmz Schubert, Origmaltanze, op. 9, no. 25
mf
f) Compare the melody in mm. 1-8 and 9-16. The basic principle by which these two melodies are related is
called inversion. Examine carefully the melodies (focus, for instance, on mm. 1 and 9) and explain pre-
cisely what inversion is.
3. Provide a brief explanation of the formal role of the I-V-I progression in the following two fragments:
anthology, no. 28 (Mozart, Piano Sonata in füM, K. 333, III, mm. 1-8), and anthology, no. 26 (Mozart, Piano
Sonata in CM, K. 309, III, mm. 1-19). Play or listen to these examples. Determine their phrase and cadential
structure, and discuss the role of I and V in shaping the form of these fragments.
Chapter 2 The Tonic and Dominant Triads in Root Position 43
EXERCISE 2 Write the following progressions in four voices, with correct voice leading. Always PLAY and
LISTEN to your part-writing exercises befare you turn them in to your teacher.
a. b. c. d. e.
...
/\
11 LJ. TI IM'
.. .. ,.
1
11
1
...
,...
,
1
-
-'
1
1 .. '-
V
I V
11 V
(J
@l
'-··
1
) ,d
1
e'• •
/ ""
ll
,, .... n
,_-
,,.,,
,,. ,_
-
n
1
... 11 ...
V ... ,,
,...-
,_-
-
'l'T 1 1 V 11
1 "
1 1 1
EM: 1 V Am: V GM: V 1 Fm: V 1 V 1
f g. h.
l'I J 1
,, .IO ll'l'l
, "' 11
LJ. ...
1 11
.
lL
'11 11
1 "
@l 1
L'-•
. ll
TI
J-
,_ -
- "'
"11
1
-· • •
/
.MI
n
. . IL
11
'11
...
1 [JI
V
1
F#m: i V DM: 1 V 1 Gm: V
EXERCISE 3 Realize the following 1-V-I (or i-V-i) progressions in four voices. In each of the progressions,
use the required voice-leading model.
3a: Passing progression.
3b: Upper-neighbor progression.
3c: Lower-neighbor progression.
3d: Upper-neighbor progression with an unresolved LT (anda complete final triad).
3e: Resolve the LT in the voice above it.
3f: A descending º4 leap in the soprano.
44 PART 1 Diatonic Hannony
a. b. c.
,, •. *··- -J ..
-
1 1 1 JJ. 1 1 1
" ,
"
--. - rJ
--
MIL'rtiD
"
"
n
h
V
- "
nn
"
--
<
... -"'.. - .. LI.

"
- " -U."11811'
./ h 1L
,.
V
"
EM: Dm:
d. e. f.
-. *
¡ 1 1 1 JJ. 1
JJ.
•rn.n -" -
" V "
1l
" "
r
" i-
t.l 1 1
_d_
/
•0
.- ..
-
11
"
IL"TI
"
"
1
h "
,,
-""
,. 1L
11 V
"
1
1
AM: Gm: Bm:

Chapter 2 The Tonic and Dominant Triads in Root Position 45
KEYBOARD HARMONY
1. Play the following keyboard progressions and listen to the chords and their connections as you play. Play
them in several keys. Begin with CM and Cm, and then play them in major and minor modes on G, D, and F
(except for example 2.2a, which you should be able to play in all M and m keys) .
. ..' Example 2.2
a. b. c. d. e. f.
1 - ...
-
j
-
1 1
- .
1 1 1
-- -- -
1 1 1
... - - 1 ...
...
-f
,.¡
-('} - • - 1
=
1
-
1 1
=
1
- -- -""
=
1
r
-
<
.. -
- -. - -
1 1 1 1 1 1 1 1 1 1 1 1 1 1
j
LH
/ ,.
= - -. CI
- -.
CI
- -. r
--
Notice that these progressions are written in keyboard texture, rather than four-part vocal texture. In chordal
keyboard texture, it is customary to play the bass alone with the left hand, and the three remaining voices in
close position with the right hand. All the same voice-leading rules studied in this and the previous chapters
apply to keyboard .block-chord style.
2. Refer to example 2.3 in the textbook. Play the soprano-bass patterns in that example at the piano, adding
inner voices in keyboard texture, in major and minor modes on C, G, D, and F.
Chapter 3
Harmonic Function; The Subdominant
Triad in Root Position
l. Example 3.1.
a) Analyze the passage with RNs (Roman numerals).
b) What is the function of the chord in m. 100? Explain its voice leading and how it relates to the previous
and following chord.
e) Study the voice leading for the whole passage, focusing especially on the right hand. Does it conform with
the voice-leading guidelines we studied in chapters 2 and 3?
2. Example 3.2. Study the progression in this excerpt. Analyze it with RNs. Compare its voice leading with the
voice leading for this progression studied in this chapter and comment on your comparison.
3. Anthology, no. 56 (Clara Schumann, Trio). On what type of cadence does Clara Schumann end this piece?
Can you identify any specific voice-leading licenses taken in the left hand of the piano (mm. 284-285)? This
type of open voicing is characteristic for the lower register of the piano, and open fifths provide a very strong
harrnonic support for such broad instrumental sonorities. The deliberate parallel voicing used here by C.
Schumann may be found in instrumental writing and should not be considered a voice-leading "rnistake."
47
48 PART 1 Diatonic Harmony
W. A. Mozart, Piano Sonata in AM, K. 331, UI, mm. 97-109
Allegretto
103
Giuseppe Verdi, La, forza del destino, act IV, scene 4
Jl•
p-µ 1n=- J1
'
µ 1J ---
:b 19 1p
cie.,:} fie ri ac - cen ti, por-tin se - cqjn pre - ven ti, per-do -
5
8
te - mi pie ta, O fra - tel, pie - ta, pie ta.

Chapter 3 Harmonic Function; The Subdominant Triad in Root Position 49
EXERCISE 2 Realize the following progressions in four voices. First add RNs if missing, then write the bass
line if it is not provided. Next, write a good soprano line, making sure that it forms a good contrapunta! frame with
the bass. Finally, add inner voices using correct voice leading. Use only, in all cases, tonic, dominant, or subdomi-
nant chords in root position. Remember: Before tuming in a part-writing exercise, play it and listen to it.
a. b. c. d.
/\ J.I ,. J.I ,. ,. -J ,.
-
1 1 1
... u.
y
--
....¡
-.
1 1 1 f]
......,. "'" ......, ..... ...... ..... ......
.. ,. ,.
lf
...... n
.J
" ...... " ...... .....
1
) 1
1
) d J
....
-
./
-· .,, ,,
•• 1111 LL
,.
......
'•
......
-
r-
1
n
1 --
.
"'
"'"
'•
,,
q.
.....
.....
V
,.
......
......
-
,, ..... 1 f]
.....
"
- -
- - -
,,,
,,
q.
.J
1
,...
1
1
1
1
••
DM: 1 IV I Em: iv FM: I IV I V I Gm:
e. f. g.
AM: I IV V I Cm: iv V EM:
EXERCISE 3 Write four-voice harmonizations for the following melodic fragments. Write the bass first, and
then fill in with the inner voices. Sing each melody before writing the harmonization, and after writing it play the
complete harmonization at the piano.
a. b.
I'
j\
h
V
1
-" -
,,
1
-
1
-
1
-
1
- 1
u
1 1 ,¡¡,
"
"
#
......,,.. -
1
-
1
rJ
1
-
1
-
1
u
1
<
,,
... ..J
--.... -
/ h
V
-"' 1
.. u"
"
1 V 1 IV V 1 iv iv V
EXERCISE 4 Each of the following melodies is made up of two melodic patterns that in this chapter have been
associated with specific harmonic patterns. Harmonize each of the melodies with one of the following progres-
sions: I-IV-V-I-IV-1; I-V-I-IV-I-V; or I-IV-I-IV-V-I, matching the progressions with the respective melodic
pattems. Besides looking for pattems, also make sure that the progression you choose is the correct one to harmo-
nize each particular melody by checking each pitch from the melody with the corresponding RN. Write only bass
line and RNs under each melody (you need not add inner voices). Begin by singing each melody, and play each
two-voice harmonization after you write it.
,.. 1 .lb
,, 1 1 1 1
, -
1 u. 1
"' 1111
•
'
!...
V
q.
q.
Y.. n
1 -i
.
1
1111
- -
-i 1
-i rA
TL
'11
1
1
- -
1
-i
1
1
-i
1
1
.,
1
1
1
1
#1111 u
1
1
1
@)
<
J
.... ,.. ,, ,,,
- •• 1 .....Y.. //JI
i / !...
V ..... lL
TI
FM: DM:
Chapter 3 Harmonic Function; The Subdominant Triad in Root Position 51
KEYBOARD HARMONY
l. Play and learn the progressions in exarnple 3.7 of the textbook. Listen to the role of the subdominant in these
elaborations of the 1-V-I progression.
2. Play the following keyboard progressions in the following major keys: C, F, G, and D; and in the following
minor keys: C, A, D, and E.
Example 3.3
a. b. c. d. e. (In m only)
.
¡
- 1 1 1 1 1 1 1 1
.. 1
.. - ..
1 1 1
@l - 1 1 1 1
• - 1
1
1 1 -
1 1 1 1 1 1 1 1 # # b.. # # 1
;; : :=
1 1 1
I IV 1 1 V 1 IV I I IV V 1 iv V iv V IV V
3. Soprano-bass patterns. Refer to example 3.6 in the textbook. Play the soprano-bass patterns in that example at
the piano, adding inner voices in keyboard texture in the same major and minor keys listed previously in key-
board exercise 2.
4. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following
exercises at the piano, using keyboard texture: textbook, worksheet 3, exercise 2; and workbook, chapter 3,
exercise 2.
5. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using
keyboard texture: textbook, worksheet 3, exercise 3; and workbook, chapter 3, exercise 3.
Chapter 4
Triads in First Inversion
1. The harmonic phrase in example 4.1 is a prolongation of l. Analyze with RNs (Roman numerals). (Notice
that the first inversion of V 7 is labeled Vt a chord very similar to V 6 ), and explain the prolongation of 1 in
terms of voice leading.
1. ' :
1
Example 4.1 Felix Mendelssohn, "Im Grünen," from Zwolf Gesiinge, op. 8, no. 11,
mm.14-15. · ·
- ..
14 ... ..
.- .
15
lj. #.
. .,_
.' ..,.
" -
-
r-1
- - - . -
.........--!
-....
" " " n
""' -
@I i" r i" r i" i"
Will kom - men im Grü - nen! Der Him - me! ist blau, der
-"... - ..,,
lj. #. .
- .. .. ..
Jilll"'l'11
"
"
_,.
-· - - _,
" "
..i
=·
-¡. . -i •• • • 411. 411 411
•· '
411
<
p
,,
..-
,, ..
- - .- -
1
L ,... Jil
• -
- -
•• Jil ilf
.
11 'l"T
"
" "' '"
2. Analyze mm. 15-16 and 18-19 of example 4.2 with RNs. Measure 15, beats 1-2, presents an incomplete
chord, which could be read as an A or an F chord if we imply the missing pitch. If we consider the F chord in
beats 3-4, and by analogy with m. 16 (all of it is one chord), we will hear the complete m. 15 asan F chord.
The symbol which will be explained in chapter 7, should be interpreted as .a dominant chord (the j) em-
bellished melodically by the preceding (which we calla "cadential
a) What is the role of first-inversion chords in this passage? Mark all changes of position with a bracket, and
explain them.
b) What kind of cadence occurs in m. 21?
53
54 PART l Diatonic Harmony
W. A. Mozart, Piano Sonata in CM, K. 309, I, mm: 15-21
V 6- 5
4 - 3
EXERCISE 2 Write the following triads in four voices with correct doubling.
íl
1_,.,_. ---+---------+----+-----+-----+-------+---+----1-------+l
EXERCISE 3 Realize the following progressions in four voices. Use voice exchange where possible. Always
verify (and enjoy) the sound of what you write by playing and listening to it.
a. b.
i ..
-" _,1 .,,,1
1 1
-- -
- " ....
....
1
' " -
1
.. -.. J J
..."' -
MO
1 / ll
..,
F
1
V
" 1
Bm: V I IV I
Chapter4 Triads in First Inversion 55
EXERCISE 4 Figured bass realization. Provide a RN analysis and a four-voice realization of the following
figured basses.
a. b. c.
1 - 1\ 1
-- -
ll
'"'
"
ll 1
@)
'
,,
1 /
..
u
,,,
-.... - - .. - .. -
n - - "-
"
--
:;: " - - - - -- - -
1 1 1 1 1 1 1 1
1 1 1 1 1
6 F#m: 6 # 6
füM: 6 6
EXERCISE 5 Harrnonize the following melodies with a bass line and RNs (no inner voices), using standard
harmonic pattems that correspond with the melodic pattems.
a. b.
y
1\
--.. - -- - - - -
"'
1
" ....•. - -
1
-
l 11
1 1 1 1 1
- - -
1 1 1
- -
<
..,. -.... ......

- - -
11
/
CM: Gm:
Chapter4 Triads in First Inversion 57
KEYBOARD HARMONY
l. Play and learp the progressions in example 4.10 of the textbook. Listen to the role of first-inversion chords in
these elaborations of the I-V-I progression.
2. Play the following progressions in CM, GM, DM, and FM; and in Cm, Gm, Dm, and Am. You can also use
them to practice harmonic dictation. A friend can play them in any order while you notate the bass and Roman
numerals and recognize which one of the progressions is being played.
'"···" Example 4.3
a. b. c. d.
' 1 1 1 1 1 1 1 1 1 1 1 1 1
• • • •
-
1 1 1 1 1 1
.L. . . . •
1
" 1
l 1 1 V l
e. f.
' ;:: 1 1 1 1 1 1 1 1
••
1 1 1
1
• • •
1 1 1 1
1 IV
3. Soprano-bass patterns. Refer to example 4.9 in the textbook. Play the soprano-bass patterns in that example at the
piano adding inner voices in keyboard texture, in the following major keys: C, G, D, and F; and in the following
minor keys: C, G, D, and A.
exercises at the piano, using keyboard texture: textbook, worksheet 4, exercise 3; and workbook, chapter 4,
exercise 3.
5. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercises
at the piano, using keyboard texture: textbook, worksheet 4, exercise 4; and workbook, chapter 4, exercise 4.
keyboard texture: textbook, worksheet 4,.exercise 6; and workbook, chapter 4, exercise 5.
Chapter 5
The Supertonic
l. Analyze the opening phrase of Beethoven's Piano Concerto no. 4, III (example 5.1) with Roman numerals
(RNs). What is the harrnonic function of mm. 11-15? How does this phrase illustrate the close relationship
between ii and IV?
,,: Exarnple 5.1 L, y. J?iano C011certo rio. 4, op .. 58, ill;. (piano part)
15
2. Analyze examples 5.2a, b, ande with Roman numerals.
59
e•
3T2a ·J. S. Bach, H¡gue no. 3 in C#M, from The Well-Te11'/;pered Clavier, I
55
_--.i Example 5.2b w,A. Mozart, Piano S¿nata in K. 333,I
,.•." Example 5 .2c _ W.A.. Mozart,

. ' . . ' ' ' . Piano, K.-56, III
Sonatand>lSforViolinand
. .
12 16
EXERCISE 2 Realize the following progression in four voices. Remember to double-check the outer-voice
frame for good first-species counterpoint.
, . ... y 1.1 T..11
1 IV ii V 1
EXERCISE 3 Provide a RN analysis and realize in four voices. Remember to double-check the outer-voice
frame for good first-species counterpoint.
..
··- - .. --
J.I 1
'
t_.I 1
.. .,, ••.. ..J -- - -

-- - - .- - -.
.- r
u -
-
r-.
1 1
1
V 1 -
1
-
1 r
-
1
Bm. 6 6 6 6 6
EXERCISE 4 Melody harmonization. Write a bass and RNs (no inner voices) harmonizing the following melo-
dies. The harmonic rhythm (HR) is given.
a. b.
- - - -· -- - --
/\ 1 1 1 1 1 1 I>.. 1 1
-..
-
l t.)
:;- - r
- • - r
:;-
. - ,,_
"
l'
6 6 5 6 6
. :;- : .
l F
-.. :;-
Gm:
FM:
HR:
r r í r rrr
1. Sing each melody several times before writing the harmonization.
2. Use only I, IV, or V in root position or first inversion.
3. First try to identify any melodic patterns that may be harmonized with sorne of the harmonic patterns you
have learned.
4. Harmonize the notes marked with a 6 with first inversion triads. (If necessary, a 5 is used to indicate a root
position triad.)
5. Check your two-voice contrapunta! frame to verify good voice leading.
6. Always play your harmonizations (as well as all your other exercises) before you turn them in. Make sure you
are satisfied with them, and enjoy them!
EXERCISE 5 Ha.'monize the following melodies with a bass and RNs (no inner voices). Use I (i), IV (iv), V, or
ii (iiº) in root position or :first inversion. Remember to double-check the outer-voice frame for good first-species
counterpoint.
-- ....
L.
-
..• ...-· -· - .- - - ,...-
- -·
'
@) 1 1 1 r
6 6 6 6
.. - .......
DM:
HR: r· r r r· r P r
KEYBOARD HARMONY
l. Play and learn the progressions in example 5.6 of the textbook. Listen to the role of both first-inversion chords
and the supertonic in these elaborations of the I-V-I progression.
2. Play and learn the progressions in example 5.3 (in CM, DM, AM, and HM; play progressions 5.3c and also in
Am, Bm, F#m, and Cm), paying attention to the voice leading to and from the supertonic chords. Listen care-
fully to the progressions as you play them (oras a classmate plays them).
,; Example 5.3,
a. b. c.
1 IV ii V I 1 1 V 1
3. Soprano-bass patterns. Refer to example 5.5 in the textbook. Play the soprano-bass patterns in that example
at the piano, adding inner voices in keyboard texture, in the same major and minor keys listed in keyboard
exercise 2.
4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass
progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 5,
exercises 2 and 3; and workbook, chapter 5, exercises 2 and 3.
5. Melody harmonization. To practice melody harmonizati9n, realize the following exercises at the piano, using
keyboard texture: textbook, worksheet 5, exercises 4 and 5; and workbook, chapter 5, exercise 5.
Chapter 6
Nonchord Tones
l. Identify and label all NCTs (nonchord tones) in the Corelli phrase reproduced in example 6.1. Besides the
NCTs actually present in the melody, is any other NCT suggested by the figured bass?
2. Identify and label all the NCTs in anthology, no. 8 (Bach, Chorale 41), mm. 1-5.
3. Identify and label all the NCTs in anthology, no. 34 (Beethoven, Piano Sonata in Cm, op. 13, III), mm. 1-8.
Because in this example the left hand arpeggiates chords, all the left-hand pitches may be interpreted as chord
tones, with the only exceptions to be found in m. 1, beat 2 (notice the meter signature) and m. 3, beat 2. Iden-
tify the NCTs in these left-hand passages, besides the numerous NCTs throughout the right-hand melody.
•>Example 6.1 . f'olia, op.5,.nti.·12 .
Adagio
-' ....-. - -· -
. - -
..-.._
-· ,
- - -· .• , r
- -u.
u• -· - u.
-
r r- i-- ,u
--
,
1 .._ 11
•
1
t_) 1 1 1
<
...
l ....-.. ,...-· -·
1 1 1
/
r1 •
....-· rJ •
,...
u
lL
n•
TI
-
r- ,,_
.... -'
1 1 1
5 6 6 7 6
EXERCISE 2 Add NCTs to the following chorale. Provide suspensions as required by the given figures. If you
add simultaneous NCTs in different voices, make sure they are consonant among themselves. Be careful not to
"overembellish" !
65
(Based on Bach, Chorale 27) (.'\,
7-6 4-3 4-3
2-3 9-8 4-3 V 9-8 4-3
EXERCISE 3 Harmonize the given two-voice framework with i, iv, V, and their first inversions. First add inner
voices. Then embellish the texture with NCTs.
..." Lll
"'@) '
'-
V
1
"
1
'' .... ••
V
.....
¿;_
L ...
1
- 1111
lllfl
...
- -....
1
1
111111 - 1
....
-
1
... 1
1
u
1
<
,_ ....... •• -
-
,...
...- .,,. ""'
-
k
.... ,,
-. L..
,.
/ V
..... ""
r
V 1 1 1 //ID r-
i 1
1 1 1
1 1
1 1
Fm:
EXERCISE 4 Realize the following progression in four voices, including the suspensions indicated by the fig-
ures in the required voices.
-
1
" J.\,. ,,
1
=
-
1
j
. .. - - ', - ..
1 "
1 1 --
1
,,
1
'
1
1 1
-
1 ' ' 1
iv9_3 V4-p-- i 9-8 Vs -6 I

Em: iv7-6 V4-t13 V6 2 -3
(sop) (alt) (ten) (alt) (sop) (bass)
Chapter 6 Nonchord Tones 67
EXERCISE 5 Complete the chain of 2-3 suspensions that has been started for you.
5 5 5 5
2 - 3 2 - 3 2 - 3 2 - 3
EXERCISE 6 Folk melodies often display a slow harmonic rhythm and numerous NCTs, as in the melodies
reproduced below. Harmonize these melodies with a bass line and RNs (no inner voices). Use only 1, ii, IV, V, and
their first inversions. Note that for melodies a and b you will need to use V7 in your harmonization. Sing, play, and
sing again each of these melodies, and try to hear their harmonization as you play or sing. Be careful with the
voice leading of your two-voice framework. For each melody, identify, mark, and label all NCTs.
a.
.......,
•""
"
11
,_
- ...
"'
"'
•
.. - •
-
-
-
- - - -- -
1
_,
-
....
- -
1
-
- r-- r-- -
r-
-..,¡
--- - ..
,...
;¡¡¡..i
'
e"'• .. ••
,, L.
-
FM:
-
;;..
"
HR:
r r r r í í
Austria
í í í
68 PART 1 Diatonic Hannony
o
HR: o o
o
º----------o í
o o o o o
------
Germany
-
- - ·-
". 1
.
lf
@)
, 1 rJ
L..
V c. ""'- - ,...- ...-
1
1 1 1
.,,-
1 T 1
-
r-
lll!I 1
- '"
T
-'
"" -... 1
....
...J
-· -- -- - ...
1 y
- -'
(SI ""'
_J _,,J
CJ
/ "º ,_ " 1
V
í
Chapter 7
Chords
l. Circle and identify the Schord(s) in the following excerpt. Notice that the double bass sounds an octave lower
than notated.
,·... ..·.·· ··..··.·. . . . ··."'···.·· .. ··. · .··· ·.······ ...· .... ·..··... ·.··.·.·.··.. ···.. · .. ... .········· .. ·..·.·. ····.······•·· ·
.;'Example 7. l L v.
· ... ·.··.. ·.· ··
... l,op.·15,I,
.•.
:.
1 1i 1 1 1 ••• 1
1 1
2. Refer to anthology, no. 22 (Chevalier de Saint-Georges, Violín Concerto no. l ). Tum in a copy of the excerpt,
in which you will have circled, identified, and labeled the following:
S
a) All chords.
b) All NCTs (nonchord tones) in the first violín melody.
69
3. Circle and label the chords in the following excerpt.
Example 7.2
90 Dr. Malatesta
Fra da'._,u - na par - te et ce-te-ra,
pp sempre stacc.
93
So - fro - nía Ma-la-te - sta, do- mi - ci- lia- ce - te - ra, con - tut - to que! che
95
,
. -, .- ™ ..
'
re - sta.
1\ ,.,, ....
l
,
"
:
s: , • $ ., j:
- ;: J
1
!._ - -
Chapter7 Chords 71
4. The following questions refer to example 7.3.

a) What NCT is featured in the opening motive?
b) Measures 5-6 are linear elaborations of the tonic triad. On the score, provide RNs for ali the chords in
these two measures. Explain here how each of the chords functions linearly to prolong the tonic harmony.
How are the outer-voice pitches in m. 5 related linearly?
c) What kind of cadence doses the first phrase (m. 8)?
What kind of cadence doses the period?
Explain the chords in mm. 15-16.
d) How are the two "moving voices" in both hands related in mm. 1-4?
By contrast, compare the outer voices in mm. 5-6. How is the contour of these voices designed in relation
with each other?
Finally, compare the contrapunta! motion in both hands in mm. 7-8. How are the melodic contours related
in these measures?
"" ,,' Example 7 .3 L. v. Beethoven, Piano Sonata no. 9, op.14, no. I, II, mm. 1-16
Allegretto
r r
EXERCISE 2 Write the following triads in four voices with correct doubling.
",,,
i •""'\.'-.,
/
-·
,.
6
Gm: i! EM: V4 DbM: IV! Cm:
,,,."
'
v
/
-·
••
FM: Am: iv! BM: v! Dm: iv!
EXERCISE 3 Realize the following short progressions in four voices. Provicj.e RNs (Roman numerals) where
needed.
a. b. c. d.
f\ l.I ¡¡ l.I
<
;::
:'.
1 1 1 1
6 p6
Dm: i EM: 4 FM: I 4 16 Em: 6
4
e. f. g.
" l.I ¡¡ 1 l.I
:;- "
.. ,, ;,;
:;:-
1
1
V 6 -5 6 - 5 6
AM: IV I Gm: iiº6 V 4 Bm: #j
4 - 3 -b 4
Chapter 7 SChords 73
EXERCISE 4 Realize the following progression in four voices. Provide RNs where needed. Remember to
double-check the outer-voice frame for good first-species counterpoint.
f\
lf "" 1.- ...."'
'-' I
V
.q"'
@)
<
j
._
/
..
- .... .... ....,.,
....
V
.
Dm: p6 iv V iv
4
EXERCISE 5 Harmonize the following melody with a bass line and RNs (one chord per melody note). lnclude
at least one of each of the following chords: passing neighbor cadential and ii6 (besides i, iv, and V in root
position or inversion).
f\ 1
...-... - ..
- ..
-- - -
1 1
_, _,
.""" ' ' _." ' .
ti
'
'-' I
1.-
V _, 1
-
_,
Tl.
TI
' _,
- - - -
...J 1
_,1
-
..:..
'
@)
<
._
/
..
....
....
V
1 10
•..,•
,
Gm:
Chapter7 Chords 75
KEYBOARD HARMONY
l. Play and learn the progressions in example 7 .12 of the textbook. Listen to the role of chords in these elabo-
rations of the I-V-I progression.
2. The following keyboard progressions contain all the chord types studied in this chapter. Play and learn the
progressions in CM, FM, mM, BM, and in their relative-minor keys: Am, Dm, Gm, and Cm.
,,' Example 7.4
a. b. c.
" 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
.. .. 1 1 .. •
1 1 1 1 1 1
16 1
CM: 1 p4 16 V 1 1 1 1
3. Soprano-bass pattems. Refer to example 7.13 in the textbook. Play the soprano-bass pattems in that example
at the piano, adding inner voices in keyboard texture in the same major and minor keys listed in keyboard
exercise 2.
4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass
progressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 7,
exercises 3 and 4; and workbook, chapter 7, exercises 3 and 4.
Chapter 8
The Dominant Seventh
and Its Inversions
EXERCISE 1 Analysis. Refer to anthology, no. 20, Haydn, Sonata in DM.

l. Analyze mm. 9-15 with RNs (Rornan nurnerals).
2. Measures 9-15 can be explained as a harrnonic prolongation of 1 in FM. Explain the linear function of each
chord and how it contributes to this extended prolongation.
3. Provide RNs for the chords in rnrn. 17-19. Explain their voice leading, noticing the resolution of any possible
chordal dissonance.
EXERCISE 2 Write the following root position and inverted V 7 chords in four voices, and resolve each of thern
to the appropriate tonic chord. Write the key signature for each.
",..,
11
1
'"'''
@)
)
)
1
....
,,
EbM: V 7 AM:V7 Gm: V7 Em: vg Dm:V1 FM:V1 Am: v1
77
EXERCISE 3 Realize in four voices.
a. b.
I
""'
f\
,,, ." TJ.
.
,_.,.
,..
1 f.P
....
...
1 ,.
,.
.......
1 11
t.l
, 'fl
- f7
.......
<
.. ... ......,, ,,
.....
- ,.. ... , .......
,
11
, ,,. "' u.
ll
11 V
8-7
Bm: V füM: I IV V 6-5 I
4-3
c. d. e.
f\
.....,.. ,.. ,.
.
- .... ..... ..
.....
,,1 illll IL TI _,
..... li
'fl
,. ,..
... ,_,.
"\.'-1.J' .......
t.l
'
-·•ª •"'..,. l l
u.
lL
1L .•
11 rw
....,, ....
,,
-,, .
......
...
/
11 "' ...... V q ......
EM: 1 Dm: Am: iv V v1
EXERCISE 4 Provide correct RNs for the following bass. Include a passing and one each of the three
inversions of V7•
;>: • 1J J J J 1 j J J J 1J J J j 1 J J J J 1.. 11
EXERCISE 5 Analyze with RNs and realize in four voices. Remember to double-check your outer-voice frame
. for good first-species counterpoint.
""
1\
IÁI
,¡j.
. . IL'fl
ll
TI
... ..,
u
1
1111111
'-'-'
v 1
'
J
.._
/
'l!l..8
,..
..
dfJ1
11!!1 l.L
IL
lL
n
' 1
-:;;;:-
•• ,...
!..)
n
- - - ...- -
""'
.......
-
r- -
1
...
1
""'
-
,.,. flilll
_J
...- - - -.
_J
- -
1 1
- 1
1 1
1
6 6 6 6 7 6 6 7
5 4 5 4
3
Chapter 8 The Dominant Seventh and Its Inversions 79
EXERCISE 6 Harmonize the following melody with a bass and RNs. Include as many dominant seventh chords
(in root position or inversion) as possible. The harmonic rhythm is one chord per note, except for the two notes
marked with a bracket, which will be harmonized with the same chord .
-- - - -
.-----¡-1
.,,' "'"n ', . - -
-
1 1 1 1
j,f
- - - - -
t..'
r-
1
r-
1
- _,
-
-
r-
1
r-
1
r-
- - - -
1
-
_,
- u
,-·.. - '
DM:
Chapter 8 The Dominant Seventh and Its Inversions 81
KEYBOARD HARMONY
l. Play and learn the progressions in exarnple 8.12 of the textbook. Listen to the role of inverted dominant-seventh
chords in these elaborations of the I-V-I progression.
2. Practice the keyboard progressions from example 8.1 in the following major keys: C, G, D, A, E, F, fü, and
Al>; and in tlie following minor keys: A, D, G, C, F, E, B, and F#.
", Example 8.1
a. b. c. d.
,.,
-.. - '
1 . 1 1 1 1 1 1 1 1 1 1 1 1 1
1
1 1
' ' 1
-- .. .. -()-'
.'.
..
11 6
v8- 7
6- 5 1 IV V V7 1 v65 1
4- 3
,.,e. f. g.
1 1 1 1 1 1 1 1 1 1 1 1 1
:
1 ' 1 1 1 1 1
..
1 1 1 1 1 1
1 1 1
1 ' 1 1 1
1 16 ii 6 V 16 I 1 v43 v65 IV v42 v4

3
3. Soprano-bass pattems. Refer to examples 8.8 and 8.9 in the textbook. Play the soprano-bass pattems in those
examples at the piano, adding inner voices in keyboard texture in the following major keys: C, G, D, A, and F;
and in the following minor keys: A, D, G, C, and F.
4. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following exer-
cises at the piano, using keyboard texture: textbook, worksheet 8, exercises 4 and 6; and workbook, chapter 8,
exercise 3.
5. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercises
at the piano, using keyboard texture: textbook, worksheet 8, exercise 8;. and workbook, chapter 8, exercise 5.
Chapter 9
The Leading-Tone Triad
1. a) ldentify a leading-tone triad in each of the following examples: anthology, no. 20 (Haydn, Piano Sonata in
DM), mm. 1-4; and anthology, no. 32 (Beethoven, Piano Sonata in Fm, op. 2, no. 1), mm. 1-8. Explain
how each of these triads functions linearly, and comment on the voice leading used in their resolution.
b) Analyze mm. 1-8 ofthe Beethoven example (anthology, no. 32) with RNs (Roman numerals), and explain
how the initial tonic is prolonged through m. 7 by linear means.
2. Analyze example 9.1 with RNs. Two areas extend 1: mm. 21-23 prolong 1 and lead to the half cadence at
m. 24. Then, mm. 25-30 again prolong 1, leading to the final pre-dominant/dominant/tonic cadential pattem.
On the score, indicate linear chords in these areas, showing their passing or neighbor function by means of a
P oran N, respectively.
83
, ,,' Example 9.1 R. Schumaru:l, "Freµe,dich, omeine Seele," from Album fortheYoung, op, 68, .
mm. · · · · · · .·. ·
21 22 23 24 25
,..----..._ 26
1 -.
11
.
¡¡
"º -
1
='
1 1 1 1 1
{.\
. 1
- ='
1 1 1
v 1 1 1 1 1 1 1 1 1 1
••
.
• Mllll
J J J 4 _J fi
--
_J
.. - J t _J
1
-
/
27 28 {.\ 29 30 31 32
1
11
.
11 1 1
- 1 1 1 1 1
{.\
v í 1 1
í 1 1 1 1
í 1
.... J J _J
.,
J _J
- - J 4 _J J J ..
n
1 , -
1 1
1
--
3. Example 9.2 shows mm. 3-6 of Bach's Chorale 96.

a) Analyze mm. 3-4 with RNs.
b) Circle and label all NCTs (nonchord tones).
e) Measure 3, beats 3-4 and m. 4, beat 1, feature a progression studied in this chapter. What is unusual, in a
minor key, with the chord in m. 3, beat 3? Why does Bach use this chord here? Could there be any melodic
reasons that would preclude the use of the corresponding minor key chord?
,,,·· Example 9.2 J. S. Bach, Chorale 96, "Jesu, meine Freude," mm. 3-6
Chapter 9 The Leading-Tone Triad 85
EXERCISE 2 Analyze the following figured bass with RNs, and realize it in four voices. End the phrase with a
S-#6-#7-1 melodic fragment in the soprano. Remember to double-check your outer-voice frame for good first-
species counterpoint.
/\
,,
-•
1
, ..... ..
11
,
#.
"'-'' ..... 1
t) 1
J J
- - - -- -
-
1
&.
/
.........
-·
.....
,,,
1
r-
1
- 1
-
r-
1
1
1
-
r-
1
--
1
1
-
r-
-
r-
1
1
1
1
1
1
•
1
- -
r-
1
r-
1
••
6 6 6 6 6 6 6
Am: 4 4
EXERCISE 3 Harmonize each of the following short melodic fragments in four voices. Write the bass and RNs
first, then fill in the inner voices. Use leading-tone triads for the notes marked with an asterisk.
a. b. c. d.
* * * *
....
/\ 1 1
.. - - -- ...
1 1 1
..,, 1 1
-
1 1 1 1
•
1
- 1 1
- .. -
1 .• 1 11 1
-J.
..... - -
1
•'-
,,1
I
.....
V
I L..
V
.....
.....'·
1
...J
1
....
/¡// 1.1.
,,
ll
•JI 1
...J
1 1
-
...J •
.....
V
I
-
...J 1
-
_.¡ • 111 L 11 1 111...1 n•
t)
<
- ..
...... ....,,,.,, ..,, 1l
-
1 1
I .... "'
"'" ....
I "' H
. . IL '11
1 / .....
V I
V
.... IL
'11 V
IL
,,
AbM: DM: Gm: F#m:
EXERCISE 4 Harmonize the following melody in four voices, with a correct chordal progression and good
voice leading. Harmonize all the soprano pitches as chord tones. Three of the pitches may be harmonized with
viiº 6, and for the rest you may use 1, IV, ii, or V7 in root position or inversion. Remember to double-check your
outer-voice frame for good first-species counterpoint.
,, ..,,
.. 1
I
1
- - --
1 1 1 1
--
1 1
- - - ...J •
-
L.. .-\ ...J 1 1 1 ...J
1 '\.'-.
t)
I
V
"-"" n
...J
.... u
- • -
...1 1 ...J
- -'
-
...J
r,
•
...J
) 1
)
..,, _J
-
L •0
1
-
/ ·· .....
1 [JI
V
\ ......
1
BbM:
Chapter9 The Leading-Tone Triad 87
KEYBOARD HARMONY
l. Play and leam the progressions in example 9.8 of the textbook.
2. Play the keyboard progressions in example 9.3 in a variety of keys as assigned by your instructor. Notice that
example 9.3c can be played only in M if you want to avoid the augmented 2nd. Example 9.3d provides
a version of the same progression with 6 and 7in different voices, suitable to be played in both M and m .
.· ;, Example 9.3
--,.. - ...- - .....-- ....... ·--

a. b. C. (Monly) d. (Mand m)
,..- ,..-
- . -""- -- •- ..- - -
/\ 1 1 1 1 1 1 1
-- - -
y ..,¡ ..,¡
<
@)
..J
-•
_,
.. • -ü-
,_
1
"' .
:
•
.,..
-
,..
1 1 - -.
1
..
•• 1•
1
- -- - .. - -
1
- - .. .... - 1
- 1
-
1
,..- -
1
1 1 1 1 1
- 1 1
I I IV viiº6 I I IV vii°<; I
3. Soprano-bass patterns. Refer to example 9.7 in the textbook. Play the soprano-bass pattems in those examples
at the piano, adding inner voices in keyboard texture in the keys assigned by your instructor.
4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass pro-
gressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 9, exer-
cises 2 and 3; and workbook, chapter 9, exercise 2.
keyboard texture: textbook, worksheet 9, exercise 4; and workbook, chapter 9, exercises 3 and 4.
Chapter 10
Cadences
EXERCISE 1 Analysis. Study and label each of the following cadences. Name the cadence type, and list spe-
cific RNs (Roman numerals) and other characteristics to justify your choice.
l. Anthology, no. 52, Verdi, La traviata:
Measures 31-32:
Measures 41-42:
2. Anthology, no. 19, Haydn, Minuet, m. 8.
3. Anthology, no. 31, Paradis, Sicilienne:

Measures 3-4:
Measures 27-28:
4. Anthology, no. 28, Mozart, Piano Sonata in mM, III, m. 76.
5. Example 10.1.
6. Example 10.2.
'J. Example 10.3.

Measures 19-20:
Measures 20-22:
8. Example 10.4.
89
-.>IExampfe tCt 1- George Frideric Handel, "Hallelujah," from Messiah, closing measures
.
-- -
11'\ ll
.. - -.
N
'
,= -
- lu - jah, Hal-le - lu - jah, Hal-le - Ju- jah, Ha! - le - lu - jah.
.. 111: ..,.
..... .."' # .. .."' .... • ...
- -· - .
.... --.
"
.111 ......v n • ,
-
. : N
- le - !u - jah.
.-
- lu - jah, Hal-le - lu - jah, Hal-le - lu - jah, Ha!
..""'
# ... • . .. --
-
- . . 1 1 1
- lu - jah, Hal-le- lu - jah, Hal-le - Ju- jah, Hal - le - Ju - jah.
:
'"'n
. -.
- ;; u
. .,
-. - . : ,= - --
i' i' i' 1
- Ju - jah, Hal-le - Ju - jah, Hal-le - Ju- jah, Ha! - le - Ju - jah.
-" --.... ll &

,_
**' ##&
,_ ,_ ,_
--:
** #,_
.. ..-
• &
,_ • . *- ,_. &-
,_
-r-- .
rs. /'!&. ._. ...
=
= : =
,-
) ...
@)
u.
r-
-
¡:::; r-
--== F1
1
J J.
1 1
D.
ª
- ll
., .. ll
... "' 11 1 - u
., - -
,-,,,-. Example 10.2 J. S. Bach, Chorale 143, In dulcijubilo, mm. 20-24
CAD:
Chapter 10 Cadences 91
" .," Example 10.3 Robert Schumann, "Ich will meine Seele tauchen," from Dichterliebe, op. 48,
no.5
CAD: CAD:
. .," Example 10.4 J. S. Bach, Invention no. 4 in Dm, mm. 46-52
50 52
46 48
tr ...... (.'\
. ..
/\ 1 l 1
- -
. . .-
1 1 1 1 1 1 J 1 1 71.
V
CAD: CAD:
EXERCISE 2 Realize the following cadences in four voices as required. Sorne soprano rnelodic pattems are
provided, and so are sorne Rornan nurnerals. Provide RNs where rnissing.
b.PAC c. PAC d.PAC

A A A A A A
a.PAC A
4
A
2
A
4 3 2
A
1 4 3 2
A
1
A
1
A
7
A
1
1
.
ll
-
j 1
:;- :;- :;-

@.)
1
.. :;- .
.
"
Fm: CM: ¡¡6 V 6-5 Dm: iv V 6-5

4 _3 Em:
4-3
e. IAC f. IAC g.IAC h.HC

A A A A A A A A
4 2 3 6 5 3 3 2
¡ 11 # 1 1 1 11 #
"
V
<
u
....
•
•
ll
"
U.11
"
::; '
"
AM: Gm: AbM: IV V 16 qm: V6
i.HC j.Ph. C. k. Deceptive C. LPC

A A A A A A A A A
l l 7 3 4 2 l 7 l
" 11
11
::;
..>
<
... "
EXERCISE 3 Complete the following figured bass progressions in four voices, after analyzing each of them
with RNs. Na.ue the cadence type in each case.
a. CAD: b. CAD: c. CAD:

I'\ ¡,¡,
..
¡,,I
....,, -J
- --
1
,,
"'" ,.,,,.
,,s
,_ ......
11 0 ' ll
,,
1 Wl'T"
"'-
TI
..... ...." - ...! V
í
1
1
-
<
_J
j
4.. '&.Cl
-
/'
lfl®
fJ/f
.1111 IL
H
n
,,
¿,,,_
......
J
- ,..-
-
r-
11!11!
.--
.. 111/
.....,,
Y•
......
-
.... 1111
-
1
M 1'
h
V
,.
.....,. ....-
......
-
r-
1
- 111;
1 -
1 1 1
1 1
DM: 6 GM: 6
Dm: 6 6
d. CAD: e. CAD:
Am: 6 Bm: 6 6 6
EXERCISE 4 Provide a RN analysis for the following bass, using any of the chords we have studied so far, in
root position or inversion.
•1# 1J J JJ 1 rrJJ rrrr r r r 1 1 1 º 11
AM:
EXERCISES
l. Harmonize exercise 5a in four voices (bass, RNs, inner voices). Name the cadences. Remember: what you are
writing is music. Listen to it, make sure it sounds good, and enjoy both writing and playing it.
2. Harmonize exercise 5b with bass and RNs (no inner voices). Name the cadences. Remember to double-check
this outer-voice frame for good first-species counterpoint.
a CAD: CAD:
...,....
" ---
1 1
, •• 1
....1 _.1 ....1 ....1 1 1 1 1
.
1
....
..., ... •..
- - -
_. - .. - - - -_.
.... -.... lL.
,,, V
-- -
- n•
"' • IL
-.....
¡·
I
"
•
1
n n
{ ... 6
l
._
-
./
.. ... , ..•, -.
1
u
1
V
-·
1
Gm:
HR:
r· r· r· r· r· r· r· r·
b. CAD: ·CAD·
-- - -
f\
- -
,, 1
_. 1 1 1 1 1 1 1
-
-
.r
"'
-....
1.1 TL
l '
1(
I
"' ,,
...... -
..1 1
-
.....
n
-... -... - -'
6 6
<
j
-· .. .
••
L1
1l
. , LL 11 1J11 "'
......
./ " TL
"'
......
EM:
HR:
rr r rrr rr rr rr r
KEYBOARD HARMONY
l. Play the following progressions, in the following keys: CM, Am, GM, Em, DM, Bm, FM, Dm, and Gm.
Learn to recognize the various cadential formulas aurally as you play them, and do aural recognition drills
with a friend .
. ", Example 10.5
a.
PAC c.
-
PACI b. PAC
-
11 1 1 1 1
."
- ""
T.. ..J
""'
•
.,.,. ,..
1
1
""
r-
1
'$!• r-
1 1
r-
1 1
L '111.e ,_,,.
1
- 1
1
- 1 1
-
""
1 1 1 IV V 1 1 IV V 6-5 1
4-3
e.
--
d. f.
-- .. -
IAC IAC
" ..•" - 1 1 1 1 1
IAC
•i
,..
... ...
"" ""
.
lf U•
"
t) 1 1 1 1 1 1 1
<
/
..... T.. -
1 1
U•
'
1 1 1 1 1
1
1 ¡¡6 V 1 1-- V 1 1 IV 1 v6 1
g. h. i.
HC HC
.
IAC
.... -- • -
- - --·
j 1 1 1
..... --"" ..- -

-:= -- -""
-
.....
'J
: - _, ,_
•"' .. ..
1 ,...
r-
""' v•
4!l i 1 1
1 1
-
<
j
L
, .. - - --
'•
.. ..
n
-.. - - -- U•
- - --
1
1 1 1 1 1
1- IV V 1-- V 1-- IV V 6-5
4-3
2. Cadentiai patterns. Realize at the piano the cadential pattems outlined in the following exercises: textbook,
worksheet 10, exercise 2; and workbook, chapter 10, exercise 2.
exercises at the piano, using keyboard texture: textbook, worksheet 10, exercises 3 and 4.
4. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercises at
the piano, using keyboard texture: textbook, worksheet 10, exercise 5; and workbook, chapter 10, exercise 3.
keyboard texture: workbook, chapter 10, exercises 5a and b.
Chapter 11
Melodic Organization I:
Phrase Structure
EXERCISE 1 Analysis. Study the phrase/period structure of the following examples. For each of the examples,
provide a brief discussion of structure, including at least the following information:
l. Is the fragment based on a motive?
2. How many phrases are there? Provide measure numbers and phrase numbers for each. Are any phrases con-
nected by elision?
3. Identify the cadences at the end of each phrase. In cases where only a melody is given, you can identify ca-
dences on the basis of the given Roman numerals and the cadential melodic gestures.
4. Is there any antecedent-consequent phrase structure?
5. What kind of a period is this? One or several of the following may apply to each example: parallel, contrasting,
symmetrical, asymmetrical, three-phrase (or four-phrase), double, modulating, phrase group (nota period).
6. Provide a line (bubble) diagram for each of the examples, indicating the following items: phrases/measure
numbers; phrase relationship with letters; cadences at the end of each phrase (with a cadence-type abbrevia-
tion); and long-range harmonic motion from beginning to end of each phrase.
Examples for analysis:

1. Anthology, no. 22, Chevalier de Saint-Georges, Violin Concerto.
Discussion:
Form diagram:
97
2. Anthology, no. 6, Minuet from IVotebookfor Anna Magdalena Bach, mm. 1-16.
Discussion:
Form diagram:
3. Example 11.1.
Discussion:
Form diagram:
.J' Example 11.1 AmyBeach,Sweetheart, SighNo!vfore, op. 14,no. 3, mm. 3.,..¡3
mf
1'"""' ' J
It was with doubt and trem-bling whis -pered in her ear. Go, take her an - swer,
I V7 I
8 f dim. 10 p pp 13
J 1
j j 1
?
f:
J ll J
bird - on-bough, That ali the world may hear Sweet - heart, sigh no more!
V7 (I) V7 V7 I
4. Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, III, Menuetto, mm. 1-14.
Discussüm:
Form diagram:
Chapter 11 Melodic Organization I: Phrase Structure 99
5. Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, III, Trio, mm. 41-50
Discussion:
Form diagram:
6. Notate (rhythm only) the most characteristic melodic rhythmic motive in:
a) Anthology, no. 6, Minuet from Notebookfor A.M. Bach.
b) Anthology, no. 19, Haydn, Minuet.
e) Anthology, no. 26, Mozart, Piano Sonata in CM, III.
7. In anthology, no. 19 (Haydn, Minuet), the combination of rhythmic motive, phrasing, and harmonic resolu-
tion create a series of elisions in mm. 1-4. Given the rhythm of these measures in example 11.2, show the
phrasing of the motives with brackets (there will be three of them), indicating clearly where the elisions occur
(see example 11.3 in the book for a model).
_ ,,' Example 11.2
f f f f f f lf fffffflf ffffffl[ f lf
3 3 3 3 3 3
EXERCISE 2 Write a melody in antecedent-consequent form (a parallel period). The beginning is given. Be
ready to sing or play your melody if asked to by your instructor.
Vivace
GM:
11
100 PARTI Diatonic Harmony
EXERCISE 3 Write a melody with the following characteristics: four phrases (double period), form a 1-b 1-
a2-b2, sixteen measures long. Indicate what cadences are implied at the end of each phrase. Be musical, and be
able to sing what you write.
EM:
EXERCISE 4 Analyze the following progression with RNs, and realize in four voices.
....,, -
-...
1\ 1 1
' ........-
@)
'
1
1
L m6
u•
.... - - -
- - -
- - ....-
- r-
I
V
í í 1 1 1 1 1 1 1 1
í
Gm: 6 6 6 6 6 7
5 4
#
EXERCISE 5 Harmonize the following melody with a bass and RNs, a chord pernote. Use the chordal inver-
sions indicated by the figures. Label the cadences at the end of each phrase. Remember to double-check this outer-
voice frame for good first-species counterpoint.
CAD: CAD:
- ...
f\
....
•'-"
v
V
, ....
1 1
V
..
M G
- -... -
1 1
-..... -
1
'"" .. -l
¡- - -
.....
1
""
1
-...
1
..,
-.... r
) 6
5
6 6 6 6
5
6
) f\ 1 1
1
.... iA
,_ ,1
,V
¡....,
""'
1 ' ,
V
'
Chapter 12
Melodic Organization 11: Thematic
Development; Phrase Extension
EXERCISE 1 Analysis. ldentifYand name the technique(s) of thematic development in the following examples.
In the case of sequences, identify the exact type.
l. Anthology, no. 26, Mozart, Piano Sonata in CM, III, mm. 16-17.
2. Example 12.1.
a) Explain the relationship between m. 8 and 9.
b) Between mm. 11-12 and 13-14.
e) Between mm. 7 and 19,
d) How is the three-note motive transformed in mm. 15-18?
e) How do we call the rhythmic relationship created by the three-note motive against the ¡meter?
101
Edvard Dance",Jrom Peer Gynt, Suite I,op. 46, mmm. 7-22
ir
iu r f TJ
ir ir 10
F 1r;r7J j
p cresc.
12
j
dim. pp
18
J J u J,J
.
3u¡JJ ,J a J 1 J J,J 1 na J o r r f
1
j
3. Example 12.2. How is fragment b related to fragmenta?
,.· Exarnple 12.2 L S. Bacfr, Fugue no. 9 in EM, from The Well-Tempered Clavier, H
r r Er r r
a. b.
rr ir rr 1
. ' .
. ,,' ,Example 12.3 ,
J. S. Bach, Fugue no. 8in D#m, from The Well-Tempered Clavier, II
t
a. b.
e n
'J Jt!J J1 J. ;nt:J 1 9: ' Er Fjf[f F Cf F1CJ'tr p
Chapter 12 Melodic Organization II: Thematic Develo-11ment; Phrase Extension 103
"',,' Example 12.4 GuillaumeDufay, Missa L'Homme armé, "Agnus Dei"
a.
b.
w. o· rrr
1 o· 1j o o r 1r r w J r r 1- o__,o· 1° rr o 1o·__,o·
" ,,'- Exarnple 12.5, Ludwig van Beethoven, Sonata op. 26,I
a.
b.
p J
7. Anthology, no. 28, Mozart, Piano Sonata in füM, III, mm. 16-20.
8. Refer to anthology, no. 33, Beethoven, Piano Sonata in Cm, op. 10, no. 1, II. Explain the techniques of formal
growth in mm. 1-8.
9. Refer to anthology, no. 27, Mozart, Sonata in AM, Theme. In previous chapters we discussed various aspects
of this piece's formal organization. As a summary and further study of the piece, provide a complete formal
analysis (of the complete theme, that is, mm. 1-18) in the form of a brief, but clear and well-organized, ana-
lytical paper. Tum in an annotated copy of the score, on which you will mark the following information,
which you should also cover in your paper:
a) Circle the main motive of the piece.
b) Are there any prominent rhythmic motives in this fragment? What are they?
c) Mark with brackets (one per segment) all the sequences in the piece.
d) Label and number the phrases (phrase 1, phrase 2, etc.).
e) Are the two phrase members of phrase 1 (mm. 1-4) similar or contrasting?
f) How many periods are there?
_g) Mark and label all the cadences in the piece.
h) Could the piece have ended in m. 16?
i) What is the formal function of mm. 17-18?
j) Provide a line diagram of the complete piece, indicating phrases, periods, cadences (with abbreviations
and RNs), measure numbers, and letters to indicate form.
Chapter 12 Melodic Organization II: Thematic Development; Phrase Extension 105
10. Discuss the techniques of thematic (melodic) development in anthology, no. 32, Beethoven, op. 2, no. 1, I,
mm. 1-20. Notice specifically the following relationships, and provide exact terms:
a) Measures 1-2 with 3-4:
b) Measures 5-6 with 1-2:
c) Measure 6 with m. 5:
d) Measures 11-14 with 1-2:
e) Measures 15-16 and following (to m. 20):
EXERCISE 2 Write extended or varied versions of the following melody using the devices specified in each
case. Be austere in your versions (do not try to vary or add too much; only what is necessary to make good musi-
cal sense). Make sure that your versions are musical, and that you are satisfied with them.
lu JJ HlfJ LJ lu t]J JlfJ 11
a. Repetition
b. Variation (rhythmic, or pitch and rhythm)
c. Sequence
d. Change of mode
e. Interpolation by fragmentation
I .
,...\,
f. Intervallic expansion or contraction
g. Cadential extension
h. Augmentation
i. Inversion (begin on pitch B)
j. Retrograde
Chapter 12 Melodic Organization II: Thematic Development; Phrase Extension 107
EXERCISE3
1. Complete the following parallel period with a consequent.
2. After you write your consequent, and using your own music paper, write four more versions of the same con-
sequent, using the following extensions in each of them. Think musically, and write extensions that you think
make good musical sense in the context of this period.
a) An interpolation using fragmentation and sequence.
b) An interpolation using repetition and variation.
e) An interpolation using new melodic material.
d) A cadential extension.
[ (Haydn)
IJ 3 3
EXERCISE 4 Provide a RN analysis and realize in four voices.
/\
..• 1
• -
VI
-
11 .....
V
" ,
@) 1
..-· ... ..••• J- - -- - V- - - .....-·

/
V
..... -
I"
-
1
J
r
r -
í --
1 1 J
-
¡-
-
1
-
r-\
1
.....
"'
6 6 6 6 4 6 6 6 5 6
5 4 2 4 3 4
Chapter 13
Harmonic Rhythm; Metric Reduction
1. In the spaces below, diagram the harmonic rhythm (HR) for each of the following examples. Por each of these
examples, indicate also whether the HR is very slow, slow, fast, regular, irregular, and/or accelerating toward
a cadence.
a) Anthology, no. 26, Mozart, Piano Sonata in CM, K. 309, III, mm. 1-19.
b) Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. l, 1, mm. 1-20.
e) Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, I, mm. 140-152.
d) Anthology, no. 33, Beethoven, Piano Sonata in Cm, op. 10, no. 1, II, mm. 1-8.
2. Metric and harmonic accents. Provide diagrams of HR along with symbols of strong and weak metric accent
for each of the following examples. Discuss briefly how metric and harmonic accents correlate. How are V
and 1 chords placed metrically? Is there any clear conflict between metric and harmonic accents?
a) Anthology, no. 50, Schumann, "Folk Song."
109
b) Anthology, no. 33, Beethoven, Piano Sonata in Cm, op. 10, no. 1, U, mm. 1-8.
3. Analyze example 13.1 with Roman numerals (RNs), and provide weak/strong metric symbols above each
beat in the score. Then, discuss briefl.y in the space below the relationship between metric and harmonic ac-
cents, focusing on metric placement for the different harmonic functions and for the chord successions imply-
ing a tension-release progression.
iiiiii.l;?•··· .
• • • 1( '-
.. ,J;.·s,
EXERCISE 2 Metric reduction. Provide a metric reduction of anthology, no. 34 (Beethoven, Piano Sonata in
Cm, op. 13, ll), mm. 1-8.
5
"
.'"' ,
v
L..
V
1
ID
" ...
'
-
,...
--.....
r.J
.... ,,..,
[....J...J 1
<
.... (9-
.,.,
- 1110
/
1
,,....
r;
........ ,
"
Chapter 13 Hannonic Rhythrn; Metric Reduction 111
EXERCISE 3 Example 13.2 features a compound melody. In the staff below it, renotate the passage clearly
showing the various voices that make up the compound melody. Refer to examples 13.9 and 13.10 in the textbook
for models of notation.
; Example 13.2 J. S. Bach, Brandenburg Concerto no. 6, III, mm. 1-8

EXERCISE 4 Writing harmonic progressions. Be carefül with the correlation of metric and haililonic accents,
and write harmonic phrases that are logical and musical. Play your progressions and make sure you like them!
l. Write a progression (bass and RNs only) in DM, in 1. using only I, IV, and V, and their first inversions.
DM:
2. Write a progression in mM, in !, including a passing and a Vi, besides any of the other chords we have al-
ready studied.
3. Write a progression in Fm, in ¡, including a deceptive resolution of V, a cadential and a plagal cadence, be-
sides any of the other chords we have already studied.
Fm:
4. Write a progression in Bm, using a viiº 6, a neighbor tanda besides i, iv, V, or ii in root position or
inversion.
Bm:
Chapter 14
The Mediant, Submediant, and Subtonic Triads
l. The cadence marked with a bracket in example 14.l appears to be a PAC (perfect authentic cadence) in Bm.
Examine it closely, and comment on the exact type of cadence this is and on the chords involved in it.
.> Example 14. l J. S. Bach, Air, from Orchestral Suite no. 3, BWV.1068, m. 10
Bm:
2. a) How is 1 in CM prolonged in mm. 41-43 of Example 14.2? Explain exactly what chords are used by
Brahms in these measures, and how they function.
b) In m. 44 the bass seems to indicate a dominant harmony. Is the chord throughout the measure a plain V, or
is the dominant harmony elaborated in any way?
113
e) Tlüs passage is in How does Brahms alter your perception of this meter? What metric ambiguities can
you identify, considering phrasing, rhythmic accents, and grouping?
.. Example 14.2
3. a) Analyze mm. 1-4 of anthology, no. 24 (Mozart, DM Sonata) with RNs (Roman numerals). What is the
function of vi in this phrase?
b) Analyze mm. 9-12 of anthology, no. 28 (Mozart, BbM Sonata) with RNs. What is the function of vi in this
phrase? How does the harmonization of this phrase compare with the one you just analyzed in the DM
Sonata? What kind of NCTs (nonchord tones) are featured in m. 11?
e) Refer to anthology, no. 19 (Haydn, Divertimento in CM, Trio), and explain the resolution of the donünant
ofBM in mm. 31-32.
4. a) Analyze mm. 1-10 in example 14.3 with RNs.

Questions b to h refer to mm. 1-1 O.
Chapter 14 The Mediant, Submediant, and Subtonic Triads 115
b) vi is used to prolong the tonic twice in this passage. In what measures?
e) How is the dominant prolonged linearly in m. 7? How is it resolved to m. 8 and why?
d) This passage is mainly harmonized using descending 5th root motions. Mark every root progression of 5th
in the example with brackets. (Notice that sorne of these root progressions appear in first inversion. Mark
them anyway.)
e) This passage is based on two melodic motives. Circle all appearances of both motives and label them with
a 1 ora 2. How is each of these motives characteristic (and immediately recognizable), and how do they
contrast from one another?
f) Do the motives appear in literal transpositions every time they are repeated, or are they varied somehow?
How?
g) Are mm. 8-9 related to any of the two motives? How?
h) Describe the texture in mm. 1-10. What is the role of each line?
i) How do the texture and the roles of instruments change in mm. 11-25?
j) How is motive 2 treated in mm. 15-17? Be very specific, and circle in these measures the pitches from the
original motives in mm. 5-7.
k) On what kind of cadence does the passage close?

1) What is the function ofthe bass in mm. 20-25? Use the exact terrn (which you learned in chapter 6).
L. v. Beethoven, Sonata for Violín and Piano, op. 24 (Spring), I, mm. 1-25
-----
Allegro
_Ji__
- ---¡--
··-r--t· -.,,¡.- +
"@:)
..r_ _y-
A
- - - - ': --
q)
-
1 1
1 1 _J 1
- 1
,..,.....- -
- t- --
'--· - .. - -- -- -
15
"
@! .. .. t_:___ ._/
------
- .. t>• y
--- -
' b1'
tese. .-:.. -
p
" - - ;:
-
- lo'!- - ....
" ''
- 1 -
p
fL 1
- -
1
:
J
:;
1 1 1
:
21
@!
." :; ----· -. --
:----
-
r
-
'
-- - r- -loo - -
-
"'
r-
:. .------- - ..- ....__
..
1 1 1 1
-
1
:¡f -::1- -::1- -.,+ -+

24
" --,
l4
"
cresc.
- - ------
.. ;:
- f é
) eresc.
' l
f
1 1
if
#
:¡f :¡f
- :¡f 1
EX:ERCISE 2 Realize the following short progressions in four voices. Provide RNs where missing.
a b e
.- .....- -J
¡!!>¡ .. 1 1 1
:; - :;
e) 1
--
1
""'
1
.l J-
- ...
,_ ....
I
- -.J
i/111
. - - - ...-
..
1 1 1 1
Em: HI iv V Gm: 7 FM: I vi iii ii6

#
d. e. f.
-·- -· -- - --- -.,

fl J.I +! 1 1 1 J.I
"
" , y "
1 1
.. - J t..L
- .-... - - J
--·
I
--
1
l
--
1 1
.-" " -
l
v6-s
AM: 6 7 6 Cm: VII UI iv 4-3 Bm: m VII V vi
5
EXERCISE 3 Analyze the following figured bass with RNs and realize it in four voices.
,., _¡
1 - -- - .!h
"
"
,,
J .. ,.,
..
1
M
••
,,
•
.1111 IL
--
,, - .. - - - - - r
;:: - -
1 1 1 1 1 1
4 6 4 6 7 7 6 6 7
DM: 3 2
EXERCISE 4 Provide a RN analysis for the following bass line, treating each pitch as a chord tone.
"''k 1 n n a 1 J) tJ fJ E0 u a mn 1 1 1 w 1 j.
EXERCISE 5 Harmonize the following melody with a bass line and RNs, using the given HR (harmonic
rhythm). Include the following chords in your harmonization: III, viiº6 , a deceptive resolution of V, a cadential
and a plagal cadence at the end.
-
¡
- ;;
-· -
-- - - - - -·
- -· -- - - L.-J..-l -· ..
1
- 1
1
- - -- 1
.. - . -
,,
'"
1 / L
Em:
HR:r r· w r· r· r· r P r· r· r·
EXERCISE 6 Harmonize the following melodies with RNs and write a keyboard realization of your harmoni-
zation. You should begin by determining the correct HR for each melody, taking into account any possible NCTs.
Use any of the chords we have studied so far.
- -- - -
a. Moderato
1
¡
::."
1
. -- -
1
.-
;;
-- - -
-
•
'
-
,
# ,........-1
-- -
- -· 1
1
..
'" '"
Cm:
b. Allegro vivo
DM:
EXERCISE7
l. Write progressions (bass and RNs) using the chords indicated in each case, in the required meters.
a) iii, vi, Vj
b) viiº 6, a deceptive resolution of V
c) VII, III, a cadential
a. b.
11 ### 9
AM:
c.
Fm:
2. Choose one of your own progressions from above, and use it as a harmonic basis to compose a phrase for a
melodic instrument of your choice (such as flute, clarinet in m, violin, etc.) and keyboard accompaniment.
Your phrase should consist of a simple melody (for the melodic instrument) with a keyboard-style accompa-
niment (both hands).
KEYBOARD HARMONY
1. Play and learn the progressions in exarnple 14.15 of the textbook. Listen to the role of the mediant, submedi-
ant, and subtonic chords in these elaborations of the 1-V-I progression.
2. Play the keyboard progressions in example 14.4 in the keys assigned by your instructor. (Suggested keys:
CM, AM, EM, BM, MM; and Am, flm, C#m, Cm, and Fm)
}' Example 14.4
3. Soprano-bass pattems. Refer to examples 14.12, 14.13, and 14.14 in the textbook. Play the soprano-bass pat-
terns in that example at the piano, adding inner voices in keyboard texture, in the same major and minor keys
suggested previously in exercise 2.
cises 2 and 4; and workbook, chapter 14, exercises 2 and 3.
Chapter 15
Other Diatonic Seventh Chords
l. Study mm. 1-12 of anthology, no. 47, Schumann, "lch grolle nicht."
a) Provide RNs (Roman numerals) for mm. 1-9. Notice that the first chord in m. 3, which we studied in this
chapter, actually belongs to Cm because of the Assign it the same RN you would in Cm, and think
of it as a chord "borrowed" from the minor mode. Do not assign a RN to the second chord in m. 4, but
rather explain how it functions linearly.
b) What is the underlying progression (think of downbeat chords for each measure) in mm. 4--9? Think of
both root progression and chordal progression. Then, how do the "upbeat" chords in each measure
function?
e) Think of mm. 9-12 asan extended V 7 -I progression. How are the V 7 at m. 9 and the 1 at m. 12 connected
linearly? Think first of the bass motion from .5 to l. Then look also at the piano's top voice, moving down
from 2 to 3. How would the term "wedge" apply to this contrapunta! gesture?
d) 1) In which ways is the melody unified-motivically? rhythmically? other?
123
2) The words mean: "I hold no resentment, a.11d even if my heart breaks, O love forever lost, I hold no re-
sentment." How is the heartbreak ("Herz") expressed and intensified musically?
How is the concept of love lost (and the subsequent feeling of grief) expressed (think, for instance, of
the bass line on the words "ewig verlornes Lieb," but also of how the singer expresses the loss: Where
is the climactic high point of the fragment?)?
What bass motion accompanies the final two statements of "ich grolle nicht"? If this contour, as op-
posed to the bass line in mm. 4-9, shows sorne hope, is the feeling confirmed by the lines in both the
voice and the piano's right hand in mm. 9-12?
2. How does Paradis prolong the tonic in mm. 6-8 of example 15.1? What standard cadential formula (including
the predominant chord-do not overlook the vocal line) does she use?
Maria Theresia von Paradis, "Morgenlied ein.es armen Mannes," mm. 6-10
Kam - mer Weib und
sch!ief?
Chapter 15 Other Diatonic Seventh Chords 125
3. Study mm. 1-4 of anthology, no. 27 (Mozart, AM Sonata). What is the chord at m. 2? Where does this chord
really resolve? What is the function of the "provisional" resolution in m. 3, beat 1? What chord is this exactly
(m. 3, beat l)?
4. Analyze examples 15.2a and b with Roman numerals.
,;' Example 15 .2a J. S. Bach, Prelude no. 1 in CM, from The Well-Tempered Clavier, 1
,," Example l 5.2b J. S. Bach, Fugue no. 16 in Gm, from The Well-Tempered Clavier, 11
EXERCISE 2 Realize the following short progressions in four voices.
a. b.
.
,1\
""-
r
. ...JJ, "" .......
I'..
--
""'
1
1 fl
....
V
1
11
1
....
V
-
.,,,
1
v 1
1
<
.. .,.e
.. .1111
,., •» ....J ....
J,_
1 / r. h "1 V 1
""--
1
V
"
•• fo'f6 •• flf
Em: ll 5 V VI I Vil 7 I
c. d.
"1.1 JJ, #
....,,
1
*""" - 1
-
,wo 11,, JJ,
-
/T. ,wo lL 111 ...¡
,.
1 .• . TI
.... • l
,, u
) v 1 1
..,,, J...-
) .. ..J
1
..
,,,
-·......- ll
lL
'11 L.11-
,_., 1
"'"'
1!
..
.. !J.
,..=
' ll
TI 1
BM: I IV 7 viiº I
EXERCISE 3 Provide RNs and realize in four voices.
-" - ¡+
1\
...... -
,,. JJ,
""
ll
'fl
1
'"'-' " -
)v r
) ll
...,.......-J
A•
- - ... - ,...- - .. _
- -
-
d!ll 11
-
k .....
.a - ,-
-
-1110
-
TO
;
- ""' r-
"" ,...
,,,, "".
-
I"'\ ;
1 ___,,,¡ r
1 1 1
V 1
1
1
AM: 7 7 6 7 7 7 7 7
5
3
EXERCISE 4 Harrnonize the following melody with a keyboard texture. Include two leading-tone seventh
chords, a deceptive progression, and a cadential 4-3 suspension.
FM:
HR:
r· r· r
EXERCISES
l. Harrnonize the following melody and realize the harmonization for keyboard. A harmonic rhythm is
suggested. You may want to take advantage of the possibility to use neighbor chords in mm. 1-2, and a V7 in
m.3.
2. After you write your harrnonization, circle and label all NCTs (nonchord tones) in the melody. Also, identify
all the sequences in the melody and mark each sequence segment with a bracket.
¡,,,---
.. r--i
-
-- -
/\ J.I,
....,,,,
- -- - - - -- • - -
1 1 1 1 1 1
.....
.. -
11
1
lf
', ....
1 1
.....
1 ...1 1
n • -
....¡ 1
.....
1
.....
1
---------
1
-' rJ.
1 1
t)
<
1 /
....
L.., • .,, ,.
.....,,
.....
DM:
HR: o
í í r í í
Italy
í r í í
EXERCISE6
l. Write progressions (bass and RNs) in the keys and meters indicated below. Use the following chords (in any
arder, but correctly resolved):
a) vii 07 ,
b) iv7 , viiºi
e) iii, viiºj, ii7
a. b.
11
DM: Fm:
c.
11
2. Choose one of your own progressions from above, and use it as a hannonic basis to compose a phrase for a
melodic instrument of your choice (such as fl.ute, clarinet in B violin) and keyboard accompaniment. Your
phrase should consist of a simple melody (for the melodic instrument) with a keyboard-style accompaniment
(both hands).
KEYBOARD HARMONY
l. Play and leam the progressions in examples 15.19 and 15.20 of the textbook. Listen to the role of seventh
chords in these elaborations of the I-V-I progression.
2. Play the keyboard progressions in example 15.3 in a variety of M and m keys, as assigned by your instructor.
(Suggested keys: CM, GM, DM, AM, EM, FM, füM, BM, and their relative minor keys.)
. ,,." Example 15.3
a.
.....•. -
b.
f\
#.
1
.,..-- -- ---
,,_
-i
1 1 1
,_
--- - ""'--· -.,.,-- •-
1 1
,_
1
•
1 1
_,
=
1 1
-
.;.
1
-
- -
,_
1 1
• • - 1 -
L_
....... 1
- - -
1
-
- -
1
-
1
,= - fr .,
- 1
1
.. 04 1
VII J
1
6
1 .. 06
VII S 1 1 V 1 .. o4
Vll 2
V 8
6-5
-7
1
4 - 3
c. d.
-' . - - -
1 1 1 1
.. 1
--
1
- _,,_
1 1
- .,-·
1 1
..
. - -- -• -•- - - - •- -
1 -
e. - -
"" .e
<
..
.... - - -
1 1 1 1
1 /
-
1
.. - -
.. 4 y6
r
- -...
..
1 1 11 2 1 1
5
3. Soprano-bass patterns. Refer to examples 15.17 and 15.18 in the textbook. Play the soprano-bass patterns in
that example at the piano, adding inner voices in keyboard texture, in the same major and minor keys sug-
gested in exercise 2.
4. Roman-numeral realization. To practice realization ofRoman-numeral progressions, realize the following ex-
ercises at the piano, using keyboard texture: textbook, worksheet 15, exercises 3 and 4; and workbook, chap-
ter 15, exercise 2.
5. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercise at
the piano, using keyboard texture: workbook, chapter 15, exercise 3.
Chapter 16
Harmonic Sequences
EXERCISE 1 Analysis
l. The following examples are based on harmonic sequences. ldentify the exact type of sequence for each ex-
ample, including root motion (by 5ths, 3rds, 2nds, etc.), position of chords, and specific voice-leading pat-
terns for each sequence.
, ,,'Example 16.la A. Corelli, "Corrente," fromSonata da camera a tre, op.4, no. 11, mm. 20-24
20
,
-...." ...- .... .
- -- -- - .... ....
•
1 1 1 1 1 1 1
'
- - - - -.... -
.... .... - ,,_ .
1 1
t..
<
-·- :."" -- - - - --
f¡ 1 1 1 1 1 1 1
u - - - - - - .. - - ··-
I I .... .... !
-
I
- 1
I
..
- .. "
:." - ...
I
...
I
1 1 1
- -.... - - -....
-
1 1 1
-
.... ... - -- - - - -
' 1 1 1 1 1 1 1
131
132 PART 1 Diatoníc Harmony
Jean Marie Leclair, Sonata for Two Violins, op. 3, no. 2, IlI, mm. 33-4()
33 35
37
' '
,,,' Example 16.lc W A. Mozart, Piano Concerto in AM· K 488, I, mm; 259-60
259
... --- -- ... - - - - fil
-
, ._
J.L lo! -
- - - -- -
-t-.,::;;
-
,.
b.,_.:= 1
1 J J- _d ;-
"
H . -·"
'° - ., r
1 1
-·- -
.. ¡.¡
-
l
-· - - - - -.
VI{ t, 1 t' 1
-
-
.. ff
. 1
•
-· -- - - =· - - 1
Vla. ....
.......
J.L
. -· - --· - e--
-· .--------
1 r
Vlc. e ..
""'• -
"
'rl
- -· - -· r
Cb.
r
' 1 r" 1
Chapter 16 Harmonic Sequences 133
2. a) Analyze and compare the three phrases in example 16.2. Refer back to example 13.8 in the textbook
(Bach's "Chaconne" for violín) and read the commentary after that example. Now consider the bass in the
three phrases of example 16.2 (in examples 16.2a and b, consider only the downbeat of each measure).
What kind ofbass is this? How is this piece similar to the Bach fragment in example 13.8?
b) What is the common underlying progression in both examples 16.2a and b (consider chord roots)? What is
the compositional principle (the element of formal growth) in all three phrases?
c) Compare example 16.2a to the paradigms in examples 16.5 and 16.6 in the textbook. Can you see any
voice-leading relationships between this phrase and one or more of the paradigms?
Now do the same comparison for example 16.2b.
Finally, what basic harmonic/voice-leading technique can you identify in example 16.2c? Consider
only the left hand, and you will find two separate and familiar voice-leading pattems-one of them taking
into account the second eighth note in each measure and its motion to the half note, and the other one con-
sidering the suspension figure and its resolution to the half note.
,,,' Example 16.2 G. F. Handel, "Chaconne,"from Trois mm. 89-92, 105-109, and
113-117
b. Var. 13.
" - ., - "
ContinUed
c. Var. 14.
3. Play and analyze the progressions in the keyboard part of example 16.3. Notice the basic two-measure har-
monic rhythm, although you should pay attention for possible chordal alterations in the second measure of
each harmony. What is the underlying root progression? Are any seventh chords used, and how? What is the
structure of the melody this.progression harmonizes?
• -.·,.· :-- .»:'_. _,
.,' Example 16.3 ··Frltz Kreisler,Liebesleid,·mm.1-16
Tempo di Landler
-)¡/--
A 1
- - ,.-------...
-·· - - --
ffj ,.-----. . ::::-. 5
-
@) -
P con sentimento
- -.. ,- ,-
A
-"'
1
¿
' - - -"'
'
@.)
t t: * 4
..
p J .
,
- -
1
= =
d
1
:::
g d
1
n
. :::
,
r <t <(" 1i .V
10
:;t
A
.. ""'.
-'
:>-
i::'I -----.
"'
-··
v r 1 1 1
-,,A
::: N a
= -
1
.
¿
-
1
' '
@) .lJI-
t *
1 1
. - •
.
:J: \"
15
Chapter 16 Harmonic Sequences 135
4. a) Examine mm. 25-27 of example 16.4. What is the type of progression? What kind of voice-leading para-
digm do you recognize (refer to the paradigms studied in chapter 16)?
b) Compare mm. 25-27 with 30-32. How is the latter progression different from the former? Analyze the
chords and voice leading in mm. 30-32 carefully.
e) The passage closes with a cadential pedal on i prolonging a 1 chord (mm. 32-36). Assume for now that all
of m. 32 is a 1 chord, with a prolonging passing-tone F on beat 2. What are the other two chords used on
the pedal (mm. 33 and 35)?
". "', Exarnple 16.4 J. Brahms, Ballade op. 118, no. 3, mm. 23-36.
Allegro energico
EXERCISE2
l. Write a complete circle of 5ths in four voices.
- :; -.... -
A 1
•A
,
v 1
J
''"
, .:; --.... - -
"
FM: ""
2. a) Write a diatonic seventh circle of 5ths in four voices.
.. 1
..
,1
V
- 1
'
.. d
.. .. --
V
Dm:
- r
b) On your own music paper, write a second version of thls progression for piano, and compose a melody on it.
3. Realize the following sequence of parallel gchords.
- -.
fl 1 1
-
1
l
1
j
-,....
,
- - - -
- --
# "' -
-
1 1 1 1 1 1
6 6 6 6 5
4. Realize the progression in four voices. Notice that it combines three sequential paradigms we have studied in
this chapter. Realize the sequences following your models in the textbook (examples 16.6 and 16.17), and be
very careful with doublings and faulty parallel 8ves or 5ths.
..- ..
-
A 1
.. -
'
v 1
r
.. .. - _I J
-
,_ .. ,_
-
-
- --
r r-
V
FM:
1
6
1 1
6
1
7-6
1
7-6
r
7-6
1 1 1 U>
5-6 5-6 5-6 5-6

Chapter 16 Harrnonic Sequences 137
EXERCISE 3 On your own music paper, realize the following harmonic sequences in four voices (three :
measures each).
l. A root-position circle of 5ths with a 10-10-10-10 outer-voice paradigm, in Cm.
2. A circle of 5ths altemating root-position and first-inversion chords, with a 6-5--6-5 outer-voice paradigm, in GM.
3. A sequence descending by steps using the 7-6 technique, in CM.
4. A sequence by descending 3rds with interpolated j chords (with a bass pattem "down a 4th-up a 2nd"),
inBm.
KEYBOARD HARMONY Play and learn all the sequences in example 16.20 in the textbook in CM, GM, and
FM, and in Cm, Gm, and Fm.
PART2
Chromatic Harmony
and Form
139
Chapter 17
Secondary Dominants I
l. Refer to anthology, no. 34 (Beethoven, Sonata in Cm, op. 13, III), mm. 12-16. What chord is tonicized twice
in these measures? Provide a RN (Roman numeral) analysis for this complete passage.
2. What secondary dominant can you identify ín example 17 .1, m. 18, beat 4? And in m. 20, beat 1? Provide
exact RNs for each.
,,' Example 17 .1 J. S. Bach, Chorale 107, "Herzlich lieb hab'ich dích, o Herr," mm. 16-21
141
142 PART2 Chromatic Harmony and Form
3. Example 17.2 presents a clear prolongation of the tonic chord. Explain. How is it prolonged? Are chromati-
cism and tonicization part of this prolongation? Which degree is tonicized, and how?
_"", Exarnple 17.2
4
2
---
AH egro ,,--
-..
f\ 1 -,..-
- -
-
Violin
:::
v (sotto voce)
vu -e-
... . ,, 1
-.. ..
1
Viola
·V
--
- -
(sotto voce)
.. :;- -....
Violoncello
-
Alleg:ro
-
(sotto voce) - - - "'"'
-.... -
{\
-
oA
-- .
H Vtf :3: 9#
..,, r-riÍ r-i-!1 r'-r'í1 r-r-í1 F"r"'í1
..
- -
/ - - -.. - - - - - - - - - -
-
11 1 11
- -- 1
-41- -411- <11

• 11
"' -<I -41- i1I
• 111
• -<!
• -<!
•
4. Example 17 .3 begins with a secondary dominan t. Provide RNs for the complete example. Does it feature any
other tonicization? When is the tonic clearly established?
- "
. .
. :· Example 17.3
0_c>. d
L. v. Beethoven, Symphony no. 1 in CM, op. 21, I, mm.1-6
Adagio molto
Chapter 17 Secondary Dominants I 143
EXERCISE 2 Write and resol ve the following secondary dorninant chords. The resolution should be to the ap-
propriate tonicized chord, in root position or inversion as required by the voice leading in the bass.
., "
I
n
.. .....
V
.....
V
..¡,¡ . . IL "n
ll
11 * .....
V
1
11
,
" I
@.)
- "'
L
/
..
'-• .,,
1
h
V
h
V
,,
111
,,
111 u.
11
TI
ll
ll
ll
1 f}
L.
V 11
Em: V7 N - Dm:V7 /iv_ FM: GM: AM: Cm:
..." .....
,
1 ¡,¡
. . ILTI
H .....
,
1
h
1
11
h
1
11
,
IV
1
..... ..
¡,¡
,. n •111 LL
,. l l
•r :--.. V f} ll V V V
H I TI
@.)
. -·/
•• 1
L.
V
I
I
• ll
. . U.11
,. l l
TI
ll
L.
V
f}
....
V
1
,
.....
V
,
1
I
1
L.
V
.... ..
111
ll
Tl ..
"n . .
,. n
11
4 4. 6 4.
EbM: V2/IV_ F#:µi: V3Jiv _ Gm: V5N _ V7 /IV - Fm: V2/Jv - BM: V7 N -
EXERCISE 3 Realize the following short progressions in four voices. Check the outer-voice frarne for good
counterpoint.
a b
.",
... .6
....
V
1
11 ,,
......
,,
,_..
..
¡,¡
-- 1
.....
@.) 1
.J
. ..-·
/
.
L.
V
11
,,
.....,,
.....
..,, -
1
I IV V7 N V vi IV V7 I Em: i iv6 V7
EXERCISE 4 Analyze the following progression with RNs and realize it in four voices.
. 1
" ...... 1
v
V
- :
).
1
.... ..J
-
/
V
"
-.. -
1
-
1 ·¡
- -
1
1
"
"1
1
F
1 1 1
-·
í
6 6 7 6 6 6 7
Gm: 5 qs 5 5 #
# q
EXERCISES
1. Harmonize the following melody with a bass and RNs or a figured bass, according to the suggested harmonic
rhythm. Include a tonicization of iv and one of V.
2. When you are sure that your harmonization is correct, copy the melody again on your own music paper and,
below it, provide a left-hand keyboard realization of your harrnonization.
Fm:
HR: J
Chapter 17 Secondary Dominants 1 145
EXERCISE6
l. Write your own progressions (bass and RNs) in the keys and meters indicated below. Use the required chords,
besides any of the other chords we have already studied. Make sure you resolve secondary dominants (and
any other chords that require resolution) correctly.
a) F#m; include Vi/iv, and a cad.
b) GM; include VllV and VjN.
a.
b.
GM:
2. Choose one of your own progressions from above, and use it as a harmonic basis to compose a phrase for a
melodic ínstrument and keyboard accompaníment.
Chapter 17 Secondary Dominants 1 147
KEYBOARD HARMONY
l. Play and leam the progressions in examples 17.13, 17.14, and 17.15 ofthe textbook. Listen to the role of sec-
ondary dominants in these elaborations of the I-V-I progression.
2. Play the keyboard progressions in example 17.4 in a variety of M and m keys, as assigned by your instructor.
(Suggested keys: CM, Cm, GM, Gm, DM, Dm, FM, Fm, füM, mm, rnM, C#m)
,,' Example 17.4
a. b. c.
1 1 1 1 1 1 1 1 1 1 1 1
"
n .. . . .. TI
• •
) ...
1
.. _
-
1 1 1 1
,,. ,= ,.
- ..¡
1
•• 6
I IV V7N V I I 11 5 V I I V I
d. e.
f
- --'
...- q•-
1 1 1
- -
1 1 1
...- ·-
•
- -- 1 1
...-- - -
-0-
• q..- -0-
) ".. - - -- -
;
1 1
.
1
- - -
1 1
- -
1
- -- - ..
1
I V7!IV IV V I I I IV I
g.
/\
r-
1
-
1
1
••
IV 1
3. Soprano-bass pattems. Refer to examples 17.11and17.12 in the textbook. Play the soprano-bass pattems in
that example at the piano, adding inner voices in keyboard texture in the same major and minor keys sug-
4. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following ex-
ercises at the piano, using keyboard texture: textbook, worksheet 17, exercises 3, 4, and 5; and workbook,
chapter 17, exercises 2 and 3.
the piano, using keyboard texture: workbook, chapter 17, exercise 4.
Chapter 18
Secondary Dominants 11
l. Refer back to example 17 .1 (Bach, Chorale 107). We have already identified tonicizations of IV and V in the
last phrase of this example. What degree is tonicized at the end of the first phrase (m. 16, fermata)? And what
other degree is immediately tonicized at the beginning of the second phrase (m. 16, beat 4 to m. 17, beat 1)?
Provide RNs (Roman numerals) for both tonicizations.
2. Provide RNs for the tonicization in mm. 2-3 of example 18.1.
, ,," Example 18.1 Anton Bruckner, Symphony no. 7, II, mm. 1-4
Sehr langsam
149
150 PART 2 Chromatic Harmony and Form
3. Identify, with exact RNs, the tonicizations in Lhe following spots of example 18.2:
a) Measure 2 (to the fermata).
b) Measure 3, beats 1-2.
e) Measures 5-6.
d) Measure 8 (to the fermata).
The phrase in m. 8, beat 4 to m. 10, beat 1, constitutes a secondary key area. What degree is tonicized? Ana-
lyze this phrase with RNs using secondary key area notation.
,,'' Example 18.2 }. S. Bach, 20, "Ein' feste Burgist unser Gott" ·
r
....:.,¡
4. Refer to anthology, no. 5 (Vivaldi, Concerto in GM, op. 3, no. 3). Analyze and provide RNs for the following
tonicizations:
a) Measures 7-10.
b) Measures 11-15 (analyze these measures as a secondary key area).
e) Measures 17-18.
d) Measures 19-20.
e) Measures 26-27.
5. Analyze example 18.3. What progression is it based on? What kind of chords is this progression built on? Can
you comment on sorne special voice-leading properties we studied in this chapter?
. ,'"- ---. -.-"-_.· '
, .;'' Example 18.3 W. A Mozart, Symphonyno. 41 in (:M, Jupiter, K. 551, U, nllµ. 58--61
59
,,
Flute
/\ 11:
.
@)
- " Jl J - -
.. - 1-_lbJ.J _1,-----
---.,._
- .
= -
-
"
2 Oboes ·.: u
'<"
@) '<" 1 V
Le
.. . -
2 Bsns. /
- u
= =
-" . - - . .
2Homs in F
- @) -
','.
- #
-" :;-
1
-
- --- - - -
·.: =
-·
u
-··
Violin I
@) ·-·... ':J
,,_
'':J ·-
':J
Violin II -" -..
•i
','. u . .
@) • ;• q• p-.''
'
:J • • • • • •
. . .
Viola .,
- .
u
.
u
• • 71'
rr r r rr
Cello
Bass
.. - u -- u
-
- u - u
-
l
u ,=
= = -.
' r
6. Analyze example 18.4. The key of this passage is AM.

a) Mm. 31-38 are based on a sequential pattem. Analyze the passage with RNs, and identify the exact type
of harmonic sequence.
b) Mm. 39-45 are based on a different sequential pattem than the previous one. Identify the exact type of
harmonic sequence.
,.' Example 13.4 A. Corem.• Trio Sonataop. 4, no. 3inAM, "Preludio,'' mm. 31-48
-·- -- -- - -
f\ ¡,¡ 31
- --- - -- - - -
H.. 35
.,
"
" -· - - - - -
- fil- - - fil- -
- --
1
-
1 1
-
1 1
:::'
1 fl'-
r
l
@) 1 1 1 1 1 1
1 1 1 I • 1 1 1 1 1 1
-
f\ ¡,¡
,. .,
"
r.
- -
- -
@) 1 1
r •
1 1 1 -
,,,.
.....
"
u
.... - -
N
- -- 1 1
6 6 6
f\ ¡,¡
.. - - - #
- J 1 1 1 1 1 1
- - 1
- --
1 1 , 40 1 1 1 1 1 1
- - - .. - - .. -
-- - - - -- -
l
w ...
.V
"
"
1 1 1 1 1 1 . - - r- .. -
1 1
-
r--
1 1 1 1 1 1 1 1 1 1
f\ J.!
- '
1 !+....
- -
::.
!! ...
"' - - -
fL 1
u 1 1 1
.. -
-. - - "
1
- - -
.. -
N H H
N ¿
'
6
1 1
5
•
6 5 6
!T
6 5 6
#
fl
w
¡,¡
-· ,;;; -
¡.¡_
- "' - - - *¡¡..., * "
45
,;;; - fil.#/1- !! ...
" - - ,,. 'ffP'
- .....- - .,
1
l
1
f\ ¡,¡
,;;;
,;;;
::.
-
1
- ;; - .. -·
1 1
-- '
1
-
v 1 1 1
.,,.
. - ... fL
- . - .
1 1
'
I H
" - ::.
1 1
- 1
-
1
'
5 6 5 6 6 6 5
5 4
EXERCISE 2 Realize the following short progressions, and provide RNs for progression b.
a. b.
,,' "
J,j.
olf l.ITl ...
,, .. ....,,•. ....
..•.
' .... V
....
t
<
1
.... "'.. ,,,, ..••,, - - -- -
lL
,, q
- -·
r-
-
•• ,,, LL r-
1 .... r-
V ......
1 1 1
1 1
EM: ¡¡ 1 FM: ..fr ....... 6 7

4 2
3
EXERCISE 3 On your own music paper, and using your own choices of meters, write bass lines for the follow-
ing progressions. Then, realize progression no. 2 in four voices and progressions nos. 4 and 5 in keyboard style.
l. AM: I-V7/vi-vi-V7N-V-L
2. mM: I-Vj/vi-vi-Vj/IV-IV-V7-L
3. Gm: i-V 7/III-III-ii0 7-VtH.
4. DM:
5. Cm: 7NII-VII-V
4-3
EXERCISE 4 Write a harmonization (bass and RNs) for the following melody. The harmonic rhythm is half
note-quarter note throughout. Include the following chords: V/ii, VjN, V7/IV, a deceptive cadence, anda
cadential
" .. ..,_..,, --- - • t._
-
J.t
-
- - -------------- ....-
1
- ,. l.L
- .. r- u ,_
-
•1 1 1 1 TI r r-
11
.... "
- r-
-
r-
...,.
...J TI
"' ...J
' I
t.J 1
1
1 1
1
1
1
-,, .. "' ..••....,.

.&.... , • .,
"
GM:
HR: J (simile)
EXERCISE 5 Harmonize the following melody with a bass and RNs. The melody includes an extended tonici-
zation (a secondary key area). What degree is tonicized? Make sure you take this secondary key area into account
in both your harmonization and the RN analysis.
f\
-
1 1 1
,
-
,
•
- - ... ,_- - - - -
IA
11 .... ,, _. .... ... ""' tJ!lil
fK-
'-.'-
@)
,
V
,_,,. - 11
1
i-
1 1
r-
1
r-
1
r-
)
/
..-· , ••,,,
L..
1
.....
"
Gm:
(France)
' 1 1 1
-
--
"I
....
"'
.,
'
@)
V
,_
1
.., ..,
-... -..,, n ..
TI
... (.,1
1.....1
, - TI
_,
-_,
"
TlillJ
TI
_,
- -
_,
......
- ,,. ,
,
"
EXERCISE 6 Realize the following sequential pattems involving consecutive secondary dominants. Be careful
with the voice leading and the irregular resolution of the leading tone and the seventh. Provide RNs for progres-
sion a.
a. b.
• ...
-•. -- ..,.
1 1
'• =
@l
""
1
::- =
"'
1
.. !'- #!'- q?-

*" ... fi J
'• w
•º ll!Y
lL
"
--"' -
....
--
,,
,,
4 6 7
DM: I
2
¡
c.
.. !+
"
1
d.
1 ..
ieJ 1
<
il 1 1
•• w
;; ;;
.,, .,,
h
1 1 1 1 "6
AM: V 7/ii ¡¡ V 7/iii ¡¡¡ V 7/IV IV V7 I EbM: vi IV v34r11 ¡¡ V7

KEYBOARD HARMONY
1. Play and learn the progressions in example 18.13 of the textbook. Listen to the role of secondary dominants
in these elaborations of the I-V-I progression.
2. Play the keyboard progressions in example 18.5 in CM, GM, DM, FM, füM; and Cm, Em, Dm, Bm, and Gm,
where minor mode applies. Listen to the secondary dominants and to the chromatic voice leading as
you play.
Example 18.5
a. (In M only) b. (In M only) c.
- -- •-- .. -- - - .. --- - •
I 1 1 1 1 1 1 1 1 1 1 1 1
" .
1• ,,_ -i
_, _,
-
r
.
.. -
" - -e "'- • • -e TI -
) ...... - - -- -
1 1
1 1 1 1 1
.. - "
-
- .. - - .,
-
/
1
"
1 1 1 -
1 V7/ii ¡¡ V7 1 1 V6/"
5 11 ¡¡ V7 1 V7 /vi vi V7 NV 1
d. e. f.
)
8 -7 .. 6 6-5
V6 -5 6 -5
vi IV7 I 1 V7/iii iii 115 V 4-3 III ii(¡ V4-3
4 -3
3. Soprano-bass pattems. Refer to examples 18.11 and 18.12 in the textbook. Play the soprano-bass pattems in
that example at the piano, adding inner voices in keyboard texture in the same major and minor keys sug-
4. Sequences. Play and leam all the sequences in the following textbook examples: 18.15a, b, and f, 18.17, and
18.19, in CM, GM, and FM, and in Cm, Gm, and Fm. Asan additional exercise, realize the sequences in text-
book, worksheet 18, exercise 5; and workbook, chapter 18, exercise 6.
5. Roman-numeral realization. To practice realization ofRoman-numeral progressions, realize the following ex-
ercises at the piano, using keyboard texture: textbook, worksheet 18, exercises 2 and 3a; and workbook, chap-
ter 18, exercises 2a and 3.
6. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercises at
the piano, using keyboard texture: textbook, worksheet 18, exercise 3b; and workbook, chapter 18, exercise 2b.
Chapter 19
Secondary Leading-Tone Chords
l. ldentify with RNs (Roman numerals) all the tonicizations and secondary functions in the following
examples.
a) Example 19.1.
b) Example 19.2.
e) Refer back to example 17.1 (Bach, Chorale 107). ldentify two tonicizations in the second phrase (mm.
17-18) that use secondary diminished seventh chords. Provide exact RNs.
2. a) Provide a RN analysis of example 19.3. Write the RNs in the spaces included under the chords.
b) Identify on the score all the circled NCTs (nonchord tones). Provide labels (such as 4-3, 9-8) for suspen-
sions where needed.
157
158 PART2 Chromatic Harmony and Forro
.. """' "'-!"
- -,,," t G. Verdi, ll trovátore, act Il, no. i5, mm.JJ--17
14
16
>-------
Ne m'eb - be il ciel, ne l'or ri · do var • co in-fer- nal sen
ter no!
Chapter 19 Secondary Leading-Tone Chords 159
,,' Example 19.2 Fritz Kreisler, Liebesfreud, mm.. 1-8
Allegro 2
160 PART2 Chromatic Hannony and Form
.Antonio Ca1dara,· "Come. raggio .·di mm; 1.,..27
Sostem.lto J=46 2
- 6P g-==========
"-----'
sol mi - tee se re no, co me rag - gio di
12
14 16 afrett.
pla - - ci - di flut ti si ri-po- - sa, men - tre del

poco apoco 18 pp 20
re, men tre del ma re ne! pro - fon - - do
24
22
se - - no sta la tem - pe
rit.
a tempo
EXERCISE 2 Write and resolve the following secondary diminished seventh chords. The resolution should be
to the appropriate tonicized chord, in root position or inversion as required by the voice leading in the bass.
,,,,
.,_ " . . IL
,. l l
'IT
.. TI
#.
...,.
TI . .
JJ,
bB lL 'f
ll
TI
¡i1}
"',.
JJ,
"'
v
'-' I
.4.... "D.0 ,,,, ,,. ll

·"",. Tl ""
lL ..
• U.1
ll
..,,
. 111
"'.
- •• Mil l.L
/ H Tl 111
'fl 'íl 'íl ,.
DM: EM: /ii GM: vüº7 /iii
l'I ,¡,¡
... IL
.... •
1 1
.....
.....
1
•
,¡,¡
"',. *
.
I .. l l V
,,... TI V f} V TI
v
'-- ... llf
- ,,. "' u.
..
....
1
, .... ,_
, ."". LL
ll
TI
/ ,. l l
'IT V [}
V
V ,.,
Bm: vii043 I iv Fm: /III viiºi/IV
f\ 1 j,J. 1 1
,.'" 1 [J ....
1
.... 111
,. .... ' ...
,,...
.....
V V V !B ...
V
..
.... ,..
/
.. ,_
V
1
• 1-.
V
"'""'" 1-.
V
11
r v r
»
....
....
V
Gm: viiº I iv FM: viiº7 /IV

EXERCISE 3 Realize the following short progressions in four voices.
a. b. c.
1\
....
-J-
J.lo
_,1 1 J.lo 1
I!
w 111
--
,....
1
....
V
1 111 lL '11 /11
,. 11.
"
_,1
....
,....
;
>e'-. I
1
1
.... ,.
/
....,,, ,,
- 1
....
V
,_. - 111
. . IL
lt
11
ll
u .•
.. -
-
GM: 1 viiº 34 /V V6 1 FM: 1 viiº7N V 1 EM: 1 ii V 1
EXERCISE 4 Realize the following figured bass in four voices. Provide a RN analysis.
I!
>e'-.
1\
w
I
J.lo
111 lL
'11
.......
•J
r...
&.
/
.... ......••
-· .,,.
n r... -
,.... •o• - - .. - - - - - - 1 -
t"'
-
1
- .,. ,....-
r-
1 1
-
1 -·
,_
..... - '"'
1 1
1 1 1 1
1 1 1 1T 1 1 1
1 1 1
6 4 8 7 6 4 6
5 2 6
4
5 p 4
3
EXERCISES
l. Write progressions (bass and RNs) using the chords required in each case. Make sure you resolve the required
chords correctly.
a) viiºj/V, viiº 7N.
b) viiº/ii,
a.
b.
2. Choose one of your own progressions from exercise 5, ai1d use it as a harmonic basis to compose a phrase for
a melodic instrument and keyboard accompaniment.
EXERCISE6
l. Harmonize the following melody with a bass and RNs. If possible, follow the suggested harmonic rhythm.
Harmonize the notes marked with an asterisk with a secondary diminished seventh chord. Include a second-
ary key area of III where required by the melody.
2. When you are sure that your harmonization is correct, copy the melody again on your own music paper and,
below it, provide a left-hand keyboard realization of your harmonization.
j\ ,¡¡. +t ..,, - - - - ---- 1

--.. - ... 1
-
-,
,, ""U.11 1
.
-.... -
11 1 1
.... _, _,1
'._,)
q o 11' -i
11-
1111
-' -
- 1r-
_, ,1
-.... ,,, _,
11'-
... -'
-
,_
-
1 1
* *
'-
/
,.,. .,
•• ""l.L'rl
H
'll
LI.
u
..••,,
'-11-
F#m:
HR: J J J J J J
--
Britain
* -- - - -.
Í\ 1 1
.......- ...... -.
..""' - -
- ... -_. .
Jtl IL 11
,_ 1 1
...
u 1
,_ .... !""\
"" .... _, - r-
-
T1 1 1 1
"'' 1 1 "" 1
"' ....
1T-
n•
1 1 1
*
il
11.... "1\9 ,,,, ll
111e .W1 IL '11
/ ll
11
J J J J J J
KEYBOARD HARMONY
1. Play and learn the progressions in example 19 .13 of the textbook. Listen to the role of secondary leading-tone
chords in these elaborations of the I-V-1 progression.
2. Play the keyboard progressions in example 19.4 in a variety of keys. (Suggested keys: CM, DM, AM, BM,
and their relative minors.)
a. b. c. (M only) d. (M only)
)
vii 0 7 N vii 0 7 /IV vii 0 7 /ii viiº7/vi
e. f. g.
/\ 1 1 1 1 1 1 1 1 1 1 1
,.. e- ., =
., n
-
) ..
t) 1' 1
" -i:i-
#- #- .. 1
.=
1 1
..º6N ··o4 N p6
Vil S
VII 3 v6 ..º4N
vn 2 4
h. (Monly)
- ::-- - - ·--
/\ 1
,,_
1
...:
1
..
.-.. •-
1 1 1
_,
- V .,
•
) .. -
1 1 11 1#
- '"
1
"
"
1
. - - .--- .= - - 1
.,
1 1 1 1
vii 07 /ii ii vii 07 /iii ¡¡¡
i.
,
/\
-- 1
.=
1
-
1
- .,- -- -
1 1 1 1
--1 1
,
1
,_
n¡ - " ., -
) ....
t) 1 1
#- #- .. h..
- - . L 1
VII
··04J N vii 04 /IV
3
P: vii 07 N V
6
4
-
-
5
3
166 PART2 Chromatic Harmony and Forrn
ercises at the piano, using keyboard texture: textbook, worksheet 19, exercises 3c and d, and 5; and work-
book, chapter 19, exercises 2 and 3.
the piano, using keyboard texture: textbook, worksheet 19, exercises 3a and b, and 4; and workbook, chap-
ter 19, exercise 4.
Chapter 20
Modulation to Closely Related Keys
EXERCISE 1 Analysis. Study and analyze the following modulations, and complete the following steps for
each of them.
l. Identify (and write in the space below) the keys involved in the modulation.
2. ldentify (and write in the space below) the modulation procedure from among the following:
a) Diatonic pivot chord.
b) Chromatic pivot chord.
e) Chromatic modulation.
d) Phrase modulation.
e) Abrupt modulation.
f) Sequential modulation or tonicizations.
3. If it is a pivot chord modulation, identify the exact pivot or pivots, and label it or them on the score with the
pivot chord bracket notation, indicating the function of the chord in both keys.
4. For a chromatic modulation, circle the exact passage where chromatic voice leading is used to modulate.
5. For phrase, abrupt, or sequential modulations, mark the exact spot or spots where modulation occurs.
Examples for Analysis

l. Anthology, no. 12, Bach, French Suite no. 5, Gavotte, mm. 1-8.
2. Example 20.1.
167
168 PART2 Chrornatic Hannony and Fonn
-- - - - -
.
-·,, Exarnple
.
20. l A. Beach, "Elle etmoi,"
.
,, ....
L - -- - -
13
- -
-
f ...
15 .,,. . ... - d'1m.
-
--
V 11111
@]
- - - - - -
ª la vive é tin cel - -
... . ..
,
'- L
,_
:
....-
- ... - ... - :,;;
"'
-
,_
"' .,
- - - -·-
...
..
-e
I"' . r- l'"I
'
@l
- b...._J
f
-
- .. - . e
ilt ilt
j
L
, ..
'O ....
L
._
-S: -- -S: -
- -
'"' -·
V
- -
1 1
1
-
19 a tempo
,, - ,,. -
17
. V
-
- ·- ---
- -. .. -
<I!) - - r
le,
-- -
poco rit.
..i'l
-- a tempo
- ¡--.....
--..
--i
. . ,,. --
1
;,;
.,
-- '
@·l
V :.;
-lJ - .. - ·-
:: v-
¡¡¡ '1::"
.,
111- - il
.-
dim.
) .... - ,_
,,_
fl -
JI! Ir-
.. -. - J
...
J
- --
-
1 1
p 21 23
- - - -
¡
.
'
'-
- -- - -- - -·
1 r
-ti- 1
Le tro - e - ne des charnps a - vec
...'
- l_J-. - -
' 1
- ...
V
-
- .,
- -
•
..,¡
11
""
l
@1
I i *r r
} J ..
, .. " •
. -
.;;
."
. . .
m m
1 V n
:;¡¡ 4 "'
Chapter 20 Modulation to Closely Related Keys 169
3. Anthology, no. 12, Bach, French Suite no. 5, Gavotte, mm. 9-16.
4. Example 20.2.
· ,," Example 20.2 W. A. Mozart, Piano Sonata in CM, K. 330, U, mm. 21-28
1 21 '
" V
'
@.)
• • • •• 1 1 1
pp----------
) r- l
::
1
=
1
;:
r1
- pp
.
" 1 23 '
----- -----.
-
25
-
--
1
@.) 1 1 1
) ..
erese.
- -
,_
----------
1 r- 1
- 1 1
,- .:..
!-
r r
"
•
." 1
' =
-
-
27
- - ---=
-·
1 ----
V
l
V
@.)
p
f
. ,:
j) J---1 ... .
/
"
:;
"
p
,:
1 -
5. Example 20.3.
R. Schumann, "Nachtlied," pp. 96, no . 1, mm. 7-14
8 10 12 14
Ruh, in al - len Wip - feln spü - rest du kaum ei - nen Hauch.
6. Example 20.4.
- - .
. ·.,'· Example 20.4 . R Schumann, "DerDichter spricht," from Scenesfrom Childhood, op. 15, ·
mm. 1-8
·'
7. Example 20.5.
,,- Example 20.5 Frédéric Chopin, Mazurkano. 45 inAm,mm. 33-41

8. Example 20.6.
»,,' Example 20.6 .Maria Szymanowska, Etude in Dm, mm. 1-9
Risofoto
EXERCISE 2 The following statements refer to diatonic pivot chord relationships. Fill in the blank in each
staternent.
l. ii in ___ becornes iv in Arn.
2. ___ in AM becornes vi in DM.
3. vi in FM becornes ii in---·
4. iiº in Bm becomes ___ in DM.
EXERCISE 3 The following two progressions represent modulations by diatonic pivot chord.
Progression a. Provide RNs (Roman numerals) for the given bass, accounting for the modulation and indicating
the pivot chord with the usual bracket. Use secondary dominants or diminished seventh chords where possible.
a.
2: • t r#r r r r•r "r J 1 1 w JrJ 1 rrw J J r J 1 11

Progression b. Write a bass line for the given RNs. Be careful to modulate to the right key.
b.
.. 06¡·· 1 .f16
1 Vil 5 ll ¡¡
1
ll 5
11
5 viiº4 y6 - s
3 iv6 /iv iv 2 4 -3
i
EXERCISE 4 The following progression represents a chromatic modulation. Write a bass line for the given
RNs.
11
1
6-s 1
V 4-3
y4 V
3
EXERCISE 5 Realize the following progression in four voices.
. 1\
..... . ....
,
V
1
11
, ...........
@)
1
..
L. .... •JI
- •• 1 r.1 •ll
" .....
/ h 1
V
1 IV6 V 1 2!J
1 ii V
f\ 1
IJ
#. .... ,
..., ,
@)
L .... 1
•• [}
./
'"'
V ,
5
1 IV 3 1
EXERCISE 6 After you are sure that your bass line for exercise 4 is correct, realize the progression in four
voices in the space below.
f\ ¡,¡.
-,.'•
-
Id
,,,..
,_//
"•'- ,
t)
-·,,...."' ..
.....•.
/
......
I
6-5
V 4- 3 I ii6 ?iv4li¡
3
V i
EXERCISE 7 Write the following modulations (bass and RNs). Choose an appropriate pivot chord for each of
them, anc;l indicate it with the customary bracket.
l. A modulation from Fm to Use the following chords somewhere in your progression, along with any
other chords you want: viiºjN, andan irregular resolution
2. A modulation from DM to GM. Use the following chords somewhere in your progression: Vj/vi, viiºiN, and
viiºj/IV.
3. A chromatic modulation from EM to flm, using secondary chords in various inversions in the process of
establishing both keys.
EXERCISE 8 Hannonize the following chorale ("Jesu, meine Freude") with a bass line and RNs, accounting
for possible modulations. After you are sure that your hannonization works, add the two inner voices.
. .
(.',
r1• -J
..", ...."',,.
1
--- -
1
- -.. - -
1 1 1
_,1 u.
1
-
1 1
- • •
1 1
,
ll 1 1 1 1 1 1 1 1 -1 ....1
Ur.J
L...
_, ... n
V
.....
- u
t
L
/
..
-·
L...
V
,,
-....,,
.
... ....
.. • •
""'
1\
1.1
V
1. 1
-•
_,
1 1
-
....1
_,
- - ....1
- rJ
_.,_
1
.. _,
1
- • - -.,.. _ -
1 1
_,1 r-i
_, _,
1 1
r.J
1
• -
_,1
- ....1
-- 1 1
...! _,1
- "
L. ....
-,. 1
/ L...
V
EXERCISE 9 Write simple keyboard accompaniments for the following modulating periods by Haydn. Provide
RNs for your hannonizations and indicate your pivot chord in each case.
a.
.. ..
. ...."'
1\
VI •1 •
1
1
n
1
1
,...-
1
h
• - 1
-
r-
1 - -1 1
-
r-
1
r-
1
- ,...-
4
rJ
1
•
¡,,_
-
1
---
1 1 1
p
f
L..,.
-
/
.........,,
i")
._ ._
1(
1\ -
,_
- -
r- r.i •
•
1
.. ..
1
8
1
#lJ._
1
.. r-
1
.. ,...- I! .. -
1 '-'-1 1
r-
---
1 1
t
<
t f
1
._
-
/
..
....
.. ,... .. - - - - - - - 12
- • - -
#,¡,¡._ 111.
.
.. ,1\
1.1 • ...- r-
,... ,... ,... r-
- 1
1 1
L
1
1 1 1 1
1 1 ....1 u. 1
,,_
11
- -1
L -
/
..
-·
176 PART2 Chromatic Harrnony and Form
b. 4
tr
..
- -
l'I
l
1
., 1 1
- - -- - ...
,,,'
,._,
..
1
--
......
,
- -- ....
L. l
,,,. -'l
1 l "'
'"
TI 11 I ...J -'
__,1 __,1 1 __,
"' --, "-"-
-...
,l ill illl 111
-41 - 111 1/111 ;ll
-,,... = " ,, ..,,

" -
"'
'" ,'- "
1 - ...
1
_,
1 1
... .,
8
,,,
'
•
.. ....
-Ir
@}
. "
• •
1111
--L..-
- ....1
.... •
"'
1
-
...J
..>.
'
.....
'
'
)
-·.. '- "
" rJ
d.
,..
..•••. __., 4 _
,........----
---
-.... #
-
1
-
1
... .....
-
r-
I 1
,., u r- 1
,
V
.... 1 1
-.___......, -
1
-'.....:::"
..¡ 1
• -iJ
' ..¡ - -
/
t) 1 1
ifz
f
...- ,.
/
.. .......•.
h
V
11
f\
,
'
.....
y
.. _
., r-
/
- - . -- -
1
-
....
,......------_.
....
.... ....
-- ----....
- -
r- r-
- -.. _ - 1 01 i -
8
1
I
.>.
'
I
..:..
--
' ' '
t) 1
L 1'0
- •• 1
/ .....
y
KEYBOARD HARMONY
1. Practice the modulating keyboard progressions from example 20. 7 in a variety of keys. Hear and understand
the modulating process in each case (by either pivot chord or chromatic motion).
Example 20.7
a.
,,"
1 1 1
IO
-
•
=
...-- k-
v•
- :
-t
-
•
=
•-
-
-t
,,_
n:: -
-t
-
•
= -
_,
tf
) .. -
1
-
1
- ,=
-
1
-- --
,=
/
' ., : 1 1
CM: I IV V I _!U
GM: 1 ¡¡ v64 -
5
3 I IV I
b.
. ...
j'
- - --- - - --- 1
-.-.
1
----
1 1
-
1
-
1 1
•- .
,.;
@l
,_
1
,_
1 1
,_
1
= ·=
··- -
) .. .
1 1
l.._
,
#
- - - - 1
- - - - -
1 1 1
CM: I
•• 6
11 5
V 6 - s I
4 - 3
Am: 1 iv6 iv
c.
- . --
f\ 1 1 1 1 1 1 1
-
•- .-.. -. n•
..
..
·=
•-
- ••
,_ - ,_..-
k- ·=
• •
n•
"ti
) ... . ,
,.. - - - "
.. -
1
,=
-- - 1
r
1 1
Am: VI iv V
CM: vii°7 /V V 1
d.
/\ 1 1 1 1 1 1 1 1 1 1 1
. -
= .. . . ... . . • -él-
) 1 ,, 1 1 1
1
•• 6
CM: I 115 V
FM: V7 I vi IV V7 I
180 PART2 Chromatic Hannony and Forro
e.
-.
11 1 1 1
.,,, !'
.,,, ,..
@! u
) ,,e K,,fl
1 1
•··6 ..%6
1
CM: I ns V I Dm: V7 11 5 V
f.
11 1 1 1 1 1 1 1 1 1 1 1 1 1
...
t.) - .,,,!' !!" .. !!""'
) 1
;;
1
1 '""
11
::
1
1
CM: I IV ¡¡ 7 V
I
Em:
rfJ
iv v64 -- 5
3 iv viiº7 /V V
2. Roman-numeral realization. To practice realization of modulations from Roman-numeral progressions, real-

ize the following exercises at the piano, using keyboard texture: textbook, worksheet 20, exercises 4b and 6;
and workbook, chapter 20, exercises 3b, 4, 5 and 6.
3. Melody harmonization. To practice harmonization of modulating melodies, realize the following exercises at
the piano, using keyboard texture: textbook, worksheet 20, exercises 8 and 9; and workbook, chapter 20, exer-
cises 8 and 9.
Chapter 21
Small Forms: Binary and Ternary;
Variation Forms
EXERCISE 1 Analysis. Analyze the following pieces. For each of them, determine and discuss the formal and
tonal types, the key areas in the complete piece, and construct a bubble diagram using the given line. The diagram
should show sections (labeled with letters) and tonal motion.
l. Anthology, no. 12, Bach, French Suite no. 5, Gavotte.
a) Form and formal type:
b) Key areas:
e) Bubble diagram:
181
2. Anthology, no. 7, Notebookfor Anna Magdalena Bach, Polonaise.

b) Key areas:
e) Bubble diagram:
3. Example 21.1.
b) Key areas:
e) Bubble diagram:
Chapter 21 Small Forros: Binary and Temary; Variation Forros 183
.,' Example 21. l L. v. Beethoven, String Quartet in füM, op. 18, no. 6, Trio
-
Trio ,,---..
, " 1
. ¡._ ,.-.. r""i:::= 1 r"i:::= 4 J1=; .
·- . :;
- __, __, - ·- __, __,
@!
p l..J::::::j '! 1 __, 1 __, 1-__, 1 __,
.IP
-" - 1
"
- ; ; ;
'.::
.
'
@! 7T
f .IP
--- - - --
.... - .-
1 1
,,
.
.,., .. - - '.::
;
1
;
1
= '.::
'
f p
, :
-
-
= =
• - .--- ¡--._
=
' p
f
-"
@!
1 fl., ,.---
·- " "
- - ;
7T
-- -
- ;
- ;
""-J:::::I
-- ;
"
- "
- - -- -
-
8
=
7T
.,
.IP
-" 1
-
p.
- .. ..
71
.IP
...
...
··-
1
-
f
f
1
- .
'
"
p
-
1
--
;
-
1
-
1
. .,
'
.. -
=
.
'
---- ;
1
-
1
--- ;
=
. .,
f p
-
11
:;
1
-
fl- ,...---._
;:
- ·a-...-J
-- - - -
15
-
.;.
----- : -
- -
- -
l.
'--...!' ..
71 ""-J:::::::I
--===
@)
fP
-11
•1
k
1
-
fL
- ;: ..
"'
.V
fp
.... .. 1
f
f
-
;:
p
-
1
-- ;:
1
-
-
1
..
M
-
·- - ------ - - ---- ·-
-
' 1 1
f p
-v
11 1
--
¡ 2.
-¡/' r
1
r "'-l...-1 r 1
20
1
ff ef if
11
.V
1
;: .,
11"'
ff
- - ..... .; . ,,..
ef
..... - ..... .; .; ""'
ef
•:_
--· et
.,
1 l""""""i'
--- w g
·-
r""""'T""
--
-
m
1
-1 1 1 1 1
.,
--
ff ef
1 1 1 1 1
: ., - .,
-
M 8
- : - '!
--
l.......L,J L..J.....J
ff ef
Chapter 21 Small Forms: Binary and Temary; Variation Forms 185
4. Anthology, no. 37, Kuhlau, Sonatina, II.

b) Key areas:
e) Bubble diagram:
5. Example 21.2.
b) Key areas:
e) Bubble diagram:
' 0 -
___--"- , J. S. Bach, Bourrée
11
-
V
- - 1 -......,¡ 1
). - - 1
.. -
J
1 1 - 1 1 r 1
11
16
-
21
1\ #
- ,-
- .
@) - - 1
b..-J -
) /
:
#
--
,-
- -
- - ,-
1
-
1 1
:¡'. ""
Chapter 21 Small Forros: Binary and Ternary; Variation Forros 187
6. Anthology, no. 44, Chopin, Mazurka no. 43 in Gm.

b) Key areas:
e) Bubble diagram:
EXERCISE 2 Listen (with score) to Brahms, Symphony no. 4 in Em, op. 98, IV.
a) What kind of variations are these (sectional or continuous)? Explain.
b) Considering that mm. 1-8 are the theme .and mm. 253-end is a finale, and hence either not counting as a
variation, how many variations are there?
e) What is the overall form of the movement? Provide a diagram.
d) A new section begins in m. 97, and it lasts until m. . Which musical parameter(s) set(s) this
section apart from the previous one?
The variations in this section are numbers through _ _ __

e) Are there any variations in the major mode? Provide measure numbers and variation numbers.
f) What is the formal function of mm. 81-96?
g) Is there a retum (other than the finale at m. 253)? Where?

h) What instruments(s) carry the main melody (theme) in mm. 1-8?
And in mm. 49-56?
i) If we call mm. 57-65 a figura! variation, notate the rhythm of the most characteristic motive/figure.
(Listen for it!)
j) Measures 153-161 are an ornamental variation. What instrument carries the notes of the main theme, but
now altered by the addition of other notes?
EXERCISE 3 Analytical paper. Choose one of the pieces you just studied in exercise 1, and write a brief ana-
lytical paper on it. With good narrative prose, discuss form, formal and tonal types, sections, key areas and tonal
motion, and thematic/motivic relationships. Identify also special compositional techniques (such as imitation, se-
quence, textura! inversion between hands), and discuss the techniques of motivic and thematic development used
in the piece. Attach (and comment on) a bubble diagram. You may use the various analytical discussions of pieces
you have found in this chapter's text as possible models for your paper (and your narrative).
EXERCISE 4 Harmonize the following chorale ("Von Gott will ich nicht lassen") with a bass line and RNs
(Roman numerals), accounting for possible modulations. As an additional exercise, you can also fill in inner
voices.
.
"
- -- -- - -- -
1 ( 1 1 1 1 1 1 1 1
,, 1
....
1 1 1 1 1
""
""' '--11-,, 1
-
1
-'
1
-
..J
...
1 1
...
1 1 ...!
1
..J
11111
-...! 1 1
_,1 ,,,.
1
-
1
-'
-... -
.....
"' ..... -
) -
...J.
)
. .,-·.......,,,, .
1 /
......
. 12 f'.""I
--
8
#(
"'
"
1.1
,
..,,
1
-... 1 1 1 1
....
- -
1
,,.¡
1
.=!
--
1 1
...
1
"""
1
11111 -
1
...!
--
1
1 1
-'
""' -
1
.....
1
....
1
-. -
1
1
.,._,
1
1
rJ.
/
-·
,,.
Chapter 21 Small Forms: Binary and Temary; Varíatíon Forms 189
EXERCISE 5 'Harmonize the following two folk melodies and write realizations of your harmonizations in
keyboard style.
4
a.
1
. ;; "
1
.
-"
------
-· - - ..
,....-:¡
--· - -- - ..... -· --- --------
1 1
. - -
-- • -· -- - • -· - -- - -· --
1 1
1 '
1
,. . :,.
, ;; "
-
8
. • r"'í
-· -- -. - - -- - -- -
r-""'1
- --
¡
-
1 1 1 1 1 1
;;
.,-_, •
•
-· - - ,- -· -- w -
-- -· ....
- -· ....
- - -- -
, ... ;;
16
¡ t.. - - France
..
1 1 1
- -- - - - -- - --·
.,
11
"" -· -
-.!
<
1
"'"""
,
.. !;'
"
b. -
---------= 4
------ - -- --- - - - ·--- - -

¡¡ r
-
¡ 1 1 1 1 1 1
- ·-
1 1 1
-- ..------ ' 1 1 1 1
,.
- . --· -
1
11
"
"
,,
- - -- - u "
,
'
,
H W
• • • 11.
TL
"
--.."
----------..._ !'"':"\
..----
8 --...___ Britain
" ...
¡¡
- - - - -- - - -- - .. -· --
1 1 1
,
'
- --. - -....
,.,,
"
" - ,. r
-.! TI' - - u
)
, ....-
EXERCISE 6 Write a keyboard accompaniment for the following melody and provide RNs fór your harmoni-
zation. What formal and tonal types does this melody represent?
--
4
..••.
- - - - ...-
,,--
.
,,,
j \
h
V
1
11
fU ,..,
'
-
...¡
-
l""I
-•
1
'
-
..... 11111
;
...¡
.... "" .. ,...- --
1 1
.....
1111
-----.......
... - r-
1
...
,,., '
- .....-
,....
1
1-<
•
\'t
r- r
@)
--l 1 1
;
-·•• '-- " •.
.. ..
V
"
EXERCISE 7 Compose two modulating periods (melody and accompaniment in keyboard style) based on the
given motives. The modulating periods by Haydn in the worksheet and workbook for chapter 20 may serve as
models. You may compose the melody first and then write the accompaniment, or write both at the same time.
1. Modulate to the key of V. A possibility is to write an antecedent in CM, ending on a HC, and a parallel conse-
quent that modulates to V (as in Mozart's familiar "Tema" from his DM sonata). Remember that the easiest
way to modulate to V is to introduce #4, as in the example provided below.
a. Example
J IJ J J IJJPWIJ J J IJ
.... -/t -· "' F
:::---...
-
-
g
@) 1
) . ..
/
-
¡
Chapter 21 Small Forms: Binary and Ternary; Variation Forms 191
2. Modulate to the relative major key (III). Remember: to modulate to 111, cancel the leading-tone accidental in
minor and resolve either the new leading tone or the new 5 to the new i. We do not need any new accidentals
in this modulation (see the example provided below).
b. Example
la tiiIZJ iJ J J r J IJ :11
-.' :-..
1
.
'
• - •
-.... .. - .. - ...
•
) ...-
/
V
:
-
"
n
•- ··-
-- =
1
-'
.,
.. )
) .. /
'• "
Chapter 22
Contrapuntal Genres
EXERCISE 1 Write a brief analytical paper on Bach's Invention no. 4 in Dm (score and recording available at
the library). You may use the discussion of Invention no. 3 in DM in chapter 22 of the textbook as a model. The
organization by sections used in that analysis is perfectly appropriate for your paper. Make sure you discuss the
following aspects of the Dm invention:
l. Sections and their function (exposition, episodes, retum, codetta). Cadences and key areas. Any pedals? What
is their harmonic and formal function?
2. How are all the keys in the piece related among themselves?
3. Thematic content: What are the musical characteristics of the subject? Is the subject always present? Does it
appear in any varied forms (such as inverted, or elaborated in any way)?
4. What developmental techniques are used and where (circle of fifths, sequence, fragmentation, etc.)? What is
the role of imitation in the piece? Are there sections of "give-and-take" texture?
EXERCISE 2 Analyze Mozart's String Quartet, K. 173, IV (Fugue). Answer the following questions, and tum
in an annotated copy of the score (which you will find at your music library).
1. Exposition:
a) How long is the subject?
b) Is the answer real or tonal?
e) Is there a countersubject? Ifyes, where?
d) Is there a bridge? Where?
e) What are its specific formal and tonal functions?
f) The exposition ends with the first full authentic cadence in the piece. Where, and in what key?
193
2. Middle sections:
a) Episode 1 (mm. numbers): Its tonal function is:
b) Middle entry group 1: It begins in m. in the key of
It ends in m. in the key of
e) Episode 2 (mm. numbers): Its tonal function is:
d) The entry in m. 28 is in the key of:
e) Episode 3 (mm. 31-35) leads to a series of entries in mm. 35-44. Mark all of them on the score. What
happened to the subject in these entries?
What is the effect of whatever happened to the subject from a metric point of view?
What name does this type of section have in a fugue?
f) Mark on the score the entries in mm. 45-51. What is the key?
g) Measures 52-61: Mark the entries. Again, what happens to the subject? What kind of section is this?.
Measures 5 8-61 : What kind of texture is this?
Why? Where <loes it lead?
What is the chord in m. 61?
Why does it have a fermata?

3. Closing sections:
a) What is the key of mm. 62-end?
b) What is the formal/tonal function of the section beginning in m. 62?
e) Considering the metric relationship among entries in this sectíon (mm. 62-69), what is this section?
d) How are the viola and second violin subjects related to the cello and first violín in these measures?
e) Measures 70-73: What is this section? How are the entries related (metrically) to those in the previous
section?
f) Is there a pedal in the closing section? If yes, on what scale degree?
EXERCISE 3 On your own music paper, write four fugal subjects in different meters and keys. Determine
whether the answer to each of your subjects should be real or tonal. Then, write the appropriate answer for each of
them.
Chapter 23
Modal Mixture
1. Analyze and explain the type of modal mixture in the following examples. If borrowed chords are involved,
be specific as to what they are.
a) Example 23.1.
b) Example 23.2.
e) Anthology, no. 54, Verdi, Il trovatore, act II, no. 14, mm. 21-24. Compare also the beginning and ending
keys.
195
' -.-, " - - '

_. - ¡- ijaydn,Stfing no. 3,J, mm.)3-39
.•''; ;.'t· .... '_" •"''.-'_--- -- .·.--." ._ .. __ .. -_. -;, .-' - -'' ,'-_' ,',• .,--. "'• ,"_ .:- -.•
36
,,',,,' Example 23.2 Brahms, Piano Quartet op. 60, III, mm. 1-2
d) Example 23.3.
Example 23.3 J. S. Bach, "Vor deinem Tron tret' ich hiermit," BWV 668, mm. 44-45
45 (.',
198 PART 2 Chrornatic Harmony and Forrn
e) Example 23.4.
,,' Example 23.4 ,., ·-- -"•-> •', ,_•,·-:--''·-··· "' '· ..'. --
QuartetJri ql\1,';cip. 9,
•/e•',.,,•.;- . . .:._·,:-' :'e-,•.,-:---::-·--',.,•' '-.O,• •e •', •<' :,
.·.3.•,
21
tr tr tr tr
f) Anthology, no. 47, Schumann, "Ich grolle nicht," mm. 1-4.

g) Example 23.5.
,," Example 23.5 J. Haydn, String Quartet in DM, op. 64, no. 5, III, mm. 9-17
" ..
/\ 11
.... ---
•
10 ¡¡_
.. :
h.
"
.. .
12
L- •
"
-.. ...... . - - :- --------- -

/\ 11 1 1
-·
t.J
•u
"
-. p
- 1
'X
1
.=
*·_; 1 1
--
,, .. • i!: •
...,.. . ..-..
.. 11 fl. a L
-
-
• , ... t.L
" -
"
1 1 1
'" . ......
'
•• • l.L
"" - : ." _,,- e
1
p
16
" /\ 11
•
"""
n
L_
., - - - - .
-- -
1
"
t.J ·•".
..__/
-. R'
1\ 11
" " '-- - '--
t.J 1 1 1
,, ,¡; L .. :--...
. .
". . -
1 1
,,_
- = '
-
. - --
- u
-
. -
" " .=
/
---- v-
TT
1 1 1 1 1 1 1
200 PART2 Chromatic Harmony and Forrn
EXERCISE 2 Realize the following short progressions in four voices. Provide a Roman-numeral analysis.
a. b.
-' .. ." -
f¡ 1 .!.I
,
@)
,.. b,. .... ...

.. -- -
... ..... - - ..-,_-
-, ,...-
--
c.. ....
....
11.
,-... r-
... .....
,,_ _,
" 1
1 1 -
bs bs 5 DM: 6 q5 bJ
4 3 4 . 4 p5
f\
,.., ,, 1
Id
...... _,
"' ,. -
" . .....
t.l
r
a_
.,
••
... "'
,,
.......
,,
... 1
-
/
....,.
í ••%6 v6-s
GM: I V n 5 4-3 I vi iv I
EXERCISE 4 Harmonize the following melody with a left-hand keyboard figuration, using borrowed chords
where possible. Be sure to check your outer-voice frame for correct voice leading.
FM:
EXERCISE 5 Write a nonmodulating period using the given motive, and provide a keyboard harmonization.
Use several instances of mixture (borrowed chords, change of mode) in your harmonization.
- ..
,.
. ". * ''.
J.I
- -
1 1 1
y ///ll.L11 1 1 1 ....11 1
#. TL
" 1 ....1
•
"
@) ' -
.....
L.., • ...
- •• .. LLTI
/
1!
..•. •
1
'
11
'\.'.
" *
¡,1
I
J.I
.. U.11
11
@)
/
..-· .,,"'
11
Ll
11
'\.'.
" .. *
1,1
I
J.I
11
@)
.........
-
/
.... llf
TT
ll
TL
11
KEYBOARD HARMONY
l. Practice the keyboard progressions from example 23.6 in a variety of keys. Because these progressions use
chords from the minor mode borrowed in the major mode, they should be played only in majar keys.
,,' Example 23.6
a. b.
I 1 1 1 1 1 1 1 1 1 1
.
t
. .. y -
... .. 1
-
1 1
---
L_
V 1-
-
··fif6
I 11 5 V I iv I I WI iv V7
c. d.
'
tl
1 1 1
...
1
"'
•
1
,-...
1
"'
•
1
- -
1
V
1
1'•
1
1
= •
1
,-
1
•
1 1
L_ L_
.. 1 1
i-
1
6 - 5 v6 - 5 ··fif6 v6 - 5
I iv V4 - 3 4 - 3 1 11 5 4 - 3 1
2. Soprano-bass pattems. Refer to example 23.15 in the textbook. Play the soprano-bass pattems in that example
at the piano, adding inner voices in keyboard texture in the same major keys you used in exercise l.
ercises at the piano, using keyboard texture: textbook, worksheet 23, exercises 3a and e; and workbook, chap-
ter 23, exercise 3.
4. Figured-bass realization. To practice realization of figured-bass progressions, tealize the following exercises
at the piano, using keyboard texture: textbook, worksheet 23, exercises 3b and 4; and workbook, chapter 23,
exercise 2.
Chapter 24
The Neapolitan Chord
EXERCISE 1 Analysis. Identify the Neapolitan chords in each of the following examples.
l. Verify and mark the voice leading of the voice with 2. Is the II chord in first inversion or root position?
2. Provide RNs (Roman numerals) for the actual m and also for the chords that precede and follow it.
3. What chord precedes UI? Is the m chord tonicized?
4. Does resolve directly to V? Does it resolve to V through sorne other harmonies?
Examples for Analysis:

l. Example 24.1.
,.' Example 24.1 W. A. Mozart, Piano Concerto in AM, K. 488, II, mm. 1-12
Andante
6 8
10 12
205
206 PART 2 Chromatic Harmony and Forro
2. Anthology, no. 38, Erlkonig, mm. 113-123.
3. Anthology, no. 35, Beethoven, Waldstein Sonata, mm. 235-239.
4. Example 24.2.
-
, Example 24.2 E Chopin, Mazurka op. 7, no.. 2, mrn .. 11-16
14 a tempo
12 3 16
- :-. ------- "

j\
. - ._
., .;;:-----..__
- - -- --(.'., >-
- ...
1111
,,_
1
V
TI
-
¡;
1
- "' ...J v-
-
¡____.,,¡
... -·fl'.-1
,. -
i r
'.:::
<
3
= erese. poco rall.
-====
,.--..._
.. -----------it b8: (.'., h;

- . - - -"" --
-¡@-
l - /
we •
,,
::.. 1L . .
"
: "" w := - -
.>. ..>.
1
1 1
EXERCISE 2 Realize the following short progressions in four voices. Add RNs to the progressions with a fig-
ured bass.
a. b. c.
¡¡
....,, •.
"''
1 1 1
-.. --
h V '-11- h
V V
"
) ......- ..-
/'
"
,.
00
¡;,
; --"'.. -
- -
1
""
1
-
;
1
6 I
DM: 1 V I Fm: V
4
d. e.
j
...
¡¡, I+ ¡¡,
,,, ,. l l ··-
"
)
@)
,,
- --
-
- -
lL
E!Te
,.,,
a "
1.1.11
- M
':'."
" 1
1
AM: 7 GM: I .
EXERCISE 3 Realize the following progression in four voices. Provide a RN analysis.
-· -
¡,¡ 1
..... ..
'-
',
-•
_,
.. -
.. - -
I
'•
"'" - 1
.... -- - - -- --
... i -
1 l
-
..J -
1 1
-
--
1 1
Bm: 4 #6 6 6 6 5 7
q3 #4 5 4 # #
2
EXERCISE 4 Harmonize the following melody by Schubert ("Der Müller und der Bach") with a bass and RNs.
Use bll6 chords where possible. One of the bll6 chords should be resolved to V through a viiº7N. The melody also
allows, in mm. 9-12, for a circle-of-5ths segment and for sorne tonicizations. Explore these possibilities in your
harmonization. As an additional exercise, write a version of your harmonization for voice and piano on your own
music paper. .
Wo ein treu - es Her ze in Lie be ver - geht, da wel - ken die
- 8
1
" ,,_ - - . _, •
, .. -...
1
- - -
1
., - .. " -.--- -- -·
_,
--·
-
" ,
41\
V
- ,,_
"
TT '
' - -·
I" r , "
p
Li - lien auf je - - - dem-- Beet. Da muss in die Wol - ken der -
, ..
'•
V
"
"" V
1
-·¡,...--- ,;;
-
,,_
"
"
12
,...-
.,
.=,
"'
I"
,;;
- -
r
, "
p
-- - ·-• . -
¡.,,
-- - - - '
-- -
_,
Voll - mond- geh'n, da - mit sei - ne Thra - nen die Men - schen_ nicht-
, ... :;
16 20
.j' •' t-..
- r- -
1
- - -
V
"
- r
""
r
-
- - r
@l
seh'n da ha! - ten !1e Eng - lein die Au - gen sich
u• ,
'
.. 24 -
- •' !t..
- -
1 1 1 1
- -
-
-....
" - ., ;:_
/
"' - ,,,. '
@)
'
1
_,
í' V p
"- 1111
-
...J
TI
r-1
p
< zu, und schluch - zen und sin - gen die See - - - le zur Ruh.
1
.. ;;;
"
Where a true heart pines away for !ove, there droop the lilies on every bank.
Clouds conceal the moon so that men may not see her tears. Angels close
their eyes, and cry and sing the soul to rest.
After you write the harmonization, write brief statements on the following questions.
l. Are the Ul 6 chords used for expressive purposes in this song? What are the words and/or concepts the HI 6
chords harmonize?
2. What formal/tonal type, of the ones we studied in chapter 21, defines the passage you have harmonized?
Name the type and explain your reasons for choosing it. To answer this question, consider carefully the sec-
tions and tonal motion in this song. Notice that the passage does not feature any inner repeat signs. If it did
(and it certainly could), where would they be (think of the formal and tonal function of each section)?
KEYBOARD HARMONY
1. Practice the keyboard progression from example 24.3 in a variety of M and m keys. Hear the sound and reso-
lution of the II6 chords in the progression .
. ,,' Example 24.3
"
/\
y
.. - 1 1
h.-1
1 1
--
1 1 1
.,._,
--
1 1
r• .-1
1
r•
_,
1
@.! • V
- -
1 1 1
,.. "
/ ,. ,. n
7
CM: 1 V 1 vii 0 7 N V6 5 1
4 3
2. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and fi.gured-bass pro-
Chapter 25
Augmented Sixth Chords
EXERCISE 1 Analysis. Identify the +6 chords in each of the following examples.

l. Identify the type of +6 chord ("nationality"). If it is a Gr +6, is it spelled with a ora #l?
2. Provide RNs for the actual +6 chord and also for the chords that precede and follow it.
3. Does the +6 chord resolve directly to V? Does it resol ve to V through sorne other harmonies?
Are parallel 5ths avoided?
Examples for Analysis:

l. Example 25.1.
,,; Example 25.1 W. A. Mozart, Symphony no. 39 in füM, K. 543,IV, mm. 130-137
132
136
211
PART2 Chromatic Harmony and Form
2. Example 25.2.
Example 25.2 J. Haydn, String Quartet in DM, op. 64, no. 5, I, mm. 46-50
...---.... 47
, " ... -
,,._ ,,._ fJ- _u rf: ¡+.,,.
,,
"' . ,_
-
;r, 1L ,_,.
@) p 1
...---.... ef f
...," .. u.
-- -
.. -
'•
;,. ;,. ;,. hn ·n
rl
lit
-
. TI
,_
,,.
-
"
@) 1
P...---.... ef f
.........,,..,. -. ..-"'
rl .. t t t f: .,,,,
6
e
:=
lit.
:=
'
P...---.... ef f
;,_ ;,_ ;,_
-
fi
..... ... -
--
,,,.
" ... ,, ,,,
•• 11111.J.
"
.. 1111
..
1 1
' 1
f
3. Example 25.3.
,,.',,,'- Example 25.3 · Gioachino Rossini, Petite messe solennelle, Credo, mm. 14-18
(Allegro cristiano) 15 17
4. Example 25.4a.
Example 25.4b.
.·,,," Example 25.4 L. v. Beethoven, String Quartet in Cm, op. 18, no.4, IV, mm. 5-8 and 147-153
a 6 8
-
/\ 1
.....
,----.,
- - • 1 • 11 •
,_ b#- '!'-
:;
.. ..
- r- ... _
·-""- - r- "
p - "
eres c.
;t.
ef
-
/\ 1
.,,
...,. . . . . .
:;
- - - "-'
;t.
p eresc. ef
... 1
..... . . -- . - 1 1
.... V -
-
1 1
: -
-
1
' - - -. TI'.
r •
p eresc. ef
... " ... . -
1
. - . 1 1
. . ,,_
"
1
-.
- -- -,; -·
-
"
"" 1 1 1
p eresc. ef
152
b
_, .. - !'-
- - r- . . r- r· r
-
/\
.
1 1 1
- r- - ,_.
"
V
"
TI
eresc. V
-
/\ 1
- -
-
..-1 - .-i -
-:
r-
-- . --
-
- -. .f
1 1 1
•
f
.... 1 1 1 1 1
-
.... V -. - - - 9u· 1 1 1 1 1 1 --
'
..-1
11'- - - -
--' ......
-
1
cresc.
f
... :; .
-. - - - - -
1 1 1 1
- : - - - -= - - -
eresc.
--
f
5. Example 25.5 .
. ,," Example 25.5 L. v. Beethoven, Piano Sonata in füM, op. 7, II, nim. 72_,.74
6. Example 25.6 .
. _'.," Example 25.6. W. A. Mozart, Symphony no. 40 in Gm, K. 550, I, mm. 12-16
Chapter 25 Augrnented Sixth Chords 215
EXERCISE 2 Realize the following short progressions in four voices. Add RNs to the progressions with a
figured bass.
a. b. c.
/\ 1
: ,,
11
t.)
... ...
/
,, . ... ;; •
1 lt+6 V 1 Dm: iv 6 Gr+6 V Bm: -6- 6 5

5 4 #
d. e. f.
,,
¡
t;' ;-
1 1
-.. - ,.
"
M"
"
'
"
,,
, ... .= ... _
- - -
;-
... ,. -
M"
V
1 1
" TI
1
FM:
6 qs
4 3 1 IV6 Fr+6 V7 1 BM: 1 IV 0 3 V 1
EXERCISE 3 Realize the following progression in four voices. Provide a RN analysis.
. -
..
¡,¡.
....t..
-
1
iil IJ.'11
#. .....,
"' J
.....
@) 1
J .. _
- ._ -
- --
11
,. . - -
L '-•
_. ,. ""' u. 'Tl
/
t//r IL
.....,
,,
......
- .. ,..
,.. • I'"" "'11'""
• •
r-
"'11'""
,_.-
1 1 1 1 1
1
1 1
5 6 7
3 q
EXERCISE 4 Harrnonize the following melody with a keyboard accompaniment. Include an +6 chord where
appropriate.
EM:
HR: d
KEYBOARD HARMONY
l. Practice the keyboard progression from example 25.7 in a variety of M and m keys. Hear the sound and reso-
lution of the +6 chords in the progressions. Notice especially (and enjoy!) the interesting harmonization of
the descending chromatic bass, which you can now realize with chords you have studied (example 25.7c).
_· ,,'}, Example 25.7
a. b.
)
,
CM: I lt+6 V 1 Gr+6 v64 - 5
-3 1 I Fr+6 V 1 Fr+6 V 64 -_ 53 I
c.
- ....-.. -- -- -
11 1
_,1 1 1 1 1 1
_,1 1
,_ 1 -
"- ,,
-
y
_, , n '-""'
@)
,_
---
"
Tl
-
1
1 1
=
1
- -
'I
- ..,.
...... #- n h. L
,-... -. ....- 1
- y6 6
rc1
1 5
Fr+6 4 vii 0 7 N Vg _ 1 I
Chapter 26
Chromatic Modulatory Techniques: Modulation
to Distantly Related Keys I
l. The following modulation features a chromatic pivot chord. Analyze the complete passage with RNs (Roman
numerals), and explain the modulation and the pivot chord.
,, .,' Example 26. i L. v. Beethoven, Six Variations, op. 76, Var.VI, mm.
32
2i9
2. The following examples feature the m key area and/or modulations by enharmonic reinterpretation of +6. f
Analyze each of them, identify the modulations or the m key area, the keys involved, and the exact function
of the pivot chord in each of the keys.
a) Example 26.2.
,;·,.', Example 26.2 F. Schubert, Piano Sonata in Arh, óp. 164, I, mm. 57-67
58 60
. q_: ...,.
65
:
66
- ,-
-· . -·!""""':r-
1
w•
.. : : .::
·=-
M m
V -; - _. . .,_ :3
"" 11
'--=----· "---=-- .
' f
1 1 - ,,
u H-
,,_
l w•
q
·-
q
'.:'.
- - ' V
-
1
1
b) Anthology, no. 51, Liszt, Consolation, no. 4. The phrase in mm. 16-18 is in DM. A sudden phrase modu-
lation takes place in m. 18. To what key? How does the chord in m. 18, beats 1-2, function in each of the.
keys?
e) Example 26.3.
1) The main key of the passage is FM. What secondary key area of FM is featured?
2) Explain the return to FM in mm. 47-53.

Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I 221
, .,' Example 26.3 . F. Schubert, Piano Sonata inAm, op. l!í4, I, mm. 41-53
. 3. The passage by Schubert in example 26.4 begins in füm.

a) What is the chord in mm. 139-140, and to what chord does it resolve?
b) What is the key area in mm. 152-159?
e) The modulation to this second key area takes place in mm. 146-152. Explain how this modulation
works.
d) What is the key in mm. 162-167?

e) What is the chord in mm. 160--161, and how does it function in AM? Have we seen this same sonority
elsewhere in this passage in a different key and with a different function?
f) The modulation in mm. 157-162 is to a closely related key by means of a diatonic pivot chord. Explain.
g) Comment on the compositional/contrapuntal techniques used in this passage, especially in mm. 142-166.
. .,; Example 26.4 ''F. Somitafor,YÍólin ail.d fiano, op. posth, J62,IV, n1m. 167)
135 137
i11 r r 1r b----
1J d 1d d*
p * pp
- .-f\
,,
- - - y
1
- - y
1
-- ----
1 1 1
'i- 4
===-
1 1 1 1
-==:::::
. 11- pp
1111.
f- - 1
,_
""
139 141
cresc.
pp
Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys I 223
157
167
4. The following examples feature modulation by enharmonic reinterpretation of viiº 7 chords. Analyze each of
them, identify the modulations, the keys involved, and the exact function of the pivot chord in each of the
keys.
a) Example 26.5.
Example 26.5 L..v. Beethoven, Piano Sonata i11Cm, op. 13, Pathétíque, I,mm, 133-136
b) Example 26.6. This passage begins in AM.

l) What key area is featured in mm. 141-144?
2) What is the function of the first chord in m. 140 in each of the keys?
3) The same chord is featured again in m. 145, leading back to AM. What is its function here?
,,' Example 26.6 , L. v. Beethoven, Piano Sonata in AM, op. 2 no. 2, rv, mm. 138-148
Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys 1 225
EXERCISE 2 Write the following chromatic pivot chord modulations (bass and RNs, with indication of the
pivot chord).
l. From FM to AM using m6 of AM as a pivot.
FM:
2. From AM to BM using a secondary dominant in AM as pivot.
AM:
3. From füM to CM using a viiº 7 chord with a secondary function in both keys.
BbM:
226 PART 2 Chromatic Hannony and Forro
EXERCISE 3 The following RNs represent modulations by enharmonic reinterpretation of the Gr +6 chord. t
Write the bass line for each progression, and indicate what key we have modulated to in each case.
a.
11
Em: Gr+6 v64-- s

3
i
...2:!J
Key: 1 v, i i
b.
11
EbM: 1 viiº7/V V 1
17/IV¡ 6 -5 . 6
Key: +6 V 4-3 1 IV 4
1
c.
ti
Fm: i viiº7 /iv iv
Key: lv,nv 1v v7 I I
EXERCISE 4 Write the following modulating progression in four voices. Provide both enharmonic spelling_s for
the pivot chord. Write the key signature far the new key after the double bar (in the space marked with an astensk).
'\ 1
• '
.." ....
1 ó"D
1 ;;,.
'
H
V
.....'·
t)
JL , . . 1 "11
- •• 1 r;
.._
/ L..
V .....r..
Gm: i Fr+6 i
Key: Í Gr+6
,...
\H *
. '
t)
""'
-111·
"-
f
V 6
4
5
3 iv v64 5
3
1
Chapter 26 Chtomatic Modulatory Techniques: Modulation to Distantly Related Keys 1 227
EXERCISES
l. Write and resol ve viiº 7 in BM in exercise 5a. This chord may be used to modulate to three other major keys
by respelling it enharmonically. Indicate the keys and provide the spelling (leaving the chord in the same po-
sition), the correct RN, and the correct resolution to the corresponding tonic in each of the new keys. For a
reference of what you are doing exactly, see example 26.15b in the textbook (although in that example the
chords are not resolved).
2. In exercise 5b follow the same process as in 5a, but now show how viiº 7 in Gro functions in three other minor
keys.
a. b.
key 1: key 2: key 3: key 4: key 1: Gm key 2: key 3: key 4:
/\
'
,
@)
L.,.
- /
..
3. The following statements refer to enharmonically respelled vii º 7 chords. Fill in the blank in each statement.
a) viiº 7 in becomes in D.
b) in E becomes viiºi in fü.
e) vii ºj in becomes vii º 7 in A.
d) vii ºi in F becomes vii º 7 in _ _ _ _ ,
EXERCISE 6 The following RNs representa modulation by enharmonic reinterpretation of viiº 7• Write the
bass line, and indicate what key we have modulated to.
[JI' 11
AM: 1 viiº7 /vi vi

6-5
key: viiº 4 V4_3 1
3
EXERCISE 7 Write the following modulating progression in four voices. Provide both enharmonic spellings for
the pivot chord. Write the key signature for the new key after the double bar (in the space marked with an asterisk).
-
/\
Uf
,¡,¡.
""LJ. .. , ....
·- '
,
' TL
Tl
....
I!.
@)
.&... , .
.
,,,
••
- •• -,. u
l..L ....,,
./
......
-
Bm: i vüº7 N v42 .. º 65
Vil
key:
fl\
14 *
.
A
@)
....
1/10
/
7
V 4
6 5
3 I v65 Fr+6 V I
EXERCISE 8 Write your own modulating progressions (bass and RNs) using Gr +6 and viiº 7 chords
as pivots.
l. A modulation from Fm to Em using an enharmonic reinterpretation of the Gr +6.
Fm:
2. A modulation from AM to Cm using an enharmonic reinterpretation of in AM.
AM:
Chapter 26 Chromatic Modulatory Techniques: Modulation to Distantly Related Keys 1 229
KEYBOARD HARMONY
1. Practice the keyboard progressions from example 26. 7 in a variety of keys. Hear and understand the modulat-
ing process in each case (by either chromatic pivot chord or enharmonic reinterpretation). If you are suffi-
ciently proficient at the keyboard, practice improvising sorne similar progressions, especially using +6 and
vii º 7 chords to modulate to distant keys.
-,," Example 26.7
a.
CM: 1 IV6 +6 V7
1 iv 1
b.
....
.. ..-- - ..- - .-. -
11
-- - - -- ---
11 1 1 1 1 1 1 1 1
,,,1
1 1 1 1 1 1
- - - "
"
_,
"
" -
_,
- - ""-
n"
" =
-j- 9•
,,_
"
- -..
:' ....
-
<
- .. ..•. - -- - -
1
'•
- -
"""'-
- 1
1
• 06¡··
- -. 1 1
1
- --
.. u
"
"
11
--
1 - - --
1
1
CM .• 1 0
Vllsll ¡¡ ¡¡¡ 1
1 iv +6 V 1
c.
CM: 1 IV6 +6 V64 - s 8 - 7

- 3 1 1 V7/IV 1
EM: +6 V46 - s 1
- 3
d.
..p'6 V6 - 5 6 - 5
CM: 1 11 5 4 - 3 1 +6 V4 - 3
1 WI 1
" . "" "'-,
-"7"*, Continued
e.
.. 1
.-
l'I 1 1 1 1 1 1 1
"'
@) - -
= -.., ,.,
-.,, •
- -...
=
,,_ k
V - -J-
=
-¡-
_,
=
-¡- -
iJ
," .-
1 1
- -
1 1
- -
1
"
"
1
- V
k
V
- ::
1 - 1
CM: I ii I
- 5
füm: - 3 iv
2. To practice playing modulations by enharmonic reinterpretation of the Gr +6 from Roman numerals, realize
the following exercises at the piano, using keyboard texture: textbook, worksheet 26, exercises 5 and 6; and
workbook, chapter 26, exercises 3 and 4.
3. To practice playing modulations by enharmonic reinterpretation of viiº 7 from Roman numerals, realize the
following exercises at the piano, using keyboard texture: textbook, worksheet 26, exercises 8 and 9; and work-
book, chapter 26, exercises 6 and 7.
Chapter 27
Modulation to Distantly Related Keys 11;
Linear Chromaticism 1
l. Study the chordal relationships in the following passage, and explain with the correct terms how the chords
are related.
, "' Example 27. l G. Verdi, Otello, act I, scerie III, mm. 46--50
come una voce fontana

47 49
dol-ce il mor-mo-rare in sie-me: te ne rarn ti!
2. Study the following modulations. For each of them, determine the following points:
a) What keys are involved?
b) How are the keys related (diatonic third, chromatic third, half step, etc.)
e) What is the RN relationship between the keys? (Be aware of possible enharmonic spellings of keys.)
d) What type of modulation is it?
e) If it is a common tone (CT) modulation, what is the CT? Or is there, perhaps, more than one CT?
f) What are the functions of the triads used in the CT modulation?
231
232 PART 2 Chromatic Hannony and Form
Examples for Analysis

l. Example 27.2.
. - -
-. :·- Example 2Tr Lv, Beethoven, Trio in Cm, op. 1,no. _3, IV; mm.·167-_173 ·
- ---
167 169
Violin .
1\ 1
'
----
@! 1
Cello .. " - -¡:-

., - 1
e
A 1
- r-r-1 í.f1
·-
-- -
-)
a
,- -
-L M
ill ._____..... c:::¡::J qt__J poJ_____>
.. -
171
----- " <:1 4_____-Y
1
173
"
@)
.. "· -
-------------
- -
o "
A 1
.,
M
ill
- M
-+ -+""' -=+ -. - . .,
:¡:___/
) .. -
1 1 1
pu ..--
____Y
Chapter27 Modulation to Distantly Related Keys II; Linear Chromaticism I 233
2. Example 27.3.
a) First, study the modulation in mm. 9-12.
b) Then analyze the retum to the original key in mm. 12-16.
Example 27.3 F. Schubert, Waltz in op. 9 no. 2
16
l.
3. The following passages include examples of altered triads, Fr +6 asan altered dominant, embellishing +6, or (
CTº7 chords. Identify and label the particular chord illustrated in each example, and determine its exact linear
function (passing, neighbor/embellishing, etc.).
a) Example 27.4.
,,,'' Example 27.4 R. Schumami, nicht fassen,'' from Fraueriliebe und Leben,
.mrri.17-23 . . .. . . . ·.
- --
Etwas langsaµier. ritard.

17 19
-11 1
.
p
. . 23
- --- - - = --
:;- "
el - = =
,,_
n 1 = .
Mir wars, er ha- be ge - spro-chen: lch bin auf e - wig dein,
" 1
- ,,_. -
1
- ...-·
-
-·
k
1
@) ,: ...._.._. .-: .it· ... !'
p
l J. h J
-·
1
-·
1 1
·-·
1
- 1
---
1 , :;- '
1 1 1 1
b) Example 27.5.
.,· Example 27.5 J. Brahms,Symphony no. 4in Em, op: mm.
11
•A
lb
:
1 ,.,. 4
19-. aa· P-' 1
8
1
·-·
§
"
@) - 1 1 1 1
f
.¡z.:
-.
1 1 1 1 1
, .. ,,
1
v• -e-·
Chapter 27 Modulation to Distantly Related Keys II; Linear Chromaticism I 235
e) Example 27 .6.
1) Several of this chapter's chords are present in this fragment. One of them actually appears in three dif-
ferent keys. Another one is featured at the cadence. ldentify and label all of them.
2) What are the three keys featured in this example? How are they related?
;- Example 27 .6 Jean Sibelius, Finlandia, op. 26, mm. 1-23
Andante 2
/
: ., ,. 'JJ . . .
"' -
,_
ti-e-
6
,.
¡¡ _,., titz- 8 ti#
,.
(.'.,
1
1
f ifz
..
l .
(.'., (.'.,
. . 1
- ..
/
"
q11 1
" "- _,-
-
&
10 -e-
.. =. . -
-e-
=
.
15
.,_ e
,_ "
1 /
1
I
ti
-
< f ifz f.f
1
. .
1 1 1 1
..
l /
'.
-e- WW'
- '
-
-e-
.,
u -& et
18 20 22
1 - " - - -
t.! n4 -&
bt $ $ g u
:.a
7t
1 1 1 1 1 1 1
f.f
1
:
V V
e: P-61- lnf - :;;;
&
r-
d) Example 27.7. (
e ,,- . , ' Exarnple 27.7 F. Schubert, "Moment Musical," op. 94, no. 6, mm. 29-36
-- ' "''"""""'-""
EXERCISE2
l. List the six triads (or keys) related by chromatic third to each of the following triads (or keys). Write down
both the triad name and the RN that indicates its relationship with the original triad.
2. Then, circle the four triads that have a CT with the original triad.
FM:
BM:
Gm:
C#m:
EXERCISE 3 Write a CT modulation in four voices, from Fm to a key of your choice, related with Fm by chro-
matic third. Include a secondary dominant anda Fr +6 in the first key area (Fm), anda tonicized m
chord in the
second key area.
...
l'I 1
, 1
.....
.#. h.
V
I
"'
V
v
._ ,.
- me 1 fJ
/ ...... ,
h.
V
Fm:
Chapter 27 Modulation to Distantly Related Keys II; Linear Chromaticism 1 237
EXERCISE 4 Realize the following short progressions in four voices. Pay attention to the RN quality (upper-
case or lowercase), which may denote a chromatic third relationship (for instance, 1-III is not the same, of course,
as 1-iii).
a. b.
11
•n-,,
" ........••"'
1.1
.....
V
.. ,, ....
....."'
@)
L
- ,,. 1
/
,.
.....
..,,
•1
,.,
lllU
..,,
•1
V ...... .....
FM: 1 VI y+ 1 Bm: Gr+6 v+
c. d.
•
,,,
". 111 U11
11 ,,
....
,.
...... .W UT'l •
ll
11
.. .••.....,,.
@)
............
•• •
tJ.
u
l.L'rl
,."'
......
.. .. ....,.
,,
• l.L ,-
l
tJ.
.,
/ IL
'l'I. ..... 'l'I ......
1
i EM: 1 b111 1
e. f.
.,." h
1
I
....,.,, ..
j,¡
,, TL
" V
......
@)
...
l
.. 1!
.._
- •• 1
.....
rJ .....,,,. 111 TL
111 UTT
.....
/
V
BbM: 1 emb+6 1 111 1 AM: viiº7 N y+ 1 CT 0 7 1

EXERCISE 5 Write a common-tone modulation from HM to in four voices. Spell the key enharmoni-
cally. Include an embellishing +6 anda m6 in the HM area, anda CTº7 anda cadential Vºi in the area.
f'I 1
1 f}
1
,
h
V
1
,
"'"
v
- ,,,.
.._ .... 1
/ ... "
V fJ
Chapter 27 Modulation to Distantly Related Keys II; Linear Chromaticism I 239
KEYBOARD HARMONY
l. Practice the keyboard progressions in example 27.8 in a variety ofkeys. Hear and understand the CT modula-
tions to chromatic third-related keys. And pay attention to the voice leading for the linear chromatic chords
included in these progressions .
.,-.,' Example 27.8
a
#
- -- -- - - .-., ,, - --,.,- --
¡ .11 1 1
-
1 1 1 1 1 1 1 1
- -
1 1 1
-- -- -- -....
-, ,.,,1111.,
•
--
--
1
" =
V
r
" - w
• •
=
-
=
1 1 -
..J TI. r;
(J
.,
••
"
<
l /
... 1 1
- h - - ..
- -
.lllllt'fl•
TI.
il
Tl
..J
,.. -
--
• -
..J V IJ
' -,}
•
n
l 1
CM: AbM: BM:
b.
- - - - H-
- .,.,- - --- ..--
.11 l._
-'
1 1
1
,, ", ,_
r
[}
=
"'
,..
r
,_
n • r
-
""
- - = ,_
- -- '"'
V
V
,..
e> 1
1
1 1 1 1 1 1 1
1 1
.. 1
- 1
- - 11
- •
,..
- -
1
L
/
••
,, r - •
,.,,
"
"
l.Lll ... ,
- V [}
'"' - --
1 1 1
CM: EM: DbM:
- - .,,_.. -,...--
c. d.
/\
-
- -,_,.. -- --
1
...- ..-
1 1
.. --
1
--
1
-
1 1
, -= "J
,_
,.. ,_ ,, .,.,_,
,... 'º"'
-
..,¡ ..,¡
.,.. = =
"
e> 1 1
1 1
1 1 1
)
/
..
- -
1 1
-
,..
.,_
.,..
,. - - n
1
-
1
-
1
-
,..
1
k-
V,..
1
r
1
¡+ •• J216
I IV 1 1 11 5 ii7 1
e. f.
•• j2f
1 vii7/ii ii y+ 1 emb+6 1 1 CTº7 1 +6 46 ""ºN V42
vn, ll 7 1
2. Roman-numeral realization. To practice realization of Roman-numeral progressions, realize the following ex- ¿.r
ercises at the piano, using keyboard texture: textbook, worksheet 27, exercises 5 and 6; and workbook,
chapter 27, exercise 4.
Chapter 28
Introduction to Large Forms
EXERCISE 1 Write a short analytical paper on Brahms's Sonata no. 2 for Violin and Piano, op. 100, I, in so-
nata form. The score and a recording will be available at your music library. The score can also be found in the
Arlin anthology (Music Sources). You can use the analysis of Mozart's CM sonata in chapter 28 of the textbook,
as well as the guided analysis ofBeethoven's Waldstein sonata in the same chapter, as models for the organization
of your paper. Turn in an annotated copy of the score.
The following are sorne specific questions about this particular movement by Brahms that you should address
in your paper.
l. How is the Parea structured? Is there a single P theme?
2. How many different S themes are there? Is there a C theme?
3. What marks the end of the exposition and the beginning of the development?
4. What are the themes on which Brahms bases the development?
5. Comment on the use of (at least) the following techniques in the development: hemiola, canonic imitation,
thematic inversion, diminution, fragmentation, and pedal.
6. Is there a retransition? Is it on the customary V harmony?
7. Compare carefully the recapitulation and the exposition, and comment on what is the same and what is different.
8. The movement features a coda that functions as a second development. Explain where it begins and ends, and
its thematic and tonal contents.
9. While in the exposition the P theme is stated first by the piano, and then by the violin, the equivalent state-
ment of P in the recapitulation combines the instruments in a different way. (How?) Does the statement of the
beginning of P by the violin (which is missing at the beginning of the recapitulation) come later in the move-
ment?
1O. Provide a complete analy sis of key areas and tonal motion in the movement, as well as a formal diagram.
241
EXERCISE 2 Analyze Beethoven's String Quartet in Cm, op. 18 n. 4, IV, in rondo form. The score and the re-
cording will be available at your music library. The score can also be found in the Arlin anthology (Music Sources).
Turn in an annotated cópy of the score with indications of thematic/sectional content and key areas for the com-
plete movement.
Provide a formal diagram for the complete movement and answer the following questions:
l. What type ofrondo form is this?
2. What is the formal design of the refrain?
3. The cadences in mm. 8, 12, and 16 are all approached by means of the same type of chord. What is it?
4. What is the formal design of the first episode?
5. How are the keys ofthe refrain and first episode related?
6. Compare the textures of the refrain and the first episode. How are they contrasting? What contrapuntal tech-
niques can you identify in the first episode?
7. How is the first retum of the refrain different from the original refrain?
8. What is the formal design of the second episode? How is this episode contrasting tonally?
9. How is second retum of the refrain different from the previous statements of the same material?
10. What is the formal function of mm. 111-116?

Chapter 28 lntroduction to Large Forms 243
11. What is the section that begins in m. 117? Have we heard this material before, and what is different here from
what we heard before?
12. Explain the formal structure ofmm. 125-136. What is the function ofmm. 132-136 within this passage?
13. An apparent final retum of the refrain begins in m. 137. What is the character, however, of the section that
begins in that measure? What key areas are touched on?
14. What is the formal function of mm. 154-162? What section do they lead to? What is the distinguishing char-
acteristic of this new presentation of old material?
15. What is the section that begins in m. 178?
16. Comment on motivic coherence in this movement:

a) How are the motives in mm. 1 and 9 related?
b) How are the two violin lines in mm. 9-12 related? Do the viola and cello in the same measures display a
similar relationship?
e) Is the theme of the first episode (motive in mm. 17-18 an,d 25-26) related to the opening motive in any
way? And what about the thematic material of the second episode (m. 75)?
Chapter 29
Expanding Functional Tonality: Extended
Tertian Chords; Linear Chromaticism II
l. The following passages include examples of extended tertian chords. Identify and label these chords, and
verify the resolution of the dissonant chord members.
a) Example 29.1. Explain the resolution of the extended tertian chord in this example. What k.ind of a linear,
embellishing chord does Beethoven use to connect the dominant and the tonic harmonies?
,,' Example 29.1 L. v. Beethoven, Six Variations, op. 76, Variation V, mm. 5-8
245
b) Example 29.2
.. "'" Example 29.2 Pyotr Ilich Tchaikovsky, The Sleeping Beauty, act I, no.1, March, mm. 1-5
Moderato ,---..
e) Example 29.3
Maurice Ravel, Sonatina, I, mm. 22-23
d) Example 29.4
1) What are the two chords in m. 182?
2) Measure 183 contains a single harmony, an Em tonic chord. How do you explain the pitches in beat 1?
Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chrornaticisrn II 247
, .,' Example 29.4 William Grant Still, Pastorela, for Violin and Piano, mm. 180.:...192
181 183 185
retard. greatly
187 189 11
f.',
3) Think of mm. 188-192 as a modulation from Em to CM. What chord is used to modulate, and how
does it function in each of the keys?
4) Provide the exact RN (Roman numeral) for the CM tonic chord in m. 192.
Richard Wagner, Tristan und !solde, Prelude to act III, mm. 3Q7f3
e) Example 29.5
1) The basic harmonic content of this passage (in Fm) can be reduced to two chords. The first one is pro-
longed in mm. 30-37, and the second one in mm. 38-43. What are the chords?
2) These two harmonies are repeatedly embellished by means of the same two types of linear chords,
which you will first find in mm. 30-31. What are they?
Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism II 249
2. The following examples include chromatic sequences. Name the exact type of sequence, and provide the nec-
essary figures to identify the sequential pattem.
,,,· Examplc 20.6 Giacomo Puccini, "Gloria," from Messa di Gloria, mm. 9-23
14
IO 12
s
"'
t)
"
- - - - - --- - '
-
'
V
-
r
V
Glo - ria, glo - ria in ex - cel - sis De O, glo - ri - a, glo - ri - a
"
A
."
6
t) - ..d. ....._
.,; • • - -
Glo - ria, glo - - ri a, glo - ri - a, glo - ri - a, glo - ri -
-
·-------------
" . ,;.
.:.
,..
t) 1 1
r i.-- -
.. .. .. ... .. . #
-
# t é #t
1- '". ,_
1 r'
V
16 20
s
, " l
--.. r
ex ce! sis,- in ex - cel - sis De - - o,
" l
A
1 .___. ,.
a in ex - - cel sis De - - O,
mf• 1
T
Glo - ria,
mf
,:
Glo - ria,
Tutti 3
,., r 1 ..J J 1 1 1 1 1 ,;;----..,.
1
Rr U 1
,, u
---
-
>
-
>
-
> 1
ifmf
1
1 1
1 1 1 1
3
, - ""\
_ ---,,, Example ·
22
T
"'f\
v
- 1
L
r r
'
L"
glo - ria in ex - ce! - sis De - o,
B .. -- - "-
1 1 1 r
glo - - - - - ri - ª·-
f\ 1 1
,,, __ 1
tl.
·- - "
) .. ..
1
1
1 LI 1 L
1 1 1 1
1
a) Example 29.6
1) Identify and analyze the chromatic sequence in this excerpt.
2) Study the chord succession in mm. 15-17. How are these chords related (take into consideration root
relationships and triadic quality)?
3) Explain the modulation from CM to BM in mm. 18-20. What key relationship is this? What chord is
used to modulate, and how <loes it function in each key?
b) Example 29.7. In this excerpt you will find two ofthe sequence types we have studied in this chapter.
3. Example 29.8
a) On a separate sheet, explain the linear process in mm. 17-25 using the same concepts we applied to the
analysis of Chopin's Prelude no. 4 in Em. Provide a diagram for these measures similar to the graph in
example 29.20a of the textbook.
b) What degree is tonicized in mm. 29-30?
Chapter 29 Expanding Functional Tonality: Extended Tertian Chords; Linear Chromaticism Il 251
.: Example 29.7 Antonio Vivaldi, "Laudamus Te," from Gloria, op. 103, no.i3, mm. 92-:-·10?
poco rall.
. ,,' Example 29.8 F. Chopin, Mazurka. in Am, op. 7 no. 2, mm. 17-32
20
26
-
_ __ .: J22\.amµle_2'ª_R-_
29 32
3
EXERCISE 2 Write and resolve the following extended tertian chords in four voices.
f\ ¡,¡. ¡,¡. 1
n
\A
11 "' "" h
11
V 11
'"'-',
<
t
t ll
( L..11l@
=
/
111e
IPr'
Jiii "
U.'fl ""
jf 1 f>
V
.... [}
F#m: y9
7 GM: EbM: vn7 I
n vb13
BM: V9 I C#m: i AbM: 7 I
7
f\ lJ
..
11
'-'
,,,
-.... .
,,
,,
@)
"
.. ..,,
... w.8
._ JllG
,
1111
.lil'J
-
.....
..,
GM: I viiº7 /ii V VtbVI

"...
.• .
.-, -·..
Gr+6 cad.: viiº7 N 1
EXERCISE 4 Realize the following sequential progression in four voices. Although accidentals have not been
indicated in the figured bass, all chords should be inverted Mm7 sonorities.
/\ 1 1
.... ,,
,, •.
u 11
q
...'"'
L... IV
·-V 17
--
q
'
, '•
••,, '-
V
11
"
'-
V
....,,,,
.... -
1
o•
'1
- _
i-
1
...
., i-
1
-
1
1
1.1.
u•
Tl 1
1
...
., i-
1
_ .,_
1
"'i-
1
1
1
CJ•
11
1
1
JJ.
u•
TI 1
1
1
.
.,_
"'i-
•• 1
1
- --
1
1
1
i-
1
1 1
1
1
1
1
-
,....
AbM: 6 6 6 6 6 7
6
5 5 5 5 5 5
EXERCISE 5 Realize the following sequential progression in four voices. All necessary accidentals for this
chromatic progression are indicated in the figured bass.
.
/\
,
'-
1
" ....,,,,
1 V
.... •
"@)'' •
•
)
,, P- L_
j
L.,..
-
/
•• 1 rJ
L...
V
1
,...,,
q
1
1 1 1
•
1
1
1
1
V t-
1
1
- 1
1
1
"'i-
1
1
rJ
1
1
Gm: 5 6 7-b6 - q6 7--6 5

3--- 5 5 5---
3-- b3-- 3---
EXERCISE 6 On your own music paper, compase a phrase or a period for piano using a chromatic descending
5-6 sequence.
KEYBOARD HARMONY
l. Practice the following keyboard progressions. The first two are harmonic phrases with extended tertian
chords. Progression e illustrates - sequence, and progression d is based on Chopin's Prelude no. 4.
3
,; Example 29.9
7 9 13 9 11 6 9
7 7 7 7 5
b.
. . .,.
' 1
---
-
·- -- - -- 1 1 1 1
- -
- -- ·-
-
1
,i
,_
1 1
""
1
,_
1
- - 1
,_
1 1
..::
<
1 , .. :; . .. ,.
'
- - - • - - ..
1
7 9 7 6 9 7 9 7 9 13 9
7 5 4 • (3) 7 7
c.
5-6 7-6 7 • 6 7 • 6 7 • 6 7 • b6 +6
5· 5 5 5
q3 - 3 -- #3 - q •b 3 • b
d.
(Chopin)
Em:
2. Practice the sequences in the following examples from the textbook: Examples 29.l3a-b (two circle-of-5ths
sequences), 29.14a-b (two sequences by ascending 2nds), and 29.16b--c (two descending 5-6 sequences).
ercises at the piano, using keyboard texture: textbook, worksheet 29, exercises 2, 3, and 4; and workbook,
4. Figured-bass realization. To practice realization of sequences from figured basses, realize the following
exercises at the piano, using keyboard texture: textbook, worksheet 29, exercises 5 and 6; and workbook,
Chapter 30
The German Romantic Lied: Chromatic
Harmony in Context
EXERCISE 1 Write a short analytical paper on Schubert's song "Auf dem Flusse," from Die Winterreise, no. 7
(anthology, no. 42). Tum in an annotated copy of the score.
1. First, study the poem. Does the text establish two different levels of reality? What are they? How are they
parallel?
2. Mark the stanzas on the music.
3. Then, analyze the tonal content of the song, with special emphasis on the following passages:
a) Analyze mm. 7-14, indicating the pivot chord or other modulating procedures (such as common tones)
between the two keys in mm. 8-9 and 12-14.
b) The same modulation appears again in mm. 43-47. But now, in m. 47, the D#m chord is altered to func-
tion as a chromatic pivot to a new key. Analyze this modulation carefully. How is the new key related (by
RN [Roman numeral]) to the original key ofEm?
e) Explain the series of modulations in mm. 54-62.
4. Discuss the relationship between text and music in this song.
a) How <loes the text in the first stanza set a duality of mood? How is it reflected in the music?
b) What is the mood of the third and fourth stanzas, and how is it portrayed musically?
e) The fifth stanza, on the other hand, describes a state of turbulence. This state is expressed musically in a
variety of ways. Explain. What key relationship <loes Schubert favor in this section of emotional
turbulence? ·
EXERCISE 2 On your own music paper, write two successive modulations using the same chords and proce-
dures as Schubert <loes in mm. 41-50 of "Auf dem Flusse." That is, modulate from Em to D#m and on to G#m.
Write this exercise in four voices, and include a RN analysis with indication of pivot chords. Attach this exercise
to your paper on the Schubert song.
257
258 PART2 Chromatic Harmony and Fonn
EXERCISE 3 Write y+ and resolve it to i, in Gm. This chord may be used to modulate to two other minor keys
by respelling it enhannonically. Indicate the keys, and provide the spelling (leaving the chord in the same posi-
tion) and the correct resolution to the tonic in each of the new keys.
Key 1: Gm Key2: Key 3:
I'\ 1
1
."' "" V....
!I
. ,
@)
L
••
-· ,,
/ .....
V
EXERCISE 4 Write a modulation in four voices by enharmonic reinterpretation of v+, from BM to a key of
your choice.
., "'
...
....
.11 .a.. IL ,- .,
.w n
ll
(@)
ll
..._ •O ti/
,,
- 11• iJN IL T .,
" '11 "'" ll

11
BM:
Chapter 30 The German Romantic Lied: Chromatic Harmony in Context 259
KEYBOARD HARMONY
Practice the keyboard progression from example 30.1 in a variety of keys. Hear and understand the modulations
by enharmonic reinterpretation ofv+ .
., Example 30. l
Cm: +6 y+ 1 y+6 y+
4
EM: 1 y+
Chapter 31
Toward (and Beyond) the Limits
of Functional Tonality
l. Example 31.1.
a) On a separate sheet, write a brief essay explaining tonal ambiguity in this example. How is F#m implied?
Is it ever established? Does the term "double-tonic complex" apply to this song? A translation of Heine's
poem on which the song is based is provided. How do the tonal characteristics of this song reflect the
meaning of the poem?
, Example 31.1 R. Schumann, "Im wundershünen Monat Mai," from Dichterliebe, op. 48,
mm. 14-26
15
p
Im wun der - schO - nen Mo - nat
261
262 PART2 Chromatic Hannony and Fonn
- ' ---
--- -., -nxiufff5fe l- Continued
18 -
/A JI 1 ...... ' !!..
"'
l
v
Mai,
r
als al - Je Vo
-- gel san - gen, da
,,-------....
1
-
" 11 1
@!
-
I"'° f
---
r
'
(
/
=:.J
-
J
-
--r· f
--
r
J_ _
-- -
. 1 1
- n 1 1 J -·
:
.__.. 1- '! 1 .... 1 _J
-
21
ihr ge - stan - den me in Seh · nen und Ver -
24
"In the beautiful month of May"
In the beautiful month of May In the beautiful month of May,

When all the buds were bursting. When all the birds were singing,
Then within my heart then I confessed to her
Love unfolded too. My longing and desire.
(,
Chapter 31 Toward (and Beyond) the Limits ofFunctional Tonality 263
2. Example 31.2. On a separate sheet, write a brief essay on this example, discussing the following matters:
a) Explain the tonality of this excerpt. In what key area can mm. 1-4 best be analyzed? And mm. 5-7? How
are these keys established (if they are)? Can the sonorities be analyzed functionally, linearly, or both?
What are the elements of tonal ambiguity?
b) How <loes melody obscure harmony in this example?
c) Provide a harmonic reduction for the complete passage, clearly showing chordal sonorities, voice leading,
and nonchord tones. Provide a RN (Roman numeral) analysis of your reduction.
d) This symphony dates from 1896. What specific influences from Wagner and Tristan can you identify in
this fragment?
.· Example 31.2 A. Bruckner, Symphony no. 9, III, mm. 1-7
Sehr langsam (Feierlich) 2 4
3. Comment on key area relationships in the following example.

< - "' - -
--:";,'T-1!-xampte 31-.'.J HugoWolf, "Die ihr schwebet," from Spanisches Liedefbuch, m111. 1-12
Ziemlich bewegt. 2
--..•.
¡ 1 l.
- ,,_.
,,_
"
n
-- -
e.
Die ihr schwe - bet
- - -
- - - -- - -- - -- - -- - -- --- - -- ---- - -- -- -- - --
- - -
-.... -- - - - - . -
¡ 1 1
.-1
- u
._ ILllJlll
e.
pp
.. -.. - .- - .L_ 6..
,
-,,.
-
1
,.
-"
1 1 1
e.J
- - o
- - - ,,_
u
um die - se Pal - - - - men in Nacht und
- - - -
- - - -
-" ..
-- - -- - -- -- . - . - - . -
1 1 1 1
" - - -- - -- - --
- .,¡
- - - -. - - !'
@)
/
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1
---- ·- - .L_ [, ... -
-
1
----.. -- .. l.-
.,
lL
------
5
- f\
-- . - -· -
r
e.J 1 1
Wind, ihr heil - - - gen
- - - - - - -
1
f--é-·
::
- -- - -- - -- -- -- -- -- " § - - - - -- - -- - - - u
"
- -. - - 1 1 1
v - __;;.---
-----
.,,_ ...
- -
!'- ,,,. p-
1 /
w•
--P-
-------- -- ,. *
8
Chapter 31 Toward (and Beyond) the Limits ofFunctional Tonality 265
me in
11
" 1 1
• V
-:: --
1
-
J 1
- i-- - - - -
- - l""I""
1 .. - - 1.o J-
@l
JL
4. a) Using a diagram similar to the one found in example 31.1 la in the book, explain how the triads in the
following example are related by PLR transformations.
·.,' Example 31 .4 F. Chapín, Ballade no. 1 in Gm, op. 23, mm. 90-95
91
rallent.
sempredim.
a tempo
pp
í í í í í í
b) The following example represents the succession of triads (key areas) Ln the cantabile section ofVerdi's
aria "Ah! sl, ben mio." Using a diagram, explain how the consonant triads in this example are related by
PLR transformations.
9 14 18 19 20 22
L_ i.,,.,
-.
1 L
- ...--
, " 1 1
V
r
.,
, ... ...
V-
V ....,
r
"'
V V V
" r
-6 1 1 1 1 1
i
/
... V
- - ...- ... _
1
- .-- -
:::- 'J
1 1 1
m iii bI vi
EXERCISE 2 Write two phrases for piano (melody and harmonic accompaniment) in AbM and C#m, respec-
tively. Base your phrases on progressions that divide the octave symmetrically.
a.
11 1 1
... ...,... " h

V
"'- , "
@)
....
._
-,.,r ...,... 11 h
V
"
b.
f\ lb 1'}
i/11
.- U.'fl 111
IL
TI
...
,
""
¡J,
.!!_
/
"11!1.0
11!1©
""'
.l!!ll IL'fl #1
1
..
EXERCISE 3 Write a phrase for piano (melody and accompaniment) based on a PL parsimonious progression,
beginning on an BM triad. (For this and the following exercises, use your own music paper.)
EXER.CISE 4 Write a phrase for piano (melody and accompaniment) based on an LR parsimonious progres-
sion, beginning on a DM triad.
Chapter 31 Toward (and Beyond) the Limits of Functional Tonality 267
KEYBOARD HARMONY
1. Practice the following keyboard progressions. Progression a is modeled after Wagner's Tristan prelude
harmony, and progressions b, e, and d are based on equal divisions of the octave.
;¡;' Example 31 .6
(Wagner)
Am?:
b. c. d.
WT m3
2. Practice the following PL, PR, and RL progressions directly from examples in the textbook: examples 31.1 la,
3 l.l 2b, and 3 l.l 4a, respectively.
Anthology 271
-,.' Anthology 1 Tomás Luis de Victoria (1548-1611), "Kyrie," from Missa O magnuf1!
mysterium
" 1
.., 1 1 1 1 (,1
•
Ky ri - e---- e - le - i son, Ky - ri - e. _ _ _ _ __ e lei
"
..,_.., (,1 -9
Ky e e le
Ky
(j)
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(,1 u 1 1
,,
son, Ky ri - e_ e - leí-son, Ky ri - e e le - i - son.
/\
u..._. (,1
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í-son, Ky-ri - e e - leí son.
'
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ri e--- e leí
,, ,,
son.
Ky ri e e leí son.
@
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1
,,
Chri - ste e - le - i - son.
/\
,, (,1
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Chri ste e - le i- son, Chri ste e - lei - son.
'
1 1 1
Chri ste e - lei - son, Chri ste e-lei - son.

,., ,-,. 1
1 1
Chri - ste e - lei - son, e - le- i-son, Chri - ste e - le - í - son.

272 ANTHOLOGY
-"" ' "'' c«c- " " •
__ Allth_pJozJ.I L Continued
@
1\
'
v "' V - ,,
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1\
v .... 4 .,j-4 v• ..,

u
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1 1 1 1 1 1
1
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1
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@
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'""''
ri e e lei son.
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..
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'
1
1
e - le - i son, Ky - ri e e - lei son.

Anthology 273
'"', Anthology 2 Johann Jakob w3lther (1650-1717), Chorale Prelud(!, "Ach Gottm:id Herr,';
verse 6
274 ANTHOLOGY
. .
,.... .... ·.d·.
,-·i-Ant:fle1e-gy-± · .\.....Ontmue
- - .·.•·
Anthology 275
.,' Anthology 3 Henry Purcell (1659-1695), "Ah, Belinda," from Dido andAéneas
G) Slow
" 1
- . -
Voice
"'
tJ - 1
Ah!
1
ah!_
"
1
ah! Be - lin - da,
-
¡ __ am
" 1
"'
tJ - -
,...,_ 1
..,_ !' -. ... -= - --r í •- •
----
simile sempre
/
: L ..
• h- • 1
• 6. • -
." L
1 -
..
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----- -
tJ
prest---
- with--- tor -
•
ment Ah,
1
ah, ah,- Be - !in - da,
." L
1
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i í í 1 1u 1
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"
tJ
V
1
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-- am-
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prest
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with_
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tor
r
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. - -·
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fest,
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r r ·• • u
1
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• "- • - • -- ..
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1
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1
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1
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L.:-J 1 ¡v·
l.(J
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- - • h. 1*
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=
276 ANTHOLOGY
- ' "e " - - o " Í
_ -.· : ···'.·Continued
-- -
A 1
-- - -
- -
r
"
V
Peace-
1 1 1
and I are stran

-- gers,- stran - gers- grown. I
1
lan - - -
-" 1
-- 1
..-
1 1
.
1
- 1 1
r
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1
r ,_ .
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guish 'till my grief-- is known, I Jan - - - - -
/\ 1
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1 1 1
1
---- ·---
" 1 ,..... 1 1 i=-,
-
,,_.
V
r
1
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guish,- I lan - guish 'till my grief _ _ _ is known, Yet
1 1 1
" 1
,,_.
1
. " ... -- ..
M n
1 ''I
.,, 1 í 1
- - - u
,.
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et 1
f\ 1
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would not,
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f\ 1
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'"
1 r w ... r i r
.,,,_
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... ·+ -19- #
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'
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Anthology 277
\ , ., Anthology 3 Continued
}
" V
1
-
tJ 1 -
Peace and 1 are stran - gers
" - --. - --·-. •-- -1
-
- -::
1 1 1 1
- =
tJ
r 1 u
l.:,...J
- . .. -
1-
1 6•
:
-
/
" 1
- - - - - -
-
tJ
grown,
1
Peace-
1
and 1 are stran
-
- gers.-.- stran - gers
-
"" 1
"
"
1
-
1 -
:- -::'lj=
--
1 1
-·-
1 1
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1
h.
..
- 1
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-
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" "
1
-.. ... ·--r·
- - - ..
tJ
" í.l J- J
·- n ..J. ..J. =
-bJ! -- -- ..J - -n 1 -·-
-
1 _1 1 1
=· ,_
--
"tJ V 1
r (......=:i
.. -- -
1.. . . --
1 1 i... 1 1 1
'· ..
::
4· 1 1 1
... 4·
278 ANTHOLOGY
Fried:rich Wilhelm Zachau (1663-1712),Chorale Prelude;

gehoffet, Herr" · ·· . · · · .
" . 1
" -
-
- 1
- -
1 1
--
·w
- p
@)
1 í 1 1
1 1 1 1 1 1 1
1 í 1 1
1 1 1 1 1 ¡
-
r iJ
) : = -
&
-
-
1 1
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- - "'
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1
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í L.J lJ 1 1
LJ 1 1 1 1
Ur i 8
) :
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- --
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Anthology 279
..' Anthology 5 Antonio Vivaldi (1678:--1741), Concerto in GM forViolin, Strings, and

Continuofrom L'estro armonico, op. 3, no. 3, Il (keyboard reduction)"
J J J
280 ANTHOLOGY
"" " ' "'< "'""' ''""""
____ NotebookforAnna Magdalena B<;1ch (1725), Minuet
@
l'I ¡¡ .,,¡e-(1-,., ;Y- ... - - "' ;: ,._ -
1
"" - - -·
-
;: n
1
v -
1
:
.. fil- li¡\9- ;::
bie-
1 / ,.
1 1 - 1
F\ JI
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-
1 ....,.,,.,._.
@)
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1 .. - 1 1 ....... - t
1
,., _J ! J-
- -
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p. 1
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1
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:: ;:
::
/
1 1 1 1
Anthology 281
Anthology 7 Notebookfor Anna Magdalena Bach (1725), Polonaise
@
282 ANTHOLOGY
"- "
JohaímSebastian Bacb (1685--1750}, Chorale41, "Was meín Gottwfü, 4as (

g'scheh allzeit" · . · ·. · ·
41
J.
Anthology 283
',; Anthology 9 Johann Seba.Stian Bach Chorale 65, "Was Gótttu(da,sist

wohlgetan"
65
284 ANTHOLOGY
""
- _.- .. Q- Johanli SebasfümBach (1685--.1750), Chorales29, 64,

sehr, o meine s.eele" , .
.b
v
0 t:'I
Ml _J_ J J _J _J _J
\
\.:.,¡
\!/
@ !":'\
l \.:.,¡
0 !":'\
761
:
'.::,.t
0 !":'\
_J_. )
1 : (
Anthology 285
-, .,' Anthology 11 Johann Sebastian Bach (1685-1750), Minuet, from French Suite no. 3 in Bm
Menuet
1
®
11
"
t}
JI
-,. n
1
- - -- - -
1 1 1
"
1 J 1
-
1 1
#
1 J
#
-- -
1 1
·- -- --
-- .=
..
- - - - 1
.= .= 1
. -J .- -
1 1 1 1
---
.= .=
- r
. . . . . . 11
1
.;
1 1
1 1 1 -
®
11 JI
tJ -1 1
- 1
n
- 1 1 1
-
1 1 1
1
: - - # -
- "
n
"
-- -- - - .
1
'
1
1 1 1 1 1 J 1
• 1 1 1 TI
286 ANTHOLOGY
< ' "' - ""\
_T,,':.Aa1füalng_y
@ _@
j
"
@)
ll
1
1
1
1
1
1 L
,,
- -- - -
- - - - - - - - ,;,.__-
1 1
;;
1 1
;:
{ '".. . - ::1
:.: -= ·fl!!. .. =-
r--+l---'ll----1-----F-----''-
J® ; -
Anthology 287
. .,' Anthology 13 Johann Sebastián Bach (1685.:..1750),Inventionnó: 3
" 11
.. - -- -
+ -
-- - - - -
' -
" -
... ....
'-..:.._____:_:
....__ • 1
- -
1 - . . . . (l ••
., - -- - - - - - ..
" ;¡¡iil
- - 1 1 1 1 1 1
288 ANTHOLOGY
"'. ' . "
- - Contínued
,, ··-
1 1 1 1 1 1
1
@
f\ 11
__J 1
1 1
@
43
..
11
-
-
- - 1 1 1 1 1 1 n
-- -
f\ 1 1 1 1 1
-
v --..___:' 1 1 ___J
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-
-- - ,.-.;-----... -
- -
-
-
-
.•• Jtlli¡
- ru r r r
r
'
r - r - r -
-
Anthology 289
.. Anthology 14 Johann SebastianBach (1685--1750),The Well-TemperedClavier, I,

Fugue no. 2 in Cm · ··
290 ANTHOLOGY
" "" " <
-,- ht-
-- -
Anthology 291
_ ,;' Anthology 15 Johann Sebastian Bach ( 1685-1750), The Well-Tempered Clavier, I,

Fugue no. 11 in FM
----r-r
" .. - 1 F=n !'... --¡
.
1
' 1 1 1
. --
1
t)
í V 1
'
-- 1
1 1
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i.....¡..,,,,¡ -
1
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-
1 --- - --
- - - ... -..... - tr
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--
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-,, h
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- - h 'i 'i .J.

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- - - J.
1
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1
1 1 1 1 1 LI 1 í
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tr l!....
1
-
...
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1
-
-
;=
292 ANTHOLOGY
- "' "'
- --_.' -1 S- Continued
Anthology 293
ó ',,' Anthology 16 George lfrideric Handel (1685-1759), "Lascia ch'io
G)
Violin 1
"
Largo
1
, - .
1 1 1 1 1
pp
"
Violin2
" n
- n
1 1
Viola ..
1 1 1
,,
- 1 1 1 1 1
,.----_
Almirena
"
. ,,
- 1 1
--
1 1
Bassi ..
Lascia
.
ch'io pian ga
,
mia
1
cru
,
da
1
sor - te,
1
e che
,,
so
,
.
1 1
" 1 1 1
1 1 1
"
--
1
1 1 1
"
1 1
spi ri la 1i her ta, che so spi ri, che so-spi - ri la

,, ,, J' 1
1 1
@
" - 1 1
#
--- ------··--
1 1 1 1 1
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-
,,
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li ber ta! la - scia ch'io pian ga mia cru da sor te,
-
-
1
: - -
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294 ANTHOLOGY
,,,, " '
- --;,· A.nttfotogy- 1-0·-- Continued
1\
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1 1 1
1\
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,., ,., ,., ,,,_
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ll duo - lo in fran - ga que - ste ri - tor - te, de' miei mar - ti ri sol
p.
--
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8
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1
per pie ta. de' miei mar ti ri sol per pie
p. ,,,_ ,, , ,_ r...
/
1 1
-
1
¿
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1 1 -e-
Aria da capo
Let me bewail Let [my] suffering break
my cruel fate, the bonds
and [!et me J sigh of my torments
for liberty ! through [the power] ofpity.
Anthology 295
• ,,,' Anthology 17 George Frideric Handel (1685-1759), ''Amaz'd to Find the Foe So Near,"
from Belshazzar
Allegro (D
" -
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maz'd to find the- foe so near, a - maz'd, a-
- .- - -
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when sleep and wine their
---=-=======!
296 ANTHOLOGY
' "'' -
"', ;" :A.mhI1togy--t7 Continued
1\ JI - .,
- - - -- - - .,
1
-·
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H w
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sen - ses- drown, when sleep and- wine- their sen - ses- drown, ali hearts shall faint and
v
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fe ar, ali hands un-nerv'd fall feeb - Jy_ down, ali hands un - nerv'd fall_
A - maz'd------ to find the
so ne ar, a maz'd to find the a -
i
Anthology 297
_ Anthology 17 Continued
maz'd to find the foe- SO-- near, a maz'd to find the foe _ _ _ _ _ __
when sleep--- and wine their
'1
sen ses drown, all hearts shall faint and melt with fear, all hands un- nerv'd fall
Adagio [Tempo I]
all hands un-nerv'd fall feeb !y down.
[Tempo I]
298 ANTHOLOGY
-- .,'-1\'mrhufogy- n-- - Continued
Use- less the he-ro's va- lour lies, use - less the coun - sel of the
he - ro's va - lour lies, use-less, use-less, use - less the he ro's
® Adagio
D.C.
use - less the coun - sel of the wise, use - less the coun - sel- oL-- the wise.
Adagio
Anthology 299
,· Anthology 18 Anna Amalie (1723-1787), Sonata for Flute in FM, 1, mm. J-21
Adagio
Flauto " :. -· >
>
. tr 1
-
1 1
(Violino)
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'mf espressivo
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f
300 ANTHOLOGY
. , ,, . "' "
JQsephHaydu (1732-1809),.MinuetandTrio, from

Hob.XVl:l .
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-
u
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Menuet da capo
Anthology 301
. Anthology 20 · Joseph Haydn (1732-1809), Piano Sonata in DM, Hob. XVI:24, II,
mm. 1-24
tenute
302 ANTHOLOGY
' - -
-.. ,; AiftT1óTog·y 7(T ··continued
ten.
Anthology 303
.. .,' Anthology 21 Haydn (1732-1809), Piano Sonata in DM, Hob. XVI:37, ID .
Finale.
Presto, ma non troppo.
CD
p
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304 ANTHOLOGY
Cofrtinued
p
Anthology 305
º .,," Anthology 21 Continued
®
306 ANTHOLOGY
Continued
n
Anthology 307
Joseph Boulogne, Chevalier de Saint-Georges ( 1739-1799), Violin

Concerto no. 1 in GM, 1, mm. 1-12
Violin l
"'" 11 - - - -
-·
r-
1
r- --
r ,..__ _
1 r
p ---- 1
Violin II
" 11 - -
Viola
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p
Cello-Bass
0
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1
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JI ,....... 1 ,........ 1·1 1 11 1
" 1 1 1 1
. .. . .. f
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•o M
f
308 ANTHOLOGY
Joseph Boulog-ne9 Chevalfor de_ Saint-Geo:rges _(1739._l79Q), Syinphoflie< ¡;;j'

,,
Concertanteín AM, op.10; no. 2, II, mm. l-,-24
Il.Rondeau
" ¡¡ 'I 1 1
Oboes 1, 2
!
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p
11 # -
Horns J, 2 in A
--
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1
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pp
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Anthology 309
_',,,' Anthology 24 Wolfgang Amadeus Mozart ( 1756-1791 ), Piano Sonata in DM, K. 284,
Theme and Variation 7
Tema
® ---._ ,----
p f
p
i i í r
Var. VII.
"
Minore.
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y
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fr
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# 1 1 1 1 1 1 J 1
t! 1 1 1
1 (' V , (' r
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p p
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310 ANTHOLOGY
' - 1 ,_ "" "' e "
WolfgangAmadeus Mozart (1756--:-1791), Piano SonatainCM,K. 309,I
CD Allegro con spirito

Anthology 311
C> .. Anthology 25 Continued
p
312 ANTHOLOGY
Continued
pp p
I",,
Anthology 313
, ,,'- Anthology 25 Continued·

314 ANTHOLOGY
Continued
@
ri
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_a_ .R.
d
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Anthology 315
,; 1' Anthology 25 Continued
- " e- -. . . ... ,.,

----
1
1
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p
1 /
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1 r-1 1 1
f
f
316 ANTHOLOGY
.' , WolfgangAmadeus Mozart (1756-1791), Piano SonatainCM, K 309., ·

m,mm. 1-19
Rondo
Allegretto grazioso.
cresc.
Anthology 317
, Anthology 27 WolfgangAmadeus Mozart (1756-1791), Piano SonatainAM, K. 331, I
Andante grazioso
VAR,J
318 ANTHOLOGY
- ' """"' w""' '-'-
,;'. Continued
0JI
A
@)
U
- --·- -. .;:--.... .....--.... " ......._ - ----- ::¡:. __.L_
p ef p
) ..... 111! "
TL
.... !'. e fl- ,,.
p
1::
if
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if
·-
p ef p
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VAR.Il
Anthology 319
·", .." Anthology 27 Continued
11
14 tr
_,_ tr tr
16 tr
VAR. III
320 ANTHOLOGY
Continued·
11 1"" n• ,., ... ,.,

------------- ------------- .. - ""'-!!
1
.l.
) -
11
r· . r· 9· 71 .. 71 .. t . -. . ..
:
13
Anthology 321
},.' Anthology 27 Continued

322 ANTHOLOGY
X- " , " " ,. "' ' • >
-. "'. }'-·Antllofogy z7- - Continued
n
1- ·- - -
@
Anthology 323
,,'}' Anthology 27 Continued
VAR. VI
Allegro
Il
14
324 ANTHOLOGY
Contfoued
@ l.
11
"'
# .. ,, (L flJ- a
.
'
- ,..
-
,, ,
@) 1
f
) :
,, t .
- 1 1 1
Anthology 325
· ' •, Anthology-28 WolfgangAmadeus Mozart (1756-1791), Piano Sonata in mM, K. 333, III
Allegretto grazioso
,.....--;
p
326 ANTHOLOGY
,.. ,, "" "'-<- ... ' '
- -' 5 - b.J_,
"l-8-- ' ·Continued
4--:
ir
f
Anthology 327
.:,," Anthology 28 Continued.
" 1 : : w-
-
- --- ,J u e ,_ -
V
..
1 I" ::::..--' '--' -.;;:::: 1
m -- --
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1 1 1 1 1 1 1 1
f p
328 ANTHOLOGY
< '"" H>
-· -} "2.® - Continued
f p
-,-
p
p f f
GV
¡ r r r r i
.fm
p
Anthology 329
, Anthology 28 Continued
330 ANTHOLOGY
Continued
•
"'·.:
)_:
f
Anthology 331
"'",,}' Anthology 28 Continued
{.'\
@
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V
@
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332 ANTHOLOGY
Continued
6
·1
i
1
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f
Anthology 333
: ,,,' Anthology 28 Continued
# " 1
- - • 1.
"
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f
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- J -
J 1 1
·-
V
•
/
. .
f
334 ANTHOLOGY
4
' ;$' -
- , ·.," 1\ntño1c)gy 2<g-- WoifgangAmadeus Mozart (1756-1791), Unglücklich bin ich nit,';'
K. 147 . .
- -
f\
v
-
'
-
1 1
1
w
- - -
- -- /
-
Wie un - glück - lich bin ich nit, wie schmach - tend sind mei ne Tritt', wenn
1
" ,, 1 1
V
V
"
__L
.. .- ,_
. . . ,_ ,_ ,_
.,
r 1
-
-ti-
"
...
) :
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-
- -
1 "' -
,_ - .
Nur die Seuf - zer trü - sten mich, al - le Schmer - zen
fen sich, wenn ich auf dich ge - den ke, wenn ich auf
@
!"':'.
-----
den ke.
How unhappy l am,
How languishing are my steps,
When I tum them towards you.
Only my sighs console me,

Ali my pains multiply
When I think of you.
Anthology 335
.-'..," Anthology 30 .Wolfgang Antadeus Mozart (1756-: 1791), "Die Zufriedenheit," K. 349
Ma6ig
Was frag' - ich vie]_ nach Geld- und Gut, wenn ich- zu - frie den
Gibt Gott mir nur- ge - sun - des Blut, so- hab' ich fro - hen Sinn und
aus dank - ba - rem Ge-müt mein Mor - gen und - mein a - - bend - lied.
Why should I ask for money and goods

If I am happy!
If God just gives me health,
I'll have a happy mind
and sing my morning and evensong in a thankful spirit
336 ANTHOLOGY
l- • ' " '. "!i
- --'-" Alltlli:tl'G'°':'"rciH
OJ Mari.a The:resia von Paradis (1759-1824), Sicilienne
_, @SF
- ,, .
Andante J.= 58
ir
G)
pttr -- r f
@
Anthology 337
_,,,'}' Anthology 31 Continued
"" -· -. 1 ... -· ' 1

""
r r
p pp -
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1 1
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8va ad lib. _____________________________ .. - - - - - -- - -- - - - - - - - - -- - - - - - -- - - - - ,

ir ir
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338 ANTHOLOGY
Ludwig van Beeth.oven ( 1770-1827), Piano Sonata in Fm, op. 2, no .. l,

Iandill
Allegro
A 1
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1 1 1 1
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if if
Anthology 339
Continued
f p
)'
p p
340 ANTHOLOGY
Continued
if if
if
@ if if
UIJWJ
- -
) :
,..._, ú'lf
@
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decresc.
) :
@ qº pp 3
..----... .
pp
)
ere se.
:
Anthology 341
.,, .,"'}' Anthology 32 Continued
ef ef
A 1
. " . '
i ¡g ff.j (."\
ef 3 ef 3
f.f p
p
) -e- e:
' (."\ # f '
3
: V
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'-=----.
3
erese.
342 ANTHOLOGY
' - " - = - "' ' • -
• ·" J2 _ Continued
con expressione
1 fL
" '
M-
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if ff
)
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fi
b.;. - 1
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Q) 1 1 1 1 "l. 1
ff if if if
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ff
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1 1
Anthology 343
: Anthology 32 Continued
MENUETTO.
Allegretto.
p p
if p
344 ANTHOLOGY
T '."\ O '> -
3:2- Continued
ÍA7\
Trio. v
Anthology 345
, ,',,,' Anthology 33 Ludwig van Beethoven(1770-1827), Piano Sonata in Cll1, op.10, 1, II,
mm. 1-16
346 ANTHOLOGY
Ludwig van Beeth.oven. (1770:--1827): Piano Sonata in Cm,Op.13, III

, ,'' l.
,-
AUegro
p
Anthology 347
,'.,' Anthology 34 Continued
ef ef
3
348 ANTHOLOGY
- - ,¡¡' '. Conti."lued
® 3 3
3 3
ef
ere se. .ff

3
u _ _ _ __
Anthology 349
, ,"'. ._ Anthology 34 Continued
1
"
1 1
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1
1 ---::::::: ' 1
1 1 1
-
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1
=
1
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350 ANTHOLOGY
"" "-" " - z '' -> _,, '
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cresc. _ - - - - - - - - - - - - - - - - - -
3 3
Anthology 351
.'.,' Anthology 34 Continued
ff
3
u u
u
if
352 ANTHOLOGY
> ,oe ' ' '
' '-;' Continued
3 3 3 3
3 3
p
Anthology 353
',.' Anthology 34 Continued
ca ----------
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lan ------------ --------------
erese.
354 ANTHOLOGY
. '"
-- Continued
3 3
3
ff ef
ef ef
ef ef
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Anthology 355
.'.," Anthology 34 Continued
decresc.
356 ANTHOLOGY
' Anthology :15
G) Allegro con brio
cresc. ------------ -------------------- f
@
I':'\
decresc. u
p pp
I':'\
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Anthology 357
Continued
cresc. - - - - - - - - - - - - - - - ______ -
358 ANTHOLOGY
-
- Continued ··
cresc. ______________ - - - - - - - - -
Anthology 359
_: ,; Anthology 35 Continued
360 ANTHOLOGY
- '
-
,.. CJ. a Continued
Anthology 361
., ª''.,' Anthology 35 Continued
) :
...
362 ANTHOLOGY
"
· Continued
Anthology 363
,'.," Anthology 35 Continued
---------=---·
364 ANTHOLOGY
- "'
-_ Continued
pp
cresc. - - - - -- - - - - - - - - - - - - - - - - - - _ _ _ _ __ _ _ _
Anthology 365
l}' Anthology 35 Continued
cresc. - - - - - - - - - - - - - - - - - - - - - -
366 ANTHOLOGY
Continued
eresc. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - · - - - - - - - - - - - - - - - -
Anthology 367
.•• Anthology 35 Continued
eresc. fP
n
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-
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p
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368 ANTHOLOGY
Continued
Anthology 369
Anthology 35 Continued
ll
n:
)
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370 ANTHOLOGY
. ,
.:-:;"-;"-Antfio10gy-:l5 Continued
(.'\,
1 -.._¡ L.J
)
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cresc.
V
p
r :r·
erese.
1
ritard.
cresc.
1 1
- - - - - - - - - - - - - - - - - - - - - -
l'I (.'\, 1 1
--
$?
u _ _ _ _ _ _ _....._
u
V
if
Anthology 371
Ludwig van Beethoven (1770-1827), Piano Sonata in BM,op. 7, II,

mm. 15-58
sempre tenuta
-
Lbt: f f
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....
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sempre staccato
staccato
372 ANTHOLOGY
' - = -,
-- ,-;,";"7\;rrthl?fogy Btr- · Continued
pp pp
ten.
q
pp
Anthology 373
,, '.d"J" 37 Friedrich Kuhlau ( 1786-1832): Piano Sonatina, op. 55/4, iI
Andante con espressione

. .
p
374 ANTHOLOGY
Franz Sdmbert (1797-1828), Erlkonig, op.1
G) Sclmell J = 152
-- _L____=·-----L____:_____g ____:_____I_ ·
Wer
e-_ _ _ _ _ _e
Anthology 375
,, ,." Anthology 38 Continued
sei nem Kind; er hat den
u
>
@
L
" 1 ,;,.
1
Kna
1
ben wohl in dem

1
Arm,
1
er fasst ihn
1 1
sich - er,
--
er
/\ 1 1 L L 1 1 1 1 1 L L 1
... ... . ... . .. .. ..

: : : : ... ... ... . .
--=- .......
--+-
u
>
376 ANTHOLOGY
"' =• ' " ....., - , = -
3B _ Continued
@
" 1
-"-- 1
Siehst, Va ter, du den Erl ko nig
1 L L L 1 1 l J.. J.. 1
.. . . • .... ... .... ... . .. .,
den Er - len kü nig mit
mf
Ne bel- streif. "Du lie - bes

Anthology 377
,,. ,.' Anthology_ 38 Continued
Kind, k omm. geh m it mir! gar
schO - ne Spie - - le ich mit
dir; manch bun te Blu men sind
an dem Strand; mei - ne Mut ter hat- manch'

378 ANTHOLOGY
: __ .. Continued
gül - den Ge - wand". Mein Va ter, mein Va - ter, und ho rest du
nicht, was Er - len - ka - nig mir leí se ver - spricht? Sei
ru - hig, blei - be ru - hig, mein Kind; in dür - ren Blat - tern sliu - selt der Wind.
"Willst, fei ner- Kna - be, du mit mir gehn? mei - ne Toch - ter sol len dich
Anthology 379
_.,.' Anthology 38 Continued
ten schón; mei - ne TOch ter- füh ren den niicht Ji - chen Reihn, und
gen dich ein, sie wie gen und tan zen und
gen dich ein." Mein Va ter, mein Va - ter, und siehst du nicht
8
/\
1 1
dort Erl ko - nigs Ti:ich - ter am dü stem Ort? Mein Sohn, me in
)
"
4!.)
1" 1"
,.,----
L.---
"
-----¡-------
U n n .
" ti ... ......
'<
"1
H
1
380 ANTHOLOGY
- " - .... "'"' ,.

_3& Continued
Anthology 381
,· •."' Anthology 38 Continued
Erl ki:i nig hat mir ein Leids ge than!
das ach zen de
Kind, er - reicht den Hof mit Müh und

382 ANTHOLOGY
• "' ""- , • >
- -. -- Continued
Recit.
1
" N
- ' '
-
@) ,. 1
r .,
Noth; in sein - en Ar - roen das Kind war todt.
Andante
r."I
" 1 J. j,, 1
. __,___
.... .... ..,. . ,._.
'
@) .ai-·
"f"
) :
.fp
l
pp
1
.,
-
Pr.-, f l..
,,_.
,¡.. -· -· -·
..fo ,¡.. ,¡.. " .,;
J
--
Who rides so late through night and wind? "Fair boy, wilt thou come with me?
lt is a father with his child; My lovely daughters shall wait on thee;
He holds the boy in his arrn, My daughters keep their nightly revels;
He clasps him tight, he keeps him warm. They will rock thee, dance, and sing thee to sleep."
"My son, why hidest thy face in fear?" "My father, my father, seest thou not
"Seest thou not, Father, the Erlking? Erlking's daughers in that dark place?"
The Erlking with crown and train?" "My son, my son, I see clearly;
"My son, 'tis but a streak of mist." It is only the gleam of the old gray willows."
"O dear child, come away with me! "I !ove thee, thy fair form ravishes me;
Lovely games I'll play with thee! And if thou art not willing, I'll take thee by force."
Many-colored flowers grow by the shore, "My father, my father, now he is seizing me!
My mother has many golden robes." Erlking has done me harrn!"
"My father, my father, hearest thou not The father shudders, he rides fast,
What Erlking softly promises me?" And holds in his arm the moaning child;
"Be calm, be calm, my child;" He reaches home with effort and toil:
In his arms the child lay dead !
Anthology 383
,,:'.,' Anthology 39 Franz Schubert (1797-:1828), Waltz op. 9, no. 14

384 ANTHOLOGY
""' l".
' ·'
-
,'
1\.nlñóTogy-zi:D - Franz Sd:rubert (1797-1828), Originaltanze,
p
Anthology 385
,, Anthology 41 Franz Schubert (1797-1828), Ecossaise no. 2, from Waltzer, Landler

und Ecossaisen, op. 18
p
386 ANTHOLOGY
Franz Sdmbert (_1797-1828), ''Aufdem Flus_se," fromDieWinterreise ,· '·' '> •• •:,
G) Langsam.
"
Singstimme. .. ·-+ ·- . ' -
v - - r r .,¡1
Der du so Ju stig rausch -test, du
.
..
" 11
,,
pp
lit
staccato
lit ... .fJ ii• .¡. H· .. w -i
"-
-·-·
:
-=--
-
I'
··--
- -
- "'
--
sehr leise
Fluss, wie still bist du ge - wor-den, giebst
Mit har - ter, star- rer Rin - de hast du dich ü - ber - deckt. liegst kalt und un - be - weg-lich im
dei - ne De - cke grab' ich mít
'-------.
Anthology 387
_: ,."' Anthology 42 Continued
• nem spi tzen Stein den Na - roen mei - ner Lieb sten und Stund' und Tag hin -
ein; Den Tag des er sten Grus- ses, den Tag, an dem ich ging; um
Mein Herz, in die - sem Ba - che
pp
388 ANTHOLOGY
= ,_,, 2; - \) <'"'. e'h " J:,
--,;-J- gy_ 42-- Continued
so rei - ssend schwillt, ob's wohl auch SO- rei - ssend
schwillt? Mein Herz, in die - sem Ba-che er - kennst du nun dein
Ob's un - ter sei - ner Rin-de wohl auch so rei - ssend

Anthology 389
. .,' Anthology 42 Continued
On the Stream
You that were once so merry, The day of our first greeting,
You leaping laughing bum, The day when last we met.
Are fallen into silence, And round the name and fingers
No greeting you retum. A broken ring I'll set.
With crust al! hard and frozen My heart, within this

You now are overspread. brooklet
You lie there cold and moveless Do you your image know?
Upon your sandy bed. Beneath its frozen surface
How turbulent its flow!
I'll take a sharp-edged pebble, Ah, how turbulent its flow !
And on your surface white
The name of my beloved
With hour and day I'll write.
390 ANTHOLOGY
Farmy Mendelssolm Hensel ( 1805-1847), "Bitte," frmn Six Songs, op. 7
Larghetto.
Weil auf mir du dunk - les Au ge,ü-be dei - ne gan - ze

Nimm mit dei - nem Zau - ber - dun kel die - se Welt von hin - nen
0
Macht, era - ste mil de trau - me - Nacht, era- ste
mir, dass du ü ber mei - nem für, dass du
1\
"@)
1 1 L_
' ' ' - -
1 1
-
•
--+1--1
1
r 1 r 1
mil - de trau - me - rei - che, un - er - gründ lich SÜ - sse Nacht un - er -

ü - ber mei - nem Le - ben, ein-sam schwe - best für und für ein - sam
-v
1\
u
h
1
" h
1
-
- ... 1 1
t' • r·
' "' t:>:f :2 9"'
..
.. -
.. 1 1 1
h
'· h
V
Á'
,,. .
r •
,,., +
_,
Á
.,¡
·- Á
.......
l.
Nacht.
und für.
l.
Gaze on me for a while you dark eye, bring your full power into play, earnest, gentle, dreamy, unfathomable sweet night.
Take with your magic darkness this world away from me, that over my life you alone shall hover for ever and for ever.
Anthology 391
,: .. Anthology 44 Frédéric Chopin(l810-1849), Mazurka 43 in Gm, op.posth. 6],no.2
Cantabile = 144)
p
if
* * * *
if
* * *
* * * *
*
392 ANTHOLOGY
- .
;, }' Antnek>g-y 44- Coqtinued
poco e se. -- - - --- . -- -- -- -- - - -- ----- - -- -
if
* 'Jw.
*
®
if
'Jw.
* * *
®
*
Anthology 393
. "'• .i' Anthology 45 Frédéric Chopin (1810-1849), Mazurka 49 in Fm, op. posth. 68, no.4
Andantino (J =126)
tr
sotto voce
sempre legatiss.
* *
* * * *
tr
==- mf
* tw. * tw. * *
D.C. dal segno

senza fine
*
394 ANTHOLOGY
Roberl Schumann Kinder Sonate no.J, '""'"''-" ... ,,.,

Sonatas for the Young, op. 118a
AUegroJ=92
Anthology 395
, ,,' ,,," Anthology 46 Continued
f
396 ANTHOLOGY
- "' -.
- ,,,' 4'/
op.48,mm.1-e19
Nicht zu sclmell
mf
!ch gro! le nicht und wenn das Herz _ _ __ auch
e - wig ver-lor' nes Lieb, e - wig ver- lor' nes
ich gro! le nicht, ich gro! le

>- >-
)
u
Anthology 397
.. ,,,' Anthology 47 Continued
@ >-
Wie du auch strahlst in Di - a - man - ten-pracht, es fiillt kein

>- >-
f
f ritard.
- ens Nacht, das weiB ich Jangsl.-----------
I hold no resentment,
And even if my heart breaks,
O !ove forever lost,
I hold no resentment.
And although you gleam in jewelled splendor,
There falls noray upon your heart's night,
!'ve long known it.
398 ANTHOLOGY
Robed Schuriumn(1810-:1856), "\Vidmung," from My:rtheri:,op'. 4;5
fonig, lebbaft.
Du mei - ne See - le, du mein Herz, du mei-ne
* %)_
Wonn', o du mein Schmerz, du mei-ne Welt,-- in der ich le be, mein Him - me!
%)_ tw.
Grab, in das hin -

Anthology 399
,.. ..," Anthology 48 Continued
".l:w. *
p
Du bist die Ruh', du bist------- der Frie den;
-a-· -a-· -a-·

r
@
bist vom Him - mel mir be - schie - den. DaB du mich
ritard.
====-
liebst, macht rnich mir wert.--- dein Blick hat rnich-- vor mir ver - kUirt,--- du hebst mich
400 ANTHOLOGY
t " • " "' ;< .;; -
. - - · i\:nthcrfogy 48 ... .Continued ·
ritard.
lie - bend ü ber mich, meín gu ter Geist, mein bess' - res
ritard.
']u). ']u). ']u).

* * *
']u), ']u). ']¡:¡), ']¡:¡),

* * ']u). * * *
@
·----
Schmerz, du mei-ne Welt, in der ich
']¡:¡), ']u),
*
ritard.
be, mein Him - me! du,--- dar - ein ich schwe be, mein gu - ter Geist, mein bess res
eilend ritard.
']¡:¡),
* * *
Anthology 401
,: •."' Anthology 48 Continued
____
· __ j j
You, my soul, you my heart,

You, my delight, you, my grief,
You, my world, in which I live,
You my heaven, into which I soar,
O you my grave, in which forever
I have laid my sorrow !
You are the rest, you are the peace,
You are sent from heaven to me.
That you !ove me makes me worthy,
Your glance has transfigured me,
Your !ove lifts me above myself,
My good spirit, my better self!
You, my soul, you my heart,

You, my delight, you, my grief,
You, my world, in which I live,
You my heaven, into which I soar,
My good spirit, my better self!
402 ANTHOLOGY
· flJ}
ARt'11eloa.v
bJ Robed Schumann (1810-1856), "Am leuchtenden Sommermdrgen,''
from Dichterliebe, op. 48
Ziemlich langsam. p
Am leuch - ten - den Som mer -
'tw.
*
geh' ich im Gar - ten her um Es
stern und spre - chen die Blu - men, ich a - ber wand le
Anthology 403
,, .,' Anthology 49 Continued
Es flü - stern und spre - chen die Blu-men, und
)
@ pp Langsamer.
Sei uns - er Schwe - ster nicht bii se, du

404 ANTHOLOGY
---__ Continued
- - -
"On a bright summer moming"
On a bright summer moming

I walk around the garden.
The flowers are whispering and speaking,
But I walk in silence.
The flowers are whispering and speaking,

and they look with pity on me;
Be not angry with our sister,
You sorrowful, pale man.
Anthology 405
_.,, -- -_:_-:_·_·,-.-
"',," Anthology 50 Robert Schumann. (181 Ü--1856), "Folk Song," from Albumfor theYqung,
op.68,mm. 1-8
lm klagenden Ton
--==-
·_____,,
406 ANTHOLOGY
" "
....-,,· AnÚ1.Gl0:gy- 51-. Franz. (1&1.l--"1.886), Consolatiqn,•110. 4
slargando
)'
Anthology 407
, ,,,· Anthology 52 Giuseppe Verdi ( 1813...,,.1901), "Libiamo ne 'lieti calici,"Jrom La traviata,

mm.22-42
@ con grazia leggierissimo
-
/\ 1
. - ., . . -
:; , "'
- <J
Li - bia - - - - mo, Ji - bia - mo ne'

1
..
-" - -1-- - -1-- •-
•- •- - -1-- •- .,-
h
@) -1- -1-
) .. V
.
-
pp
., ., ., . .,
--
"' "'
-
"' .
@ .PP
®
32
." 1
-
,/
., : - - - - . , .. -
@) - -
fio ra: e la - - - - - fug - ge - vol, fug - ge - vol
-.. - - - -• •- - •- -
/\ 1
( :; " h-
"' - - ,.- - ,.- ,.-
r t-
'
1
<
1 1 1 1
( :
"' - .,
1 1
pp
- ra s'in - ne - brii a vo-lut - ta.
Let's drink of the joyful goblets

That beauty adorns witb flowers
And tbe fleeting hour will get drunk
With sensual pleasure
408 ANTHOLOGY
- - " ""
- 3- Giuseppe Verdi (1813-1901), Il trovatore, act II, no. 11, mm. 1-11
Azucena
la - ma cor,--- vi bra,im - mer gi
0
sa que - sta la ma, que - sta la
lo giu - ro, que sta la - ma scen de
0
" - ' ..
>-
v 1 i"' r. .._______,,
ma vi- gi_i:l- l'em-piojn co re, vi-bra,im - mer - gi al-l'em cor!
.... >-
"' >-
,..-----.._ ,,,.--_ >
r
ril.---------- del - Í'em-pio in co - - re, scen - de - ra- del - l'em p10 m cor!
gva. _______________________ _'::'__- _. -- -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _""::_ - - - -- - "
>---+"1--r---.-+-.1 .J j j .. 1
r
Azucena: plunge this blade up to the h1lt into the heart of the cruel one.
Strike!
Manrico: Yes, I swear it. This blade will descend into the heart of the cruel one.
Anthology 409
.· ,; Anthology 54 Giuseppe Verdi (1813-1901), Il trovatore, act U, no. 14,mm.
@) Andante. (J= 80.) cantabile
me! Deg-g'i - o vol - - ger- mijl Que! che de- gliJif - flit - ti e so - lo so-
ppp
do - poj pe ni ten ti-- gior - ni, pub _ _ _ __ fra g!Le -
-
Jet ti al mio per - du - to be ne ri - con - giun ger di!
Me! I turn to Him

Who alone can dry the mourner's tears
of sorrow, and when my days of
grief are over, merey eternal may
guide my weary spirit
yet to meet him again.
410 ANTHOLOGY
Giuseppe Verdi (1813-1901), "CelesteAida," fromAida, mni. 1-29
Recitative. Allegro vivo. (J =126)
Se que! guer rier io fos - sil se il mio so - gno ve - ras - se!

Ah, what if were cho-sen! 'Tis my dream and my arn - bi - tion.
3 3
0 con entusiasmo
Un e - ser - ci - to di pro - di da me gui - da - to

A cour- age - ous host of war - riors, and their le ad - er !
3 3
e la vit - to - ria, ej! plau - so di Men - fi

On - ward to glo - ry, re turn in a blaze of
3 3 3
f!3 te, mia do! - ce A i - da, tor- nar di Jau - ri

Re - turn to you, A Y- da, in roy al pomp and
p
Antho!ogy 411
,,·,,; Anthology 55 Continúed
dir - ti: per te__!;o pu - gna - to, per te ho vio - to!

say -ing: For you I con - quered. See your de - fend - er!
Andantino. (j)= 116)

@
Ce le - ste A - i da,--------------
Fair est- A - i da,
A
.J--
412 ANTHOLOGY
•."-Amhohqgy
-
5 fr' Ciara Schumann ( 1819-1896), Trio in Gm, op. 17 ,I, illlil. 249.,...287
--
_¡¡__ 1
-·
-.;----
-
v .... -·
.
;;------
V -V
p " ------
1
.fp ere se.
: -
p .fp
1
--e--______..,
.fp
- q....______,
cresc.
11 1 1 1 1 1 1 1 1 1
- . ..-----
- :f
--
-
r
-\1:\T'
J T 1
r r &
u 17
) :
mf dim.
1
-·
" - -
ere se.
1
-
-
:zj: -
& v q:zl:
-
&
@
1 Jf7r l{-#f'
f:
:
1
- - - -
--·
- ---
- - f
! J .l É
---"
" 1
-+-·
1 1 1
... u
'"' - - 1
·- 1
-1 1 1 1
) :
- - -
1
".'.'"+--·
1
---1-·.
1
_,
- - -
1
-
.,_ ·-
fJ1 _J_ J
-
_el
-
bJ ,J -&
.,
/ k
-· - u 1 1 1
!t"' 1 1 1 1
==- p poco a poco ere se.
p poco a poco cresc.

animato
Anthology 413
$ Anthology 56 Continued
( ... cresc....) if
( .. . cresc. .. .) f
414 ANTHOLOGY
. . -
-:- A:Irrñorogysr · Hugo Wolf (1860-1903), "Das verlassene Magdlein/' frorri Gedidite volt .
Morike, no. 7 ·
CD Langsam. pp
1\
"" -
l
" 1
-
r r
-
Früh, wann die Hiih - ne kriihn eh' die Stern-Iein
¡/\
•4 •
11: -----------
11: 11:
-
....----:---:
.;;: = =
- - -- -
1 11
v pp
1
-
¡/\
. 1 l""""'"'1
- --
1
- -
v - : : -,¡ - -,; -,J
muss ich am Her - de stehn, muss Feu - er zün - den.
pp
ist der Flam - men Schein, es spring - en die Fun - ken: Ich schaue so da - rein,
Anthology 415
.: ,,'' Anthology 57 Continued
® etwas lebhafter
sun ken Plotz-lich, da
etwas ruhiger
® p wie zu Anfang
trau met ha be. Tra - ne auf
pp
416 ANTHOLOGY
Continued
- ne dann stür - zet her - nie - der; so kornmt der Tag her - an o ging' er
Early, when the cocks crow, Suddenly 1 remember,

Befare the stars fade out, Faithless boy,
l must stand at the hearth That l in the night
And light the fire. Of thee ha ve dreamed.
Lovely is the flames' light Tear on tear
With its flying sparks; Tumbles down;
I gaze into it, So begins the day-
Deep in sorrow. 0, would it were ended!
Anthology 417
. ,:}; Anthology 58 Richard Strauss (1864-1949), "Ruhe, meine Seele!," op. 27, no. 1
(DLangsam.
Lento
"
l*
N1cht ein
ff•
Lüft chen
"
regt sich lei se,
Not a breath of wind is stir ring;
" >
;#i *#* ##;Ü ##*ü

) .- mf==-
,_,
"
mf-==
,_
"
L'.:
"· -
pp
¡-¡ ¡-¡
*
0
"
. r r r
" -·
,
-
sanft ent - schlurn - mert ruht der
Hª
Hain;
"
durch der Bliit - ter dun - kle Hül
' "
- le stiehlt
hill and dale are wrapt in sleep; gold - en thro' the shelt- 'ring fo - liage
r.h. r.h. r.h.
" " -
1 1 !.h.
##H§ ''I
##*! ##H§ '
)
!.h.
pp
'JJW. 'ko.
*
" -· .
'
- si ch lich - ter Son - nen schein. r.h. r.h. Ru he, ru he, mei - ne
peep.
J 8"'- - Rest thee, troub-led
.
mers mid - day sun beams rest thee,
r.h-.
> _J !.h. >

#d -
!.h. -
-- ! #_J
" u-
- - - -
tt .u _.., l>lf" l>lf"
) pp - p
"- - -
---JtU & &
m.
* *
"
1 1 1 r
- - ¿
See le, die ne Stür me gin gen wild, hast ge -

spir it, thou hast suf fer'd, lab our'd toil'd tlwu hast
" :
" h
17:g 17:g -<:P -<:P pp

efz
-==
) :
- -
J
'
u u --
&
·-
&
- *CJ..d 1
'.___;./
m.
*
418 ANTHOLOGY
,,_ """" '-' "'''"

-- .,"'7"\:rrthcrlug;y-·.58 -- Continued
f\
, . fil
v 1 1 1 r
tobt-- und hast ge zit - tert, wie die Eran - dung, wenn sie schwillt!
fought- and thou hast trem - bled, like the storm - beat o cean wild!
....-;--_
.
f\
#
v 'e ''tt
te:= "
) p cresc.
., 1ffeffl',b '1
:
-- V
--
*
,,
r·
l
PI ¡,JJ ,¡ br r=SEF br- ]]

1 1
D
Q)
* Die-se
These
Zei
times
ten sind ge
are mo
wal . tig,
men taus,
bring - en
head and
Herz
heart
und Him
must strug
in
gle
......--=::::-.
,..
- . - b-e- -- 1
Q)
w 11 f
) :
fB'f,b .fi
&
-
.
e
:¡¡: ,...rt-._
----=----
r
"
-
í 11
* * 'fRo.
*
p
a
" --
Q)
--6-·
-e
Á
1 1
Á
- - Á
--
Not Ru he. ru he, mei-ne See - le, und ver . giB und ver -
so re Rest thee, rest thee, o my spir it and far get! al/ thy
" 1 11b -e - .
v --- ,....
ff 17g3' 17g
_;::_
di" :3: t.¡
) b,
====- p dim. . . . .
:
·-
e & u -
& u V
*
f\
"
'"
@l
r was di ch be -
e-
droht! r.h.
sufí' rings will soon be o'er. r.h.
r.h.
J- -
1-4--
- "
1 l.h.
- - -
@) -0-
tt 'q& ."7
l.h.
u qlf H v
) pp mp
-- pp v
:
-
..,,, ______..,,._____..,,. -
..,,, _ _ _ _ _ _& -
v
--
--
*
Anthology 419
Amy Beach (1867-1944), Ecstasy
Andantino con molto espressione. p

-
11 1
- - -- 1
@.!
On - !y to
,.....,
-" -
1 1 lo..
1 A•
-i r - -,, ·-r -pp

r
- u
=
--
@.!
p
1
¡_: - 1
' ,,,---......
r- !'- # L ---,, bf'- / í í J- "" - - !'- #
: __ , -
1 '·
1
-
1 r
-"
.,
h
1 1
: --+.,
- '
= -' '-· "
H-
TI
"
H-
TI
- - - -
1
@.!
dream a - mong the fa - ding flow - ers, On - !y to
.
1 - -1 - - ·=·=-- 1- -=
,...-::::
" ., 1 1 1
' 1 1
--
@.!
:.-
- - -- r._ -.. V
-. ,, .. -- = _,
1
- - .J _..... .....
1
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-·
--- 1
= - ---------
1 1
1
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11 1
- '
- ,:;
- - . ,:;
n
,:;
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V

Workbook and Anthology

This book is printed on acid-free paper.

Chapter C Tonality: Scales and Keys 11 Chapter 15 Other Diatonic Seventh

Chapter E The Rudiments of Harmony II: Part 2 ,,,

Labeling Chords; Musical Texture 23 tlJ

Chapter 17 Secondary Dominants I 141

Chapter 18 Secondary Dominants II 149

Chapter 10 Cadences 89 Chapter 28 Introduction to Large Forms 241

Chapter 29 Expanding Functional Tonality: 14 J. S. Bach, The Well-Tempered Clavier,

1 Tomás Luis de Victoria (1548-1611), 18 Anna Amalie (1723-1787), Sonata for

34 Beethoven, Piano Sonata in Cm, op. 13, 49 Schumann, "Am leuchtenden

E2 Bb5 G#4 Al C3 Eb4 Ab5 F6 D7 B4 C#6 ES F#2 G3 Db5 C2

EXERCISE 3 Write the following intervals above the given notes.

EXERCISE4 Write the followíng intervals below the given notes.

;-- 12= -0- ·i'.i

EXERCISE 6 Identify the intervals in this exercise by size and quality.

_, Example A.lb J. S. Bach, "Kyrie," from Mass in Bm, mm. 5-7

Béla Bartok, "Chromatic.Inventián," from Mikrokosmos, rió. 91, mni 3::-:-6 •

_- ,,,' Example A.2 Albán Berg, Lyri2 Sufte, I, nnn· 2-4..·.

EXERCISE 1 Supply the information required in the blanks.

notes =2 o notes A i rest = rests

d notes =6 J notes A - rest = ¡ rests

notes d note A 1 rest = - rests

notes =3 notes A rest = rests

5 1/2 beats 4 112 beats

5 2/3 beats 5 1/3 beats

EXERCISE 6 Add bar lines to the following examples.

IJjn n J j J nJJ j 1 n j Jmj mn 11

EXERCISE 8 Add ties to the following examples, in order to

EXERCISE 9 Transcribe the following melody from :1 to and

EXERCISE 1 ldentify the following majar and minar key signatures.

'¡ 51: 1##1 l B llS 9: f¡# llB tt1

9: #¡#t # lS 9: b''1,bbf, llB tt1### 9: llB t ' 11#11#1

Natural minor Harmonic minor

Major Melodic minor (ascending and descending)

Harmonic minor Melodic minor (ascending and descending)

TONIC TONICTRIAD RANGE. MODE/KEY SCALE:

TONIC TONICTRIAD RANGE MODE/KEY SCALE:

?' '« t r ee r r r·I@ r r Gr 1Ffr r ee [J ij?ff H

TONIC TONIC TRIAD RANGE MODE/KEY SCALE:

p r D 1r1n ir aj 1.PQ 11foGJ

ilf.ia ma 1w.ffl plJiJmi1

J. z 1E" : J e r ; 1J. --- :r 1

EXERCISE 3 In a major key, fue diatonic triad on scale degree

,.1 ;11 u tt#B ;>= bB bt'll

?=éu tu in i *kbB #u ••i .•u

I! ,m= b .fi .fi

<i} ;¡: •: &8 -----

;>= ft•w &3 :: 1? #g

·.> Example D.2

CM: etc. Am: etc.

Gm: iv viiº V IIl

In each of these examples, answer the following questions:

· Example E.3 Antonio de Cabezón, Diferencias sobre el Canto del Caballero

,,. " ...

". .... "" '""

DM: il Am: VI Eb M: IV V Db M: ii EM: iii Al> M: vi Bm: iv Fm: IlI GM: V

EXERCISE 3 Complete the following changes of voicing or position in four voices.

FM: I V I IV EbM: I V I IV Dm: i V iv

AM: IV V iii IV Cm: iv V III iv GM: I vi IV I iii V

EXERCISE 1 Analysis. Study example 2.1.

b) On what two chords is the piece based?