WORKBOOK FOR ona arm on WITH AN INTRODUCTION TO TWENTIETH-CENTURY MUSIC FIFTH EDITION Stefan 'Kostk.e:, 'Dorothy :Payn
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WORKBOOK FOR
ona arm on WITH AN INTRODUCTION TO TWENTIETH-CENTURY MUSIC FIFTH EDITION
Stefan 'Kostk.e:, 'Dorothy :Payne-'
Workbook for
Tonal Harmony with an Introduction to Twentieth-Century Music Fifth Edit i on
Stefan Kostka The Un;vers;ty of Texas at Aus6n
Dorothy Payne The Un;vers;ty of South CaroUna
Boston Burr Ridge , IL Dubuque, IA Madison , WI New York San Francisco St. Lou is Bangkok Bogota Caracas Kuala Lumpur Lisbon London Madrid Mexico City Milan Montreal New Delhi Santiago Seoul Singapore Sydney Taipei Toronto
CHAPTER 9
PART I Fundamentals
Triads in Second Inversion
1
CHAPTER 10
CHAPTER 1
Elements of Pitch
Cadences, Phrases, and Periods
1
Elements of Rhythm
Non-Chord Tones 1 87
11
CHAPTER 3
CHAPTER 12
Introduction to Triads and Seventh Chords 19
Non-Chord Tones 2 93
PART III
CHAPTER 4
Diatonic Seventh Chords
Diatonic Chords in Major and Minor Keys 31
The V7 Chord
The 117 and VIF Chords
CHAPTER 5
Principles of Voice Leading
35
CHAPTER 6
Root Position Part Writing
41
117
CHAPTER 15
Other Diatonic Seventh Chords 125
PART IV
CHAPTER 7
55
Chromaticism 1
CHAPTER 8
\...../ Triads in First Inversion
99
CHAPTER 14
35
Harmonic Progression
99
CHAPTER 13
PART II Diatonic Triads
79
CHAPTER 11
CHAPTER 2
~
71
135
CHAPTER 16
61
Secondary Functions 1 135 v
vi
Contents
CHAPTER 17
CHAPTER 24
Secondary Functions 2 149
Augmented Sixth Chords 2 235
CHAPTER 18
CHAPTER 25
Modulations Using Diatonic Common Chords 163
Enharmonic Spellings and Enharmonic Modulations 239
CHAPTER 19
CHAPTER 26
Some Other Modulatory Techniques 179
Further Elements of the Harmonic Vocabulary 249
CHAPTER 20
Binary and Ternary Forms
187
CHAPTER 27
PART V
Tonal Harmony in the Late Nineteenth Century 261
Chromaticism 2 197 CHAPTER 21
Mode Mixture
PART VI Late Romanticism and the Twentieth Century 261
CHAPTER 28
197
An Introduction to Twentieth-Century Music 279
CHAPTER 22
The Neapolitan Chord
209
CHAPTER 23
Augmented Sixth Chords 1 221
•
Thi~ icon denotes a listening example. For a list of the recorded examples, see the last page of the workbook.
Part I Fundamentals
TS OF PITCH
EXERCISE 1-1 A. Name the pitches in the blanks provided, using the correct octave register designations.
C4
1
2
ex.
3
4
5
6
7
B. Notate the indicated pitches on the staff in the correct octave.
' •
G2
l fJ=
CS
F3
B4
llllR
1 lR
E2
AS
03
G4
II E3
BI
OS
F4
A3
04
C2
A3
E6
Student Wo rkbook
Chapter 1
EXERCISE 1-2 \____./
A. Notate the specified scales using accidentals, not key signatures. Show the placement of whole and half steps, as in the example. A~
T\
C S
I S T S
...... !
I
S
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14
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Chapter 3
Student Workbook
EXERCISE 3-3 \._,I
A. Identify the root and type of each chord and show the correct inversion symbol. 1
2
3
4
5
6
7
8
Root Type Inversion symbol
9
10
11
12
13
14
15
16
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25
26
Tonal Harmony
B. The excerpts below are to be analyzed in a similar way. Each chord is numbered. Put your analysis of the chords in the blanks below the excerpt. Notes in parentheses should be ignored for the purposes of this exercise . •
1.
Bach, "Wer weiss, wie nahe mir mein Ende"
\;./
\;./ Root Type Inversion symbol
1
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2
3
4
5
6
1
8
9
10 11
12
13 14
15 16
17
Root Type Inversion symbol
18 19 20 21 22 23 24 25 26 27 28 29 30
31
32
33
34
Chapter 3
Student Workbook
•
2.
Schu mann, "lch will meine Seele tauchen," Op. 48, No. 5 Leise
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Tonal Harmony
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Student Workbook
•
3.
Gottschalk, "Jerusalem"
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.
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Root Type Inversion symbol
1
sva
4
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y
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y
5
6
7
8
9
Root Type In vers ion sy mbol
29
DI IC CHORDS IN MA OR AND MINOR KEYS
EXERCISE 4-1 A. Given the key and the triad, supply the roman numeral. Be sure your roman numeral is of the correct type (uppercase or lowercase). Inversion symbols, where required, go to the upper right of the roman numeral (as in I6 ). eL 1 2 3 4 5 6
Ak
vii 0
Eb:
8
9
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A:
10
c#:
E:
f#:
11
g:
12
F:
13
7
c:
G:
14
.
15
11@ jj ii:>= ,,kl} 11 & &~0 11 l R h 11 & Dl2 11:>= Bii II Bk
g:
c:
Dk
E:
f#:
B. In the exercise below you are given the name of a key and a scale degree number (in parentheses). Without using key signatures, notate the triad on that scale degree and provide the roman numeral. In minor keys be sure to use the triad types circled in Example 4-7 (p. 61).
ex.
,~ll
e~:
'III
(6)
8
\___,;
1
2
3
4
11:1:
11@
119:
11&
5
6
7
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e:
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(6)
(3)
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c:
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10
11
12
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g#:
m:
f#:
Bk
D:
Ek
(7)
(3)
(6)
(4)
(.S)
(:2)
(6)
(7)
'
13
11&
14
15
119:
11@
II
II 31
32
C. •
Tonal Harmony
Analysis. Write roman numerals in the spaces provided, making sure each roman numeral is of the correct type and includes an inversion symbol if necessary. 1.
Handel, "Wenn mein Stiindlein vorhanden ist"
B~:
1
•
2.
2
3
4
5
6
7
8
7
8
Handel , "Wenn mein Stiindlein vorhanden ist"
Bk
I
1
2
3
4
5
6
D. Fill in the blanks, using the example as a model.
Key
This chord
Has this bass note
E
ex.
c
J6
1.
a
v6 JV6
2. 3.
d
4.
B
6.
ji06 -6 4 .6 14
5. F
c
viio6
C# D
Chapter 4
Student Workbook
33
EXERCISE 4-2 \.__..; A. Given the key and the seventh chord, provide the roman numeral. Be sure your roman numeral is the correct type and includes an inversion symbol if necessary.
ex.
1
2
3
4
5
6
7
$ nB llfl=g. 11$ niU llfl=~tB 11$ ~! W•a llllR~B llfl=~bJt II
a:
vii 0 7
8
G:
9
c#:
f:
10
11
B~:
12
e:
Ak
g:
13
14
15
$Jtt! llfl=•IB 11$~4! W•B 11$&•fi llllBndf 11$&B llfl=•B 1 E:
d:
F:
A:
c:
b:
D:
B. In the exercis.es below you are given the name of a key and a scale degree number (in parentheses). Without using key signatures, notate the seventh chord on that scale degree in root position and provide the roman numeral. In minor keys, be sure to use the chord types shown in Example 4-9 (p. 65).
ex.
1
2
3
4
5
6
7
$#1
11:>=
llllB
11:1=
11$
119:
11$
11:>=
Bk
F:
b:
f#:
A:
g:
D:
(4)
(i)
(3)
(2)
(7)
(7)
(6)
G:
iii7
(3)
8
9
10
11
12
13
14
15
'
119:
11$
119:
11$
llllB
11$
11:1:
c:
E:
G:
Ek
c#:
f:
e:
Ak
(i)
(4)
(2)
(3)
(S)
(S)
(2)
(6)
\
II
II
34
Tonal Harmony
C. Analysis. Put roman numerals in the spaces provided, making sure each roman
numeral is of the correct type and includes an inversion symbol, if needed . •
1.
Beethoven, "Variations on a Theme" by Paisiello
•
2.
Brahms, "Minnelied," Op. 44, No. 1 Con moto
Soprano I
se
Ii - gen
son - der
Wank
Soprano II
·~ Alto I
Alto II
I
I
Part II [PLES OF VOICE LEADING
EXERCISE 5-1 A. Criticize each melody in terms of the rules for simple melodies discussed on pages 71-72. 1
@~II J J J F:
v
I
1 IJ IV
J
r
Ij
r
-
II
IV
-
2
@ti " e:
a r a a a 1 ttJ a r r ~ 1
V
-
1
V
i
V
iv
11
V
3
@ti" 11 J D:
rrr rr 1
IV
v
V
J
a J -
-
IV
1
11
B. Compose simple melodies that will conform to these progressions. 1
II Bk
IV
V
vi
IV
ii
v
35
36
Tonal Harmony
2
'& I
d:
II v
v
iv
VI
v
iv
3
,~ G:
I
II iii
IV
v
IV
v
Student Workbook
EXERCISE 5-2 A. Analyze the excerpt below, using roman numerals. Then show beneath each roman numeral the structure of the chord by writing "C" or "O" for close or open structure. The notes in parentheses are not part of the chord and should be ignored for the purpose of harmonic analysis. •
A:
B.
Schumann, "Roundelay," Op. 68, No. 22
'1)7
Review the two conventions concerning spacing on pages 74-75. Then point out in the example below any places where those conventions are not followed.
Chapter 5
37
Tonal Harmony
38
Fill in the circled missing inner voice(s) to complete each root position triad, being sure that each note of the triad is represented. Follow the spacing conventions and stay within the range of each vocal part.
C.
1 I
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0
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~
B
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,...
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n
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T
iv
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m:
v
e:
v
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b:
6
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s
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4
d:
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s
3
2 _,I
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.
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iii
g:
D. In the examples below you are given the soprano note for each chord. Supply the alto, tenor, and bass notes to complete the specified triad in close or open position, as indicated. Be sure to double the root of each chord and to follow the spacing conventions. 1 Close ; f\ ~ H
. ,, ,1
11 Tl
,,
3
Open
..
llf1..1o 11
I\
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2
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4
Close
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A:
6
vi
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IJ
v
c:
7
Open
-
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v
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"
VI
Open
-H
I,, ,,
D:
8
Close
I
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v
g:
-
1! 11
a:
iv
Bk
v
f~:
IL
m
Student Workbook
EXERCISE 5-3 A. Label the chords in the excerpt below with roman numerals. Then label any examples of parallelism (objectionable or otherwise) that you can find. •
Bach, "Ermuntre dich, mein schwacher Geist"
B. Find and label the following errors in this passage: 1. Parallel 8ves 2. Parallel 5ths
3. Direct 5th 4. Consecutive 5ths by contrary motion
5. Spacing error (review pp. 74-75)
Chapter 5
39
40
C.
Tonal Harmony
Find and label the following errors in this passage: 1. Parallel 8ves 2. Parallel 5ths 3. Direct 8ve 4. Spacing error
Using repeated triads
EXERCISE 6-1.
Fill in the inner voice or voices in the second chord of each exercise. The key is F major throughout. Double the roots of the triads in the four-voice examples. 1 four parts
fl
I
I
I
r,J
h
v
r,J ·~
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.. . - -
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,_
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r-
r,J r ,J r,J
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r,J
-
I 2
I -- I
I
6
II
r,J
r,J
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I
n
--,_I --I -
I
j •J
three parts
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II
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h v
r,J
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I n
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r ,J r,J
I
41
Chapter 6
Student Workbook
Using roots a 4th (5th) apart
EXERCISE 6-2.
'-----" A. Add alto and tenor parts to each exercise below. Each progression involves roots a P4 (PS) apart. Use one of the three methods outlined on pages 87-88 in each case and state which you have used.
1
fl
I #ll
f# :
O' O'
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D:
e:
c#:
F:
A:
EXERCISE 8-1 A. Analysis. 1.
•
Bracket the longest series of parallel sixth chords (tri ads in first inversion) that you can find in thi s excerpt. Do not attempt a roman.numeral analysis. Does the voice leading in the sixth-chord passage resemble more closely Example 8-8 (p. 12 1) or Example 8-9 (p. 122)? Beethoven, Sonata Op. 2, No. l , Ill
61
Tonal Harmony
62
2.
•
Label all chords with roman numerals. Then classify the doubling in each inverted tri ad according to the methods shown in Example 8-IO (p. 123). Bach, "Was frag' ich nach der Welt"
3. •
Label all chords with roman numeral s. Bracket the circle-of-fifths progression (rev iew pp. 101 - 102). Handel , Passacaglia
--·---·- -· -- - - -
- -
- ,_. ,...- rm..•r-.-•r-. -· - .. -·...... --· . . . -·-rm..• . -· , --· -· -·- I f\
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r-""
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H. Continue your solution to Part G to form a parallel period.
--·
-
,... I
Chapter 12
97
Part III D;atonjc Seventh Chords
CHORD EXERCISE 13-1 A. The note given in each case is the root, 3rd, 5th, or 7th of a V7 chord. Notate the chord in root position and name the major key in which it would be the V7 .
2
1
119:
& 5th
•
5
II
3rd
11:2=
11& 7th
~a root
11118
7
6
0
a
B.
4
3
.a 3rd
119:
8
a
0
11& 5th
II
root
119:
II 7th
Analyze chords and NCTs in the excerpt below. Then discuss the voice leading in the two V7 chords. (Note: You might have analyzed the B's in the V chords as passing tones, but consider them to be chord 7ths for the purposes of your discussion.) Bach; "Wir Christenleut' "
99
Tonal Harmony
100
Resolve each chord to a root position I. (Note: c means complete chord, i means incomplete chord.)
C.
2
1
y7
E:
y7
c:
(c)
6
7
fl
~
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-
I
I
I
v
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I
9
r,J
_.
y7
I
(c)
(c)
I
y7
I
(c)
(c)
10 I
I
... "
r,J
·~
l'I
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-
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~
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--
I y7
C:
y7
D:
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f#: (c)
B~:
I
_d_
(i)
13
12
y7
(c)
·~
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f:
I
(i)
""
·~
"
y7
,J
~
I
~
v
( i)
A~:
8
I
5
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(c)
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I
y7
D: (c)
I
11
Ek
I
... "· ...
,... -- _J_-
G:
4
3
y7 (c)
B: (i )
y7
I
(i)
(c)
14
v7
I
(c)
(i )
d:
g:
y7 (i)
(c)
15
y7
A:
y7
I
(c)
(c)
Student Workbook
Chapter 13
D. Notate the key signature and the V7 chord and then resolve it.
I
~,
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2 three parts
1 three parts I\
3
.
4
four parts
5
four parts
four parts
If
~
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-
L ,.
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v7
G:
d:
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101
102
E.
Tonal Harmony
Analyze the chords specified by this figured bass. Then make two harmonizations, one for SAB chorus and one for SATB chorus. 1
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4.
Haydn, Piano Sonata No. 30, I
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After you finish labeling all of the chords, complete the three-part reduction of mm. 86-92 that follows the excerpt. The neighbor figures in 16th notes in mm. 84-91 are NCTs, not the sevenths of chords.
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127
Student Workbook
Chapter 15
D. Continue this four-part elaboration of Example 15-1 9 (p. 238).
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129
130
F.
Tonal Harmony
Analyze the chords called for by the fig ured bass below. Remember that the figured bass symbols are part of the music, not part of the harmonic analysis, which should be written beneath it. Then continue the four-part realization of that fi gured bass. Note: Be sure to review pages 176-177 before proceeding. (Figures in the fifth measure added by the authors.)
•
Corelli, Concerto Grosso Op. 6, No. 12, V
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G. Analyze this figured bass and continue the realization, keeping the keyboard texture but following conventional partwriting procedures. Corelli, Concerto Gross, Op. 6 No. 9, "Preludio" Largo
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Chapter 15
131
132
I.
Tonal Harmony
The following is a simple note-against-note contrapuntal framework. Analyze the implied harmonies, then elaborate it into a passage containing several seventh chords. Use four parts or a free keyboard texture. Your final version might be complex, but the original framework should be retained. Include roman numerals and NCT analysis.
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Create a framework similar to Exercise I but in the minor mode. Be sure that it implies a good harmonic progression. Then create an elaboration that employs some of the seventh chords discussed in this chapter. If possible, score for a combination of instruments in your class.
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4.
Chapter 16
Label chords and NCTs. Ignore the grace notes in your harmonjc and NCT analysis; for example, the E~5 in m. I is an upper neighbor ornamented by the appoggiatura grace note. Comment on Chopin 's use of F# and fl in this excerpt. Where do they occur? Are they ever in conflict? The form of the excerpt is a (parallel/contrasting) (period/double period).
•
Chopin , Mazurka Op. 67 , No . 2
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140
Tonal Harmony
5.
Label chords and NCTs. What is the form of thi s excerpt? (Note: Measures 1- 2 are introductory.)
•
Beethoven, Quartet Op. 135, III Lento assai, cantante e tranquillo
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6.
•
Chapter 16
Label the chords with roman numeral s. Label NCTs in the solo bassoon part only. The note under the fermata in m. 49 represents a V chord. It was at this point that the soloist improvised a cadenza. The conductor waited until he heard the soloi st arrive at the G3 (often trilled) , at which point he would signal the orchestra to be ready for their entrance in m. 50. Mozart, Bassoon Concerto K. 191 , lI
141
142
Tonal Harmony
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Tonal Harmony
I.
Finish the analysis of the phrase below. This phrase is to serve as the a phrase of a longer theme you will compose. The theme will be in the form of a parallel double period. Include at least one secondary dominant.
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DARY FUNCTIONS 2
EXERCISE 17-1 A . Review how to spell secondary leading-tone chords (pp. 264-265). Then notate these secondary leading-tone chords in the specified inversion. Include key signatures. 1
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Tonal Harmony
150
B.
Label any chord that would be a secondary leading-tone chord according to the steps outlined on page 265. Label all others with an x.
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Student Workbook
Chapter 17
EXERCISE 17-2 \____.,,
A.
Analysis. 1.
In the brill iant and witty concluding passage below, Mozart combi nes the antecedent and consequent phrases from the beginning of the minuet (marked a and b in mm. 55- 58). a. Mark all occurrences of a and b. b. Find where the b phrase is used in imitation. c. Find inverted (upside dow n) statements of a and b. d. Find a place where origi nal and inverted statements of b occur si multaneously. e. Put ro man numerals in the blanks prov ided. NCTs are in parentheses. Mozart, String Quartet K. 464, II
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Chapter 18
Student Workbook
7.
169
This excerpt begins in AJ, and ends in g minor, modul ating thro ugh yet another key in the process. Label all chords, and label the NCTs in the vocal part. The German augmented sixth chord in m. 49 will be discussed in a later chapter.
•
Mozart, Marriage of Fi garo, K. 492, "Voi che sapete"
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170
Tonal Harmony
8. Label the chords with roman numerals. In an Alberti bass accompaniment, such as the left hand in this example, the bass note for each chord is usually considered to be the lowest note struck. So in m. 9 the only bass notes are D and C# .
•
Beethoven, Sonata Op. 10, No. 3, II
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Chapter 18
Student Wo rkbook
B. Fill in the name of the new key on the second line of each exercise.
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(12)
.. 6 115
v
17 1
172
Tonal Harmony
List the diatonic triads that could serve as common chords between each pair of keys . In minor keys, assume the usual chord qualities: i, ii 0 , III, iv, V, VI, vii 0 •
C.
ex. First key, C: Triads: Second key, G:
I
Ill
c
e
IV
YI
v
YI
G I
11
a
1. First key, E: Triads: Second key, f#:
2. First key, D ~: Triads: Second key, G ~:
3. First key, c: Triads: Second key, B ~:
4. First key, f: Triads: Second key, Ak
5. First key, B: Triads: Second key, F#:
6. First key, Ak Triads: Second key, B ~: D. Choose two of the progressions from Part B. Arrange one for SATB chorus and the other for SAB chorus. Activate the texture with NCTs and/or arpeggiations. Arrange the metric and rhythmic structure so that the last chord comes on a strong beat. Label chords and NCTs.
I
-. f\
I •
t t
• I
..
-.
L
\
I
.,
~
'"
. . ., f\
II
I
'
t
~
•
' ...
I
~--
\
,_
Student Workbook
E.
Harmonize the fo llowing chorale tunes for SATB chorus.
\...___,,
1.
I
ti .I.I
.
\I
..
,#{
~
Chapter 18
In the first phrase, modulate from i to III. The second phrase should return to i.
.
1•
I .....
I .....
-
-
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I
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ri
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I .....
I
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-
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I ,_ ,,.... - .. '
\
2. I
Modulate from I to vi in phrase 1. Return to I in phrase 2.
ti
- . ... '\J I
~
~
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94
'
I
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I
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189
190
Tonal Harmony
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55
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Student Workbook
3.
Chapter 2 1
Label the chords, circl ing the ro man numerals of any borrowed chords. Label the cadence ty pe.
•
Brahms, Symphony No. 3, Op. 90, II ~
pocorit.
~
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199
200
Tonal Harmony
4.
•
Schumann uses mode mixture in thi s passage to modulate from E to its minor dominant. Label all the chords and the common-chord modulation . Schumann, "Liebeslied," Op. 51 , No. 5
so
trau
rig
die
E:
ne
woh
net
mien
Freund
nur,
fpr
Chapter 21
Student Workbook
5.
In the passage below, Mozart uses mode mixture twice to move fro m E major to the very distant key of c minor and then uses mode mi xture twice more to return to E major. Label all chords, including the common-chord modulations fro m E to c and back. (Remember that the bass voice is always the lowest-sounding voice, so that the bass note in m. 22 1, for example, is the cello G, not the piano$.)
•
Mozart, Piano Trio K. 542, I
lf . - ,II
~
2 10
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201
202
Tonal Harmony
225
f-.-------
Student Workbook
6.
•
Chapter 21
This excerpt modulates from Al> to some other key and then back to Al>. Label all chords and NCTs . Schubert, Impromptu Op. 90, No. 1
203
204
Tonal Harmony
Student Workbook
Chapter 2 1
D. Part writing. Analyze the chords implied by the soprano/bass framework . Then fill in alto and tenor parts. Be sure to use the specified mode mixture.
1. Include a ii 0 l
- - -..,, ,,, .... ' ti ~ rf,_
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2. Include a iv6 and a ii"'j.
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205
Tonal Harmony
206
E.
I
The first two phrases of a chorale melody are given below. A bass line is included for the first phrase. Complete the four-part texture, including in the second phrase a modulation to B~ and a borrowed iv 6 chord. Label all chords and circle the roman numeral of the borrowed chord. Activate the texture with NCTs and/or arpeggiations.
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.
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Analyze the harmonies specified by the following fig ured bass and then make an arrangement for SATB chorus. This passage modulates.
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11
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6
4 2
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r q
Student Workbook
Chapter 21
G. Arrange the first modulation below for SAB chorus and the second one for SATB chorus. Activate the textures with NCTs and/or arpeggiations. Arrange the metric and rhythmic structure so that the last chord comes on a strong beat. Label chords and NCTs.
1.
D:
v
16
vi
~ F.
116
y4 2
16
y6;y
5
I~
v
~
v
2.
F:
0
vii ~
16
y6
5
0
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i6
iv
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v
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I
' \
207
208
Tonal Harmony
I
I
I \
H. Use the framework below as the basis for the beginning of a passage that starts in F major and modulates to D~ major by means of mode mixture. Score for piano or for some combination of instruments in your class.
I
l
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~ L
\
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- -...
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I
- -
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r-
APOLITAN CHORD
EXERCISE 22-1 A. Label each chord. Include inversions, if appropriate. 1
F:
6
D:
2
3
4
b~:
D:
c:
7
9
8
E:
5
d:
e:
10
flt:
A~:
209
210
Tonal Harmony
B. Notate each chord. Include key signatures.
1
'
a:
3
4
5
llllR
11&
119:
11&
N6
6
~: B~:
2
v4 3rII
f:
N
B ~:
··..4 II
A:
2
vii"'7!lv
c#:
7
8
9
10
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llllR
119:
g:
vii 0 6tv
G:
N6
Ek
~Ill
b:
II N6
II N6
Student Workbook
C.
Analysis. 1.
•
Chopin, Prelude Op. 28, No. 20
2. •
d:
Label chords and NCTs.
Label the chords in tills excerpt. Beethoven, Sonata Op. 27, No. 2, I
Chapter 22
211
Tonal Harmony
212
3.
•
Label the chords in thi s excerpt. Where does the most unusual progression occur? (Don ' t let Beethoven's interesting use of 6 and 7 in mm. 1-3 confuse you-there is really just one chord in these three measures.) Beethoven, Violin Sonata, Op. 47, II, Variation 3
~.
*
Chapter 22
Student Workbook
4. This beautiful and moving theme illustrates the expressive power of the Neapolitan chord. Label all the chords and NCTs. The B# in m. 6 is not a chord tone but instead delays the arrival of C#. By the time the C# arrives, however, the harmony has moved on. Does something similar happen in m. 8, or is the A# a chord tone? Be sure to listen to or play this example. Mozart, Piano Concerto, K. 488, II
•
f\ .I.I
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2 13
Tonal Harmony
2 14
5.
At this point in Schubert's famous "Erlkonig," the evil personality of the title character is finally expressed, with the help of the Neapolitan triad. Label the chords.
• fl ,.
Schubert, "Erlkonig," Op. I
11 3
11 5
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Student Workbook
6.
• I\
At the end of the song, the father's fra ntic ride comes to an end, and we hear the Neapolitan again . Label the chords .
acce/erando 134
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v
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2 15
Schubert, "Erlkoni g," Op. I
... "
I
II
Chapter 22
.... I
..-= -
'
Tonal Harmony
216
7.
•
Mode mixture is involved in thi s excerpt in modulations to the key of the Neapolitan and back again. Label all chords, including common chords for both modulations. Beethoven, Rondo, Op. 51 , No. I
105
Ta r
dan
C:
J J
y7
Chapter 22
Student Workbook
D. For each exercise, provide the correct key signature and notate the specified chords preceding and following the N6 . Use the given three- or four-part texture in each case. 2
1
fl
3
.-
I
--
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v
iv
e:
c:
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d:
E.
d:
v
c#: VI
g:
iv
f: y7/N
Analyze the harmonies implied by the soprano/bass framework. Then fill in inner voices to make a fo ur-part texture. Each exercise should contain a Neapolitan chord.
b:
N
y7
217
Tonal Harmony
2 18
3
c:
F.
Analyze the chords specified by thi s figured bass and then make an arrangement for SATB chorus.
- .. •fl ,.
~
' J
'J
..i
• • Ill
,_ I
- -- -I
'-,.I/If -
-..... i
1•
'
....
I
....
I
I
6
-
I
-IL
'l ' I
I
-
~
r
I
6q
.
G. Make settings of the following progressions for three or fo ur parts, as specified. Arrange the rhythm ic/metric scheme so that the final chord of each progression comes on a strong beat. Activate the texture with arpegg iations and/or NCTs.
1.
(4 parts)
O ' O '
v
2.
(3 parts)
e:
V~/iv
3.
(4 parts)
E~:
I6
VI
v4
2
vi
ii
v
I6
~
vi i0 7tv
·6
v7 14 ~ v
4.
(3 parts)
b:
v
VI
·6
N6
I ~ v6
s
v
Student Workbook
H. Use the framework below as the first phrase of a three-phrase excerpt having the following structure:
HC
b:
-'V\..r-
HC
f#:
PAC
Phrase 2 modulates to f# minor. Phrase 3 remains in f# minor and contains a Neapolitan triad. After completing the framework, make a more elaborate version for piano or for some combination of instruments in your class.
I
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219
220
I.
Tonal Harmony
Make a setting of the following text or another text of your choice for three-part chorus. Include in your setting examples of the following: Neapolitan triad Mode mixture Common-chord modulation Your composition should begin and end in the same key. Be sure to include a harmonic analysis. A storm of white petals, Buds throwing open baby fists Into hands of broad flowers. -From "The Year," in Cornhuskers by Carl Sandburg, copyright 1918 by Holt, Rinehart and Winston, Inc.; renewed 1946 by Carl Sandburg. Reprinted by permission of Harcourt Brace & Company.
EXERCISE 23-1 A. For each exercise below, provide the key signature, and then notate #4 to 5 on the top staff and 6 to 5 (or, in major, ~6 to S) on the bottom staff. Finally, show an analysis of the implied chords as in the example.
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222
Tonal H armony
B. Label each chord, using inversion sy mbol s where appropri ate.
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228
Tonal Harmony
5.
•
Thi s excerpt modulates to the dominant, passing through another key on the way. The first chord in m. 8 is spelled enharmonically (imagine a Gq instead of the Fx). Be sure to analyze a chord on beat 2 of m. 8. Schumann, Tragodie, Op. 136, No . 3
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6. \.__,, •
Chapter 23
The slow tempo of this theme allows some measures to contain several chords. In the first measure, for example, each bass note is harmonized by a new chord, with the exception of the B2. Discuss the various uses of the pitch class G#I AJ, in this excerpt. Beethoven, String Trio Op. 9, No. 3, II
Adagio con espressione
229
230
Tonal Harmony
Chapter 23
Student Workbook
E.
Supply the missing voices for each fragme nt below. All are four-part textures.
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Chapter 26
255
6. This fa miliar excerpt is easier to li sten to than to analyze. The transpositions do not make the analysis any easier-clarinets in A and horns in F-nor do the fo ur clefs in use. Do your best with the score (after all , conductors face thi s sort of problem every day), then check your work with the piano reduction that fo llows the excerpt. •
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7.
The chord in m. 4 should be analyzed in two ways: the way in which we ex pect it to resolve when we fi rst hear it and the way it actuall y fu nctions. Schubert, Schwanengesang, " Kriegers Ahnung"
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257
Tonal Harmony
258
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This excerpt ends with an enharmonic modulation leading to a cadence that implies the key of e, although it is not confirmed by the following phrase. Schubert, String Quintet, I (piano reduction)
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9.
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Label with roman numerals the two chords in this excerpt that are the most important structurall y. The other chords are simultaneities connecting the structural chords. Label their roots. If any of these chords imply fleeting tonicizations, indicate this with roman numeral s. The chord in m. 2 could be heard as a g triad with raised and lowered 5th (G-Bi>-Di>-D#) because the FJ, ascends chromatically to E, as we would expect D# to do. Find another chord in this passage that could be interpreted similarly. Wagner, Siegfried, Act I (piano-vocal score)
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Tonal Harmony
10. In some ways this excerpt pushes traditional harmony toward its limits, especially th rough its disregard fo r conventional resolutions of di ssonance. Nevertheless, the entire passage can be analyzed reasonably well in traditional terms. Label all the chords. Which portion of the excerpt is the most unconventional in terms of disso nance treatment? •
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Part VI Late Roman6dsm and the Twen6eth Century
TON~
HARMONY IN THE LATE NINETEENTH CENTURY
EXERCISE 27-1 A.
Examine the first twenty-five measures of the opening of Tannhiiuser; given below, and do the following: 1.
The opening eight measures show rather traditional harmonic function. Analyze these measures, using roman numerals (do all work on the music).
2.
The following eight measures, which may also be analyzed with roman numeral s, show less traditional harmonic movement. Cite at least three instances in which this is true (show measure number). a. b.
c. 3.
Analyze the sequence that begins at m. 17 and continues through m. 21.
m . 17
m. 18
m. 20
m. 19
m. 21
Use pop symbols, roman numerals, or a mixture of both , whichever seems appropriate. Circle those chords that are most strongly tonicized. How is such tonicization accompli shed ? •
Wag ner, Tannhi:iuser; Prelude to Act I (piano reduction) Andante maestoso
3
261
262
Tonal Harmony
Student Workbook
B.
Chapter 27
263
Analyze the fo ll owing chromatic seq uences, then continue each as indicated.
II
II Select one of the above sequence patterns to serve as the basis fo r a piano composition. You might want to create a melody over the background of block chords or perhaps modify the texture of the harmonies themselves. Nonessential or embell ishing chords may be inserted within the seq uence for the purpose of color. C.
Continue the fo llowing sequences as indicated. Then select one to serve as the harmonic basis for a piano or vocal compositi= E.
Chapter 28
II
A-Phryg ian
II
F#-Aeolian
II':
II
Notate the fo llow ing pentatonic scales and hybrid modes starting on the pitch indicated. Be sure to include the octave-related pitch.
Major pentatonic
Maj or pentatonic
'u Hirajoshi pentatonic
II Lydian/Mixolydian
'u Lydian/Mixolydian
II Phrygian/Dorian
II
Tonal Harmony
282
F.
Notate the following synthetic scales starting on the pitch indicated. Be sure to include the octave-related pitch.
Whole-tone
Octatonic (half-whole)
II Who le-tone
Octatonic (half-whole)
II Half-step/ minor third
Octatonic (half-whole)
II G.
Add the appropriate accidentals (or delete the appropriate notes) to create the scale indicated. You may choose a starting pitch of B or m.
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Chapter 28
283
H. Identify the scale used in the following passages.
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284
• 4
Tonal Harmony
Student Workbook
I.
Analysis. The following examples represent three versions of the principal tune from Debussy's "Fetes." For each, identify the scale being used . Debussy's "Fetes," from Nocturnes (piano reduction) Animato e deciso
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*
Used by permission of Edward 8. Marks Music Co.
Chapter 28
285
286
Tonal Harmony
mm. 29-32
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Student Workbook
J.
Chapter 28
287
Composition. Compose pieces according to the following specifications: Using the major pentatonic scale m -C-D-F-G-m as a basis, compose five brief melodies, each of which in turn establishes the indicated tone as a tone center. (Hint: D is tough. Why?)
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288
Tonal Harmony
Create a melody based on the octatonic scale that emphasizes major and minor 3rds. Carefully use rhythmic interest to create an exciting melody.
6
Student Workbook
Create a two-voice composition based on a whole-tone scale. You might want to create a symmetrical relationship between the two voices or perhaps treat them imitatively. If your composition is for piano, experiment with the wide range of the keyboard.
\__...
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Chapter 28
289
Chapter 28
Student Workbook
291
EXERCISE 28-2 \__
A. Describe the structure of the chords shown below by providing the correct symbol: use the symbol "Q" for quartal/quintal chords, "S" for secundal chords, and lead sheet symbols for tertian sonorities and polychords. 2
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2
3
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292
Tonal Harmony
Describe the types of vertical sonorities found in the following examples as tertian, polychord, quartal, quintal, or added-note .
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294
D. Complete the following passages using chromatic planing, or strict parallelism. That is, use the given initial sonority to create a passage where all voices move in the same direction by the same interval.
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Student Workbook
Chapter 28
E. Complete the following passages using diatonic planing. That is, use the given initial sonority to create a passage where all voices move in the same direction by the same diatonic interval within the key signature indicated. 1
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30 I
302
Tonal Harmony
B. Analysis. Comment on the rhythmic and metric devices employed in the following excerpts.
Student Workbook
Chapter 28
Stravinsky, "Danse de la fo ire," from Petrouchka (piano reduction) Stringendo
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303
Tonal Harmony
304
C.
Composition . Compose a piece according to one of the fo llowi ng specifi cations: 1.
Create a polyrhythmic composition for two percuss ion ists. Use any two li ke non-pitched percussion instruments (claves, cowbell s, hand-claps, etc.).
2.
Create a composition for any two instruments that feat ures a passage based on poly meter.
3.
Create a melody that utilizes two or more of the fo llowing rhythmic devices : added value, asymmetric meter, displaced accent, metric modulation , mixed meter, or nonretrogradable rhythm .
Student Workbook
Chapter 28
305
EXERCISE 28-4 \____,
A. First notate each pitch-class (pc) set on the staff provided (i.e., using staff notation). Then determine each pc set's normal order and prime form. (Use the space indicated on the staff as a workspace for your calculations.)
1
PC Set: (A,E,Eb)
2
PC Set: (D,A,F#)
STAFF NOTATION WORKSPACE
' 3
5
Normal order: [ _,_ ,_] Prime form: (
Prime form: (
4
___ )
PC Set: (D,E,A,G)
II
11& Normal order: [ _,_ ,_) Prime form: (
Normal order: [ _,_ ,_ ,_ ]
___ )
Prime fo rm: (
6
PC Set: (Bb,A,C,B)
'
Normal order: [ _,_ ,_]
___ )
PC Set: (C#,G#,D#)
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____ )
PC Set: (G,F,Eb,D)
II
11& Normal order: [_,_,_ ,_) Prime form : (
____ )
Normal order: [ _ ,_ ,_ ,_] Prime form: (
____ )
306
Tonal Harmony
B. For each of the following sonorities (trichords and tetrachords), provide the normal order, prime form, Forte name and interval class (ic) vector.
2
4
3
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( ____ )
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.
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Student Workbook
C. "-----'
Chapter 28
Analysis. from ritual to romance for solo piano by Reginald Bain, 1st movement, mm. 1-8, which follows, opens with an atonal passage. Try to play the example and then answer the following questions: 1.
Determine the normal order of the initial four-note melodic gesture (C,C#,G,F#). To what set class does this pc set belong? Normal order:[_,_,_, _) Belongs to set class: 4-_ ( _ _ _ _ )
2.
Find two other melodic instances of this set class in the passage. Circle these occurrences on the score and mark them with the appropriate Forte name.
3. The three-note melodic cell (G,F#,m) plays an important role in this introductory passage. Determine this pitch-class set's normal order. To what set class does it belong? Normal order:[_,_, _) Belongs to set class: 3-_ ( _ _ _ ) 4.
Find four instances of this set class in m. 6. Circle them on the score and mark them with the appropriate Forte name.
5. Determine the normal order of the chord (B,E,m) in the right hand, m. 2. To what set class does this pc set belong? Normal order:[_,_, _) Belongs to set class: 3-_ ( _ _ _ )
6.
Find another instance of this set class in the right hand. Circle it on the score and mark it with the appropriate Forte name.
7.
To what interval class does the left hand gesture in m. 2 belong? ic _ Is this interval class prominently featured in the set classes you identified above? Yes/No (circle one)
8.
A new set class begins to play an important role in m. 5. Two occurrences may be found in the. right hand melody, mm. 5-6. What set class is it? Set class: 3-_ ( _ _ _ )
In the melody mm. 5-6, circle both occurrences and mark them with the appropriate Forte name.
307
308
Tonal Harmony
Bain, from ritual to romance, 1st movement, mm. 1-8 With great intensity (~ =ca. 66-72) f reely, 111.olro espr.
a tempo
poco rit.
mp
poco accel. _____________ ri t. ____________ _
4
mp
7
Homage to AS
f sub. 3 vb - - - - - - - - -'
© 1985 Reginald Bai n, BMI All ri ghts reserved
Student Workbook
Chapter 28
D. Composition. Compose a piece according to one of the fo llowing spec ifications:
1. Create a melody that begins with a statement of set class 3-1 (012) and goes on to emphasize the fo llow ing interval classes: ic2 (e.g., M2 or m7), ic l (e.g., m2 or M7) and ic5 (e.g. , P4 or PS).
2.
Create a compos iti on for piano that is based on two harmonic cells and two melod ic cell s. For example, you might choose set classes 3-9 (027) and 3-7 (025) for your harmonic cell s and ic I and ic2 for your melodic cell s.
309
310
Tonal Harmony
EXERCISE 28-5 A. The series given below forms the basis for Berg's Lyric Suite. Notate the Io form on the staff provided, then complete the 12 X 12 matrix. Label the series forms using the blanks provided. Po 0
&
II
Ii
0
II
II
0
lo
&
II
II
Io Ro
Po
-Rio
t
Student Workbook
Chapter 28
311
B. Answer the following questions about the series from Berg's Lyric Suite. 1.
In the fo llowing trichordal segmentation of the series, identify the set class to which each discrete trichord belongs by providing its Forte name and prime form. 0
0
II
II
0
3-_ ( _ _ _ )
2.
3-_( _ _ _ )
In the following tetrachordal segmentation of the series, identify the set class to which each discrete tetrachord belongs by providing its Forte name and prime form .
II
0
''
0
4-_ ( _ _ _ _ ) 3.
3-_ ( _ _ _ )
3-_ ( _ _ _ )
II
4- _ ( _ _ _ _ )
4-_ ( _ _ _ _ )
Determine the normal order of the two discrete hexachords. 1st Hexachord Normal order:[_,_,_,_ , _ ,_ ]
2nd Hexachord [_, _,_, _,_, _]
From what scale do the two hexachords appear to be derived? The _ __ _ __ _ scale.
4.
Examine the intervallic structure of the series by filling in the blanks to indicate the number of semitones up to the next pitch class. For example, F-E is up 11 semitones. 0 II
0
II
II
0
II
What is interesting about the intervallic structure of thi s series? _ _ _ _ _ _ _ _ _ _ _ _ __
II
312
Tonal Harmony
c. 1. Notate the Is and R3 seri es for ms on the staves provided. The first note has been done for yo u. Po
&
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go
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2. Mi rro r (invert) the intervals.
3. Transpose a m3 higher.
4. T ranspose the retrograde a P4 higher.
5. Mirror (invert) the retrograde.
R3
Ii
6. Which of the above is not a twelve-tone series? - - -- - - - - - - -
Student Workbook
Chapter 28
D.
Analysis
1.
" Full Moon" by Otto Joachim is based on a 12-tone series. It employs a single series form that we will call P0 . First, identify the series and notate it (using the treble clef) on the staff provided below. (Hint: The series is presented for the first time in mm . 1-3. The order of the pitch classes in m. 3 is H-m-rn-rn.)
Order numbers:
3
2
5
4
6
8
7
9
10
11
Now trace the presentation of the series in mm. 1-24 by marking series forms (remember, the piece only employs P0 ) and order numbers ( 1-12) on the score .
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from Twelve 12-Tone Pieces.for Children © Copyright 196 1 by BM! Canada Ltd . Copyright assigned 1969 to Berandol Music Ltd. Scarborough.
12
313
3 14
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Tonal Harmony
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