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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

7 \

I S~

' ~.

(

I\

S 7 < r

SJ

I

S

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=

3rd m7

10

9

8

11&

4

3

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e

11&

5th "'7

11

lz1 I 11:>= 3rd M7

5

ff 11 5th m7

12 e 3rd m7

llllR

11&

II

11&

3rd Mm7

13 e 5th 07

7

6

119:

lz1 I 7th "'7

14

#11 11& root m7

119: ~e

II

root M7

15 e 7th "'7

11:>=

e 5th 07

II

Chapter 3

Student Workbook

EXERCISE 3-3 \._,I

A. Identify the root and type of each chord and show the correct inversion symbol. 1

2

3

4

5

6

7

8

Root Type Inversion symbol

9

10

11

12

13

14

15

16

&D.

'

,J

~

£. , .

7 ~· ,..__

6

f\

f

.,.. -!'-

Root Type Inversion symbol

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i I

-

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,,

.

. _..,

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..

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-·

....-

9 I

.-.,.

~

-

8 ~-

v

-

_.

~

--

•

••

-I -....I

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

---- ---

- - - - - --

--

---- ---

----- --

--

---- ---

---- --

--

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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27

28

Tonal Harmony

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lie

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Student Workbook

•

3.

Gottschalk, "Jerusalem"

sva

sva sva

::! I\ ,,,

.

I


I

Root Type Inversion symbol

1

sva

4

sva

A

y

y

y

y

y

5

6

7

8

9

Root Type In vers ion sy mbol

29

DI IC CHORDS IN MA OR AND MINOR KEYS

EXERCISE 4-1 A. Given the key and the triad, supply the roman numeral. Be sure your roman numeral is of the correct type (uppercase or lowercase). Inversion symbols, where required, go to the upper right of the roman numeral (as in I6 ). eL 1 2 3 4 5 6

Ak

vii 0

Eb:

8

9

' .u

llfJ:llll

A:

10

c#:

E:

f#:

11

g:

12

F:

13

7

c:

G:

14

.

15

11@ jj ii:>= ,,kl} 11 & &~0 11 l R h 11 & Dl2 11:>= Bii II Bk

g:

c:

Dk

E:

f#:

B. In the exercise below you are given the name of a key and a scale degree number (in parentheses). Without using key signatures, notate the triad on that scale degree and provide the roman numeral. In minor keys be sure to use the triad types circled in Example 4-7 (p. 61).

ex.

,~ll

e~:

'III

(6)

8

\___,;

1

2

3

4

11:1:

11@

119:

11&

5

6

7

11:1:

11118

11:1:

e:

F:

(6)

(3)

a~ :

C~:

G:

c:

F#:

(:2)

(7)

(7)

(3)

(:2)

-

9

10

11

12

11:1:

11@

llllR

119:

f:

C#:

g#:

m:

f#:

Bk

D:

Ek

(7)

(3)

(6)

(4)

(.S)

(:2)

(6)

(7)

'

13

11&

14

15

119:

11@

II

II 31

32

C. •

Tonal Harmony

Analysis. Write roman numerals in the spaces provided, making sure each roman numeral is of the correct type and includes an inversion symbol if necessary. 1.

Handel, "Wenn mein Stiindlein vorhanden ist"

B~:

1

•

2.

2

3

4

5

6

7

8

7

8

Handel , "Wenn mein Stiindlein vorhanden ist"

Bk

I

1

2

3

4

5

6

D. Fill in the blanks, using the example as a model.

Key

This chord

Has this bass note

E

ex.

c

J6

1.

a

v6 JV6

2. 3.

d

4.

B

6.

ji06 -6 4 .6 14

5. F

c

viio6

C# D

Chapter 4

Student Workbook

33

EXERCISE 4-2 \.__..; A. Given the key and the seventh chord, provide the roman numeral. Be sure your roman numeral is the correct type and includes an inversion symbol if necessary.

ex.

1

2

3

4

5

6

7

$ nB llfl=g. 11$ niU llfl=~tB 11$ ~! W•a llllR~B llfl=~bJt II

a:

vii 0 7

8

G:

9

c#:

f:

10

11

B~:

12

e:

Ak

g:

13

14

15

$Jtt! llfl=•IB 11$~4! W•B 11$&•fi llllBndf 11$&B llfl=•B 1 E:

d:

F:

A:

c:

b:

D:

B. In the exercis.es below you are given the name of a key and a scale degree number (in parentheses). Without using key signatures, notate the seventh chord on that scale degree in root position and provide the roman numeral. In minor keys, be sure to use the chord types shown in Example 4-9 (p. 65).

ex.

1

2

3

4

5

6

7

$#1

11:>=

llllB

11:1=

11$

119:

11$

11:>=

Bk

F:

b:

f#:

A:

g:

D:

(4)

(i)

(3)

(2)

(7)

(7)

(6)

G:

iii7

(3)

8

9

10

11

12

13

14

15

'

119:

11$

119:

11$

llllB

11$

11:1:

c:

E:

G:

Ek

c#:

f:

e:

Ak

(i)

(4)

(2)

(3)

(S)

(S)

(2)

(6)

\

II

II

34

Tonal Harmony

C. Analysis. Put roman numerals in the spaces provided, making sure each roman

numeral is of the correct type and includes an inversion symbol, if needed . •

1.

Beethoven, "Variations on a Theme" by Paisiello

•

2.

Brahms, "Minnelied," Op. 44, No. 1 Con moto

Soprano I

se

Ii - gen

son - der

Wank

Soprano II

·~ Alto I

Alto II

I

I

Part II [PLES OF VOICE LEADING

EXERCISE 5-1 A. Criticize each melody in terms of the rules for simple melodies discussed on pages 71-72. 1

@~II J J J F:

v

I

1 IJ IV

J

r

Ij

r

-

II

IV

-

2

@ti " e:

a r a a a 1 ttJ a r r ~ 1

V

-

1

V

i

V

iv

11

V

3

@ti" 11 J D:

rrr rr 1

IV

v

V

J

a J -

-

IV

1

11

B. Compose simple melodies that will conform to these progressions. 1

II Bk

IV

V

vi

IV

ii

v

35

36

Tonal Harmony

2

'& I

d:

II v

v

iv

VI

v

iv

3

,~ G:

I

II iii

IV

v

IV

v

Student Workbook

EXERCISE 5-2 A. Analyze the excerpt below, using roman numerals. Then show beneath each roman numeral the structure of the chord by writing "C" or "O" for close or open structure. The notes in parentheses are not part of the chord and should be ignored for the purpose of harmonic analysis. •

A:

B.

Schumann, "Roundelay," Op. 68, No. 22

'1)7

Review the two conventions concerning spacing on pages 74-75. Then point out in the example below any places where those conventions are not followed.

Chapter 5

37

Tonal Harmony

38

Fill in the circled missing inner voice(s) to complete each root position triad, being sure that each note of the triad is represented. Follow the spacing conventions and stay within the range of each vocal part.

C.

1 I

~

0

~

"· "

~

B

-

I

,...

_,.

I

,,

" 11

n

"_,....

T

iv

ii

-

,_

~

7 ~

I

-

r,J

J

.,;

0B l .

L '-•Ill • • Jiii

..

,,

I

8

...

_,

-

I

I

....v "

v

~

n

-I-

~

\

I

G:

IV

m:

v

e:

v

D:

b:

6

...,

~

"

II

0 I

,_

.... "·

.-

I

..-

-

,,

....v

5

s

.. --

4

d:

f\

4

I

~

I

-, . -

s

3

2 _,I

f\

.

-_, '",,

~

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\

'

2

_,I

4

Close

... ' · I

-

"

Close ~

I

""

" -_, ~

,,

.,;

.L.

... .. .

"'

v

,I

,#(

..

IJ

,

'

~

I

F:

II

5 Open ) f\ I

,... ...

....v

~

11

A:

6

vi

LL

IJ

v

c:

7

Open

-

~

~

v

I ,,

~

-"'

....v "

"

VI

Open

-H

I,, ,,

D:

8

Close

I

_,

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 ·~

~

~

I

_J_

.. . - -

- ....

,_

I

,_

_,

r-

r,J r ,J r,J

_J

,_

r,J

-

I 2

I -- I

I

6

II

r,J

r,J

I

I

_J

J

- -

,_

,_

I

I

n

--,_I --I -

I

j •J

three parts

fl ,a

II

•' ,,

h v

r,J

~

- ....

I _,

-

I r ,J r,J

I n

~

6

-I

--

-

--I

r ,J

J ,_-

,_

,_

•J

I

I

r,J

v

I n

-

~

I

I

-P-

j r ,J

-

•J

I •J

,_

I

--6-

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'

Eb:

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\

I

I

"

I

r-""

I

~

I

I \

,... .. ·~ ... ,

-

I

v

' J

9-

!i-

--

n

---.

-

-·

- • .-... - • -

r-'"

, ,

I

..,

11

Tl

mo• -

-,

·~

-

--.ie -

--- -.--- -~

..-1-• - .-i• -

~· ~

")

I _,

-··- ..,"' -·- I

~

r.

I

,...I

r~•

••

-

~

.....

-

-

I

,...-

I

I

I

r~

r~•

-·

,_

-

~

I

I

I

I I

• I \

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

~

\I #.

""

, ~

-

I

I

I

v

~

·~

I

I

9

r,J

_.

y7

I

(c)

(c)

I

y7

I

(c)

(c)

10 I

I

... "

r,J

·~

l'I

_J ,_

-

~

. ~

"

~

_d_

--

I y7

C:

y7

D:

(c)

f#: (c)

B~:

I

_d_

(i)

13

12

y7

(c)

·~

"

f:

I

(i)

""

·~

"

y7

,J

~

I

~

v

( i)

A~:

8

I

5

(i)

(c)

~

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

~,

~l

2 three parts

1 three parts I\

3

.

4

four parts

5

four parts

four parts

If

~

..

-

L ,.

\

v7

G:

d:

v7

E:

v7 (c)

6 I

~,

7

three parts

8

three parts

A~: v7

I (i)

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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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Chapter 15

D. Continue this four-part elaboration of Example 15-1 9 (p. 238).

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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.)

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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).

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Tonal Harmony

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Label chords and NCTs. What is the form of thi s excerpt? (Note: Measures 1- 2 are introductory.)

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6.

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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

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Tonal Harmony

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Finish the analysis of the phrase below. This phrase is to serve as the a phrase of a longer theme you will compose. The theme will be in the form of a parallel double period. Include at least one secondary dominant.

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EXERCISE 17-1 A . Review how to spell secondary leading-tone chords (pp. 264-265). Then notate these secondary leading-tone chords in the specified inversion. Include key signatures. 1

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Tonal Harmony

150

B.

Label any chord that would be a secondary leading-tone chord according to the steps outlined on page 265. Label all others with an x.

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Chapter 17

EXERCISE 17-2 \____.,,

A.

Analysis. 1.

In the brill iant and witty concluding passage below, Mozart combi nes the antecedent and consequent phrases from the beginning of the minuet (marked a and b in mm. 55- 58). a. Mark all occurrences of a and b. b. Find where the b phrase is used in imitation. c. Find inverted (upside dow n) statements of a and b. d. Find a place where origi nal and inverted statements of b occur si multaneously. e. Put ro man numerals in the blanks prov ided. NCTs are in parentheses. Mozart, String Quartet K. 464, II

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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# .

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Beethoven, Sonata Op. 10, No. 3, II

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Chapter 18

Student Wo rkbook

B. Fill in the name of the new key on the second line of each exercise.

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172

Tonal Harmony

List the diatonic triads that could serve as common chords between each pair of keys . In minor keys, assume the usual chord qualities: i, ii 0 , III, iv, V, VI, vii 0 •

C.

ex. First key, C: Triads: Second key, G:

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

~

•

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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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-

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2. I

Modulate from I to vi in phrase 1. Return to I in phrase 2.

ti

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94

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189

190

Tonal Harmony

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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

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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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F.

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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

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v

2.

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I

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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 ~:

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A:

2

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c#:

7

8

9

10

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11:>=

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119:

g:

vii 0 6tv

G:

N6

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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

•

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v

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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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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I

v

iv

e:

c:

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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

I\

~

\I II

l1f

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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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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

8.

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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.

•

Label with roman numerals the two chords in this excerpt that are the most important structurall y. The other chords are simultaneities connecting the structural chords. Label their roots. If any of these chords imply fleeting tonicizations, indicate this with roman numeral s. The chord in m. 2 could be heard as a g triad with raised and lowered 5th (G-Bi>-Di>-D#) because the FJ, ascends chromatically to E, as we would expect D# to do. Find another chord in this passage that could be interpreted similarly. Wagner, Siegfried, Act I (piano-vocal score)

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Tonal Harmony

10. In some ways this excerpt pushes traditional harmony toward its limits, especially th rough its disregard fo r conventional resolutions of di ssonance. Nevertheless, the entire passage can be analyzed reasonably well in traditional terms. Label all the chords. Which portion of the excerpt is the most unconventional in terms of disso nance treatment? •

Grieg, "The Mountain Maid," Op. 67, No. 2

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Part VI Late Roman6dsm and the Twen6eth Century

TON~

HARMONY IN THE LATE NINETEENTH CENTURY

EXERCISE 27-1 A.

Examine the first twenty-five measures of the opening of Tannhiiuser; given below, and do the following: 1.

The opening eight measures show rather traditional harmonic function. Analyze these measures, using roman numerals (do all work on the music).

2.

The following eight measures, which may also be analyzed with roman numeral s, show less traditional harmonic movement. Cite at least three instances in which this is true (show measure number). a. b.

c. 3.

Analyze the sequence that begins at m. 17 and continues through m. 21.

m . 17

m. 18

m. 20

m. 19

m. 21

Use pop symbols, roman numerals, or a mixture of both , whichever seems appropriate. Circle those chords that are most strongly tonicized. How is such tonicization accompli shed ? •

Wag ner, Tannhi:iuser; Prelude to Act I (piano reduction) Andante maestoso

3

261

262

Tonal Harmony

Student Workbook

B.

Chapter 27

263

Analyze the fo ll owing chromatic seq uences, then continue each as indicated.

II

II Select one of the above sequence patterns to serve as the basis fo r a piano composition. You might want to create a melody over the background of block chords or perhaps modify the texture of the harmonies themselves. Nonessential or embell ishing chords may be inserted within the seq uence for the purpose of color. C.

Continue the fo llowing sequences as indicated. Then select one to serve as the harmonic basis for a piano or vocal compositi= 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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Student Workbook

Chapter 28

283

H. Identify the scale used in the following passages.

II

• •

284

• 4

Tonal Harmony

Student Workbook

I.

Analysis. The following examples represent three versions of the principal tune from Debussy's "Fetes." For each, identify the scale being used . Debussy's "Fetes," from Nocturnes (piano reduction) Animato e deciso

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*

Used by permission of Edward 8. Marks Music Co.

Chapter 28

285

286

Tonal Harmony

mm. 29-32

p

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scale: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

Student Workbook

J.

Chapter 28

287

Composition. Compose pieces according to the following specifications: Using the major pentatonic scale m -C-D-F-G-m as a basis, compose five brief melodies, each of which in turn establishes the indicated tone as a tone center. (Hint: D is tough. Why?)

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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.

\__...

7

Chapter 28

289

Chapter 28

Student Workbook

291

EXERCISE 28-2 \__

A. Describe the structure of the chords shown below by providing the correct symbol: use the symbol "Q" for quartal/quintal chords, "S" for secundal chords, and lead sheet symbols for tertian sonorities and polychords. 2

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2

3

4

5

6

7

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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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Tonal Harmony

294

D. Complete the following passages using chromatic planing, or strict parallelism. That is, use the given initial sonority to create a passage where all voices move in the same direction by the same interval.

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Student Workbook

Chapter 28

E. Complete the following passages using diatonic planing. That is, use the given initial sonority to create a passage where all voices move in the same direction by the same diatonic interval within the key signature indicated. 1

ti.

I\

- .......'· -uo

r-

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ti ,,,.I.I ,,#

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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

J =J=46

'fro.

.

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303

Tonal Harmony

304

C.

Composition . Compose a piece according to one of the fo llowi ng specifi cations: 1.

Create a polyrhythmic composition for two percuss ion ists. Use any two li ke non-pitched percussion instruments (claves, cowbell s, hand-claps, etc.).

2.

Create a composition for any two instruments that feat ures a passage based on poly meter.

3.

Create a melody that utilizes two or more of the fo llowing rhythmic devices : added value, asymmetric meter, displaced accent, metric modulation , mixed meter, or nonretrogradable rhythm .

Student Workbook

Chapter 28

305

EXERCISE 28-4 \____,

A. First notate each pitch-class (pc) set on the staff provided (i.e., using staff notation). Then determine each pc set's normal order and prime form. (Use the space indicated on the staff as a workspace for your calculations.)

1

PC Set: (A,E,Eb)

2

PC Set: (D,A,F#)

STAFF NOTATION WORKSPACE

' 3

5

Normal order: [ _,_ ,_] Prime form: (

Prime form: (

4

___ )

PC Set: (D,E,A,G)

II

11& Normal order: [ _,_ ,_) Prime form: (

Normal order: [ _,_ ,_ ,_ ]

___ )

Prime fo rm: (

6

PC Set: (Bb,A,C,B)

'

Normal order: [ _,_ ,_]

___ )

PC Set: (C#,G#,D#)

'

II

11&

____ )

PC Set: (G,F,Eb,D)

II

11& Normal order: [_,_,_ ,_) Prime form : (

____ )

Normal order: [ _ ,_ ,_ ,_] Prime form: (

____ )

306

Tonal Harmony

B. For each of the following sonorities (trichords and tetrachords), provide the normal order, prime form, Forte name and interval class (ic) vector.

2

4

3

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•

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[_,_ ,_ ,_]

Forte name/Prime form:

3-_

( ___ )

3-_

( ___ )

4-_

3- _ ( _ _ _ )

( ____ )

IC Vector:

5

.

6

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4- _ ( _ _ _ _ ) IC Vector: - - - - - -

4- _

( ____ )

------

4- _ ( _ _ _ _ )

4- _

( ____ )

Student Workbook

C. "-----'

Chapter 28

Analysis. from ritual to romance for solo piano by Reginald Bain, 1st movement, mm. 1-8, which follows, opens with an atonal passage. Try to play the example and then answer the following questions: 1.

Determine the normal order of the initial four-note melodic gesture (C,C#,G,F#). To what set class does this pc set belong? Normal order:[_,_,_, _) Belongs to set class: 4-_ ( _ _ _ _ )

2.

Find two other melodic instances of this set class in the passage. Circle these occurrences on the score and mark them with the appropriate Forte name.

3. The three-note melodic cell (G,F#,m) plays an important role in this introductory passage. Determine this pitch-class set's normal order. To what set class does it belong? Normal order:[_,_, _) Belongs to set class: 3-_ ( _ _ _ ) 4.

Find four instances of this set class in m. 6. Circle them on the score and mark them with the appropriate Forte name.

5. Determine the normal order of the chord (B,E,m) in the right hand, m. 2. To what set class does this pc set belong? Normal order:[_,_, _) Belongs to set class: 3-_ ( _ _ _ )

6.

Find another instance of this set class in the right hand. Circle it on the score and mark it with the appropriate Forte name.

7.

To what interval class does the left hand gesture in m. 2 belong? ic _ Is this interval class prominently featured in the set classes you identified above? Yes/No (circle one)

8.

A new set class begins to play an important role in m. 5. Two occurrences may be found in the. right hand melody, mm. 5-6. What set class is it? Set class: 3-_ ( _ _ _ )

In the melody mm. 5-6, circle both occurrences and mark them with the appropriate Forte name.

307

308

Tonal Harmony

Bain, from ritual to romance, 1st movement, mm. 1-8 With great intensity (~ =ca. 66-72) f reely, 111.olro espr.

a tempo

poco rit.

mp

poco accel. _____________ ri t. ____________ _

4

mp

7

Homage to AS

f sub. 3 vb - - - - - - - - -'

© 1985 Reginald Bai n, BMI All ri ghts reserved

Student Workbook

Chapter 28

D. Composition. Compose a piece according to one of the fo llowing spec ifications:

1. Create a melody that begins with a statement of set class 3-1 (012) and goes on to emphasize the fo llow ing interval classes: ic2 (e.g., M2 or m7), ic l (e.g., m2 or M7) and ic5 (e.g. , P4 or PS).

2.

Create a compos iti on for piano that is based on two harmonic cells and two melod ic cell s. For example, you might choose set classes 3-9 (027) and 3-7 (025) for your harmonic cell s and ic I and ic2 for your melodic cell s.

309

310

Tonal Harmony

EXERCISE 28-5 A. The series given below forms the basis for Berg's Lyric Suite. Notate the Io form on the staff provided, then complete the 12 X 12 matrix. Label the series forms using the blanks provided. Po 0

&

II

Ii

0

II

II

0

lo

&

II

II

Io Ro

Po

-Rio

t

Student Workbook

Chapter 28

311

B. Answer the following questions about the series from Berg's Lyric Suite. 1.

In the fo llowing trichordal segmentation of the series, identify the set class to which each discrete trichord belongs by providing its Forte name and prime form. 0

0

II

II

0

3-_ ( _ _ _ )

2.

3-_( _ _ _ )

In the following tetrachordal segmentation of the series, identify the set class to which each discrete tetrachord belongs by providing its Forte name and prime form .

II

0

''

0

4-_ ( _ _ _ _ ) 3.

3-_ ( _ _ _ )

3-_ ( _ _ _ )

II

4- _ ( _ _ _ _ )

4-_ ( _ _ _ _ )

Determine the normal order of the two discrete hexachords. 1st Hexachord Normal order:[_,_,_,_ , _ ,_ ]

2nd Hexachord [_, _,_, _,_, _]

From what scale do the two hexachords appear to be derived? The _ __ _ __ _ scale.

4.

Examine the intervallic structure of the series by filling in the blanks to indicate the number of semitones up to the next pitch class. For example, F-E is up 11 semitones. 0 II

0

II

II

0

II

What is interesting about the intervallic structure of thi s series? _ _ _ _ _ _ _ _ _ _ _ _ __

II

312

Tonal Harmony

c. 1. Notate the Is and R3 seri es for ms on the staves provided. The first note has been done for yo u. Po

&

II

J,,,

go

~o

0

J,,,

0

II

Is

~o

&

II

II

&

II

II

2. Mi rro r (invert) the intervals.

3. Transpose a m3 higher.

4. T ranspose the retrograde a P4 higher.

5. Mirror (invert) the retrograde.

R3

Ii

6. Which of the above is not a twelve-tone series? - - -- - - - - - - -

Student Workbook

Chapter 28

D.

Analysis

1.

" Full Moon" by Otto Joachim is based on a 12-tone series. It employs a single series form that we will call P0 . First, identify the series and notate it (using the treble clef) on the staff provided below. (Hint: The series is presented for the first time in mm . 1-3. The order of the pitch classes in m. 3 is H-m-rn-rn.)

Order numbers:

3

2

5

4

6

8

7

9

10

11

Now trace the presentation of the series in mm. 1-24 by marking series forms (remember, the piece only employs P0 ) and order numbers ( 1-12) on the score .

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8va ______ __ _ --- --------- -'

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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

I

Tonal Harmony

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