WORKBOOK HARMONY AND VOICE LEADING VOLUME 1.pdf
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WORKBOOK HARMONY AND VOICE LEADING UTOPIA WA
VOLUME 1 SOUDARIDAD
SECOND EDITION e
EDWARD ALDWELL The Curtis Institute of Music The
Mannes
College of Music r Whe
CARL SCHACHTER Queens
College of the City University of New York ... he
Harcourt Brace College Publishers .
Fort Worth Philadelphia San Diego New York Orlando Austin San Antonio Toronto Montreal London Sydney
Tokyo
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Copyright © 1989, 1978 by Harcourt Brace Jovanovich, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Requests for permission to make copies of any part of the work should be mailed to: Permissions Department, Harcourt Brace and Company, 8th Floor, Orlando, Florida 32887.
Although for mechanical reasons all pages of this publication are perforated, only those pages im printed with an HBJ copyright notice are intended for removal.
ISBN: 0-15-531520-X Library of Congress Card Number: 88-80627 Printed in the United States of America SONCE
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PREFACE Siri A ABER
This workbook, together with the exercises in the text, should provide more than enough material for homework
assignments, classroom demonstrations, and periodic reviews. It also provides a generous assortment of excerpts from the literature for assignments in analysis. Naturally, the number
and type of exercises vary somewhat from unit to unit, depending on the material covered. Thus the exercises for the opening units are intended m ainly as a review of the fundamental materials of tonal music. Their purpose is to give the student, as rapidly as possible, a secure grasp of scales, key signatures, intervals, and chords. Although Harmony a nd V oice
Leading i s not intended as an introduction to fundamentals, there is
probably enough material in the workbook for a one-semester
course in basic musicianship, if the instructor wishes to use it for that purpose. Starting with Unit 6, the exercises in both the text and the workbook begin with a series of short drills, called Preliminaries. These form a
concentrated review of the most important topics discussed in the unit. The drills are not always easy, but doing them well will give the
student the necessary technical foundation for the longer and musically more interesting exercises that follow. If a class falls behind schedule, the instructor could save time by occasionally assigning only the preliminary drills before going on to the next unit. But a steady regimen of these exercises alone is not recommended. The longer exercises are of various types, but most of them are melodies and basses (both figured and unfigured). It is now almost eighty years since Arnold Schoenberg decried the use of such exercises, but most harmony textbooks continue to include them, and most instructors continue to assign them. And with very good reason. There is no better way for the student to become aware of the interdependence of the elements of music-how a bass and a soprano combine to form good counterpoint, and how this
counterpoint relates to harmonic progression.
A typical homework assignment might well consist of a melody and a bass; for this reason we have interspersed the two
rather than separating them. For most units there are two groups of
melodies and basses; those in the second group tend to be more difficult than those in the first. We might mention that, once past the beginning stages, students can benefit greatly from working out-and writing out-many solutions to an exercise, trying to determine the good and bad points of each, and deciding which is the best. The excerpts from the literature, which begin with Unit 7, are suitable for analysis at sight during the classroom hour as well as for homework. As much as possible, students should do more than
merely label the chords; they should concentrate on how the chords function, and they should be able to specify the techniques discussed in the unit that are exemplified in each of these excerpts. PARAS
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CONTENTS --
Preface List of Study and Analysis Examples PART I THE PRIMARY MATERIALS AND PROCEDURES
1 Key, Scales, and Modes 2 Intervals 3 Rhythm and Meter 4 Triads and Seventh Chords 5 Procedures of Four-Part Writing MA
PART II I-V-I AND ITS ELABORAT IONS Visa
8 SOLIDARIDAD
6 I, V, and V7 7 16, V6, and VII6 8 Inversions of V7 9 Leading to V: IV, II, and 116 10 The Cadential a 11 VI and IVÓ 12 Supertonic and Subdominant Seventh Chords 13 Other Uses of IV, IV6, and VI 1 4 V as a Key Area 15 III and VII 101 119
PART III, 5, AND TECHNIQUES 16 -Chord Techniques 17 Diatonic Sequences 18 g-Chord Techniques 19 2-Chord Techniques 131 139 159 1 71
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LIST OF STUDY AND ANALYSIS EXAMPLES o formiendo w
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sample An on. Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach Bach
Bach Bach Bach Bach Bach Bach Bach Bach Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven Beethoven
Beethoven Beethoven Beethoven Brahms Brahms Brahms Brahms Brahms Brahms Brahms Chopin Chopin L'Écho Brandenburg Concerto No. 1, III. Cantata 82, I C horale 1 Chorale 56 Chorale 62 (adapted) Chorale 72 Chorale 73 Chorale 217 C horale 296 Christmas Oratorio, BWV 248, Grosser Herr English Suite, BWV 808, I F lute Sonata in C, BWV 1033, I Geistliche Lieder, No. 45 Geistliche Lieder, No. 53 Harpsichord Concerto, BWV 1056, III Little
Prelude No. 5, BWV 928 Motet, Jesu, meine Freude, BWV 227, I V Two-Part Invention No. 7 Well-Tempered Clavier I, Fugue 17
Well-Tempered Clavier II, Fugue 11 Well-Tempered Clavier II, Fugue
16 Bagatelle, Op. 33/2 Missa Solemnis, Op. 123, Kyrie Piano Concerto No. 1, Op. 15, I Piano Sonata, Op. 2/1 , II P iano Sonata, Op. 2/2 , II Piano Sonata, Op. 2/2, II Piano Sonata, Op. 10/1 , II Piano Sonata, Op. 10/3, I Piano Sonata, Op. 14/1, II P iano Sonata, Op. 26, I Piano Sonata, Op. 28, 1 Piano Sonata, Op. 28, IV Piano Sonata, Op. 31/1, I Piano Sonata, Op. 78, II Piano Sonata, Op. 106, II Symphony No. 5, Op. 67 ,IS ymphony No. 6, Op. 68 (" Pastorale”), I Symphony No. 6, Op. 68, V O kühler Wald, Op. 72/3 R omanze, Op. 118/5 Sapphische Ode, Op. 94/4 Schön war, das ich dir weihte, Op. 9517 Symphony No. 1, Op. 68, I Variations on a Theme by Haydn, Op. 56a Violin Sonata, Op. 78, I Etude, Op. 2519 Mazurka, Op. 33/2 SABBB93nbsgu9uB3252998SH8B83V393u9u9u99333四叶 WANAK Reg.
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Chopin Chopin Chopin Chopin Corelli Corelli Corelli Corelli Corelli Handel Handel Handel Handel Handel Haydn Haydn Haydn H aydn Haydn Mahler Mendelssohn Mendelssohn Mozart Mozart Mozart Mozart Mozart Mo zart M ozart Mozart Mozart Mo zart Mo zart Mo zart Mo zart Mozart Mozart Mo zart Mozart M ozart Mozart Mo zart Schubert Schubert Schubert Schubert S chubert Schubert
Schubert Schumann Schumann Schumann Mazurka, Op. 59/2 Nocturne, Op. 15/3 Nocturne, Op. 48/1 Prelude, Op. 24/9 Concerto Grosso, Op. 619 T rio Sonata, Op. 1/1 , Allegro Trio Sonata, Op. 1/3, Allegro Trio Sonata, Op. 1/1 0, Allegro Trio Sonata, Op. 2/11,
Allemande Concerto Grosso, Op. 6/1, II Harpsichord Suite No. 2, Adagio M essiah, Lift Up Your Heads Serse, Và godendo Serse, Và godendo H eiligmesse, Credo Piano Sonata, Hob. XVI/35, III . S ymphony No. 83 (“La Poule”), I Symphony No. 103, I Symphony No. 104, I Symphony No. 2, IV Song without Words, Op. 62/1 Symphony No. 4, Op. 90 (“'Italiano), III i An Chloë, K. 524 Così fan tutte, K. 588, Trio Die kleine Spinnerin, K. 531 D on Giovanni, K. 527, Madamina The Magic Flute, K. 620, Act I Finale The Magic Flute, K. 620, O zittre nicht The Magic Flute, K, 620, Priests' March The Marriage of Figaro, K. 492, Overture The Marriage of Figaro, K. 492, Porgi amor Piano Sonata, K. 311, I Piano Sonata, K. 311, II String Quartet, K. 428, III String
Quartet, K. 458, I Symphony No. 39, K. 543, I Symphony No. 41, K.
551 ("Jupiter"), II Violin Sonata, K. 296, I Violin Sonata, K. 296, III Violin Sonata, K. 377, II Violin Sonata, K. 377, III Violin Sonata, K. 380, I Die Forelle, D. 550 Die schöne Müllerin, D.795, Der Jäger Die schöne Müllerin, D. 795, Eifersucht und Stolz Du bist die Ruh, D. 776 Piano
Sonata, D. 850, IV Piano Sonata, D. 850, III Two Dances, D. 365 Album
for the Young, Op. 68 Albumblätter, Op. 99 Arabesque, Op. 18 W Nnauawa ooOHNHNun komande frente Owo Ov na w
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Du Ring an meinem Finger, Op. 42 Piano Sonata, Op. 22, I Soldatenmarsch, Op. 68 String Q uartet, Op. 41/1 , I Symphonic Etudes, Op. 13 S ymphony No. 3, Op. 97 (“Rhenish”), I Till Eulenspiegel, Op. 28 14 11 .
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Key, Scales, and Modes
MAJOR SCALES
1. Given: pitch and scale degree. Write the complete major scale. SAMPLE