Workbook for Elementary Harmony: Theory and Practice [Fifth ed.] 0137576919, 9780137576913

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Fifth Edition

ementar Theory and Practice

WORKBOOK for

Elementary Harmony

Theory and Practice FIFTH EDITION

ROBERT W. OTTMAN University ofNorth Texas

PRENTICE HALL, Upper Saddle River, New Jersey 07458

Editorial director: Charlyce Jones Owen

Publisher: Norwell F. Therien

Editor: Marion Gottlieb

Project manager: Carole R. Crouse

Prepress and manufacturing buyer: Bob A rrderson

Copy editor: Carole R. Crouse

Marketing manager: Sheryl Adams

This book was set in 10.5/12 Times Roman by Stratford Publishing Services, Inc.,

and was printed and bound by Victor Graphics, Inc.

The cover was printed by Victor Graphics, Inc.

It

© 1998, 1989, 1983, 1974 by Prentice-Hall, Inc.

Simon & Schuster / A Viacom Company

Upper Saddle River, New lersey 07458

All rights reserved. No part of this book may be reproduced, in any form or by any means, without permission in writing from the publisher. Printed in the United States of America 10

9

8

7

6

5

4

3

ISBN 0-13-757691-9 PRElI.'TICE-HALL IlI.'TERNATIONAL

(UK) LIMITED, London

PRENTICE-HALL OF AUSTRALIA PTv. LIMITED, PRENTICE-HALL CANADA INC.,

PRENTICE-HALL HISPANOAMERICANA, S .A., PRENTICE-HALL OF INDIA PRIVATE LIMITED,

&

EDITORA

Mexico New Delhi

Tokyo Singapore PRENTICE-HALL DO BRASIL, LTDA ., Rio de Janeiro

PRENTICE-HALL OF lAPA N, INC., SIMON

Sydney

Toronto

S CHUSTER ASIA PTE. LTD.,

•

Contents

PREFACE

v

1

BASICS I: Pitch on the Staff and the Keyboard; Scales; Key Signatures

2

BASKS 11:: Intervals; Chords; Staff Notation

3

BASICS III: Duration; Time Signatures

15

4

TONIC AND DOMINANT I: Cadences

21

5

TONIC AND DOMINANT II: Part-Writing

6

THE SUBDOMINANT TRIAD

7

THE MELODIC LINE I

8

C CLEFS; TRANSPOSING INSTRUMENTS

9

THE TRIAD IN INVERSION

1

9

39

55

65

76

87

10

HARMONIC PROGRESSION; THE LEADING-TONE TRIAD

AND THE SUPERTONIC TRIAD 98

11

NONH'ARMONIC TONES I: Passing Tones and Neighbor Tones

12

NONHARMONIC TONES II: Suspensions and Other Dissonances

13

THE DOMINANT SEVENTH AND SUPERTONIC SEVENTH CHORDS

1

THE SUBMEDIANT AND MEDIANT TR'IADS

116

120

133

147

iii

15

THE MELODIC LINE II: Form, continued;

Melody Harmonization, continued; Melody Writi ng

163

16

THE v AND VII TRIADS; THE PHRYGIAN CADENCE

17

HARMONIC SEQUENCE

18

SECONDARY DOMI NANT CHORDS; ELEMENTARY MODULATI O N

177

190

APPEN DIX: A Mini-Anthology of Music Compositions INDEX OF MUSIC COMPOSITIONS

257

217

197

Preface

This Workbook correlates with the author's Elementary Harmony: TheOl} and Prac­ tice, fifth edition (Upper Saddle River, N.J.: Prentice Hall, 1998). It contains both music for analysis and appropriate written assignments for companion chapters in the principal text. Correlation of Assignments. Most assignments from Elementary Harmony are found in the Workbook, with identical assignment numbers. However, although the num­ bering and the intent of any individual ass ignment are the same in both books, the con­ tent in each case differs. This furnishes the student with additional practice material in each problem covered. Assignments in Elementary Harmony that require only blank music manuscript paper for their completion are not repeated in the Workbook. On the other hand, new assignments for the Workbook have been included; these are identified by the chapter number plus a letter-for example, Assignment 3A, 3B. All assignments from both books are listed in this volume at the beginning of each chapter ~n order of their proper presentation, and with page number location in either or both books. Writing Assignments. The writing assignments are of two varieties: those with answers given, and those without given al1swers. The former can be identified by the vertical line in the middle of the page separating the answer on the left side from the problem to be completed on the right side. The answers on the left should be covered while the problem is being solved, and uncovered for checking. All assignments with given answers are foHowed by similar additional problems without given answers. These can be used for homework to be turned in to the instruc­ tor or for testing purposes. Assignments in Analysis. Many chapters in Elementary Harmony include excerpts from standard compositions for purposes of analysis. The Workbook provides addi­ tional music for this purpose. These selections do not duplicate those in the companion chapters in Elementary Harmony, and they cover a wide range of composers and of vocal and instrumental media. Mini-Anthology. New in this edition is an anthology, located as the Appendix, consisting of twenty-three complete short works or major sections of larger works. These furnish the student an opportunity to explore music examples where no attention is drawn to the specific interests of a given chapter. The opening message on pages 217-218 explains the choice of contents and helpful suggestions for making use of the examples, either for the student working alone or for class discussions.

Robert W Ottman

v

Basics I

pitch on the staff and the keyboard; scales; key signatures Chapters 1-3 present a brief review of the basic materials of music theory. Most stu­ dents entering a college music program have already learned much of this material through previous experience, such as private instrumental or vocal instruction, partici­ pation in music ensembles, and classes in music fundamentails. Students requiring more extensive training in the materials of these three chap­ ters are referred to either of two 'texts designed to precede Elementary Harmony. They are Rudiments of Music, third edition (Prentice Hall , 1995), and Programmed Rudi­ ments of Music, second edition (Prentice Hall, 1994), both by Robert W. Ottman and Frank D. Mainous. Many of the exercises throughout this book include answers. Such exercises are identified by a vertical line separating the question on the right and the answer on the left. Follow this procedure:

1. Cover the left-hand column with your hand or with any opaque object, such as a piece of paper, before looking at the right-hand column.

2. Write your answers in the spaces provided. 3. Uncover the left-hand column and check your solution against the given

solution.

In some cases, answers are provided in a different manner, with explanations as needed. Most questions with answers are followed immediately by similar questions without given answers. In this text, EH refers to Elementary Harmony: TheOf)l and Practice, fifth edition (1998); in Chapters 1-3, Rud refers to Rudiments ofMusic, mentioned above. Before beginning these exercises, study EH, pages 1-5, through Figure 1.8. EXERCISE 1.1 found .

Name each pitch by the letter name of the line or space on which it is

(l~

(2)

0

I

(3)

e

I ,.

(4)

I

(5)

I

n.

=

e­ (6)

I

III

e­

(\) D, (2) B, (3) F, (4) A , (5) B, (6) E

1

(7)

(8)

2:

I

0

(9)

(10) .0.

(II)

(12) .0:

I=:; I

0

I

(7) G, (8)A, (9) B, (lO) D, (ll ) C, (l2) F

EXERCISE 1.2 Octave registers (answers below the dotted line). W hile referring (if necessary) to EH, Figure 1.8, identify by octave register name each of the piano keys above an arrow.

1'i 1"1"'1"1"'1"1"'1"1"'1"1"'1"1"'1"1"'1 iI i i i i i i i i (1)_

(4)_

(3)_

(2)_

(5) _

(6)_

(7)_

(8)_

(9)_

A nswers

e, (8) d

(1) BBB, (2) AA, (3 ) G, (4) e, (5) d 2 , (6) b 2, (7)

EXERCISE 1.3

4

,

(9) c5

Name each pitch, usi ng octave register symbols. ( I~\ 0

(2)

==

I

(7)

0

.,:

(3).0.

(5)

(4)

-6 (6)=

10

(8)

(9)

(10) -6

(II)

I.. I'" I

(12)

I

I

0

(7) b, (8) A, (9) e, (10) e ' , (1 1) BB, (12) f

EXERCISE 1.4

(a) Name each pitch, using octave register symbols. o

o a'

(b) Place each given note on the staff in its correct octave.

(l~

19:

,:

lu

c'

(9)

(10)

b' (12)

(II )

I G

f~

II BB

e'

(5)

(4)

I

c'

(8)

2

(3),

(2)

A

d

J

o'

D

(6)

(7)

I

I

II e'

I

(c) Place the given pitch on both the treble and the bass staves. See EH, Figure 1.6.

_1_ "

-~-

EXERCISE 1.5

(a) Convert these whole step to half steps. 1.n the first blank measure, raise the lower note one half step. In the second blank measure, lower the upper note one half step.

(I,

#1)

{2~

II

(3,

,

0

I~I

0

II

10

x4 '

" l,l,

II #1)

&0

II

&0

II

0

(I)~

(2)~

'1

II

II

0

II

II

II

II

&0

II

II

II

II

II

II

#u 10

(b) Convert these half steps to whole steps. In the first blank measure, raise the upper note one half step. In the second blank measure, lower the lower note one half step.

", '2, 0,

(See EH, Figure 1.10.)

II b..

0

I.

1 #u 0

II

0

&0

'I)~

II

{2,

I.

0,

" II

II

0

EXERCISE 1.6 Exercise l.5a.

tZI'

&0

II

I'

&0

0

#..

f,.,

0

u

"$I.

II

II

II

II

&0

II

II

(5)

&0

II

II

II

II

II

II

II

II

(3)

(2) II

II

(a) Convert whole steps to half steps, fo llowing the directions in

(I)

0

II

II

II bll

II #u 1 II 0

II

II

II

II

(6)

0

II

II

II

II

0

II

3

(b) Convert half steps to whole steps, following the directions in Exercise 1.5b. (3)

(2)

I

~o

II

I.

(5)

~o

I #..

I

II

I

II

.0

I

II

II

0 II

I

II

II

(6)

II

I

II

0

EXERCISE 1.7 (See EH, Figures l.l1-1.12.) Write major scales on the staff, placing the necessary accidentals before the appropriate notes. Do not use a key signature. Indicate the location of the half steps. (Also see Rud, pages 61-64, where Exercise 5-1 provides practice for all major scales in both treble and bass clefs.) "

1\

Example: G major II

0 '

o

..

II

I

(a) Answers given.

(I),

,,

/\ 0

"

1\

I'

0

,i

~II

.:

(2),

~o

II

(I', (l),

I

"

,,

C::.

0

II

0

s

«.

/\

#" 1

II

0

0

tJ=

,:

bll ~o

./10

hI. I

,,

(4)

,: ,:

#" .~.'

II

,

1

.0

#"

~o

(4)

0

I

I

A~major

(3)

/\

A

0

0

~o

II

II

Emajor 0

"

(3)

II

II

/:\

"

F major

,b..

II

B major 0

II

(b) Answers not given.

(l~

D major

I

D~major

(4)

A major

II':

,:

(5)

4

F#major

(6)

II

Gbmajor

112:

II

EXERCISE 1.8 Scale-degree names. Place the scale-degree number before each scale­ step name. (See EH, page 8.) Submediant

Mediant _ _ Supertonic

Subdominant Dominant

Tonic _ _ Leading tone

EXERCISE 1.9 Name the major key indicated by each of these key signatures. (See EH, Figure 1.14.) (a) Answers given.

(l~ j ~

(2)

E~,

(3)

II

#-

(I) E. (2) G. (3)

~

I

(4)

~tlb

~

II #

II

(4) D (8)

II ~btl~~bb I (5) H. (6) Al>, (7) B, (8) 0

(I,

(b) Answers not given. (2)

(5)

(4)

(3)

II ~##

II ~tlb& ~

~tl

II ~bb&~~

(6)

I ~##.##-

II ~

I

EXERCISE 1. 10 Place on the staff the signatures for these major keys. (See Rud, page 122, where Exercise 11-2 provides extensive practice in writing all major key signatures.) (a) Answers given.

(l~~

(2)

111~bb

(4)

11':1##1# II

E~

G (5)

.

III ~bb&~

,:~Il

D~

B~

(l~

(3)

(2)~

II

B

"I ~# (6)

(3)

E~

G

~

9:

-##11

B

")~

(4)

(6)~

I

I

,II

B~

F#

I

112:

D~

F#

(b) Answers not given.

(~ A

(2)

(3)

(4)

(5)

I

II

'II':

II

D~

E

F

(7)

(6)

I

II q

A~

I E

5

EXERCISE 1.11 (See EH, Figures 1.16-1.18.) Write minor scales on the staff, plac­ ing accidentals before the appropriate notes. Do not use a key signature. Indicate the location of the half steps. In harmonic minor, indicate the location of the step-and-a-half (1~) as well Write the melodic minor scale ascending and descending. Note that in minor the key name uses a lowercase letter, as infminor. (Also see Rud, pages 167-174, where Exercise 14-1 provides practice for writing all minor scales in each of their three forms and in both treble and bass clefs.)

~/\

"

~~~~I~I~o~'/\\~'~'~~O~~,~,~~o~~#~o~~e-~~II

Example: a (harmonic)

(aJ Answers given. "

(I~ o

(2)

Z\.

d natural

,.So

"

o

o

I.

I

,:

:2)

" ~"s

,.

II U harmonic

II

b~ harmonic

(3~

~o

II

I

,:

(4)

g# natural

I II

~

,:

,,

#"

0

)

I'

"

j~ #" ~Zfu

z

,, ~

,,

(6)

bll

e

/:\

~Zll ~o

bo

e­ n ~e-

/\

6

~e- ~.o. ~e-

bo

I (6)

II

,,

2:

#e­ I 2:

e~ melodic (ascending)

, 1

~o

/\

bll

0

(descending)

li"

I

(b) Answers not given .

12)~ g h ~moni,

'~ '"""'",

II

II (descending)

II

,:

(4)

e natural

f hannonic

(5)

II ?:

(6~ bh~ooi,

II

e 6natural

(7)

II (8)

g~ melodic

II

(ascending)

(descending)

2:

II EXERCISE 1.12 (See EH, Figure 1.20.) Name the minor key indicated by these key signatures. (Also see Rud, page 200, where Exercise 16-3 provides further practice.)

( I~ ~b

(2)

~ ~

(3 )

II I;b fJ &

II #

II

(1) g, (2) f# , (3) f (4)

~: 1##.

#

(5)

(6)

II 1#

II 1# #1##

II

(4) glI, (5) b, (6) d#

",

EXERCISE 1.13 Write the signature for the given minor key. (See Rud, page 201, where Exercise 16-4 provides further practice.) (2)

(3 )

(4)

I

II

119:

c

e

c~

(5)

II d

(7)

(6)

II b~

II

e~

a~

II

EXERCISE 1. 14 (See EH, page 13.) Name the relative key and the parallel key of each of the given keys. Where no answer is possible, place an X in that space. (a) Answers given .

Relative key

1.

G major

E major

1. e minor

2.

f# minor

A minor

2. Amajor

Parallel key

7

Relative key 3.

D major

B major

3. b minor

4.

eb minor

X

4. Gb major

5.

F#major

X

5. d# minor

(b) Answers not given.

6. F major

7. f# minor 8. B major

9. g# minor 10. Bb major

EXERCISE 1.15 and a# minor.

Name the key enharmonic with the given key. Example: Bb minor

1. C#major 2. eb minor

3. B major 4. g# minor

5. PI major

I

8

Parallel key

Basics II

intervals; chords; staff notation

EXERCISE 2.1 Perfect and major intervals. (See EH, Figure 2.4.) Name each inter­ val, using one of these symbols: M2, M3, P4, P5, M6, M7, P8. (a) Answers given.

(l~ o

(2) 0

(3)

I bo ~o I

(4)

0

#" I ~o

&0

II

(1) M3, (2) P4, (3) M6, (4) P5 (5)

#-e

(6)

2: bll ~o I

(7)

(8)

1#". I 0

0

II

II

0

II

(5) M2, (6) M7, (7) P4, (8) P8

(b) Answers not given.

EXERCISE 2.2 Perfect and major intervals. Write the second note of the interval above the given note. (a) Answers given.

'~

(3)

(2) II

I.

I

0

2:

~II 0

M6

I b••

I

.n

(7)

(6) 110

I'

0

#.. II

0

M2

P8

"~

,:

I

I'

~o

P5

II

I b"

0

(7)

(6)

I M6

(8)

I ~o

0

0

P4

M2

M3

M7

P5

0

(4)

(3)

(2)

(5)

(8)

~o

0

P4

I

M3

M7

P5 5i

H"

(4)

P8

II

P5

9

(b) An wet., not given. (3)

(2)

I

II

(4)

M2

P4

I &0

I ~o

u

(5)

112:

I

I'

P5

M7

(7)

(6)

(8)

I be.

0

M6

M3

I

fl

0

M7

P8

EXERCISE 2.3 Minor intervals. (See EH, Figure 2.5.) Name each interval, using one of these symbols: m2, m3, m6, m7 . (a) Answers given.

",

(l) m3, (2) m6, (3) m2, (4) m7

(5) (f:J:

Z

(3)

(2)

I'

II

I

#"

(6)

1

0

~o

(6)

0

l. . .

~-,,~

(4)

~o ~o 6., II I ~o

0

~

(71) n

:

~o

(8)

· ·,1

o

. "

:II

(5) m3, (6) m6, (7) 1ll7, (8) m6

(b) Answers not given.

0,

(3)

(2)

Ii I I :1:

I'

0

EXERCISE 2.4

(5)

112:

0

(7)

I 1 0

~o

1 t hll 0

bo.

(8) 0

II

I 12n

II

I:

Minor intervals. Write the second note of the interval above the given

note.

(I,

(a) Answers given. (3)

(2) 0

10

,:

(4)

~o I ~o

I #~ u

I _I

I

II

#~ m6

m3

(5)

I (7)

(6)

I.

m7

II

II

~o

I

~II

m3

b~

(I~

/'0

n

I bl'

m2

0 0

(4)

1

I ~o lu. [I m6

m3

m2 (7)

(6)

m7 (8)

6.,

0

m2

I.

#~ m6

(5)

(8)

(4)

I

0

,:

m7

(3)

(2)

II

!



m3

m7

~o m6

II

m2

(b) Answers not given.

(I)~

(3)

(2) II

m2



I

0

m6

(4)

(5)

0

I #"

m3

m7

112:

I'

m6

(8)

(7)

(6) 10

I ~o

I ~o

m2

m7

m3

1

II

EXERCISE 2.5 Diminished and augmented intervals. (See EH, Figures 2.6 and 2.7.) Name each interval, using one of these symbols: A2, d3, d4, A4, dS, AS, A6, d7. (a) Answers given.

(I~ b..

(3)

(2)

aI

#e

~a

(4)

a a

~a#"

I

(1) A4, (2) d5, (3) d7 (4) A2

(5) d4, (6) A6, (7) d3 (8) A5

(b) Answers not given.

(I~

bo

(2)

la

o

I

(5)

(3)

a 11,': b" a I #"

II

(8)

(7)

(6)

$CI I

I

~a

u

:1

~a

I,

I

EXERCISE 2.6 Diminished and augmented intervals. Write the second note of the interval above the given note. (a) Answers given.

(I~

(3)

(2)

a ft " 0 bll A4

(5)

~:

~

A2

(I),

d5 (7)

la Ilaa I alIa

II

Ib0 a III

II

d7 (6)

(I~

(4) lZ11

d3

a

~a

a

I

(6)

~:

(4)

Ila

II

A2

Ib 0

It

d7

(5)

d7

AS

0

A4

A6 (8)

(3)

(2)

d5

I

A6

(7)

(8)

Ia

d3

a

A5

I

d7

(b) Answers not given. (3)

(2)

Ia

~a A2

(4)

I0

d5

(5)

II'! a

Ia

A6

A4

I

A3

(8)

(7)

(6)

Ia

II

d7

I

I

II

d3

A5

EXERCISE 2.7 Writing intervals above notes that cannot be tonic tones a/major scales. (See EH, Figure 2.8 .) Write the second note of the interval above the given note. (a) Answers given.

' #11

gil

M3

I #0 d7

II

I_a la Iia 811 P5

A4

II

'#11 M3

I #0 d7

I.a P5

Iia

I

A4

11

(b) Answers not given.

(I)~

(5)

(4)

1.

#0 P5

I ,:

0

P4

M3

.0

(7)

(6)

1.

I #u

I #~,

0

d5

d7

(8)

d3

II A4

M6

EXERCISE 2.8 Inversion of intervals. (See EH. Figures 2.11 and 2.12. See also Rud. Exercise 19-9 for additional examples.) Invert each interval twice: first by placing the lower note an octave higher, and second by placing the upper note an octave lower. The two inverted intervals should include the same pitches, although an octave apart, and hence they will carry the same name. Name both the given interval and the inverted interval. Example I

~

0

0

II

0

(I)

0

0

II #"

0

flu

(4)

II

II

(5)

II: #"

.0 0 II

(7) II

#" II

(9 )

tJ: _0

0

II

II

II

II

II

II

.E1..

(6)

2:

(2)

~,

1­

~

(3~

.. II II &0

'} 0

II

(8) II

(10)

o

II

II

bu

II

II

~o II

II

tlu

0.0

\

0

EXERCISE 2.9 Writing descending pedect and minor intervals. Find the inversion of the given interval name and lower that note one octave to find the lower pitch of the given interval. (Review EH. page 25, and Figure 2.14a.) (a) Answers given.

{I~ 0 I " 0 (2 \

P5

&0119: 0

P4

{I~

(4)

(3)

"

1_ 0

m6

0 II

(4)

(3)

0 Tbll 119: 0 1_ 0 P5

M7

P4

m6

II

M7

(b) Answers not given.

(I)~

(2)

0

I

II

m3

12

(3)

m2

(4)

~o

II?m6

(5)

~o

1ft..

,I @" P5

(7)

(6)

P4

(:)

_I m3

II m6

EXERCISE 2.10 Writing other types ofdescending intervals. Find the inversion of the given interval, lower the upper note one half step, and then lower that note an octave. (Review EH, page 26, and Figure 2.l4b.) (a) Answers given.

0 M3

M6

A4

~

.0 II

d5

#..

II f)=

I #"

M3

0

II

A4

II d5

M6

(b) Answers not given.

(l~

(2)

I

It

0 I

(3)

1#11

II

M6

(4)

A2

d5

(5)

II

2: _0

A4

(6)

Ib..

(8)~e-

(7)

I ~'j .

M2

M3

I

II

d3

M6

EXERCISE 2.11 Compound intervals. Reduce each compound interval to its simple form and name the interval. (See EH, Figure 2.15 .) (2)

(l)~

1.1#1)

1&0

&0

(4)

(3)

.n

0

I #"

:11

II

0

(5) be­

0

0

0

II

e-

II

o

EXERCISE 2.12 Identify each triad as M (major), m (minor), d (diminished), or A (augmented). (See EH, Figure 2.17.) (a) Answers given.

(l~ &§

(2)

I· &§

I II ..M..

--.!!L

(l~ &§

(4)

(3)

I #11

II

(2)

(3)

(4)

I &§

I II

I #11

II

..A...

d

(b) Answers not given. (I)

~ ###11

(2)~

(4)

(3)

I. Q

1_0

l&§

(5)

II ':bb n

(6)

I _-0

(7)

1&-0

(8)

I #11

II

EXERCISE 2.13 Place the correct key name and chord number (roman numeral) under each triad. (a) Major keys Example

~ -#

(I)

§

b

II & II

(2) ~

II

II

II

13

(b) Minor keys (2) _

#

II # H EXERCISE 2.14 Triad inversions. Write the given triad with its root as the lowest note, followed by its first and second inversions. (See EH, Figure 2.22.) (I)g minor

Example

~ ~&O I ~bi_ Root

I ~b2

First Inv.

II

(2) A major

1

II

II

Second

lnv.

(3) f minor

(4) E Major

tJ=

II

(5)

IL-

g~

minor

II

II

EXERCISE 2.15 Figured bass. Place one of these figured bass symbols below each triad. (See EH, Figures 2.23 and 2.24 and the intervening general procedures for chro­ matic signs.)

#, b,~, $, 5, 6, 6, 6, 6

# # 4 b4

(2)

(1*_ ~

14

bll

1#8

(3)

(4)

I ft##n I UI

(6)

III

(8)

1'0

(9)

II ~ ~I.!! II

Basics III

duration; time signatures

EXERCISE 3.1 Fill in each blank with the division of the given note or rest value as in example a, or place the single note or rest value in the blank equivalent to the given division as in example b. Example: (a)

~

=

1.

Q

2.

I

3.

J

4.

7. 8.

)

6.

9. 10. 11. 12.

(b)

Q.

n

=

=

2.

=

., .,

=

~ ~

3.

=

JJ

4.

=

1.

Q

=

=

J"J"1

5.

=

~ ~ ~

6.

=

~~

7.

.,

=

8.

)

=

=

n

J

= =

JJ~

~

=

I I .~

10.

=

~~

11.

=

m

=

J J

12.

=

J J

=

J>. ).

~

JJ ., .,

=

=

J J .,

5.

n

=

9.

J>.

I

=

15

EXERCISE 3.2

Explain simple time signatures by description and by diagram. simple

duple

l

J

time

= one beat

J J ZL .......r U

(l)~

(1) 4 4

quadruple simple time

J

= one beat

= one beat

(2)

J U

J U

4 4

J U

~

duple simple time

J U

4 4

(2) 2

(3)

J

J

i i i

= one beat

2 2

r

~ triple simple time

(3)

~

}1 = one beat 3 8

4 (4) 1.6

}1

}1

U

f'

d

quadruple simple time

3 8

4 (4) 1.6

~ = one beat 4

1.6

(5) 4

8

~ ~ ~ ~ ~ ~ ~ ~ quadruple simple time

4

16

}1 }1 }1 }1

6!6!6!6!

time = one beat

4

1.6

(5) 4

time

8

}1 = one beat 8

time = one beat

}1

• ====

time

2

j = one beat 2 2

time

= one beat

4

8

EXERCISE 3.3 3.2. (1)

Explain compound time signatures. Follow the directions in Exercise

g duple compound time

_ _ _ _ _ _ _ _ _ _ _ time

j. =one beat

g J.

= one beat

J.

rrrrrr

(2)

g

triple compound time

(2)

g

J. =one beat

(3)

= one beat

J.

rrr

B E" r i

_ _ _ _ _ _ _ _ _ _ _ time

J.

r r r

Wquadruple compound time

_ _ _ _ _ _ _ _ _ _ _ time

J. = one beat

= one beat

WJ. J. J. J. UJUJWUJ (4)1\

_ _ _ _ _ _ _ _ _ _ _ time

duple compound time

). =one beat

(5)

if

= one beat

quadruple compound time

(5)t.i

j. = one beat

12

4 (6) ~

J.

J.

_ _ _ _~- ---'_ _ _ _ time = one beat

J.

J.

iii iii iii iii _ _ _ _~_ '------_-;-_ _ time

triple compound time

=one beat

o· = one beat

o·

o·

F F F F F

17

EXERCISE 3.4

Explain simple and compou

nd time signatures. Follow the directions

in Exercise 3.2.

time

(6) &

time

:: one beat

:: one beat

time

- - - - - time =

(3) ~

/--­

o n e 6 ea t



_

_

_ __

_

_ __ _ __ _ time

(8)

¢

=one beat

-

_ _ _ _ _ _ _ _ _ _ _ _ time

:: one beat

¢ (4)

- -- - - time

(9)ti

= one beat

- - - - -- -

- - - - - time = one bea t

______ time

(10):&

=one beat

--'--- - ­ time = one beat

EXERCISE 3.5 Place a correct time signature before each musical example. The first measure of an example may be incomplete, in which case the last measure is also incomplete; the two partial measures equal one complete measure in time value.

l\,

r r r I r r r r' I

I

I

~

\ LS-s -s:'

(2)

II i~I\

;:.,

EXERCISE 3.4 Explain simple and compound time signatures. Follow the directions in Exercise 3.2.

(1)~

_ _ _ _ _ _ _ _ _ _ _ _ time

(6) 9

_ _ _ _ _ _ _ _..,.--_ _ _ time

16

=one beat

= one beat

(2) ~

_ _ _ _ _ _ _ _ _ _ _ _ time

(7) ~

_ _ _ _ _ _ _ _ _ _ _ _ time

=one beat

(3) ~

=one beat

_ _ _ _ _ _ _ _ _ _ _ _ time

_ _ _ _ _ _ _ _ _ _ _ _ time

=one beat

=one beat ¢

(4) ~

_ _ _ _ _ _ _ _ _ _ _ _ time

(9)~

_ _ _ _ _ _ _ _ _ _ _ _ time

=one beat

= one beat

(5) ~

_ _ _ _ _ _ _ _ _ _ _ _ time

(10)

a\

_ _ _ _ _ _ _ _ _ _ _ _ time = one beat

= one beat

EXERCISE 3.5 Place a correct time signature before each musical example. The first measure of an example may be incomplete, in which case the last measure is also incomplete; the two partial measures equal one complete measure in time value.

r r (2)~

rr

I'll

jJJJJ 3 1J.

II

r r

18

(4) ,

:E3

(5), J

I ))

't

,

) I J)

't

t

P I~ , ,

t

'1

P l'

(6), J.

r'

(7),

't

t

j

o

o

I

~ D II

-=

CJ I F

r pJ J

I J.

W-

~

r'

CJ~I

j

J

J

I:

r

,.

r' I

II I II

n.

(8), (9), Fe E e 'I D \

"O~

II.

'II

t II

o·

EXERCISE 3.6 Rhythmic transcription. Transcribe each melody below, using the time signature indicated. In EH, compare Figure 3.4 (l) with figure 3.8 (~), and Figure 3. lOb (~) with Figure 3.11 (&). In each pair, the melody is identical; only the rhythmic notation is changed.

", i ft e

J J J J

Ij

, -ft

IJ

j

,J j Ij

, -ft

3)

)

j

)J

r ,J

r

II

IJ j

J J

Ij

il

II

I II

19

II

"

II

II (4)

2:.

!f r·

,:. W

=,.

~.

r r eF

.

0.---,..

IT Ire

r r IT r ~

~ I-

:r r r r·

-:J __

~

t t II II II

20

Tonic and Dominant I

cadences

Beginning with this chapter, assignments in addition to those in EH are identified by a letter name, such as " Assignment 4A." All others, such as "Assignment 4.1 ," refer to the same numbered assignment in EH.

Elementary

Harmony

Workbook

Assignment 4.1

64

21

Assignment 4.2

66

24

Assignment 4A

25

Assignment 4.3

68

26

Assignment 4.4

71

27

Assignment 4.5

71

28

Assignment 4.6

74

31

Assignment 4.7

77

32

Assignment 4.8

78

33

Assignment 4B

Assignment 4.9

36

78

36

ASSIGNMENT 4.1

Spelling major triads (EH, p. 64). Although numerous major triad spellings are possible, only fifteen are needed for the tonic triads in the circle of fifths . (Review EH, pages 9-14, Key and Key Signature, and Circle of Fifths.) The exercises in this assignment provide practice in spelling those major triads that can be used either as one of these major tonic triads or as other major triads in a key. This assignment has four sections: sections a, b, and c for spelling major triads from Groups I-ill, respectively (EH, p. 63), and section d for spelling from all groups. If you are beginning your study of harmony with this chapter, be sure to read page 1 of this text for how to complete exercises that include vertical lines. (a) Group I. Remember, each triad member in this group carries the same acci­ dental (- - -): alJ sharps, all flats, or no accidentals at all. After spelling the triad, place

21

~

F#

10.

· when the root is given (column 1), the third is given (colLh b ghen (column 3). ~

1.

.lL

l.

C

A

2.

M

2.

G#

3. A

3.

C#

3.

A~

4. 0

4.

JL

4.

E#

2.

5.

CP

5.

JL

5.

.lL

6.

m

6.

G#

6.

F

7.

Bb

7.

Bb

7.

A

8.

B

8.

Db

8.

~

9.

O~

9.

Abb

9.

JL

10. B#

10.

Fx

10.

Fb

(EH, p. 66). Spell the tonic triad (I), the dominant triad (Y), and the dominant seventh chord (y7) in each major key.

ASSIGNMENT 4.2

I

V

V7

C

CEG

GBO

GBOF

C

G

GBO

OAA

OAAC

G

0

DAA

AdE

A C# E G

0

A

A C# E

E G# B

E G# B 0

A

E

EmB

B

B

B 0# F#

F#

m

E

F# A# 0

A A# d E

B

A A# C#

Cij H G#

C# E# G# B

A

C#

C# B G;

m

G# B#

F

F A C

CEG

CEGB

F

Bb

Bb 0 F

F A C

F A C Eb

Bb

Bb 0 F

Bb 0 F Ab

Eb

Eb

24

E~

G Bb

m

B

m

F# A

B#

F#

m

F#

C#

I

V

V7

CEG

GBO

G B 0 F

Ab

Ab C Eb

Eb G Bb

Eb G Bb ])I,

])I,

])I, F Ab

Ab C Eb

Ab C Eb Gb

Gb

Gb Bb ])I,

])I,

Cb

0 Eb Gb

F Ab

F Ab 0

])I,

Cb

ASSIGNMENT 4A Identifying authentic cadences. Circle the abbreviation below the staff that correctly identifies the cadence: perfect authentic (PA), imperfect authentic (IA), or half (H). Above the staff, write in the scale-step numbers of the soprano line. Answers for 1-5 follow the assignment. For the given example, the answer is: H, soprano line 3-2. All signatures are for major keys. 1\

1\

1.

"

l)I

,

2

I

I

tJ

I,

..J

Example

(I )

ri

1

"

101

@

IA

PA

It

J

~

(5)

PA

)

101

IA

It

tJ

H

~

~

I

'I

(8)

:

"

PA

1

'J

a

IA

~

It

(9)

"

IA

It

H

PA

J

(7)

I

r l

IA

H

PA

~ PA

IA

S I

H

1

H

I

" I

I

1

IA

~

-

,I

I

'J

1

(3 )

(6)

I PA

IJ PA

101

I

1

I

H

IA

I

"

(2)

1

r " ..J

tJ (4)

Jr 1

PA

I

101

IA

H

I

I

A

j

d -

,

1

PA

I

1

( 10)

H

IA

~

~

1

PA

IA

r

H

Answers (1) lA, soprano line 2-3 (2) lA, soprano line 5-3 (3) PA soprano line 7-1 (4) H, soprano line 1-7 (5) H, soprano line 3-2

25

ASSIGNMENT 4.3 Locating and identifying authentic cadences (EH. p. 68). Locate the cadence in each example by placing the numeral I or V under the appropriate triad. Identify each cadence by name and indicate the scale-step numbers of their soprano lines. Bach. "Was mein Gott will. das g'scheh alzeit" (#115)'

Cadence _ _ _ __ _ _ _ _ _; scale steps _ _ _ _ __

Johann Ahle. Liebster Jesu. wir sind hie,. (1662)

(2) ,

(

!

I

~-

r

; ,

I

i

.

(

~

\

n

Cadence _ __ --,-_

(3) Lebhaft 10

{

r l

I

_ _ -

-

1':\

t

r J

r J

r

I

1':\

- ; scale steps _ _-'-_ __

Brahms. Vergebliches Stiindchen. Gp. 84. No.4 ~

'"-"'

~

..

I

t

fL .. ~

___

..

•

I..J

""-01

.

I

t

fL

fL

--­

-

--­ t

Cadence _ _ _ __ __ _ _ _ ; scale steps _ _ _ __ _

n;

Mozart. Sonata in A Major for Piano, K. 331

(~~ = (4)

I

10

120) l.h.

-

ff

~

J I

r i

I

r-­

f ~

-.

..

r

I rl i

-

I

rrrI l.....J

Cadence _~_ _ _ _ _ _ _ _ _ _.; scale steps _ _ __ _ _

'The number refers to the IOGation of the complete chorale in editions of Bach's 37 J Chorales. See EH, page 62, footnote 4_

26

(5) I'

(~ . ( .

I

VI. J, II

I

I

I

I

r r r r err r

r I

Via.

salta voce

Cello

oJ

J I

Beethoven. Quartet. Op. 74 I I

I

l_J

oJ

rrr r

~

J

J

r

I

I

1

[

r I J

r I

r

Cadence _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ __

Answers (l) (2) (3) (4) (5)

Perfect authentic cadence, V-I, soprano line 7- j Half cadence, I-V, soprano line 1-2 Half cadence, I-V, soprano line 6-5 Perfect authentic cadence, V-I, soprano line 2-\ Imperfect authentic cadence, V-I, soprano line 5-3

ASSIGNMENT 4.4

Spelling minor triads (EH, p. 71).

(aJ The root is given.

Root 1. G Bb D

1. ~

2.

ACE

2. ~

3.

E G B

3.

3rd

5th

---.lL

4. Eb Gb Bb

4. ~

5. B D F#

5. ---.IL

6. F#AC#

6. ~

7. G# B D#

7. ~

8. Bb DI> F

8. ~

9. D# F# A#

9. ~

10. C# E G#

10. ~

(b) The third is gi ven.

1.

E G B

1.

2.

ACE

2.

3. C Eb G

3.

27

4.

G

B~

D

4.

B~

5.

F

A~

C

5.

A~

6. F#AC#

6.

A

7. B D F#

7.

D

Db F

8.

Db

9. G# B D#

9.

B

10. A# C# E#

10.

C#

8.

B~

(c) The fifth is given.

I.

ACE

l.

l

2.

E G B

2.

.JL

3. C

E~

G

3.

-.iL

4. F

A~

C

4.

~

0

E~

5.

E~

6. 0 E G#

6.

G#

E~ ~ B~

7.

B~

8. F# A C#

8.

C#

5.

7.

A~

9. G

B~

D

9.

10. D# F# A#

10.

,

D

A#

ASSIGNMENT 4.5 Harmonic analysis (EH, p. 71). Locate cadence(s) in music examples in minor keys. For each cadence,

(a) furnish an analysis of the cadence chords, using the symbols i (or I if a Picardy third), Y, and y7. If the 7 of y7 appears on the second half of the beat, identify the chord as y87; (b) name the cadence; (c) supply the scale-step numbers of the soprano line. Anonymous, 1535, "Durch Adams Fall ist ganz verderbt" (Bach, No. 1(0)

(I) 'I

,

)

~

.

r,

IJ

I

I

I

~

~i

I

I

~i I I

~

J ~r

I

Cadence _ _ _ _ _ _ _ _ _; scale steps _ _ _ __

28

J I

I

rl I

In a chorale, such as example 2, the fermata (1:'\) indicates the end of a phrase, rather than "to hold" as elsewhere. These phrases are the first, second, and eighth of the chorale. Bach, "Jesu, der du meine Seele" (#297)

't

~

J

:

(

I

I

( "

,

r

j

v

I ~

I

I

nJ

I

.

I

, I J- 1

J -

I

I

I

'n r ~J

I

r

Cadence I _ _ _ _ _ _ _ _ _ _ ; scale steps _--'-_ _ __

-=-___ Cadence 3 _ _ _ _ _ _ _ _ _ _ ; scale steps _ _-=-___ Cadence 2 _ _ _ _ _ _ _ _ _ _ ; scale steps _ _

In excerpt 3, there are two cadences. Beethoven, Sonata for Piano, Op. 31, No.2

(3) I

'" ~

)

'­

f"­

!:

,~

f"­

f"­

!:

,

-

\

.,

1\

)

~

.

===

H.. f!­

.,

.,

====

.H~ ~

.H-.

=== ~

\

.,

====

.H~ !:

=--­ Cadence 1 . _ _ _ _ _ _--,-----_ _ _; scale steps _ _ _ _ __

Cadence 2 _ _ _ _ _ _ _ _ _ _; scale steps _ _----=----_ __

29

I

Chopin, Mazurka, Gp. 33, No.1 Mesto

N)~

.II

"

~

•

~

i

I

I

1-

I f'-~ ~f'-

.

I

,

I

i

~

I

I

..

I

~

::11

•

I

.. x...

...

I ~

r.

..,,;

Cadence _ _,--------'---_ _ _ _ _ _; scale steps _ _---"--_ __

Examples 5 and 6 each include cadences in two different keys, as indicated. Write in chord numbers only. (In number 5, measure 7, the D A A-G B D progression is a secondary dominant usage, as described in Chapter 18.) Brahms, Liebeslieder Walzer, Gp. 52 (Chorus. with piano) (5) 1\

J

I

(

J I l

I-i

I

~

U

].

j

(

I

i 1 JlJ I-J

(PIano)

r1 1

I

I

I

I

UI

J

D .! J -

-

1..0-"

-

I

-

U

I

I

I

..

:;

I

Eb:

c:

(Chorus)

c:

Haydn, Sonata in E Major for Piano (1776), Hob. XVL31 Presto

(6))fI

~

~

r

~

.

1'1.

I

I

.

i.

.

.. ..

•

•

..

• • • • e:

30

.~

•

~

.~

.v

..

I

r

I

:

..

= 111

= 111

•

= 111

• •

111

111

..

= 111

111

1111

~J

G:

ASSIGNMENT 4.6 Harmonic analysis (EH. p. 74). Locate cadences and identify them by chord numbers below the staff. Each cadence includes one or more nonhar­ monic tones. Circle each of these. Handel. Messiah, "Behold the Lamb of God"

52

.l ~~--------------Bach, "Liebster Immanuel" # 194)

I,.,

(2)

I

.v

I

I

I

d

:

!

I

~

~

J

I

I

I

~.

j

I

~ 1

J j

I

I

j

J

.0 '

r

I

Mozart, Sonata in D Major for Piano. K. 311 ~

(3),.,

Allegro

~

~

........­

.v :31

•

: r

..

I"

-

........­ ~

•

/

'-""

-

.

•

•

Haydn. Sonata in G Major for Piano. Hob. XVI:27 (4)

Allegro con brio

31

Beethoven, Symphony No. 6, Op. 68 (5)11 A~d'ante molto mosso

\

.J

~I

Vln. I..

i

~

Cl.

• •

-' Bassoon

-' -'

.,!

.)J ­

i

~.

I

.---------­

Chopin, Valse brillante, Op. 34, No. 1

ASSIGNMENT 4.7 Melodic anaLysis (EH, p. 77). Below each cadence, write in the chord numbers in the spaces provided. Fill in the blanks below each melody. Giovanni Martini, "Plaisir d' amour"

Cadence 1 _~-=--=~__~.,....,-_ _; scale steps _ _---;-_ _ Cadence 2 _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ __

32

Anon. (1615)

Cadence I _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ _ __ Cadence 2 _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ _ __ Canada

I Cadence I _ _ _ _ _ _ _ _ _ _; scale steps _ _--=-___



Cadence 2 _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ _ __

(4)

,:

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e C" ~

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•

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F

France Fine

------­ I C I•

IV

.-----­

r ra I r­

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, ~D.c.alFine

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I

Cadence I _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ _ __ Cadence 2 _ _ _ _ _ _ _ _ _ _; scale steps _ _--=-___ Cadence 3 _.;--- - - _ _ _ _ _; scale steps _ _ _ _ __ Cadence 4 _ _ _ _ _ _ _ _ _ _; scale steps _ _ _ _ __

The remaining drills are based on the use of major triads as an aid to spelling intervals. Although intervals and drills were presented in Chapter 2, it should be noted that many students find that a harmonic approach is very helpful in achieving rapid and accurate spelling of intervals, especially the more difficult ones . The importance of this skill justifies the use of more than one means for its accomplishment. ASSIGNMENT 4.8 Naming and spelling intervals found in the major triad (EH, p. 78). Practice space is provided for drill in intervals from the G major, Bb major, and E major triads. The same format may be used for any major triad. See EH, Figure 4.16, for a list of the intervals found in a major triad. (aJ

Gmajor

Gmajor

1. M3 G up to B

1.

1 up to 3 is a _ _, spelled _

up to _ '

33

Gmajor

Gmajor 2. m3

2.

spelled _

B up to D 3. P4

3.

4.

5. M6

5.

6. m6

6.

7 . P8

7.

,

._ ,

up to _ .

up to _

.

3 up to 1 is a _ _, spelled _

B up to G

_

5 up to 3 is a _ _, spelled _

D up to B

,

up to _ .

1 up to 5 is a _ spelled _

G up to D

_

up to _ .

5 up to 1 is a _ spelled _

D up to G 4. P5

3 up to 5 is a _

up to _ .

1 up to 1 is a _ _,

G up to G

spelled _

Jfo major

Jfo major

up to _ .

(b)

1. M3

l.

spelled _

D down to Bb 2. m3

-

2.

3.

4. P5

4.

5. M6

5.

6. m6

6.

7. P8 Bb down to Bb

7.

down to _

.

down to _

.

-,

down to _ .

1 down to 3 is a _ . - ' spelled _

Bbdown to D

down to _ .

3 down to 5 is a ­ spelled _

D down toF

,

5 down to I is a _ _, spelled _

Fdown to Bb

-

.

1 down to 5 is a - - , spelled _

Bbdown to F

down to _

5 down to 3 is a ­ spelled _

Fdown to D 3. P4

3 down to 1 is a _ _,

down to _

.

1 down to 1 is a - -, spelled _

down to _ .

(c) Answer with triad numbers: 1 up to 3, etc.

Emajor

Emajor

1. 1 up to 3

1.

M3

E up toG#is_up to_.

The interval is a _ _

2. 3 up to 5

2.

m3

G#up to B is _

up to_.

The interval is a _ _

3. 5 up to 1

3.

P4

B up to E is _

up to _

The interval is a _ _

4. 1 up to 5

4.

P5

5. 5 up to 3

5.

M6

6.

6. 3 up to 1 m6

E up to B is _

7.

P8

.



up to _ .

The interval is a _ _



8 up to G# is _

up to _

.

The interval is a _ _



G#up to E is_up to_.

The interval is a _ _

7. 1 up to 1





E up to E is_up to_.

The interval is a _ _



(d) Spell all intervals from a given triad. Fill in the blan!:s with letter names.

Example: C major, M3: {:; up to E Abmajor

F#major

M3 :

_upto_

M3 :

down to

m3 :

_upto_

m3 :

down to

P4:

_upto_

P4:

down to

P5:

_

upto_

P5:

down to

M6:

_upto_

M6:

down to

m6:

_upto_

m6:

down to

P8 :

_upto_

P8:

down to

Continue on page 36, using two additional triads, as assigned or self-chosen.

35

Triad: _major

Triad: _major

M3:

_upto_

M3:

down to

m3:

_upto_

m3:

down to

P4:

_upto_

P4:

down to

P5:

_upto_

P5:

down to

M6:

_upto_

M6:

down to

m6:

_upto_

m6:

down to

P8 :

_upto_

P8:

down to

ASSIGNMENT 48

Spell all intervals from a given note.

From the note D

From the note G #

M3 :

Dupto_

M3 :

mupto_

M3 :

D down to

M3:

mdown to

m3:

Dupto_

m3:

mupto_

m3:

D down to

m3 :

mdown to

P4:

Dupto_

P4:

GUup to_

P4:

D down to

P4:

G# down to

P5:

Dupto_

P5:

G#upto_

P5:

D down to

P5:

mdown to

M6:

Dupto_

M6:

mupto ~

M6:

D down to

M6:

G# down to

m6:

Dupto_

m6:

mupto_

m6:

D down to

m6:

mdown to



Writing intervals on the staff(EH, p. 78). (a) Intervals from various tonic triads. Write the second note on the staff.

ASSIGNMENT 4.9

~

0

M3 up

~ ~II P4 up

36

0

0

II

II

II

P5 down

II ~o

II

M6up

II

II

Hit

II

m3 down

II ~o

I'

m6down

II

~

0

M3 up

~ #" P4 up

II

II

P5 down

II ~o M6up

II

II

II

m3 down

II ~o m6 down

II

,~.

~3

II

down

, : ~o

~Zll

'~o

II b..

o ­

II

.,

P4 up

,: #"

M6 down

II b..

M3 down

P8 up

I'-~O #" II tZII

m6 up

II

bll

II

11_

m6 up

II

II

P4 up

~): ~o

P5 up

II

P8 up

0

II Ill.

M6down

II

P5 up

(b) Intervals from other major triads. Write the second note on the staff.

~

_0 ~o

II

gl,

m6 down

(I, -t:­

II

110

M6up

II

II

~

,:

m6up

(2)

II

II

~o

'~O

P5 up

II ftll

P4 down

ill;;!! 0

II

M6up

_0 II

~o

P4 up

m6 down

r

(3)

~

r

(8)

!?J

I

m6up

II

m6up

II DaI

xU

,: r

II~

(21 )

II

m3 down

Ilr M3 down

bA

-r

II

II br

r

P4 down

-

"F

-r

-

-

II

P5 down

II

~r I

M3 down (25)

-e ;

II

M6up (29)

m6up

II

(20)

M6 down

m6 down

II j

II

P4 up

II

J

-

M6up

down

(24)

(28)

b

II

(19)

(23)

P5 up

(15)

11­ ~J

P4 up

M6 down (27)

P~

II,

II

(10)

II brJ

m6up

II ~J

lI ·bd­

M3up

(14)

(18)

M3 down (22)

rs

III xrJ

M3up

-

(9)

(13) -

(5)

II #A

M6 down

(12)

~.J

-

P4 up

(7)

II

(4)

II #rJ

P4 down

m6up

fl

~o

~o

(17)

(26)

II

(c) Writing intervals. Place the second note of each interval on the staff.

m3 up

'%

110

II #"

P4 up

m6 down

'~

~o --

M3 down

(6,

bll

P4 down

P5 up

,: ~o

~o

-r

II

P5 up (30)

II V M3 down

II

J

II

M3up

37

31

2:

a

I

(36)

IF

(37)

2: ~r P4 up

II

P4 up

m3 down

38

(33)

( 32 )

(34)

Dr m3 up

(38)

II I;] M6up

II

f

M3 down

II ~F

P5 down (39)

II xJ

(35)

II

II

m6 down (40)

Dr m3 down

II ~r m6up

II

Tonic and Dominant II

part-writing

Elementary Harmony

Workbook

Assignment 5A

39

Assignment 5.1

42

88

Assignment 5B

44

Assignment 5.2

90

46

Assignment 5.3

91

47

Assignment 5.4

93

48

Assignment 5.5

94

50

Assignment 5.6

96

50

Assignment 5.7

96

52

Assignment 5.8

98

52

Assignment 5.9

99

54

ASSIGNMENT 5A Recognizing desirable factors in writing a single triad. Study EH, pages 85-87, (a) range, (b) doubling, (c) position, and (d) distance between voices.

(a) Range. In each pair of triads below, one triad is written correctly, but the other has one voice out of range. Answer questions about each triad of the pair. For purposes of this exercise, consider the range within the whole notes of Figure 5.7 (Elf) as acceptable.

(2)

(1)

l

I

fI

(3)

(5)

(4) L

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-

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-

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~I

~f

i .

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-

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)-

I

Pf

,bj

I I I

I

I

I

I

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I. Measure 2 is correct.

1. Measure

is correct.

In measure _

In measure 1, the tenor voice is too low.

, the . (high or low)

voice is too 2. Measure

2. Measure I is correct.

is correct.

In measure _,the

In measure 2, the tenor voice is too high.

voice is too

3. Measure

3. Measure 2 is correct. In measure I , the bass voice is too high.

is correct.

In measure _,the voice is too

4. Measure I is correct.

4. Measure

In measure 2, the soprano voice is too high.

is correct.

In measure _ , the voice is too

5. Measure 2 is correct.

is correct.

5. Measure

In measure _ , the _ _ _ _ __

In measure I, the alto voice is too low.

voice is too _ _ _ __

(b) Doubling. Write each triad with conventional doubling: two roots, one third, and one fifth. Answer questions about each of these triads: Check that the doubling is conventional, or indicate that the third or the fifth is incorrectly doubled. (1) ,.,

(2)

tJ

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}

I

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(4)

r

DF

I

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:

(3)

I

1. _

2. _ the

3. The third is incorrectly doubled.

3. _ the

40

I

r f

.r

the 2. The doubling is correct.

I

~d

I

1. The fifth is incorrectly doubled .

(5)

I

I I

The doubling is correct, or is incorrectly doubled. The doubling is correct, or is incorrectly doubled. The doubling is correct, or is incorrectly doubled.

4. _

4. The doubling is correct.

The doubling is correct, or

the 5. _

5. The third is incorrectly doubled.

is incorrectly doubled. The doubling is correct, or

the

is incorrectly doubled.

(c) Position. Identify the position (structure), close or open, of each of these triads. (1) 1\

(2)

r

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-

I

(4) ~

(3)

IfTT

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.

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1

(5)

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1. open position

1. ___ position

2. close position

2. ___ position

3. close position

3. ___ position

4. open position

4. ___ position

5. close position

5. ___ position

(d) Distance between voices. In each of the triads below, there are two adjacent voices more than an octave apart. Indicate which two voices, and whether or not this is correct (according to conventional doubling). (1),

I

(2)

(3)

I

(4)

I

(5)

j

I

)

)

eJ

r

I

f

~J

J

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1. There is more than an octave between tenor and bass. This is correct.

I

I

I I

j

I

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r

1. There is more than an octave between and - - -. This is . (correct or incorrect)

2. There is more than an octave between

2. There is more than an octave between

soprano and alto. This is incorrect.

and - - -. This is

41

3. There is more than an octave between

3. There is more than an octave between

and ___. This is

alto and tenor. This is incorrect.

4. There is more than an octave between

4. There is more than an octave between and ___. This is

alto and tenor. This is incorrect.

5. There is more than an octave between

5. There is more than an octave between and ___. This is

tenor and bass. This is correct.

ASSIGNMENT 5.1 Part-writing a single triad (EH, p. 88). (a) Fill in the alto and tenor voices of each triad in both close position and open position, in that order. Use two roots, one third, and one fifth in each triad. Keep voices in correct pitch range. In this and succeeding exercises, ranges indicated by the black notes in Figure 5.7 (EH) may be used. EXAMPLE Gi)len

" ) ) [

Solution

I

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r

I

d

r

.

,

r

r

r

open

close (I)'II

)

~

:

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f,

I

I

(3)

I t

).

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(I)

I

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(4)

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d I

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L' J I

I

I

:

(3) II

)

(2)

~

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I

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L

(2)

I

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(4)

I

t.J

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:

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(5)

(6)

"

~

~ n~

, ~~

l~

rI

(7)

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1'1

(6)

II,

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(8)

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(7)

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(8)

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(10)

1\

~

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#~ I

It

r. t

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d-

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I ( 10)

(9)If\.

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(b) The root of the triad and the soprano position are given. Write all four voices on the staff, first in close position, then in open position, as in part (a) of this assign­ ment. Observe all previous instructions. In the example, Gb (3) refers to the Gb Bb Db triad with Bb in the soprano.

f'L ~

I I

. Minor Keys (5)Db(l)

(6)B(I)

(7)g(l)

(8) b (5)

'I

43

(10) f (3)

(9) d (3)

(II)

b~

(12) e~ (5)

(I)

I

Recognizing desirable factors in the part-writing of repeated tri­ ads. Study EH, pages 90-91. Each example below shows two solutions to part-writing a pair of repeated triads. In each example, measure 1 may be correct, measure 2 may be correct, or both measures may be correct. Indicate one of these possibilities. Where there is an incorrect measure, indicate the type of errOr by the letter preceding the appropriate item in this list: ASSIGNMENT 58

A. Voice or voices in poor range B. Large leaps in one or both inner voices C. Incorrect voice distribution (1)

(1) fL

J

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Measure 1 is incorrect for reason C.

Both measures are correct, or measure is incorrect for reason

(2)

(2)

(

~

Measure 2 is incorrect for reason B.

!

i

J

(

J

I

1\

J

J

I

I

j

J

-

-

Both measures are correct, or measure is incorrect for reason

(3)

(3) 1\

I

~

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I

i

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Measure 2 is incorrect for reason A.

Both measures are correct, or measure is incorrect for reason

44

14)

(4)

3

r.

::jj

'~

I

I

I

I

Both measures are correct, or measure

Measure 1 is incorrect for reason B.

is incorrect for reason

(5)

(5)

,., t.J

)

---

-


P

3

/ ...---.,

-

f

-

P I

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-..;

-

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p

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./

p

f

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r

p'-- V

f

p

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i

.......

p,,~

f

p~

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Melchior Vulpius, "Jesu Leiden, Pein und Tad" (1603) (3)

'~

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88

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(4~ >I It ~

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p"r--...... ~

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r

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Schubert, "Die Taubenpost," D. 957, No. 14

.....

~

~

r--....

r

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I r--....

1 i-

r--....

r--....

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r 1J i -

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r--....

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Bach, "Fur Freuden lasst uns springen" (#163)

Good

Chris

-

joice_

re

all _

tians

_

ye,

With

hearts

and

voic

-

es_

(b) Second inversions Excerpt No. . There are two pedal six-four chords and one passing six-

four. Place the triad number, under each, as well as its name, pedal or passing.

2,

Excerpt No. . There is a single passing V~ chord. Place its symbol

below the chord. There are also two passing V~'s (Chapter 13), spelled the same as the

with a seventh added. Indicate each with its symbol. Also find two examples of the

cadential six-four and identify them.

vt

Excerpt No. . There are two cadential six-four chords, each with non-

harmonic tones on the beat. Circle the nonharmonic tones and identify the six-four

chords by their chord number.

Haydn, Sonata in E~ Major, Hob. XVI :25 Moderato

(I)

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cresco

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• 89

Haydn, Symphony in 0 Major (London), Hob. 1:104 Menuetto Allegro J.I

(2),

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f

.... ,fI ..

if

a

p.

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if p.

p.

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.... , . . . . .

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Beethoven, Sonata in A Major for Piano, Op. 14, No. I f

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u

(2)

~ ~ 6 V6

6 V6

I

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l

(4 ) ~

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6

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.

(5)..,

f

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IV6

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(6) I

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(6) I

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ASSIGNMENT 9.4 Writing successive first inversions (EH, p. 185). Place chord numbers below the staff. The solutions shown use only contrary or oblique motion in approaching and leaving each doubled note and use the least amount of movement in all voices. If your solution is different, check for (1) parallel octaves or fifths, (2) dou­ bled leading tones, or (3) doubled altered notes.

J

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92

II

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6

6

IV6

V6

j

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1

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6

6

1

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(2)1\

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6 IV6

(2)

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6 V6

6

i

6

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6

16

V6

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(4 )

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6

6

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(5)ft j.I

6

6

IV6

V6

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6

6

IV6

V6

I 6

6

Part-writing six-four chords (EH, p. 186). Fill in the inner voices. Make a harmonic analysis. In the spaces provided in 4-7, name the six-four chord illustrated in each musical example.

ASSIGNMENT 9.5

J

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5 3 IV

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6 4

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5 3

V

93

(2),

(2),

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5 3

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5 3

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• Alto may skip to fifth. (3)

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"

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si x-four chord

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pedal six-four chord

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pedal si;{-four chord (6) " 1'1

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six-four chord

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passing si1< -four chord (5)1'1

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ASSIGNMENT 9.6 Writing extended exercises (EH, p. 189). (a) Complete these examples, filling in the alto and tenor voices and placing a harmonic analysis below the staff. (I)"

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(b) The bass only is given. Write the soprano line and fiB in the alto and tenor voices. Make a harmonic analysis. (I) '"

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ASSIGNMENT 9.9 (EH, p. 193). Harmonize these melodies, using tonic, dominant, and subdominant triads only. There is ample opportunity to use all of the following. Strive to include at least one example of each. 1. First inversion

2. Second inversion; cadential, passing, pedal 3. IV 6-V6 in both major and minor (I)II',

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97

armonic Progression; the Leading-Tone Triad and the Supertonic Triad Elementary Ha rmony

Workbook

Assignment 10.1

209

Assignment 10.2

212

98

Assignment 10.3

21 5

99

Assignment 10.4

2 18

101

Assignment 10.5

222

108

Assignment lOA

108

Assignment 10.6

225

109

Ass,ignment 10.7

226

112

Assignment 10.8

227

113

Assignment 10.9

228

Assignment 10.10

228

114

ASSIGNMENT 10.2 Spelling the diminished triad (EH, p. 212). Complete the spelling of each of these diminished triads.

1. B D F

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98

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ASSIGNMENT 10.3

Spelling leading-tone and supertoni triads (EH, p. 2 15).

(a) Spell leading-tone and supertonic triads in major keys.

c:

vii O

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(b) Spell leading-tone and supertonic triads in minor keys .

A:

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99

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(c) Spell leading-tone and supertonic triads in various keys.

I. viio triad in G major

2. iio triad in B minor 3. ii triad in Eb major 4. vii o triad in B minor

5. ii triad in E major 6. iio triad in E minor

7. iio triad in 01 minor 8. vii o triad in Ab major 9. ii triad in

F. major

10. iio triad in Bb minor II. viio triad in F# minor

12. iio triad in Ab minor 13. iio triad in G# minor 14. ii triad in DI> major 15. vii o triad in

109

mminor

ASSIGNMENT 10.4 Harmonic analysis (EH, p. 218) . Identify chords by roman

numeral and by inversion. Circle each nonharmonic tone.

(a) Leading-tone triads Bach, "Vater unser im Himmelreich" (#47) (I),

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fr Vivace (4)

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actually there is repetition. How does Mozart achieve variety while repeating the same

musical idea?

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In measures 3 and 4 of excerpt 6, does the note C create a new chord, or does it sound more like a nonharmonic tone to the E minor triad? Listen to the excerpt in tempo before deciding. Verdi, II Trovatore Andante mosso (il =120)

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At the point in the score from which excerpt 9 is taken, only these two instru­ ments are playing. From your work in part-writing, you should be able to deduce the implied harmonic structure, Please do not read the paragraph following this example until you have com­ pleted your analysis, Mozart, Concerto in D Major for Hom and Orchestra, K. 4 J2 (9)

Allegro

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You have presumably read this music by transposing the horu part and reading the viola part in its clef. But did you notice that the two voices can be read, as written, in the key of C major? Read the horn part as is, without transposing, and read the viola part as though it were in treble clef with no key signature.

107

ASSIGNMENT 10.5 Writing the diminished triad (EH, p. 222). Write each triad in the given position when so indicated. Double the third when the root or the third is in the soprano; double the fifth an octave lower when the fifth is in the soprano. (1)It

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Locating the four principal use~. of the vii o triad. Each of these four is illustrated in Elementary Harmony as follows: ' . ASSIGNMENT lOA

A. After the IV triad when the melody ascends (EH, Figure 10.12)

B. The vii~, found between the tonic and its first inversion, or reverse (EH, Fig­ ure 10.11)

t

C. The vii~, fifth in the soprano ascending, found between the tonic and its first

inversion (EH, Figure 10.25)

D. The vii~, fifth in the soprano descending, found between the tonic and its

first inversion (EH, Figure 10.22) •

Assignment lOAa in the Workbook (page 101) includes one example of each of these four principal uses of the leading-tone triad triad. The numbers 1-4 below corre­ spond to the numbers 1-4 of Assignment lOAa. After each number, write in the letter from the preceding list (A-D) that describes the particular use of the diminished triad in that numbered example. (1)

108

(2)

(3)_(4)_

,

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