Tonal Harmony Workbook PDF

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 1 Triads in Second Inversion 71
CHAPTER 1 CHAPTER 10
Elements of Pitch 1 Cadences, Phrases, and Periods 79
Elements of Rhythm 11 Non-Chord Tones 1 87
~
Introduction to Triads Non-Chord Tones 2 93
and Seventh Chords 19
CHAPTER 4 PART III
Diatonic Seventh Chords 99
Diatonic Chords in Major
and Minor Keys 31
CHAPTER 13
The V7 Chord 99
PART II
Diatonic Triads 35 CHAPTER 14
The 117 and VIF Chords 117
CHAPTER 5
Principles of Voice Leading 35 CHAPTER 15
Other Diatonic Seventh
CHAPTER 6
Chords 125
Root Position Part Writing 41
CHAPTER 7 PART IV
Harmonic Progression 55 Chromaticism 1 135
\...../ Triads in First Inversion 61 Secondary Functions 1 135
v
vi Contents
Secondary Functions 2 149 Augmented Sixth Chords 2 235
Modulations Using Diatonic Enharmonic Spellings and Enharmonic
Common Chords 163 Modulations 239
Some Other Modulatory Further Elements of the Harmonic
Techniques 179 Vocabulary 249
CHAPTER 20
PART VI
Binary and Ternary Forms 187 Late Romanticism and the Twentieth Century 261
CHAPTER 27
PART V
Chromaticism 2 197 Tonal Harmony in the Late Nineteenth
Century 261
CHAPTER 21
CHAPTER 28
Mode Mixture 197 An Introduction to Twentieth-Century
CHAPTER 22
Music 279
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 designa-
tions.
C4
1 2 3 ex. 4 5 6 7
B. Notate the indicated pitches on the staff in the correct octave.
' • l fJ= 1 lR llllR II

E3 04 A3
G2 CS F3 B4 E2 AS 03 G4 BI OS F4 A3 C2 E6
Student Wo rkbook Chapter 1 3
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~ major
T\ I S 7 \ I\ I S I S 2 <
C S T S ( S 7 SJ ~> • A
119: II
......
!
I
S I S~
' ~.
< r
#
• •
G major 0 major
llE 119: II
B major m major
&
m major
119:
D major
II
& llllE II
B. Identify these major key signatures.
_f_ major major major major major major major major

ex. 1 2 3 4 5 6 7
C. Notate the specified key signatures.
11!2= 11& 119: II

&
A~ major E major F major C major
9: 11& 11:1= 11& II

m major G major m major C# major
4 Tonal Harmony
D. Fill in the blanks.

Key signature Name of key Key signature Name of key
'----"
1. Nmajor 8. seven flats __ major
2. G major 9. F major
3. five sharps __ major 10. E major
4. Eb major 11. two sharps __ major
5. two flats b __ major 12. three flats __ major
6. three sharps J:J:: __ major 13. G~ major
7. C# major 14. six sharps __ major
E. Fill in the blanks, using the example as a model.
Major Key Scale ls this

key signature degree note
Ex. c ()#/~ 5 G
1. E 3
2. 2# C#
3. 4 ~
4. ~
5. 3ll 2
6. 6# C#
Student Workbook Chapter 1 5
EXERCISE 1-3
~ A. Notate the specified scales using accidentals, not key signatures. The melodic minor
shou ld be written both ascending and descending.
c (natural) e (harmonic)
• ~. b.
f2= • •'*
I • II
b (natural) ab (harmonic)
lR II
g (melodic)
a# (natural) d (harmonic)
llE 11:2= II
d# (melodic)
II
'
~
B. Identify the type of each scale as major, natural minor, harmonic minor, or melodic
minor. Any melodic minor scales will be shown in the ascending version only.
,.e
1.
#11 a ~II la U11

Ha tto
l f2= &a
2.
II &a lz1 I a lz1 a bo II

I
3. 4.
la ~II 11llR&a ,,, , a lz1 &a a lz1 II

llE ~a #11 a la lz1 I I
II
II I
5. 6.
a
9:
u a ,,, , &a II a II
ll@n-ftu a tfo la II a ~II II

\.J
6 Tonal Harmony
C. Identify these minor key signatures.
a minor minor minor minor minor minor minor minor

ex. 1 2 3 4 5 6 7
D. Notate the specified minor key signatures.
9: 11& 119: 11& II

e~ minor c~ minor g minor a minor
~:
11& 119: 11& II
e minor a~ minor d~ minor fminor
E. Fill in the blanks.

Key signature Name of key Key signature Name of key
1. three sharps _jJL minor 8. g minor
2. e~ minor 9. two sharps minor
3. c# minor 10. seven flats minor
4. five flats minor 11. e minor
5. a minor 12. one flat minor
6. four flats minor 13. c minor
7. seven sharps minor 14. g# minor
EXERCISE 1-4
"--../ A. Provide the numerical names of the intervals by using the numbers 1 through 8 .
I\ ..II....
I
.
\I
-- -
-- ..,_
- "
I
<
I
.II
~
- v -
11-
Tl
-- ..--
It
\
L
,_
..
•0
- --,.._
- -
- - -
,.
"
"-
"
- -- --
,.
,.._
-~
-
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
EXERCISE 1-5
A. All the intervals below are 4ths, 5ths, unisons, or octaves. Put a "P" in the space pro-
vided only if the interval is a perfect interval.
II&· ~·11 t: II : 11 • ·11 : II #: II i II !z: II ·&·II

••
"---' ' 1
4
2
......
5
3
8
4
4
5 6
5
7
4
8
5
9
4
10
~:
fJ= #:
5
II • II
5
t: II
8
i II : II •• II ~U: II
5 4 4
~= II
8
II #: II
5 4
11 12 13 14 15 16 17 18 19 20
B. All the intervals below are 2nds, 3rds, 6ths, or 7ths. Put an "M" or an "m" in each
space, as appropriate.
fl= : 1 h, II •• I &= I b II I: 11 b: II· ·11 ~· I I: I

6 3 2 7 3 7 6 2 3 7
1 2 3 4 5 6 7 8 9 10
: II ~· II &&:s: II &Z II 1: II ~. II &..

II t: II -= II -= II
\.J ' 11
6
12
3
13
3
14
7
15
6
16
3
17
2
18
7
19
6
20
7
8 Tonal Harmony
9=,,. &.II
- 2
~.
-
11 •• n-11
3 2
.....
lz•
6
I k~ I #' I
7 2
1: I ; I
7 6
••• I
3
. I
2
21 22 23 24 25 26 27 28 29 30
c. Notate the specified intervals above the given notes.
=~= • I &. I • I • I &. I #· I • I • I &• I #• I

P4 m3 m6 M2 P4 PS m2 PS M7 m7
1 2 3 4 5 6 7 8 9 10
~.
& M3
I
•·
P8
I #• I • I • I • I • I &. I
M6 ____l!!2_ • M3 M7 P8 PS
lz•
M6
I • I
m2
11 12 13 14 15 16 17 18 19 20
t>= • I I· I &. I • I • I n· I • I &. I &. I ~· I

m3 M2 M7 M3 M6 m7 P4 M7 M6 m2
21 22 23 24 25 26 27 28 29 30
&. I I I ~- I &. I #• I • I
& M6
• • M3
~·
m3
I
M3 PS m2 m6 m7
lz•
M7
I H• I
M2
31 32 33 34 35 36 37 38 39 40
=~= • I lz• I #• I #• I #• I &. I • I • I & I

m6 M2 P4 m3 m7 PS m6 PS
.
M7
. . •· I
m2
41 42 43 44 45 46 47 48 49 50
&&. PS
II • II
P4 •· •·
m3
II
m7
II 1z •
M2
II &. II • II • II #• II ..... II
P4 M6 m6 m2 M3
51 52 53 54 55 56 57 58 59 60
EXERCISE 1-6
\..J A. Most of the intervals below are either augmented or diminished. Name each interval.
f>: u: 11 ~: 11 ~1·: 11 u: 11 ~: II 1• II *: II ~... II : II ~: II
1 2 3 4 5 6 7 8 9 10
ti: II ~ . II
b..a.
~· II ~= II n= II •: II •• II ft: II
·= #:
II II
' 11 12 13 14 15 16 17 18 19 20
B. Label what each interval becomes when it is inverted.

1. m3 becomes 5. M2 becomes
2. +s becomes 6. +4 becomes
3. M6 becomes _ _ _ _ __ 7. PS becomes
0
4. 7 becomes 8. m7 becomes
c. Notate the specified interval below the given note. (You might find it helpful to invert
the interval first in some cases.)
b... b..a.
• •
II • II • II II• II II II ~- II • II ft• II II
' M7
1
P4
2
m6
3
+2
4
m7
5
M3
6
+6
7
05
8
+4
9
M6
10
II ~- II
lz• ti• U• II • II ~. • •
~:
II lz• II II II I• II II
m2 M3 +6 M2 05 m3 07 P4 +2 +4
11 12 13 14 15 16 17 18 19 20
10 Tonal Harmony
• II tt• II • II b~.
II ~ . II •· II lz• II
~.
II • II ~· II
' m7
21
P5
22
m3
23
m2
24 25
P4
b.
M7
26
m2
27
05
28
M2
29
+6
30
•
II #• II • II
~: iJ• • •
• II II II II II II • II
m6
•·
P4 M3 P5 +1 m3 P5 07 M2 M6
31 32 33 34 35 36 37 38 39 40
D. Label each interval in this melody (from Wagner's Gotterddmmerung) .
@~ I r I ~t=1
3
.w !J.
l:ij;I J J !J.
-----
1 2 3 4 5 6 7 8 9
10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
E. Beneath each harmonic interval below, indicate whether it is consonant ("c"), disso-
nant ("d"), or dissonant only if the bass has the bottom note of the interval ("d bass").
1. m3 2. M7 4. PS 5. M6
d bass
0
6. 5 7. P4 8. PS 9. m2 10. M3
d bass
TS OF RHYTHM
EXERCISE 2-1
A. Show how many notes or rests of the shorter duration would be required to equal the
longer duration .
ex. J x__L = o
1. .J x _ = J 9. ~x = .J
2. ) x_ =J 10. .J. x _ =J
3. J1 x = .J._,)1 11 . J1 x = .J.
4. /" x = ...-.• 12. ~ X_= /
5. ~ X_ = ~ 13. ~· X __ = ._.•
6. .... x _ _ = i: 14. ~ x_ = ~·
7. .J x --= ~ 15. ) x _ = J.
8. Ji x = ~- 16. ) x __ = o
B. Sing aloud each of the songs listed below. Then identify the meter type of each, using
the terms duple, triple, and quadruple.
1. "Auld Lang Syne" _ _ _ __ __
2. "Star-Spangled Banner" _ __ _ _ __
3. "Pop Goes the Weasel" _ _ _ _ _ __
4. "America" ("My Country, 'Tis of Thee") _ __ _ _ __
5. "Swing Low, Sweet Chariot" _ _ _ _ _ __
11
12 Tonal Harmony
C. Scale review. Fill in the blanks, using the melodic minor for all minor-key examples.
ex. 6 is F# in _2L_ (M)
1. i7isCin __ (m) 8. __ is C# in b
2. 4is __ inc# 9. 6is C in __ (M)
3. is A in F 10. __ is F# in g
4. 5is C# in __ (m) 11. 4 is G in __ (M)
5. 2.is in E 12. 5 is in G
6. 7 is A in __ (M) 13. is Al. in f
7. i6 is in c 14. t6 is C# in __ (m)
EXERCISE 2-2
V A. Fill in the blanks.
Beat and meter type Beat note Division of the beat Time signature
1. c
2. Simple triple J
3. Simple duple .n
4. Ji 2
5. Simple quadruple n
B. Renotate the excerpts from Example 2-1 using the specified time signatures.
"Jingle Bells"
"America the Beautiful"
" Home on the Range"

14 Tonal Harmony
EXERCISE 2-3
A. Fill in the blanks.
1. Compound triple .J.

6
2. 16
3. m t2
4. Compound duple .J .J .J
9
5. ~
~. Renotate the excerpts from Example 2-2 using the specified time signatures.
"Take Me Out to the Ball Game"
'~Bi
"Down in the Valley"
&*nti I
/
EXERCISE 2-4
A. Fill in the blanks.
1. Compound quadruple m
2. Simple triple n 4
3. J J
6
4. ~
5. ¢
9
6. J J J
B. Each measure below is incomplete. Add one or more rests to complete the measure.
1. 4
6
d......._........ ~. 7. ¢ j ...._... Jl.
2. c J.. 8. ! 0•
3. A~ 9. I j
4. li J. 10. i J. J. J
11. 3 J.
16 Tonal Harmony
C. Provide the best time signature for each measure. In some cases more than one cor-
rect answer might be possible.
1. _ ~ ~ ~ n1 7. _ J nm .rrn1
2. _ J nJ nJ 1 a. _ n J JJ 1
3. _ O· cJ. JJJI 9. _ cJ JJJnI

4. _ I1 J f"n I 10. _ ~ ~ ~ ~ ~. ~. I
5. _ ~. ~. m I 11. _ cJ. JJl l l JI
6. _ JJJJ n 1 12. _ ~ ~ n 1
D. Each fragment below is notated so that the placement of the beats is obscured in some
fashion. Without changing the way the music will sound , rewrite each one to clarify
the beat placement.
1. t J m m 1J J. J. 1 4
4 _ _ _ _ __
2. ~ - cJ JJJTIJI Jo JI
3. ~ J J J J. I J. JJTI JI
4. i J JJJJ~ I ~ J ~I 2
4 _ _ _ _ __
5. ti ~nJ n1 ~.J n~.1 ti _ _ _ __

E. Add stems as required.

1. Each duration is a half note.
t2
0
a
II
2. Each duration is a sixteenth note. Beam them in groups of four.
9=• i · - . · . · · · . I. . • • • . • • - II--
F. Scale review. Fill in the key, scale degree, or note, whichever is missing. Assume the
melodic minor form for all minor keys.
ex. 1 2 3 4
.e
& #11 11& 11& 11& e 11& II
D: j (m) +7 F: 4 c: A: 2
5 6 7 8 9
e e
e
11& 11& 119: 11:2= II
&
(m) +7 d: 4 Ek f: +6 (m) 3
10 11 12 13 14
~: e 119: U" 119: 119: @11 11:2= lz11

II
Bk (M) 6 g: +6 b: (M) S
G. Interval review. Notate the specified interval above the given note.
1 2 3 4 5 6 7 8 9
e
119: e
11& e 119: Jiu 11& .e 11:1= 11& &e 11:1= 11&
II
II
& &e II
M6 +4 M2 M3 m6 07 M7 +2 PS
H. Interval review. Notate the specified interval below the given note.
1 2 3 4 5 6 7 8 9
e ~II e
~: e
119: &e 119: e 119: lz11 119: ~II II
11& 11& 11& II
11&
os m6 m7 P4 M3 M7 m2 PS +6
IN UCTION TO TRIADS
AND SEVENTH CHORDS
EXERCISE 3-1
A. Spell the triad, given the root and the type.

1. g 4. a 0 1. c + 10. f#
2. E ~ 5. f 8. a#o 11. B+
3. d 0 6. D ~ 9. E 12. d
\,____,
B. Fill in the blanks.
ex. 1 2 3 4 5 6 7 8 9 10
5th: ~ ~ F# B
3rd: E FJ, B~ A
Root: _DL D ~ G# FJ,
Type: m M + m m 0
m M + m 0
C. Notate the triad, given the root and the type.
ex. 1 2 3 4 5 6 7
~ 119: ~a llllB a 11@ a 11:2= a 11@ no 11:2= II

11@ II
'
.a
m M 0
M + m m 0
8 9 10 11 12 13 14 15
~: .a ~a 119: 11llR 119: II

11@ ~a 11:2= II
11& Ii
11& ~u
a a
m + M M m 0
M m
19
20 Tonal Harmony
16 17 18 19 20 21 22 23
~II II II
e
II ,,, , II II #11 II II e II
'
II
~e &e
M 0
m M + m + 0
24 25 26 27 28 29 30 31
=~= II II #11 II &e II tj11 II e II le II II II &e II

0 0
M m m M m M
D . Given the chord quality and one member of the triad, notate the remainder of the triad.
ex. 1 2 3 4 5 6 7
r 119: Un 11@ ~~II llllR 11@ 119: lz11

11@ lz1 119: I e
II
'
II e
5th 3rd 3rd 5th root 3rd 5th 3rd
M M + m M m 0
m
8 9 10 11 12 13 14 15
~e
e 11:>= II
11@ #11 11:>= II
11@ e 119: e
11@ e llllR II
'
16
~:
3rd
0
e
17
5th
M
~e
18
root
m
19
5th
le
+
20
3rd
m
~e
21
3rd
M
0
22
root
0
23
5th
M
II II &e
II II II II lz1 II I II
II
5th 3rd root 5th 3rd 5th root 3rd
M m + m M 0
M m
24 25 26 27 28 29 30 31
e ~e bo
=~= #11 II le
II #11 II le
II II II II II
II
root 3rd 5th 3rd root 3rd 5th 5th
0
M + m M + m 0
EXERCISE 3-2
~ A. Identify the type of seventh chord, using the abbreviations given in Example 3-3.
ex. 1 2 3 . 4 5 6 7
' H1w>= IH llllM &#9 1ri= uttlH 11& b'B 119: ~a 11& ttll llllM ~~a I 1
Mm7
8 9 10 11 12 13 14 15
' bl,tu 1ri= ll 11& •H 1ri= &H 11& fl 1ri= •H 11& &~ta 1ri= ~H I
B. Notate the seventh chord, given the root and type.
ex. 1 2 3 . 4 5 6 7
11:>= ~ 0 II
u
0
M7 Mm7 M7 "'7 Mm7 M7 7 Mm7
8 9 10 11 12 13 14 15
fin 119: fin 11& 119: 11& fiu 119: &a llllM 119: II
11
' 0
11 11
07 m7 °7 m7 °7 m7 Mm7 °7
22 Tonal Harmony
c. Given the seventh-chord quality and one member of the chord, notate the rest of the
chord.
ex. 1 2 3 4 5 6 7
1)'~ 11:1: II
11& e 11:>=
e
11& ff 11 llllR 11&
lz1 I
119: ~e II
'
II
5th 7th 3rd 5th 5th 3rd 7th root

m7 M7 m7 "'7 m7 Mm7 "'7 M7
8 9 10 11 12 13 14 15
~e e e e
119: llllR lz1 I 11:>=
11& e 119: #11 11& 11:>= II
'
II
7th root 3rd 3rd 5th root 7th 5th

07 Mm7 M7 m7 07 m7 "'7 07
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<'f ll:n?§>ll & niil f1="1111& ttY•11:>= "011& D~llllB~1i II

Root
Type
Inversion
symbol
B. Fill in the blanks below each figured bass with the root and chord type that would be
played at the corresponding point in the excerpt by using lead sheet symbols. The fig-
ures 5 and ~ both mean to use a root position triad.
1. Bach, "Gott lebet noch" (adapted)
J II
1 2 3 4 5 6 7 8 9 10 11 12 13
2. Bach, "Dich bet' ich an, mein hochster Gott"
(The first C#3 in the bass is not to be harmonized.)
7 6 4 6
7 ~ 6 s 2 6 s
I":'..
f3 J r J r J r r r
1 1 1 c rnr r r r J 1 11
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
24 Tonal Harmony
3. Corelli, Sonata V, Op. 2, Sarabande
5 6
6 6 3 4 5 6 6
~:~ ! ~ r I r r l''r J Ir J I~ r Ir r I
--- --- ------
1 2 3 4 5 6 7 8 9 10 11 12 13 14
7 6 n 6 6 1
~:~ r J I~ J :Ill: r r r I ~- ~ •r I r r J
-- -- --
15 16 17 18 19 20 21 22 23 24 25 26 27
6 7b 6 5 6
~~=~
r J I r r r I ~- ~ lzr Ir ~ J Ir J I =I
28 29 30 31 32 33 34 35 36 37 38 39 40
C. Notate using half notes on the bottom staff the chords indicated by the lead sheet sym-
bols. Notate all chords in root position .
• Terry, "Serenade to a Bus Seat"
Bb Bdim7 Am7b5 07 Gm7 C7 F
-- -· .... l
--
~
-~
-
I
II- - --
..
···-
v -..-1111r.-1 -
- I r - -- 11...-1
•• • • fllllll.
,_ v
I
By Clark Terry. © 1958 (renewed 1986) Orpheum Music, Berkeley, CA.
EXERCISE 3-4
~ A. Identify the root and type of each chord and show the correct inversion symbol. All
the notes in each example belong to the same chord. The lowest note in each example
is the bass note for the purpose of analysis.
1 2 3 4
Root
Type
Inversion
symbol
5 6 7 ~· ....- 8 9
-I -....I
,..__
,. f\
. -· .-.,.
I
.- .,
-..... -....
~-
-
_.
'-
~
,J
.>.
'
v
-
-
f ~
~!,.JL i I ~~I= ~
-
£. , .
I
.. .,.. -!'- '-
"-
- ~
,,.
,,
.
. _.., .. - -- ••
•
Root
Type
Inversion
symbol
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
• 2. Schu mann, "lch will meine Seele tauchen," Op. 48, No. 5
Leise
p
I'.
I
fl
~
,
1J,
""
..
""'
6'
-·~
~
-
It"
-
~
r
- -
~
'~
It"
~
'~
It"
-
I
~
,' _ ,
~
It"
-
.r
-
r-
-
""'
r
'""
~
It"
- '""-
~
It"
Ich will mei - ne See - le tau - chen in den
fl
. -".,..,
·- 1J,
- - -- -
- - _J- _J- _J- _J- - -
~ ~
II
" ' J
....' · ... r-- r-
- ~
-
~
- -; =~ - ._. -- . -
~ ___J _J
-) ::as ...
,._ ·- .- • ::!_
--
- 1J, -
.. I•_._
- --
I_. . 1...
- I
....'· ...
••1111..L -- ...
-
I
-
I
~
I
~
I
-
r-
I
...-
I
....-
I
....-
I
Root
Type
Inversio n
symbol
1 2 3 4
,. 1J,_,.
fl l
- -
- -·
.".., "
11 ~
-
~
""
- " -
""
-• ~ ~ ~
~
~
·~
J
~ r It" It" r
Kelch der Li - lie hin - ein. die
I'.
'
f\
~
,1
,,
1J,
""'l
, - -- - - ~ ~
- - - -
.-1
- -~
I
--
.....
--
.....
I
-
::a~
_J _J J J J J
--
.-1-.
=as -
.~ 1J, _
--
... ...
--
-.- -.- -. - --.....
.._ .._ .._
,_ I
.. -,,
u-
- - -
~
--
~
-
r- ....-
-
~
-
~
I I I I I I I I
Root
Type
Invers ion
sy mbol
5 6 7 8
28 Tonal Harmony
\I.. -
,
r
,_
-
Li lie soil kl in gend hau ch en ein
f\~ .J .J
, ......~.l--'l-T.,.,-"L-~~~~--'--~~~~....1-~~~~~---~~~~~~---~~~~-~-~~~~~_,-+~~~~-_,+-~~~~ J J
. ' -
,..
- - - -
-
...
----... - -- - -- -
- -
- .. --- .. ---
L. ... 111
.JI= .. =
\ ·-
Root
Type
Inversion
symbol
9 10 11 12
f\
. -~ -, -
l
II
"' ,, "
.,;
11 ,.,-
'""'
~
,.,-
'""'
~
'
.
-
""
r
- '
•..
... I
... ~
r
-
Lied van der Lieb sten mein. Das
-
f\
,I
~
. . IL
H
"
- --
-
_,
--
I
--
~
11-
l
- -~
l
..
.,;
-
- _r
,....
- ===
....._
.. - - .. - - ==[ ===
==
,. - ' • ,,:41 -~ - ...
-- - - -• -- .. - --- - --- - ---
~ -• -
-
IL
-
- •• ""u.
I H
" - r-
11•
i I
~
I
Root
Type
Inversion
symbol
13 14 15 16 17 18 19
• 3. Gottschalk, "Jerusalem"
sva sva sva sva

sva sva
::! .JI _. ~
3
~
::!
~ .....
-
5
I .JI :JI I
I\
.."· ... "
I ~1
--
,,, I
. I< v ,_
. ..."' - .
-
~ ~
,_
--
...-
' '
~ ' -
.,.. ~Ill' '
> >
.... .. J j
,_ I v , ,,
~
v
.. -
I
-
-- -
.,.
- I
•
f--
Root
Type
Inversion
symbol
1 2 3 4
sva sva
y y y
y y
Root
Type
In vers ion
sy mbol
5 6 7 8 9
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 7
Ak vii 0 Eb: f#: E: g: F: G: c: .
8 9 10 11 12 13 14 15
' .u llfJ:llll 11@ jj ii:>= ,,kl} 11 & &~0 11 l R h 11 & Dl2 11:>= Bii II
A: c#: Bk g: Dk c: f#: E:
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. 1 2 3 4 5 6 7
,~ll 11:1: 11@ 119: 11& 11:1: 11118 11:1: II

e~: 'III a~ : C~: G: c: F#:
- e: F:
(6) (:2) (7) (7) (3) (:2) (6) (3)
8 9 10 11 12 13 14 15
11:1: 11@ llllR 119: 119: 11@ II

\___,;
'
f:
(7)
C#:
(3)
g#:
(6)
m:
(4)
f#:
(.S)
11&
Bk
(:2)
D:
(6)
Ek
(7)
31
32 Tonal Harmony
C. 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 3 4 5 6 7 8
• 2. Handel , "Wenn mein Stiindlein vorhanden ist"
Bk I
1 2 3 4 5 6 7 8
D. Fill in the blanks, using the example as a model.
This Has this

Key chord bass note
ex. c J6 E
1. a v6
2. JV6 c
d ji06
3.
-6
4. B 4 C#
.6
5. 14 D
6. F viio6
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 G: c#: f: B~: e: Ak g:
8 9 10 11 12 13 14 15
$Jtt! llfl=•IB 11$~4! W•B 11$&•fi llllBndf 11$&B llfl=•B 1

d: E: F: A: b: c: 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:>= II

G: iii7 Bk F: b: f#: A: g: D:
(3) (4) (i) (3) (2) (7) (7) (6)
8 9 10 11 12 13 14 15
119: 11$ 119: 11$ llllB 11$ 11:1: II

'
c:
(i)
E:
(4)
G:
(2)
Ek
(3)
\
c#:
(S)
f:
(S)
e:
(2)
Ak
(6)
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.
@~II J J J J Ij -
F: I v
1 IJ IV
r
-
r
IV
II
2
@ti "
e:
a r a a a 1 ttJ a r r ~
- V i
1
V V
1
iv V
11
@ti" 11 J
D:
rrr rr
IV V
1
v
J
-
a J -
IV
1 11
B. Compose simple melodies that will conform to these progressions.
II
Bk IV V vi IV ii v
35
36 Tonal Harmony
'& I
d:
3
v VI iv v iv v
II
,~ I II
G: iii IV v IV v
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 pur-
pose of harmonic analysis.
• Schumann, "Roundelay," Op. 68, No. 22
A: '1)7
B. 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.
38 Tonal Harmony
C. 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.
1 2 3 4
s
f\
-, . - I
~
_,I
~
I
"· .. --
~ I ~
_,.
"
,, I
0 ~
"
4
11
,... ,,
-
,_ ..- n
"_,....
-
,_
B ....v .... "·
- I T
"
d: iv ii b: D: v
5 6 7 8
s I
f\
.- ~ I ~
- _,
I
...
I I
....v "
0 I
II
...,
.,;
J
r,J
- v
~
-_,
0B l . .. n
'",,
-I-
L '-•Ill
- • • Jiii
\
,, ~
.
~
I
G: IV e: v m: 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 indi-
cated. Be sure to double the root of each chord and to follow the spacing conventions.
1 Close 2 Open 3 Close 4 Close

; f\ ~ H _,I
. ,,I\
,1 llf1..1o 11
11
Tl
,,
.. - ... ' ·
I
"
" -_,
~
I ~
""
,,
'
.,;
.L.
... -
.. . "'
11
1!
11
v
....v IJ
- LL
A: II F: vi c: v D:
5 Open 6 Open 7 Close 8 Open
) f\ I
,#(
'
,I
,
.. IJ
- _,
I
,, ~
v
I,,
~
-H
~
,,
I
,... -"' IL
I ... v
" ....v "
g: VI a: iv Bk v f~: m
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)
40 Tonal Harmony
C. Find and label the following errors in this passage:

1. Parallel 8ves
2. Parallel 5ths
3. Direct 8ve
4. Spacing error
EXERCISE 6-1. Using repeated triads
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
I
fl 6
I I I I
-
-- -
I
--,_I --I
II h r,J
_, r,J
-
r-
v r,J r ,J
~
·~
r,J r,J r,J
~
I I I I
_J_ _J _J J j
- ....
,_
I
.. . - -
-
,_ ,_
r,J - -
,_ ,_
n
•J •J
I I I
2 three parts
I
fl
,a
-I -
_,
I I
--I I
-
•J
I
II
•' ,,
~
h
v --
r,J r,J
r ,J
r,J
r ,J
v
,_
I
-
,_
I
•J
I I
J ,_- j
- ....
~
6 -
n n
-
,_
-
~
I
-P- r ,J r ,J
r,J
I --6-
41
EXERCISE 6-2. Using roots a 4th (5th) apart
'-----" 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 2 3
fl I _.I I ..
JJ I I I
I
#<.
~
.... '·
"
-I--
r~
-- - _,
- - ....v "·,
-
_,
-
_,
- - -
-~
I
,... hj,, _J
- I ....v
'I.
r~
- ~
-
r-
- -
r- ~
"
-I ~
-
-
r-
••
" I "
I I I
c: v G: ii v v B: Ill vi ii v
4 5
f\ JJ
. -" -- - -- - I I I I I I
_,I I I I
- - -
•
II
'
~
,J
"
11
-
I
-
~
--
I
-- -- - -
J 1
-
L
I
.. ""
' - • '1t
- -
~
-
r-
- - .... -
r- -- -
r-
-
r-
-
r-
-
I I I I I
b: i iv
I
i v i F: vi II v I IV I v Ir
6 7
J -I -I -J
I
I . .. ....
f\
• ......
'
II
~
lJ "" .....
I
,,
I
- .. - -
JJ
-
I
-I
- - I _.I
-
I I
~
' -... J
t -
- - .. ....J -
I
\
L
- '"
I
,_.
- I
..
.. ,1 r-
I
-
~
-
I -
I
-
,_.
I
r-
-
,_.
I
a: y. iv D: iii vi ii v v
44 Tonal Harmony
B. Add an alto part to each exercise. Be careful to observe conventions concerning spac-
ing, parallels, and doubling. Each triad should include at least a root and a 3rd.
1 2 3
F: ii v IV f#: v iv A: iii vi ii V
EXERCISE 6-3. Using roots a 4th (5th) and 3rd (6th) apart
'--./ A. Add alto and tenor parts to each exercise below. Use the smoothest voice leadi ng in
each case. For roots a 4th (5th) apart, state which method you have used .
F: vi IV ii O '
o· v VI iv D: vi ii v
4 5
I\ I I I I
..
.LI I
-- I I
.
.II
'
~
,1
... "·, .....
v
--
I
_,
- _,
- - - ......
-
_,
--
I
_,
- - --·
J-
,_ I
.... ~
"·
"
rJ
I
- ~
-
~
•
I
J •
-.,, -- - I
I
- -
I
-
i-
rJ •
I
I I I
B: iii vi ii v e: VI iv v
B. Add an alto part to each exercise below. Be carefu l to observe the conventions con-
cern ing parallels, spaci ng, and doubling.
B: IV II v b: Ill YI iv G: v IV II V
4 5
fl I I I I
- -- -
-
I
~
,
~
- - -
~
,,
~
v
-- -
~
- -
~
- -- ..
I I
.... ... -
i-
• - ~
-
r-
... - - - - - --
- I
v v
i-
I
i-
I
I'"'
-
i-
I
r.J
I I I
F: IV 11 v d: iv VI iv v
EXERCISE 6-4. Using all root relationships
A. Complete each progression. Make two versions of each: one for three parts (adding an
alto) and one for four parts (adding alto and tenor). In the four-part versions, state
which method you have used for any progression by 4th or 5th.
1 three parts 2
g: Ill VJ Ill VI D: II V vi IJ V vi
3 4
,. -J I -J I
II
f\
•' ,,
~
- -I
- - I
- -
L
I
..
'"
~
- -
r-
-
~
- -
r-
I I
I I
a: iv v VJ iv v VI Bk v vi v vi
5 6
G: vi v vi v F: vi ii v VI ii v
48 Tonal Harmony
B. Fill in alto and tenor parts in these exercises.
1
fl u ~ I
...... -
I I I I I
--
I I
.-
'-'
~
6
J
-
.... - -- - - -- -.... -.... r ,J •
, ... ••..•. 1l
- ,...-
- -- --·
-I -
,...-
~
- ••Ill IL1 ,...

I
- -
,...
I I
I I I
1.
A: VI IV v IV II v
2
fl I
"
I
.. I
- - .,-.. -
- .,-.. - -
6
~
v
"' "
-.... -....
II
v
' J
" ' .J ••
~
- -..o
L
.. ~ ... ,...-
-
-
,...
- - - - --
6 ~
I I
.I
- ,...
I I I
f: v VII Ill iv v
3
fl u I I I I
.1 ""
.•• -- - ....
- -- - - - -
I'.
--
' ,, -
~ - tt•
,... -- .. - - -
- --
,...
- ,,
- I
'
I
r-
I I
,...- - ,...-
,...
I
I I Iiv I I
e: VII III iv v VI v
4
fl I I I I I I I
- -- - -- --
I
.- .. --
-. . -
.6
~
"
v r ,J -
" ,J
~
-
L. ....
I
.. ... " ••'
v -
,... -
~
-
~
-
,...
;")
-
,... - ,,_, -
.....
-
~
I I I I
B~ : v v vi IV v
I
I
.""
'
fl
~
.
"'v '· --
.. --I I
--
I
---
I I
....
- -- - - ....
-
-- ..
l \
~
I
.... -..'·
--
y
-
~
I
- -
,_.
-
~
I
-
~
- -
,_.
-
~
I
~
- - - -
~
I
I I I
d: IV v III iv v VI iv v
C. Name the keys and analyze the chords specified by these figured basses. Then com-
pose a good melody line for each. Finally, fill in alto and tenor parts to make a four-
part texture.
1
fl ~ ~ I
I
l ."" '
\I
~
-
IL
-- --
'·
'·
I
•
J-=-,_.
l - .. "" • -
ll
\
L ' - • 1111
I
... -..'·
IL
- -
I
,_.
- -
~ -
I -
I I
I
2
fl
. -
~
.. I
..
- ...... --
'
..i
J
-
I
.. - ..... l - - - - -
,_.
. - - --·
- • • ""11
I n L.>
~
, ~
..... ,
r r r
-I I
~ I
50 Tonal Harmony
D. Write the following short progressions in root position for combinations of three and
four parts .
1 three parts
ti. ~ ~ ~ ~
-
I
-"
v
-- -
" ._, J
- ..."·
,... -"' IL
-"''" IL
"'"'
- I
"
Ek ii v d: VJ iv A: JV v vi
2 fo ur parts
ti. ~ ~ ~
II ...
v
I
"
"
- -"'
~
- IL
" ' J
~
-.
L ,.
.. -"· v
"'"'
11
IL
-.. .."' 11
B: II v d: YI iv A: IV v vi
3 three parts
ti ~ I
II
.1
... "' T ... "
•' ,,
v T v
-... -"'
~--
- 1 -
F: iii IV D: vi ii v g: YI iv v
4 fo ur parts .
) ti
- .I
- v
- ..
~
,_ "
v
I
._,
-
,... ... -
"'u. ..."
- I
v
u.
v
\
F: iii rv D: vi ii v g: VJ iv v
... y . ....
EXERCISE 6-5
A. Notate the chords below for the specified instruments. Each chord is written at con-
cert pitch, so transpose as needed for the performers. Use the correct clef for each
instrument. Note that the instruments are listed in score order, the order used in
Appendix A, which is not always the same as order by pitch.
~ ~ ~ ~-CIITT.ioB; b ~T•b. ~
:_feiv,, F -~=L. 11%1;;: ..•,,,.,11:>= _:
Fl VI A.s..
••, 112 H;;;"" '" 11

-&- T. Sax. U " - Hn . tn F Ve. - & - D.B . - & - Tuba
Fl. Ob. Clar. in B~ Bsn. A. Sax
T. Sax . Hn. in F Tpt. in B~ Trb. Hn . in F
Via. VI. Ve. D.B . Tuba

52 Tonal Harmony
B. Set the following progression for combinations of three and four parts. If possible,
score for instruments in your class. Use root position only.
1 three parts (reduced score)

fl
l
- I
'
\I
I
-
~
.
~
....
.. ,
\ - I
v
d: iv v VI iv v
(full score)
2 four parts (reduced score)

I\
d: iv v VI IV v
(fu ll score)
54 Tonal Harmony
C. Write a version of the excerpt below on a grand staff by transposing the parts to con-
cert pitch. Play your version on the piano and analyze the harmonies if you can.
) f\ ~
,. I
-·
I
- .. - - .....
- ..... - - - - - -- - -·'
.I ""
- ,. - - --
Ob. ~ ~ ~ ~ ~ ~
._i I r I
I r I
I"\ ~
-...- --. -
j.jo
.... I I I I I
Clar.
in B~
II
'
,I
I
""
H
" -- - -· - -
' .....
-
' .....
-
~
.....
- .....
-- -- - --· --
.
._i
~
_,,_ ___
Bsn.
L. , . -
- I
.. """ ...·-
..
L...J
- -, -· - - , - .....-
r-
-
r-
---- r-
-· .....
I
I r -
,.
f\ ~
..... I I I I I
---- --
_,,
- - '
-
~
Hn.
......
-·
II H
..... ..... ..... .....
in F •'- ,, "
._i
L...J
- .....
- - - - -
\I Ill I~
II ...
(
NIC PROGRESSION
EXERCISE 7-1
A. Complete each progression to conform with the chord diagrams on pages 103-109.
The chord in the blank should be different from those on either side of it. In most
cases, there is more than one correct answer,
1. IV _?_ I ( __ o r _ ) 4. iii _?_ v (_ )
2. VI _?_ (_) 5. vii 0 _?_ vi (_ )
3. I _ ?_ ii ( __ or __ ) 6. vi _?_ ii (_ )
B. Bracket any portions of these progressions that do not conform to the chord diagrams
on pages 103-109.
1. vii 0 iv VI v
2. I vi ll IV I v
3. I iii IV vii 0 IV v I
4. i ill iv iv v vii 0
c. Analysi~ Label all chords with roman numerals and bracket any successions of
chords that do not agree with the chord diagrams on pages 103-109 .
• 1. Bach, "Du Friedensftirst, Herr Jesu Christ"
55
56 Tonal Harmony
Vivaldi , Cello Sonata in G Minor, Prelude. Unfigured bass realization by

S. Kostka.
Non-chord tones in the solo part have not been put in parentheses, but the
harmonic analysi s can be done by concentrating on the accompaniment. The
key is g minor, despite what appears to be an incorrect key signature. Key
signatures had not yet become standardi zed when this work was composed.
... --
-- - .
39
• ··t..._ !..._ ~
ft ..
- -· --· -- ....-·
40 3
- .
-·
110\
_ ,
. " -- .
-- -
- -·•
- • v -
- --- - - - -- .... --
I
- - - I
-
I
• ..J -
~
~
~
~
iiiiiiiiiiiiii
3
-.
f\ l
. -- --
....--· ....--
~
•• •• _. ••
~
'-' J
~ Tl•
• Tl
- ...
L. ,,. .
I
.. -
,_ -
I"< "-. "-. _.
-
~
...
I r I I
"111
- .
L_ ..,... tr
1-1. 45
110
.
.......... ,,, -- - - ....- - - ....-
- - -- -- -
_..
- -·
I
.. ..
'.
- .... '
.... ,
,
~
3 3 ~ ~
!':'I
I'.
f\
.I
... . --
- ---' - -
I
-- .. ..
- -
.
~ ~
' -
•• ~-
I
~ • • ]I.,
-t
-
,... -· I
- I
..
- ....
I
- _.
-
~
-
~
... -.
_..
D. Analyze the chords specified by these figured basses and add inner voices to make a
four-part texture. Bracket all circle-of-fifths progressions, even those that contain only
~ two chords. Before beginning, review the partwriting for deceptive progressions.
1
II ~ ti I
-J -J I I
-I I
-.....
I I
.•• --
.I Ill< ., r~ r~
I< rL r,J
,, -
' ,
~
.. - ... - IL
- -- - -
... _ "IL
,, ,,
,, ~
,...- ,...-
- I
I I I I
r,J
I I
2
II . ..I ••.. I I
-
I I
,#\
" '
~
J
v
"
" '· - -
.....
- r,J
-..... -..... - • --·
..,....
-
£. ....
I
.. -. .
II.
-..
••
~
-
I
-
,...
-- - - -
~
- ,, .
I I
3
. f\ I I I
.- ... ,,
- ~
- -- -- - - -..... -
"~ cJ
- I
......
'
r,J
-
I
-
,... r~
-
,_.
-
,...
~
I
- - -
..
I I
58 Tonal Harmony
E. Analyze this figured bass, then add a good soprano line and inner voices. Bracket all
circle-of-fifths progressions.
fl
.1•
,I
I<.
.....
'
._;
.... .. - - --
- I
'....
v
~
-
I
-I I-
r-
~
I
-
r-
I
- I-
r
-
F. Add an alto part (onl y) to mm . I to 2. Then compose a good soprano line for mm .
3 to 4 and fill in an alto part.
,. .... ......
•
II
"._;
I\
- '·
,J
r.J
I
-- -I I I
- ~
I
-_.
-... -
L
.- - -
,.
~
'· ,_
I
-
r-
-
~
I
_,
-
,..J
I
-
r-
-
~
I
-- I
-
r-
-
I
v
F: v vi IV v vi ii v v
G. Below are two unfigured bass lines. Using triads in root position and first inversion
only, show a good harmonization of each one by placing roman numerals beneath
the bass line. Be sure to refer to the diagrams on p. 109 whi le you work on your
harmonizations.
5h~2 r Fr Ir f JI j r FI F" II
2
f)=I 2r Fr I r FL I r r r I J II
H. Harmoni ze the melodies below by using root position major or minor (not diminished)
tri ads in an acceptable progression. Try to give the bass a good contour while avoid-
'----' ing parallel and direct 5ths and 8ves with the melody. Be sure to include analysis.
Finall y, add one or two inner parts to make a version for SAB three-part chorus or
SATB four-part chorus, as indicated.
1 SATB
I\
~
I
.II
\I
~
jj
Ill< .,.
•• _.
-
'· - -
I
_.
-
I
-
I
.....
- I
~
I
--·
I ,_ ....
\
.. - ........
I
no
G:
2 SAB
I\ jj J -I -I I I I
-
"' ,
~
I -
... -
"
-- -- ,
-- I I
-
- ""' ..
L. , . ""
I
....
' J
D:
or b:
\.___
3 SATB
fi
\I
.... "·
I
... I I
II
~ - .....
-
I k '
v "
E ~:
4 SAB
I\ .,. I
~
I
.II
~
I
....v ••
-'· - .....
- - -- • •
.....
-
-
~
,~.
I ,_- .. - •..•
L ,. no
\
I
y
-
d:
60 Tonal Harmony
5 SATB
fl ~ # I I
.-
,1 Jtll l,-IM'
- ... --
'-' I/
._y
-
~
..... ,
r~
.....
-..... - -- --
ol
I .... -
,, '••}
- • • " ' 11 1111
T
T ""
E:
I. Compose a simple melody, then fo ll ow the instructions for Part H. You might need to
revise the melody as you work on the harmonization.
fl
~
I
'-'
- •
._y
I
\
-
L
I
..
'"
J. Review : Label the chords with roman numerals and inversion symbols (where needed).
ex. 1 2 b 3 4 5 6 7
' ,,jj 119\jj 1 &I b &

119:. 0 1 II 11llB#'2 1 BJ ir 119: &&B & II
c: iv6 f: B ~: G: d: b: E: A~ :
8 9 10 11 12 13 14 15
llBtijj w~ 0 11&&8 WI§ 11&0 WBI§ 11,&§iW@•&>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
62 Tonal Harmony
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
.., --- -.--- --

I
- -
f\
..
. -·-
......
I
I
--·
" . . . -·-rm..•--·---·- -·
- -·
- ,_. ,...- rm..•r-.-•r-.
-
- -- -· - - - - I _, I
-··- ..,-
~
"' -·- -
- -· - - -· - -·- ~· ~ ..-1-• - .-i• - ~
I
I
,
~ -- - - - - - -r-"" -· r-'"
11
Tl
- • .-... - • -
mo• - -
--.ie -
r<•
II
I
-
~
I ,... .. ·~ ,
9- !i-
-- n
---.
")
,
,
--
, -
...
\ - I
v
' J
- ·~ r-
I -,J-
_.
-
B. The excerpt below is from Mozart's String Quartet K. 428 . Supply the missing tenor
line (viola in the original).
C. Supply alto and tenor lines for the following passages.
2 3
. I
I
I '
f\
.,. ..."
~
v
I
- ~
-- I I
r,J
I J.I
-, lo!:
-
_.
-- -
I
_.
I I
v
I
..."·,,...
I
-
I
-
_.
- -
_.
.,--
~
I ... - ....- - "-

1!
.,,
- - -- - - - -
- rr -
~ d
,,_
- ....-
,~
\ v
I I
I I I
I r I I I I
g: A: v f: v
4 5 6
I
.., - --
f\ I J.I I I
-
I I I I
- - -"
_,,
--·~
v
-~
,
"
- .,, _.
,,,,_ , -
~
v _.
- - - _.
-
-.
L
.. .- -
,.
I
-
.... - -
....
.,,
"'IL
" ~
- -I
- -
~ -"· "
-
I
- ~
I
- -
I
I I I I
d: iv b: IV v6
7 8 9
I
-
f\ J.I lo!:
- J.I
- -- -- I I
-- -
I I
- -
I I
--
I
- -
.I - "
- - -
~
-_.
~ ~
'- J
-I
,... -- ol
"
- ....- - -
~
-- - ....- - ..." ....- - ....-

-
[L
"
""
.,,
" ~
- -
~
I I
I I I
E: G: v6 v
10 11 12
_.I
,#{
fl
~
,I
,
....
-
I
- I
--
I
--
J.I
.,,
- -
I I
- -
~
I
-,_ - "
I
- ~
~ --
I
-
I
,... ... --',, - - - -

-
-
I
v
....-
-
I
....-
I
-
I
....-
-
I
....
I
..."·
v
" -
I
....-
~
F: IV v D: v6 JV c: v VI
D. Supply alto lines for the following passages.
2 3
~ ~
.
I
I
I
.I\
I\
~
I
"'v " -~
I
-- I I
r,,
I
... 1
1
-..... -- -
I I
.....
I
"'v
I
"· "'v
"
I
-
I
-..... - .....
- .,--
~
l ... -
\
L
,_
'"
-~ - - --
I
- - -
... 1
11 I
-..... - -- "·
I
.....
- -
~ ,,
I
• -
v
I I I "
o·
o· A: v 16 y6 f: v
4 5 6
. I\ I I ~ I
.- - --
I I I I I
- - -, - -
_,.
-
- ........ "
-
~ ~
"
... - -..... -.....
.
v 11 lL-
'-' J 1
L. , .
- I
.. "' -
r-
I
-
r- - -
r-
...
.WIL
"
"
-
- -
I
-
I
-- -"·
"
-
I
-
I
-
~
I
-
I
d: iv b: IV H: rv6 y6
E. Analyze the harmonies impl ied by the soprano/bass lines below and add one or two
inner parts, as specified by your instructor.
. ..
.
I\
'
I\
~
"'v "· -- - - I I I
.....
- -
.....
- -.....
r,,
I
..
... - ....-.. -
no
- - --
- -
~
~
v
-r-
~
I I
I I I
F:
.. . - .... --
I\ ~ I I I I
,.
~
..."·
J
.....
- r,, - .....
-
_.
- --·
- I
.. "" -..••"·
L. , . l1f
r,,
-
~ ,, -
~
r,,
~
- r,, •
I I I
I I I I
e:
66 Tonal Harmony
F. The following passage is reduced fro m Beethoven's Sonata Op. 10, No. 3, III. Analyze
the implied harmonies (more than one good solution is possible) and add an alto line
(only). Use only triads in root position and first inversion.
I
I\
. - ..
f\ Jj
u•
I
r~
I
• -
I. -
-
I
-· I
....'· -.....
~t
r~ • r~ •
~
r~ -'.
- -
-'.
.. "" -..••.. -·
t
-· I
-· - -
I -.
L '-•Ill
~
r,, • ,_
~ rJ
,_
' I I I I -~ JO
.._.... rJ 0
G. Continue your solution to Part D with a second eight-measure segment. The second
part should be similar to the fast, but if it starts exactly like it, objectionable parallels
will result. Maintain the three-part texture.
f\ Jj
I \I ..
I\
~, ~
~t .. - L.. ... ""
' ,_
H. Review the fi gured bass information on pages 45--46. Then realize the figured basses
below by following these steps:
a. Provide the roman numerals specified by the figured bass .
b. Compose a simple melody that will conform to the progression and at the same
time wi ll create a good counterpoint with the bass.
c. Make two completed versions of each, one for three parts and one for fo ur parts .
1 Three parts
.....
fl I
.-
I \I
"
-
~
~ "
..i
~ .. ....,, • - • - - - -
--·
L ,.
-
~
- ,_.
~ ~
',_ I ~
v
I I
6 6 6 6
Bk
Four parts
......
fl I
.- "
I \I
-
~
~ "
..i
~ \ ,_ ,,
,... .... ....,, • -
~
• - - - - -
v
- I
~
,_.
I
~
-
, _.
I
6 6 6 6
Bk
2 Three parts (The horizontal line beneath the last measure means that the 3rd above the bass should be retained in the next chord.).
fl JJ,
I .-@.! -'..·
I
-
\I ""
'-.' V
I -
'
L
I
.. "" ....-'·..
'-•I/II
-
I
-
~
-
I
- -
~
-.... • ......
r~
--
6 6 5 6
3
e:
Four parts
I\ JJ,
I
....,,
I ...i
\I ""
II
-' ·
.
~I .. - .. -
' ,_
-
,,'"
....'· I
-
,_
I
- -
I I
-
,_
I
-
I6 r i
,._,
I
,_
I
-
6 5 6
3
e:
68 Tonal Harmony
I. Review the chord diagrams on pages 103-109. Then assign roman numerals to each
of the bass notes in the exercises below, usi ng triads (onl y) in root position and fi rst
inversion to create a good tonal progression. Then follow steps b and c fo r Part H. If
possible these settings should be for vocal or instrumental combinations fo und in your
cl ass.
1
I\
.
,#(
'
'I
.....
.,.
~
,... .. --
,_ I
'
.....
v -
....
I
-
I
-
r-
I
-
I
-
r-
-
I
-
,_
I
r,J
I "'
F:
I
I
t
,#(
'
f\
. -'·'·
\I
~
-
't
I -....
._
.. ---..' · -
....
- - - - -
\ - ~
I I
~
-
I
~
I I
r,J
-
I I
a:
3
I
.-
I\
,. -
~
....
I
t ~ - '·
'
t
.. ~ - .. ....- - - - -
--·
I r- r-
L. , . " '
- • • Ill
•• -
\
I
'' ' · - I
~
I I
D:
.......
I\ ~
.-
I
\I ""
I " ....
~
t
'
t ,... -- .... -- .. -
-- - - - n
I -
r-
~
r,J •
',_ I
'· -
~
I I I
I
e:
J. Select roman numerals with which to harmonize this melody, changing chords every
place there is a blank. Be sure your progression is a good one. Then write out the
melody with a bass line, using fust inversion triads where appropriate. Make sure that
the bass creates a good counterpoint with the melody and that there are no objection-
able parallels. Finally, make a piano setting, using the bass line you composed. Keep
the piano texture simple, perhaps like that in Example 8-3 (p. 118).
I J. J. J. I J~J. I
I J. J. J. I J~J. I
J. J. k J i:J\J I J. J. J. I J~J. II
EXERCISE 9-1
A. Analysis. In addition to the specific instructions for each example, label each six-four
chord by type.
1. Label all chords with roman numerals:
• Schumann, "The Wild Rider," Op. 68, No. 8
2. Label chords with roman numerals.
• Handel, "Wenn mein Stiindlein vorhanden ist"
71
72 Tonal Harmony
3. Label the chords with roman numeral s and put parentheses around all non-
chord tones.
• Clara Wieck Schumann, Scherzo, Op. 15, No. 4
Published 1976 by Willy MUller-SUddeutscher Verlag and 1994 by Bre itkopf & Harte l.
4. In thi s excerpt, six-four chords are formed by arpegg iations in m. 1 and by a

melodic bass in m. 2 (the bass in mm . 2-3 imitates the soprano melody in mm .
l -2). Put roman numerals in the blanks provided and put parentheses around
all non-chord tones. Then show where any six-four chords occur, no matter
how briefly.
• Bach, Engli sh Suite No. 2, Courante

5. Label the chords with roman numerals. As before, identify the type of any six-
four chord you encounter.
• Haydn, Symphony No. 100, I
) I\ ..~
32
- - -- - -- . - --
~ .t:.: I .
-
- I .
- - --
- -- -- r•
--
.. 35
_.,..
-- ---
•1 ~
-
- ---·
Vin. I - - -
·~
~ J ~ J ~ ~ ~
~
p
lo.,j I I I
- I I
'
c:; •
f
- - -- -----
I\ ~ 1 - I I
. .
-- . -- -. -- -. --
,,
Yin, Il
.- .- -
' '
·~
'"
,, J - ~
-
~
~
- ~
~ I I
I - - -0: .-9
•••••
p -..._./
f
.... -'""" --
.... - . - - . - .. -.
11 I
- ,,
Via.
"
" ~
~ ~
I
- -
I
'
,
I
p
. tr . h·
f
1Jj "1 J(
-a 1J-j - J( ~ (
( _J_ ( iTTI rT
Ve. .. -
L.. , .
-
- r.J
I ,,I ,,I
"1
- -- ----
Cb.
'\
- I
p
- - - - - - - - - - ~
f
74 Tonal Harmony
6. Label the chords with roman numerals, and identify the type of any six-fo ur
chord you encounter.
• Beethoven, Pi ano Concerto No. I , Op. 15, I
) f\ ~ . • !. !. •
Vin. I
~
~
I I I I
-9 • I
pp
f\
Vin . II
._;
- . -. -. --. -. I
,...
I
,...,...
?) I I
,... .>.
I ~
-- -... I I
pp
,... •
!.
r-r-r-r-
. . . . .:.. I
Via.
v
.
_,...
I I I
pp
I I I I .~;._--- . ·#
Ve.
Cb.
'\
.. .
pp
10
- . - -- -. -.
.;,_ .;,_ ~ ~~# .. 15 ....--::-...
-.• -- - -
) f\ -9 )\ !. !. !. !. n • .::----...
~ ~ ~ ~
,... ,... ~ ,..._ ,... ~
- "
Vin. I
-
·~ ~
'
~ - I I .=
cresc. f '?.:
ff
..f\ .. . . -. .
~
. -- -- ..-
I
- ~
Vin. II
I!)
r
. I I I
~
~
- - ~
,... ,... ,... ,...

i-
I I I I
i-
~
i-
~
i-
- v ~~
--
•..J
-
- -- r
-
r
.= -
'?.:
cresc. f ff
Via.
...
...
··~
r
-. -. --
I
-......____.....
I I
-. -. -. I- . - -- -.---. -
I
,...
,....--...
- ,...- - ,.
- --
f I - - I I
.. ,,,...--..__
cresc. '?.:
ff
11 J( ...
·-
_d_
-- & jjjj
Ve.
Cb. -.
.. u
-
- - - -
- I
-- --
·1 ·1
,...-
_.---..-.
,.
.
I
I
'\ cresc. f ff
B. Fill in one or two inner parts, as specified. Identify any six-fo ur chords by type.
\......./ 1 Add A lto and Tenor 2 Add Alto 3 Add Alto and Tenor
d: iv v E~: VI vi iv v
4 Add A lto and Tenor 5 Add A lto

I\ I I I I
- I
-I - I I I I
I
I ."
,~
\I
~
" _..
- - .....
- .....
- J
- ~
--
.....
- "" ..... r,,
j
\ ,_
.'".. -. ,....-· - -
~
I
- -
I
~
-
r-
-- - r-
I
- -
~
I
,J
I I I
Bk IV v a: i v
C. Reali ze these figured basses for three or fo ur voices, as specified, striving to create
good outer-voice counterpoint. Notice the freq uent use of j (or the equivalent, such
as#) to indicate root-positi on triads following an inverted chord. Analyze with roman
nu merals and label six-four types.
1 Add Soprano, Alto, and Tenor 2 Add Soprano and A lto
I\ jj fl jj ff
"
'
,I
,,
""
H
" .
1• "" ''"" I•
"
fl
'
lllt
.. - .. -,,. ' - ...

-- -
IL IL
- - -
- 'I
•• -IL
H
~
- ~
r-
-- "
,_
---
- - -.....
~ ~
r
11 11
I I I I I I
I I
6 6 6 6 s 6 6
4 4 3
3 Add Soprano, A lto, and Tenor 4 Add Soprano, A lto, and Tenor
,. ..... - ........'·
I\ 1,, I
,,
" ,, "' " ....
r
'·
'~
-.
L
.. -"· ......' · ....
,.
• -
r-
- -- r-
r,, " ..-..'· -
r-
- - -
r,, -
r-
-
- I
" r-
I I
~
I I
,_
I
6 6 6 6 6 6 s 6
4 4 3
76 Tonal Harmony
D. Harmonize each unfigured bass with a good tonal progression. Then compose a
soprano line that will both fit the progression and create a good outer-voice counter-
point with the bass. Finally, fill in alto and tenor parts to make a four-part texture. Be
sure to include a six-four chord in each one and identify the six-four type.
1
I\ . ... ..,...
-
II
" ' J
v
'·
~
-.
L ,.
.. - ..••.. - - - r,J -
r-
-- -.
v
- ~
I I
r-
I -
I I
\I
II
'
I\ jJ.
. . LL
" ..-..' ·
~
L.. ..
... - ....
.... Ill
-
~
-
~
- ....-
- -
r- - r-
I
-
- -
,_..
I
I I I I
E. Harmonize each melody by composing a bass line that will create a good counterpoint
with the melody and that will imply a good harmonic progression. Complete the har-
monization by filling in two inner parts. Try to include an appropriate six-four chord
in each harmonization .
-.• - ...
I\ I
r
~
'"'
jJ.
- ~
I I
- -- - - .... r .J
I
-
~
-- I I
.... ....
-
I
r,J
-
-
-
L. , . ""
I
.. "" ••
'
G:
2
I\ . ...I I
..•• I I I I I
II
r
"~"
v
"
"
~
v
-'·
r,J
- -.... - - ....
- -- ,~.
-.
L
.. -"· ... ..••..
,.
-
f:
F. Continue the accompaniment of this violin melody. Non-chord tones are in parenthe-
ses. Be sure to use at least one cadenti al, pass ing, or pedal six-fo ur chord. Incl ude a
harmonic analysis.
VI.I
) f\
.-
.1
'-' "
~
-
I
" ... -
~
..... ~
I
,
,,----.._
r- -
r- -·
r-
-- r-
~ ~ (~) ( • ) -
r- -
r- -·
r-
--
, r-
.
f\
.1
I
..
... " ••..
- • - ...,;- -
I{
YI. II
'
~
- ""111
Ye.
-
L
.. ..." ..••' ·
....
_, • -
I
- - " r-
Bk 6
J
.
I\
f\
. ...I
v r- -
. . -
~
~· (~) (• .)
-
~
"- '
~
.- --
r- r .J
r-
-
.,; I 3
I I
I
I\
f\ . ...I
v
' ,
.,;
.. ...
u
·- I
v
EXERCISE 10-1
A. Cadences. Using only triads in root position and first inversion, compose examples of
the following cadences. Each example should include three chords-the two cadence
chords plus one chord preceding the cadence chords. Include key signatures and
roman numerals.
1 three parts 2 four parts 3 three parts 4 four parts
A: g: F: b:
(root position IAC) (DC-careful!) (HC) (inverted IAC)
G: d: Bk e:
(PAC) (PC) (leading-tone !AC) (Phrygian HC)
79
80 Tonal Harmony

ti
II
,.
r
,,
'~
L
- I
..
,.
a: C: f: D:
(DC-careful! ) (PAC) (PC) (HC)
B. Analysis. The cadence chords have been analyzed for you in each example. Make a
diagram of each excerpt similar to the diagrams used in the text. Include phrase labels
(a, b, and so on), cadence types and measures, and the form of the example.
1. Be sure to listen to this stirring theme in its original orchestral version as well.
• Schumann, Symphony No. 1, Op. 38, Ill (piano reduction)
Molto vivace
iv V
v
2. Diagram and name the form of this excerpt. Also:

a. Bracket all sequences in the melody.
b. Find the best example of imitation between the melody and the bass.
c. Label the chords implied by the two voices. Non-chord tones are in parentheses in
the bass (only). Note: The best choice form. 5 is not a ii chord. (Compare m. 5 with
m. 13.)
• Anonymous: Minuet in G, from the Notebook for Anna Magdalena Bach
IV v
IV v
3. Do the two phrases here begin with similar material? Compare mm. 9 to 10 with mm .
13 to 14. Diagram and name the form.
• Mozart, Violin Sonata K. 377, fII
F: v
82 Tonal Harmony
y7
4. Diagram and name the form of this excerpt, and copy out any rhythmic motives found in
both of the phrases. The progression at x resembles an TAC in what key? What is the
relationship between that key and e minor?
• Mendelssohn , Song without Words, Op. 62, No. 3
p
r
e: ·6 v
~
v
x vii 0 j
Student Workbook Chapter LO 83
5. Thi s excerpt is in the form of a three-phrase period (some would call it a phrase group).
Would it be better to say that it has two antecedent phrases or two consequent phrases?
Why? Which phrase features a circle-of-fifths sequence? Analyze all the chords in that
phrase and diagram the form of the excerpt.
• Mozart, Sonata K. 545, I
y4
2
84 Tonal Harmony
y7
6. Diagram the form of thi s excerpt in four ways, all of which are possible interpretations:
(I) all four-measure phrases: 4+4+4+4+4; (2) four phrases, the last one extended:
4+4+4+8; (3) two long phrases plus a short final phrase: 8+8+4; and (4) two phrases,
the second extended: 8+ 12. Which interpretation do you prefer? Why?
• Mozart, Sonata K. 3 10, Ill
~ v
v v
v VI f v
Student Workbook Chapter LO 85
7. Diagram and name the form of this theme, then label the first five chords. Also, see if
you can find a di sgui sed sequence hidden in the soprano and another in the bass in mm .
V I to8 .
• Beethoven, Sonata Op. 13, II
v
86 Tonal Harmony
y7
C. Review. Notate the chords in the keys and bass positions indicated.
1 2 3 4 5 6 7 8 9 10
II II II II II II II II II II
'
E: 16 Bk vi7 G: 1v6
4
·-4
D: 113 • f: YI d: vii 0 ~ A~: iii Ek vii"'? f# : y42 A: rvM7
HORD TONES 1
EXERCISE 11-1
A. Analysis.
1. Go back to Example 8- l 9 (p. 128), which shows NCTs in parentheses, and identify in the blanks below
the type of each NCT found in the solo horn part. Always show the interval classification (4-3 and so on)
when you analyze suspensions.
m. 6 m. 7 m. 8
m. 10 m. 11
2. Analyze the chords and NCTs in this excerpt. Then make a reduction similar to those seen in the text by
( I) removing all NCTs, (2) using longer note values or ties for repeated notes, and (3) transposing parts
by a P8 where necessary to make the lines smoother. Study the simplified texture. Do any voice-leading
problems appear to have been covered up by the embellishments? Discuss the reasons for the leap in the
tenor in m. 3 .
• Bach, '.'Hilf, Herr Jesu, lass gelingen"
87
88 Tonal Harmony
B. After reviewing pages 172- 176, decide what one suspension would be best in each
excerpt below. Then renotate with the suspension and at least one other embellishment.
Remember to put parentheses around NCTs and to label NCTs and arpeggiations.
1 2 3 4
I\ ~ ~ fl I I
.- .... "·
·~
,1 "'
, "' .
~
'-' 'J
- "" •
f
I
..
.... ""
"'"'
1l
....v " ....v

"
C. The examp le below is a simplified excerpt from a Bach chorale harmonization. Label
the chords with roman numerals and activate the texture with stepw ise NCTs, includ-
ing at least one suspens ion. Label all embelli shments.
I
I
.
I\
\I
II ....v
I
..'
t.J
t
•
~t .... ...
~
"
,_\
Student Workbook Chapter I I 89
D. In the figured basses below, the symbols "4 #" call for a 4-3 suspension, with a sharp
applied to the note of resolution. The symbols "6 -" indicate that a first inversion triad
"-----' is to be used above both C's in the bass.
For each figured bass, do the following:

1. Analyze the harmonies with roman numerals.
2. Compose a simple but musical soprano line.
3. Fi ll in one or two inner parts, as specified.
4. Add some stepwise NCTs to each example and label them.
1
. ..••
I\
-
II
~ , "·
~
s
A
-.......
L '-•
T
.--W
- I-
-
r-
11
- -
r-
~
-
- -- - -
-
6 6 .
I
6
I
I
I
4
t#
I
a:
2
I\ I .
- ...
.I
~
v
"
' J
~ s
A
,... .. .., , I I
-
-,
- " v
-
~
r
....
- tt• -.
- -
- -· - - r-
I
-
r-
I -,J --
6 6 6 4
g:
90 Tonal Harmony
E. Using the fo llow ing progressions, compose a good soprano/bass framework, using
inversions where desired. Next add one or two inner parts, as specified. Show with an
x every possible location for a 9-8, 7-6, 4-3, or 2-3 suspension. Finally, create an elab-
orated version of the simple texture, including at least one suspension. Other embell-
ishments shou ld be limited to arpeggiations and stepwise NCTs.
1. Three-part texture. (Remember that diminished triads should be used in first inversion.)
e: vii 0 iv iv jjO v
r Ii r Ii r Ii r Ii II
I
,#{
I\
\I
jj
""
...
••
It ~
-
<
1' L
.. - ....'·
.... -
\ ,_
--
I\ ~
.
,#{
II
'
""
._i
,_ ,,
.. -
~·
2. Four-part texture.
A: v vi II v vi IV V
r r r r r r 0
II
I\ ~ ~
I \I
I<
II<
....'·
It ~
-'·
•
It
I
....
.. - -......'· IL
\ ,_
I \I
ti ~ ~
.,
I<
1, ~
.
~
\ -
.. -
I
.__
I<
IL
F. Compose your own harmonic progression and follow the instructions for part E. Try
a two-, three-, or four-part texture.
I\
-
" '
I
J
~
-
L. ....
I
..
92 Tonal Harmony
G. Analyze the chords implied by this two-voice framework. Then embelli sh the frame-
work in an arrangement for stri ng quartet. A suggested beginning is given.
I\
,I
I<.
~
~
"'
•• -·
,_ - ,_ ,_
I
r~
••
.... I I
r~
I
-· --·
) I\ ~
VI.I
'
I<.
,1
,,
,..
••
'
-
,_
-
-
r- -
r- -
~
~
~
I<.
I\
,1
~
,..
•• >.•
. ... . ...
YI. II •'
~
" ' ' .....
- -
.....
Via.
.'".
•1~
••r•
• io.
1
IL
..' •
.>.
' -
I
~
-, .
'
Ye.
I_
.. - ..'
.... -
. . . ~ ~
-..... -
,_ I .>. ~
'
H. Continue your solution to Part G to form a parallel period.
-. -
) I\ ~
•' "
._i
.-.. -
I\ ~
'-' V
._i
•1•. ,Ii
··~
··~
.,. .
L '-•Ill
- • • Iii
I
EXERCISE 12-1
A. Analysis.
1. Go back to Example 7-18 on page I08 of the text, where NCTs are shown in parentheses,
and identify the type of each NCT in the blanks below. Always show the interval
classification (7-6 and so on) when you analyze suspensions.
m. I m.3 _ _ __
2. Do the same for Example I 0-14 on page J58 of the text.

m. 10 m. 11 m. 13
m. 14 m . 15 m. J 6, violin: piano:
3. Do the same for Example 9-12 on page 142.

VI. I: m. 23 m. 24 m. 25 m. 26
VI. II: m. 23 m. 26
4. Label chords and NCTs in thi s excerpt.
• Mozart, Piano Sonata, K. 545 , II
G:
93
94 Tonal Harmony
5. The chords in this excerpt have been labeled for you . Put parentheses around all NCTs
in mm. 1 to 6 (only) and label them . The roman numeral s in parentheses are part of a
" nonfunctional" series of parallel sixth chords (review pp. 120-122), and some other
chords have been left unlabeled because they are too advanced for you at this point. The
last three measures are included for context, but they are not part of this exercise.
• Clara Wieck Schumann, Larghetto, Op. 15, No. I
Larghetto
F: ii y7
y4 - - - - om i t - - -- - - •
3
Published 1976 by Willy Mliller-Sliddeutscher Verlag and 1994 by Breitkopf & Hartel.
6. The chords in this excerpt have been analyzed using lead sheet symbols. Put
parentheses around all NCTs and label them.
• Brahms, Intermezzo, Op. 76, No. 7
I\
--- - ~
5
...-·-.. - .-..
_,..... ~
...--.
... ...._,"
.
,,#\
'
\,#
~
- -· •-- '-- ..,,,-- .
-· ;-
~
.. -ill
••
.
..."'"' •
>.
'
••
-ill
.......
"111 •
•
=4i
-=-
~
mp p
-
L ,.
... -- -
- . . --... - -· ...-... - - -
I
-ill -- - c:;; #-- ..... #-- ... =4i

-ill.
-
-
=6
E
=-
Am
c:;;
c Bdim Am
'---:
E Am E
--- =-
Am
B. Using a three-part texture, write authentic cadences in five different keys, employing
a different NCT from the following list in each cadence: p, n, ant, app, e.
I
f\
.
\I
I{
I "
~
<
t
t ....
I
\ ,_ I
C. Analyze the chords in this phrase with roman numerals. Then renotate the phrase on
the staves below, adding at least 4 NCTs, at least 2 of which should be suspensions.
Label all the NCTs, and show the interval classifications of the suspensions.
-"' .. I
- -- - ..
k
-
r-
I
'I ,,
~
tJ ~ I
_J _J
I r t i -
-0-
.. .
J ,,I .I ..-
I k
~
,,
I
~
r
I
--
I I
r
I
- u
t
I~-
D. Compose a simple melody for each figured bass below and fill in inner voices to make
a four-part texture. Include some of the NCTs studied in this chapter. Analyze chords
and NCTs.
1
. f\I
.-., . ..'
I
~
I '
,~
t
I -
L. , .
.. " ... - - - - -
-
r-
I ....
\ - ~
~
~
-
~
I I I
6
J I I
6
ttr I
6
I
4 r
g:
96 Tonal Harmony
In this example, use a V chord on beat 3 of m. 1. Also, the symbols "6 - -" mean that
a first inversion chord is to be maintained throughout m. 2.
2
I\
.-" -. .........
.1 ~
..,
'-'
,... ..
- I
....
v ...'·
uo
- - -- -
I
....
I I
.....
I I
-
....
I
E-~ r cr r -
I -
i r·
4
6 6 3
F:
E. Compose a passage in four parts in the key of b minor employing a 7-6 suspension
near the beginning and a tonic pedal near the end.
-. -
~I\
'-' J
L '-•Ill
- • • Ill IL
I
F. Compose eight measures to continue Part A, number 3, on page 72 of this workbook.

Maintain a similar texture and end with a PAC. Include an NCT studied in this chapter.
..
I\
.-
..,
'- ,J
- ,.
'-
I
..
G. The framework below is a simplified version of a passage from Mozart's Magic Flute.
Embellish the framework, turning it into a vocal part (to be sung on neutral syllables)
\..___,; with piano accompaniment. Try to include at least one chromatic NCT.
fl
I
.- ...
,.
- •
- - •
,...-
-
~
..... -
I
,...- r~
-
,...
I
~ I I
I
- I
r~•
I I
I
•
I ,.....
I -
\
I . •
>.
••
r~•
-
I
-·
,_
~
I
-
--·
I
I
•
I
I
\
H. Continue your solution to Part G to form a parallel period.

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 .
1 2 3 4 5 6 7 8
a
0 a 0
119: II
11& 11:2= ~a 11118 .a 119: 11& 119: II
& 5th 3rd 7th root 3rd 5th
II
root 7th
B. 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
100 Tonal Harmony
C. Resolve each chord to a root position I. (Note: c means complete chord, i means
incomplete chord.)
1 2 3 4 5
E: y7 c: y7 D: y7 A~: y7 I B~: y7 I
(c) (c) (c) (i) (i) (c) (c) (c)
6 7 8 9 10
fl ~ I I I I I I ~ ,J I I
\I
#.
,
""
·~
~
... "· ... v
-
r,J
_.
-
·~
""
·~
... " r,J
~
I I
I I l'I
_d_ _J _d_
,... -- _J_- ~
- ,_ .
--
·~
- I
-
I
~
v
"
"
~
~
"
G: y7 I f: y7 C: y7 D: y7 I g: y7
(c) (c) (c) (i) (i) (c) (i) (c)
11 12 13 14 15
Ek y7 f#: y7 B: v7 I d: y7 A: y7 I
( i) (c) (c) (i ) (c) (i ) (c) (c)
D. Notate the key signature and the V7 chord and then resolve it.
1 three parts 2 three parts 3 four parts 4 four parts 5 four parts
I
I\
If
.
~, ~
~l -
L ,.
..
\
G: v7 d: v7 E: v7 I A~: v7 I
(c) (i) (c) (c) (c)
6 three parts 7 three parts 8 four parts 9 four parts 10 four parts
I \I
I\
.IC
~, ~
'
~l ..
'•
\ ·- I
m: v7 vi A: v7 vi f: v7 VI b~: v7 VI D: v7 vi
102 Tonal Harmony
E. Analyze the chords specified by this figured bass. Then make two harmonizations, one
for SAB chorus and one for SATB chorus.
1
) fl jj
s .
I<
\I . . 11
.....
..'·
A
~
-
B -
, ...
• • lfllt IL .....
n
-
.... - ,...- - - ,...-
--
\
I
-'·
I I I
6 6
s
) f\
I\
. -" .....
jj
11
A ~
~
, fl
-'·
T -
,. - .......
• • /flltU
n
- -
,...
-
,... - - -
,...
B - I 11
fl ....'· I I
-
I
6 6
F. Analyze the chords implied by the soprano and bass lines below. Then fi ll in inner
parts. Remember that the tenor part sounds a PS lower than written.
y7
G. Analyze the harmonies implied by these soprano/bass frameworks. Then make fo ur-
part versions with embellishments and at least one root position V7 chord.
1
.
"
'
r.
\I
~
~
"'"
••
'
-
r-
-- --
I
r-
I
r- r.J
I
-
r-
I
~
"'" ••
'
.. - ... -- - - - • - - -"' ...

L. .... ""
~ ~
I
-.
2
.
I\
- ..'
~ I
-- - -.u ..'
'~
.I
J
-
• -
.-1
- -
r-
I
r-
-
I
-
r-
- .... -"" .. - -
r-
-- I
- - - -"' ..'
I
' -
- I
r-
I -.
r-
3
r.,,, ~
"'
I I
. ~
"
'
,,
.•• - ~
- -
~
-
~
- --· .
"' ••
~ I I I
.. - ... - - - - ..'
- I r-
I - .-1 -
.-1 r-
I
r-
I
_..
-.
104 Tonal Harmony
H. Set a short text for four-part chorus. The text might be a poem, a headline from a
newspaper, or anything. Include at least one V7-I progression. Try to keep the motion
going through the use of elaborations.
I\
,,.
.
,1
'
~
....
,_ I
I\
I
,,.
.
ll
I '
~
I
•
I
t ,_ ....
\ ,_ I
I. Compose a period in a simple three-part texture. End the first phrase with a V7-vi DC,
the second with a V7-I PAC. Then create a version for three instruments, the top part
being elaborated by arpeggiations and NCTs, the other two parts in an accompanying
role. Turn in both versions.
1. Simple version
-.
fl
'-' J
-
£. , .
I
..
I\
fl .
'-' J
-.
£. , .
..
106 Tonal Harmony
2. Elaborated version
EXERCISE 13-2
"-----' A. Notate the specified chords. Use accidentals instead of key signatures.
1 2 3 4 5 6 7 8
119: 11@ 11:2: 11@ 11:2: 11@ llllE II

'
Dk y~ a: y4
3 m: y4
2 D: y4
3 c: y4
2 F: y6
5
B. Label chords and NCTs in the excerpts below. Comment on the treatment of the lead-
b: y4
2 E: y6
5
ing tone and 7th in any V7 chords in root position or inversion.
Notice that in Exercises 1 and 3 the key signature does not agree with the given key.
This is because in each case the music has modulated (changed key) to the dominant.
Modulation wi ll be introduced in Chapter 18 .
• 1. Bach, "lch dank' dir, lieber Herre"

(Which is the more sensible analysis of.beat 4 of m. 3: iii ~ or V6 ?)
F:
• 2. Beethoven, Sonata Op. 2, No. 1, III
~ 10
p
108 Tonal Harmony
• 3. Mozart, Quintet K. 452, I (piano reduction)
Bk
• 4. Schumann, "Im Westen," Op. 25, No. 23

(Do not label NCTs in this excerpt.)
ritard.
15
f\ I l
- I
..•
.-
"
\I
- -·
I
-
'
- ~
- -
~
•
~ I I
mich und mein Kind - lein an's Herz___ ged - riickt.
,,------ritard. I J
I f\
\I
4 1
-
- LJ
I
-
l' •
I
-6-.
l
~ ..
£. , .
- -·-·
,_
C. Resolve each chord to a tonic triad (except as indicated). Analyze both chords.
2 3 4 5
B~: D: c: G: f: VI
6 7 8 9 10
fl I
I
- ti
- -
J.I IL
-~
-
J.I I I I
~
- I
~, . -
v
,_ r,J
~
v
~
v ,_
'\.' \J - ~ r,, "
•
..i I ff I r I
_J
,... J -J
...,
l
\ ,_ I
n
-
"'111
1l -6
-"' - ~
.... " -
,_ .... "· ....v
"
-
r.,,
I
I
C: tl e: A~:
Ek vi d: E: Dk b:
(c) (c)
D. Supply the key signature. Then notate and resolve the specified chord. Finally, begin
the passage with a chord that will allow good voice leading and provide the indicated
\.__./ approach to the 7th. Notate as quarter notes. Label all unlabeled chords.
1 n 2 p 3 s 4 app
II
I\ .
'
~
I
..
00
Ek y6 g: _ __ y4 D: y7 b:
5 2 ---
5 s 6 n 7 s 8 p
I\
II
.
•'
"
~
-.
L
..
00
"---" G: y7 vi f: y6 B~: y7 c#: _ __ y4

5 3
9 app 10 s 11 p 12 n
II
,.
I\
• ,,,
'~
-.
L ..
""
E: y7 c: y4 Ak y4 f#: - - - y 7 YI
2 3
112 Tonal Harmony
E. Show with roman numerals the chords that this figured bass calls for. Then complete
the realization in four voices.
.
,#{
'
.
I\ I
.... "
v
,
•
. -
_,
I
r1
-.,..
,_
,.
·- " . --
- -
r- - - -
r-
- - -
r-
r I I I I I I I I
6 6 4+ 6 6 6
2
F. Analyze the chords implied by each soprano/bass framework. Then add inner parts
and embellishments to make a four-part choral texture. Include an inverted V7 chord.
1
.
-. - ..
~fl ~
I
- ..
~
I
I
'-' 1
~
'
,...-
I
-
,_
I
-
I
- - -- ....
-....
.... '
-
I
- - - - --.
~ - ""' ••
\
I
..
L. , . ,,,
'
r,J
I
-.... ,..
"' ..
'
I I
.
---- -- - - -
2
fl I I
.I
,.. -
II
'
~
, '
••
- -....
I I
~
I
- ••
'
.. .. -
. - - -- -,,, .... ..
- ... -.
~
- ' ~
'
I I tT-
114 Tonal Harmony
G. Analyze the chords implied by this soprano/bass framework. Then create a piano tex-
ture by fi lling out some of the chords and adding embellishments. Arpeggiations will
be especially useful for prolonging the I chord in mm. I to 2. Be sure to include an
inverted V7 chord.
. ...I ••.. . - -
.,#\
I\
, , J
~
v
"
" "·- I-·
,_. -·
,_.
I
, ~
,...-
I
,.• -- - - -
I
,... ,.•
I
I
-
_, •
"'
I
-
_,
- "• •
"
.. -"· -
... .. . - -. - .
,...
. .
-.
L '"
y
"
..
~
••
- I
,
r.J •
'
I
--· I
'
'
- --- '
' ~
I
'
~ ~
I
-
~
I I
fl
.I
I
!» ~
I k IT.
v " ...
fl I
- .I
,
-
y
"-
"
~
-
I
,... ..."·
"
H. Make one or more settings of the following song.

1. Write an arrangement for two B ~ trumpets, unaccompanied. Analyze the har-
monies implied by the two lines. Include at least one inverted V7 .
2. Make an arrangement for four-part chorus. Try to elaborate the other voices
slightly. Include at least one inverted V7 . Watch out for parallel 8ves and 5ths
throughout.
3. Compose a version for piano solo, including at least one inverted V7 . Be pre-
pared to play it or find someone else in the class who will do so.
116 Tonal Harmony
I. Compose a period for a string trio (violin, viola, cello) or for some other combination
of instruments in your class. Include at least two inverted V7 chords.
EXERCISE 14-1
A. Notate the followi ng chords. Use accidentals, not key signatures.
1 2 3 4 5 6 7 8
llllE 11& 11:2: 11& 119: 11& 11:2: II
'---'
'
g:
9
vii 0 7
10
C: ii 7
11
e: yjj01
12
E~:
.. 4
113
13
D: vii"g
14
f#: .. 04
II 3
15
G: vii 07
16
A~ : ii7
119: llllE 11:2: 11& 119: 11& 11:2: II
'
c: vii 0 g d: .. 04
II 2 B~: vii"g b: "06
II5
B. Analyze the following chords. Be sure your symbols indicate chord quality and
a: vii 0 g A:
.. 6
115 F: ·-4
112 c#: vii 0 7
inversion.
f: G: f#: D: Ek e: C: g:
117
118 Tonal Harmony
C. Analyze the chords and NCTs in the following excerpts. Whenever a ii 7 (ii"' 7 ) or vi i"' 7
(vii 07 ) chord in root position or inverted is encountered, di scuss the voice leading into
and out of the chord .
• 1. Bach, "Jesu, der du meine Seele"
• 2. Bach, "Herzliebster Jesu, was hast du verbrochen"
b:
• 3. Bach, Well-Tempered Clavier, Book I, Prelude I
C:
Student Workbook Chapter 14 11 9
4. Label the chords in the blanks provided. Do not label NCTs in this excerpt. The m. v. dynamic markings
stand for mezza voce, "half voice," which means approximately the same thing as mezw forte, or mf The
\____,; tempo is Poco Adagio.
• Haydn , Quartet Op. 50, No. 6, IT
-· --
fU' a
55 .._ .._ .._ -#- -#- .,....~
- -
J I\ ~·
_ .... r-
- -
-
~ ~ ~ ~
./'-
~
._
fz fz
11 a ...
~
,,
._
~
- ~
~ - - ,_.__ ----.....: -_..----

- --
...... __.
'- ............ ...... - .

~
~·-:·~·· "-...:
'J ':..)
m.v.
,,
.,. •1~
. ,,
,.
- -- . ~
- - -·
~
!!- I r
m. v.
.__,,_\ -
___~
.. - - -
I
- - -. - ,._.
- -
-~ ~ ~ ~
-~ ~
--~
~
~ ~ ~ ~
I
~-~
\
~
-.J
111.V.
r - -~~~
J I\
-a -#- -#- ~ ..-;--_tr_
. .-- -· - --
I
,,
'.,
..i - --
......
-- . - - ---- - - -
-· ......
._./
- - -..__.,, - -
R~
- -
--
I\ JI
,, ,.
!.
~ -~
-
-
~
!.
~
~
=' ... .. .. _._. =' -.

-
..i ~
=== I r f-_)
,,
• 1• .. l l
- I I
- -
I
-·
I
r I
- =' - - /
I
" -
.,....
;; - - ~
- -
~
.. .. -·
~
-·
\
11 a 60 ~ .. .l'-4- -!:.#:e:-!:.:e:-!:.~~~~.,.._~.,.._~
-
-- --
1
~
,,
._
-·
~
~
~
~ ~
- -
~
r- -
~ ~
I ==
'~
I\ a
'"'
..i _._ ... - . "
. I
.. ____.. tt·..____....,,
" ~
., .. ,,
., ..
•Ir-to ...
'--"
-. r
-
.. ..
- '
- - -
,
~
" - -· . ~
. ~
,,..-
'
\
120 Tonal Harmony
'f::_ • IL fJ:-- ---

- .
. h----
I
~
I\ a
H ~
-
- -
~
~
"t!:.-·
~
~ - -·
c::::;
~
~
nif
-fl u
.I -
f l
- I
.
.,
- -·
~
fJ· - ~
' - ~
-
-
~ I
f-
-
,, .. _J I
-
I I
,:; - ~ - ~ - -- -- - -
•
:" ~
~ -
-
I
f
r
-
.. - ~
- ~
- -
~
-
~
.. .
~
~ ~
I
\
- .I
":
5. Label the chords and NCTs in this excerpt. These are the third and fourth phrases of the double period that
mak~s up the opening theme. Although too long to be quoted here, the entire theme (mm. 1-30) is worth
studyi ng.
• Haydn, Quartet Op. 20, No. 4, I
- - ..
/ fl - ..
--
~ 13 15 20
-
-- -
I I /":""\ I I
. ,_
\I
I<
l1r
''
-· 'I
- - - """\
-- -
~
~ -~
'
' ~ ~
.~
-~-
~~ r1 • ~
- ..__- • ' '

~
,.~ -
~
.-.I
~ '?' '?' '?' v• 11 I ;;;;;;;;::;::= "';" "';" I
---- -
"'-"" "'-""
fl~ tr
.
\I l1r
__, •• ••
'' _, _,
- -- -/ -- - ---...:
I<
-- -
~
- I
- ~ ~ ~
~- ~ '
~ '?' '?' '?' v. 1--f-61-.
'-
• "';" "';" "';"
-~ \,,.,, L,./ v ...... •
'"-"' "'-""
. .""',,,
il I
., .. --. --. -. ~ 4•
...... _,
- - 7- _,,_ ......
...._ I-"'
~
"';" -
"';"
~
"';" f#
••
,.,.
'?' '?' '?' v ' - ••
.
_, _,
-- r.J • .....
--- --
••
,.,.
'
._,/
"'-"" "'-"" "'-""
··-
··-' ••
,.,.
...... ••
_,,.,.
\
I
~ ~ ~ -,j-. -,j-. -,j-. -,;-

'
i i i -6- -,;- ~ -,;- ~
r.J •
_,./
- ''
'?' '?' '?'
D. Notate, introduce, and resolve the specified chords. Approach each chord 7th as a sus-
pension, a neighbor, or a passing tone, as specified. Include key signatures and roman
'----' numerals.
1 n 2 p 3 s 4 s
..f\ I
.'-,,, - _,
-
-.J
,... 1 J
-
,_ I
f~: vii0 ~ C: ··6

115 D: vii'"j ,,.
,,,.
5 n 6 s 1 n 8 p
f\
,.
.- •' V
-.J
t
J
r
-
r
I
..
'"
-
I
e: c#: ··"'4 F: vii"7 H:

II 3
9 s 10 s 11 p 12 s
f\ I I
.- -
-
ll ~
~ ~
-.J
-
r
I
..
'"
- -
I
b: vii 0 ~ d: ··"6
II 5 A: c: ""42
II
122 Tonal Harmony
E. Analyze these figured basses and continue the realizations, keeping the keyboard
texture but following conventional partwriting procedures.
1.
fl ...~
.- ...
•1
' I/
.,,
~ -i
L ,.
- ••
I
I/It
Ill
••
' -
I
.,,_
I
-
I
....
- -
I
- -.... ...
8 7 6 4
7 # s
e: i
2. Bach, St. Matthew Passion, No. 20
(Andante)
69 70 71
,,. ....
fl I l
'-' ,v
"
....• - ......·-
~
-
....
I ~
v
" . - _,.
~
- - -
I I I
-
I
-
L-
v ~
-
~
I
- -
I
r-
I
-
I ,_.I , _I
\-I
-
..
7 6 a 6 a 6 6 6 s
q s 4 q
[~]
c: y7
F. Harmonize these chorale phrases for four-part chorus.
1. Include a root position ii7.
'
f'i
,,.. .1
@.)
,,
~
...
••
'
I
- -
I I
....
- - - I I
-
I
_..
.....
.. - ...
- I
G:
2. Include a root position vii07 and a 4-3 suspension. !":'.

.
'
f'i
,,.. ... " •• ....
.1
@.)
-
I
.
I
-
I
-
~
- I
....
-
I
J
I
-
~
.... ... .,
- I ~
g:
3. Include a ii~ and a deceptive cadence. Some eighth-note chords will be
..
f'i
necessary.
I .
..
r-
...
~
•J
~
' - - --- .... .... ....

-
. ..' v
•
.>.
'
- ... ••
L. , .
'
I
..
d:
4. Incl ude a v i i 0~ and a passing tone .
.J ,J .J.
.
f\
.- ....
•I ~
.J -J I
r,J
I
_..
-
'
@.)
-
......
.. ..
,_ I
-
'·
C:
124 Tonal Harmony
G. Make a setting of the folk song below for some combination of voices and/or instru-
ments avai lable in your class. Include one of the chords di scussed in thi s chapter.
EXERCISE 15-1
A. Notate the following chords. Use accidentals, not key signatures.
1 2 3 4 5 6 7 8
& 11:2= llllB 119: 11& 11:2= 11& 11:2= II

Ak 1M7 o·
o· h i" 7 G: vig f: 111M6 b: i7 B~: 1yM4 a: v1M7 e: iv~
5 3
9 10 11 12 13 14 15 16
& 11:2= 11& llllB 11& 11:2= 11& 11:2= II

B: 1yM4
2
c: -4
13 d: 1v7 F: vi? E: 1M6
5
f#: i v~ d: v1M6
5
A: ··-4
1112
B. Analyze the following chords. Be sure your sy mbols indicate chord quality and inver-
sion.
E: a: G: Ek f: C: f#: d:
125
126 Tonal Harmony
C. Analyze the chords in the excerpts below. Comment on the voice leading involving
any of the chords di scussed in this chapter.
• 1. Chopin, Mazurka in a minor, Op. Posth .
• 2. Bach, "Herr Jesu Christ, du hochstes Gut"
• 3. Corelli , Concerto Grosso Op. 6, No. l , VII
,.,,-,_,.
/ I\
. -
~ 6
-9- - -
- -- --
I
- . .>. ,
'
- -
"~ J
I
I\ ~ ~
--
l
- .I ..
- rJ
-I- - - - .....
~
-" -
"~ ,J
I I - r~
.,. - . ~
11
r~
- - - -
,... - -
•• • n
-
... ,
~ ~ J ~
'
I I
\
...... ""
-
.• • Ill IL
"
"
•' ,...- •
-
I
-
,...
-
~
I -
~
- - - --
,,- ~
,... ,...
- --
I
-
D: ii i
• 4. Haydn, Piano Sonata No. 30, I

\.___., 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.
Textural reduction
I\~ ~ s6 J
.. - -
90
I
II ,_.
I '
t~
It L '-• 1111
11 I? £
,,
--
- • • Ill
\ ,_ ~v
Ol!J
D. Continue this four-part elaboration of Example 15-1 9 (p. 238).
."
' ._,"
I\
,1
I I
"· "'v
"'v ,,
--
I -
- --
-
- -
I
.....
-..... .....
I
-
I I
-
L....
I r' I I I
.... - n
,_ I
- ,, ,,_ -~
f: iv7 vrr7 mM7 y7
E. Notate, introduce, and resolve the specified chords. Approach each chord 7th as a sus-
pension, a neighbor, or a passing tone, as specified. Include key signatures and roman
numerals.
1 p 2 s 3 p 4 s
I\
."
I
._,
~--
,_ I
..
F: iii7 E: yyM6 g: ·6 b: hi07
5 15
\____.,
5 n 6 s 7 p 8 s
I\
ll
._,
- I
..
f: m M7 d: m: D:
9 s 10 s 11 s 12 n
I\
."
\I
' ._,
....
,_ I
G: 6 c: 7 Bk 7 d:
5
(circle of fifths) (circle of fifths) (circle of fifths)

130 Tonal Harmony
F. 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 meas-
ure added by the authors.)
• Corelli, Concerto Grosso Op. 6, No. 12, V
j fl
-·' ' ..-
•6 -. .. -· .. -· .. -
..-- __, .-
-- . ..
-·
VI.I
~
.....
~
'
r .>. .>. .>. .>.
_, _,
~
p
' I
'
I ~ - .......:_./- - · ' W" - .......
r~•
f
.. ..
0
fl
- -· .. - . --- - - -·'\,.I""'[ - ...
c: I I I
'€
.-
•I
.- -
8 VI. I
c:
0
u
~"
~
' -
p
~- '
-· '
' _,.
- I -..! r
~
r
~
'
~
-..!
- r
~ ,...,
..-
~.-
- -·
..... ~·..,...
_... -
--- -· - -
. ....
f
I I
..
Ve .
·- .
~
6 -
~
p
7
-~
7 7
-
~
7 • 7
~
7
-
~
~
A
'
'
f
~
7
.. ,_
4 3
~ v•
u
--
fl
-· .. -· .. -· .. -- .._......._ .- . ..
-
'I
-·
VI.I
~
.....
~
_,
~
'
r .>. .>. ' ' _, _,
~
~
"
p
' I
'
I ~ _/-
- • 'v
- .......- Ir~ o
f
--· .. ..
- -- .
fl
- . -- - -
I I I
o VI. II .- 'I
A o A -
"'"'
~
'
~
'
' - ~·
-· '
-~-
I r
~
~ , -· i
'
I"""'[
~ ~
r
Ir_.,,. e
g
p -..!
J -..!
"'c:0
u
., ... -· .. -· -· -· . • .....-~
,
.·-, .
U Via.
.,..
··~
.. ~ ~
I
'
'
~ Ao Ao
'
'
'
r
- --
~
r
~
I
'
'
r - - -· ~ ·~
I
--··.
I
p f
... ....-· •• -· -· -· . ..
-· -· -· -·
I I I I
.....
- .... ....
-· - - .. -
L '" A
D.B 6 -
~
-~· '~
~ v•
p f
7 7 7 7 7 7 4 7 4 3
Realization
fl
..
I I
.- ---·. --·.
\I
"
~
I I
.... J- .. J: ..
.
~
I ...
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
"' I
'
-· ..... "
-·
I
•
" ,,
v
'
~
--· --
.... - -- I
7 6 4 6 7 7
2
H. Compose a passage for three voices or inst~uments containing a sequence of seventh

chords similar to that used in the excerpt of Part F.
132 Tonal Harmony
I. 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.
fl I
'~ J
v
" - - -- -- - - - -
,...
- I .. "· - - .. -
fl
II
.,,
v
I
.. "·"
' "
~
.
,_ I
..
'" ~
"·
"
I\
.
II
,1
'
.."·,
I
,_ I
...
,
.... "
"
J. 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 instru-
ments in your class.
ti
.
\I
I<.
'
~
,_ ,,
0
..
Part IV Chroma6dsm
EXERCISE 16-1
A. Review the material on spelling secondary dominants (p. 248). Then notate these sec-
ondary dominants in the specified inversions. Include key signatures.
1 2 3 4 5
119: 11& 119: 11118 II

"---' '
d:
6
Y7/iv
7
A~: y6/V
8
c: Yj/Vl
9
e: v6;m
1Q
F: v1/ii
=~= 11& 11118 11& 119: II

D: Y6/vi . b: y7;y A: Y~/ii i g: Y/iv a: V1/V
11 12 13 14 15
119: 11& 11:2= 11& II

&
Ek Y~/IY f": y6/Vll C: V7/ii B~ : v111v G: vj;v
135
136 Tonal Harmony
B. Label any chord that might be a secondary dominant according to the steps outlined
on page 248-249. Label all others with an x.
1 2 3 4 5
llB!z~&I' gq«TI ll@&b #if• II

11:2=•##.
•I 11@ #9 11:2=•
~I
f: E: C: e: o·
b'
6 7 8 9 10
:>=&''1, 9U 11@ti11# ~ 11:2=•# ~JI 11@~ q#ef! llllB1,~&

''H II
Eb: f#: D: F: c:
11 12 13 14 15
g~
~I 11@~ #!£ 11:>=&1'
@tin# 11:2=•# q§O 11@ti ijlt' II
A: b: d: B~: G:
EXERCISE 16-2
\_____,/ A. Analysis.
1. Label chords and NCTs. Identify any six-four chords by type. This excerpt contains a set
of parallel 5ths in a context that Bach must have found acceptable because he used them
so often in this situation. See if you can find them .
• Bach, "Freuet euch, ihr Christen alle"
f:
2. Label chords and NCTs. Notice that the right hand is in bass clef throughout. Discuss
the sequence implied by mm. 5 to 8. Is the excerpt an example of a period? If so, is it a
parallel period or a contrasting period ?
\.____..,· • Beethoven, Sonata Op. 13 , II

138 Tonal Harmony
Label the chords with roman numerals. Thinking in terms of chord roots, fi nd
the longest harmonic sequence in this excerpt.
Beethoven, Sonata Op. 2, No. 1, I
. 150
•- - . .
.- - .. ---
I\ I
"·
I I
- .!. !.
.
I
- .
.!.
- '. . ..
-
I
-. -
-
\I
---...
~
y
" ~
- ' .>. .Jo. .Jo.
l "
~
r-
I
"'
'1
I sf
~ sf ff
I ._ ._ ._ ._
,.
,,.. .. - -
;.-
•-...- (.'..
l - .
-- ..
,_
- -- • -- • •
\ ,_ y
"
" y
.>.
'
.Jo.
-•
~
i i
4. Label chords and NCTs. Ignore the grace notes in your harmonjc and NCT analysis; for
example, the E~5 in m. I is an upper neighbor ornamented by the appoggiatura grace note.
Comment on Chopin 's use of F# and fl in this excerpt. Where do they occur? Are they
ever in conflict? The form of the excerpt is a (parallel/contrasting) (period/double period).
• Chopin , Mazurka Op. 67 , No . 2
5 .fl-
-l~
fl ~ , ~ ,
- -
I
- - - I I I
.- ~
~
ll
~
- " ~ - ~
- ~
- - -..... --
~
--...._ - r- I'--
--
~r
.....
""'
---r
- -
r I
~
.....
""'
~
sf,,-- I"- sf..-- ......._ sf

,_ I
'· ,... .."
v
•
>.
-.....•- •- ~
- ~
•
-- -- -- -- -- -- -- -- - -
'fro. * 'fro. *
'fro. 'fro.
---- *• •
.... *
- -- -
l
. ..I ~ ~
fl ,,...-- fl
-- I 15 .
-
II
• ,,
~
~
" -
r- - r-
- ....
I
.......
"-
~
-
r-
- 1 r- .....
- - --
f
,... . ---•- •-- I-
-
~
- t J_
- ---.J • •
.
- -
" .>.
' .....
- - -
,_.
I
~
.....
-
= :=-
'fro. 'fro.
* *
140 Tonal Harmony
5. Label chords and NCTs. What is the form of thi s excerpt? (Note: Measures 1- 2 are
introductory.)
• Beethoven, Quartet Op. 135, III
Lento assai, cantante e tranquillo

) f\ I I
5
-. ..
... . - - -
'· ....
- I 19
-
'-V
._;
" - L
L:JI
·-v··
p cresc.
-· ·~
_,
~
_,.
·~ ...
so/lo voce
I'.
I
f\ I
..."· ... ••
II
I
v
"'
I•
.
..._J
..
'
'
._;
~·.._ v~·
........_,-:J· =6t:_ ~=6t· ?· ~
p cresc.
• ...
I
I~
." ... "· •• .

"
LJ
-·
- ..._
p
----........_,cresc- .
~· ~·
-~· -· -~· -· ~·
-~
-·
-
.... ..."· ... ..•• - .. --. .. .
- I
v
" ...
v I LJ
~ "
. . ... ...
. -. r~r .
cresc.r~r
\
p
""111 •
r"-"r
6. 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

142 Tonal Harmony
.) I'\ 45
Ob
'
- ~
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-
~
-' ..
I'\
Hn
in F ~
\}
- ~
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r .......~...
. .G't:-
,... -II- I I
tr~
. . ...
-
-
Bsn "
·- I
v
~
~
~
l
I
• --.
fl
, . -
3
~ . ,,.---...._
- - - - .. - - - . - - - - - - -. -- - ~
,_
--
VI. I , _, ~ _, _, ~
' I
"
~ ~
~
....
.. . - - .. -
.
.
\I
"
- ., - - - - -- - . ....
~
VI. II --.
-
"
.., ~
' ~
--
._;
"__./
., ,. .. __ .. -------&4 - -...- - . -- -
'
- -
• '' ..,
,-
Via. ---= ....
- ,_
- ~
- . -
••~ II a...t ,.. ---.- --=r ...J - --=r --=r '<
-... ....
•
. • .., . .
I
•
- .. '
Ve .
D.B.
I£
, --
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- -.:.
, - ~
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w
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'
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-
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-
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VI. I ..
~
- - --·- --- - _, ~
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- -
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-
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...
- l
-
l
-
IJ
~ i:::i::::::; - f ..........
fl f f."I _,
VI. Il
. ...
, . IJ
._;
~
-i..;
~
- -- -- ·- f ·--
,_ ' -
~-··
··'-...."';"';-•••
- I ---=i
14 - -l
- ..
-.:
. .,
...
?
-- .
,. - f."I
.... ........ -- -
I
...- ...- -- -
-- ·- .., _,,....
-
..~
,_ -
Via. - ...J
"-~
-
-~
•• .,. II ~
..... '
,.... ... .. ...

1-¥ I
f f
f."I
. .,..
I I I
Ve.
,_
.. " " .. -
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-
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.
w
D.B.
\
~
- -
_,
I
f f
B. For each of the follow ing problems, first analyze the given chord. Next, fi nd a smooth
way to lead into the chord. Although there are many possibil ities, it will often work to
use a chord whose root is a PS above the root of the secondary dominant. Experiment
with other relationships also. Then resolve each chord properly, taking special care
with the leading tone and 7th resolutions. Analyze all chords.
2 3 4 5
g: _ _ _ _ _ _ C: _ _ _ _ _ _ G: _ _ _ _ o/~!o/ E: Ak
6 7 8 9 10
fl ~ I I I I I,,_ I
~
I
- \I .,,
r• - "
- "· ....
"
-- - " -- ,_
qr
y -
'-' V r~ r~ r~
~ I
<
I
hj j _J
~ ,... -- b..e.; 9-
....v "
r•
I
....v "· ....v
r•
...."· -
,_ r~
\ ,_ I
" I I
D: B~: ii7 f: c: a:
c. List below each note the secondary V and V 7 chords that could harmonize that note.
You might fi nd it helpful to refer to the charts on page 247.
1 2 3 4 5
~II II II ~II
II II II
#11 &o
'
II
f# : e: D: A: Ek
6 7 8 9 10
II
0
II II II II &o II
'
II
0
b: Bk d: F: Ak
,-
144 Tonal Harmony
D. Provide roman nu merals to show how the first note could be harmonized as a second-
ary do minant. The second note should be harmonized by the tonicized chord.
1 2 3 4 5
@W a II
II& II II
II~# II a
11&''1,~ II a ll~##I II II
II
g: F: b: f: E:
6 7 8 9 10
@~\ a a II a
II&'' II a II~ II a II~## a a
II
u
c: C: B~: e: A:
E. Analyze the chords specified by each fig ured bass, then make an arrangement for
SATB chorus. Strive for smooth voice leading, even if thi s results in a dull soprano
line.
1
. ..I
f\
..' -
I
-
~
II
v
"' ,
~
I
.J
-.
L ,.
.. -,, ...
v
L_r-
v
-- r-
.,,_
"'r- - - .. _ I
"'r-
~
4 6 7 6 6
2 5
2
F. Harmonize each chorale phrase for SATB chorus. Include one or more secondary
dominants in each phrase and activate the texture with some NCTs.
1 . 2
-r:J- ..J -J I I /":'.,
I
-.
f\
-. .. -
I I I
- --
I I
-- .... ' ..
- - - - ..
,~.
,~
j "' , " ' -

~ .. .....
-
..... _,
I
\
-
L. ....
I
.. k ''·
"
••
' -•• '
H: d:
3
J
. .I
f\
..
', -
II
~
\I •ll
•• --- -- -
I I I I I
.....
I - r,J
I
-
I
_,.
-- -
I I
.....
I _,I
- - --
I I
_,
I
r,, •
- . .....
. .. .....
'"
C:
4
I
.
-.
f\ I I I I I I
-- -- --
I I
" "
-. ..' -_, "
- - -- r,J r ,J •
L. , .
- I
.. ... " ..'
g:
146 Tonal Harmony
G. Analyze the harmonies implied by the following soprano/bass fra mework. Then make
a more interesting version for piano, beginning with the two measures given below.
I\ I
.. -· n. e:· -P-· -9-"
.',, ...." ••'·
\I
,_
-·
,_
r ,J •
-·
,_
~
v
- I
~.-
I
.. -. .... ~
- ft t.I • --· ~
~-
-· ·~.
I
----· r,J •
,
I
·~· --·
I
-
I\
-,
I
....
~
> -~I
.....
-. -- -- --
-
I /
-
v ,_ ~
~
c;.
9-. ••
p
-
,... .... .. -J. .....I -IJ I
- . -.....
.·~ ·-
- - -
- I
v
" ••
'·... - .....
r-
-
r- r-
~ I I I I
'fro. 'fro.
I\ I
.- -.
I
'-' 1
,_
I
..
- .... .... "
H. Continue the example below to make a total of at least eight measures. Include one or
more secondary dominants and end with a PAC. Then score it for four instruments
found in your class. Analyze all chords and NCTs.
I\
... ...
. -••..
II
\I ••
- - I
.... I- I'--~~
-
~ ~ ~
'
~ -
~
-
~ ~
~ ~ ~
I
- ....
L. , • • •
-
'·
- -1-
- -.
A
I
~
l
...
..
.>.
.
'
~
- .
I ..
.>.
~
I I
/
148 Tonal Harmony
I. Finish the analysis of the phrase below. This phrase is to serve as the a phrase of a
longer theme you will compose. The theme will be in the form of a parallel double
period. Include at least one secondary dominant.
r--a l~ b~ r-- a
IAC HC IAC PAC
A:
.-,.
I\ ~ ti
- 1
' lJ
11
I .... -
- • • ""' 1 1
I 1
-. -
I
I\ ~ ti
I •"
1
I ~
~
t L!
I -.••IllL '-•Ill
LT
\
DARY FUNCTIONS 2
EXERCISE 17-1
A . Review how to spell secondary leading-tone chords (pp. 264-265). Then notate these
secondary leading-tone chords in the specified inversion. Include key signatures.
1 2 3 4 5
& llllE 11& 11:2: 11& II

A: vii 06ti ii F: yjj06/ii c: viio6/YI E: vi i 0 ~/ I V Ak vi i0711v
'-.__..,
6 7 8 9 10
:1= 11& 11:2= 11& 11:2= II

d: vii 05
6/Y . G: vii 0 7/v i B ~: viio6/v i o·
o· vii 0 7/Y II F: yjj07/ jj
11 12 13 14 15
& 11:2= 11& llllE 11& II

C: vii°11Y e: vi io6/ iv Ek vii1tv f~ : viio7/III D: yjj06/Y
149
150 Tonal Harmony
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.
1 2 3 4 5
k~~
@V·~ ~qao
119=• 11@"tt# U9 119:&1' qit, llllEU •0 II
c: G: A: Bk e:
6 7 8 9 10
~: ,,•o 11@~ qi 119=•n#• xnU 11@~b~ 99 111181,~& 1'

~qi II
C: d: E: m: Ak
11 12 13 14 15
@~ 1zn 119=•ntt
qkn ll@tiD gjj 11:2: lzjj 11@"u#• if o II
F: f# : D: C: d:
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
- -- ~~~ 60 ~ :~·~~
a
/ f\ ~ ~ ss' -
I
-
I -
•6 -
, r.J
1
-
r- •
.>. -
,_
-
r-
-~
~
- •
.>. -
'J
'
._i I
I
p f
f\ ~ ~ b I ~ ~ ~
.- •I
'\.' \J
"' "
.... -
~~~ <+J_-,;-. (~) ~ ~ ,.,..!._4-. riiJ ~
._i
..__,,
! ! !
f
p°'-"
1L
• 1•. 11 IM' Ifill ,_ I
~
-· -·
,_ -·
,_ -·
..-
~- ~ q~~
r.J
.
....
• , .._ 1
••r' "' '

'
p f
( b~)'.
-
'" -,
• • ""' .Ll
1L
- - - ' • -~-
.,.,...
..- .
- I ~
I
-
~
, _..:../ - '
'
'
'
p f
A:
2 3 4 5
152 Tonal Harmony
J6
4
6 7 8 9
If\ ~ ~
-.• -, - -. -. -. -- - . - - .- ..
._..- 7'
- I
-
-
~
-'
,, '
-
~
-
· ~
-
-
r r- ~ t - \ ~ , r " " r-
r- r- - r- •
.>. .>. •
' ,,, \ J- I " i- i- i-
' '
~ I
I I I I I I J I lr..rlr...j
f\ ~ ~
. ..
I I
. .
.,,-,,,
.1
~
-
' r
....__..,..-
_,
- .>.
'
.>.
'
#~~~ < #~2..,,---·

- .>.
'
.>. •
'
---~·
(4 ) .. -*-
~
,,-._
~ i., _--:--.. ~.!. . ~
•
• 1• .. ,-L
.1 .......
...
··~
,
11
.,,_I""
- -
~
~
- '-
-
~
.
'
.
I..!.
... i - ,...!. ,...!. ~~
- .
'
"'~
.!.
~ ~
.
'
...
'
' '
I I I
-. .. "".. ", ,,,,,,.,-

L. , . 1111
. 1!
-
,.. I
-. -. -. --
I I
. -. -. -.
~
. . ..
\ I
p
• •
~ I
'
I I I - '
'
'
10 11 12 13 14 15
2. Label the chords with roman numerals (the Italian augmented sixth chord in m. 4 will be
discussed in Chapter 23). Use your imagination and your ear in analyzing the last chord
"'- in m. 2 .
• Schumann, "Die Lowenbraut," Op. 31, No. I
1t+6
154 Tonal Harmony
3. Label chords and NCTs. (An optional piano accompaniment is omitted from the exam-
ple.) What is the form of this excerpt?
• Brahms, " Und gehst du iiber den Kirchhof," Op. 44
espress.
-===
de, es
-===
de, es
====- -===
ge - liebt.
4. Analyze chords and NCTs. Find two circle-of-fifths progressions that contain more than
four chords. What is the form of this excerpt?
• Tchaikovsky, "Morning Prayer," Op. 39, No. I
Lento
. . . .
~
156 Tonal Harmony
5. Thi s short song is given here in its entirety. Analyze the chords and NCTs. There are
some places where alternative analyses are possible-in m. I, for example, where the
line G!l-F!l-E could be analyzed as chord tones or as passing tones. Think of two analy-
ses for the second chord in m. l I, one of them being a secondary function.
• Schumann, "Aus meinen Thranen spriessen," Op. 48 , No. 2
Nicht schnell
und mei - ne Seuf-zer
all". und vor dei - nem Fen-ster soil klin - ge n das Lied derNach - ti - gall.
r.-..
~.
*
B. For each of these problems, first analyze and resolve the given chord , being especially
carefu l with the chord 7th and the leading tone. Then find a smooth way to lead into
"-., the given chord. Analyze all chords.
1 2 3 4 5
ti I JJ I JJ ft I I I I I
,,.
'
,1
r.J
,, "" ' r.J
-
,.....
""
~
w-
,
- -
. "· " -I-
,.....
- " ~
w-
-
r,,
._y I I I I
~_J
- JJ_J ~j ~_J _J
.. ----
u
- -- - ll
,,
... '-'· r,,
... " -
,_
- I
' I
v
" I
v
C: D: A: H: B~:
6 7 8 9 10
E: c: f: o·
o· F:
C. Analyze the harmonies specified by each figured bass and make an a.1Tangement for
SATB chorus. Try to use smooth voice leadi ng, even at the expense of an interesting
soprano line.
1
ti JJ ft
,,.
._y
I """'
-.. -
·~
•• -
I
I
J
-
.. -" .... - -"" ....- -
ll
-
- I
~·
-
'·
~
I
-
I
~
"' ....
-
I
- -
I I
-
....
I I
r.J •
I
7 6 4 6 7
4 2
158 Tonal Harmony
2
,I
I<.
~
fl
. -
1•
I
- I
J
...... -- ~
- -
~
-
~
- - -
~
-
~ -
- I
' r,J
I I I I
i I
4+ 6 4 6 '6 6 6q 6
2 2 5~ 5 4
#
D. Harmonize each of these chorale phrases fo r SATB chorus. Include at least one sec-
ondary leading-tone chord or incorporate some other aspect discussed in thi s chapter
in each harmonization.
1
r.-.. 2
I I I I
.
.. --'·'· - - - - - -- --
I\ I I I I I I I
.II
~
\I
v
- -- .... ....
- - -- - ....
-
1•
'
- ....
-
£. , .
.. . .....'· .1•
I ~
-
F: a:
3 r.-..
fl I I I
.I
-- . -
.... ....
I k '
F:
E. Each item below contains two versions of the same excerpt, one of them in a simple
texture and one more elaborate. Continue the simple texture first, including some
\___, aspect of harmony discussed in this chapter. Then continue the elaboration, using your
simple version as a framework. Label chords and NCTs.
1a.
I . ....
II
fl
-
I •' 'J
L..I
'II r,J •
~
]I
t
•
t J: ~J:
I - ....
. .
L. ' - • I~
1b.
fl I
~
,
~-
-
-
I
..
~-
160 Tonal Harmony
2a.
. ... .....
f\ I I
I
t
I
II
r
~
v L..J
"
I
r~
r~
•
•
-
_,.
,_.
I
t _J_. _d_.
I -
... - ••. - -
L ,. I•
,_. ,_.
~·
\
2b. Adagio
/ f\
VI. I r
~
~
IJ
"
-· -
-
,_..
- r- r-
i....=...J
r-
f\ ,. I l I
. .
"
-
II
VI. II
JI
Via.
.,....'
,.
•• -. --
I r I r I r I r
-
L ,.
.. ... ,••. -
r- -
r- -
r-
. -
r-
Ve. I '""' '""' '""' '""'
) f\
. ...
.
II
v
,
-. -
f\
r
~ .,
~
..,•I-..
.,. ,
,~
II
-.
L ,.
.. -
F. Compose a setting of the following poem for chorus (three, four, or five parts) or for
solo voice with piano accompaniment. Use at least one secondary leading-tone chord
and one deceptive resolution of a secondary dominant. Try to put your special har-
monic effects at appropriate places in the text. (Use either or both stanzas.)
A bird came down the walk;
He did not know I saw;
He bit an angle-worm in halves
And ate the fellow raw.
And then he drank a dew
From a convenient grass,
And then hopped sidewise to the wall
To let a beetle pass.
-From "A bird came down the walk" by Emily Dickinson
Reprinted by permission of the publishers and the Trustees of Amherst College from THE
POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed., Cambridge, MA: The Belknap Press
of Harvard University Press, Copyright © 1951 , 1955, 1979, 1983 by the President and Fellows of
Harvard College.
162 Tonal Harmony
M ATIONS USING
DIA ONIC COMMON CHORDS
EXERCISE 18-1
A. Name the relative key in each case.

1. G~ 6. d
2. A 7. F#
3. e 8. c#
4. g 9. M
5. C# 10. a~
B. Name all the keys closely related to the given key. Be sure to use uppercase for major,
lowercase for minor.
1. b
2. d
3. G
4. B
5. F
6. f#
C. Name the relationship in each case (enharmonically equivalent, parallel, relative and
closely related, closely related, foreign).
1. Die 6. MIC~
2. di~ 7. C#~
3. A/a 8. g#lc#
4. d#IG 9. a~lb~
5. B~/F 10. c/EJ,
163
164 Tonal Harmony
EXERCISE 18-2
A. Analysis.
1. This excerpt modulates from B~ to F, its dominant. Label the chords, being sure to show
two roman numerals for the common chord. The blanks beneath the music show where
the bass changes, but not where the common chord occurs. NCTs in mm. 1 and 8 (only)
have been identified for you.
2. Label chords and NCTs in this chorale, which is presented in its entirety. Which two
phrases are very similar melodically? What portion of these phrases is harmonized simi-
larly? What chord is emphasized in the first half of the second of these two phrases?
• Bach, "Uns ist ein Kindlein heut' geborn"

,,....
3. This example, also a complete chorale, is in g minor, although it ends with a major triad
(the "Picardy third"). Label chords, but not the NCTs. Notice how often the melody fol-
lows an arch contour (inverted in the second phrase). Bracket those arch contours in the
melody. If you find any similar contours in the bass, bracket them also.
• Bach, "Jesu, der du meine Seele"

l66 Tonal Harmony
4. Label the chords with roman numerals. How do the pickup notes at the beginning of the
excerpt help smooth the return to the first key when the repeat is taken?
• Mozart, Sonata K. 330, II
5. Label the chords with roman numerals.
• Fanny Mendelssohn Hensel, "Das Meer erglantze weit hi naus."
.-
fl Jj
. - ---., 20
.
--- -
-
I\
•
"~ J
r- -
~
1 I
-·
r-
.,,
.. - .... r,, •
... .>.
'
I
-
sas - sen _ _ stumm und al - lei - ne.
. - -- .
- -
-- .
fl Jj L.
-
- --·
.,, -- --- --·
.,,
I\
•
'
~
,, .
- ......_...... - -• H... 1 -
••
-
• --
-
1
1
-
-......_......
. - 1
••
-. "".. - .... --....

L '-• 111
I •• - .... --....
I •• - -.........
-
l.1L.
- .. ~·
•
-
.. -
•
-
-
~
I
r-
1-
© M CMXCY by Alfred Publishing Co .. Inc. Used by permi ssion of the Publisher.

6. Listen to this song all the way through. Then li st every tonality that is touched on in the
song, either by simple tonicization or by modulation. Which (other than tonic) is
referred to again at the end of the song? Decide on one or two tonalities (other than
tonic) that represent modulations rather than tonicizations. Then label all chords with
roman numerals.
• Schumann, "Wenn ich in deine Augen seh' ," Op. 48, No. 4
Langsam
fl ~
.. p
... - ,..,.- ,..,.- -· ....- '"'-· ... . . .. .
-- I
... -
-- . -- -- --
.
"
6 -
•• ,..,. --
....... - "'"'' I
- A
I
._; -'· '"'

r r r r
~
r'
w ~
r' I
- r r r
Wenn ich in dei - ne Au - gen seh', so schwin-det all ' mein Leid und Weh ; doch
fl ~
. ...
It
I
- I
'-' \J
@)
-
..,,
~
- - ..
-_,_
c::; • _.
"' -
-- "'
~
-"' -"'
ti ~
--
-. -
-••
_,
-_, .
.>.
'
-•-
-
~
I
- ....- --- -- --- --
•
~
-- -
• • •
-
<
I
t
... ••..'·
, ..,
..,
p
CL"
".J.
- - - - 1-: -- --
- 111.. llL
-=::::
llL llL
-- ... - ...
,..,.
...............
.... .... .... .... ....
-'/
~ A ... (JI
\ ,_ I
- '!.
'
I
r
',/
168 Tonal Harmony
.I
I\ ~
""
- . - -· . l
''
10
- -· ·' " " - - -- =

l
• .. . .. ..
- -- - --
•
r - - - --
II
..... .....
~ ~ ~ ~ ~
- - -.....
~ r ,., r
~
ich mi ch lehn ' an dei - ne Bru st,

I
kommt ' s li -
-
ber mich wie Him - mels - lust; doch wenn du
- ..... j,r-J ,,_. • • ~
II
r
..
I\
,,
- -"' -·-·
~
--
a.:-
..-· - --- - --
!.-
r-
- - -"' -·
-·
--
!.-
r-
a.:-
-·--· -- ---
,_ •- •- •-
-- -- --
'~
--= ~
.
II
I\
,1
~
"'
.
,_
- . - - -- _; --
_-,-. --
- ~ ~ ~
-- ,
, ..
. ..
-
-. -- --- -- - -
~
..... .....
-• .
r
'
~ 1 'c::; • =4i tt ~ "'; "'; "';
'fro.
*
lc h l ie - be dich, so muss ich wei-nen bi t ter - lich.
. -~
....•
20
I\
II
r
- - - - -
.,;
rit.
l ~l rita rd.
I
I
.\I
II
I\ ~
"' .....
--
-· -·
- - -- -"' I!'- ·- ·- ·- ·-
,_
-·-· --·
_,.
-
~v r·rrrrr'- /r·
'
~
r· • ~ ~ ~ ~
~
I ~
I ~
I .. - -
" JO
~
- - "'- --. -. -. --. -. 1-

i'\
rJ 0
~ I rJ 0
- - - r-- r-- r--

I
-.
rJ o
--· -- - - - - r. -r·.r r r r r'-'r-··

'·-
I ",J. '- 1.- 1.- r,J •
r-
r- • r- r-
!.- 1.- !.- !.- ,_ !.-
7. 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 aug-
mented sixth chord in m. 49 will be discussed in a later chapter.
• Mozart, Marriage of Fi garo, K. 492, "Voi che sapete"
... _
I\
\I
..."
I
- - --
41 -
,...-
~
- -
,
,,_
I
-- - l
,,_
I
- ,... •
v r- r-
-
~
'
'"'".., v
r
r-
~
"'
E in _ _ un mo - men - to _ _ tor - no a ge - lar.
.- ,,,,,,,,,,,.
-.
I\
- -
I
r
-- - .
--.. v•_:.,-
- - ,,. -- - ~
'.., -
v
J
VO:.. .... __, ~
":"
~
- 1 I .l I --
"'111 • ....
- -J -
,... ... . -L.:. . -. - ....... -. . .... -.
-- -- .
~ ~ I .l . L.:.
-- -. -
. . . -_,. ........
.!. r""""T I I... I .!.
- " - - • v ~ ~ ~.
v -
. . . ~ ~
.
v -
-. -.
-
I
,,_
- - lri!' ~ ~ ~
I
======-
.- - -
50
I\ I I
.1
" - - - - - -
..,'
~
. r
,/
~
I
- ~
.
~
" -~
Non so chi ii tie - ne, non so cos ' e.
-~~
--~-&- ~
I\ . ...I " - - n
JJ.-=-
"" .. -6 ..
- jJ, J
.,,.r-
- •
-"" ...
-
I\
•'
.., v lL
Tl -
" ' I
._
. ._ . • -. . .- . . -. . ..:. -. "" -. .......:. . -. -. •
~
. ..:.
.. - .- -. - - • - -
IL
-
~.-
-
• ltf//I- .....
-
- r-
-
" -~ ~ - ~
r- -
I ~ ~ ~ ~ ~
- - Ger+6
- - -
-
I
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# .
•
.- .
fl 6
9
Beethoven, Sonata Op. 10, No. 3, II
. . ~·
~1 0
-- - •--::.-. r:..
~
~ ~ ~
~ . . - - .,,..-._. "'# .,....-. " .-- .
-·- - - - -- ·~
l
-- . --
-
- i-
~ ~ K ~ ~ ~ ~ K
,
'-' J
_, ~
~
~ • rf liiiii
- rf
- - --
,-,L ~ ,,... -
- ...
L. , .
.. -
.....
~ -
.....
-
r-
-
.....
-
r-
11
-
~
-
~
-
~
--
.....
-
.....
-
r-
-
.....
-
r- / - -- -1
-~
- -
r-
- r-- -
~
.....
11 --- ~ -~
""'-
I n-
- TL-
"
I
- -
~ __
q~ii..
, ~.._ !::: ~ ....
""--• . .
-
'
fl.I
.
~
15
--
"" - ~ ~ ~
--
... -
-
-- ..br: -
•
-
-- --. . . -
~
--· - -....
......
~
r-r-qr ~
cresc.
f p
,... ... -- - -- -- -- - - - -I - -- - -- -I --
I I I I I I I I
- I
.... - - --
I -
I I
IL
tt r - ~
- . - -
I p- I
Student Wo rkbook Chapter 18 17 1
B. Fill in the name of the new key on the second line of each exercise.
1. e: v4
2
v4 v7
2
2. D: v r6 viio6 I
iio6 ·6 v
14
~
v
3. F: vii0 6 16 vi
ii vii0 6 vg
4. g: v6
5 V~/iv iv6 v
v7
5. b: .. 04 v6 VI iv6
11 2 5
ii6 12 v7
~
v
6. Eh: ii6 v vi
iv ··"6 v VI iv v
11 5
7. A: v4 16 v6
3
I
rv6 vg ··"6
11 5
·6
14 v7
~
v
8. c: v7 VI iv
vi 1v6 .. 6 v
(12) 115
172 Tonal Harmony
C. 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 •
ex. First key, C: I Ill v YI
Triads: c e G a
Second key, G: IV YI I 11
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\
I
. .,
II
'
~
t
•
' ...
I
\
~--
,_
E. Harmonize the fo llowing chorale tunes for SATB chorus.

\...___,, 1. In the first phrase, modulate from i to III. The second phrase should return to i.
ti .I.I I I i--i
.....ri I
. I I i--i ri I I
.
I
.
\I
,#{
..
.
1• .....
- .....
- - .-' -- ~ .....
-
I
-
~
.....
- - -- -- - -- - - - -
-
.....
.....
I
- -- --
~ ._;
I ,_ ,,.... - ..
\ '
2. Modulate from I to vi in phrase 1. Return to I in phrase 2.
ti I . I I I .
I
- . ... I
- -- -..... -
~
<
'\J
._;
~
- - -- - -
- - _,
- • -..... r,J •
I
I
-,, .... 1•
\ - k
'
F. Analyze the chords specified by this figured bass and then make an arrangement fo r
SATB chorus.
-. ....'·
ti
' J .....
._;
-
L '-•
...... -
... r-
- .-... - - - - -
-
r-·
I ~ ~ ~
·I
I I I I I
6
5
4+
2
6 6 6
4
i
1
174 Tonal Harmony
G. Continue this soprano/bass framework, analyzing the implied harmonies. Phrase l

(mm. 1-4) should end with a HC inf. Phrase 2 (mm . 5-8) should end with a PAC in
Ab. The resulting form is a modulating period. Then arrange for some combination of
instruments in your class, filling in as many inner parts as needed . Elaborate your final
version with NCTs and arpeggiations.
H. Compose a double period for some solo instrument with piano accompaniment. As the
diagram indicates, the first phrase stays in A, whereas the second tonicizes (or modu-
\___, !ates to) E. Phrase 3 returns briefly to A but turns quickly to D. The fourth phrase
returns to A for the fina l cadence.
A: A: IAC E : PAC A: D: IAC A : PAC
Or, in the larger view:
I: (I) v (IV)
The beginning of phrase I is given below. CDmpose the soprano/bass framework first.
Andante con moto

,,...---
ti
.- ~ ~ ~
I\
._,
, , J
11
"
-....--"·
--- .-1
-
- -
.. I
I .-1
-
-·
r-
sf
.-1
.-1
p
~#- ,,............_
L
-
I
' - • Jflf
• • ltf!/I
n
"
1!
1L
--
~
"·-- -- -- - --- - -
..,
I
~-
r- r-
~
p
- .....·--. IL
-. -.
~·
--
••- IL
-· -
~
11
11
-
=4.
-
~
-
""111 •
....
I 76 Tonal Harmony
~t
'
l \
I. Usi ng a text of your own choosing, compose a passage for chorus (three or fo ur
parts). If in major, it should have a tonal scheme of f- vi-1- ii-I. If in minor, use
\._____,- i-VI-i-iv- i.
SO THER
MODULATORY TECHNIQUES
EXERCISE 19-1
0
A. Analysis. (Note: Some of the modulations below might be of the diatonic common-
chord type.)
1. a. What three keys are implied in this excerpt?
b. How would you explain the modulations?
c. Continue the two-voice reduction below the score but avoid the change of register in
m. 36.
• Beethoven, Sonata Op. 10, No. 1, I
fp
~J 4o -J
Textural reduction
35 40 •
179
I
180 Tonal Harmony
2. There are two modul ations in thi s excerpt. Label chords and NCTs. At what point does
Bach not follow the conventions of spacing discussed on pages 60-61? What is achieved
by the spacing he uses? Where is there a sonority used in an unusual bass position ? How
is the reason for thi s bass position related to the question about the spacing?
• Bach, "Warum betrUbst du dich"
3. What two keys are found in this excerpt? How are they related? What is the best way to
describe the modulation ? Label the chords with roman numeral s.
• HUllmandel, "Un Paco Adagio "

4. Two di stantly related keys are found in thi s passage. Label chords and NCTs.
Schubert, "Auf dem Flusse," Op. 89, No. 7
14 15 sehr
har ter, star rer Rin - de hast du dich U ber - deckt, liegst
San - de _ aus - ge - streckt.

182 Tonal Harmony
5. This excerpt modulates fro m F major to what other key? Of excerpts 1 through 4, which
modul ation most closely resembles this one? In what ways? (The chords in mm. 35-36
are labeled for you because some of them involve concepts discussed in later chapters.)
• Mozart, Marriage of Figaro, K. 492, "Voi che sapete"
Ger+6 v
r.
- - - 40
I, I I
.
- - - "'- "'-
--
I
~ v .... v .... '- _, •
~
- ' "
@)
I
I r
;
r v• .....
Ge - lo, e poi sen - to l' al - ma av-vam - par,
~~~~
-.
r..
~
I
r
I
. --
~-
I
"'-
--- ,,. - - - --
"@) J ,,,._
v -
-- - i--- -
- -I
- _._- - -
.. "' " .
-- . .L.!. . -. .!.
L....
.... -
. - ..... -
. - --
!. !. I I
. . -
~
.- "- -. .
,,,._,_
- . .
L .... ~ ~
-. -. _, -..... -. . -..... -. "-. .

_, "'-'
-
.
- -
I .... v -
-
~
I I ";" ";" I I ~
........- ~ ~
~
Student Workbook Chapter I 9 183
B. Analyze the harmonies implied by this soprano/bass framework . Add an alto part to
create a three-part texture. Embellish the texture with a few NCTs, including a 4-3
\.......- suspension. Identify the modul atory technique used.
I\ ,, I I I
_, I I I I I
- . --..
.I
-- - ,,
- -- - - 1' 1-- - -- - --
~
·~
,
-
~ ,~
..i 11
.... ... -,,.. - I I
-- - --
h. -
I
v
-
~
·-
I
-
r-
I
- -- -
r-
I I
-~
~
- .--
I
C. Analyze the implied harmonies and then add alto and tenor parts. Enliven the texture
with NCTs and/or arpeggiations. Identify the modulatory technique used.
r:-... .
,,
I\
,1
.......'· _, _, --
I _,I
- r,J
I I
_,
-
I
-
I
--
I J
- I
" r.J
I
-
~
I
r,J
I
-I I
--·
• ,,
~
..i
v
- - -
r,J
.... .."'. .. _ - _,,,_

- • -
-- •
I ~
v -.,
r,J •
-- ,, -~
-- - ~
-
r-
r- r-
- --
I
.--·
I I I I
184 Tonal Harmony
D. Use the framework below as the basis for a repeated period. The second phrase should
begin and end in D major (phrase modulation). Compose a first end ing that modulates
back to F using some modulatory technique discussed in thi s chapter. Include NCTs
and arpeggiations in your final version. Score for pi ano or some combination of
instruments found in your class .
f\
,.
.... --- --.. I
-· -....
I
I
.
II
"
~
L...J
~
r•o r ,J •
r,J •
I I
-.J
I
•
I
I L.- ,••I
\
.
I ~
...••. -·- -·- ....-· -· -·
~
,_ ,_
I
,_
E. The framework below is also to be used as the basis for a repeated period for piano
(or other instruments). The first phrase is in E~. and the second should be a sequen-
"----' tial repetition of the first, in Ak Write out the repeat of phrases 1 to 2. Use more
embellishments in the repeat than you used in the first eight measures.
f\
- .I
'-' I/
@)
-.
I I
"· ... ....
-
~
-
I
r.1
I
"-
.,. r--
.....-.....
r.Jo
- i- "
~~
- -. -"
'
,... ... ~- ~· - .
-
-
I ... "·
v II
... ....'·...
v •
-"
'
~
....-
-
I
•
>.
'
EXERCISE 20-1
A. Diagram this excerpt down to the phrase level and name the fo rm . Assume all phrases
are fo ur measures long. Also, answer the fo llowing questions :
1. What is the form of mm. 1-8?
2. Find and label a vii 0 j!Y and a vii 0 j/vi.
3. Why do you think Mozart chose to use a double stop in the violas in m. 14? (A double
stop is a technique that allows a stringed instrument to play two notes at once.)
• Mozart, Eine kleine Nachtmusik, HI
I~
cresc. .
p cresc.
J " ~ .;. ~~ ~
h
~-
h·
~. .
~ j
" JI h~-
·-
h·
~ I I
f~ .:. b.--:.._
:
f · .
f 187
'
188 Tonal Harmony
B. Name the form of this piece (do not diagram phrases and cadences). Watch out for
written-out repeats. Also, do or answer the following:
1. Label the chords in mm. 5 to 8.
2. What chord forms the basis of mm . 33 to 39?
3. Analyze the last chord in m. 34.
4. In what measures does the "boom-chick-chick" accompaniment drop out?
• Chopin, Mazurka Op. 67, No. 3
Allegretto J =144
p rubato
~. * ~: * ~.
*
~.
*~· * ~. * ~.
*
---
tr tr
I
-. -
fl
-- --
I
- -
-- - --
I
-
-- -
'.J
:::;-.....
.... -
- --
- 0 ~
- ,_
~ ~
I '-' \J
.,; I
•o
~ - H• -
-o
-0
-
-~ .... -
. -~
.-I .. ~
.,.
- - ..... '
-
t ~
--=:::: sf
~
== cresc.
• ,. L~ ~ _J _J
t .... ....
I
\ ,_
I
•0
•0
v ""
JO
- ~ ""
-
'
JO
-- .,
......
-t
•
'
-~
- -
~. * ~.
* *
poco rit.
.~ --=- - - . -.......- - - a empo

tr
l\A - -- -- - - ~ -
-- .
,,-
--....-
- ' ,_ - - .. """" - -- -....
-
- - .......- - - ,,_
-
~
..... ..... .....
II
•... "· "" ""~
,....
@.! - r - >
p -====
~ ~
ff >
.-J _J L~ ~
.. -- --- .. - - - -
• • 19- • • ,,,_ • ..v
... .. -- --
.,,
·- ....
-
- - . - .. ~
-
~ I
~. * ~.
*
~. ~.
* ~. *
tr
~. * ~. * ~.
poco rit.
a tempo >
.....--..... - tr . - ,.......,.-.,
-
t e11.
I\ 30 I""""":
. --- """" -- . r--1 I
-- -- ,,_ -
,....
- ""
-
- ~
-- ....
~
- ---=- --
- r
.... ,.,
r· - r· -
II
"" "'v
-r-
.lo.
' , """" -
~
~
,_ ,.... ""~ ' I L-
-
'SI -
- - - '!I
@.! - - - 11
>
..- .-
< Sf !ff sf pp
-In- n- 1 ~J
>
>
-.
L ..
'"
-
~
-~
--• -•
,_ ~
-
9-
.,,
.
-f' I
!
-'
~. - -
94
I
~.
I
~
~. ~. ~.
* *
190 Tonal Harmony
".fro. ".fro. ".fro.

* * *
".fro. * ".fro. * ".fro. *".fro. *
* ".fro. * ".fro. * ".fro.

*
-- --- .. --
poco rit.
tr tr
55
-r ,.....,..., --= .
II
I\ . -.
-·~
I<
• ..... - • "- •
I
~- illl
-
.....
tr
., .
- - -- --- - - -
-·-....,-___,-- - -- - - - - r - - - -- --
'--.!-
r,J
,_
,...-..,..
,_ .... .,
,_
., r
--
~
- - -
-111"1
... ,_ ~ ~
-
' ~
- ~-
._i I
~ -= >
..- ..-
::::::::=-- cresc. < Sf ff
L~ ~ _J_J >
- -- - -..
..
u
~ If- •- • 9-
.,j
~ ~
- -
~
.. • -
~ L.-
....
- •
I ,j. •, j . .>. ",j
' .....
- -
=4
".fro. * ".fro. ".fro.
* ".fro.
*
Student Workbook Chapter 20 19 l
C. This excerpt is the first part of a scherzo and trio (a scherzo is much like a minuet,
only faster). The trio is not shown.
1. Diagram this scherzo at the phrase level. The key implied by mm. 17 to 20 is d minor,
not A major.
2. Identify the form. Do not be misled by the written-out repeat in mm. 9 to 16--this is a
two-reprise form.
3. Find two examples of chromatic mediant relationships.
• Beethoven, Violin Sonata Op. 24, III
Scherzo
La prima parte senza repetizione
I\ Alleg ro mo/to
..,
I\ ~I l I I.. l l ~I l I I.. l
.., -.r y y
~
p
:
..... ... ... ... ... .:.• L.L :S: h.:. ...
y
~ ~
f\ 15 ~ ·:e bi_ :e
:
. ... #:t ~ 20 .... ~~ ~i: ~i:
.., p
p cresc.
f\ }.. l l l I l I ~ l I l I ~ l ~I L I
:
.., .,. !' ~
.,. . .,.
: "- .._ ~
:
p cresc. p
..:. ..
y :;t I r 1 v v I r I v v
I\ ~ ~ ~ .;,. 1 1.
.;.
:
1 2.
.;. 25 .;. . me
..,
I\ I.. l l
:
.., "it ~ "it ~ "it ~ 7 :;t
:
... ... .;,. .;,.
:
~ ~ ~ ~ ~ ~ ~
~
192 Tonal Harmony
D. Diagram this piece down to the phrase level and name the form . Also, answer the fol-
lowing questions:
1. Where is a sequence involving both hands? Bracket it.
2. What does the 0#4 in m. 6 accomplish?
3. What material in mm . 10 to 22 is obviously derived from mm. 1 to 9.
• March from the Notebook f or Anna Magdalena Bach

194 Tonal Harmony
E. This excerpt, the final movement of a piano sonata, is a minuet and trio, although
Haydn did not label it as such.
1. Diagram phrases and cadences, treating the minuet and trio as separate pieces. Be sure
to play or listen to the music because some of the returns are disguised. (A melodically
varied return of phrase a is still labeled phrase a, not phrase a'.)
2. Name the forms of the minuet and the trio.
3. In performance, the trio is followed by a return to the minuet (although the repeats are
omitted), ending at the fermata. What is the form of the movement as a whole?
4. Find the one phrase in this movement that is not four measures long and compare it to
its earlier four-measure version. How does Haydn extend this phrase?
5. Provide roman numerals for the following chords:
a. _ _ _ _ _ m. 17, beats 1to2 (in E~)
b. _ _ _ _ m. 19, beat 3 (in E~)
c. _ _ _ _ m. 35, beat 3 (in M)
d. m. 44 (inM)
e. _ _ _ _ _ m. 46, beat 3 (in M)
• Haydn, Piano Sonata No. 38, III
Finale
All egro
....
f\ ~ ~ ~
-- -- -- ..... - -- . -- --
I I I ~ ~
- -- --....!- - --
I 6
"
-
I '
~
~
... _,.
- .....
" '· .....
-..../
..... r-
I
..... ..... _J
'-9' _,. .....

-..../
I
I f
~ '" .. . .... . . - -' -- • - -- I.,_
·' . . -- - •,_ .-..
... --
~·
~ ~
-
\ ,_ I
"'v ,, '· .>.
'
.>.
'
..... - •!
- - - "I
.....
- .>.
'
.>.
'
..... - • - -
p
Part V
Chromahdsm 2
EXERCISE 21-1
A. Notate these chords in the specified inversions. Include key signatures.
1 2 3 4 5
&
A: ··04
II 2
119:
F: vii 07
11&
m: ·6
14
11:2=
C: bVI
llllH
E: jj06
II
6 7 8 9 10
~: 11:2= 119:
11& 11& II
Ab: vii 0g Eb: iv ftt : D: blII G: iv6
B. Label these chords. Include inversion symbols.
1 2 3 4 5
F: D: Bb: A: Ab:
197
198 Tonal Harmony
6 7 8 9 10
fl I.I I.I rt,.,, L. I
-- ...-
.,,,. .,._
I
- 6 -
-
- - -- - ,, "'
"·
"
v ...
~
-
r
111
~
' ,J r-1
._; v I i.,....-o
L
- .. ""
'-•lit
J
,,_ -
r-
.. -
r- ""
"" 111""
1l I.I~
.,, ""'"' -.....-J IJ.
I ,,
6
,,_ f
"' "' "'v "
I
I I I
G: C: E: d: Ek
C. Analysis.
1. Label the chords with roman numerals. NCTs have been put in parentheses (other inter-
pretations are possible). Which chord could be considered an example of secondary
mode mixture?
• Bach, "Herr Jesu Christ, wahr'r Mensch und Gott"
C:
2. Label the chords and NCTs . Circle the roman numerals of any borrowed chords.
• Schumann, "Ich grolle nicht," Op. 48, No. 7
Nicht zu schnell
m
fl
..' - ., . .. .,
I
--
l
'
.
- --
6 ~
- .. ' ' '

II
,.,, - ....
-
"r..J • _.
' " ~,
I
~
@) - ~·
lch gro l - le nicht, und wenn das Herz auch bricht,
fl
.••
.I
- - - - - ::t- ::t- - - - - - ~- =1~~

- - =1-
If
, -
._;
=:~~ =: · ~~~
> >
=: ~ ~ ::! •::! ::! ::! ~ ::t
...... ... ... >
>
::t b::tt::t ::tt::t
> > >
,. .......
....-IHI ....
-i -i
... ..'
mf
,
-
- I
~
r
-
r
_c;.,
- ::z:; -
-
_;:::
~
r
~ - ~
~
=6
3. 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. ~ ~
-< ;;-----:_ - ~j
FL.
,) I\
- - -
130
- -
I.~-----~ ~* -*~E ~
!= =---=
@)
p
I.
~
I::~ ~# ~~# - r.'I
Ob.
I\
,_ -
I #
- ~
# _ ,
'
.......
" ~
-
~
I. _.,...,
p I
~ -
- 1
- ~
r.'I
--- -- - -- -
I\
-.
jj I I I I
Clar.
in B ~
~
,,
@)
~:
"~ [, - .. ~~
~
~
I
..-
"
_ ,_. -- ~
- ..- .." ~
< ;;::::_- ptll P-== =--

Bsn. I
'" -
I
-
I ~
- r.'I
I I '------ " ~":J. ":J. e

pill p ~ =--
I\ I I I
. ..~ .. ~e .. - . - . ..--
r.'I
Hn.
in C
~ e
- - .. e
I
' ,_
~
·~ v
I I I
I I
p -==: pit) P -== =-- *
.. =--
Trb.
1-ll
.,
.,. ~
..-' ----- v--- . .
- -- -
I
- -
~
- I
- ..-
~.
~
r.'I
..
.. v .. 4• v~ I-'
'---.->' "'
p -==:
=-- pit) P -== =--
.... I r.'I
- . - . ..
I I I I I I
Trb.
III ' - -
~
' - -
-
" =--
" "'
p-==: =-- pill P-==
zu 2 r.'I
.ll,---..ll
- -
I\ ~-----~ e-_.-e
VI. I - - ..
~ e
p-=::: :::>-- ---=~ --== - ~
r.'I
I\
e ~e
VI. II
,,
- .. - .,
-. - '
,_
~ e
p -=::: :::>--
I
---== ~
I
--== ~
r.'I
Vi a.
,,.
- - - - - - .
..
'~
,,.
'~
"'
Ve.
.... .
arco r.'I
":J. .. ":J. "' ":J. -e

p '--'
arco
I ,--.._ I r.'I
D.B. : - - - - .. '
\
p "
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
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
J
~
-
2 10 ,..--
r.1e
-....... JO
---- - . . .>.
'
.>.
'
- -
IL
- . . - -
·- ··- -
L... .... "" I
,
-6J..•....___ __.g:____,•
-. -. .. _. - --
- ,...-.....
.. -
II ~ lf /""~
-
-- ... --- -- --------
I
--· --
-
~
- OJ ~ ~~
m-6-r-'" -
-
..-I
_,
-- -
~ ~ .-1 .- r- I ~
,_. J
It ~ I I
i
<
~~ .. .. .. - ,. • .. _..
- -- - - -
I
ol ,.~ ~-~ - . . >- ~ - ~,. ~
~ L. ,.I/It r- r- r-
11 ~
- , ••Ill
\
"" -
~
I ~
-
202 Tonal Harmony
225
f-.-------
6. 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

204 Tonal Harmony
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,_ I I
'
,,,
~
.... -.... -
~
- - ~
r.J
-_.
I
-
- I
.... -
• • Ifill
T
1l
.L1 l lflll
..
- -
-
... .....'·
I
-
~
-
I - -
~
r.J
I
I I
2. Include a iv6 and a ii"'j.
- - ...
ti ~ I I I I I I I I I I I
r
'
,.
~
lJ
-~
-
~
- ~
- -~
- -
~
- -
~
- r.J --
L. , . ,,,
- I
.. "" ..' - -
~
-
I
u-
I
...-
I
- -
~ - -
~
I
.,_
I
-
,_
I
--
I I I I
206 Tonal Harmony
E. 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 mod-
ulation 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.
.I
I
I
.,#{
I\
\I
'
._i
I
..." --'
I
---
I r-i
-'
I
--' --
I I -'
-
I ... -'r-i
I
-
- J
I
-
-
I
•
I ' ..
',_
L
I
0
...
v
F. Analyze the harmonies specified by the following fig ured bass and then make an
arrangement for SATB chorus. This passage modulates.
-. -
I\ ~ ~
I
....
....'·
~t ._i
~' - ,... """" -••'· - -

1l
'- 11 ••
- - - I-
I ~ ~
- - - .
r
~ ~
\
I I I I I I
I I
6 4 6 6 6q 6 q
4
~
2
G. Arrange the first modulation below for SAB chorus and the second one for SATB
chorus. Activate the textures with NCTs and/or arpeggiations. Arrange the metric and
rhythmic structure so that the last chord comes on a strong beat. Label chords and
NCTs.
~
1. D: v 16 vi
F. 116 y4
2
16 y6;y
5 I~ v
~
v
0 0
2. F: vii ~ 16 y6
5 vii jll~
b~ : i6 iv ·6
•4 v
~
v
'
'
\
208 Tonal Harmony
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
I\
-
~
-...
~
l '-'
~
J
I
r-
I
_,
-
~ -
L
..
,.
I
.. -
r-
\
I
- - ~-
APOLITAN CHORD
EXERCISE 22-1
A. Label each chord. Include inversions, if appropriate.
1 2 3 4 5
F: c: D: b~: e:
6 7 8 9 10
D: E: d: flt: A~:
209
210 Tonal Harmony
B. Notate each chord. Include key signatures.
1 2 3 4 5
llllR 11& 119: 11& II

'
a:
6
N6
7
f: N
8
B ~: ··..4
II 2
9
A: vii"'7!lv
10
c#: N6
~: 119:
11& 11:>= llllR II
B~: v4
3rII g: vii 0 6tv G: N6 Ek ~Ill b: N6
C. Analysis.
1. Label chords and NCTs.
• Chopin, Prelude Op. 28, No. 20
2. Label the chords in tills excerpt.
• Beethoven, Sonata Op. 27, No. 2, I
d:
212 Tonal Harmony
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
~.
*
4. This beautiful and moving theme illustrates the expressive power of the Neapolitan
chord. Label all the chords and NCTs. The B# in m. 6 is not a chord tone but instead
delays the arrival of C#. By the time the C# arrives, however, the harmony has moved
on. Does something similar happen in m. 8, or is the A# a chord tone? Be sure to listen
to or play this example.
• Mozart, Piano Concerto, K. 488, II
f\ .I.I ft - .
10
. . --. h• .;,._ ~ I
-
- - .. -
I .. ~
-
.. - - - -
~ ~·
~
..... .....
- .. ,...-
~
,...
-· .....
- .....
..,
--
'v
.,; l~
- . ..-
~
,. - -· --... --
IL I
--... I
--... -
- - -
,..
,, ...-
...... l.Ll
'"' ~
/ /
... I
•
"
...
I
- -- v v
,...
2 14 Tonal Harmony
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
,.
-·' '
11 3
Schubert, "Erlkonig," Op. I
- -
11 5
- - . -
.>.
'
~
~
" !ch
. _..
. _. . _.
If
fl
. '·..
'I
'
-- -• -•". -.
-•" -•"
_
- . -- . ---". --. --. -- . -- .

•" •"
_
--.
_
--. --. -- . -- . ---. --·

•" •" •" .
~ • •• • • •• •• • • • • •• •• •• •• • • • • •• • • ••
/"J:'• .:. -. /"J:'• .:. -.
.. -'·..
'" . .
- ..,_..
--~
~
--~
~
,_ I
--~
r-
~
-
r- .>.
- --~
r-
~
r-
- .>.
-
I
' ..,_.. I
'
3 3
d:
.-
fl
\I
,,_.
I
-- ~
-
~
- I
~
- -
~
I,,_
...- -- ~
I
11 r,,, •
-
~
'
~ r I " "
lie - be dich, mich reizt dei - ne schii - ne Ge - stall; und
.-
- . -·.
.--·. -" .
. ...I
...-·. -·..-·. -·..-·. -·-·... . ·" -·..-·. -·..-·. ..-·. ""'".- . -·
fl I
-• . - . -• . - .
. .. .
I
.II
"
1.-.
... "
I
v
" • v !IL •
'
.- .-
~
•
I ~
pp
•" -" -" ·" -" ""'
I
I
\ ,-
I
... .
,
.. .
!:'-& !:'-& !:'-&
.
fl
\I
120
- - - - . -,,,_. I I
-
l
" •
If
"
~ I
J
I I
~ ~
~
r
-· ~
'
'
bi st du nicht wi l - lig, so brauch ich Ge - wait. "

..
·". .,,.-.. .,,.-.. .,,-"..
_
.., .,, .
. -·
... .•---"..., .•-- ... ....-- ...
fl. ---
- . . . . .J. J. Jo .J. .J. .J.
----· -·
., - - - - - . -
-
I
... v,.
. .. -- . - . -- .. -- . ... - -. - -
- . -·
-- ~
~ ~ ~
I
-- ·"
" .....
~
I
• .fff
I
.'"..
,
11
.. - -- .
--
I •• ~
',_ ,,,_ r',J ',J

'
'
- fT - ?;
6. 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 .
• II
, , J
I\
~
I
... "
v
I
Schubert, "Erlkoni g," Op. I
134
• .... - - .... •
.>.
'
....
-
135
acce/erando
_.
~
I
-· -
I
-
,_
I
•
.>. ...-
I
-
,_
I
r,J
grau - set's, er rei - tet ge - schwind, er halt in
.. . . ..
-
I\I
-
I
- . --
.
- .
- .
- -
-. - .. - .. - - - - . - . -.,. . • .. •• ..
. . .
- -
.. L..
'~ J
v
"
. . . .. ....... ...
-
.....
-- . --·
- -
-·
- -
- - • =i
..... . ... . . ..
•
................... ·=-
.,. .,. .,.
.... .,. .,.
.. -- -. -. - - -
/:~
-- -
cresc-.
..
-- --
- ... "
L ,.
- -
~-~ ~
-. -- . . - - . -- .
~ ~
-~
~ ~
-
-
. . .. .
y
~- ~--
-- - --
3
I
............ ..... . ...
-
-
- - -
I -
.....
--
-" . -
I\ I ~ 140
- .I
,
y
~
-
~ .
'
-
~
-- -
~
"
-~
-
~
Ar - men das ii ch - zen - de Kind ,
II
, , J
I\ I
... "
v
I .-. .-.
.,.
-
.,.
-
.. .
- -.
.,. -
.~
.,. . •• . . ...-_..
"'.,. . .,. . ...-·- -,
.~
"' - . --·. --·.

~.
.
.~
-·
..
.. .. ..
.!..
-.. .....
J. .!..
~ •• •• •• • •
~
- -
~
- ~ ~
-
ff
,... .
- ...I
v
,,.
-.... -- ----- -...
.... ,_ -
I
-.....
. . ..
-=
-
..
-. -. . -.
.
--=
. --= . -= . ...... -
~
~ ,,_
--;-
~
_.
.-
, , J
I\
~
I
...
v
I
- - •
.>.
'
-
I
r,J •
I
"-
I
...
I
v ...
-
""' -....
r
...-
I
er - reicht den Hof mitMiih und
-... -... -... - . -... -..... .-... .-•.. -• ..... - -·-

. .. ..
I
I\
...
I,,
- . -. -· -.. - .. - - -.. -- ...
.... . .... . .... .... . .... . .... . ... . .... .
If
,,. -i-.
~
,
. . . v " • •• . -ii ~. -ii -ii
L..o •
• ••
fz fz
,... ,,. - . -- . - . L_. - . --·
... _
..-
- - .. -- - -·
- - - ,,_. - I
~
v -
--·
- I... v
r
-
v -
- . - . -. - .
"'
-. -. - .
·- .-
--;-
11~ q~~ ~ q~ ~
•• ••
Recit
,i-
·- . ,i- ,i-
I\
-- -
I 145 I
,,. l l l
.II
'
\I
...
v
,_ ,.• - •
~
'
'"'
~ ,,_ '
" - -
~
~
~
''
- ~
.... ~
•'
'
- '..•
'.
~ ~ r
~---
I
Noth ; in sei-nen Ar - men das Kind

.,
war todt.
17'1 Anda nte
-... -... --... - ..

I\ I.,
. .
- - - .
I
-
- - -
~ ~
y
"r I .>. IL I .>.
~
"'.,. ' '
~ ~-~·~·~ ~ '1-j q'':j~
fp pp p 1
'f
.. ... L_.
-· -· -· L_- - --
v
. ... -· - .
'" .... .... •,. ....
,_ I
,J
",J
I T -
I ,.• -
..-=
v
.- ••
"
.....
•• •• #~ -
216 Tonal Harmony
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
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.
1 2 3 4
.-
fl
--
I ..
I
_,I _,
I
-
>I
.., ' ~
-
v -
-I ~
~~
I 'i 1-
I
_J
,.
- .. -J
I
-
I -
I
-
r-
b: iv v e: c: iv y4
2
5 6 7 8
fl I I
I
-
--
I
I :v.., ..
v -
_,
~
-
~
I~
I I
I ..
,. j
-
~1
-
~
J ,,_
I
\
d: v c#: VI g: iv f: y7/N N y7
E. 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.
d: b:
2 18 Tonal Harmony
c:
F. Analyze the chords specified by thi s figured bass and then make an arrangement for
SATB chorus.
•-
- ..
fl
,.
~
' J
'J
..i -.....
i
'-,.I/If
-
,_ I
• • Ill 1•
'
- -- --
I
.... ....
- -- IL
'l ' I
-
~
.
I
6
I I
I I
6q
I
r
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 VI
2. (3 parts) e: V~/iv v4
2
3. (4 parts) E~: I6 vi ii v I6
~ vi i0 7tv ·6
14
~
v7
4. (3 parts) b: v VI ·6 N6
I ~
v6 v
s
H. Use the framework below as the first phrase of a three-phrase excerpt having the
following structure:
b: HC -'V\..r- f#: HC 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
II
I\ ~
l1f ..•• -·
,_ -·
,_ ,...- - -
r- r,J •
1, ~
-"· I I I I I
l .... -"" ...... -

I
\ ,_
I
.... -· -
- ~ -· ~
I
- -
~
c;.
220 Tonal Harmony
I. 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 har-
monic 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 permis-
sion 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.
Example 1 2 3 4
C: +6 v e: B~: a: G:
5 6 7 8 9
d: f~: E ~: o·
b' A:
221
222 Tonal H armony
B. Label each chord, using inversion sy mbol s where appropri ate.
1 2 3 4 5
d: b: f: Ek D:
6 7 8 9 10
- - -- .-- --
I\ J.I ~ l'1
I I -
• "'
- - - I
..."· ...
I
v
.. .... ,_
I
... " ... .. ,_ ,_ ,_ ,_
-- --
I\
" ...
~t
v ~
~-
._; tt•
<
~t - .. "" Ii
-
,...
~ ~
--
~
L '-• lll
I
""
-
- - ~
v
~
v
I, "' "'"' -
~
"'
11
- ~
" - ~
v
-
r-
-
\
v
tt• I
E: N: a: g: F:
C. Notate each chord in close position. Augmented sixth chords should be in their cus-
tomary bass position (6 in the bass in minor, ~6 in major). Include key signatures.
1 2 3 4 5
llllB 11& 119: 11& II

'
B~: Fr+6 d: N6 bk Ger+6 Ak 11+6 B: ··06
II 5
6 7 8 9 10
~:
llllB 11:2= 11& 11:2= II
f#: 11+6 A: Ger+6 c: Fr+6 G: vi i0 7/v i e: Ger+6
D. Label the chords in each example below. Also, discuss the details of the resolution of
each augmented sixth chord. Do ~4 and b6 follow their expected resolutions to S? How
\___,, are parallel 5ths avoided in the Ger+6 resolution(s)?
1. Measures 2 to 5 of thjs excerpt are in d minor, although the key of VI (Bb ) is strongly
tonicized in mm . 2 to 3 (the second chord in m. 2 shou ld be analyzed as a secondary
function of VI) . Common-chord modulations to two other keys occur in mm . 5 to I I.
• Schumann, "Sehnsucht," Op. 51, No. I
p
I\ 2
-. - - - -·
I I
-.
- ----- -. - .... - - .- - -
6 ~ ~ ~ ~ ~
~ ~
' ~
.... .... .... ....

~ ~ ~
....
~
r-1 r-1 ~
~
.,
-
~
- -- ~ ' ... ... ""

[/
!ch blick ' _ _ _ in mein Herz und ich blick' in die Welt, bi s vom
. I{
I\
\I
.... ... ...
- -... ....- ....- ....- ....- ....- -... . -i- i. - - .
- -- = -==
-- - - - - - -- -- -- ..- -.
....
~
- - - - -
I " ~ •
I ._i
................... iii -I -I -I -I -I • • • • •
• p
I
.. .... ..- - . -.
I
-· --.
LU
~
\ ,_ I
'"ii • •• -
~· '"ii~ -
224 Tonal Harmony
2. This excerpt begins and ends in g minor, but it contains modulations to two other keys
(or tonicizations of two other chords). How do those keys relate to the "parent" tonality
of g minor?
•I\
r
' ,,
..
I\
...
I
"
Schumann, "Die beiden Grenadiere,'' Op. 49, No.
-
r-
23
-·
I
.
.....
- - ., . .
.....
"' -..... -
I
.. .. .. .. •
~
I
p
'' ' '

25
. ..,-
' "' .....
~ .
.....
~ I 11
• -
wohl ob der kllig - Ii - chen Kun - de. Der Ei - ne sprach: " W ie weh wird
I\ I I
... ,, -
-
. -- .. •-
11 rL
'
II
~
v
A
" ~
H'1-il 11. -
rL-
"-
-- /
- .. ~
~ -
'1-B9-
,,,- ====-
,... • - - ---- - -
,_ I ...,,
v - - -- ti. q...
--
-. -
q~
-
- -
- -
..::::::
-
... _
v ..::::::
"111 ~ c:::; ~~
wie brennt mei - ne al - te Wun - de!" Der An - dre sprach: " Das Lied ist
auch ich mocht' mit dir ster - ben, doch hab' ic h Weib und
226 Tona l Harmony
35
mf
fl I
..."
I
.. .,
. -.....
-· - "
... -.... - -....
#(
-..
.," .," .,
I
._; ., ., 11 .,
~---·
11
Kind zu Haus , die oh - ne mich ver - der - ben." "Was schert mich Weib,
- ~--&
.. - -..il. -- I-
!- !- ·I- _.111..
.. --
- I
~·
....
v
., -
~
- ~
~,._.-
- - - - • ~
-
L '" .. . " I
,_ ....
.,.,
I
_,
_,
I
-
~
.,
I ~
:a: 11-& :JI

- - --
-- -
-& ~-u ~
3. This very chromatic excerpt from an early Mozart string quartet contains an augmented
sixth chord that resolves quite irregularly. Before you begin to label the chords, review
the use of the subdominant chord in minor on pp. 64-65 and 243.
• Mozart, Stri ng Quartet, K. 168, II (piano arrangement)
C:
4. This excerpt begins in C major and modulates. Where is there a 9-8 suspension?
•
) f\
.- \I
~
-
Haydn, Quartet Op. 74, No. 3, II
30
. - -
I
- - -
'-.' V
@) ... p
r,J
-
r-
I I
......
f\ ~
. ______ ....
... -..,__...-. -. -. --. --. --. --------
\I ""
--. -. -. -. -. --. --. --. .,

I{
__, __, ..-I __, __, __, __, ..-.I
'
@)
.,
'-..__./ '-..__./ '-..__./
p
.,.. 11 . . . . . . . . ,..... ,.... ,.... ,.... ,.... ,.... ,..... - - - -
...-.
------- ,....--------
~ ~ ~
•
.,~,
., ..
T
..
,.... ,... r- r- r- ,... ,...
-- - - ~ ~ ~ ~
~ ~
-- -- - - -- ,_..
~
,... -"" I
I
•
>. - r~
-- _ , / - -- -
-- - --
~ I __./
p
-. -
) f\ ~ / I .............
35
- I
r
.,
_.
- - -
r-
I
r ,J
I
'
-
......
I
•• -·
,_
I
~
"
-
f\ ~
.-
--
II -
.......... ----1""1.-1.-1.-IM
---- .-I .-I
- - ----.-1.-1
_, .-I
.... .... ........
'~
@) ----- -
_, .-1 .-1 .-1 .-1 .-1111- - ....
- - - - rt• .. - -
11•. ,-
...
.,~
.,~
,
Ii
---- - ~
-
~ -- - - - - ,_..- ,_..- ,_..- ,_..-
r-'" r-'" ,_.. ,_.. ---
,_.. ,_.. ,_.. ,_.. ---..--- - -- .....,,,_,...,...-
~
ll- -
...,......,...
-. .. "" I
•• -
---
L '-•Ill
I I I
__, __, __, __,
- -- - - ----- ...... _.
-
-
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
Rasc h un d m1"t Feuer f sf

. - lf
- - ..
I\ J.I
. -· . . .
I I
.
r
~
'
- •
.>.
'
-
""'
r
I .....
-
.....
- -..... -. - ~
.-1 r',J
~
I
-- - .-1
Ent - flic h' mit mir und sei mein Weib und ruh ' an
.
I
It
\I
II
fl J.I lf
~
"'
. --
"'"" ••
v
-~
- - - - --'' - - --
_; _;
-- '
~ =i =i
-i ~ ~
l =i :j =i ~ "ll "ll "11!'
~ :i
•
.... - - .. ...- .
s{_f
It IL
. - ,
--
.>.
\ ,_ I "' ' J "
I
'
-6 ..c. c;..
> ~ - >
> ~
.- '
fl J.I lf
\I "'
-"' -· ~
- -
,...
-
I
* 5
- ~
. . .
- - -
~ ~ ~ -· -
~
. -~
-
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._y I
mei - nem Her - zen aus! In wei- ter Fer - ne sei mei n
I . - lf-"'
I\ J.I
' ' '
II
_. _. - _. - -- -- -- --
:: :: ::.-. ::.- ::.
..... .....
--
• • • • • •• .....
I
, , 1- Lori
' I - _. _. _.
~ =: =:
~
~ ""i! "ll "1111 #~ ~ ~ ""i! "1111 "1111
>I'?
I ,--... "" -
IL
\
L-. .... "'
- -- -- -,,,_- - -..--
- ,- c;,.
-6
~
>
~~
#:~
~- ~. ~.
*
~.
*
6. 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

230 Tonal Harmony
E. Supply the missing voices for each fragme nt below. All are four-part textures.
1 2 3
I
I<.
fl
~
I,
-- -- ,,
~
, ,, ,,
-
~
I
"·
"
~
~-
-
,,
I
~
I
-I
-
.. ...J
~
I
._;
rJ 11
r I
_d_
.... ... ., -
,,
... --
I
,..... ... -- -- ,,
- I
v v v
"
I
I
. .A
g: II 3 ft+6 v F: 1v6 Ger+6 iS v c: vii 0 ~ Fr+6 ·6
14 v
~ ~
v v
4 5
fl ~ _.I .,,~ I
I<.I
,
"""
,,
-- ••
- -- r
-- ,, ,,
_.
-
..i 1'T-
.. - u-
J -- ~,,
- I IL
D: vi Fr+6 y7 b: y4
2
F. Complete these harmonizations, adding one or two inner voices, as specified.
1 2
fl ~ I I I I I I I I
... .... "· ••.. ~
- -
.I ""
I<.
'
...J
-
...J
-
-
~
-~
- -- - - ~
...J
-
- ~
...J
- - --·
..i s s
A A
T T
.... -.,, ..
B B
.....
- I
' -
I
,,
I
... "· "·
v
" -- I
,,.
e: Ger+6 H: 1t+6
3 4
I I
-- - -- --
I\ I I I I I I I I I I I I
II
'
..i s
"·
,1
"·
A
....
- ...J
-
...J
~,,.
... " ••
v
s
'
-.... .... ....
- ....
- -- _.
A
T B
.... -.."·
B
,...-
..
.
•
--
"
- I
..... r~ • .
~
I
a: B~: 11+6
232 Tonal Harmony
G. Analyze the harmonies specified by this figured bass and then make an arrangement
for SATB chorus.
.
I\
\I
..."
I
..' ....
I
--
I\
v
'
~
I
- .. , ..
J - !.,._
-
L
I .'"
~
r- v r-
I,,_
-
r-
-
I
-
I
-
~
I
-
~
I
-
I
-
~
6 4 6 '6. 6 4 6 7
2 4 5 2
3
H. Analyze the harmonies implied by this soprano/bass framework, being sure to include
an It+ 6 . Then fill in the inner voices, following good voice-leading procedures. There
are no NCTs in the bass and soprano lines .
I. Given below are mm. I to 2 of a four-measure phrase. Continue the passage to make
a period (parallel or contrasting) that ends with a PAC in the key of the dominant.
Include an augmented sixth chord.
. .
I\
-I\ ~
H
-""
I ~
11
I L '-• 1111
- • • Jttt
I
-""
\
J. 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
Secondary function
Augmented sixth chord
Remember to include tempo indication and dynamic markings.
Two roads diverged in a wood, and I-

I took the one less traveled by,
And that has made all the difference.
- From "The Road Not Taken," by Robert Frost. From The Poetry of Robert Frost,
edited by Edward Connery Lathem. Copyright 1916, © 1969 by Henry Holt and
Company, Inc. Copyright 1944 by Robert Frost. Reprinted by permission of Henry
Holt and Company, Inc.
I
I
•
t
I
\
NTED SIXTH CHORDS 2
EXERCISE 24-1
A. Label the chords in the keys indicated.
1 2 3 4 5
g: b: A ~: G:
6 7 8 9 10
f: d: E~ : E: Bk
235
236 Tonal Harmony
B. Analysis.
1. Label the chords in this example. Measures 10 to 12 could be analyzed in terms of sec-
ondary functions or as a modulation .
• Tchaikovsky, "The Nurse's Tale," Op. 39, No. 19
2. In a number of his works Scriabin used the chord found at the end of the first measure.
Label the chords.
• Scriabin, Tragic Poem, Op. 34

\.____.,, •
3. This excerpt will give you practice with both alto and tenor clefs. Label all chords and
NCTs .
Schubert, String Trio D. 47 l
fp::=-
238 Tonal Harmony
4. This example begins in A and modulates. Label the chords.
• Schumann, "Novellette," Op. 21, No. 7 (simplified texture)
--J
J -~ -J
I
I
.
\I
I<.
ti ~
~
..
'l
111 05
,_JO
r-
I
',J 0
",J 0
0
-
,_JO
r-
0
.,, 0
0
- 0
0
:;; 0
--
I I
....
-
:Jo
-
-o
-
1'T -o
.. -- .
r_,
110
r,J
rJ
" I
IL
-
_,_
~
l
l
1!
_
- ,_
-
0
0
0
0
-J oo
r,J
•• 0
JO
t I I I
•
t IL I I I
I
',_
L ,. -
,,•O -
l r,J o r.,,10 -
_, 0 ... _ , 0
v- r,J
-.... r ,J
- r ,Jo
r.,,10
5. Label the chords.
• Beethoven, Violin Sonata Op. 23, Ill
."' I<.
\I
130 _
....
-0- - .il. ~
135 -0-
-
r-
-P- .
~ cresc. p
,,.---
~
I
'
ti
- - ..
~
I
.. - -
/ --....
.. .. --
n
-
--......._
• cresc. p
~
. ....
ti
I<.
v
.••. -- ..
~
><
,-
-- ••
.........
---
\ ' J , ~ ~
•• r_,
~ l'" I v
~
-
EN ARMONIC SPELLINGS AND
ENHARMONIC MODULATIONS
EXERCISE 25-1
A. Analyze the given chord. Then show any possible enharmonic reinterpretation(s) of
that chord, keeping the same key signature. The enharmonic reinterpretation should
involve a new key, not just an enharmonically equivalent key (like g# and aJ,). Num-
ber I is supplied as an example.
1 2 3
~
''II •1r II ~ti R

'&
F: '1/71/'1) =Yl: (jer+ 6
II&''
g:
#r·
D:
II
4 5
&v' bR ll~##l#U II
Bk F#:
B. Each of the following short passages contains an enharmonic modulation. Analyze

each passage after playing it slowly at the piano and listening for the point of modu-
lation. Do not try to analyze these passages without hearing them.
239
240 Tonal Harmony
C. Analyze the progressions impl ied by these soprano and bass lines and fi ll in the inner
voices. Analyze enharmonic common chords where indicated.
Use two different chords on the last beat of m. 2 and the first beat of m. 3 in Exerci se I.
1
I\
.- .LI
..' - I I
r
II
'
~
.,
ll
'
_.
rJ
I
- _,
- - -~
1'T- .,-
~ ~
., .,
q• I - - ~
"
_d_
L...
.
- ••- IL
•• ""
"
... -
'""'
-- -
-~
I I
-
~
- ....- "
~~
- "
~~
- - - r- - --
I I
I I
b: v
2
I\
.,,
II
•• _, _, _,
r
'
~
,, ' -
I
- - - - - - ~~
- - - ~~
- - ~-
v ~
.... ... J ... _

I
-
I
-
r-
I
~
v
-
r-
I - - ..111_ "-
... _
"- - v r- -
r-
I I I I I 11 I I tJ-&
C:
D. Compose short passages similar to those in Part B. The given chord is to serve as the
common chord in an enharmonic modulation. (Hint: As you sketch out your progres-
"----' sion, notate the given chord first. Then find satisfactory ways to lead into and away
from that chord.)
1. G to B. Common chord: y7;1v in G.
I\ ~
.
'
I<
\I ""
.... -
,_ I
2. b to Bh. Common chord: vii 0 7/i v in b.
I
I\ ~
I
. II
I<
'
"", T
~
I
•
I
I
\ ,_ I
.. -
o-
3. Bh to E. Common chord: vii0 ~ in Bh.
I
I\ I
I
.
"
I<
\I I
.... "
~
I
•
I ,, .... ....
I
I
\ ,_
4. E to F. Common chord: Ger+6 in E.
-..
I\ ~ fl
I
- \I ..
~t '°'' V
~
•
-
~t .... -"" .."" 1l
\ ,_ I
242 Tonal Harmony
E. Analysis. Be sure to play as much as you can of each excerpt.

1. This passage modulates from f# minor to Ab major by way of E major. The bass notes
are found above the "Ped." markings-the other notes in the bass clef are arpeggiations
into inner voices. Label all the chords, including common chords for both modulations.
• Chopin, Nocturne Op. 27, No. I
....
appassionato
#.
'.feo~·-----* '.feo.
*
* '.feo. * '.feo.
*
2. This excerpt begins in g minor. Label all the chords.
"--" • Beethoven, Sonata Op. 13, I
3. This excerpt is from the end of the exposition and the beginning of the develop-
ment of a movement in sonata form (review pp. 332-334). The final cadence of
the last B theme is shown in the first few measures of the excerpt (in E~ major).
The music then leads to a modulation to C minor in the first ending and to A
minor in the second ending. Notice that the sonority first heard in m. 76 is used
again twice, each time in a different way. (Bonus question : what other sonority
in these measures is treated enharmonically?)
• Brahms, Quartet, Op. 51 , No. I, I
) " I
7 ........_ _______,___
""""-J.J~ ===-- '-=== 1==--

'II"' I
'"' ~
V•
n.
p
A·
"Ct.· t:t =
====--'
P'---' - ~==-- -- _-.._____.,,,

II -
pi zz.
-·-
p
~
244 Tonal Harmony
) ;9 I 1. 11 2.
:
v----: L ~ - b9-· b..~,-...,._
'fl"' I --- p '

L
:
'"' 'ft.· ~· :ft" btt : ~p
~ ·
==--
\
:
arco
-·- ::d1,:
--
pi zz.
,_.. :
~
P_
p ~-
:
~-
:
__,....._
'
84
) " ~-e .. ""' -9
~
:I!! .,Q ~ f'"¥ f2' _....... ;.
--- ~ ... ~ 1i.~
'fl"' p
~
- ~ I"""\ ,..., ~
r""'-1
- -
cresc.
'"' -- -· ..
p ....-.
..... ~;-:- - ---
-----
_9..-
i..~· :?: I~~
..::::---- - -- ~. ~ --
p
==-- ==-- - -- - _,,,_.,-
cresc. __,.----......_
\ e
p
.., . U • e· e · -·
cresc.
j
4. The next excerpt is qui te challenging. Label both chords and NCTs. You might fi nd it
helpful to label the chords with pop symbols before ass igning ro man numerals .
•
) f\
- ... --
.I ~
31
Haydn, Quartet Op. 76, No. 6, II
/
~
- "-
-·
~
- I,,_ ~
- -
,,-
- --
~
-- - - -
---
~ ~ ~
.... J .....
~
I
~ ~
I
~
I
-
~
~ I I
'---""'
p
f\
.I
....
~
. . --· -
,#( A
~
- p
I
,
~ ~
, -
~
'
.,.
.......
.... --
..... -
,.......-, -
"'-
v r-
--.....
- -
~
,,- - ,_
I
- --
-· - ~
-
r-
A
'I.
'
A
'I.
'
I I I I I
p
-,,, ... ~ ..~.

.... -~·
,...
- ,,_
-
~
'-
- '
M - 0
"r ,J "r-
- "·
p
I I
r-
) f\
.. 35 ~ ,.-.....
,,_. -- I ,,
--
~ I --/ll'_
__ I
- -
,, ,_..
-
- -
- -
,, "'-
r- r1~•11rr- -~
II
r
....
r- v r-
" r- " r-
~ I I 3 I I
pp pocof
-.•,, .. - , --
f\ I
r
....
~
pp
r,J • 1
Tl
r.J •
"" .-1. ll
Tl
_,
-.._./
, - -
r-
I
pocof
/
Tl
"
IL-
'
_,
- ft .. -,;-
... -
-
I ~ -
--
I
,,-
-
- -·"-
I
.,. .
, .....
- - -
/ /
-
.1 ........ .-,_.-
•1&...1 - -
I I
~
I
r ,J • -·-.-I
- ..
y Tl
-~
I I
-~
I
pp pocof
..
·- . -
..
v -
~
~
- --"I ~
I
..--- --.....
I
.. --·
-~
..-
M ~
\ pp pocof
246 Tonal Harmony
5. This dance modulates from D~ to A and back again. Although both modulations involve
enharmonicism, only one of them is a true enharmonic modulation-the other uses
en harmonic spellings for convenience.
a. Label all the chords, including two common-chord modu lations.
b. Label the enharmonic modulation .
c. Name the form of this piece.
• Schubert, Originaltanze, Op. 9 (D. 365), No. 14
.
I\ I
"· ...v ••
I
.... - -J._ ____ I -I J J h.J ~J
I
...
_, r-
I
r,J •
-
5
-J._... ____
- - - - - -
\I
r-
.-
I<. ...
_ .. _ _ r-- -
~ ~
~
I ' ~~ ~ ~~ ~~ ~
~ I I I I I I I I I I
I p
•
t .. '~ !: I~ !:- ..... ..... ii= I= !: '~
.. - ... .... I
-
L ,.
-
I - -
~ ~
-
~
"
\ ,_ I k
'·
" ........ ' r- r- r-
v
I I I
J J
- - - - -- - - - -J. _... __ -- I - -I - -
I _,I I _,I
10
f\ I I
I \I
"· ...
I
~
~
~ ~
.. -
~
-
- ~
~ ~
r- r-
~ _ ... ..-.I - - ..-.I -
" .. r- r-
jt
'-.' V'
~ "'-.:.. _.....,., I
I I I
J
•
~t ,... ~ Ill..
'~ - '~ -
- -.. -
I ,,,_
fr
\ ,_ I k
"· .... v
... ....-
I
-
'-=
~
...
-- •
" ....-
I
~
-= ....-
I
~
-=
J- hj ~J I J----, 1 1,.. I 15
I \I
I<.
I\
...
I
"· ...v
I
.
~
- - -
r.J •
~
_.., _ _ r--- -
-__ ... __ ...._,
-
I
r.J
~
---- -
-- .,,- ...- I-
-......... I I
... _,I ... _,I
~~
-
jt
~~ ~~
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~ I I I I I I I I I I
. I
~ ~ I= I= '~ ~ ~~q I= I= ti~ Ill.. Ill..
jt I
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k
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, ... v - ~ ~
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r-
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q•
F. Use mm. 31 to 34 of Part E, number 4, as the first phrase of an eight-measure paral-

lel period. The second phrase should include an enharmonic modulation to a foreign
"---- key.
248 Tonal Harmony
G. Compose the beginning of a song with pi ano accompaniment, using a text of your
choice. Include two enharmonic modulations, o ne of them using a Ger+6 chord, the
other a dimini shed seventh chord.
FU RJ ER ELEMENTS OF
THE HARMONIC VOCABULARY
EXERCISE 26-1
A. In each frag ment below, analyze the given chord . Then notate the specified chord in
such a way that it leads smoothl y into the g iven chord with acceptable voice leading.
Some of the problems use a fi ve-part texture fo r simpler voice leading.
1 2 3 4
0
D: B: (ct 7) _ b·
.
y 7subs.
6th A: y+7
5 6 7 8
.. .,4
F#: (cto7) - Bk y+611y E: II 3 o·
o·
y ~9
249
250 Tonal Harmony
B. Compose four short passages for piano, each one making use of a different progres-
sion from Part A. The half-note durations do not need to be retained, but use the same
voice leading.
C. Analysis. Throughout thi s section highlight (using arrows or whatever is convenient)

any occurrences of the chords discussed in this chapter.
1. Label chords and NCTs.
• Schumann , Humoresque, Op. 20
Einfach ~ =80
2. Thi s excerpt features one of the chords discussed in the chapter. The last chord in
m. 8 should be analyzed as a secondary fu nction. What is the for m of the excerpt?
• Chopin, Nocturne, Op. 32, No. 2
sempre piano e legato
~. *~· *~·
~·*~· *~· * ~. * ~- *
252 Tonal Harmony
3. a. Analyze thi s excerpt in f minor throughout. One of the chords is best analyzed as a
chord with an added 6th .
b. Put parentheses around NCTs and be prepared to di scuss them.
c. Diagram the phrase structure and label the form. Assume four-meas ure phrases.
• Chopin, Mazurka, Op. 63 , No. 2
'fro. * 'fro. * 'fro.

*
'fro. * 'fro. * 'fro.
*
'fro. * 'fro.
*
'fro. * 'fro.
* 'fro.
*
'fro.
* 'fro. * 'fro. * 'fro. * 'fro. *
4. The excerpt below is written for barbershop quartet. The treble clef part sounds an
octave lower, and the melody is given to the second tenor (the bottom voice in the treble
clef). Music for barbershop quartet frequently uses ct 0 7 chords, and you will find some
in thi s excerpt, including one that embellishes a secondary dominant. Label all chords
and NCTs, analyzing in A~ throughout.
Ayer (arr. by Campbell), "Ohl You Beautiful Doll"
Oh 1 _ _ __ you beau - ti - fu l doll , _ you great bi g beau - ti - ful doll! _

Oh, oh, oh !
Let _ _ _ __ me put my arms a - bout you.
~1111
Oh , oh, oh!
could nev - er li ve with - out you. Oh 1 _ _ __ _ you

could nev er Oh , oh, oh!
could nev - er
© Rob Ca mpbe ll. 1987.

254 Tonal Harmony
5. Harmonic sequences occu py most of this excerpt. Find the two sequences and bracket
each occurrence of the seq uenti al patterns. If it is poss ible to do so, label the chords in
the sequences with roman numerals, perhaps in terms of shi fting tonalities. Di scuss
briefly the large-scale harmonic/melodic function of each sequence. In other words, just
what does each sequence accompli sh harmon icall y and melodically?
• Schumann, "Die Lowenbraut," Op. 3 1, No. I
,.
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I
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I
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r
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Die un - se- li - ge wagt's sich der ThU-re zu nah' n. da fli llt er ver wan - dell die Her-rin an, die
I\ I
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.
~
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Und wie er ver-gos - sen das rheu - re Blut.

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.
• Tchaikovsky, Symphony No. 6, Op. 74, I
) fl Andante (J -- 69) 90
. . .
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256 Tonal Harmony
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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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258 Tonal Harmony
8. 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)
Allegro ma non troppo

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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)
Heftig beschleunigend
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ist der Stah l nicht hart und fest?
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260 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
Allegretto tranquillo p
-.
fl I
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-- - - -·-,
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r r
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She IS slen-der and fair and young, With _ fea-tures so pure and pa le;_ T he_
_,,-....,_
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-u: ______
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. 19 m. 20 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 accom-
pli shed ?
• Wag ner, Tannhi:iuser; Prelude to Act I (piano reduction)
Andante maestoso
3
261
262 Tonal Harmony
B. 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 composi-
tion. You might want to create a melody over the background of block chords or per-
haps 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 har-
monic basis for a piano or vocal compositi<'m in the style of one of the post-Romantic
composers studied. Strive for contrapuntal interest and smooth voice leading.
1
f\ I I I
- 6
_. ... _. -
r- I
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r r
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k V -
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264 Tonal Harmony
D. Examine the following excerpt.

1. The opening key is designated as E major. What is interesting about the structure of the
scale that forms the basis for mm. 2 and 3?
2. Provide roman numeral analysis for m. 2.

In what way does the music in mm. I 0 to I J suggest more traditional treatment of tona]jty?
3. Describe the modulatory procedure that takes place in mm. 12 to 13.
4. Name the key introduced in m. 14.

What is its relationship to the opening key? _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
5. Name two other keys hinted at between mm.land 14. _ _ _ _ _ _ _ _ _ _ __
and _________ These keys represent what relationship to each other and to
the opening key? - - - - - - - - - - - - - - - - - - - - - - - - - - -

• Wolf, "Die ihr schwebet um diese Palmen"
p
266 Tonal Harmony
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E.
1. ls there a clear tonal center in the opening five bars of the following excerpt? If so, what
is itandhowisitdefined?_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ __ __
2. Using pop symbols, name the two sonorities found in mm. 6 and 7._ _ _ _ _ _ __
and ln what way could these chords be said to suggest functional
harmony in the key of D major, which ultimately concludes the excerpt, as well as
the piece?
3. What roman numeral s are used in mm. 9 to 12 to prepare the cadence in D major?
m.9 m.IO m. 11 m. 12
• Wolf, "Yerschwiegene Liebe"
ausdru cksvo!I und weich

268 Tonal Harmony
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#=i
p pp
.... -"' ...·-.,. -- -- r-r--i -r- r-r--i I .
. - -- --
- - -- - ' ~ ~
-- -- -- -- -- -- - -- - -- ~ ~
-
-- - --
I L..I I
• • • • • • • • •
Er -
270 Tonal Harmony
F. The first ten measures of Reverie may be analyzed with traditional roman numerals
(if you watch out for enharmonic respellings). Do so, then comment on reasons for
the rather contemporary sound of the piece.
• Payne, Reverie
r·
con Pedale
r· r· r· r·
r· r· r· r· r·
© Dorothy Payne
G.
1. The following excerpt begins and ends in E major. What is unusual about the manner in
which the key is established in mm . lO to 13?_ _ __ _ _ _ _ _ _ _ _ _ _ __
2. Label on the music the harmonies found in mm. 14 to 22. Use pop symbol s for your
analysis.
3. What five-chord succession within mm. 14 to 22 represents an "omnibus" fragment?
4. In what way is the approach to the closing E major harmony unusual?
5. By what means does Faure make it convincing, nonetheless?
• Faure, "Chanson d' Amour," Op. 27, No. 1 (mm . 10-22)

272 Tonal Harmony
' poco a poco ( ' ) cresc.
ma re- be lle, 6 - mon cher an ge,
J' ai - me tes yeux

H.
1. In the Siegfried excerpt, analyze one essential harmony for each of the first eleven
measures of the excerpt.
m. I m. 2 m. 3 m. 4 m. 5 m. 6 m. 7 m. 8 m. 9 m. lO m. 11
2. Name at least three keys (including the first one) that are established throughout the
course of this excerpt. Show the measure numbers.
3. Show two instances in which modulation is effected by deceptive resolution, either of

chords or of single pitches. Describe the process that takes place.
• Wagner, Siegfried (Act III, Scene 3)
BRUNNHlLDE
274 Tonal Harmony
(feurig, doch za rt)
sf
ach,
sf~
~ 3----,
I.
"'----' 1. What is unusual about the treatment of tonality in the opening four measures of the
Franck prelude? - - - - - - - - - - - - - - - - - - - - - - - - - - -
2. Describe the nontraditional treatment of the dominant seventh sonority in mm. 5 to 9 of
the e x c e r p t . - - - - - - - - - - - - - - - - - - - - - -- - - - - - -
3. In what way is the musical style significantly influenced by the treatment of nonhar-
monic material? Consider both single tones and vertical sonorities.
• Franck, Prelude, Aria, and Finale for Piano (Prelude)
Allegro moderato e maestoso

276 Tonal Harmony
J. The following excerpt is taken from the Barcarolle, Op. 17, No. 6, by Richard Strauss
(mm. 21-30).
1. What key is implied by the melody in the opening four bars? _ _ _ _ _ _ _ _ __
2. What means does Strauss employ to negate that tonal implication and, indeed, any clear
tonal implication? - - - - - - - - - - - - - - - - - - - - - - - - - -
3. Show the underlying harmonic structure of mm. 25 to 29, using pop symbols.
m. 25 m. 26 m. 27 m. 28 m . 29
4. Within the passage shown above, locate and describe at least three examples of deceptive
resolution that serve to make the chord succession convincing.
a.
b.
c.
• Strauss, Barcarolle, Op. 17, No. 6
21
<lurch' s Griin der Pi a - ta ne

278 Tonal H armony
saii len-ge - tra ge- ne Dach,
'feo.
*
AN lN RODUCTION TO
TWENTIETH-CENTURY MUSIC
EXERCISE 28-1
A. Add the appropriate accidentals to create the modal scale indicated:
C-Mixolydian C-Dorian
'~ II
e II e II
u e II e II
11@ -& u e II e II
"-...
C-Phryg ian C-Lydian
'~ II
e II e II
u e II e II
11@ -& u e II e II
C-Aeoli an C-Locrian
'~
II
u e II e II e II
11@ -& u e II e II e
II
279
280 Tonal Harmony
B. Add the appropriate accidentals to create the modal scale indicated:
D-Mi xolydian B-Dorian '---"'
II 0
0 0
II
' 11&
II II
II 0 II 0
u 0
"U -a- u 0
F-Phrygian G-Aeolian
0 0 Cl
0 II 0 II
II II
0 0
II
' 11&
ii 0 II 0 II
E-Lyd ian G-Locrian
0 Cl
0 II 0 II
& 0 Ii 0 II 0 II
11& 0 II 0 II
II
C. Answer the fo llowing questions about t,he diatonic modes:
1. The three modes that are essentially major in quality are the
, and modes.
2. The three modes that are essentiall y minor in quality are the
, and modes.
3. All the modes contain a perfect 5th from I up to 5 except the mode.
4. The two modes that contain a leadi ng tone are the and
modes.
5. The two modes that contain a minor second from i up to :2 are the and
modes.
6. The 1-4 tetrachord in the Mixolydian mode matches that of the mode.
7. Likewise, the opening tetrachords of the Aeolian and modes are the
same.
8. The four modes that contain a major 6th from l up to 6 are the
, and modes.
9. The three modes that contain a minor 6th from l up to 6 are the
_ _ _ _ _ _____ , and _ _ ________ modes.
10. Name the interval from f up to 4 in the Ionian mode. _ _ _ _ _ _ _ _ __

11. Name the interval from f up to 4in the Lydian mode. _ _ _ _ _ _ _ _ __
12. Name the interval from 4 up to 7 in the Ionian mode. _ _ _ __ _ _ __
13. Name the interval from 4 up to 7 in the Mixolydian mode. _ _ _ _ _ _ _ __
D. Using a key signature (rather than appropriate accidentals), notate the following
modal scales in the clef indicated.
Ab-Ionian D-Locrian
II
'
D-Phrygian
11&
A-Phryg ian
llE 11118 II
F#-Dorian F#-Aeolian
:>= II': II
E. 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 Lydian/Mixolydian
II
'u
Lydian/Mixolydian Phrygian/Dorian
II
II
282 Tonal Harmony
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.
Mixolydian Maj or pentatonic
'~ II
a a
-& u a II a II
11@ -u- -& u a II a II
'--.....
Lydian/Mi xolydian Phryg ian
'~
a a
-& u a II a II
11@ -u- -& u a II a II
II
Whole-tone Locri an
'~ II
a a
-& u a II a II
11@ -u- -& u a II a II
H. Identify the scale used in the following passages.
II
•
284 Tonal Harmony
•
4
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
~.
Used by permission of Edward 8. Marks Music Co.

286 Tonal Harmony
mm. 29-32
p ii basso staccato
scale: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
J. 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?)
II
II
II
"'---
'
4
u
II
'
II
II
'
a
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
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
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.
1 2 3 4 5 6 7 8
I
.
I\
>I
.. ..--•
I
.. ..
I
,, ••
1-
- -·
lo
. -•
I
-..--
~-&
--
I
,, ..
I
I'.
~
~
-
••
- -
~ . -
~ ~ ~
••
~
..- ,L
~~) "
•
~ ~-ft-
.il.
~.il.
I
.... -&
••
.il.
.. --- -
~
0
..
-&
..
-&
-..~-&
-
- I
••
B. Identify the following sonorities as a quartal/quintal chord (Q), split-third chord,

whole-tone chord, or tone cluster.
1 2 3 4 5 6 7 8
292 Tonal Harmony
C. Describe the types of vertical sonorities found in the following examples as tertian,
polychord, quartal, quintal, or added-note .
•
2
II JJ
-
I I I
-•. -
. -
- .- --- ....-• -
I 1• lllll ~
I
'.
'
I<
•• I'
- ..- . .. -
~
...... ~
...... ~
....• ... -
.,i >.:::-- v
~ p '-
-....-'
~ #=: \,,,,......
t
,... -- ...... . ............
~ mf
-- - -...- -• --
"'.) ~
j ~ ~
....
,.,,
,....
-
Col
\ ,_ I .... .>.
"'
~
•
I • \,,,,......
~
•
I
I
I
.-
"
fl JJ
\I
.,i
""
~
5
. -,;-
_,
:I:
•
..JI
'"II
.... f
,_
...... -- - - '"II :?·
p
~ - L '-•Ill
.. ""' -- -..
/"
- ..-
r- ... -- -
I
-
__,,- -•
•
-- -
~
~
,_
--
~
-
- -
r.
\ ~
r-
-6
•
f\ jJ. 5
I I
-
-
r
'
-,a
._y
,J
-
,
-- - - -
>
~
"' ......
q~
......
- ..- -...... - - q~
......
_, ......
-
~
......
- -......
- .. .. ..
~
>
--- >
.. >,.,
-.
>- >
--·- .
_n.
- .. "" -
L. , . I/It
I
'
',_
-. -·
>
-· ,...
~.
> ',J.
',J.
~·
•
4
- ....' ·
f\ 6
G rave
, - ~.
-
.. ,..."""-·. . - -•• -
"'"'""''
-.. - "'"'
- ~
,J
.~.
-• -- rt ~
~
5
~·
-·
- ~
r;;-•
·-- ·
'
._y
,J .....
'"" '""
I r' r'
f ~ . ff
...... - . 1=: I- L'
- - 1-~1= I- 1= ~ r. • ..- "'• >
- .....
- -'·
I
L. If-
~
~
r
I - ~
r
IJ -.. - ',J
',J
-·----
- -
~ --
'-'.
,_
294 Tonal Harmony
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.
~J
.
_,I
-- .. -J - I lLd hid ,,_I
II
'
I'\
. , -.,.. •--
~
,I
·~
....
-
L.
11
I
- I
,.
... .....-. -
~
-
2
~J
•
II
'-
I'\
~
,I
,1
·~
••
LJ
••
.."
]I
... _,
l V -1
-
I
- l I -
-_,.
_,I
- - I
-_,
I
-- _,!-..
- -
I
-
l
" ... _,.
-
I
... ...... ..
~·
L
-
~
-. .....
fl I I I I
'~ .J .....
•-·
~
,,
Tl
r,J
_,
-
~
-
~
- - I
_.
-
-
~
-
_..
-
L. , • • •
.... -- r-
I
-'·
I
II
•'
~
I'\
,I
,,
.,
·~
-
'· ,,.•
•
... _,
v -
I _.I
- - I I
--
- -_,I -I
-
I
. -
~
-
I
--
.. -'· ......
- . ..... ~
v
-
r-
5
,. ..fl I I I":'.
--
I
.- - .J ·~,
.
,
r
r
, _
~-
"r,J
••
'~ Tl c;.
- .. ......,
L. , . . . .
r,J
I
- I
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.
I\
ti.
- .......'· --
~
uo r-
.-~
- -
~
-
~ - -
~
-6- • - -
~
'\. .J
~ I
I<
ti ,,,.I.I
,,# ....
•• ,.
~.
'
~
,
- ,
i::
/
--
2
ti I I I I
- --..'·
,,#
-
~
_,
-
,,,, _,
- -
~
- -
~
,
--
'
~
I
~
-
~
u
•• ....
.. J ~
r-
- I
.....
'·
3
ti. .. I I I
- --·
I I
•
I\
·' '
uo
.....'· r
r:
.. --
rJ
- --·
~ -6
....
-. ••.. -_..
L '"
I
- -· -
4
~
.
I '
ti I.I,,,. , .
I
I
\I
I<
~
•• -
- ~
. .....
_,
-
l I
- - _,
-
- -
_,
_,.
-
•
I
.. ......... --
~
I L 11.e -
\ - I
..
5
I
-.
ti
- "- .........' ·
I I I I
-I ~
I ,...- -·
,_
r, -
~ rJ
It
'\.' \J ~
~
~
l .. ..-..
\
L
- I
....
k
"· .....v
,, '·
r~
r:~
rJ
I
296 Tonal Harmony
F. Complete the following passages, using the triad type indicated for each hand.
Continue the scoring suggested by the firs t polychord, using the given outer parts con-
sistently as either roots, 3rds, or 5ths of the sonority.
1 R.H. major, L.H. major
r-.• ...
I\
' ,,, "

1
- --I
..
,
I J
- -r-i-- -I ~J ..
._;
,_ ,.
- ....." .... -
,.. .. _
-- - ,..
I
I
r.-
I
~~
I 1..--1 I
-
I
••
2 R.H. minor, L.H. minor

I\
.,,, ••...
'I .. -.... - I
-....
~
-J. - ~ I,,_I _,I
-
I
.... ....
-
I I I
~
- ,, -. - •1r.- r.- •
........ ,.._
·- ..... --- - - --·
~
- - ,,
,.._ ,_-
,,
I
,_ ~ ~
~L.!f I I I I
I I I I
3 R.H . major, L.H. minor

I\ I I I L. I I I L. I
.- ......... -- -· -- - -.... -· --
I ~
- --
'I
I '~
._; "'
~
-
I
•
t
I
\
....
f .
·- .......
I
, •••
-•-
-
,..
- _.
...v,..
- -
,.. ... _
~
.. _.
~~
- -
,.. r,.,
I
I I I r' I I I r' I
4 R.H . major, L.H. mi nor
,,,. .....
. ... .,. I
I
I
t
r
'
~
I\
...
- - v - - I
.......
v -
I
- -
I I
v -
I
.......
- I
....
- ••
•
I
.....
.. -
·- -.. --
I "r
I r
r,., ,,, .-
~
r
\
I I
G. Analysis. Try to play or listen to the following example and answer the following
questions:
1. What technique is used to create form in this piano composition?
2. Notate the scale that forms the basis of the opening four measures:
Does the piece have a tone center? _______ If so, what is it? ______
If you do not perceive one, why ?
3. What are the distinguishing characteristics of the opening two measures?
4. In what ways is the character of the opening maintained throughout the piece?
5. What is the derivation of the thematic gesture found in m. 3 of the right-hand part?
__________ Locate three other instances in which that intervallic pattern
appears (other than in the bass line).
a.
b.
c.
298 Tonal Harmony
• Payne, Arch
> >
>
Student Wo rkbook Chapter 28 299
H. Composition. Devise completions for the following passages. Incl ude both bl ack and
whi te keys in your solution. Try to maintai n styli stic consistency.
1
.• .. - I -I j
- '
fl ~
,,
I,,
--
I
-
~
I
-I -I - I
r-
r
,_ r~
·'' r~ r~
._i
I I I I
,_ ... -
--
I") fir
----
- ,_
·~
-
I
•• 1 •
• ',J
·~ "'
I
-' ..
fl
r
•J
._i
,_
- I
.....
2
fl I
.II
~
•I
-- ...
'·
'· r
r
v c..
~
vii
~
r
r
v '"
IL
r ...
·~
,,
.. -.' · . .
,_ I
- '
~ -
.. r-
I
-
,_
I
'
' -
,_
I
-
r-
I
fl
.
•I
II
'
~
....
,_ I
300 Tonal Harmony
I
f\ I
II
~ ~
~
,
l
\
-
L
I
..
,.
Student Workbook Chapter 28 30 I
EXERCISE 28-3
"---- A. Which of the fo ll owing rhythm ic procedures-added value, asymmetric meter, dis-
placed accent, metric modu lation, mixed meter, or non-retrogradable rhythm-are
illu strated by the fo ll ow ing examples:
1 ~ = 60
3
&iJ J J IJ J IJ JJJl.OfilJ JJll
' ~ J J JiJ J IJ J JiJ J I
' J J J IJ J ;J1J IJ J J IJJ.J I
&iJJJJJIBIJ J J IJ\J JJ J IBIJ J J IJ\J J JJ I

5
' i J J J J IJ J J J IJ J J JIJ J J JI
> > > >
'§
6
J )J IB J JllJ JIB IB J JllJ JlJ

302 Tonal Harmony
B. Analysis. Comment on the rhythmic and metric devices employed in the following
excerpts.
Stravinsky, "Danse de la fo ire," from Petrouchka (piano reduction)
Stringendo J =J=46
'fro.
-
ti . ~
v
- -
~
-~ --- ~
. .. - .
~
L>
- -
>
- - - -
.
-~
-
..
L
... qI= I=
.."" ...
1f- -t-
-
" J •
~
ff
ti
.. .., " ...._,
I I
........_,
-..• -••
.I r=:
"""
I<.
-• - •- -• - •- ~
. .. .......
- - -.._- - - -
~
v L
, ~· ,_ ,_ ,_ ,_
11.
- - -
~
>
.. - -- . . ---- . --
.., ..,
-.-
- ....
L. ....
""" ~
--
•• •
I
v -- LJ LJ .>.
'
- - -
,"111 -!___ ~"'II ,"'II • ; ?;;
>
Used by permission of Edward B. Marks Music Co.

304 Tonal Harmony
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 non-
retrogradable rhythm .
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
II
' Normal order: [ _,_ ,_]

Prime form: ( ___ )
11&
Normal order: [ _,_ ,_]
Prime form: ( ___ )
3 PC Set: (C#,G#,D#) 4 PC Set: (D,E,A,G)
II
' Normal order: [ _,_ ,_)

Prime form: ( ___ )
11&
Normal order: [ _,_ ,_ ,_ ]
Prime fo rm: ( ____ )
5 PC Set: (Bb,A,C,B) 6 PC Set: (G,F,Eb,D)
11& II
' 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 3 4
•• ,.._
•
'" .J
v
11
-
L. ....
I
.. .. ••
I., ..
Normal order: [ _ ,_,_] [_,_ ,_] [_,_ ,_] [_,_ ,_ ,_]
Forte name/Prime form:

3-_ ( ___ ) 3-_ ( ___ ) 3- _ ( _ _ _ ) 4-_ ( ____ )
IC Vector:
5 6 7 8
II
I\ . - -
--
I
" ..- . --
' ._, --- '-'-
~-&
-
-.
L
..
....
--
-
L--
v
.. -- ..
,.._
v -
Normal order: [ _ ,_ ,_ ,_] [_,_ ,_ ,_] [_,_,_,_] [_,_ ,_ ,_]
Forte name/Prime form :

4- _ ( _ _ _ _ ) 4- _ ( ____ ) 4- _ ( _ _ _ _ ) 4- _ ( ____ )
IC Vector: - - - - - - ------
C. 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.
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
Homage to AS
7
f sub.
3 vb - - - - - - - - -'
© 1985 Reginald Bai n, BMI

All ri ghts reserved
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.
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
0
&
II
Ii
0
II
II
lo
& II II
Io
Po Ro
--
Rio
t
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
II 0
0 II
3-_ ( _ _ _ ) 3-_( _ _ _ ) 3-_ ( _ _ _ ) 3-_ ( _ _ _ )
2. 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 '' II
4-_ ( _ _ _ _ ) 4- _ ( _ _ _ _ ) 4-_ ( _ _ _ _ )
3. Determine the normal order of the two discrete hexachords.
1st Hexachord 2nd Hexachord

Normal order:[_,_,_,_ , _ ,_ ] [_, _,_, _,_, _]
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 0
II
II
II
What is interesting about the intervallic structure of thi s series? _ _ _ _ _ _ _ _ _ _ _ _ __

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
~o 0 J,,,
J,,, go
&
0
II II
Is
~o
& II II
R3
& 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.
6. Which of the above is not a twelve-tone series? - - -- - - - - - - -

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: 2 3 4 5 6 7 8 9 10 11 12
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 .
Full Moon
,...
---
0 110 Joachim
1~ I
.
@) -v- -:-r· mf
f I
: .
-...__.,, --· "'
II -
- -- k
-
-
-
~
-
~
- ~ - - - - --
..i
pp
---
p
II
-: --
-
..i I r------
- - - - 10
- -
,, -
-
- --·- -- -- - -- - -- - -
------- ------- -------
II
- ---
..i
~
= ~ - ~
"
"
I
"U 'U -r::t....._,-

8va ______ __ _ --- --------- -' 8va _ _______ .
from Twelve 12-Tone Pieces.for Children

© Copyright 196 1 by BM! Canada Ltd . Copyright assigned 1969 to Berandol Music Ltd.
Scarborough.
3 14 Tonal Harmony
I\ - - 15
- - - -
-- _ __,_, - ,__,_, ---
I
. _, _, _, _,
-
\I
I
I\
,_ -
~
- - -- ,_ - ~
- -
, _,
- - - ~
- -- ,_ -
~
- ,
~
- -- ~
-
~ ~- ~- ~-
<
I -
\
L. , .
I
..
~ I?·# #
'..._./ ~~~~~~~~~~~
(8va) ____________________________________________ _J
I\ - - - - - -
---
I
. _,
--
_, _,
- _,
--
_, _,
-
\I
- -- -- - - -- -
I\
- --
,_ ,_ ,_ ,_ -
I
~
~
- - ~
- ~ ~
- - ~
- - ~
- -
~- ~- ~-
<
_,,_..._
,. ~n. ~;")
I - I
.. ..~ ' n
"
J.1 _.
""r-
r~ •
-
,-
\ ...,
=
I I
mf p
- - .........., 25 -
.., ...J
•
'
-..___/
dim.
- -
II
~
I\
.'"' ,
I
--
......
_,
-
_,
- - -
~
_,
- - .., _,
-
-- .., .....
- -- - _,
-
--
.....
I
r~ •
~ ~
••
I\
rit. PPP
..... ,
I
I
- - - -
~
In some ways, "Full Moon" sounds almost impressionistic. What compositional devices has
the composer employed to create this effect?
2. "The Moon Ri ses" by Ernst Krenek is based on the following 12-tone series:
Po
"-----'
~~e
Order
~o II
qo qo u ~ bu- q-u -& bu
lz1 I II II
numbers: 2 3 4 5 6 7 8 9 10 11 12
Like Joachim 's "Full Moon ," it employs a single series form (P 0). Trace the presentation of the series
throughout the course of the piece by marking order numbers (1- l 2) on the score.
Krenek, "The Moon Rises," from Twelve Short Piano Pieces, Op. 83
"The Moon Ri ses" from Twelve Short Piano Pieces by Ernst Krenek. Copyright © 1939 (renewed) by
Associated Music Publi shers, Inc. (BMI). International copyright secured . All rights reserved. Reprinted
by permi ssion.
3 18 Tonal Harmony
10 PPP
3. "Glass Figures" by Ernst Krenek, is based on the following 12-tone series. ln preparation for the work
that follows, notate the Ia and Ra forms of the series on the staves provided:
II qo II
J,,,
qo qo
u
In examining the music, you will note that the first measure of the right hand opens with the first three
notes of la, whereas the left hand features the first two notes of Ra. The third note of this latter series
form rn, is accommodated by the right hand because the third note of Ia is also a rn. Following thi s, the
roles of the series forms are reversed, with the left hand picking up Ia while the right hand continues with
Ra. Because of the frequency of thi s type of exchange where two or more series forms are involved, it is
advisable to use different-colored pencil s to indicate different series forms in operation.
Krenek, "Glass Figures," from Twelve Short Piano Pieces, Op. 83
Andante ben tenuto ~ =63
PP-=== ====-PP
senza Ped.
"Glass Figures" from Twelve Short Piano Pieces by Ernst Krenek. Copyri ght © 1939 (renewed) by Associated
Music Publishers, Inc. (BM!). Intern ational copyright sec ured. All rights reserved. Reprinted by permission.
320 Tonal Harmony
dolce legato rit.

E. Composition. Using the series for "The Moon Rises" shown below, compose a two-voice composition,
the upper voice of which is based on a transposed series form while the lower voice makes use of a retro-
\_, grade series form. You might want to try using instruments other than piano, such as violin and cello or
two flutes.
Po
e l~e
~e l~e ::~e qe lz1 I II
II
@& .. II qe II
EXERCISE 28-6
A. With the help of your instructor, find works that illustrate the principles of aleatory or
chance, minimalism, the use of texture and expanded instrumental resources, and
electronic music discussed in Chapter 28. Then try the following exercises.
1. Compose a short piece featuring aleatoric or indeterminate elements. Prepare a performance
for class.
2. Analyze and write a summary of a piece that combines live performer and recorded music.
On the basis of your findings, compose a piece in this style.
3. Compose a piece featuring special effects for your instrument or voice. Perform the piece in
class.
4. Compose a one measure melodic gesture (theme) that will form the basis for a minimalist
piece. Your composition should be based entirely on rhythmic modifications of this theme.
Have the piece performed in class. Be sure that your performance directions are perfectly
clear. (Hint: Your class performance will go much better if you arrange at least a brief
rehearsal first!)
Compact Discs to Accompany Workbook
THE PERFORMERS
Jana Holzmeier, soprano Orchestra-David Mead, Alejandro Hernandez
Jennifer Murray, soprano Valdez, conductors
Julia Armstrong, mezzo-soprano Elizabeth Whitten, Michelle Clover Neal, flute
Tim Campbell, tenor Pamela Whitcomb, Lana Neal , oboe
David L. Jones, tenor Marisa Bannworth Wester, Shannon Thompson,
David Stevens, tenor clarinet
Joel Quade, baritone David Pinkard, Rhonda Collison, bassoon
Richard Womack, baritone James Wester, Michael Misner, Richard
Elizabeth Wh itten, flute Wheatley, Kellie Babcock, horn
David Pinkard, bassoon Thomas Caswell, Stephen Mi les, trumpet
Michael Misner, horn Sean Scot Reed, David Garcia, David
James Wester, horn Hendricksen , trombone
Jennifer Bourianoff, violin Richard Short, timpani
Marian Mentel , violin Marian Mentel , concertmaster; Tera Shimizu,
Roger Graybill, organ principal violin II
Jeff Hell mer, piano (popular and jazz) Jennifer Fedie, Wei He, Daniel McAtee, Sean
Myra Spector, jazz vocals Milligan, Hye-Sung Oh, Sue-Jean Park,
David Mead, Alejandro Hernandez-Valdez, piano Linda Piatt, Thomas Sender, Marvin
and harpsichord Suson, Alicija Usarek, violin
Kyle Sigrest, piano II Joseph Tan , Mark Sattler, Jason Elinoff, viola
Paul Rhodes, Kirsten Eggen, Sara Nelson,
The Barton Strings Victoria! Wolff, violoncello
Beth Blackerby, violin John Rosenkrans, Robert Jenkins, contrabass
Jennifer Bourianoff, violin and viola
Martha Carapetyan, Bruce Williams, viola Mark Ellis, announcer
Carolyn Blubaugh-Hagler, violoncello David Mead, producer
Andrew Murphy, Frank Simon, engineers
Tosca String Quartet J. Burke Hunn , Michael Czysz, assistant
Leigh Mahoney, 1st violin engineers
Tracy Seeger, 2nd violin
Ames Asbell , viola Recorded at the School of Music, University of
Sara Nelson, cello Texas at Austin
Chamber Choir-David Mead, conductor Listening Example track information on next page.
Judith Kanana, Carol Hopkins, soprano
Brooke Lehr, Kellie McCurdy, contralto
Oliver Worthington, tenor
Te Oti Rakena, Steven Olivares, bass
329
LISTENING EXAMPLES
CD 1 [11] WB IS-I C2 [ill WB 22- 1 C4
Disc Duration: [13] WB IS-I C3 [j] WB 22-1 cs
4S:l3:l4 ~ WB IS- I C4 IT2l WB 22-1 C6
[Z] WB IS-l F [] WB 22- l C7
Track Name ~ WB 16-2 Al [14] WB 23 -1 D l
[I] WB 3-3 c 112] WB 16-2 A2 IT3l WB 23-l D2
rn WB 3-4 Bl [3Q] WB 16-2 A3 IT§] WB 23-1 D3
DJ WB 3-4 B2 fil] WB 16-2 A4 !Ill WB 23-1 D4
rn WB 3-4 B3 [31] WB 16-2 AS [ill WB 23-1 DS
[3J WB 4-1 Cl 13] WB 16-2 A6 [2] WB 23 - 1 D6
ffiJ WB 4-1 C2 ~ WB 17-2 Al Im WB 24- 1 Bl
ITl WB 4-2 Cl ~ WB 17-2 A2 [O WB 24-1 B2
[]] WB 4-2 C2 ~ WB 17-2 A3 In] WB 24-1 83
[]] WB S-2A ~ WB 17-2 A4 ~ WB 24-1 B4
[ill WB S-3 A ~ WB 17-2 AS ~ WB 24-l BS
[j] WB 7- 1 Cl [i2l WB 18-2 Al ll3l WB 2S -l El
IT2l WB 7-1 C2 [§Q] WB 18-2 A2 ~ WB 2S- I E2
[] WB 8- 1 Al [filJ WB 18-2 A3 !l1l WB 2S- I E3
[14] WB 8- 1 A2 Ifill WB 18-2 A4 l2ID WB 2S-l E4
IT3l WB 8-1 A3 ~ WB 18-2 AS IZ2l WB 2S-I ES
IT§] WB 9- 1 Al ~ WB 18-2 A6 00 WB 26-1 Cl
!Ill WB 9-1 A2 ~ WB 18-2 A7 [I] WB 26-1 C2
[ill WB 9- 1 A3 ~ WB 18-2 A8 [TI] WB 26-l C3
[2] WB 9-l A4 ~ WB 19-1 Al [TI] WB 26-l cs
Im WB 9- l AS [@ WB 19-1 A2 ~ WB 26-l C6
[I] WB 9- 1 A6 ~ WB 19-1 A3 ~ WB 26-1 C7
In] WB LO-I Bl [1Q] WB 19-1 A4 00 WB 26-1 C8
~ WB 10-1 B2 lTIJ WB 19-1 AS [TI] WB 26-1 C9
~ WB 10-1 B3 l1ll WB 20-1 A ~ WB 26-1 CIO
ll3l WB 10-1 B4 [TI] WB 20-1 B ~ WB 27- 1 A
~ WB 10-1 BS [11] WB 20- 1 c 00 WB 27-1 D
!l1l WB 10-1 86 [13] WB 20-l D [j] WB 27-l E
l2ID WB 10-1 B7 Im WB 20-1 E l1ll WB 27-1 F
IZ2l WB 11-1 A2 11] WB 27-1 G
00 WB 12-1 A4 CD2 [11] WB 27-1 H
[I] WB 12-1 AS Disc Duration: [13] WB 27-1 I
[TI] WB 12-1 A6 40:09:08 ~ WB 27-1 J
[TI] WB 13-1 B [Z] WB 28-1 H2
~ WB 13-2 Bl Track Name ~ WB 28-1 H3
~ WB 13-2 82 [I] WB 2 1- 1 Cl 112] WB 28-1 H4
00
[TI]
WB 13-2 83 rn WB 21- 1 C2 [3Q] WB 28-2 Cl
WB 13-2 84 DJ WB 21-1 C3 fil] WB 28-2 C2
~ WB 14-1 Cl rn WB 21- 1 C4 [31] WB 28-2 C3
~ WB 14-1 C2 [3J WB 21- 1 cs 13] WB 28-2 C4
00 WB 14-1 C3 ffiJ WB 21- 1 C6 ~ WB 28-2 G
[j] WB 14-1 C4 ITl WB 22- 1 Cl ~ WB 28-3 BI
l1ll WB 14-l cs []] WB 22- 1 C2
11] WB IS-I Cl []] WB 22-l C3
i
Bonus CDs Enclosed!
Mastery of music theory does not come easily, but McGraw-Hill has provided
resources to help smooth the way. Each new copy of this workbook includes
2 audio CDs and a CD-ROM.
The 2 ·audio CDs contain audio examples for many of the assign-
ments- in the workbook. All examples are performed in their original
instrumentation by students and faculty members of the University
of Texas at Austin.
The CD-ROM contains McGraw-Hill's exclusive Finale™ Workbook

software. Based on the best-selling Finale™ notation software, this
new tool can be used to complete many of the exercises included in
the workbook. At the same time, students become familiar with the
basics of working in Finale™, the industry standard for music writing
and printing. Assignments can be completed electronically and then
printed for submission or sent .xia email.
Templates for the assignments and other learning resources can be found at
www.mhhe.com/tonalharmonyS
ISBN 0-07-285261-5
90000
The McGraw·Hill Companies _;
9 780072 852615
www.mhhe.com

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WORKBOOK FOR

B. Notate the indicated pitches on the staff in the correct octave.

' • l fJ= 1 lR llllR II

B. Identify these major key signatures.

_f_ major major major major major major major major

C. Notate the specified key signatures.

11!2= 11& 119: II

9: 11& 11:1= 11& II

D. Fill in the blanks.

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

Major Key Scale ls this

#11 a ~II la U11

II &a lz1 I a lz1 a bo II

la ~II 11llR&a ,,, , a lz1 &a a lz1 II

ll@n-ftu a tfo la II a ~II II

C. Identify these minor key signatures.

a minor minor minor minor minor minor minor minor

D. Notate the specified minor key signatures.

9: 11& 119: 11& II

E. Fill in the blanks.

II&· ~·11 t: II : 11 • ·11 : II #: II i II !z: II ·&·II

fl= : 1 h, II •• I &= I b II I: 11 b: II· ·11 ~· I I: I

: II ~· II &&:s: II &Z II 1: II ~. II &..

c. Notate the specified intervals above the given notes.

=~= • I &. I • I • I &. I #· I • I • I &• I #• I

t>= • I I· I &. I • I • I n· I • I &. I &. I ~· I

=~= • I lz• I #• I #• I #• I &. I • I • I & I

f>: u: 11 ~: 11 ~1·: 11 u: 11 ~: II 1• II *: II ~... II : II ~: II

B. Label what each interval becomes when it is inverted.

D. Label each interval in this melody (from Wagner's Gotterddmmerung) .

V A. Fill in the blanks.

"America the Beautiful"

" Home on the Range"

A. Fill in the blanks.

1. Compound triple .J.

"Take Me Out to the Ball Game"

A. Fill in the blanks.

3. _ O· cJ. JJJI 9. _ cJ JJJnI

5. ti ~nJ n1 ~.J n~.1 ti _ _ _ __

E. Add stems as required.

~: e 119: U" 119: 119: @11 11:2= lz11

A. Spell the triad, given the root and the type.

C. Notate the triad, given the root and the type.

~ 119: ~a llllB a 11@ a 11:2= a 11@ no 11:2= II

~: .a ~a 119: 11llR 119: II

=~= II II #11 II &e II tj11 II e II le II II II &e II

r 119: Un 11@ ~~II llllR 11@ 119: lz11

5th 7th 3rd 5th 5th 3rd 7th root

7th root 3rd 3rd 5th root 7th 5th

&D<'f ll:n?§>ll & niil f1="1111& ttY•11:>= "011& D~llllB~1i II

1. Bach, "Gott lebet noch" (adapted)

2. Bach, "Dich bet' ich an, mein hochster Gott"

(The first C#3 in the bass is not to be harmonized.)

3. Corelli, Sonata V, Op. 2, Sarabande

• Terry, "Serenade to a Bus Seat"

Bb Bdim7 Am7b5 07 Gm7 C7 F

sva sva sva sva

Ak vii 0 Eb: f#: E: g: F: G: c: .

,~ll 11:1: 11@ 119: 11& 11:1: 11118 11:1: II

11:1: 11@ llllR 119: 119: 11@ II

• 2. Handel , "Wenn mein Stiindlein vorhanden ist"

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

This Has this