EXERCISE 26-1 .

A. In each fragment below, analyze the given chord. Then notate the specified chord in
such a way that it leads smoothly into the given chord with acceptable voice leading.
Some of the problems use a five-part texture for simpler voice leading.

I
1
flJJ.
2
, I
3
JJ. I
4
~ ~

I
V

I
\
··
~
I
,J J IL
.J
I I

0: b. y7subs. A: y+7
. 6th

5
f\ JJ. ~ I
6
, I
7
JJ. ~
8
I I

t !J I I
I
<

~ ··
IL
.J ,J IL J .J
1 I

F~: B~: y+6/IY E: ··••4 o- y9

11 3 e-

247
 Student Workbook Chapter 26 249

C. Analysis. Throughout this section highlight (using arrows or whatever is convenient)

any occurrences of the ch.ords discussed in this chapter.
1. Label chords and NCTs.

• Schumann, Humoresque, Op. 20

Einfach ~ = 80

~.

2. This excerpt features one of the chords discussed in the chapter. The last chord in m. 8
should be analyzed as a secondary function. What is the form of the excerpt?

• Chopin, Nocturne, Op. 32, No.2

sempre piano e legato

~. *~. *~.

IO

~.*~. *~. * ~. * ~. *
 Student Workbook Chapter 26 251

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"? chords, and you will find some
in this excerpt, including one that embellishes a secondary dominant. Label all chords
and NCTs, analyzing in A~throughout.

Ayer (arr. by Campbell), "Oh! You Beautiful Doll"

I tI , 29
Oh ,
I
oh ,
I
oh!
I I 30 r I
- »<. I I I I
I

I I-
;--

i)
r
Oh!
-----r I
you
-
beau - ti - ful doll,_ you
I
I

great big
I

beau - ti - ful
I I

doll!_
Oh, oh, oh!
;--

J I J J I ...II.. ~J J IrL) J I J .j J J~
··
I I I J
'--
I
I I I I

1\ I ~I I~I I I J
..J. ~ I I
.
1
~ I I I Y"
I r
Let me put my arms a - bout you,

;:JIJ j~~ 1.
.
~ J I
··
<,
--- I
I II I I I
Y" I I

Oh, oh, oh!

'\ , 35 I I I I I I I I /. I I I

i)
I I
Y" I I r~r I
I could nev - er live with - out you. Oh! you

-
J'
I could nev er oh, oh!

I ~ J I J I J J
··
I I
. l

L _
\
I ~I
- I
could nev - er
I V I I I I I

© Rob Campbell. 1987.

 Student Workbook Chapter 26 253

6. This familiar excerpt is easier to listen to than to analyze. The transpositions do not
make the analysis any easier-clarinets in A and horns in F-nor do the four clefs in
use. Do your best with the score (after all, conductors face this sort of problem every
day), then check your work with the piano reduction that follows the excerpt.

• Tchaikovsky, Symphony No.6, Op. 74, I

1\
Andante (J -- 69) 90

Clar. I
in A
@J
~rz- ....
mp::::=- pp
mp~
1\
Clar. II
inA
@J ?f____

Bsn.
.. mp:::::=-

pp -=::: ~p===-pp zz mp :::::=-

"
Rn.
!J f~-6 q-6
: ...... ..• ....,,-6 :-6
'"
in F
pp -=::: mp :::= pp zzmp z»«
~

V =i :4j
11~
:4j ...." ~
~
pp -=::: mp ===-pp
~ #~
=mp:::::=-
con sordini teneramente, molto cantabile, con espansione

fI JJ, ~-... 1"1

-. --...
I

. I

-
Vl.I

.t! -- =:::=L ~I

fI JJ,
P
====-
VI. II

!J
It

VIa.

con sordini teneramente, molto cantabile, con espansione

Vc.
Iin
V
.--:::--
1"1

-. .--:::--
- -.
= :=::=!- I ..•...... ~ Ir
p
====-
D.B.
.. con sordini

I I I I
pp -=::: mp ===-pp --==== mp :::::=-
 Student Workbook Chapter 26 255

iano re d UC fIOn
---..... ~
.
90
f\ jJ, I J I I ~
l
. I

I
"If r 'oJ

r • ~f
,,
t..o
It! T ~
1 ~'oJp

.. - It ~
- -
I

7. The chord in m. 4 should be analyzed in two ways: the way in which we expect it to
resolve when we first hear it and the way it actually functions.

• Schubert, Schwanengesang, "Kriegers Ahnung"

5
 Student Workbook Chapter 26 257

9. Label with roman numerals the two chords in this excerpt that are the most important
structurally. The other chords are simultaneities connecting the structural chords. Label
their roots. If any of these chords imply fleeting tonicizations, indicate this with roman
numerals. The chord in m. 2 could be heard as a g triad with ra~sed and lowered 5th
(G-Bi>-Di>-D#) because the Eb 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) .

Hertig beschleunigend
fI JJ, I I k_

V
Was frommt sei-ne hel - Ie Schnei - de,

fI JJ,

V
freu'n.

1\ JJ. .., . ..,

. . r-
.
I
1 tJ
f
• fp
- "1-
cresco
Ip
1,.
)
I ·· - - • f*- f*-
- -
\

1\ JJ, L.
•
tJ
ist der SlaW nicht hart und fest?

fI JJ,

4V

I
'" JJ, I
.
-
i ~[J.
-
1 r ~...J. , ~ • •
I
1 V
11 -I~ 1
~
}
} l r\
··
01

I
\
248 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.
 250 Tonal Harmony

3. a. Analyze this 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 discuss them.

c. Diagram the phrase structure and label the form. Assume four-measure phrases.

• Chopin, Mazurka, Op. 63, No.2

Lento , ~ :;.-.....

I
f\ I
. .
1 ~ p
#1 ~ -
) 1 q::: ::: ~
I=- .•. 1 q:::::: ;:~ •••• ••
··
1
I
\

" -
~. *~. * ~. * ~. *~. *~.
f\ I ~ ~- .
t U '1-4 I~...J +1

I
··
I~
• 1 Iq ~ ~. q::: ::: 1
;: ... q::: :::
t
~ ~
~. * * *
~.
*
~. * ~. ~.

f'j
I
~-----------------------------------~
_. I. Ir ----
•.......• .b.: 15
I

I
)
!J
~ -
I l' 1

;: q~"S
i
\
··
~~k:~ l 1

."
.•. !-

" ~
~. * ~. * ~. * ~. * ~. *
 252 Tonal Harmony

5. Harmonic sequences occupy most of this excerpt. Find the two sequences and bracket
each occurrence of the sequential patterns. If it is possible to do so, label the chords in
the sequences with roman numerals, perhaps in terms of shifting tonalities. Discuss
briefly the large-scale harmonic/melodic function of each sequence. In other words, just
what does each sequence accomplish harmonically and melodically?

• Schumann, "Die Lowenbraut," Op. 31, No.1

'1'\ I
73
I :>
.. . I

!J • • ••• I r r
. I r r -
Die un - se-li - ge wagt's sich der Thii-re zu nah'n, da fallt er ver wan - delt die Her-rin an, die

1'\ I I

I !J ~'
$: Vi!t :> :>
1 :> :> :> ~ :> :>
) mf J::; b~ /I' r:
'\
I ·· . . . I
. .
\

~ 17~ ~
q~ 'q-6~.
l=i :>
~
=4i
;:~ '1= 1:>-
qi
)
b=4i
-
=4i :>

'I I 75

. . . . .
!J I r I" I r I r y I r r I
-
scho-ne Ge - stalt, ein grass-li-cher Raub,liegt blu-tig zer - ris-sen ent - stellt in dem Staub,

I
f\ I bi9- ,hn ~ ~q~ I b~ .-:9- ~-~

I V 1

)
.....•••••...

~.:: r.::.. {r-t:::

~

i ··
L 1=::
,- 1'_
Ihf-a-::.. I ~h#t::
!OJ'1-¥"
.... :
rq:J:::
1"- ••

q-.
I~ i=4i I'i =i q=4i #~ "II

p
f\ I

.
V • 1; •
:> •
Und wie er ver-gas - sen das theu - re Blut,
sf, sf I
~sf rr1
I
1'\ I II ~J I I ~
.
I
I
V I I
:>
I
:>
II
:>
r'- vr r :>
If
:>
r '-'[J"-
:>
'-5-
~=: 1'===

) b:>-- :>.--.... = pp
~$-a- ,....
. J.
-&- • :>--
t ·· . .
\
"II "II "II I I r'~ P r r
:>
254 Tonal Harmony

incaizando ritenuto
) fI I
95 /- .......•.

!J pP mf p
fI I I

!J
.J
J~' #~ =d ~ ~
p-c::::::mf p
pp mf
··
1'T
pp -===:::: mf
= P -c:::::: mf ===-- p --=::::::::mf ===- p -==::::

fI ~ ~- ~-
!J t~'" ~ ..• I
- ~-6 ~-6 c.. t~'" ..•..•
pp -===:::: mf p-c::::::mf p -=:::: mf === ~ p -===::::
f\

c,.. c;...
!J =i=i=i- +:-6 ll~
:6 #=?; =i =i =i

f\ u.
pp -===:::: mf

I s s-: >----- - .
=
.:--
p-c::::::mf
>----- ---...
p -==:::: mf ===-
. I
p -===::::
I
r:

V '-......!!/ I
:f mf's-«: f ::::::- = :::=- :
con sordini
f\u.

V ft,·" - ../
>-
con sordini
"
mf---= -p
,I

• • ~~.-
. ....-...- >-----
mf - '* ../

110
..i...-.- >----- - .~ - mf
-.
P

~ r
I ~I I
=f mf=-«: f::::::- = :::=- =
··
I I I I I 1'T I
pp -===:::: mf ====-- p -c:::::: mf ===-- p --=:::::::: mf ===- p -==::::
 256 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

f\ ~ '" 1 I I 5
I

..
I
1 V
~ .......
- ./~ ,1' ~ ....... - ./- ~ .. ~
p f p
J -& :.e- -& :.e- -& '-fT'
t ··
\

>- >-

--
10

'" - I_~
·
1-
.
I I
. t ~:
t V V V 1 ll~
pp
~,
- ,~

•• ...
1

J
•• ....
. ~;~
.
p
- -===
t ·· ·· ~/-
<,

>-
'"
15 I_ . >-
'" ..
I

t V ~~
f :
Vv~
p
r I <:» q:J: .~=: ~ r' t··
··
I L Clo'-:::::::t:-Clo - '_..
. .
···
~/-

t
I I r I V •• -

I", .j I a...
I
1\ 20

. ~
.. .
tl
..
,
t ~ fH1-.......,/.•. ...
pp
'-6 •
cresco
r0r ff

t ··\
I
.
I
pp

. .. .
cresco

.. .
~
I~I n ••
..
=i =6' =i =6'
 258 Tonal Harmony

10. In some ways this excerpt pushes traditional harmony toward its limits, especially
through its disregard for conventional resolutions of dissonance. 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 dissonance treat-
ment?

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

P ---= ::=-
fI I
Allegretto tranquillo
I I
. . I I
I

V I r I
~ I r ..-
She is slen-der and fair and young, wre., fea-tures so pure and pale; _ The ;

fI I r»;

I 0 -6 c;. -6 ':'-4 ., -6 ':'-4

=6
J Plt~ r----6- - - -'" (2 n II
I ··
~

fI I I I
= ::=--
I
poco rit.

. . .
.
(

V I r r '-- ~
droop-ing lids of her eyes Their dream- y splen - dor veil._

I
fI I -~
I
)
V
..c.
=6 ~~
= ===-
~# I~~. ~v~

poco rit.
q~ ~~r •
q~
~
,-/'11
~

I ··
: ===-

_=--= ~- .-:=6
\
.::::.
c:;; -==:... .::::. -=
r;;
~~
=4 i:=i -
"'0"___. ''11
=6 ,-/'"
~