e-Workbook

for

Techniques & Materials of Music

From the Common Practice Period Through the Twentieth Century
Seventh Edition

Part II: Diatonic Materials

Assignments in worksheet format by

Thomas Benjamin Michael Horvit Timothy Koozin Robert Nelson

Edited for electronic publication by

Timothy Koozin

Part II: Diatonic Materials

Preface 2 The Tonic Triad in Root Position 3 Connection of Tonic and Dominant Triads in Root Position 4 The Dominant Seventh Chord in Root Position 5 Connection of Tonic and Subdominant Triads in Root Position 6 Connection of Subdominant and Dominant Triads in Root Position 7 Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position 8 The Cadential Tonic Six-Four Chord 9 Tonic, Subdominant, and Dominant Triads in First Inversion 10 The Supertonic Triad 11 Inversions of the Dominant Seventh Chord 12 Linear (Embellishing) Six-Four and Other Chords 13 Submediant and Mediant Triads Root Position and First Inversion 14 The Leading Tone Triad 15 Variant Qualities of Triads 16 The Sequence 17 The Supertonic Seventh Chord 18 The Leading Tone Seventh Chord 19 Other Diatonic Seventh Chords 3 5 6 11 16 19 23 24 29 34 39 44 50 57 63 72 79 84 89

Preface
This e-Workbook is intended to supplement the exercises found in Techniques and Materials of Music, 7th ed. Instructors will find these exercises useful in several ways: Intensive study of particular topics Extra work for students having difficulty with selected topics Remediation, particularly for transfer students As a source of exercises for quizzes and tests

There are four types of exercises: Preliminary exercises. These exercises are the most mechanical and are focused on the basics of part writing. Melodies for harmonization. Figured and unfigured basses. Compositional exercises. These exercises establish a particular texture for the completion of the harmonization, or, in some instances, the composition of one to two phrases in the style of the given measures. Exercises are graded and cumulative and are intended to incorporate all the harmonic vocabulary introduced to that point. All exercises are presented with the necessary blank staves. In the early units, choral voicing or keyboard voicing is specified; in later units the student or instructor is given the choice of voicing. For the sake of simplicity, all the basic part-writing exercises have been notated with stems up in the soprano and stems down in the bass. If an exercise is realized in keyboard voicing the student will need to adjust the stem directions to reflect common notational practice. The textural exercises are thoroughly edited. When doing these exercises it is important that the student approach them as if writing real music. Attention must be paid to continuing the articulations as in the given measures. The student may wish to add additional dynamic markings such as crescendos and diminuendos to support the shape of the music.

Suggestions for the Student

Before doing these exercises, it will be important to study with care the matching explanatory pages in Techniques and Materials of Music, and the corresponding examples found in Music for Analysis (6th edition, Oxford University Press). In each exercise, carefully analyze the given material in terms of its harmonic and melodic content as well as all aspects of patterning, so that your work is logical and consistent in terms of the given. If the exercise involves harmonizing a melody, analyze (or perhaps discuss in class) the implied harmonic rhythm and the harmonic and cadential implications of the given line; if an unfigured bass, analyze and discuss the harmonic implications of each note in the bass, paying close attention to typical bass-line scaledegree idioms; if a texture/stylistic exercise, pay close attention to all aspects of patterning and style in the given. Hearing and analyzing similar examples from Music for Analysis will be especially helpful with these more compositional/stylistic exercises. It is important in all your writing both to analyze and understand the choices you are making, and to produce a result that is pleasing and musical to the ear. For the exercises in Part III: Where there is chromaticism, be sure you understand the harmonic implications of each altered scale-degree before starting to work out the exercise. Which notes might be non-harmonic tones? Which imply secondary dominants or other chromatic vocabulary? What is the implied harmonic rhythm? What patterns of chromaticism can you find? For the exercises in Part IV, it is especially important that you study the relevant chapters from Techniques and Materials of Music, and analyze examples from Music for Analysis before you undertake the writing of the exercises, as they cannot be well done without a good deal of knowledge of both technique and style. Analyze with care the given materials in each exercise in terms of all the musical aspects: scale or pitch collection, harmonic vocabulary, rhythmic organization and all aspects of patterning. Your result should as closely as possible match the sound of the given material.

e-Workbook for Techniques & Materials of Music Part II, Unit 2: The Tonic Triad in Root Position 1. Convert the given choral voicing to keyboard voicing.

Name ____________________________

#### 3 4 & ? #### 4 3

Choral voicing

Keyboard voicing

.. ..

2. Convert the given keyboard voicing to choral voicing.

&b 4 4 ?b 4 4

Keyboard voicing

Choral voicing

w w w w

3. Construct the indicated triads in the indicated voicings and spacings, using root position. Check spacing, doubling, and stem directions. a. Choral voicing

b &b C ? bb C

(open)

(close)

(close)

(open)

(open)

(close)

(close)

B b major triad

b. Keyboard voicing

### C & ? ### C

F # minor triad

e-Workbook for Techniques & Materials of Music Name _____________________ Part II, Unit 3: Connection of Tonic and Dominant Triads in Root Position 1. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Analyze.
a. (keyboard voicing)

## C & ? ## C
D:

b. (choral voicing)

bb C bb C
g:

c. (keyboard voicing)

w w

b C b C
F:

w w

d. (choral voicing)

### C & ? ### C

f #:

e. (keyboard voicing)

w w

bbb C bbb C
E b:

f. (choral voicing)

# C # # C
e:

g. (keyboard voicing)

bb C & ? b C b
B b:

h. (choral voicing)

b & b C # ? bb C
g:

w w
6

Connection of Tonic and Dominant Triads in Root Position

Name ________________________

2. Harmonize the following soprano lines in the indicated voicings and spacings, using tonic and dominant triads in root position only. Check spacing, doubling, and stem direction, and play each individual voice. Provide Roman numeral analysis.
a.

&

###

choral close

b. choral open

bbb bbb

c. keyboard

b w

? ###
A:
d. choral open e.

b
d:
f. choral close

E b:
keyboard

## w & ? ##
D:

bbb w bbb
c:

bb # w bb
g:

3. Add alto and tenor voices. Analyze completely.

a.

## 3 & 4 ? ## 4 3
D:

Connection of Tonic and Dominant Triads in Root Position

b.

Name ________________________

b 4 &b 2 w ? bb 4 2w

w w

w w

#w w

w w

4. Harmonize the following soprano melodies. Passing tones and auxilliaries may be employed as directed by the instructor. Analyze the cadences. In choral voicing, open or close spacing will be dictated by the register of the soprano, unless otherwise designated by the instructor.
a. Lento (keyboard)

&b c ?b c

b.

Allegretto (choral)

3 &b 8 ?b 3 8

j #

Connection of Tonic and Dominant Triads in Root Position

Name ________________________

c.

b 3 &b 4 ? bb 3 4

Moderato (choral)

d.

#### 6 & # 4 6 ? #### 4 #

Stately (choral)

w.

5. Harmonize in four voices, using only tonic and dominant triads in root position. Non-harmonic tones are marked x.

## 2 & 2 ? ## 2 2

Connection of Tonic and Dominant Triads in Root Position

Name ________________________

6. Harmonize the given bass in four voices, using only tonic and dominant triads in root position.

## 4 & 4 ? ## 4 4
v

7. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody.

3 bbb 4 . &

Con moto

F ? bb 4 3 b

bb n # &b ? bb b

8. Complete the right hand. First, analyze the implied chords.

. . b 3 & 8 J F . ? b 3 . 8 J J J J J J J J J
Allegro

10

e-Workbook for Techniques & Materials of Music Part II, Unit 4: The Dominant Seventh Chord in Root Position

Name ________________________

1. Resolve the following V7 chords both strictly and freely as indicated. Analyze completely.
a.
strict free

b.

& b # ?b
c.

#
free

### ###

strict

free

strict

b & b b n ? bb b

d.

bbbbb bbb b b

strict

free

2. Resolve the following V7 chords and provide analysis.

a.

## & ? ##

b.

b b bb
e.

c.

# # #

d.

bbbb & n ? bb b b

### ###

f.

####

#### #
11

The Dominant Seventh Chord in Root Position 3. Realize the following two-note figured basses. Analyze the chords.
a.

Name ________________________

&

####

b.

# C w

b w

? #### C #
B:
c.

b
d:
d.

&

&

b &b ? bb
g: &

### ###
A: &

4. Harmonize the following examples and analyze completely.

a.

# 3 & 2w ?# 3 w 2
G:

w. w.

b.

bbb 4 & 2 ? b 2 bb 4
c:

12

The Dominant Seventh Chord in Root Position

Name ________________________

5. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Use the dominant seventh chord where indicated by x. Keyboard voicing.

### 4 & 2 ? ### 4 2

w w

6. Harmonize in four voices, using only the harmonic vocabulary discussed thus far. Analyze.
a. Moderato

&C ?C
a:
b.

b &b c ? bb c
B b:

Maestoso

c.

### 3 & 2 ? ### 3 2

f #:

Andante

w.

13

The Dominant Seventh Chord in Root Position

Name ________________________

d.

bb &bbb C ? bb b C bb
b b:

Grave

7. Add three upper voices, using only the harmonic vocabulary discussed thus far. Analyze.
a.

# & 4 4 ?# 4 4

b.

# 3 & 4 ?# 3 4 .

14

The Dominant Seventh Chord in Root Position

Name ________________________

8. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody.
a.

#### 2 # 4 & # P ? #### 4 2

Andante con moto

b.

Moderato

2 &b 4

p ?b 4 2

c.

. . . . . . . . . . . . . . . . # 2 . # # # . & 4 . . . . # . . F . . . ?# 2 4

Giocoso

15

e-Workbook for Techniques & Materials of Music Name _______________________ Part II, Unit 5: Connection of Tonic and Subdominant Triads in Root Position 1. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Analyze.
a.

bb 4 &bbb 2 ? bb b 4 bb 2
b b:

Choral voicing

W W

b.

# C &

Keyboard voicing

w w

?# C w
G:

2. Harmonize the following soprano examples, employing only the tonic and subdominant triads and the dominant seventh chord. Use a variety of voicings and spacings.
a.

&

##

b.

bbbb bbbb
f:

c.

# #

d.

bb bb

? ##
D:
e.

e:

B b:

### & ? ###

A:

f.

bb bb

g.

### ###
f #:

h.

bbbb bbbb

g:

A b:

16

Connection of Tonic and Subdominant Triads in Root Position

Name _______________________

3. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
a.

bb 4 & 4 ? b 4 b 4
g:

Moderato

b.

#### 3 8 & ? #### 3 8

E:

Allegretto

4. Add three upper voices, using only the harmonic vocabulary discussed thus far. Analyze.
a.

# 6 & # 8 ? ## 6 8
b:

b.

b &bb c ? bb c b
c:

&

w
17

Connection of Tonic and Subdominant Triads in Root Position

Name _______________________

5. Complete the following in the texture given. Extend to from eight to sixteen measures. Analyze completely.

### 3 & 4 f ? ### 3 4 ###

Con brio

. . . .

&

? ###

&

###

? ###

&

###

? ###
18

e-Workbook for Techniques & Materials of Music Name _______________________ Part II, Unit 6: Connection of Subdominant and Dominant Triads in Root Position 1. Fill in inner voices employing both keyboard and choral voicings. Analyze completely.
a.

# & # C ? ## C
D:

b.

bb # bb

c.

d.

### ###
f #:

e.

# #

b
F:

g:

G:

2. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Analyze. a.

b 4 & 2 ?b 4 2
d:

Keyboard voicing

W W

b.

4 &b 4 ?b 4 4
d:

Choral voicing

w w

w w

c.

# 3 & 4 ?# 3 4
G:

Choral voicing

. .

. .
19

Connection of Subdominant and Dominant Triads in Root Position

Name _______________________

3. Harmonize the following soprano examples. Use a variety of voicings and spacings.
a.

b C & ?b C
F:

b.

### ###
A:

c.

## ##

d.

b b
d: kl

b:
f.

L&

e.

b &bb ? bb b

#### ####

#w

E b:
g.

L&

c #: kl
h.

&

####

bb bb

? ####
E: KL L&

g:

L&

4. Harmonize the following melody, using a IV chord where indicated by "x". Use voicing as specified by the instructor.

b 3 & b b 4 n ? bb 4 3 b
c:

Andantino

L&

20

Connection of Subdominant and Dominant Triads in Root Position

Name _______________________

5. Harmonize in four voices, using subdominant chords where appropriate. Analyze.

a. Andante con moto

b & b bb 3 2 ? bb b 3 b 2

w.

b.

Andantino

&c ?c

& ?

6. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Include at least one subdominant chord. Analyze.

### 3 & 4 ? ### 3 4

.
21

Connection of Subdominant and Dominant Triads in Root Position

Name _______________________

7. Add three upper voices, using only the harmonic vocabulary discussed thus far. Analyze. a. Choral voicing

# 3 & 8

?# 3 8
b.

bb &bb c

Keyboard voicing

? bb b c b .

. J

j .

8. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody. a.

b 4 & 4

Andante

P ?b 4 4
b. Tempo di valse

3 bbb 4 . n # . J # n . J & F ? bb 4 3 b
22

e-Workbook for Techniques & Materials of Music Name _______________________ Part II, Unit 7: Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position 1. Write the indicated cadences in four voices.
a. Key of G major PAC

# C & ?# C

HC

HC

IAC

PC

b. Key of D minor PAC

& b # ?b

IAC

HC

PC

PAC

2. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Analyze the cadences.
a.

b &b 4 2 ? bb 4 2

Keyboard voicing

W W

##

b. Choral voicing

W w

##

3. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody. Analyze.

b 2 &bb 4 ? bb 4 2 b

Andante cantabile

HC

PAC

PC

23

e-Workbook for Techniques & Materials of Music Part II, Unit 8: The Cadential Tonic Six-Four Chord

Name _______________________

1. Fill in inner voices. An "x" indicates where a tonic six-four chord is required. Analyze completely.
a.

&C ?C
C:
c.

b.

###

w #### ####
E:

w w
d.

w bbbb bbbb
f:
x

###
A:
e.

w
x

&b ?b
d:

w w

w w

2. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far, including tonic six-four. Analyze.
a.

#### # 2 & # 2 ? #### # 2 # 2

Choral voicing

b.

j . . J

bbbb bbbb

w w

w j . . J

j . . J

c.

bbbbb 6 . 8 &

Keyboard voicing

? bb b 6 . bb 8

.
24

Part II, Unit 8: The Cadential Tonic Six-Four Chord

Name _______________________

3. Harmonize the following melodies. Use a cadential tonic six-four chord where indicated.
a.

# C & ?# C
G:

b.

bbbb bbbb
f:

c.

#### & ? ####

c #:

d.

bb 3 2 bb 3 2
B b:

w.

e.

bbb 6 & 8 ? b 6 bb 8

Adagio

j x

j .

f.

. b 6 & 8 ?b 6 8

Lento

25

Part II, Unit 8: The Cadential Tonic Six-Four Chord

Name _______________________

g.

#### c & ? #### c

Marziale

h.

Andante con moto

& C . ?C

& . ?

4. Add three upper voices to this unfigured bass, using only the vocabulary discussed thus far. Use one cadential tonic six-four chord.

3 &b 4 ?b 4 3 .
26

Part II, Unit 8: The Cadential Tonic Six-Four Chord

5. Realize the given figured bass. Analyze completely.

Name _______________________

## 3 & 4 ? ## 4 3 .

6. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody. a. Moderato

# 4 w # & # 4 F # ? ## 4 4

b. Comodo

. 3 &b 4 P ? b 4 . 3

. .

27

Part II, Unit 8: The Cadential Tonic Six-Four Chord

Name _______________________

7. Complete the following in the texture given. Extend to from eight to sixteen measures. Analyze completely.

# &

?#

&

?#

&

?#

&

?#
28

e-Workbook for Techniques & Materials of Music Name _______________________ Part II, Unit 9: Tonic, Subdominant, and Dominant Triads in First Inversion 1. Fill in inner voices employing both keyboard and choral voicings. Analyze completely.
a.

&

###

b.

^
f.

bbbb bbbb
f: c

c.

n
^
g.

bb bb

d.

##

? ### C
A:
e.

##
b: ^
h.

B b: ^

b &bb ? bb b

# #

bbbb bbb b
A b:

##

&

w
^

## #
b: ^ ^

c: ^

G: ^

2. Add alto and tenor lines based on the given figures. Analyze.
a.

## 4 & 4 ? ## 4 4

w w

b.

bb 4 &bb 4 ? bb b 4 b 4

n
^

w w
29

Tonic, Subdominant, and Dominant Triads in First Inversion

Name _______________________

3. Realize the figured basses employing first inversion triads as indicated.

a.

&b C ?b C
^

b.

## 2 4 ## 4 2
^

c.

b &b C ? bb C
v

d.

### 2 4 ### 2 4
^

4. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
a. Andante con moto

b . &b 6 8 ? bb 6 8
b. Presto

6 &b 8 ?b 6 8

j # j .

j # j .

30

Tonic, Subdominant, and Dominant Triads in First Inversion

Name _______________________

c.

b 3 &b 4 ? bb 3 4 b

&b

? bb

5. Add three upper voices to these unfigured basses; harmonize every note; use first inversion triads and tonic six-four where appropriate. Show all scale degree numbers in the bass. a.

4 &b 4 ? b 4 # 4

b.

## 2 & 4 ? ## 4 2 #
31

Tonic, Subdominant, and Dominant Triads in First Inversion

6. Realize the figured bass lines. Analyze completely. a. Choral voicing

Name _______________________

# 3 & 2

?# 3 2
b.

w
w

&

w.

b 3 &bb 4

Keyboard voicing

? bb 4 3 b

n
^

&

7. Continue the harmonization of the given melody in the texture and style indicated in the opening beats. Use the complete harmonic vocabulary studied thus far. a. Allegro

2 &b 4

. .

F ?b 4 2 .

j . >

. .

>

. . . .

&b ?b

m .

32

Tonic, Subdominant, and Dominant Triads in First Inversion

b. Andantino

Name _______________________

3 & b 4 .. ? b 4 . 3

&b ?b

8. Complete the upper voices in the same style. Analyze.

b 2 & b 4 # J ? bb 2 # 4

33

e-Workbook for Techniques & Materials of Music Part II, Unit 10: The Supertonic Triad 1. Add alto and tenor lines. Analyze completely.
a.

Name _______________________

&b C ?b C
F: ^

b.

&

w w

## ##

#
w
e.

c.

bb bb

w w

b: ^

B b:

d.

# & ?#
e:

bbb bbb
c:

&

2. Add inner parts in keyboard voicing. Analyze completely.

b &bb C ? bb C b

w w
c

n
^

3. Harmonize the following soprano lines. Use the supertonic triad in root position (ii) where indicated. Analyze. x x a. b.

&

###

# 3 2 # 3 2
G:

w.

? ### C
f #:

34

The Supertonic Triad

Name _______________________

4. Harmonize, using the supertonic triad in first inversion (k k^) where indicated. Analyze.
a. x

&b C ?b C
d:

b.

bbb 3 2 bbb 3 2
E b:

w.

5. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
a.

## 3 & 4 ? ## 4 3

Ziemlich langsam

j # .

kko^
b.

&

####

# c

Deciso

? #### c # & #### # w

? ####

#
35

The Supertonic Triad

c. Allegretto

Name _______________________

### 6 & 8 ? ### 6 8

j .

j .

6. Harmonize the bass lines following the given figures. Analyze.

a.

b 2 &b 4 ? bb 2 4
^

&

b.

bb 2 & b b bb 4 ? bb b b 4 2 bb n
^

&

7. Add three upper parts to this unfigured bass. Analyze, showing scale-degree numbers in the bass. Use ii6 where appropriate.

# c & ? # c # w
36

The Supertonic Triad 8. Complete in the given texture. Analyze completely.

a.

Name _______________________

& b c . . J F ? c b . .

Allegro moderato

& b . ?b

b.

b &b 3 8 # J P ? bb 3 8 # &b b

Con amore

? bb # # . u
37

The Supertonic Triad

c. Andante cantabile

Name _______________________

2 &4 p 2 B4 p ?2 4 p

& B ?

38

e-Workbook for Techniques & Materials of Music Part II, Unit 11: Inversions of the Dominant Seventh Chord

Name _______________________

1. Add inner voices employing both keyboard and choral voicings. Analyze completely.
a.

# & # C ? ## C
D:

w w
^

b.

bbb n bbb
c: r

n
e
e.

c.

#### & # ? #### #

d.

# # #
|t

w w
^

bbb bbb

w w

w
^

B:

e:

E b:

2. Harmonize the following soprano lines using inversions of the dominant seventh chord as indicated. Analyze. b. c. a.

## & ? ##
D: t

### ###

#
e: r
e.

A: e

d.

b &bb ? bb b

bb bb

c:

B b:

39

Inversions of the Dominant Seventh Chord

Name _______________________

3. Fill in the inner voices, using inversions of the dominant seventh chord where indicated. Analyze, including scale degrees in the bass. Choral voicing.

### 3 w . & 2 ? ### 3 # 2

x

#
x

w.

w.

w.

4. Harmonize the following melodies in four voices, using the harmonic vocabulary discussed thus far. Analyze completely. Show scale degrees in bass and soprano.
a. Cantabile

bb 3 & 8 ? bb 3 8

b. (Use inversions of the dominant seventh where indicated.) Con moto x x

### 3 & 4 ? ### 3 4 ###

&

? ###
40

Inversions of the Dominant Seventh Chord

Name _______________________

c.

# c # & ?# c

Andante

5. Harmonize the following figured bass lines. Analyze completely.

a.

&b c ?b c &b ?b
^

@ ^

b.

## 3 & 4 ? ## 4 3
e

r ^

^ r

&

41

Inversions of the Dominant Seventh Chord

Name _______________________

6. Harmonize these unfigured basses in four voices. Use inversions of the V7 chord where possible. Analyze fully and indicate scale degrees in the bass.
a.

bbb 4 & 2 ? bb 4 b 2

b.

## 3 & 4 ? ## 4 3 # . .

7. Continue the harmonization of the given melodies in the texture and style indicated in the opening beats. Use the complete harmonic vocabulary studied thus far. Include slurs and other needed editorial markings.
a.

b c &

Grazioso

P ?b c &b ?b
42

Inversions of the Dominant Seventh Chord

Name _______________________

b.

. j b 6 J & 8 F ?b 6 8 &b ?b j . J

Allegretto

. J

. J

j .

j .

8. Complete the upper voice in the same style. Analyze, including scale degrees in the bass. Use inversions of the dominant seventh chord where indicated. Include all needed editorial markings.

# 2 # & 4J J ?# 2 4
x

#
x

43

e-Workbook for Techniques & Materials of Music Part II, Unit 12: Linear (Emblellishing) Six-Four and Other Chords

Name _______________________

1. Complete the inner voices using linear diminished seventh chords where indicated. Analyze completely.
a.

&C ?C w
C:

b.

bb bb w

w w

c.

### ###
A:

B b:

d.

bbb & w ? bb b w
E b:

e.

## ## w

#
x

w
x

b:

f.

& ?#
G:

# #

w w

g.

bbbbb bbbb b

n b n b

w nw

b b:

2. Write the inner voices, using linear six-four chords where possible. Analyze. Keyboard voicing.

# 4 & 4 ? # 4 w. 4

w.

w.

w.
44

Linear (Emblellishing) Six-Four and Other Chords

Name _______________________

3. Harmonize in four voices, using linear six-four chords where indicated. Analyze fully.
a. Andante con espressione x x x x

b 3 &bb 8 ? bb 3 b 8

&

bbb

j n

? bb

b.

## 4 & 8 ? ## 4 8 & ##
x

Amabile

? ##
45

Linear (Emblellishing) Six-Four and Other Chords

Name _______________________

4. Harmonize this melody, using linear six-four chords where appropriate. Analyze completely.
Largamente

. &3 2 ?3 2

& . ?

w.

& . ?

& ?

w.

46

Linear (Emblellishing) Six-Four and Other Chords

5. Harmonize the following figured bass lines. Analyze completely. a.

Name _______________________

### C &

? ### C ###

w q

w
w q

w q

&

? ###

w q

w
w q

&

w &

b.

&b 4 4 ? 4 b 4
w q ^ w ^ |^ ^

w &

w % w q

6. Harmonize this unfigured bass in four voices. Use six-four chords where indicated. Analyze.

# 3 & 2 ?# 3 2 w w. x x x
x x x

47

Linear (Emblellishing) Six-Four and Other Chords

Name _______________________

7. Continue the harmonization of the given melodies in the texture and style indicated in the opening beats. Analyze completely.
a.

bbbb 6 . . 8 & P ? bb b 6 b 8 J J

Andantino

j . . .

bbbb . . & ? bb b b

. . J

j .

b.

3 &b 4 F ?b 4 3

Waltz

&b ?b

. .

48

Linear (Emblellishing) Six-Four and Other Chords

8. Complete the upper voice in the same style. Analyze.

Name _______________________

3 . b 4 &

Gesangvoll

F # ?b 4 3 # &b # ?b

49

e-Workbook for Techniques & Materials of Music Name _______________________ Part II, Unit 13: Submediant and Mediant Triads in Root Position and First Inversion 1. Harmonize the melody lines according to the given analysis.
a.

b w & ?b
F: K

b.

## ##

c.

bbb n w bbb

d.

#### w ####

kkk

b: k

LK

c: Lc

LK

E: kkk

lk

e.

bbbbb w & ? bb bbb

D b: kkk

f.

g.

bb bb

#
KL G: lk kkk KL K

g: k

KKK

kl

h.

&

###

i.

bbbb w bbbb

j.

#### ####

# w

? ###
A: lk kkk

#
lk

f: Lc

LK

B: L

50

Submediant and Mediant Triads in Root Position and First Inversion 2. Add alto and tenor lines according to the given figures. Analyze.
a.

Name _______________________

&b C ?b C
d:

#
v

w w

b.

###

w w

###
A:

c.

# & ?#
G:

d.

w w

bb bb

w w
^

B b:

e.

bbb &

? bb b
E b:
f.

&4 w 2 ?4 2
C:

w w
w

w w
&

w w
w

w
51

Submediant and Mediant Triads in Root Position and First Inversion 3. Realize the following figured bass lines. Analyze.
a. b.

Name _______________________

&b C ?b C
F:
c.

n w

n
a:

&

###

d.

## ##

e.

bbb bbb
c:

? ###
A:
f.

n
^

b: v

bbbbb c & ? bb c bbb

b b: $ ^ ^

c |$ ^

^ &

g.

## C & ? ## C
b:

w
% w

% |t

^ $

&

w
52

Submediant and Mediant Triads in Root Position and First Inversion

Name _______________________

4. Harmonize this unfigured bass line, using vi or iii where indicated. Analyze.

## 3 & 4 ? ## 4 3
x

# & # ? ##
x

5. Harmonize this melody, using vi or iii where indicated. Analyze.

## 3 & 8 ? ## 3 8

Andante

&

##

DC

j .

PAC

? ##
53

Submediant and Mediant Triads in Root Position and First Inversion

Name _______________________

6. Harmonize the following melodies, employing the harmonic vocabulary studied thus far. Analyze.
a.

# 3 & # 4 3 ? ## 4

Con amore

j .

## & ? ##

j .

b.

#### 3 4 & ? #### 4 3

Allegro moderato

&

####

? ####
54

Submediant and Mediant Triads in Root Position and First Inversion

Name _______________________

7. Complete in the indicated texture and analyze.

3 &b 4 F ?b 4 3

Menuetto

&b ?b

8. Complete the upper part and analyze. Use mediant or submediant triads where indicated.

b 3 & b 4 # j P ? bb 3 4
x x

55

Submediant and Mediant Triads in Root Position and First Inversion

Name _______________________

9. Complete the following in the texture given. Extend to from eight to sixteen measures. Analyze completely. Tempo di Mazurka

b b b 4 .. & 3 f ? b 3 bb 4

..

b &bb ? bb b

b &bb ? bb b

b &bb ? b bb
56

e-Workbook for Techniques & Materials of Music Part II, Unit 14: The Leading Tone Triad 1. Add alto and tenor lines. Analyze. a.

Name _______________________

# C & ?# C
e:

#
^

w w
^

b.

n n

c.

## ##

w
^

|^

C:
e.

b: ^
f.

d.

b & ?b
d:

w w
^

bb bb

##

|^

##
D:

B b: ^

g.

&

####

? ####
E:

2. Harmonize these soprano lines following the given analysis.

a.

b b n & b b bb ? bb b b bb
e b: k lkko^

b.

#### # ####

c.

bb bb

#
K^

k^

B: K lkko^

B b: K^ lkko^

57

The Leading Tone Triad

Name _______________________

3. Harmonize the following melodies, using vii6 where appropriate. Analyze.

a. Con moto espressivo

### 4 & 8 ? ### 4 8

### & ? ###

b.

# 6 . . . & # 8 . ? ## 6 8

Andante

## . . . # #. & # ? ##

58

The Leading Tone Triad

Name _______________________

c.

Doloroso

3 & b 4 # ?b 4 3 b & ?b

4. Realize the following figured bass lines. Analyze.

a.

&b c ?b c #
e

|^

w %

#
e

&b ?b
^

|^

w %

&

59

The Leading Tone Triad

Name _______________________

b.

### 2 & 4 ? ### 2 4

^ ^

^ ^ r

^ w ^

w &

5. Harmonize these unfigured basses, using vii6 where indicated. Analyze. Show scale degrees in the bass.
a.

# c & ?# c
x

b.

b 3 &bb 2 ? bb 3 b 2 b &bb ? bb b n
x

w.
60

The Leading Tone Triad

Name _______________________

6. Complete the texture. First, analyze the implied harmony and any non-harmonic tones in the melody.
a. Espressivo

&b c p ?b c

&b ?b

b.

# 2 j & 4 F ?# 2 4

Allegretto

# & ?#

m .

61

The Leading Tone Triad

Name _______________________

c.

# . # 3 J & 4 P # 3 # & 4 J # # . #

Mit Sehnsucht

& &

# J .

62

e-Workbook for Techniques & Materials of Music Part II, Unit 15: Variant Qualities of Triads

Name _______________________

1. Determine the harmony implied in these unfigured bass and soprano lines. Fill in the inner voices, using scalar variants where possible. Analyze. Show scale degree in the bass.
a.

& b c n # ?b c
d:
c.

b.

### ###
f #:

w w

b &bb ? bb b
c:

d.

#w w

#
e:

e.

## C & ? ## C
b:

2. Harmonize these soprano lines using scalar variants. Provide analysis.

a.

b 3 n # &b 2 ? bb 3 2
g:

w.

b.

# #

c.

w.

#### ####
c #:

# #

w.

e:

63

Variant Qualities of Triads 3. Realize the following figured bass lines. Analyze.
a.

Name _______________________

b 3 &bb 2 ? bb 3 b 2
c:

b.

nnn

|^

w.

nnn
a:

w.
v

c.

3 bbbb 4 & ? b b 3 . bb 4
f:

.
^

.
^

.
c

.
^

.
C% |^

d.

## C & ? ## C
b:

|^

&

e.

&b c ? c b
d:

|^

|^

n b
^ ^

&

64

Variant Qualities of Triads

Name _______________________

4. Harmonize the following melodies using scalar variants where appropriate. Analyze.
a. Langsam

& c # # ?c

b.

Adagio

&b c ?b c

j j j #. n . .

. &b ? b

j .

j # .

c.

#### 3 # # ( n) ( n ) 8 & ? #### 3 8

Andante

j j j # # # .

65

Variant Qualities of Triads

Name _______________________

5. Alter the following chords by modal borrowing. Analyze both chords of each pair with roman numerals and figured bass symbols, including accidentals.
a.

b &b C ? bb C
B b:

b.

c.

d.

e.

6. Fill in the inner voices, using modal borrowing where indicated. Analyze.
a.

&b ?b
F:

w w

b.

### ###

A:

7. Fill in the inner voices using modal borrowing where possible. Analyze. a.

&C ?C
C:
b.

b b

Nw w

# C & ?# C
G:

w b

w
66

Variant Qualities of Triads

Name _______________________

8. Harmonize the following melodies using the harmonic vocabulary studied thus far. Analyze.
a. Commodo

b b. &b c ? bb c

j b.

j w

b.

#### 6 & # 8 n ? #### 6 # 8

Andantino

j .

j .

j .

&

####

# n #

j .

? ####

67

Variant Qualities of Triads

Name _______________________

c.

Allegro moderato

# 3 & 4 ?# 3 4

b.

j n

# . & ?#

&

b.

?#

# . & ?#

n.

68

Variant Qualities of Triads

Name _______________________

9. Realize the following figured bass line. Provide Roman numeral analysis.

b 3 &b 4 ? bb 3 4 b
X%

X%

b
X%

b
X%

&b

b
&

? bb
w

b.
X%

&

10. Realize the following unfigured bass line. Provide Roman numeral analysis.

### 3 & 4 ? ### 3 4

69

Variant Qualities of Triads

Name _______________________

11. Complete in the given texture using the harmonic vocabulary studied thus far. First, analyze the implied harmony and any non-harmonic tones in the melody.
a.

&b c P ?b c b & ?b

Moderato

J J J j j

b b

N.

j w

b.

# 6 & 8

Con espressione

j .

F b ?# 6 8 & . # ?#
70

Variant Qualities of Triads

Name _______________________

12. Complete the upper part observing the given figured bass. Analyze fully. Allegro moderato

b 3 &b 4 f ? bb 3 . 4

j #.
e

n
^

.
v

&b

? bb .
^

.
w

|^

71

e-Workbook for Techniques & Materials of Music Part II, Unit 16: The Sequence

Name _______________________

1. Fill in the inner voices using sequence when possible. Analyze fully. Identify the sequences with brackets.
a.

# & C ?# C
e:

#
v

w w

b.

&

####

? ####
E: ^

&

2. Harmonize using the harmonic vocabulary studied thus far. Employ sequence when possible. Analyze.
a. Allegro

2 b 4 & ?b 4 2

&b ?b

72

Unit 16: The Sequence

Name _______________________

b.

. bb c n &b ? b c bb

Moderato

j w

c.

6 . . # . # n &8 ?6 8

Andantino

. . # . # & ?

& ?

73

Unit 16: The Sequence

Name _______________________

3. Realize the following figured bass line. Analyze. Identify any sequences.

# 3 & 4 ?# 3 4 #
^

&

?#

#
^

&

4. Harmonize the following unfigured bass lines, using sequence when possible. Analyze. Identify any sequences. a.

bb &bb c

? bb b c b b & b bb ? bb bb

w
74

Unit 16: The Sequence

Name _______________________

b.

&b 3 2 ?b 3 2 &b ?b w. w w. # w

5. Continue the given patterns in sequence. Conclude the pattern with an appropriate cadence, and analyze all work completely. The sequence is bracketed and the first transposition is established.
a.

2 bbb 4 & ? bb 4 2 b b &bb ? bb b

75

Unit 16: The Sequence

Name _______________________

b.

b 3 &b 4 ? bb 4 3

bb & ? bb

c.

3 &8 ?3 8

& ?

76

Unit 16: The Sequence

Name _______________________

d.

3 &b 4 ?b 4 3 &b ?b

6. Continue the incomplete part in the style given. Analyze fully and identify any sequences.
a.

### 2 & 4 ? ### 2 4

Nicht zu schnell

&

###

? ###

77

Unit 16: The Sequence

Name _______________________

b.

3 . b 4 & ?b 4 3

Grazioso

&b ? b

&b ?b

78

e-Workbook for Techniques & Materials of Music Part II, Unit 17: The Supertonic Seventh Chord 1. Add inner voices and analyze fully.

Name _______________________

bb &bb C ? bb b C b

&

w w
w

w
%

w
w

w
%

2. Create upper voices based on the given figures. Analyze completely. a.

b &b ? bb
B b:

b.

## ##
e

w
v

b:
d.

c.

&

###
^
f.

bbb bbb

? ###
A:
e.

w
c

c: ^

&

####
t

bbbb bbbb
&

? ####
E:

w
^

&

79

A b:

The Supertonic Seventh Chord 3. Harmonize the following melodies using a ii7 where indicated.
a.

Name _______________________

b &bb c ? bb c b

Lustig

&

bbb

? bb

x b.

# 2 & # 4 ? ## 4 2

Jolie

&

##

? ##
80

The Supertonic Seventh Chord

c. Andantino

Name _______________________

b &bb c ? bb c b

4. Realize these figured bass lines. Analyze completely.

a.

b & b bb 3 2 ? bb 3 bb 2
&

&

w
w %

w.

b.

#### 3 & # 4 3 ? #### 4 #

e

@ ^ &

r & w

5. Realize this unfigured bass line, using ii7 where indicated. Analyze.

### 4 & 2 ? ### 4 2

x

81

The Supertonic Seventh Chord 6. Complete in the same style and analyze fully.
a. Con fuoco

Name _______________________

&b ? b

# . # . c . f # c

&b ?b

j w

b.

. b c .. & f

Allegro

.. .

?b c

&b ? b

82

The Supertonic Seventh Chord

Name _______________________

c.

Allegretto

3 &4 3 &4 F

?3 4

& & ?

& & ?

83

e-Workbook for Techniques & Materials of Music Part II, Unit 18: The Leading Tone Seventh Chord 1. Resolve the leading tone seventh chord as indicated, and analyze.
a.

Name _______________________

## & ? ##
D: K^

b.

c.

K
f.

Kw

d.

K^

e.

&

##

g.

h.

? ##
b: kw

#
k

#
k^ k^

2. Realize these figured bass lines. Analyze.

a.

## C & ? ## C
D:

b.

bbbbb bbbbb
b b:

c.

bbb bbb
c:

&

n
&

w
f.

|e

w
^

d.

e.

&b ?b
xr

### ###

# #

w
^

C&

|e

w
84

F: e

A: &

e: ^

The Leading Tone Seventh Chord

Name _______________________

3. Fill in the inner voices, using inversions of the leading tone seventh chord where possible. Analyze, including scale degrees in the bass.

bbb 3 n & 2 ? b 3 bb 2

w.

w.

4. Harmonize the following melodies, using the leading tone seventh chord where indicated. Analyze.
a. Gesangvoll x

&

###

? ### c

b.

&

####

Allegretto

x x

? #### c #### . j n x w

&

? ####
85

The Leading Tone Seventh Chord

Name _______________________

c.

## 3 & 4 ? ## 3 4 ##

Lento triste

&

? ##

5. Realize these figured bass lines. Analyze completely.

a.

bb &bb C ? bb b C b
|$

n
&

|e

b & b bb ? bb bb
t

|$

w
86

The Leading Tone Seventh Chord

b.

Name _______________________

&c ?c
@

& xe

b
^ t

&

6. Harmonize this unfigured bass, using the leading tone seventh chord where indicated. Analyze.

b 4 &bb 2 ? bb 4 b 2 n
x

7. Complete the accompaniments in the style of the opening measures. Analyze completely.
a.

3 &b 4 P ?b 4 3 &b ?b

Allegretto

87

The Leading Tone Seventh Chord

b. Allegro con moto

Name _______________________

b &b c

j #.

. J

j #

F ? b c b bb .

&

# J

j w

? bb
c. Lento

## 6 & 8J ## 6 & 8 ? ## 6 8

. .. . .. . j

. J

. . J J

j
t

j #
&

j
t

j j
&

# . & # # & # ? ## j

. J

. J .

j
^

j
t

j
w

j
&

j .
t

%
88

e-Workbook for Techniques & Materials of Music Part II, Unit 19: Other Diatonic Seventh Chords 1. Add inner voices, observing the given figures. Analyze.
a.

Name _______________________

b &bb C ? bb C b
c:

&

b.

nnn

&

w w

nnn
C:

c.

&

##

w
&

d.

#### 3 2 #### 3 2
E:

&

&

? ##
D:

&

&

2. Add inner voices. Provide figures and analysis for your harmonization. a.

C & ?C
C:

b.

### & ? ###

f #:

89

Other Diatonic Seventh Chords

Name _______________________

3. Add inner voices, being very careful to avoid part-writing errors. Use seventh chords where indicated. Analyze fully.

# & # c
x

? ## c

4. Harmonize, using seventh chords where indicated. Analyze.

a. Ziemlich langsam
x x

b &b c ? b c b

b.

Semplice

3 bbb 4 & ? bb 4 3 b

b &bb ? bb b

90

Other Diatonic Seventh Chords

Name _______________________

c.

### 3 . & 4 ? ### 3 4

Grazioso

&

###

? ###

5. Realize the following figured bass lines. Analyze.

a.

bb &bb C ? bb b C b
&

&

&

&

&

&

91

Other Diatonic Seventh Chords

Name _______________________

b.

&b c ?b c
^

&

&

&

&

&

&

^ %

&b ?b
&

&

^ &

6. Harmonize, using seventh chords where indicated. Employ sequence as appropriate. Analyze.

&

##
x

? ##

92

Other Diatonic Seventh Chords

Name _______________________

7. Complete the upper two voices, employing sequence as implied by the bass line. Use seventh chords as appropriate. Analyze.

b # & # P ?b

Andante

8. Complete the accompaniment in the style of the opening measures. Analyze. Moderato

&b F ?b

. ..

&b ?b

93