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e-Workbook for
TECHNIQUES AND MATERIALS OF
MUSIC From the Common Practice Period Through the
Twentieth Century
ENHANCED SEVENTH EDITION
Part II: Diatonic Materials
Assignments in worksheet format by
Thomas Benjamin Michael Horvit Timothy Koozin Robert Nelson
Part II: Diatonic Materials
Preface 3 2 The Tonic Triad in Root Position 5
3 Connection of Tonic and Dominant Triads in Root Position 6
4 The Dominant Seventh Chord in Root Position 11
5 Connection of Tonic and Subdominant Triads in Root Position 16
6 Connection of Subdominant and Dominant Triads in Root Position 19
7 Cadences Employing the Tonic, Subdominant, and Dominant Triads in Root Position 23
8 The Cadential Tonic Six-Four Chord 24
9 Tonic, Subdominant, and Dominant Triads in First Inversion 29
10 The Supertonic Triad 34
11 Inversions of the Dominant Seventh Chord 39
12 Linear (Embellishing) Six-Four and Other Chords 44
13 Submediant and Mediant Triads Root Position and First Inversion 50
14 The Leading Tone Triad 57
15 Variant Qualities of Triads 63
16 The Sequence 72
17 The Supertonic Seventh Chord 79
18 The Leading Tone Seventh Chord 84
19 Other Diatonic Seventh Chords 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 scale-degree 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.
&
?
#
#
#
#
#
#
#
#
4
3
4
3
œœ
œœ
œœ
Choral voicing
œ
œ
œ
œ
œ œ
.˙
.˙
.˙
.˙
œœ
œ
Keyboard voicing
œ
&
?
b
b
4
4
4
4
œœœ
œœ
œ
œ
œœ
œœœ
2. Convert the given keyboard voicing to choral voicing.
Keyboard voicing
œ œ
˙
ww
w
w
œœ
Choral voicing
œ
œ
&
?
b
b
b
b
C
C
˙
˙
3. Construct the indicated triads in the indicated voicings and spacings, using root position. Check spacing,
doubling, and stem directions.
a. Choral voicing
(open) (close) (close) (open) (open) (close) (close)
F# minor triad –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Bb major triad ––––––––––––—–––––—––––––––––––––––––––––––––––––––––––––––––––––––
˙˙
˙˙
w
&
?
#
#
#
#
#
#
C
C
˙˙
b. Keyboard voicing
˙˙
˙
˙˙
˙
e-Workbook for Techniques & Materials of Music Name ____________________________
Part II, Unit 2: The Tonic Triad in Root Position
1. Convert the given choral voicing to keyboard voicing.
5
&
?
#
#
#
#
C
C
b
b
b
b
C
C
b
b
C
C
a. (keyboard voicing)
D:
˙˙
˙
˙
w
w
b. (choral voicing)
g:
˙˙
˙
˙
w
w
c. (keyboard voicing)
F:
˙ ˙
˙
˙
w
w
&
?
#
#
#
#
#
#
C
C
b
b
b
b
b
b
C
C
#
#
C
C
d. (choral voicing)
f #:
˙˙
˙
˙
w
w
e. (keyboard voicing)
Eb:
˙˙
˙ ˙
w
w
f. (choral voicing)
e:
˙˙#
˙
˙
w
w
&
?
b
b
b
b
C
C
g. (keyboard voicing)
Bb:
˙˙
˙
˙
˙˙
˙
˙
w
w
&
?
b
b
b
b
C
C
h. (choral voicing)
g:
˙˙#
˙
˙
˙˙
˙
˙
˙˙
˙
˙
w
w
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.
6
&
?
#
#
#
#
#
#
b
b
b
b
b
b
b
b
a. choral close
A: Eb:
ww
b. choral open
d:
ww
c. keyboard
ww
&
?
#
#
#
#
b
b
b
b
b
b
b
b
b
b
d. choral open
D:
D:
ww
w
e. keyboard
c:
ww
w
f. choral close
g:
w#w
w
&
?
#
#
#
#
4
3
4
3
a.
˙œ
˙
œ
˙œ
˙
œ
˙œ
˙
œ
.˙
.˙
Connection of Tonic and Dominant Triads in Root Position Name ________________________
3. Add alto and tenor voices. Analyze completely.
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.
7
&
?
b
b
b
b
2
4
2
4
b.
w˙
˙
w
˙
˙
ww
w
w
w#w
w w
W
W
&
?
b
b
c
c
Lento (keyboard)a.
b.
˙˙
˙˙
˙˙
w
&
?
b
b
8
3
8
3
Allegretto (choral)
œ
j
œ#.œ
œœ
œ .œ
Connection of Tonic and Dominant Triads in Root Position Name ________________________
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.
8
&
?
b
b
b
b
4
3
4
3
Moderato (choral)c.
˙œ
œœ
œ#œ
œœ
˙ œ .˙
&
?
#
#
#
#
#
#
#
#
#
#
4
6
4
6
Stately (choral)
˙
d.
œ˙
œ˙
œ˙
œœ
œ
œ˙
œ.w
&
?
#
#
#
#
2
2
2
2
œœ
x
œœ
x
œœ
x
œœ
x
œ
x
œœ
x
œw
Connection of Tonic and Dominant Triads in Root Position Name ________________________
5. Harmonize in four voices, using only tonic and dominant triads in root position. Non-harmonic tones are
marked “x.”
9
&
?
#
#
#
#
4
4
4
4
˙
˙
v
˙ ˙
˙
˙
v v
w
&
?
b
b
b
b
b
b
4
3
4
3
F
.œ
Con moto
j
œœ
œ
œ
œ
œœ
œ
œœ
œ
œœ
œœ
œnœ
œ
œœ
œœ
œœ
œ
&
?
b
b
b
b
b
b
œ
œœ
œnœ
œœ
œ#œ
œ
œœ
œœ
œ
œœ
œ .˙
&
?
b
b
8
3
8
3
Allegro
F
Œ ‰
œ
œ
J
œ
œ
Œ
J
œ.
œ
œ
J
œ
œ
œœ
œ.
œ
œ
J
œ
œ
œ
œ
œ
J
œ
œ
œ
œ
J
œ
œ
œ
œ
J
œ
œ
œ
œ
J
œ
œ
œ
œ
J
œ
œ
œ
œ
J
œ
œ
.
.
œ
œ
Connection of Tonic and Dominant Triads in Root Position Name ________________________
7. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody.
8. Complete the right hand. First, analyze the implied chords.
6. Harmonize the given bass in four voices, using only tonic and dominant triads in root position.
10
&
?
b
b
#
#
#
#
#
#
a.
c.
strict
˙
˙˙
#
˙
free
˙
˙˙
#
˙
b. strict
˙
˙
˙
˙
free
˙
˙
˙
˙
&
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
strict
˙˙
˙
n
˙
free
˙˙
˙
n
˙
d. strict
˙
˙
˙
˙
free
˙
˙
˙
˙
&
?
#
#
#
#
b
b
b
b
#
#
a.
˙
˙
˙̇
b.
˙˙
˙
˙
c.
˙#
˙
˙
˙
&
?
b
b
b
b
b
b
b
b
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
d.
˙˙˙n
˙
˙
e.
˙
˙˙
f.
˙˙
˙
˙
e-Workbook for Techniques & Materials of Music Name ________________________
Part II, Unit 4: The Dominant Seventh Chord in Root Position
1. Resolve the following V7 chords both strictly and freely as indicated. Analyze completely.
2. Resolve the following V7 chords and provide analysis.
11
&
?
#
#
#
#
#
#
#
#
#
#
C
C
b
b
a.
B:
˙
&
w
b.
d:
˙
√&
w
&
?
b
b
b
b
#
#
#
#
#
#
c.
g:
˙
√&
w
d.
A:
˙
&
w
&
?
#
#
2
3
2
3
a.
G:
w˙
w ˙
w˙
w ˙
˙˙
˙
˙
w
.w
.w
&
?
b
b
b
b
b
b
4
2
4
2
b.
c:
œœn
œ
œ
œœ
œ œ
œœ
œ
œ
œœn
˙
˙
˙
The Dominant Seventh Chord in Root Position Name ________________________
4. Harmonize the following examples and analyze completely.
3. Realize the following two-note figured basses. Analyze the chords.
12
&
?
#
#
#
#
#
#
2
4
2
4
x
˙˙
˙˙
˙
˙
˙
˙
x
˙˙
w
˙
˙
w
&
?
C
C
Moderatoa.
b.
a:
˙˙
˙˙
˙˙
˙#˙
w
&
?
b
b
b
b
c
c
Maestoso
Bb:
f #:
˙˙
˙˙
.˙œ
w
&
?
#
#
#
#
#
#
2
3
2
3
Andantec.
˙˙#
˙
˙˙
˙w
˙#.w
The Dominant Seventh Chord in Root Position Name ________________________
6. Harmonize in four voices, using only the harmonic vocabulary discussed thus far. Analyze.
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.
13
&
?
b
b
b
b
b
b
b
b
b
b
C
C
Graved.
bb:
˙œn
œ˙
œn
œœ
œœ
œnw
&
?
#
#
4
4
4
4
a.
œ
œ
œ
œ
œ
œ
˙
&
?
#
#
4
3
4
3
b.
˙ œ
˙ œ
œ
œ
œ
.˙
The Dominant Seventh Chord in Root Position Name ________________________
7. Add three upper voices, using only the harmonic vocabulary discussed thus far. Analyze.
14
&
?
#
#
#
#
#
#
#
#
4
2
4
2
Andante con motoa.
P
œœ
œœ
œ
œ
œœ
œ#œ
œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ#
˙
&
?
b
b
4
2
4
2
Moderatob.
p
œœ
œ
œœ
œ
˙
œ
œ
œœ
œœ
œœ
˙
&
?
#
#
4
2
4
2
Giocosoc.
F
œœ
. œ.
œ#
.œ.
œ.
œ
œ
.
œœ
. œ.
œ#
.œ.
œ.
œ.
œ.
œ. œ
.
œ.
œ.
œ#
. œ.
œ.
œ
.
œ.
œ
.
œ
.œ
.œ
.œ#
.
˙
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.
15
&
?
b
b
b
b
b
b
b
b
b
b
2
4
2
4
a. Choral voicing
bb:
˙˙n
˙˙
˙
˙
˙
˙
˙˙
˙˙
˙
˙
˙
˙
W
W
&
?
#
#
C
C
b.
G:
Keyboard voicing
˙˙
w
g:
˙˙
w
g.
f#:
˙˙
˙
˙
Ab:
˙˙
˙
˙
w
w
&
?
#
#
#
#
b
b
b
b
b
b
b
b
#
#
b
b
b
b
a. b.
D:
A:
˙˙
f:
˙˙
c.
e:
˙ ˙
d.
Bb:
˙˙
&
?
#
#
#
#
#
#
b
b
b
b
#
#
#
#
#
#
b
b
b
b
b
b
b
b
e.
˙˙
˙
f.
˙˙
˙˙
˙˙
h.˙
˙˙
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.
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.
16
&
?
b
b
b
b
4
4
4
4
a.
b.
Moderato
g:
E:
œœ
œœ
œœ
œœ
˙œ
œ#w
&
?
#
#
#
#
#
#
#
#
8
3
8
3
Allegretto
œœ
œœ
œœ
œ
œœ .œ
&
?
#
#
#
#
8
6
8
6
a.
b:
c:
b.
œ
J
œ
œ
J
œ
œ
J
œ
.œ
&
?
b
b
b
b
b
b
c
c˙ œ œ
.˙ œ
œ œ œ
œ
ç&
w
Connection of Tonic and Subdominant Triads in Root Position Name _______________________
4. Add three upper voices, using only the harmonic vocabulary discussed thus far. Analyze.
3. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
17
&
?
#
#
#
#
#
#
4
3
4
3
Con brio
f
œ
œ
œ
œ
œ
œ
.
œ
œ
.
œœ
. œœ
.
œ
œœ
œ œ
œœ œ
œ
œœ
.
œ
œœ
œ
œ
&
?
#
#
#
#
#
#
&
?
#
#
#
#
#
#
&
?
#
#
#
#
#
#
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.
18
&
?
#
#
#
#
C
C
b
b
b
b
b
b
#
#
#
#
#
#
#
#
a. b.
D:
˙˙
˙˙
g:
˙˙#
˙˙
c.
F:
˙ ˙
˙˙
d.
f #: G:
˙˙
˙˙
e.
˙˙
˙˙
&
?
b
b
2
4
2
4
Keyboard voicinga.
d:
˙˙
˙˙#
2. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Analyze.
˙
˙
˙
˙
˙˙
˙˙
˙
˙˙
˙
W
W
&
?
b
b
4
4
4
4
b. Choral voicing
d:
˙˙
˙
˙
w
w
œœ
œœ
˙˙
w
w
&
?
#
#
4
3
4
3
c. Choral voicing
G:
˙œ
˙
œ
.˙
.˙
œœ
œ
œ
œœ
.˙
.˙
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.
19
&
?
b
b
C
C
#
#
#
#
#
#
#
#
#
#
b
b
F:
a. b.
˙˙
A:
c#:
c.
f.
˙˙
b: d:
˙˙#
d.
˙ ˙
kl L√&
&
?
b
b
b
b
b
b
#
#
#
#
#
#
#
#
Eb:
e.
g.
˙˙
w
L&
˙˙
kl
w#
&
?
#
#
#
#
#
#
#
#
b
b
b
b
E:
˙
˙
KL
w
L& g:
˙˙
w
L√&
&
?
b
b
b
b
b
b
4
3
4
3
c:
œ
Andantino
œnœ
˙
x
œ
h.
œ
x
œœ
˙nœ
Lç&
.˙
Connection of Subdominant and Dominant Triads in Root Position Name _______________________
4. Harmonize the following melody, using a IV chord where indicated by "x". Use voicing as specified by
the instructor.
3. Harmonize the following soprano examples. Use a variety of voicings and spacings.
20
&
?
b
b
b
b
b
b
b
b
2
3
2
3
Andante con motoa.
˙˙
˙˙
˙˙
w˙
˙˙
˙.w
&
?
c
c
Andantinob.
Œœ
œ#
œœ
œœ
œœ#
œœ
œœ
œ .˙
Œ
&
?
Œœ
œœ
œœ
œœ
œœ
œœ
œœ# ˙#
˙
&
?
#
#
#
#
#
#
4
3
4
3
œœ
œ
6. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Include at least one
subdominant chord. Analyze.
œ
œ
œ
œœ
œ
œ
œ
œ
œœ
œ
œ
œœ
.˙
.˙
Connection of Subdominant and Dominant Triads in Root Position Name _______________________
5. Harmonize in four voices, using subdominant chords where appropriate. Analyze.
21
&
?
#
#
8
3
8
3
a. Choral voicing
7. Add three upper voices, using only the harmonic vocabulary discussed thus far. Analyze.
œ
œ
œ
œ
œ
œœ
J
œ.
œ
&
?
b
b
b
b
b
b
b
b
c
c
b. Keyboard voicing
.œ
j
œ
œ
œ.
œ
J
œ .œj
œ
.œ
j
œ
œ œ œœ
œ
˙
&
?
b
b
4
4
4
4
a. Andante
P
˙˙
8. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody.
œ
œœ
œœ
œœ
œ
œ
œ
œ
œ
œ
œ
˙ œœ
˙œ
œ˙
˙˙ œ
œw
&
?
b
b
b
b
b
b
4
3
4
3
b. Tempo di valse
.œJ
œœ
œ
œ
F
œ
œœ
œ
œœ
œœn
˙œ
œ#.œ
J
œœ
œ#œ
œ
œœ
œnœ
œ
œœ
œœ
œ
œ
œœ
œœ
œœ
œ .˙
Connection of Subdominant and Dominant Triads in Root Position Name _______________________
22
&
?
#
#
C
C
PAC
˙˙
a. Key of G major
HC
˙˙
HC
˙˙
IAC
˙˙
PC
˙ ˙
&
?
b
b
PAC
˙#˙
b. Key of D minor
IAC
˙ ˙
HC
˙˙
PC
˙˙
PAC
˙˙
&
?
b
b
b
b
2
4
2
4
#
#
#
#
a. Keyboard voicing
˙˙
˙˙
˙
˙
˙˙
W
W
b. Choral voicing
˙˙
˙˙
˙ ˙
˙˙
W
˙
˙
w
&
?
b
b
b
b
b
b
4
2
4
2
Andante cantabile
P
œœ
œ
3. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody. Analyze.
œœ
œ
œ
œœ
œœ
œœ
œ
HC
œœ
œ œœ
œœ
œœ
œœ
œ
PAC
˙ ˙
PC
˙
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.
2. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far. Analyze the cadences.
23
&
?
C
C
#
#
#
#
#
#
a.
C:
˙
˙
˙
x
˙
w
b.
w
w
A:
˙
˙
˙
x
˙
w
w
w
&
?
b
b
b
b
b
b
b
b
b
b
#
#
#
#
#
#
#
#
c.
d:
˙
˙
˙
x
˙#
w
w
w
d.
f:
˙
˙
˙
x
˙
w
w
w
e.
E:
˙
˙
˙
x
˙
w
w
w
&
?
#
#
#
#
#
#
#
#
#
#
#
#
2
2
2
2
b
b
b
b
b
b
b
b
a. Choral voicing
˙˙
˙
˙
˙˙
˙ ˙
w
w
b.
˙˙
˙
˙
˙˙
˙ ˙
w
w
&
?
b
b
b
b
b
b
b
b
b
b
8
6
8
6
c. Keyboard voicing
.œœn
j
œ
.œ
œ
J
œ
.œœ
j
œ
.œ
œ
J
œ
.œœ
j
œ
.œ
œ
J
œ
.œ.œ
.œ
.œ
.˙
.˙
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 8: The Cadential Tonic Six-Four Chord
1. Fill in inner voices. An "x" indicates where a tonic six-four chord is required. Analyze completely.
2. Add alto and tenor lines, using only the harmonic vocabulary discussed thus far, including tonic six-four.
Analyze.
24
&
?
#
#
C
C
b
b
b
b
b
b
b
b
a.
c.
G:
˙ ˙
x
˙
b.
w
f:
˙ ˙
x
˙nw
&
?
#
#
#
#
#
#
#
#
b
b
b
b
2
3
2
3
c#:
˙ ˙
x
˙#w
Bb:
d.
˙w
x
˙ .w
&
?
b
b
b
b
b
b
8
6
8
6
Adagio
œ
j
œœ
j
œœ
œœ
œ
xj
œ.˙
&
?
b
b
8
6
8
6
Lento
e.
f.
.œ.œ
.œ.œ
.œ
x
.œ.˙
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.
25
&
?
#
#
#
#
#
#
#
#
c
c
Marzialeg.
˙
œœ#
˙
˙˙
œœ
˙
x
˙#w
&
?
C
C
Andante con motoh.
.œ
j
œœ
œ .œ
j
œœ
œœ
œœ
œœ
˙
x
˙
&
?
.œ
j
œœ
œ
.œ
j
œœ
œœ
œœ
œœ
œ
x
œœ ˙
&
?
b
b
4
3
4
3˙ œ
˙ œ˙
œ
œœ
œ.
˙
Part II, Unit 8: The Cadential Tonic Six-Four Chord Name _______________________
4. Add three upper voices to this unfigured bass, using only the vocabulary discussed thus far. Use one
cadential tonic six-four chord.
26
&
?
#
#
#
#
4
3
4
3
5. Realize the given figured bass. Analyze completely.
˙
œ
v
˙ œ
œœ œ
w √%
.˙
&
?
#
#
#
#
4
4
4
4
a. Moderato
F
œœ
œœ
œ
œ
œœ
6. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody.
œ
œœœ
œ
œœ
œ#
œœ
œœ
œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ#
w
&
?
b
b
4
3
4
3
b. Comodo
P
.˙
Œœ
œ
œ
œ
.˙
.˙
Œœœ
œœ
.˙
.˙
.˙
.˙ .˙.˙
.˙ .˙
Part II, Unit 8: The Cadential Tonic Six-Four Chord Name _______________________
27
&
?
#
#
Ó Œ
7. Complete the following in the texture given. Extend to from eight to sixteen measures. Analyze
completely.
œœ
œœ
œœ
œœ
œœ
œœ
œ
œ
œ
&
?
#
#
&
?
#
#
&
?
#
#
Part II, Unit 8: The Cadential Tonic Six-Four Chord Name _______________________
28
&
?
#
#
#
#
#
#
C
C
b
b
b
b
b
b
b
b
b
b
b
b
#
#
#
#
a. b.
A:
˙˙
˙˙
^f:
g.
˙
˙
˙˙n
c ^
c.
Bb:
˙
˙
˙˙
^
d.
b:
˙˙
˙˙
^
&
?
b
b
b
b
b
b
#
#
b
b
b
b
b
b
b
b
#
#
#
#
e.
c:
b.
˙˙
˙˙
^ ç&
f.
G:
˙˙
˙˙
^Ab:
˙˙
˙˙
^
w
w
^b:
h.
˙˙
˙
˙#
^ ^
w
w
&
?
#
#
#
#
4
4
4
4
a.œ
œœ
œ
œœ
œœ
^ ^
œœ
œœ
œ
œœ
œ
^
œœ
œœ
˙
˙
w
w
w
&
?
b
b
b
b
b
b
b
b
4
4
4
4
œœ
œœ
œœn
œ
œ
^ ^
˙œ
œ
œœ
œ œ
^ w ç%
w
w
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.
2. Add alto and tenor lines based on the given figures. Analyze.
29
&
?
b
b
C
C
#
#
#
#
4
2
4
2
a.
˙˙
^
b.
wœ
œ
^
˙
v
&
?
b
b
b
b
C
C
#
#
#
#
#
#
4
2
4
2
c.
˙˙
v ^
w
d.
˙œ
œ
^ ^
œ œ
w
&
?
b
b
b
b
8
6
8
6
Andante con moto
œœ
œ .œœ
œœ
œœ
œœ
œ
œœ
œœ
.˙
&
?
b
b
8
6
8
6
a.
Prestob.
œ
j
œœ
j
œœ
j
œ#.œ
œ
j
œœ
j
œœ
œœ
œ
j
œ#.˙
Tonic, Subdominant, and Dominant Triads in First Inversion Name _______________________
4. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
3. Realize the figured basses employing first inversion triads as indicated.
30
&
?
b
b
b
b
4
3
4
3
c.
œ
œ
œœ
œ
œœ
œœ
œœ
œœ
œ
&
?
b
b
b
b
œœ
œœ
œ
œœ œ
œœ
œ.˙
&
?
b
b
4
4
4
4
a.
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.
œœ#
œ
œœ
œœ
œœ
œœ œ
w
&
?
#
#
#
#
4
2
4
2
b.
œœ
œœ
œœ#
œ
œ
œœ
œ
œ
˙
Tonic, Subdominant, and Dominant Triads in First Inversion Name _______________________
31
&
?
#
#
2
3
2
3
a. Choral voicing
6. Realize the figured bass lines. Analyze completely.
˙˙
˙
^
˙˙
˙
^ ^
˙˙
˙
^
w ˙
w &
.w
&
?
b
b
b
b
b
b
4
3
4
3
b. Keyboard voicing
œœn
œ
^
˙œ
^
˙ œ
w ç&
.˙
&
?
b
b
4
2
4
2
Allegroa.
F
œ œ.
œ.
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.
œ
œœ
œ
.œ
Ÿj
œ.
œ
œœ
œ
œ
>
œ
.
œ. œ
>
œ
.
œ
.
œ.
œ
.
&
?
b
b
œ
œ.
œ. .œ
Ÿ
œœ
œ œ.
.œ
m
œ ˙
Tonic, Subdominant, and Dominant Triads in First Inversion Name _______________________
32
&
?
b
b
4
3
4
3
b. Andantino
.
.œœ
œ
œ
.œœ
œ
œ
œ
œ
œ
œ
œ œœ
˙
˙
œ
œ
˙œ
œ œœ
œœ
œœ
œ
&
?
b
b
œ œœ
˙œ
œœ
œœ
.˙
&
?
b
b
b
b
4
2
4
2
œœ#
œœ
œœ
œœ œ
œœ
œ
8. Complete the upper voices in the same style. Analyze.
œœ#
œ
J
œ
œ
œœ
œœ
œœ
œœ
œœ
œ
˙
Tonic, Subdominant, and Dominant Triads in First Inversion Name _______________________
33
&
?
b
b
C
C
#
#
#
#
b
b
b
b
F:
˙˙
˙˙
^ &
a. b.
w
w
b:
˙
˙
^
˙˙#
˙ ˙
w √%
w
w
c.
Bb:
˙˙
˙˙
^
w
w
&
?
#
#
b
b
b
b
b
b
d.
e:
˙˙
˙
˙
^
˙˙
˙
˙
w v
e.
c:
˙˙
˙ ˙
^
˙˙n
˙
˙
w ç&
w
w
&
?
b
b
b
b
b
b
C
C
˙˙
˙˙n
^
˙ ˙
˙˙
^
˙˙
˙˙
^
˙˙
˙˙
^
w
w
c
&
?
#
#
#
#
#
#
C
C
#
#
2
3
2
3
f#:
a.
˙
x
˙w
G:
b.
˙
˙
x
˙ .w
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 10: The Supertonic Triad
1. Add alto and tenor lines. Analyze completely.
2. Add inner parts in keyboard voicing. Analyze completely.
3. Harmonize the following soprano lines. Use the supertonic triad in root position (ii) where indicated. Analyze.
34
&
?
b
b
C
C
b
b
b
b
b
b
2
3
2
3
d:
a.
˙
x
˙ w
Eb:
b.
˙˙
x
˙ .w
&
?
#
#
#
#
4
3
4
3
a. Ziemlich langsam
˙
œ˙
œ˙
œ#œ
œœ .œ
kko^
j
œœ
˙œ
œ.˙ .˙
&
?
#
#
#
#
#
#
#
#
#
#
c
c
Decisob.
œ
œ
œœ
œœ
˙œ œ
œ œœ
œ˙
&
?
#
#
#
#
#
#
#
#
#
#
œ
œ
œœ
œœ
˙œ œ
œ œw
The Supertonic Triad Name _______________________
4. Harmonize, using the supertonic triad in first inversion (k k ^) where indicated. Analyze.
5. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
35
&
?
#
#
#
#
#
#
8
6
8
6
Allegrettoc.
œ
j
œœ
j
œœ
j
œœ
j
œœ
j
œ.œ
œœ
œ
j
œ.œ
&
?
b
b
b
b
4
2
4
2
a.
œœ
^
œ œ
^
œ
œ
w√&
˙
&
?
b
b
b
b
b
b
b
b
b
b
b
b
4
2
4
2
b.
œœn
œ
^
œœ
^
œ œœ œ
^ w ç&
˙
&
?
#
#
c
c
7. Add three upper parts to this unfigured bass. Analyze, showing scale-degree numbers in the bass.
Use ii6 where appropriate.
œœ#
œœ
œœ
œ
œ
œœ
œœ
w
The Supertonic Triad Name _______________________
6. Harmonize the bass lines following the given figures. Analyze.
36
&
?
b
b
c
c
a. Allegro moderato
F
.˙œ
œ
œ
œ
œ
œ
œœ
œ
.˙
œ
.˙œ
œ
œ
œ
œ
œ
œ
œ
œ
.˙
œ
œœ
œ
œ
œJ
œ
œœ
œ
œœ
œœ
w
&
?
b
b
.˙œ .˙
œœ
œœ
œw
&
?
b
b
b
b
8
3
8
3
b. Con amore
P
œ
J
œ
œ
œ
œœ
œ
œ
œ#œ œ
œœ
œ#
œ
œœ
œœ
œœ
œ
œœ
œ
œœ
œ
≈œ
œ
œœ
œ
&
?
b
b
b
b≈ œ
œœ
œ
œ
œœ
œœ#
œ
œœ
œœ
œ
œœ
≈
œœ
œœ#
œ
.œ
u
The Supertonic Triad Name _______________________
8. Complete in the given texture. Analyze completely.
37
&
B
?
4
2
4
2
4
2
Andante cantabilec.
œ
p
œœ
-œ-
œ
-
p
œ
-
œ
-
œ-
p
œ#-
œ-
.œ
j
œ
œ
œ
œ#
œœ-
œ
-˙
&
B
?
œ
œœ
-
œ-
œ
-œ-
œ-
œ
-
œœ
œœ
œ#˙
The Supertonic Triad Name _______________________
38
&
?
#
#
#
#
C
C
b
b
b
b
b
b
D:
˙˙
˙˙
@
a. b.
w
w
^ c:
˙n
˙
˙˙n
»flr e
w
w
&
?
#
#
#
#
#
#
#
#
#
#
#
#
b
b
b
b
b
b
B:
c.
˙˙
˙˙
r
w
w
^
d.
e:
˙˙#
˙ ˙
|t
w
w
^
e.
Eb:
˙˙
˙˙
e
w
w
&
?
#
#
#
#
#
#
#
#
#
#
#
#
D:
a.
˙˙
t e:
b.
˙˙
»flr A:
c.
˙˙
e
&
?
b
b
b
b
b
b
b
b
b
b
c:
d.˙
˙
e
w
Bb:
e.
˙˙
r
w
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 11: Inversions of the Dominant Seventh Chord
1. Add inner voices employing both keyboard and choral voicings. Analyze completely.
2. Harmonize the following soprano lines using inversions of the dominant seventh chord as indicated.
Analyze.
39
&
?
#
#
#
#
#
#
2
3
2
3
.w
˙˙#
x
˙
˙#˙
˙
˙
x
˙˙
x
.w
˙˙
˙
˙˙
˙#
˙˙
˙
.w
.w
&
?
b
b
b
b
8
3
8
3
Cantabilea.
œœ
œœ
œœ
œ
œœ
.œœ
œ .œ
&
?
#
#
#
#
#
#
4
3
4
3
Con moto
b.
˙œ#
x
(Use inversions of the dominant seventh where indicated.)
˙œ
˙œ
x
œœ
œœ#
x
œ
x
œ
x
&
?
#
#
#
#
#
#
œ
œœ
x
œœ
x
œ˙
x
œ.˙
Inversions of the Dominant Seventh Chord Name _______________________
4. Harmonize the following melodies in four voices, using the harmonic vocabulary discussed thus far.
Analyze completely. Show scale degrees in bass and soprano.
3. Fill in the inner voices, using inversions of the dominant seventh chord where indicated. Analyze,
including scale degrees in the bass. Choral voicing.
40
&
?
#
#
c
c
Andantec.
œœ#
œœ
œ
œœ
œœ
˙#œ
œ#œ
œœ
œœ
œœ#
˙
&
?
b
b
c
c
a.
œœ
˙
r ^
œœ
˙
^
œ
œ œœ
@ ^
œœ
˙
^ ^
&
?
b
b
œœ
œœ
r ^ ^
˙
œ
œ
@
˙˙
^ r
w
&
?
#
#
#
#
4
3
4
3
b.
˙œ
e
œœ
œ
r ^
˙ œ
^ @
œœ
œ
^ r
˙ œ
w £&
.˙
Inversions of the Dominant Seventh Chord Name _______________________
5. Harmonize the following figured bass lines. Analyze completely.
41
&
?
b
b
b
b
b
b
2
4
2
4
a.
˙˙
˙˙
˙˙
˙˙
˙
˙˙
˙
w
∑
&
?
#
#
#
#
4
3
4
3
b.
œœ
œœ
œ
œœ
œœ#
œ
œœ
.˙
.˙
&
?
b
b
c
c
Graziosoa.
P
˙
œœ
œ
œœ
œ
œ
œœ
œ
˙ œ œœ
œ
œ
œœ
œ
œ
œœ
œ
œœ
œœ
˙œ
œ
&
?
b
b
˙œ
œ
˙ œ
œ
œœ
œœ
œœ
œ
œœ
œœ
œœ
œ˙
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.
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.
42
&
?
b
b
8
6
8
6
Allegrettob.
F
œ
j
œœ
J
œ
œœ
œ
œœ
œ
.œ œ
j
œœ
J
œ œœ
œ
.
œ
J
œ .œ
&
?
b
b
œ
j
œœ
J
œ
.œœ
J
œœ
j
œœ
œ
œ
.
œ
j
œ.œ
&
?
#
#
4
2
4
2
‰J
œœ#
œ
œœ
x
J
œ
œœ
œœ
œœ
x
œœ
œ#
x
œ
˙
Inversions of the Dominant Seventh Chord Name _______________________
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.
43
&
?
C
C
b
b
b
b
#
#
#
#
#
#
a. b.
A:C:
˙˙
˙
˙#
x
w
w
w
g.
Bb:
˙
˙
˙
x
w
w
w
c.
˙˙˙
˙
˙#
x
w
w
w
&
?
b
b
b
b
b
b
#
#
#
#
d.
Eb:
˙˙
x
w
˙˙
w
w
w
f.
e.
b:
˙
˙˙
˙#
x
˙
w
w
w
&
?
#
#
b
b
b
b
b
b
b
b
b
b
G:
˙œ œ#
x
˙œ œ#
w
w
bb:
˙œn
x
œb
x
˙œn œb
w
wn
&
?
#
#
4
4
4
4
˙˙
˙
.w
˙˙
˙
.w
˙˙
˙
˙˙
˙
.w
.w
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 12: Linear (Emblellishing) Six-Four and Other Chords
1. Complete the inner voices using linear diminished seventh chords where indicated. Analyze completely.
2. Write the inner voices, using linear six-four chords where possible. Analyze. Keyboard voicing.
44
&
?
b
b
b
b
b
b
8
3
8
3
a. Andante con espressione
œœ
x
œœn
œ
x
œœ
œ
x
œ
œœ
x
œ
&
?
b
b
b
b
b
b
œœ
x
œ œ
xj
œn .œ
x
.œ
&
?
#
#
#
#
8
4
8
4
Amabileb.
œœ
x
œ
œ
x
œ
œ
x
œ
œœ
œœ
œ
x
œ
&
?
#
#
#
#
œ
x
œœ
œ œ
x
œœ
œ
œ
x
œ˙
Linear (Emblellishing) Six-Four and Other Chords Name _______________________
3. Harmonize in four voices, using linear six-four chords where indicated. Analyze fully.
45
&
?
2
3
2
3
Largamente
.˙œ
˙ .˙œ
˙ .˙œ
˙ .˙œ
˙
&
?
.˙œ
˙˙
˙˙
w˙ .w
&
?
.˙œ
˙.˙
œ˙
.˙œ
˙˙
˙˙
&
?
.˙œ
˙ .˙œ
˙w ˙ .w
Linear (Emblellishing) Six-Four and Other Chords Name _______________________
4. Harmonize this melody, using linear six-four chords where appropriate. Analyze completely.
46
&
?
#
#
#
#
#
#
C
C
a.
5. Harmonize the following figured bass lines. Analyze completely.
˙ ˙
w q
w
w q
˙ ˙
w q
œœ
œœ
@ ^ w
&
?
#
#
#
#
#
#
˙ ˙
w q
w
w q
˙ ˙
& w £&
˙ ˙
w q
&
?
b
b
4
4
4
4
b.
˙ œ œ
w q
œœ
œœ
^ w ^
œœ
œœ
¢|^ ^
˙
˙
w w√% q
˙œ œ
w √&
w
&
?
#
#
2
3
2
3
x
6. Harmonize this unfigured bass in four voices. Use six-four chords where indicated. Analyze.
˙
˙
˙
x
˙ ˙ ˙
x
˙˙
˙
x
˙˙
˙˙
˙˙
x
˙˙
˙
x
w ˙ .w
Linear (Emblellishing) Six-Four and Other Chords Name _______________________
47
&
?
b
b
b
b
b
b
b
b
8
6
8
6
Andantinoa.
P
.œœ
œ
.œœ
œ
œœœ
J
œœœ
œœ
œ
J
œœ
œ
œ
j
œ
J
œœ
j
œ.œ
œœ
.œœ
œ.˙
&
?
b
b
b
b
b
b
b
b
.œœ
œ
.œœ
œ
œ
j
œ
J
œœ
J
œ.œ
œœ
.œœ
œœ
j
œ .œ
&
?
b
b
4
3
4
3
b. Waltz
œœ
œ
œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œ œ
œœ
œ
œœ
œ
œœ
œ
œœ
œœ
œ
œ
œ
œ
˙˙
œœ
œœ
œœ
œœ
œ
œœ
œ
&
?
b
b
œœ
œœ
œœ
œ
œœ
œ
F
œ
œœ œ
œ
œ œ
œ
œœ
œ œ
œœ
œœ
œœ œ
œ
œ˙
.
.
˙
˙
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.
48
&
?
b
b
4
3
4
3
F
Gesangvoll
.œ
J
œœ
8. Complete the upper voice in the same style. Analyze.
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œœ
œ
œ
œ
œœ
œ
œ
œ
œœ#
œœ
œ#
&
?
b
b
œœ
œœ
œ
œ
œœ
œœ
œ
œ
œ
œœ
œ
œœ
œ
˙˙
˙
#
Linear (Emblellishing) Six-Four and Other Chords Name _______________________
49
&
?
b
b
#
#
#
#
b
b
b
b
b
b
#
#
#
#
#
#
#
#
a. b.
F:
Db:
ww
K kkk
g.
b:
ww
k LK
c.
c:
wnw
Lc LK
d.
E:
ww
kkk lk
&
?
b
b
b
b
b
b
b
b
b
b
#
#
b
b
b
b
e.
ww
kkk KL
f.
G:
˙˙
˙˙
lk kkk KL K g:
˙˙
w
k KKK kl
&
?
#
#
#
#
#
#
b
b
b
b
b
b
b
b
#
#
#
#
#
#
#
#
#
#
A:
ww
lk kkk
h.
f:
i.
ww
Lc LK B:
j.
ww
L lk
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.
50
&
?
b
b
C
C
#
#
#
#
#
#
d:
a.
˙˙#
˙˙
v
w
w
b.
A:
˙˙
˙˙
w
w
&
?
#
#
b
b
b
b
G:
c.
f.
˙˙
˙˙
˙˙
˙˙
w
w
Bb:
d.
˙˙
˙˙
˙˙
˙˙
w
w
^̂
&
?
b
b
b
b
b
b
Eb:
e.˙
˙
˙
˙
˙˙
˙
˙
˙˙
˙
˙
˙˙
˙
˙
˙˙
˙˙
^
w
w
&
?
2
4
2
4
C:
w˙
˙
˙˙
˙˙
^ r
˙˙
˙ ˙
˙ ˙˙
˙
^
ww
w
w
w &
ww
w
w
w
Submediant and Mediant Triads in Root Position and First Inversion Name _______________________
2. Add alto and tenor lines according to the given figures. Analyze.
51
&
?
b
b
C
C
n
n
a.
F:
˙
˙˙
˙w
b.
a:
˙˙
w
&
?
#
#
#
#
#
#
#
#
#
#
b
b
b
b
b
b
c.
A:
˙˙
d.
b:
˙˙
v
e.
c:
˙n˙
^ ^
&
?
b
b
b
b
b
b
b
b
b
b
c
c
f.
bb:
œœ
œœ
»fl£$»fl£$ ^ ^
˙œ
œ
c ^
œœ
œœ
c ™|$ ^
œœ
˙
^ ç&
&
?
#
#
#
#
C
C
g.
b:
˙˙
˙˙
w
√% w
˙˙
√% |t
˙˙
^ »fl£$
˙˙
˙˙
^
˙
˙
w √&
w
Submediant and Mediant Triads in Root Position and First Inversion Name _______________________
3. Realize the following figured bass lines. Analyze.
52
&
?
#
#
#
#
4
3
4
3œ
œ
x
œœ
œœ
œ
x
œ
œ
œ
œœ
&
?
#
#
#
#
˙
œ˙
x
œ˙ œ
.˙
&
?
#
#
#
#
8
3
8
3
xAndante
œœ
œ
5. Harmonize this melody, using vi or iii where indicated. Analyze.
œœ
œ
x
œœ
œ
œœ
œœ
œœ
x
&
?
#
#
#
#
œœ
œ.œ
œœ
œ
DCj
œ.œ
œœ
.œ
PAC
Submediant and Mediant Triads in Root Position and First Inversion Name _______________________
4. Harmonize this unfigured bass line, using vi or iii where indicated. Analyze.
53
&
?
#
#
#
#
4
3
4
3
Con amorea.
œœ
œ.œ
j
œ
œœ
.œj
œ .œ
j
œœ
&
?
#
#
#
#
œœ
œ .œ
j
œ
œœ
œœ
œ.œ
j
œ.˙
&
?
#
#
#
#
#
#
#
#
4
3
4
3
Allegro moderatob.
œœ
œ˙ œ
œœ
œ˙
œ
&
?
#
#
#
#
#
#
#
#
œœ
œœ
œœ
œœ
œ .˙
Submediant and Mediant Triads in Root Position and First Inversion Name _______________________
6. Harmonize the following melodies, employing the harmonic vocabulary studied thus far. Analyze.
54
&
?
b
b
4
3
4
3
Menuetto
F
˙˙
œœ
œœ
7. Complete in the indicated texture and analyze.
œœ
œ
œœ
œœ
œœ
œœ
˙
œ
˙˙
œœ
œœ
œœ
œ œœ
&
?
b
b
˙ œœ
œœ
œœ
œœ
œœ
œ
œ .˙
&
?
b
b
b
b
4
3
4
3
P
œœ
œœ#
œ
œ
8. Complete the upper part and analyze. Use mediant or submediant triads where indicated.
œœ
œ
j
œ
œœ
x
œ
x
œ
œ
œ
œ
x
œœ
.˙
Submediant and Mediant Triads in Root Position and First Inversion Name _______________________
55
&
?
b
b
b
b
b
b
4
3
4
3
Tempo di Mazurka
f
.
.œœ
œœ
œœ
œ
œœ
œœ
9. Complete the following in the texture given. Extend to from eight to sixteen measures. Analyze completely.
œ
˙˙˙
.
.œœ
œœ
˙˙
œ
˙˙
˙
&
?
b
b
b
b
b
b
&
?
b
b
b
b
b
b
&
?
b
b
b
b
b
b
Submediant and Mediant Triads in Root Position and First Inversion Name _______________________
56
&
?
#
#
C
C
n
n
#
#
#
#
a. b.
e:
˙˙#
˙˙
^
w
w
^C:
˙˙
˙˙
^
w
w
^
c.
b:
˙˙
˙˙
^ |^
w
w
&
?
b
b
b
b
b
b
#
#
#
#
d.
d:
g.
˙˙
˙˙
|^
w
w
^
e.
Bb:
˙˙
˙˙
^ ^
w
w
f.
D:
˙˙
˙˙
^
w
w
&
?
#
#
#
#
#
#
#
#
E:
˙˙
˙˙
^
˙ ˙
˙
˙
^ ^
˙˙
˙˙
^ r
˙˙
˙˙
e
w
w
&
?
b
b
b
b
b
b
b
b
b
b
b
b
#
#
#
#
#
#
#
#
#
#
b
b
b
b
a.
eb:
˙˙n
k lkko^
w
k^
b.
B:
˙˙
K lkko^
w
K^
c.
Bb:
˙˙
K^ lkko^
w
K
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 14: The Leading Tone Triad
1. Add alto and tenor lines. Analyze.
2. Harmonize these soprano lines following the given analysis.
57
&
?
#
#
#
#
#
#
8
4
8
4
Con moto espressivoa.
œœ#
œœ
œœ
œœ
œ œœ#
&
?
#
#
#
#
#
#
œœ
œœ
œœ
œœ
œœ
œ# œ#œ
&
?
#
#
#
#
8
6
8
6
b. Andante
.œœ
œ œœ
œ .œœ
œ œœ
œ.œ
œœ œ
œœ .œ
.œ
&
?
#
#
#
#
.œœ#
œ œœ
œ .œœ
œ œœ
œ .œœ
œ œœ
œ# .œ#.œ
The Leading Tone Triad Name _______________________
3. Harmonize the following melodies, using vii°6 where appropriate. Analyze.
58
&
?
b
b
4
3
4
3
c. Doloroso
œœ#
œ
œœ
˙
œœ#
œ œœ
˙œ
œ œœ
œ
&
?
b
b
œ œœ
œœ
œœ#
œ
˙
œœ
œœ
œ#.˙ ˙
&
?
b
b
c
c
a.
œœ#
œœ
e |^
œœ
˙
^ w √%
œœ
œœ#
e
&
?
b
bœ
œœ
œ
^ |^
˙ œ
œ
w √&√%
w
The Leading Tone Triad Name _______________________
4. Realize the following figured bass lines. Analyze.
59
&
?
#
#
#
#
#
#
4
2
4
2
b.
œœ
œ
^ ^
œœ
œ
œ
^ ^ r
œœ
œœ
^ w ^
œ œ
œ
w £&
&
?
#
#
c
c
a.
œœ
x
œœ
œœ
œœ
œœ
x
˙
&
?
b
b
b
b
b
b
2
3
2
3
b.
˙˙
x
˙
˙˙
˙˙
˙
x
˙
&
?
b
b
b
b
b
b˙n
˙
˙˙
˙˙
.w
The Leading Tone Triad Name _______________________
5. Harmonize these unfigured basses, using vii°6 where indicated. Analyze. Show scale degrees in the bass.
60
&
?
b
b
c
c
a. Espressivo
p
˙
˙
œ
œ
œ
œ
œ
œœ
œ
˙œœ
œ
œœ
œœ
œ
œœ
œœ
˙œ
œ œœ œ
œ
&
?
b
b
œ œœ
œœ
˙œ
œ˙
œœ
œ œœ
œœ .˙
Œ
&
?
#
#
4
2
4
2
Allegrettob.
F
‰
j
œœ
œ
œœ
œ
œœ
œ
œœ
œœ
œœ
œœ
œœ
œ
œ
&
?
#
#
œœ
œ
œœ
œœ
œœ
œœ
œ.œ
m
œ ˙
The Leading Tone Triad Name _______________________
6. Complete the texture. First, analyze the implied harmony and any non-harmonic tones in the melody.
61
&
&
#
#
4
3
4
3
c. Mit Sehnsucht
P
˙œ
œ
‰
J
œœ
œ
œœ
œ#œ
.œ
J
œ
œœ
œ#œ
œ
œ#
œ.œ
J
œœ
.œ
J
œ
&
&
#
#
.œ
J
œœ
œœ#
œœ
œœ
œœ
œ .œ
j
œœ
˙
The Leading Tone Triad Name _______________________
62
&
?
b
b
c
c
#
#
#
#
#
#
a. b.
d:
Œœ
œnœ#
˙œ
œ
w
w
f#:
˙œ
œ
˙
œœ
˙œ
œ
˙˙
c.
w
w
&
?
b
b
b
b
b
b
#
#
c:
œœ
œœ
œœ
œ
œ
d.w
w
e:
Œœ
œœ
˙˙
w#
w
&
?
#
#
#
#
C
C
e.
b:
˙˙
˙˙
˙˙#
˙˙
˙˙
˙˙
˙#˙
˙
˙
w
w
&
?
b
b
b
b
2
3
2
3
#
#
#
#
#
#
#
#
#
#
a.
g:
˙˙n
˙# .w
b.
e:
˙˙
˙ .w
c.
c#:
˙˙#
˙# .w
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 15: Variant Qualities of Triads
2. Harmonize these soprano lines using scalar variants. Provide analysis.
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.
63
&
?
b
b
b
b
b
b
2
3
2
3
n
n
n
n
n
n
a.
c:
˙
˙˙
c |^
.w
a:
b.
˙˙
˙
^
.w
v
&
?
b
b
b
b
b
b
b
b
4
3
4
3
c.
f:
.˙
.˙
^
.˙
^
.˙
c
.˙
^
.˙
.˙
C% |^
.˙
&
?
#
#
#
#
C
C
d.
b:
˙
˙˙
˙
|^
˙
˙˙
˙
^ √&
w
&
?
b
b
c
c
e.
d:
˙
œœ
c |^
œœ
œœ
^ |^ q
œn œbœ
œ
^ ^ w ^
œ œ
˙
w √&
Variant Qualities of Triads Name _______________________
3. Realize the following figured bass lines. Analyze.
64
&
?
c
c
Langsama.
œ
œœ#
œ#œ
œœ
œœ
œœ
œœ
œœ
œœ
.œ
j
œ ˙
&
?
b
b
c
c
b. Adagio
œœ .œ
j
œœ
œœ
œ .œ
j
œœ
œœ
œn .œ#
j
œœ
œœ
œœ
œœ
œœ
œ
&
?
b
b
.œ
j
œœ
œœ
œ .œ
j
œœ
œœ#
œ.œ
j
œœ
œœ
œœ
œœ
&
?
#
#
#
#
#
#
#
#
8
3
8
3
c. Andante
œœ
œœ
œ#œ#
œœn( ) œn( ) œ
j
œœ
j
œœ
j
œ# œ#œ#
œ .œ
Variant Qualities of Triads Name _______________________
4. Harmonize the following melodies using scalar variants where appropriate. Analyze.
65
&
?
b
b
b
b
C
C
b.a.
Bb:
˙˙
˙
˙
˙˙˙
˙
c.
˙
˙˙
˙
d.
˙˙˙
˙
e.
˙
˙˙
˙
&
?
b
b
#
#
#
#
#
#
a.
F:
˙˙b
x
˙
˙
w
w
b.
A:
˙ ˙
x
˙˙n
˙
x
˙
˙˙
w
w
&
?
C
C
a.
C:
˙
˙
˙b˙
˙˙b
˙˙b
˙b˙
œbœ
˙
˙˙
wN
w
&
?
#
#
C
C
b.
G:
˙˙b
˙
˙
˙˙
˙˙
˙ ˙b
˙ ˙
˙ ˙
˙˙
w
˙œb
œ
w
w
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.
6. Fill in the inner voices, using modal borrowing where indicated. Analyze.
7. Fill in the inner voices using modal borrowing where possible. Analyze.
66
&
?
b
b
b
b
c
c
Commodoa.
œœ .œb
j
œœ
œ .œb
j
œœ
œœ
œœ
œw
&
?
#
#
#
#
#
#
#
#
#
#
8
6
8
6
b. Andantino
œœ
œœn
j
œ
œ
j
œ
.œ œn
j
œ
.œ
œa
j
œ
.œ
&
?
#
#
#
#
#
#
#
#
#
#
œœ
œœn
j
œœ
j
œ
œ
j
œœ
œ
œœ
j
œ .˙
Variant Qualities of Triads Name _______________________
8. Harmonize the following melodies using the harmonic vocabulary studied thus far. Analyze.
67
&
?
#
#
4
3
4
3
Allegro moderatoc.
˙œ
˙
œ .œb
j
œnœ
˙œ
&
?
#
#
.œ
j
œœ
œœ
œ.œ
j
œœ
˙œ
œ
&
?
#
#
˙
œ˙
œ.œb
j
œœ
˙œ
&
?
#
#
.œ
j
œœ
œbœ
œ.œn
j
œœ .˙
Variant Qualities of Triads Name _______________________
68
&
?
b
b
b
b
4
3
4
3
œœ
œœb
œœ
X% x X%
˙ œ
w q
œœb
œb
x X% X%
&
?
b
b
b
b˙ œ
w &
.˙b
X%
œœ
œ
≈^ w &
.˙
&
?
#
#
#
#
#
#
4
3
4
3 œœ
œœ
œœ
œœ
œ
.˙
Variant Qualities of Triads Name _______________________
9. Realize the following figured bass line. Provide Roman numeral analysis.
10. Realize the following unfigured bass line. Provide Roman numeral analysis.
69
&
?
b
b
c
c
Moderatoa.
P
˙œ
œ
‰œœ
J
œœ
‰
J
œœ ‰
J
œœ
‰ œ
j
œ ‰ œ
j
œ
˙
œ
œ
˙˙
˙œ
œœ
œœ
˙
&
?
b
b
˙œb
œbœ
œœ
œbœ
œ .œN
j
œ w
&
?
#
#
8
6
8
6
b. Con espressione
F
œœœ
œœ
œœ
œ
bœ
œ
œ
œ
œœ
œœ
œ
œ
œœ
œbœ
œœœ
J
œœ
œœ œ
œœb
j
œ .œœ
œœ
&
?
#
#
.œœ
œœ œ
œ
œœ
œœ
œœb
œœ
œœ
œ œœ
œ .œ .œ
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.
70
&
?
b
b
b
b
4
3
4
3
Allegro moderato
f
œ
œ
œœ
œœ
12. Complete the upper part observing the given figured bass. Analyze fully.
.˙
j
œ
.˙#
e
œœn
œ
^ ^
.˙
v
&
?
b
b
b
b .˙
^
.˙
w
˙œ
c |^
.˙
Variant Qualities of Triads Name _______________________
71
&
?
#
#
C
C
e:
a.
˙˙
˙
˙
˙˙
˙
˙
˙˙
˙
˙
˙˙#
˙˙
^ v
w
w
&
?
#
#
#
#
#
#
#
#
b.
E:
˙˙
˙˙
^
˙
˙
˙˙
^
˙˙
˙˙
^
˙
˙
˙˙
^
w
˙˙
w
˙
˙
√&
w
w
w
w
&
?
b
b
4
2
4
2
a. Allegro
œœ
œ
œœ
œœ
œœ
œœ
œ
&
?
b
b
œœ
œœ
œ
œœ
œœ
œœ ˙
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 16: The Sequence
2. Harmonize using the harmonic vocabulary studied thus far. Employ sequence when possible. Analyze.
1. Fill in the inner voices using sequence when possible. Analyze fully. Identify the sequences with brackets.
72
&
?
b
b
b
b
b
b
c
c
b. Moderato
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ .œn
j
œ w
&
?
8
6
8
6
c. Andantino
.œœ
œ œœ
œœ
œ.œ
œ#œ œ œ
œœ
œ
.œœ#
œ œœ
œœ
œn
&
?
.œœ#
œ œ œœ
œœ
.œœ#
œ œ œœ
œœ
.œœ
œ œ œœ
œœ
&
?
œ œœ
œœ
œ œœ
œœ
.œœ
œ .œ
Unit 16: The Sequence Name _______________________
73
&
?
#
#
4
3
4
3œ
œœ
^
œœ
œ
^ ^
œœ
œ
^
œœ
œ
^ ^
&
?
#
#
œœ
œ
^
œœ
œ
^ ^
œœ#
œ
^ √&
.˙
&
?
b
b
b
b
b
b
b
b
c
c
a.
œ
œœ
œœ
œ
œœ
&
?
b
b
b
b
b
b
b
b
œœ
œ œ
w
Unit 16: The Sequence Name _______________________
3. Realize the following figured bass line. Analyze. Identify any sequences.
4. Harmonize the following unfigured bass lines, using sequence when possible. Analyze. Identify any
sequences.
74
&
?
b
b
2
3
2
3
b.
˙˙#
˙
˙˙
˙˙
˙
˙w
˙
&
?
b
b.w
˙˙
˙˙
˙˙
˙
w
.w
&
?
b
b
b
b
b
b
4
2
4
2
a.
œœ
œœ
œœ
œœ
œœ
œ
œ
œœ
œ
&
?
b
b
b
b
b
b
Unit 16: The Sequence Name _______________________
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.
75
&
?
b
b
b
b
4
3
4
3
b.
œœ
œœ
œœ
J
œ
&
?
b
b
b
b
&
?
8
3
8
3
c.
œœ
œœ
œœ
œœ
œ
J
œ
&
?
Unit 16: The Sequence Name _______________________
76
&
?
b
b
4
3
4
3
d.
œœ
œœ
œœ
œœ
œœ
&
?
b
b
&
?
#
#
#
#
#
#
4
2
4
2
Nicht zu schnella.
œœ
œ
œœ
œœ
œ
œœ
œœ
œœ
œœ
&
?
#
#
#
#
#
#
œœ
œœ
œœ
œœ
œœ
œ
œ
˙
Unit 16: The Sequence Name _______________________
6. Continue the incomplete part in the style given. Analyze fully and identify any sequences.
77
&
?
b
b
4
3
4
3
Graziosob.
.˙
œ
œœ
œœ
œ
.˙
œ
œ œ
.˙
&
?
b
b
.˙ œœ
œœ
œœ
œ œ
&
?
b
b
œœ
œœ
œœ
œœ
œœ
œœ
œnœ#
.˙
Unit 16: The Sequence Name _______________________
78
&
?
b
b
b
b
b
b
b
b
C
C
˙˙
˙ ˙
t
˙˙
˙˙
^ r
˙˙
˙˙
^
˙˙
˙˙
e &
w
w
w
w
w
£%
w
w
w
w
w
£%
&
?
b
b
b
b
#
#
#
#
a.
Bb:
2. Create upper voices based on the given figures. Analyze completely.
˙ ˙
e
w
b.
b:
˙
˙
e
w
v
&
?
#
#
#
#
#
#
b
b
b
b
b
b
c.
A:
˙˙
∞^
w
d.
c:
˙ ˙
^ r
w
c
&
?
#
#
#
#
#
#
#
#
b
b
b
b
b
b
b
b
e.
E:
˙ ˙
t
f.
w
^ Ab:
˙
˙
&
˙
˙
&
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 17: The Supertonic Seventh Chord
1. Add inner voices and analyze fully.
79
&
?
b
b
b
b
b
b
c
c
a. Lustig
˙ œ
x
œœ
œœ
x
œœ œb
œœ
˙
x
˙
&
?
b
b
b
b
b
b
œœ
œ œb
x
œœ
œœ
x
˙˙
w
&
?
#
#
#
#
4
2
4
2
b. Jolie
œœ
œœ
x
œœ
œ
œœ
x
œœ
&
?
#
#
#
#
œœ
œ
œœ
x
œœ
œ ˙
The Supertonic Seventh Chord Name _______________________
3. Harmonize the following melodies using a ii7 where indicated.
80
&
?
b
b
b
b
b
b
c
c
c. Andantino
œ œœn
œœ
œœ
œ
œœ
˙œ
x
œœ
œnœ
&
?
b
b
b
b
b
b
b
b
2
3
2
3
a.
˙
˙˙
&
˙˙
˙
& ^
˙w
e w ‡£%
.w
&
?
#
#
#
#
#
#
#
#
#
#
4
3
4
3
b.
œ
˙ œ
e @
œœ œ
^
œœ
œ
@ ^ &
˙œ
&r
˙ œ
w‡£%
˙
&
?
#
#
#
#
#
#
2
4
2
4
5. Realize this unfigured bass line, using ii7 where indicated. Analyze.
˙˙
˙
x
˙
x
˙˙
˙
˙˙
x
˙
x
˙
˙
w
∑
The Supertonic Seventh Chord Name _______________________
4. Realize these figured bass lines. Analyze completely.
81
&
?
b
b
c
c
a. Con fuoco
f
.˙œ#
œ
‰
œœ
œ
œ#œ
œœ
.˙œ#
œ
‰
œœ
œ
œœ
œœ
.˙œ#
œœ
œœ
œ
&
?
b
b
.˙œ
œ˙
.œ
j
œœ
œ
.œ
j
œw
&
?
b
b
c
c
b. Allegro
f
.
.
.
œ
œœ
J
œœ
œ
.
.
.
œœ
œ
J
œœ
œ
œœ
œœ
œœ
œ
œœ
œœ
œœ
œœ
œ
œœ
œœ
œœ
œœ
&
?
b
b
œœ
œœ
œœ
œ
œ
œœ
œ
œ
˙
The Supertonic Seventh Chord Name _______________________
6. Complete in the same style and analyze fully.
82
&
&
?
4
3
4
3
4
3
Allegretto
F
F
c.
Œ Œ
œ
Œ ‰
œœ
œ
œ
œ
œ
‰ Œ
˙ œ
Œ ‰
œœ
œ
œ
œœ
‰ Œ
œœ
œ .˙˙
œ
&
&
?
˙ œ œ
T
œœ .˙ ˙
œ˙ œ œ
œœ
&
&
?
.˙˙
œ˙ œ
œ
T
œ
œ .˙ œŒ Œ
The Supertonic Seventh Chord Name _______________________
83
&
?
#
#
#
#
D:
a.
˙
˙
˙
˙
K^
b.
˙
˙
˙
˙
K
c.
˙
˙
˙
˙
Kw
d.
˙
˙
˙
˙
K^
&
?
#
#
#
#
b:
e.
˙
˙#
˙
˙
kw
f.˙˙
˙
˙#
k
g.
˙˙
˙#
˙
k^
h.
˙
˙
˙
˙
#
k^
&
?
#
#
#
#
C
C
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
a.
D:
˙˙
&
w
b.
bb:
˙˙n
&
w
c.
c:
˙˙
|e
w
^
&
?
b
b
#
#
#
#
#
#
#
#
d.
F:
˙ ˙
e xr
w
^
e.
A:
˙ ˙
& C&
w
f.
e:
˙˙
^ |e
w
e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 18: The Leading Tone Seventh Chord
2. Realize these figured bass lines. Analyze.
1. Resolve the leading tone seventh chord as indicated, and analyze.
84
&
?
b
b
b
b
b
b
2
3
2
3
˙˙n
˙
˙˙
˙
˙˙
˙n
˙˙
˙
˙˙
˙
˙
˙˙
˙˙
˙
˙˙
˙
.w
.w
&
?
#
#
#
#
#
#
c
c
Gesangvolla.
b.
œ
œ
x
œœ
œœ
x
œœ
œœ
œœ
x
œœ
œ œœ
œœ ˙
&
?
#
#
#
#
#
#
#
#
c
c
Allegretto
˙œn
x
œœ
x
œœ
œœ
œœ
x
œ
œ˙n
x
œœ
&
?
#
#
#
#
#
#
#
#
œœ
œœ
œœ
œ .œ
j
œœ
œn
x
œ
œœ
œœ
w
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.
4. Harmonize the following melodies, using the leading tone seventh chord where indicated. Analyze.
85
&
?
#
#
#
#
4
3
4
3
Lento tristec.
œ ˙œ#
œœ
x
œ˙
œ˙#
œ
x
&
?
#
#
#
#
œœ
œ ˙œ
x
.˙ œ Œ
&
?
b
b
b
b
b
b
b
b
C
C
a.
˙˙n
&
˙˙
|e
˙˙
£|$
&
?
b
b
b
b
b
b
b
b
˙
˙
«t
˙˙
w £|$
˙˙
»fl£$
w
The Leading Tone Seventh Chord Name _______________________
5. Realize these figured bass lines. Analyze completely.
86
&
?
c
c
b.
œ ˙œ
œ
@ & xe
œœ
œ œ
^ r
œ œbœ œ
^ t w £&
.˙
&
?
b
b
b
b
b
b
2
4
2
4
˙˙n
x
˙˙
x
˙
˙
x
˙˙
x
˙˙
x
˙
˙
w
∑
&
?
b
b
4
3
4
3
a. Allegretto
œœ
˙œ
œ
œ
œ
œŒ
˙œ
œ
œ
œ
œ Œ
œ œœ
˙ œœ
&
?
b
b
P
˙
œ
œœ
œœ
œœ
œœ
˙
Œ
The Leading Tone Seventh Chord Name _______________________
6. Harmonize this unfigured bass, using the leading tone seventh chord where indicated. Analyze.
7. Complete the accompaniments in the style of the opening measures. Analyze completely.
87
&
?
b
b
b
b
c
c
b. Allegro con moto
F
Œœ
.œ
J
œ
œ
œ
œœ
œ#œ
œœ
.œ j
œ.œ#
J
œ
œ#
œ
œœ
œœ
œœ
.œ j
œ#œ
œ
&
?
b
b
b
b
.œJ
œœ
œ œœ
œ#œ
œ œ
œœ
œœ
œ
.œ
j
œw
&
&
?
#
#
#
#
#
#
8
6
8
6
8
6
c. Lento
J
œ
‰
‰
.œœ
œ œ
J
œ
.
.
.
œœœ
.
.
.
œœœ
œ
j
œ œ
j
œ
.œœ
œ œJ
œ
œ
j
œœ#
j
œ
t &
.œœ
œ œœ
œ
œ
j
œœ
j
œ
.œœ
œœ
J
œ
œ
j
œœ
j
œ
t √&
&
&
?
#
#
#
#
#
#
.œœ
œ œ
J
œ
œ
j
œ œ
j
œ
.œœ
œ œJ
œ
œ
j
œ œ
j
œ
^ «t
.œœ
œ .œœ
œ
œ
j
œ œ
j
œ
w √&
.œœ
.œ œ
»‡t £%
The Leading Tone Seventh Chord Name _______________________
88
&
?
b
b
b
b
b
b
C
C
n
n
n
n
n
n
a.
c:
˙
˙
˙˙
˙˙
& C
b.
C:
˙
˙
˙˙
˙ ˙
& e
w
w
&
?
#
#
#
#
#
#
#
#
#
#
#
#
2
3
2
3
c.
D:
˙
˙
w
˙
˙
& &
w
w
d.
E:
˙
˙
˙˙ ˙
˙
˙
˙
& & &
w
w
&
?
C
C
a.
C:
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b.
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2. Add inner voices. Provide figures and analysis for your harmonization.
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e-Workbook for Techniques & Materials of Music Name _______________________
Part II, Unit 19: Other Diatonic Seventh Chords
1. Add inner voices, observing the given figures. Analyze.
89
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#
#
#
#
c
c
œœ
x
œ œ
x
3. Add inner voices, being very careful to avoid part-writing errors. Use seventh chords where indicated.
Analyze fully.
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x
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x
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x
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x
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x
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b
b
b
b
c
c
Ziemlich langsama.
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x
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x
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x
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x
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x
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x
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x
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b
b
b
b
b
b
4
3
4
3
Sempliceb.
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x
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x
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x
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b
b
b
b
b
b
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x
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x
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x
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x
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Other Diatonic Seventh Chords Name _______________________
4. Harmonize, using seventh chords where indicated. Analyze.
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4
3
4
3
c. Grazioso
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b
b
b
b
b
b
b
b
C
C
a.
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& &
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& ç&
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Other Diatonic Seventh Chords Name _______________________
5. Realize the following figured bass lines. Analyze.
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b
b
c
c
b.
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x
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x
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x
˙
Other Diatonic Seventh Chords Name _______________________
6. Harmonize, using seventh chords where indicated. Employ sequence as appropriate. Analyze.
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b
b
Andante
P
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8. Complete the accompaniment in the style of the opening measures. Analyze.
7. Complete the upper two voices, employing sequence as implied by the bass line. Use seventh chords as
appropriate. Analyze.
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Moderato
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Other Diatonic Seventh Chords Name _______________________
93
