The Musician's Guide To Theory and Analysis: Third Edition

WOR K B O OK F OR
The Musician’s Guide to

Theory and Analysis
THIRD EDITION
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WOR K B O OK F OR

Theory and Analysis
THIRD EDITION
Jane Piper Clendinning

Florida State University College of Music
Elizabeth West Marvin

Eastman School of Music
W. W. N O R T O N & C O M PA N Y
NEW YORK • LONDON
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W. W. Norton & Company has been independent since its founding in 1923, when William Warder
Norton and Mary D. Herter Norton first began publishing lectures delivered at the People’s
Institute, the adult education division of New York City’s Cooper Union. The Nortons soon
expanded their program beyond the Institute, publishing books by celebrated academics from
America and abroad. By mid-century, the two major pillars of Norton’s publishing program—trade
books and college texts—were firmly established. In the 1950s, the Norton family transferred control
of the company to its employees, and today—with a staff of four hundred and a comparable number
of trade, college, and professional titles published each year—W. W. Norton & Company stands as
the largest and oldest publishing house owned wholly by its employees.
Copyright © 2016, 2011, 2005 by W. W. Norton & Company, Inc.
All rights reserved
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Production manager: Jane Searle
Book design: Rubina Yeh
Composition, layout, and music setting: David Botwinik
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ISBN 978-0-393-26462-3 (pbk.)
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110
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Contents
Preface vii
Part I Elements of Music

1. Pitch and Pitch Class 3
2. Simple Meters 13
3. Pitch Collections, Scales, and Major Keys 25
4. Compound Meters 35
5. Minor Keys and the Diatonic Modes 47
6. Intervals 59
7. Triads 71
8. Seventh Chords 81
9. Connecting Intervals in Note-to-Note Counterpoint 93
10. Melodic and Rhythmic Embellishment in Two-Voice Composition 107
Part II Diatonic Harmony and Tonicization

11. From Species to Chorale Style: Soprano and Bass Lines 129
12. The Basic Phrase in SATB Style 141
13. Dominant Sevenths, the Predominant Area, and Chorale Harmonization 153
14. Expanding the Basic Phrase 165
15. New Cadence Types and Diatonic Root Progressions 177
ø
17. Voice-Leading Chords: viiL6, viiL7, vii 7, and Others 199
16. Embellishing Tones 187
18. Phrase Structure and Motivic Analysis 209

19. Diatonic Sequences 221
20. Secondary Dominant and Leading-Tone Chords to V 233
21. Tonicizing Scale Degrees Other Than V 243
Part III Chromatic Harmony and Form

2. Modulation to Closely Related Keys 257
2
23. Binary and Ternary Forms 269
24. Invention, Fugue, and Baroque Counterpoint 281
25. Variation 293
26. Modal Mixture 311
27. The Neapolitan Sixth and Augmented-Sixth Chords 321
28. Vocal Forms 335
29. Popular Music 347
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vi Contents
0. Chromatic Harmony and Voice-Leading 359

3
31. Chromatic Modulation 371
32. Sonata, Sonatina, and Concerto 385
33. Rondo, Sonata-Rondo, and Large Ternary 401
Part IV The Twentieth Century and Beyond

4. Modes, Scales, and Sets 421
3
35. Rhythm, Meter, and Form in Music after 1900 433
36. Music Analysis with Sets 447
37. Sets and Set Classes 461
38. Ordered Segments and Serialism 477
39. Rhythm, Meter, and Form after 1945 505
40. Recent Trends 523
Credits 535
Index of Music Examples 539
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Preface
T
he study of music theory is not a spectator sport. To learn musical elements
and how to analyze them requires action—personal engagement with com-
positions. This workbook is designed to accompany The Musician’s Guide
to Theory and Analysis, providing hands-on, minds-engaged assignments
for students to complete outside of class or for use in class, as the teacher chooses.
Assignments are arranged in chapter order, so that you will have enough information
to complete the first homework assignment on a given topic even if you have only cov-
ered the first part of that chapter. Assignments include fundamental skills such as chord
spelling, style composition—from melody writing to figured bass to composing music in
complete small forms—and music analysis. Many chapters ask for short, prose responses
to questions about the music you are studying. By practicing each new skill from a variety
of perspectives, you will have a better and more well-rounded understanding.
Our text’s approach to learning music theory is a “spiral” one, in which we revisit the
anthology’s core repertoire from chapter to chapter as new concepts are introduced; the
workbook continues the spirals established in the text, revisiting anthology scores in a
series of analytical explorations, as well as introducing additional compositions. We hope
that by examining aspects of these works as you learn analytical methods, you will even-
tually be able to hear anthology pieces in your head—as you do familiar songs—and also
understand why the pieces sound the way they do.
In this third edition, we have incorporated the ideas of helpful reviewers, colleagues,
and students, while retaining the musicality and richness of content of the first two edi-
tions. New for this edition is Know It? Show It!, an innovative online pedagogy that helps
students develop music theory fluency:
œœ First, students watch video tutorials that explain key concepts through animated
graphics showing how to approach each task.
œœ Then, formative quizzes—powered by Norton InQuizitive—help students develop
the skills they’ll need to complete assignments. InQuizitive asks students ques-
tions—many featuring musical notation—until they demonstrate mastery, while
robust feedback to incorrect responses points students back to the textbook and
tutorials for review.
œœ Finally, students are ready to complete assignments in either the printed or online
workbook. With the online workbook, students can easily hear the results of their
work, and teachers can grade and return assignments electronically.
These new resources are all designed to be easily employed in any theory class and to help
students succeed.
vii
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viii Preface
Our Thanks to . . .
A work of this size and scope is helped along the way by many people. We are especially
grateful for the support of our families—Elizabeth A. Clendinning, Rachel Armstrong,
and Bill Iliff; and Glenn, Russell, and Caroline West. Our work together as coauthors has
been incredibly rewarding, and we are thankful for that collaboration and friendship. We
also thank Joel Phillips (Westminster Choir College) for his many important contribu-
tions—pedagogical, musical, and personal—to our project, and especially for the coordi-
nated aural skills component of this package, The Musician’s Guide to Aural Skills with
Paul Murphy (Muhlenberg College), who has become a key member of our team. While
working on the project, we have received encouragement and useful ideas from our stu-
dents at Florida State University and the Eastman School of Music, as well as from music
theory teachers across the country. We thank these teachers for their willingness to share
their years of experience with us.
We are indebted to the W. W. Norton staff for their commitment to The Musician’s
Guide series and their painstaking care in producing these volumes. Most notable among
these are Justin Hoffman, who steered the entire effort with a steady hand and enthusi-
astic support; Susan Gaustad, whose knowledge of music and detailed, thoughtful ques-
tions made her a joy to work with; and Maribeth Payne, whose vision helped launch the
series. Michael Fauver project edited the workbook, Jodi Beder copyedited the manu-
script and checked the assignments, and Debra Nichols proofread it. David Botwinik set
the text and Workbook, and Andy Ensor and Jane Searle oversaw the production of this
multifaceted project through to completion. We are grateful for Norton’s forward-think-
ing technology editor Steve Hoge, who coordinated the development of the online work-
book, with the assistance of Stephanie Eads, Courtney Hirschey, and Meg Wilhoite. Our
sincere gratitude to one and all.
Jane Piper Clendinning

Elizabeth West Marvin
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WOR K B O OK F OR

Theory and Analysis
THIRD EDITION
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PART
I
Elements of Music
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1 Pitch and Pitch Class
NAME ___________________________________________________
Assignment 1.1 This assignment covers elementary fundamentals and may be skipped.
I. Identifying letter names from the keyboard

A. Count letter names above the pitches labeled on the keyboard (e.g., 3 above C). Be sure to count the
given note (C–D–E). Write the letter name of the new pitch (E) on the appropriate key and in the blank
provided.
C E A C D F G D E F G B

(1) (2) (3)
(4) (5) (6)
(1) 3 above C E (2) 4 above A D (3) 4 below F C
(4) 6 above G E (5) 3 above D F (6) 3 below B G
B. Write the letter name for each numbered white or black key in the blank. Choose either enharmonic
name for black keys.
1 3 5 8 11 12
2 4 6 7 9 10
(1) E or D (2) E (3) G or A (4) D (5) F or G (6) G
(7) B (8) C or D (9) E (10) F (11) A or G (12) B or A

II. Identifying whole and half steps at the keyboard
Locate each pair of pitches on the keyboard below in any octave. Write their names on a white key or above
a black key. Then, in the blank provided, write W (whole step), H (half step), or N (neither).
(a) A #–B H (b) F–E H (c) G b –A N
(d) B b –C W (e) G #–G n H (f ) D b –C b W
(g) F #–G # W (h) E–F b N (i) G b –G n H
G A F G B D G
E/
G B E F C C F G A
(j) B–C H (k) G–A # N (l) C #–D # W
(m) E b –E n H (n) A–B W (o) A b –G b W
(p) B b –C # N (q) E b –F W (r) A b –A n H
B /A
E D /E
C G A
B C E G A B F A
For speed and simplicity, instructors may simply grade the answers students write in the blanks and
use the markings on the keyboard to troubleshoot incorrect answers.
III. Enharmonic pitches

Circle any pair of pitches that are not enharmonic.
(a) F #–G b (b) B ‹ –C (c) A #–B b (d) C b –B (e) G bb –F (f ) D–E bb
(g) E #–F b (h) A bb –G (i) D ‹–E (j) C ‹–D (k) B b –C bb (l) A ‹–B b
4 Part I Elements of Music

NAME ___________________________________________________
Assignment 1.2
I. Identifying whole and half steps at the keyboard
In each exercise below, start with the key indicated and move your finger along the path of half and whole
steps given. In the blank, write the name of the pitch where you end.
(a) Begin on C: down W, down H, down W, up H, up H = A
(b) Begin on E: up W, up H, up W, down H, up W, up W = C
(c) Begin on F #: down W, down W, up H, down W, down H, up W = D
(d) Begin on A b: up W, up W, up W, down H, up W, up W = F
(e) Begin on C #: down W, up H, up W, up W, up H, up H = F
(f ) Begin on B: up H, up H, down W, down H, down W, down W = F
(g) Begin on D: up H, down W, down W, down H, down H, up W = B
(h) Begin on E b: down W, down W, down H, down W, up H, up H = B
II. Staff notation

Write the letter name of each pitch in the blank below.
A. Treble and bass clefs
A E G D B F A D E C F G
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
F A C E G A D B B G F C
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
Chapter 1 Pitch and Pitch Class 5

B. Alto and tenor clefs

C F F A A E E G B D F G
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____

C A F E B D E F C G D E
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
III. Half and whole steps from staff notation

For each pitch pair below, write W (whole step), H (half step), or N (neither) in the blank.
H ____
____ W H H
____ ____ W
____ H
____
H ____
____ N H H
____ ____ H W
____ ____
W ____
____ H ____
W W ____ N ____
____ W
IV. Analysis: Purcell, “Music for a While,” mm. 19–21 (vocal part)
Write W (whole step), H (half step), or N (neither) in the blank below the shaded pitches.
(a)
____H (b)
____W (c)
____H (d)
____W (e)
____W

NAME ___________________________________________________
Assignment 1.3
I. Writing whole and half steps on the staff
For each given note:
œœ Draw a stem to make a half note; be sure that the stem is on the correct side of the note and extends
in the correct direction.
œœ Write a second half note a whole or half step above or below the given note, as indicated by the arrow.
œœ Choose a spelling for the second note that has a different letter name from the given pitch.
II. Identifying pitches with and without ledger lines

Write the letter name of each pitch in the blank provided.

C B A F G A B B E F F A
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
E B C B E G F A D G E C
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____

III. Identifying pitches in C-clefs
For each pitch on the left, write the C-clef equivalent on the right. Then label every pitch with the correct
letter name and octave number in the blank. Don’t change the octave.
B 3 F 4 A 4 C4 G 3
____ ____ ____ ____ ____ B 3 F 4 A 4 C4 G 3
____ ____ ____ ____ ____
F 3 E 4 B3 D 3 V4
____ ____ ____ ____ ____ F 3 E 4 B3 D 3 V4
____ ____ ____ ____ ____
IV. Analysis
In the following melodies, write W or H for each bracketed pair of pitches in the blank below.
A. Joel Phillips, “Blues for Norton,” mm. 20–24 (bass line)
(1)
___ W (2)
___ H (3)
___ H (4)
___ H (5)
___ H (6)
___ W (7)
___ W
B. Mozart, Variations on “Ah, vous dirai-je, Maman,” mm. 164–168 (left hand)
(1) H
___ (2) W
___ (3) H
___ (4) W
___ (5) H
___ (6) H ___
___ (7) H
C. Joplin, “Pine Apple Rag,” mm. 1–4 (right hand)
(1) W ___
___ (2) W ___
(3) H ___
(4) W ___
(5) W (6) H
___ (7) H ___
___ (8) W
D. Willie Nelson, “On the Road Again,” mm. 11–14
(1) H
___ (2) H
___ (3) W
___ (4) W
___

NAME ___________________________________________________
Assignment 1.4
I. Identifying pitches in mixed clefs
Write the letter name and octave number of each pitch below.
E2 D5 F4 ____ ____ ____ ____

____ ____ ____ C3 B1 F4 A5 ____
G3
F3 D2 D3 ____ ____ ____ ____

____ ____ ____ E4 A4 B4 D6 ____
A1
II. Writing half and whole steps in mixed clefs

In the following exercises, choose a spelling that has a different letter name from the given pitch.
A. Write a whole step above each given note.
B. Write a whole step below each given note.
C. Write a diatonic half step above each given note (with a different letter name).
D. Write a diatonic half step below each given note (with a different letter name).

III. Identifying pitch and register in musical contexts
In the excerpts below, write the letter name and octave number of the shaded pitch in the blank that corre-
sponds with the numbers marked on the score.
A. Haydn, String Quartet in D Minor, Op. 76, No. 2 (Quinten), mvt. 3, mm. 1–11
(1) F5 (2) D3 (3) D6 (4) G 4 (5) G 3
(6) A5 (7) C 2 (8) C 3 (9) A3 (10) D2
B. Clara Schumann, Drei Romanzen, Op. 21, No. 1, mm. 5–8
(1) E5 (2) D4 (3) A1 (4) G3 (5) C 2 (6) G1

NAME ___________________________________________________
Assignment 1.5
I. Arranging
Rewrite each excerpt on the blank staff provided, according to the individual instructions. Use ledger lines
as needed. Remember to change the stem direction where necesssary in the new octave. Copy note heads,
stems, and other symbols as shown (you’ll learn more about them in Chapter 2).
A. Foster, “Jeanie with the Light Brown Hair,” mm. 5–8

Rewrite one octave lower in the bass clef.
B. Purcell, “Music for a While,” mm. 21–22

Rewrite this line for bassoon in the tenor clef; don’t change the octave.
C. Mozart, Symphony No. 41 in C Major, mvt. 4, mm. 407–411 (viola)

Rewrite this viola part for violin in the treble clef; don’t change the octave.

II. Composing melodies
On the staves below, compose two melodies of mostly whole and half steps in any musical style you choose.
œœ Choose a different “home” pitch for each melody. Begin and end on this note.
œœ Write at least ten pitches for each, using only adjacent letter names (e.g., B–C or G–F #–E).
œœ Write two to three times as many whole steps as half steps.
œœ Notate all accidentals, even naturals.
œœ Notate your melody with rhythm if you wish, or use filled and hollow note heads as shown below
(hollow note heads last twice as long as filled).
Sample melody 1
Sample melody 2
A. Melody 1
B. Melody 2

2 Simple Meters
NAME ___________________________________________________
Assignment 2.1 This assignment covers elementary fundamentals and may be skipped.
I. Notation basics
A. Circle any notation errors on the left, then renotate the entire exercise correctly on the right.
B. For each rhythmic value or rest notated on the first line, notate the corresponding rest or note on the
second line.
II. Identifying meter

Write the meter signatures and meter type (e.g., simple duple) for each of the following melodies.
A. Bach, Minuet II from Cello Suite No. 1 in G Major, mm. 1–8
Meter: Meter type: simple triple
B. Clara Schumann, “Liebst du um Schönheit,” mm. 3–6
Meter: Meter type: simple quadruple
13
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C. Schubert, Waltz in B Minor, Op. 18, No. 6, mm. 1–8
III. Counting rhythms

For each rhythm provided, add the missing bar lines and write the counts below the score. Then perform
the rhythm.
(1) Lionel Richie, “Three Times a Lady,” mm. 11–14
(2) Bono and U2, “Miracle Drug,” mm. 29–32 (last measure is incomplete)

NAME ___________________________________________________
Assignment 2.2
I. Understanding dots
Write the appropriate note value in each empty box of the chart provided.
II. Counting rhythms with beat subdivisions

A. Add the missing bar lines to each rhythm, and write the counts below. Then perform the rhythm.
B. At each position marked by an arrow, add one note to complete the measure in the meter indicated.
If you write an eighth or sixteenth note, beam or flag it properly.
Chapter 2 Simple Meters 15

III. Counting rhythms with rests
Rewrite each rhythm and melody on the blank staff provided, supplying the missing bar lines and
correcting the beaming to reflect the beat. The Schumann melody begins with an anacrusis, as shown;
do not recopy the text.
(4) Schumann, “Im wunderschönen Monat Mai,” mm. 5–10

NAME ___________________________________________________
Assignment 2.3
I. Beaming to reflect the beat
Rewrite each of the following rhythms with correct beams to reflect the beat unit. Add the counts beneath
the rhythm, and read the rhythm aloud.
II. Counting rhythms with dots and ties

Rewrite the following rhythms with dots in place of tied notes. Be careful to beam your answers correctly.
Write the counts beneath the rewritten rhythm, with the beat number in parentheses if there is no corre-
sponding note above it.

III. Syncopation
Syncopated rhythms are widespread in music written for popular songs, the movies, and musical theater. In
each of the following tunes, draw an arrow above the staff that points to a syncopation, and write the counts
for the entire rhythm beneath.
A. Carole King, “You’ve Got a Friend,” mm. 4–8
B. Jonathan Larson, “Seasons of Love,” mm. 41–44
C. James Horner, Barry Mann, and Cynthia Weil, “Somewhere Out There,” mm. 27–28
D. Shania Twain, “You’re Still the One,” mm. 13–16

NAME ___________________________________________________
Assignment 2.4
I. Reading meter signatures
A. Fill in the empty boxes in the chart with a meter or note value.
B. Write the meter signature and meter type (e.g., simple duple) for each of the given works.
(1) Corelli, Preludio, from Trio Sonata in D Minor, Op. 4, No. 8, mm. 1–7
(2) Orlando Gibbons, Song 46, mm. 1–4 (last measure is incomplete)
Meter: Meter type: simple quadruple
(3) Scarlatti, Sonata in G Major, L. 388, mm. 1–6

II. Reading and writing in different meters
A. At each position marked by an arrow, write the appropriate note value. If you write an eighth or
sixteenth note, beam or flag it properly.
B. Renotate the following rhythms with ties instead of dotted notes.

NAME ___________________________________________________
Assignment 2.5
I. Understanding meter signatures
For each meter given, write the beat unit on the staff (on any line or space), and the meter type (duple,
triple, or quadruple) in the blank.
duple triple triple quadruple quadruple duple
triple quadruple duple duple quadruple triple
II. Writing in different meters

A. Renotate Schumann’s melody (not the text) on the blank staves, in . When beaming the rhythms, use
modern (“instrumental”) style rather than vocal notation.
Schumann, “Widmung” (“Dedication”), mm. 18–25

B. Renotate the following rhythms without ties. Then perform each rhythm.
C. Complete the following rhythms by adding one or two rests to complete any measure marked by an
arrow. Then perform each rhythm.
The preferred answers are given here, but students may combine rests (e.g., rather than ).

NAME ___________________________________________________
Assignment 2.6
I. Anacrusis notation
Each of these melodies begins with an anacrusis. What note value (or note value plus rest) should the
composer use to fill the final measure of the composition (not shown) to balance the anacrusis?
Write this value in the blank provided.
A. Bach, Passacaglia in C Minor, mm. 1–7
Final note value: or
B. Haydn, Scherzo, from Piano Sonata No. 9 in F Major, mm. 1–4
C. “Wayfaring Stranger,” mm. 1–4

D. Don McLean, “American Pie,” mm. 1–3
II. Composing a rhythmic canon

Compose a rhythmic canon in four parts to perform with classmates.
œœ Begin by performing the following canon as an example, with classmates divided into four groups. Each
group starts at the beginning, entering when the preceding group reaches rehearsal number 2: Group
2 enters when Group 1 reaches rehearsal number 2, and so on—just like “Row, Row, Row Your Boat.”
œœ For a more elaborate rhythmic composition, listen to Ernst Toch’s Geographical Fugue, whose text is
based on names of places: “Trinidad, and the big Mississippi and the town Honolulu. . . .” Try writing
a similar text with the names of your classmates, buildings on campus, or countries of the world.
œœ Build in ties and syncopations. Use rhythms that emphasize different beats or parts of the beat, and
add contrasting dynamics to each line to create an interesting and musical effect in performance.


3 Pitch Collections, Scales,
and Major Keys
NAME ___________________________________________________
Assignment 3.1
I. Writing scales
A. Beginning on the pitch given, build an ascending major scale by adding flats or sharps where needed,
following the correct pattern of whole and half steps.
B. Write the major scales indicated, beginning with the specified pitch.
25
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C. Write chromatic scales, using the following steps.
œœ Write a major scale with hollow note heads, ascending or descending as specified, starting with the
given pitch.
œœ Label each pitch with its scale-degree number, and mark whole and half steps. Leave a space
between the whole steps to add a note between.
œœ Then fill in half steps (with filled note heads) as needed to make a chromatic scale.
W W H W W W H
H W W W H W W
H W W W H W W
W W H W W W H

NAME ___________________________________________________
Assignment 3.2
I. Key signatures
A. On the following staves, write the key signature for each major key indicated. Be sure that the sharps
and flats appear in the correct order and octave.
B. Identify the name of the major key associated with each of these key signatures.
____ ____ ____ ____ ____ ____ ____ ____
____ ____ ____ ____ ____ ____ ____ ____
____ ____ ____ ____ ____ ____ ____ ____
____ ____ ____ ____ ____ ____ ____ ____
Chapter 3 Pitch Collections, Scales, and Major Keys 27

II. Scale-degree analysis of melodies
These vocal melodies include prominent scale passages or segments. For each melody, (1) mark scale
segments (five notes or longer) with a bracket, (2) write the name of the key in the blank below the melody,
then (3) write the appropriate scale-degree numbers or solfège syllables (first letter only) above each note.
Finally, sing on scale-degree numbers or solfège.
A. “Come, Follow Me” (anonymous); perform as a round
Key: C major
__________________
B. Richard Rodgers and Oscar Hammerstein, “The Sound of Music,” mm. 9–15
Key: F major
__________________

NAME ___________________________________________________
Assignment 3.3
I. Scale and scale degree
A. Given the scale degree notated on the left, write the major scale to which it belongs. Begin by writing
whole notes on each line and space, then fill in the necessary accidentals. Write the scale-degree number or
name beneath the given note in your scale, to check your answer.
B. Complete the table by writing the requested major key, scale degree, or pitch name.
MAJOR KEY SCALE DEGREE PITCH MAJOR KEY SCALE DEGREE PITCH
(1) E 7̂ D# (7) F subdominant Bb

(2) B supertonic C # (8) D leading tone C#
(3) F# dominant, 5̂ C # (9) C # 4̂ F #
(4) Eb 3̂ G (10) B 5̂ F#
(5) D b 4̂ G b (11) C mediant E
(6) B leading tone A (12) A 6̂ F

II. Scale and key analysis
Each of the following pieces features a prominent scale or scale segment. Write the scale or segment on the
staff below. Is it chromatic or major? If major, name the tonic.
A. Mozart, Piano Sonata, K. 333, mvt. 1, mm. 8–10
Scale type or major key:

__________________ B b major
B. Joplin, “The Ragtime Dance,” mm. 61–64

__________________ Chromatic
C. Handel, Chaconne, mm. 49–51

__________________ G major

NAME ___________________________________________________
Assignment 3.4
I. Key signature review
A. Identify the major key indicated by each key signature.
____ ____ ____ ____ ____ ____ ____ ____ ____ ____
B. Write the key signature for each major key specified. Place sharps or flats in the correct order and octave.
II. Identifying scale degrees

A. Write the appropriate note on the staff indicated by the major key and scale degree.
B. Each of the following sequences of scale degrees and solfège syllables represents a well-known melody.
(Solfège is notated with just the first letter of the syllable.) An underlined symbol shows a pitch below the
tonic.
œœ On the top staff, write out the major scale specified, and label with scale degrees or solfège.
œœ Use these labels to write out the melody (with correct key signature) on the lower staves.
(Rhythm is optional.)
œœ If you know the name of the tune, write it in the blank provided (optional).

(1) A major
“My Country, ’Tis of Thee”

Name of melody: _________________________________________________________________
(2) B b major
“Yankee Doodle”
Name of melody: _________________________________________________________________
III. Pentatonic scale

Write the following major pentatonic scales ( 1̂–2̂–3̂–5̂–6̂, or do–re–mi–sol–la).

NAME ___________________________________________________
Assignment 3.5
I. Scale review
Write the scales requested, beginning with the given pitch. Add accidentals before each note as needed,
rather than using a key signature.
A. Scales ascending and descending
B. Scales either ascending or descending

II. Analysis of scale type
Look at the key signature and melodic cues from the beginning and end of each given melody to determine
the key. Write the name of the major key (or “not major”) in the blank. If major, label the scale degrees of
each note below the staff to confirm that they fit well in the key you have chosen.
A. “Hush, Little Baby,” mm. 1–8

ˆ ˆ

5 3 ˆ ˆ ˆ 3 2
3 3 4 ˆ ˆ ˆ ˆ 5
2 2 ˆ 5 2
ˆ ˆ ˆ 2 2
2 ˆ ˆ
ˆ ˆ ˆ 1
3 2 1 ˆ
Key: F major
__________________
B. Schubert, “Der Lindenbaum,” mm. 9–12
ˆ
5 ˆ
5 ˆ 3
3 ˆ 3
ˆ ˆ
3 ˆ
1 ˆ
1 ˆ
2 ˆ 4 3 2
3 ˆ ˆ ˆ ˆ
1
Translation: By the fountain in front of the gate, there stands a linden tree.
Key: E major
__________________
C. “Masters in the Hall” (carol), mm. 5–8
Key: not major

__________________
D. H. Worthington Loomis, “The Frog in the Bog,” mm. 1–5

ˆ
5 ˆ
1 ˆ ˆ 2
1 1 ˆ 2
ˆ ˆ
3 ˆ ˆ ˆ
3 3 4 ˆ
4 ˆ
5 ˆ
5 ˆ ˆ ˆ ˆ
4 4 4 4

ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ 1 1

3 3 3 3 2 2 2 2 ˆ ˆ
Key: E b major
__________________
E. Mozart, Kyrie eleison, from Requiem, mm. 1–5 (bass part)
Key: not major

__________________

4 Compound Meters
NAME ___________________________________________________
Assignment 4.1
I. Understanding simple and compound meter signatures
A. From the information given, complete the following chart.
B. Each of these melodies is taken from a keyboard prelude in Bach’s Well-Tempered Clavier, Book I.
Provide the correct simple or compound meter signature, then write the meter type (e.g., compound triple)
and beat unit (e.g., ) in the blanks provided. (The final measure of the excerpt may be incomplete.)
(1) Prelude in A Minor, mm. 1–4 (left hand, m. 4 is incomplete)
Meter: Meter type: compound triple Beat unit:
(2) Prelude in A b Major, mm. 1–5 (right hand)
Meter: Meter type: simple triple Beat unit:
35

(3) Prelude in G # Minor, mm. 1–4 (right hand)
Meter: Meter type: compound duple Beat unit:
(4) Prelude in C # Minor, mm. 1–4 (right hand)
Meter: Meter type: compound duple Beat unit:
(5) Prelude in E b Minor, mm. 1–4 (right hand)
(6) Prelude in E Major, mm. 1–3 (left hand)
(7) Prelude in C # Major, mm. 1–7 (right hand)
(8) Prelude in F Major, mm. 1–2 (left hand)

NAME ___________________________________________________
Assignment 4.2
I. Understanding simple and compound meter signatures
For each meter signature given, fill in the missing information.
II. Compound meters with beat units

A. At each position marked by an arrow, add one note value that completes the measure in the meter indi-
cated. Then write the counts below the staff.
1 li (2) la li 3 li 1 2 la 3 1 la ta li ta 2 (3)
1 la ta li 2 la 1 ta li 2 li 1 2 ta la ta li ta 1 2
1 2 li 3 la ta li 4 1 ta la li 2 3 ta la ta li ta 4 ta la 1 (2) 3 (4)
1 ta li 2 la 1 ta la ta li 2 li 1 li 2 ta li 1 (2)
1 li 2 li ta 3 ta la 1 la li 2 la 3 1 ta li 2 (3)
Chapter 4 Compound Meters 37

B. Rewrite the following rhythms with correct beaming to reflect the beat. Practice the rhythms on “ta” or
counting syllables. Be prepared to perform them in class.

NAME ___________________________________________________
Assignment 4.3
I. Understanding compound meters
For each melody, provide the missing bar lines that correspond with the meter signature given. The final
measure may be incomplete.
A. Beethoven, String Quartet in F Major, Op. 18, No. 1, mvt. 2 (cello part, adapted)
B. Hensel, “Schwanenlied” (adapted)
C. Bartók, String Quartet No. 2, mvt. 1 (cello)
II. Understanding rests

At each position marked with an arrow, add one rest to complete the measure in the meter indicated. Write
the counts below the rhythm; enclose counts in parentheses if they fall on a rest.

III. Beaming to reflect the meter
Vocal music, especially in older editions, is often written with flags that correspond to syllables of the sung
text. Copy the vocal lines on the blank staves (without text), replacing flags with beams to reflect the meter
and beat unit instead. Copy the rests exactly.
A. Handel, “How beautiful are the feet of them,” from Messiah, mm. 5–9
B. Mozart, “Lacrimosa,” from Requiem, mm. 9–10 (soprano part)
C. Schumann, “Ich hab’ im Traum geweinet,” from Dichterliebe, mm. 10–13

NAME ___________________________________________________
Assignment 4.4
I. Compound meters with and beat units
A. Write counts beneath each melody. Then rewrite the melody (not the words) in the meters indicated.
Use proper beaming and stem direction.
(1) “Agincourt Song,” mm. 1–4
(2) “The Pretty Girl Milking Her Cow,” mm. 3–4
(3) “When Johnny Comes Marching Home,” mm. 1–4
(4) Ralph Vaughan Williams, “The Call,” mm. 2–6

B. At each position marked by an arrow, add one note value to complete the measure in the meter
indicated. Remember to subtract the value of an anacrusis from the final bar.
II. Rhythmic duets

Compose a second line to go with each of the following rhythms. Write notes and rests that complement
(and don’t overpower) the first line. Make sure that each measure is complete. Prepare your duet for
performance with a classmate.
Score for correct note values and beaming.

NAME ___________________________________________________
Assignment 4.5
I. Reading and writing triplets
A. In each of these rhythms, provide the missing bar lines that correspond with the meter signature given.
B. Renotate each of these rhythms, and insert a triplet in place of the bracketed beat. Write the rhythm
counts beneath your answer. Then perform the rhythm you have written.

II. Syncopations
A. Rewrite each rhythm, adding ties or accent marks to create syncopations. Be prepared to perform each
syncopated rhythm.
Score for correct note values and beaming. Answers will vary.
B. Compose a syncopated compound-meter rhythmic canon for performance with classmates. Begin by
performing the following three-part canon as an example. Divide into three groups; each new group begins
when the previous group has reached 2 . In your composition:
œœ Make the three lines distinctive, including rhythms that emphasize different beats or offbeats for contrast.
œœ Add a text and contrasting dynamics and accents in each line to create an interesting and musical
effect in performance.
œœ Circle each syncopated pattern.
Score for correct note values and beaming.

NAME ___________________________________________________
Assignment 4.6
I. Analysis
Name the meter type for each excerpt. Then, below the staff write the counts where indicated. Finally,
answer the question below the excerpt with one or two sentences.
A. Handel, “Rejoice greatly” (soprano part, alternate version), mm. 9–14
Meter type: compound quadruple
How does this setting differ from the one in your anthology? Which version do you think is simpler to sing,
and why?
The version in the anthology is notated in simple quadruple and features groups of four sixteenths,
in the spots where “triplets” appear in this compound quadruple version. Because there are fewer
fast-moving notes in this version, it is easier to sing.
B. Schubert, “Erlkönig,” mm. 15–19
Meter type: simple quadruple
With so many triplets, Schubert might have chosen to write the piano accompaniment in what compound meter?
Meter:

On the staff, write the vocal part for measures 15–19 in that compound meter.
C. Andrew Lloyd Webber and Tim Rice, “Don’t Cry for Me Argentina,” mm. 3–8
Write the counts for the melody line above the staff, as though in meter (cut time).
Meter type: simple quadruple
Some popular songs are notated in but performed in such a quick tempo that the meter feels more like cut
time (alla breve), or . How does a cut-time interpretation help with performance of the triplet in measure 8?
What other notational features suggest cut time?
Counting in two allows the performer to think of beat 1 in measure 8 as a single-beat “1 la li” triplet,
rather than a triplet that crosses over from beat 1 to 2 (of a quadruple meter). The beaming of the left
hand, in two large units, also suggests a duple interpretation of the meter.

5 Minor Keys and the
Diatonic Modes
NAME ___________________________________________________
Assignment 5.1
I. Writing minor scales
A. For each major key requested, write the key signature and major scale in the left column. Circle scale
degree 6̂. Then, in the right column, write its relative natural minor and name it, as shown.
Relative minor: C minor
Relative minor: G minor
Relative minor: B minor
Relative minor: F minor
Relative minor: G minor
Relative minor: E minor
47

B. On the left, build the ascending natural minor scale specified by adding flats or sharps in front of the
pitches given. On the right, write the key signature of the relative major, and name the key. Then write the
complete major scale.
Relative major: A major
Relative major: B major
Relative major: D major
Relative major: E major
Relative major: A major
II. Identifying relative and parallel keys

Fill in the blanks, identifying the key or key signature.
(a) Relative minor of E b major: C minor (e) Relative major of D minor: F major
(b) Parallel major of (f ) Parallel major of

E minor has how many #s? 4 F # minor has how many #s? 6
(c) Relative major of (g) Relative minor of B b major: G minor

F minor has how many b s? 4
(h) Relative major of
(d) Relative minor of D major: B minor F # minor has how many #s? 3


NAME ___________________________________________________
Assignment 5.2
I. Key signatures
A. For each signature given, identify its major key in the top row of blanks and its relative minor key in the
bottom row, as shown. Use a lowercase letter for minor keys.
Major: A B G D E
Minor: f g e b c
Major: F A E F D
Minor: d f c d b
Major: D A E G B
Minor: b f c e g
B. Write the requested key signature.
Chapter 5 Minor Keys and the Diatonic Modes 49

II. Scale degrees in minor
A. Given the scale degree labeled on the left, write the minor scale to which that pitch belongs, labeling the
given scale degree in the scale you have written.. Use natural minor, unless the raised submediant or leading
tone is requested (indicating melodic or harmonic minor); in these two cases, indicate in the blank which scale
type you’ve written. Begin by writing whole notes on the lines and spaces, then fill in the necessary accidentals.
Students may omit the natural signs; they are included here to signal a canceled accidental from the
implied key signature.
B. Complete the table by writing the pitch, scale degree, or key requested.

NAME ___________________________________________________
Assignment 5.3
I. Forms of the minor scale
On the blank staves provided, write the correct key signature for each minor key indicated. Then write the
scale requested, ascending and descending, altering scale degrees 6̂ and 7̂ as needed. Provide accidentals
both ascending and descending.

II. Scale and scale-degree analysis
Each of the following excerpts features a prominent scale or scale segment. Name the major or minor key.
If minor, specify the type of minor scale (e.g., melodic minor).
A. Jean Baptiste Loeillet, Sonata, Op. 3, No. 10, mvt. 4, mm. 1–4
Key: B minor Scale type (if minor): harmonic
B. Handel, Chaconne, mm. 53–56
Key: G major Scale type (if minor):
C. Mozart, String Quartet, K. 421, mvt. 1, mm. 5–8
Key: D minor Scale type (if minor): harmonic
D. Alan Menken and Tim Rice, “A Whole New World,” from Aladdin, mm. 34–37
Key: D major Scale type (if minor):
E. Corelli, Sarabanda, from Sonata, Op. 5, No. 8, mm. 21–24
Key: E minor Scale type (if minor): harmonic
III. Finding parallel and relative keys

For each pair of excerpts in the previous exercise, circle the appropriate relationship.
(1) Handel and Corelli relative keys parallel keys
(2) Loeillet and Menken & Rice relative keys parallel keys
(3) Mozart and Menken & Rice relative keys parallel keys

NAME ___________________________________________________
Assignment 5.4
I. Writing melodies from scale degrees
Each sequence of solfège syllables and scale-degree numbers given represents a minor-key melody. An
underlined syllable or number indicates a pitch below the tonic. On the first staff, write the scale specified
(along with the key signature), and label it with solfège and scale-degree numbers. Then use these to write the
melody on the second staff (rhythm is optional). If you know the name of the tune, write it in the blank.
A. D natural minor
Name of melody: “God Rest Ye, Merry Gentlemen”
B. F harmonic minor
Name of melody: “Go Down, Moses”
C. C # natural minor
continued on other side

Name of melody: “When Johnny Comes Marching Home Again”
II. Writing pentatonic scales

Write the pentatonic scales requested (ascending form only).
III. Composing a melody

On your own paper or on these staves, compose a folk-like melody in a minor or minor pentatonic key,
taking the melodies in the chapter as examples. Notate your tune in treble or bass clef, simple or compound
meter. For a minor melody, use a key signature with accidentals for 6̂ and 7̂ as needed. Use scale segments
where possible, keeping the melody simple enough that you can sing it.

NAME ___________________________________________________
Assignment 5.5
I. Writing mixed types of scales
Write the following scales as specified, starting from the given pitch. Write accidentals before each note
(rather than key signatures).

II. Analyzing keys in musical contexts
For each Bach invention:
œœ Write the key in the blank provided.
œœ For each bracketed portion of the melody, write the scale type suggested by the melodic line.
A. Bach, Invention No. 2, mm. 1–2
Key: C minor descending melodic harmonic
B. Bach, Invention, No. 11, mm. 1–3
ascending melodic
Key: G minor
C. Bach, Invention, No. 13, mm. 1–3
Key: A minor harmonic
D Bach, Invention No. 7, mm. 1–3
Key: E minor “ascending melodic” (although it is descending)
E. In a sentence or two, explain how the melody for Invention No. 7 does not conform to the scale types
considered in this chapter.
The descending portion of Bach’s melody uses the accidentals associated with the “ascending melodic
minor” scale.
This is an opportunity to discuss with students the idea that the three forms of minor result from the
variability of the scale degrees in the upper tetrachord and may include more variation than these
three “scale types” capture.

NAME ___________________________________________________
Assignment 5.6
I. Writing the diatonic modes
A. As scales: Beginning on the given pitch, write the mode requested, adding accidentals before the
pitches as needed.
B. With key signatures: Write the correct key signature for the mode requested.

II. Analyzing modal melodies
Play or sing each of these melodies. Then, on the blank provided, indicate the mode (e.g., G Phrygian).
A. “Scarborough Fair”
Mode: D Dorian
B. “Pange Lingua” (Sarum plainchant, abridged)
Mode: E Phrygian
C. Tomás Luis de Victoria, “O magnum mysterium,” mm. 5–9
Mode: D Aeolian
D. “Swallowtail Jig,” mm. 1–8
Mode: A Dorian

6 Intervals
NAME ___________________________________________________
Assignment 6.1
I. Identifying interval size
A. Write the number that represents the size of each interval in the blank below.
B. In the numbered blanks that correspond with each circled melodic interval, write the interval size.
Mozart, Sonata in C Major, K. 545, mvt. 1, mm. 1–4
(1) 3 (2) 6 (3) 2 (4) 2
(5) 4 (6) 2 (7) 5 (8) 3
(9) 4 (10) 2 (11) 6 (12) 6
59
CH06_MGTA3_SWB_26462_059_070 page 59 7 January 2016 9:20 PM Fourth Pages

C. The circled intervals given may be simple or compound. In the first row of blanks, write the simple
interval size (e.g., 3 not 10). In the second row, write a C for any compound interval and an S for any simple
interval.
Anonymous, Minuet in D Minor, from the Anna Magdalena Bach Notebook, mm. 9–16
Interval size: 3 5 3 2
Compound/simple: C S C S
Interval size: 2 7 3
Compound/simple: S S S
II. Writing interval sizes

Write a whole note on the correct line or space to make each interval size specified. Don’t add sharps or flats.
A. Write the specified melodic interval above the given note.
B. Write the specified melodic interval below the given note.
C. Write the specified harmonic interval above the given note.
D. Write the specified harmonic interval below the given note.

NAME ___________________________________________________
Assignment 6.2
I. Identifying intervals
A. For each harmonic interval, write the size and quality.
B. For each circled interval, write the size and quality in the corresponding blank. (You identified the size
of these intervals in Assignment 6.1.)
Mozart, Sonata in C Major, K. 545, mvt. 1, mm. 1–4
(1) M3 (2) m6 (3) M2 (4) M2
(5) P4 (6) m2 (7) P5 (8) m3
(9) P4 (10) M2 (11) M6 (12) m6
Chapter 6 Intervals 61

C. In the blanks provided below the staff, write the size and quality of the melodic intervals indicated.
Webern, “Dies ist ein Leid,” from Fünf Lieder aus “Der siebente Ring,” Op. 3, No. 1, mm. 1–5
(melody only)

Translation: Of pious tears . . . Through the morning garden it sounds, lightly lifting. Only for you alone.
II. Writing intervals

A. Write the following harmonic intervals, as whole notes, above the given pitch.
B. Write the following melodic intervals, as whole notes, above the given pitch.

NAME ___________________________________________________
Assignment 6.3
I. Writing major, minor, and perfect melodic intervals
A. Write the melodic intervals, as whole notes, above the given pitch.
B. Write the melodic intervals, as whole notes, below the given pitch.
II. Writing major, minor, and perfect harmonic intervals

A. Write the harmonic intervals, as whole notes, above the given pitch.

B. Write the following harmonic intervals, as whole notes, below the given pitch.
III. Writing melodies from intervals

Starting with the given pitch, write the following series of melodic intervals. The labels and arrows above
the staff indicate the interval and whether it should be written above or below the previous note. When
finished, play or sing the pitches to determine which song you have notated. Write the name of the song (if
you know it) in the blank.
A.
Song title: “The Star-Spangled Banner”
B.
Song title: “Home on the Range”
?
C. m3
M2 M2 m3 PU M2 M2 M3
w
Song title: “Oh, Susanna!”

NAME ___________________________________________________
Assignment 6.4
I. Interval inversion
A. For each given interval, rewrite the second pitch, then write the first pitch up an octave. Label both intervals.
B. Invert each given interval as in part A, but this time rewrite the second pitch, then write the first pitch
down an octave. Label both intervals.
II. Writing augmented and diminished intervals

A. First write the major, minor, or perfect interval requested, above the given note. Then copy the bottom
note in the blank measure, and raise or lower the top note to create the interval specified.
B. First write the major, minor, or perfect melodic interval requested, below the given note. Then copy the
top note in the blank measure, and raise or lower the bottom note to create the melodic interval specified.

III. Identifying intervals
A. Listen to this melody. Then write the size and quality of each melodic interval below the staff in the
blanks provided. Don’t forget to check the flats from the key signature.
Beethoven, Piano Sonata in C Minor, Op. 13 (Pathétique), mvt. 2, mm. 1–8
B. Listen to the following passages. Identify the harmonic intervals between the soprano and bass voices
(circled in the Bach example). Change any compound interval to a simple one. In the second row of blanks
label the interval type by writing P (perfect consonance), I (imperfect consonance), or D (dissonance).
(1) Beethoven, Pathétique Sonata, mvt. 2, mm. 1–8
(2) Bach, Chaconne, from Violin Partita No. 2 in D Minor, mm. 112–119
P4 M10 A11 d12 m10 M10 M10 P11 d12

P M3 A4 d5 m3 M3 M3 P4 d5

NAME ___________________________________________________
Assignment 6.5
I. Writing diminished and augmented intervals
A. Write the specified harmonic interval above the given note.
B. Write the specified harmonic interval below the given note.
II. Writing enharmonically equivalent intervals

For each given interval, write two intervals beside it that sound the same but are spelled differently. Label
each interval in the blank provided.
III. Writing all interval types

A. Write the specified melodic interval above the given note.
B. Write the specified melodic interval below the given note.

C. Write the specified melodic interval above and below the given note.
IV. Identifying intervals in a key context

A. For each circled and numbered harmonic interval, write its size and quality (e.g., m6) in the corre-
sponding blank. Remember to include sharps from the key signature.
Bach, “Aus meines Herzens Grunde,” mm. 1–4
(1) P4 (2) P8 (3) m6 (4) m3 (5) M3
(6) m6 (7) PU (8) M3 (9) P8 (10) P12 (P5)
B. For each melodic interval, write its size and quality in the blank below the staves. Remember to include
sharps from the key signature.
Schoenberg, “Traumleben,” from Acht Lieder, Op. 6, No. 1, mm. 1–9
m7 A4 P4 m3 M2 d8 P8 P8
Mun
Mun
m9 m2 m9 m2 d5 m2 du M2 M2 m3 m3 m3 M3 P5
Translation: Around my neck is draped a bloom-white arm, it rests upon my mouth [like] a spring young and warm.

NAME ___________________________________________________
Assignment 6.6
I. Identifying all interval types
Identify the size and quality of the following intervals. In the second row of blanks, label each interval
P (perfect consonance), I (imperfect consonance), or D (dissonance).
II. Writing all intervals

A. Write the following harmonic intervals, as whole notes, below the given pitch.
B. Write the following harmonic intervals, as whole notes, above the given pitch.
C. Write the inversion of each given harmonic interval, as whole notes, on the staff beneath. Write the
name of each interval in the blank provided.

III. Melodic analysis
A. Begin by playing the melody notes, either on the piano or on your own instrument. Then (1) label each
melodic interval in the blanks below the staff; (2) circle any pitch pairs that are compound intervals. Label
chromatic half steps as AU (augmented unison).
Webern, “In Windesweben,” from Fünf Lieder aus Der siebente Ring,” Op. 3, No. 2, mm. 3–9 (melody only)
Interval: M6 P4 P4 A1 P4 M7 M2 m2 P4 m2 m2 d3 m2 A4 M7 m2
m2 M2 P5 d4 m7 M3 A2 m2 M2 P5 d5
m2 m2 m3 A1 m2 m2 M2 m6 A1 M6 m2
(m9) (m10) (m9)
Translation: Only a smile was your reply. A wet night kindled a glow. Now it pushes toward May, and I must live for your eyes and hair
all the days in longing.
B. For class discussion or in a paragraph, as assigned by your teacher, consider Webern’s vocal writing
style. What types of melodic intervals do you find? How wide is the range and what are the highest and
lowest pitches? What challenges would a singer face in preparing this melody for performance?

7 Triads
NAME ___________________________________________________
Assignment 7.1
I. Writing scale-degree triads
Notate the requested scale in whole notes (ascending only), adding any needed accidentals. Above each
scale degree, write a triad, again adding the necessary accidentals. In minor keys, use the leading tone from
harmonic minor to spell the chords built on 5̂ and 7̂. Then in the blank, identify each triad’s quality as
M (major), m (minor), d (diminished), or A (augmented).
A. Major scales
B. Harmonic minor scales
71

II. Triad quality
Identify the quality of each triad as M (major), m (minor), d (diminished), or A (augmented) in the blank.
III. Identifying triads in a musical context

For each quarter-, dotted-quarter-, or half-note chord, write the triad in root position on the treble-clef
staff in whole notes. Then label the root and quality for each chord in the blanks beneath.
“St. Prisca,” mm. 1–4

NAME ___________________________________________________
Assignment 7.2
I. Identifying major and minor triads
Identify the root and quality of each given triad. Write capital letters for major triads (F #) and lowercase for
minor triads (f #).
II. Spelling all triad types

A. Rewrite each major triad, adding or subtracting accidentals to create the chord quality specified.
B. Consider each given pitch to be the root of a triad. Write the remaing pitches to create the quality
specified.
Chapter 7 Triads 73

III. Identifying triad root, quality, and inversion
In the top row of blanks, identify the chord root and quality (e.g., D or d). In the second row, identify the
position or inversion (root, 1st, or 2nd).
IV. Identifying triads in a musical context

For each quarter-, dotted-quarter-, or half-note chord, write the triad in root position on the treble-clef
staff (using whole notes). In the top row of blanks, write each chord root and quality. In the second row,
identify the position or inversion (root, 1st, or 2nd) of that chord in the musical excerpt.
“St. George’s Windsor,” mm. 1–4

NAME ___________________________________________________
Assignment 7.3
I. Writing triads in a key
Write triads in root position above the given roots, using whole notes. Don’t write accidentals except in
identify the triads, using upper- or lowercase Roman numerals and the symbols L and Ñ to show their
minor keys, where you should use the leading tone to spell the chords built on 5̂ and 7̂. In the blanks,
quality and position in the scale.
Chapter 7 Triads 75

II. Spelling isolated triads
Fill in the other notes of each triad, adding accidentals as needed to make the correct quality. Don’t change
the given pitch.
A. Each given pitch is the root of a triad.
B. Each given pitch is the third of a triad.
C. Each given pitch is the fifth of a triad.

NAME ___________________________________________________
Assignment 7.4
I. Writing triads from chord symbols
Write the triads indicated in root position, in whole notes. Include all needed accidentals for the correct
triad quality. Answers may be transposed up or down an octave.
II. Identifying triads

Identify the quality and root of each triad using chord symbols (e.g., Gm, F). Don’t specify any inversion.
Chapter 7 Triads 77

III. Identifying triads in musical contexts
For each chord, write the triad in root position (whole notes) on the blank staff. Ignore any circled notes. In
the blanks beneath, identify the triad with an upper- or lowercase Roman numeral to show its quality and
position in the key. You need not specify inversions.
A. Johann Pachelbel, Canon in D Major, mm. 3–4
B. Johann Crüger, “Nun danket alle Gott,” mm. 1–4
C. “Old Hundredth,” mm. 1–6

NAME ___________________________________________________
Assignment 7.5
I. Identifying triads from figured bass
On the treble-clef staff, write the triad indicated by the bass and figures. Use whole notes stacked in thirds.
In the blank below the staff, write the Roman numeral reflecting the triad’s position and quality in the
given key. For inverted triads, also write the inversion (e.g., IV6).
RH chords may be in any octave, but should be stacked in thirds.
Chapter 7 Triads 79

II. Identifying triads in musical contexts
For these excerpts, in the positions indicated by the blanks, write the triads in root position (whole notes).
Ignore any circled notes. Identify the triad with an upper- or lowercase Roman numeral (to show its quality
and position in the key) and figures (to show its inversion) in the blank below the staff.
A. Schumann, “Wilder Reiter,” mm. 1–3
B. “Chartres,” mm. 1–4

8 Seventh Chords
NAME ___________________________________________________
Assignment 8.1
I. Writing seventh chords above a scale
Notate the requested scale in whole notes (ascending only), adding any needed accidentals. Above each
note, write a seventh chord with the necessary accidentals for that key. In minor keys, use the leading
ø
Mm7, mm7, 7 (half-diminished), or L7 (fully diminished). In the second row of blanks, write the Roman
tone for the chords on 5̂ and 7̂. In the first row of blanks, identify the seventh-chord quality as MM7,
numeral.
A.
ø
ø
F: MM7 mm7
mm7 MM7 Mm7 mm7 7
_____ _____ _____ _____ _____ _____ _____
_____ _____ _____ _____ _____ _____ _____
I7 ii7 iii7 IV7 V7 vi7 vii 7
B.
ø
7 MM7 mm7 Mm7 MM7 L7
ø
mm7
i7 ii 7 III7 iv7 V7 VI7 viiL7
a: _____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____
C.
ø
7 MM7 mm7 Mm7 MM7 L7
f #: _____ _____ _____ _____ _____ _____ _____
ø
mm7
i7 ii 7 III7 iv7 V7 VI7 viiL7

_____ _____ _____ _____ _____ _____ _____
D.
ø
ø
G: MM7 mm7
mm7 MM7 Mm7 mm7 7
_____ _____ _____ _____ _____ _____ _____
_____ _____ _____ _____ _____ _____ _____
I7 ii7 iii7 IV7 V7 vi7 vii 7
81

II. Identifying scale-degree seventh chords
A. Root-position chords
ø
In the first row of blanks, provide a Roman numeral that reflects the correct seventh-chord quality in the
given key. In the second row, write the chord quality (e.g., Mm7, 7).
ø L7 i ø
ø L ø
E: _____ _____ _____ _____
ii7 V7 vii 7 IV7 g: ii 7 vii
_____ _____ 7 V7
_____ _____
mm7 Mm7 7 MM7 _____
_____ _____ _____ _____
7 7 _____
_____ mm7 Mm7
_____
b: _____ ø ø
ø ø
D
IV7 vii 7 vi7 ii7 d:
_____ V7 ii 7 i7 III7
_____ _____ _____ _____ _____ _____
MM7
_____ 7 _____
_____ mm7 mm7 Mm7 7 mm7 MM7
_____ _____ _____ _____ _____
B b: I7 iii7 V7 ii7 a: viiL7 iv ø

L ø
7 ii 7 VI7
_____ _____ _____ _____ _____ _____ _____ _____
MM7 mm7 Mm7 mm7 7 mm7
_____ _____ _____ _____ _____ 7 MM7
_____ _____ _____
B. Chords in inversion
Provide a Roman numeral and figures 65 , 43 , or 42 for each given seventh chord.
f:
V 65
_____
ø
i 42 ii 65 viiL 43 D:
_____ _____ _____ vi 65 IV
_____
4 4
3 ii 3 V 2
4
_____ _____ _____
e: i 65 vii
_____
L65 iv
_____
6
5 III
_____ 5 B b:
6
_____ IV 42 I
_____
6
5 iii
_____
4 6
3 vii 5
_____ _____
ø
g

#: ø
ii 65 i 43 V
_____ _____ 3 III 2 A b:
4 4
_____ _____
ø
vii 43 V 65 ii
_____ _____
6 6
5 vi 5
_____ _____

NAME ___________________________________________________
Assignment 8.2
I. Writing scale-degree seventh chords from Roman numerals
A. Write each of the following root-position seventh chords. Provide the key signature, and add
accidentals to make the correct quality. For minor keys, use the leading tone for the chords on 5̂ and 7̂.
B b: V7 ii7 IV7 vii 7 e: ii 7 viiL7 VI7 V7 ø ø
A: iii7 vi7 I7 V7 b b: ii 7 III7 iv7 V7 ø
G: ø
I7 vii 7 ii7 IV7 f #: i7 viiL7 VI7 iv7
B. Write each seventh chord in the key and inversion specified. Provide the key signature, and add acci-
dentals to make the correct quality. For minor keys, use the leading tone for the chords on 5̂ and 7̂.
f #: i 42 V 43 ii ø viiL c: i iv VI V
6
5
4
3
6
5
4
2
4
3
6
5
D: I 65 ii 65 vii ø vi
4
3
6
5 b: viiL 65 iv 65 ii ø V
6
5
4
2
F: ii 43 V 42 IV 42 vii ø e: V viiL III iv

6
5
4
3
6
5
4
2
6
5
Chapter 8 Seventh Chords 83

ø
II. Analyzing seventh chords in musical contexts
In the excerpts provided, write the name of each circled seventh chord (e.g., Mm7, 65 ) in the blank
underneath. When identifying chord quality, be sure to check the key signature and any accidentals. For
chords in inversion, give the appropriate figures (e.g., Mm 65 ).
A. Brahms, Ballade in G Minor, Op. 118, No. 3, mm. 15–19
MM7 mm7 mm7 Mm7
Mm 42
B. Felix Mendelssohn, “Aber der Herr sieht es nicht,” from Elijah, No. 5, mm. 68–79
mm 42 Mm 42 mm7 6
5
MM 42
Translation: For I, the Lord your God, am a jealous God, who visits the sins of your fathers.

NAME ___________________________________________________
Assignment 8.3
I. Identifying isolated seventh chords
A. Roman numerals
Write the appropriate Roman numeral and figures for each seventh chord in the given key.
e: V 65 B b: ii 42 A: ø ii 65 B b: vi7 d:
vii 43 g: V 43 d:
_____ _____ _____ _____ _____ _____ _____ _____
ø
viiL 65 F: IV 43
G: V 4
2 b:
ø
ii 65 E: ø i 42 A b: iii 43 f #: V 42 f: viiL 43
vii 65 g #: VI 43 c:
_____ _____ _____ _____ _____ _____ _____ _____
III 65 D: I 43 c #: VI 43 G b: IV 42
b b: i 65 D b: IV 65 B: V 43 E b: vi 65 a:
_____ _____ _____ _____ _____ _____ _____ _____
B. Chord quality
Write the chord quality (e.g., mm7, L7) for each seventh chord.
MM7
MM7 mm7 ø
7 Mm7 L7 mm7 Mm7 MM7
_____ _____ _____ _____ _____ _____ _____ _____
ø
L7 mm7 7 MM7 L7 7 Mm7 MM7
_____ _____ _____ _____ _____ _____ _____ _____
ø
ø
7 Mm7 MM7 mm7 L7 mm7 7 Mm7
_____ _____ _____ _____ _____ _____ _____ _____
ø

II. Writing isolated seventh chords
Write the seventh chords specified, (A) given the key and Roman numeral or (B) the chord type. Spell with
accidentals rather than key signatures.
A. Roman numerals
G: viiL 65 b: V7 a: viiL 43 E: IV 65 c #: ii ø Bb: iii F: vi bb: V

6
5 7 6
5 7
f #: iv 65 D: vii ø c: VI Eb: ii Db: I g#: III eb: i

6
5 7 6
5
4
2
6
5
4
3 A: viiø 4
3
d #: V 65 G b: vii ø B: V d: i a#: VI Db: V A: iii e: V

6
5
4
2
6
5
6
5
4
3
6
5
4
3
B. Chord qualities (root is given)
L7 MM7 Mm7 mm7 Mm7 7 ø L7 MM7
Mm7 7 mm7 L7 ø MM7 mm7 ø7 Mm7
L7 mm7 Mm7 MM7 ø7 Mm7 L7 mm7

NAME ___________________________________________________
Assignment 8.4
I. Writing chords from a lead sheet
“Rich and Rare” (traditional Irish melody), arranged by Joel Phillips
Examine each chord symbol in the following lead sheet. Write the chords on the staff underneath each
measure, using dotted-half, half, and quarter notes, in the correct inversion.

II. Triads and seventh chords from lead-sheet symbols
Write each chord requested in four parts in keyboard style (in quarter notes)—three parts in the right hand
and one part in the left. Include any accidentals needed to make the correct chord quality. If slash notation
is used (e.g., F/A), put the proper chord member in the bass. Check that each seventh-chord member is
present; for triads, double the bass note.
G7 Em7 Fmaj7 G Em Fm/A b Dmaj7 Dm/F
A b7/C Fm7 Gmaj7 E b A Cm B b/D F
A7 Gm7 A bmaj7 C #m7(b5) F # L7 A b7/G b B b7 D # L7
B b7/D Am7 Cmaj7 Em7(b5) AL7 C #7 BL7 F7/A

NAME ___________________________________________________
Assignment 8.5
I. Spelling isolated seventh chords
Fill in the other notes of each seventh chord, adding accidentals as needed to make the correct quality.
Don’t change the given pitch.
A. Each given pitch is the root of a seventh chord.
Mm7 mm7 L7 mm7 ø7 Mm7 L7 mm7
MM7 L7 Mm7 MM7 mm7 Mm7 ø7 mm7

B. Each given pitch is the third of a seventh chord.
mm7 L7 mm7 7 Mm7 L7 mm7 Mm7 ø
ø7 Mm7 L7 mm7 MM7 L7 Mm7 mm7
C. Each given pitch is the fifth of a seventh chord.
L7 mm7 ø7 Mm7 L7 mm7 Mm7 Mm7
D. Each given pitch is the seventh of a seventh chord.
mm7 ø7 Mm7 L7 mm7 Mm7 mm7 L7

II. Analyzing seventh chords in musical contexts
A. John Lennon and Paul McCartney, “You Never Give Me Your Money,” mm. 1–8
Identify the chord quality and inversion of each circled chord.
Chord quality: mm7 Mm7
MM 43 ø7
B. Brahms, “Tageweis von einer schönen Frauen,” from 28 Deutsche Volkslieder, mm. 5–8
Identify each circled chord in the blank underneath, with Roman numerals and figures.
Roman numerals: I7 IV7 vii 7 iii7
vi7 ii7 V7
Translation: My heart is raging for your charms; don’t drive me to despair my lady.

NAME ___________________________________________________
Assignment 8.6
I. Analysis: Chord quality and Roman numerals
A. Identify the chord quality of the circled chords in the blanks below the staff.
Marc Shaiman and Scott Wittman, “Good Morning Baltimore,” from Hairspray, mm. 5–12
(ignore Gs in m. 12)
M6 mm 42
ø7 Mm 65
B. Identify the circled chords using Roman numerals and figures.

Frédéric Chopin, Étude, Op. 10, No. 1, mm. 39–44
C: I7 vii 7
iii7 vi7 ii7 V7 I7

II. Instrumentation and score reading
Listen to the recording of this excerpt, paying attention to the instruments that are playing or doubling the
melody.
Holst, Second Suite in F for Military Band, mvt. 4, mm. 41–44
For each of the following pairs of instruments, circle the interval at which the melody is doubled in mea-
sures 42–44.
A. The piccolo and oboe are doubled in

thirds sixths octaves double octaves
B. The oboe and E b clarinet are doubled in

unison thirds sixths octaves
C. The oboe and 1st B b clarinet are doubled in

D. The flute and 1st B b clarinet are doubled in

E. The oboe and 2nd B b clarinet are doubled in


9 Connecting Intervals in
Note-to-Note Counterpoint
NAME ___________________________________________________
Common Counterpoint Errors Checklist

Keep this page in your notebook or workbook to use for Assignment 9.4 and to check
your work for errors. Your teacher may also identify errors in your part writing with the
letters given here.
Opening:
A. Opening harmonic interval is not PU, P8, or P5.
B. Opening does not establish the tonic harmony.
Closing:
C. Closing harmonic interval is not P8 or PU.
D. There is an incorrect interval approaching the close (must be 6–8, 10–8, or 3–U in
strict style) or a missing leading tone.
E. Leading tone does not resolve to the tonic.
Harmonic intervals:
F. Parallel octaves, or parallel octaves by contrary motion (this also includes P8–PU,
PU–P8, and PU–PU).
G. Parallel fifths, or parallel fifths by contrary motion.
H. Too many parallel imperfect consonances (3 or 6).
I. Too many perfect consonances.
J. Dissonant interval not allowed in strict species.
Soprano or bass line:

K. Melodic line is static: repeats notes or circles around one note.
L. Leap or skip is not set with a step in the other part.
M. Melodic leap not preceded and followed by stepwise contrary motion.
N. Dissonant melodic interval (e.g., leap of m7, M7, d5, A4, or A2).
O. Leap or skip in the upper part into an octave or a fifth (may also create hidden
octaves or fifths).
P. Too little contrary motion.
Q. Counterpoint line lacks a single high (or low) point.
93

Traditional Cantus Firmus Lines
Use these cantus lines for practice in class and as assigned by your teacher for additional
homework for Chapters 9 and 10. Each can serve as the upper or lower part.
Cantus firmus 1 (Fux, adapted)
Cantus firmus 2 (Jeppesen)
Cantus firmus 3 (Schenker)
Cantus firmus 4 (Fux)
Cantus firmus 5 (Kirnberger)
Cantus firmus 6 (Kirnberger)
Cantus firmus 7 (Fux)
Try writing your own cantus firmus, starting on 1̂ and ending with 2̂– 1̂. Make a pleasing
contour, using mostly steps, but also include some skips or one leap for interest and to
make the cantus more challenging for those composing a counterpoint.
See pp. i–iv at end of this chapter for further information and grading tips.

NAME ___________________________________________________
Assignment 9.1
I. Melodic and harmonic intervals in counterpoint
In each of the following completed first-species settings:
œœ Label the harmonic intervals between the staves.
œœ Mark with a bracket any skip or leap in the counterpoint or cantus.
In the chart below the counterpoint:

œœ Indicate where (measure numbers) and in which part each skip and leap appears.
œœ Indicate whether there is a step, skip, leap, or repeated pitch in the other part at that point.
œœ Label the type of motion between parts at that point.
A. Cantus firmus 5 (Kirnberger) in a first-species setting
measures part skip or leap? skip/step/leap in other part? type of motion
1–2 cantus leap step contrary

2–3 cantus skip skip parallel
2–3 cpt skip skip parallel
7–8 cpt skip step contrary
B. Cantus firmus 5 (Kirnberger) in another first-species setting

2–3 cantus skip step contrary
3–4 cantus leap repeated pitch oblique
5–6 cpt skip step contrary
Chapter 9 Connecting Intervals in Note-to-Note Counterpoint 95

C. Cantus firmus 5 (Kirnberger) in a first-species setting

2–3 cantus skip skip parallel
2–3 cpt skip skip parallel
5–6 cpt leap step contrary
7–8 cpt leap step similar
II. Evaluating Counterpoint

Answer the following questions about the three cantus settings provided in part I, or be prepared to discuss
them in class.
A. What challenges are presented by the first half of the cantus? What about the second half? What
considerations are important to keep in mind in setting this cantus?
The first part (notes 1–4) feature skips and leaps; the counterpoint should be as conjunct as possible
through this passage and use contrary-motion steps (or oblique motion) against the skips and leaps.
The second part (notes 4–9) is stepwise and descending. This passage requires some contrary motion
to balance the stepwise descent; skips or a leap may be included to provide interest.
B. Listen carefully to each setting. Name at least two strengths and two weaknesses of each. Which do you
think is the best setting? Explain.
Setting 1 (A) provides steps in contrary motion against the two leaps. The long stepwise descent is
countered with ascending stepwise motion, including a voice exchange (G4–F4–E4 set with E3–F3–G3,
mm. 5–7) that brings in a perfect consonance. The counterpoint is very conjunct throughout—perhaps
too much so—but this is the best overall of the three settings.
Setting 2 (B) employs contrary and oblique motion to set the leaps, but it repeats the tonic (making
don’t provide much contrast with the descending cantus. There are no perfect intervals in the middle
of this setting.
Setting 3 (C) counters the leaps with contrary-motion steps, and sets the skip with a skip. This
setting employs leaps against the stepwise descent, but there are two of them—perhaps too many. It
does include two P8s in the middle and uses a wider range than the others.
C. What are other ways this cantus may be set? Be prepared to discuss other options for setting notes 1–4
and 5–9.

NAME ___________________________________________________
Assignment 9.2
I. Opening a counterpoint
Set each of the following cantus firmus openings (the first four notes) in two different ways. Write in the
harmonic interval numbers, and label any skips or leaps. If you like, use the tables to identify letter names
of the possible consonant intervals. At the beginning of A, for example, the consonances below the first
note C4 are C (8), A (3), F (5), and E (6), shown in the column below that note; since this first note should
be set with an octave, C (bold) has been chosen. You may eliminate other potential intervals as you make
selections, by marking any that would make parallel octaves or fifths; also cross out any d5s.
A. Cantus as upper part
(1) CF5
8 C G E A 8 C G E A
3 A E C F 3 A E C F
5 F C A D 5 F C A D
6 E B G C 6 E B G C
(2) CF6
8 C B C A 8 C B C A
3 A G A F 3 A G A F
5 F E F D 5 F E F D
6 E D E C 6 E D E C

(3) CF7
8 C E F G 8 C E F G
3 A C D E 3 A C D E
5 F A B (d5) C 5 F A B (d5) C
6 E G A B 6 E G A B
B. Cantus as lower part

(1) CF5
6 A E C F 6 A E C F
5 G D B E 5 G D B E
3 E B G C 3 E B G C
8 C G E A 8 C G E A
(2) CF6
6 A G A F 6 A G A F
5
G F G E 5
G F G E
3 E D E C 3 E D E C
8 C B C A 8 C B C A

NAME ___________________________________________________
Assignment 9.3
I. Closing a counterpoint
Set each of the following cantus firmus closings (last four notes) in two different ways. Write in the
harmonic interval numbers, and label any skips or leaps.
A. Cantus as upper part
(1) CF1
8
A F G F 8
A F G F
3 F D E D 3 F D E D
5 D B b C B b 5 D B b C B b
6 C A B b A 6 C A B b A
(2) CF3
8 G E D C 8 G E D C
3 E C B A 3 E C B A
5 C A G F 5 C A G F
6 B G F E 6 B G F E

(3) CF2 (Remember to use the leading tone in the approach to the cadence in minor counterpoint.)
8 D F E D 8 D F E D
3 B D C # B 3 B D C # B
5 G B (d5) A G 5 G B (d5) A G
6 F A G F 6 F A G F
B. Cantus as lower part
(1) CF1
6 F D E D 6 F D E D
5 E C D C 5 E C D C
3 C A B b A 3 C A B b A
8
A F G F 8
A F G F
(2) CF3
6 E C B A 6 E C B A
5 D B A G 5 D B A G
3 B G F E 3 B G F E
8 G E D C 8 G E D C

NAME ___________________________________________________
Assignment 9.4
I. Evaluating strict counterpoint
Identify the errors in the following settings. First write the harmonic intervals between the staves, then
examine the counterpoint. Circle each mistake, list the measures and voice part where the mistake occurs,
then label it in the blank boxes with a letter code from the Errors Checklist on page 93. There may be more
than one mistake in a location.
A. Find seven errors in six locations.
measure(s) error code(s) part (cpt, cf, both) measure(s) error code(s) part (cpt, cf, both)
1 1–2 G both 4 3–5 M CPT

2 2–3 L, M both 5 8–9 L both
3 2–4 M CPT 6 11 C both
B. Find three errors in specific locations and one overall.
measure(s) error code(s) part (cpt, cf, both)
1 2 J both
2 3–4 G both
3 5 J both
Error overall: K

C. Find eight errors in six locations and one overall.
1 1–2 F, L, O both 4 7–8 N CPT

2 4–5 O CPT 5 8–9 E CPT
3 6 J both 6 9 C both
Error overall: I
D. Find three errors in two locations and two overall.
measure(s) error code(s) part (cpt, cf, both)
1 1 A, B both
2 8 D CPT
Errors overall: H, K
E. Find three errors in the opening (three locations), four in the closing (three locations), and one overall.
Both voices are free counterpoint (no cantus); indicate upper or lower part or both.
Opening: Closing:
1 1–2 F both 1 2 J both

2 4–5 L both 2 3 J both
3 5 J both 3 4–5 D, K both
Error overall: I

NAME ___________________________________________________
Assignment 9.5
I. Writing a note-to-note counterpoint
Write a note-to-note counterpoint for each given cantus firmus in strict style, in whole notes. Write the
harmonic interval numbers between the staves, and indicate above the CPT line if the motion between the
parts is contrary (C), similar (S), oblique (O), or parallel (P). If it helps, fill in the table with letter names of
the possible consonant pitches.
A. Above a given line
(1)
6 A E D C B A C B A
5 G D C B A (d5) G B A (d5) G
3 E B A G F E G F E
8 C G F E D C E D C
(2)
6 A B D C D E F E C B A
5
G A C B C D E D B A G
3 E F A G A B C B G F E
8 C D F E F G A G E D C

B. Below a given line
8 C G F E D C E D C
3 A E D C B A C B A
5 F C B A G F A G F
6 E B A G F E G F E

NAME ___________________________________________________
Assignment 9.6
I. Writing a note-to-note counterpoint
Write a note-to-note counterpoint for each of the given cantus firmus lines in strict style, with whole notes.
Write the harmonic interval numbers between the staves, and indicate above the CPT line if the motion
between the parts is contrary (C), similar (S), oblique (O), or parallel (P).
6 D E F D B C D A F D E D
5 C D E C A B (d5) C G E C D C
3 A B C A F G A E C A B A
8 F G A F D E F C A F G F
(1)
8
D F E D G F A G F E D
3 B D C B E D F E D C B
5 G B A G C B D C B A G
6 F A G F B A C B A G F

(2)
8 C D F E F G A G E D C
3 A B D C D E F E C B A
5 F G B (d5) A B (d5) C D C A G F
6 E F A G A B C B G F E
Teachers differ on the value they place on fluent reading of alto and tenor clefs in the first year of
collegiate study. Those who prefer to focus on treble and bass may have students copy out exercise A
for treble and bass (move both parts down one octave). Exercise B (2) can be worked in treble/bass
without transposing.

Melodic and Rhythmic
10 Embellishment in
Two-Voice Composition
NAME ___________________________________________________
Checkpoints for Students and Teachers

When writing second-species (2:1) counterpoint, we suggest two passes to check your work:
1. Check the harmonic intervals first.
œœ The first and last intervals should be either 8 or U. The first can be 5 only if the
counterpoint is above the cantus.
œœ Each cantus note should be paired with a consonance (the first half note in the
measure, falling “on the beat”). A dissonance written on this beat is an error.
œœ If there is an 8 or 5 on the beat, check the first half note in the next measure
for parallel octaves or fifths; also look back at the approach to the 8 or 5, which
should be by step in the upper part (check for hidden fifths or octaves) and not
from another interval of the same size.
œœ The second half note (“offbeat”) of each measure may include a dissonant passing
or neighbor tone. Make sure any 2, 4, 7, or 9 is prepared and resolved as a passing
or neighbor tone, and mark it P or N. An A4 or d5 must be treated as a passing or
neighbor tone, and must resolve to the correct interval.
œœ The offbeat may be another consonance, approached by step, skip, or leap, in
oblique motion with the cantus note. You can leap or skip into octaves or fifths
on the offbeats; octaves or fifths on consecutive offbeats are also acceptable,
unless they draw attention to themselves. If the offbeat note is an 8 or 5, check the
connection to the next beat for parallels.
œœ The unison (U) should only appear at the beginning or end of the counterpoint
(some teachers allow it on the second half of the measure if the voices are close
together).
œœ The close in strict style should be 3–U (10–8) or 6–8, with the parts approaching
the final note in contrary motion by step over the bar line. The next-to-last cantus
note may be set 2:1 or 1:1; the final note is 1:1. Raise b 7̂ in minor to make a leading
tone, and b6̂ if necessary, but only approaching at the close.
2. Examine the contour and melodic intervals of the counterpoint line.
œœ There should be one high or low point, with perhaps a subsidiary high or low point.
œœ If the cantus includes a skip or leap, the counterpoint should balance it, ideally
with steps in the opposite direction.
œœ Any leaps in the counterpoint line should be prepared by an approach contrary to
the direction of the leap, and followed by steps contrary to the direction of the leap.
107

œœ Dissonant melodic intervals (7, d5, A4, A2) are not allowed.
œœ There should be a mix of perfect consonances, imperfect consonances, and
dissonances (treated correctly as passing or neighbor tones). A second-species
exercise must include some dissonant passing or neighbor tones; complete lack of
them is an error!
When writing third-species counterpoint (4:1), check for the following elements:
1. Check the harmonic intervals first.
œœ The first and last intervals should be either 8 or U. The first can be 5 only if the
counterpoint is above the cantus.
œœ Each cantus note should be paired with a consonance (the first quarter note in the
measure, falling “on the beat”). A dissonance written on the downbeat is an error.
œœ There should be some diversity of intervals on the downbeats—ideally no
more than three 3 or three 6 in a row, and at least one 8 or 5 in the middle of
the exercise (two if it is a long cantus) in addition to the opening and closing
intervals—to mix the “sweetness” of the imperfect consonances with the
“hollowness” of the perfect consonances.
œœ If there is an 8 or 5 on the downbeat, check the first quarter note in the next
measure for parallel octaves or fifths; also look back at the approach to the 8 or 5,
which should be by step in the upper part (check for hidden fifths or octaves) and
not from another interval of the same size.
œœ If the third quarter note in a measure is an 8 or 5, check the next downbeat, which
should not be the same interval (creating parallel octaves or fifths).
œœ The intervals 8 or 5 on consecutive offbeats are acceptable unless they draw
attention to themselves, through contour or repetition. The intervals 8 and 5
from the second quarter note to the following downbeat, or from the second,
third, or fourth quarter to any beat other than the downbeat of the next measure,
are acceptable.
œœ The unison should only appear at the beginning or end of the counterpoint (some
teachers, including Fux, allow it on the second, third, or fourth quarter note if the
voices are close together).
œœ The second, third, and fourth notes of each measure may include a dissonant
passing or neighbor tone or may be a consonance. A consonance may be
approached by step, skip, or leap. Make sure any 2, 4, 7, or 9 is prepared and
resolved as a passing or neighbor tone, and mark it P or N.
œœ An A4 or d5 must be treated as a passing or neighbor tone, and must resolve
to the correct interval. In third species, these intervals normally appear on the
final quarter note of the measure so as to resolve immediately. To identify places
to include them, look for scale degrees 4̂–3̂ or 7̂– 1̂ in the cantus (without both
together the resolution is not possible).
œœ The closing intervals should be 3–U (10–8) or 6–8, with the parts approaching the
final note in contrary motion by step over the bar line. Raise b6̂ and b 7̂ in minor
only when approaching 1̂ at the close.
2. Examine the contour and melodic intervals of the counterpoint line.
œœ Examine the melody in units of five quarter notes (downbeat to the downbeat of
the following measure) for local continuity. Each five-note unit should make a
pleasing contour, with a melodic step crossing the bar line. Avoid repeating the
same melodic shape in consecutive measures.

NAME ___________________________________________________
œœ Avoid a static line—circling around a few pitches or repeating a pitch more than
three times in a span of two measures—by using a wider range than in second
species. Do not immediately repeat any notes, whether within the bar or across
the bar line.
œœ The counterpoint may span up to an octave and a fifth in overall range, but do not
move more than an octave in one direction without a change of direction.
œœ Leaps and skips in the counterpoint line should be placed within the measure
(not over the bar line). Leaps are prepared by an approach contrary to the
direction of the leap and followed by steps contrary to the direction of the leap.
Skips normally involve a change of direction as well and should not follow a series
of steps in the same direction.
œœ Dissonant melodic intervals (7, d5, A4, A2) are not allowed.
œœ There should be one high or low point, with a subsidiary high or low point. The
contour of an upper counterpoint should be like mountains in the distance. A
lower counterpoint should be like the mountains reflected in a lake.
œœ A well-crafted third-species counterpoint creates the feeling of soaring—like a
raptor floating on the thermals, swooping downward, then soaring upward. This
effect is made from primarily stepwise motion enlivened by judiciously placed
skips and employment of a properly placed and prepared leap. Counterpoint
melodies that are too conservative—occupying a narrow range or exclusively
stepwise—will not soar.
When writing fourth-species counterpoint, check for the following elements:
œœ The first and last intervals should be either 8 or U. The counterpoint can begin
with 5 if it is above the cantus.
œœ The counterpoint begins with a half rest, followed by a half note (preferably
tied over the bar line), and ends with a whole note. The second half note in the
penultimate measure is not tied over.
œœ If the counterpoint is below the cantus, the last two measures will end with a 2–3
suspension to an 8 or U; if the counterpoint is above the cantus, it will close with
a 7–6 suspension to 8. Because the closing suspension must be prepared, the last
two and a half measures will be 1̂ tied over and then resolved to 7̂, followed by 1̂.
œœ The second half note in each measure (on the offbeat) should be tied over to the
same note on the downbeat of the following measure wherever possible.
œœ Where possible, the tied-over note should create a dissonant suspension, prepared
by a consonance on the offbeat of the previous measure, and resolving down by
step on the offbeat.
œœ When you break species, the second half note is not tied over to the following
downbeat. The resulting half notes follow the guidelines for second-species
counterpoint.
œœ Acceptable dissonant suspensions are 4–3, 7–6, and 9–8 when the counterpoint is in
the upper voice, and 2–3 when the counterpoint is in the lower part. The consonant
suspensions 5–6 and 6–5 may be used when the counterpoint is in either voice.
œœ The only suspensions that may be used in a chain are 7–6 and 4–3 in the upper
part, and 2–3 in the lower. Chains should be broken, either by a change in the
suspension type or by breaking species, to avoid more than three repetitions of
the same intervallic pattern.
Chapter 10 Melodic and Rhythmic Embellishment in Two-Voice Composition 109

œœ The suspensions 9–8 and 6–5 may not be used in chains, as this creates the sound
of parallel octaves or fifths.
œœ If it is not possible to create a dissonant suspension, a consonant note on the
offbeat may be tied across the bar to form a consonant interval with the following
cantus note. When consonance is tied across to consonance, there is no need for
resolution on the offbeat downward or by step; instead the counterpoint may step,
skip, or leap upward or downward to prepare the next suspension.
œœ Contour is less of a concern in fourth species (counterpoints tend to move
downward), but be careful to avoid excessive use of any one note and to keep the
counterpoint and cantus lines from crossing or overlapping. It will occasionally
be necessary to leap or skip upward within a bar (from one consonant interval to
another) to allow the counterpoint room to continue to descend.
œœ Breaking species should be reserved for the following situations:
(a) when dissonant suspensions are not available and there is no consonance that
can be tied over;
(b) to reestablish the proper distance between the parts when they are about to
cross or to make a more interesting line;
(c) to break off a chain of suspensions;
(d) to prevent counterpoint errors and to solve difficult places in the cantus.

NAME ___________________________________________________
Assignment 10.1
I. Writing 2:1 counterpoint openings
Write a 2:1 counterpoint opening for each given cantus firmus line in strict style. Start with either a half
rest and a half note or two half notes in measure 1, then continue with two half notes for each remaining
measure. Include passing tones, neighbor tones, and consonant skips, and write the harmonic interval
numbers between the staves. Circle the interval number for any harmonic dissonance, and check that it
forms a correct P or N.

II. Writing 2:1 counterpoint closings
Write a 2:1 counterpoint closing for each given cantus firmus in strict style, two half notes per each whole
note except for the last (and possibly penultimate) measure. Use passing tones, neighbor tones, and
consonant skips, and write the harmonic interval numbers between the staves. Circle the number for any
harmonic dissonance, and check that it forms a correct P or N.

NAME ___________________________________________________
Assignment 10.2
I. Writing a 2:1 counterpoint
Write a 2:1 counterpoint for each given cantus firmus in strict style, using two half notes for each cantus
whole note. Include passing tones, neighbor tones, and consonant skips, and write the harmonic interval
numbers between the staves. Circle the number for each harmonic dissonance.


NAME ___________________________________________________
Assignment 10.3
Write a 2:1 counterpoint in strict style for each given cantus firmus, as for Assignment 10.2.
A. Below a given line

B. Above a given line

NAME ___________________________________________________
Assignment 10.4
Write a 4:1 counterpoint for each given cantus firmus in strict style, using four quarter notes for each
cantus whole note, starting either with a quarter rest followed by three quarter notes or a full measure
of quarter notes in the counterpoint. Include passing tones, neighbor tones, and consonant skips, and
write the harmonic interval numbers between the staves. You may include a cambiata or double neighbor
pattern; if so, bracket and label it (both patterns extend a whole measure plus the next downbeat). Circle
the number for each harmonic dissonance, and label it as passing (P) or neighboring (N).
A. Below a given line.

B. Above a given line.

NAME ___________________________________________________
Assignment 10.5
I. Suspensions in note-to-note counterpoint
For each note-to-note framework, make a dissonant suspension as shown. Between the staves, write the
interval numbers for both the framework and your suspension. Above the staff, label the three parts of the
suspension: preparation (prep), dissonant suspension (S), and resolution (res). Include at least one bass
suspension.

II. Writing chains of suspensions
Use rhythmic displacement to make chains of suspensions from the given parallel thirds or sixths. In (d)
and (e), write your own suspension chains, using a different type of suspension in each. Play your chains at
a keyboard, or sing or play them as a duet with a partner.

NAME ___________________________________________________
Assignment 10.6
I. Writing fourth-species counterpoint
Write a fourth-species counterpoint in strict style for each given cantus firmus with two half notes tied over
the bar line for each whole note. Write the harmonic interval numbers between the staves, and circle the
number for any harmonic dissonance.


NAME ___________________________________________________
Assignment 10.7
I. Writing fourth-species counterpoint
Write a fourth-species counterpoint in strict style for each given cantus firmus, as in Assignment 10.6.
A. Below a given line

B. Above a given line

NAME ___________________________________________________
Assignment 10.8
Evaluating second, third, and fifth species
A. Shown are two examples of second-species counterpoint by Jeppesen. Write in the harmonic interval
numbers between the staves. Circle each dissonance, and identify as a passing tone (P) or neighbor tone (N).
B. In this example of third-species counterpoint by Fux, write the harmonic interval numbers between the
staves. Circle each dissonance, and identify as P or N.

C. In these examples of fifth-species counterpoint, write the harmonic intervals between the staves. Circle
each dissonance, and identify as a passing tone (P), neighbor tone (N), suspension (sus), or combination.

II
PART
Diatonic Harmony
and Tonicization

11 From Species to Chorale Style:
Soprano and Bass Lines
NAME ___________________________________________________
Assignment 11.1
I. Chorale melody settings
Here are the soprano and bass parts for four settings by J. S. Bach of the first phrase of an anonymous
chorale melody (composed in 1539), each set to a different text. Write the scale degrees for the melody
above the first setting (A), then sing or play each of these. Label the harmonic intervals between the staves,
circling any that are dissoant, then examine the counterpoint. In the blanks above the staff, mark the type
of motion from beat to beat: contrary (C), oblique (O), similar (S), or parallel (P). Circle and label any
dissonant passing (P) or neighbor (N) tones.
As your teacher assigns: Write a paragraph summarizing the similarities and differences in these
settings, or be prepared to compare them in class discussion.
A. Chorale No. 50, from St. Matthew Passion (“O Welt, B. Chorale No. 275 (“O Welt, ich muß dich lassen”;
sieh hier dein Leben”; “O World, Behold Your “O World, I Must Leave You”)
Life”)
C.
Chorale No. 289 (“Nun ruhen alle Wälder”; D. Chorale No. 355, from Cantata No. 44 (“In allen
“Now All the Woods Are Peaceful”) meinen Taten”; “In All My Actions”)
129

II. Resolving chordal dissonances
For each pair of intervals:
1. Write scale-degree numbers for each note in the specified key.
2. Identify each dissonant interval (d5, A4, or 7).
3. Add notes to resolve the dissonance correctly:
d5 3: both voices move in by step.
A4 6: both voices move out by step.
7 3: the lower voice skips up a P4 or down a P5; the upper voice moves down by step.
4. Identify the scale degree of the notes you added in step 3.
5. Write Roman numerals and figures underneath (V7, V 65 , V 42 ; I, I6, i, or i6) for each implied chord.
___ ___ ___ ___ ___ ___ ___ ___
___ ___ ___ ___ ___ ___ ___ ___
___ ___ ___ ___ ___ ___ ___ ___
130 Part II Diatonic Harmony and Tonicization

NAME ___________________________________________________
Assignment 11.2
I. Opening patterns in eighteenth-century style note-to-note counterpoint
For each pattern:
1. Write scale-degree numbers for each given note in the specified key.
2. Add a note to complete the pair of intervals. In minor, add an accidental for the leading tone.
3. Label both intervals, circling dissonant intervals, and write the new note’s scale-degree number.
4. Label each chord with Roman numerals and figures, selecting from I, i, I6, i6, V, V6, V7, V 65 , and V 43 .
Answers will vary depending on the note given to complete the pair.
A. Without an anacrusis
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
B. With an anacrusis
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
Chapter 11 From Species to Chorale Style: Soprano and Bass Lines 131

II. Closing patterns in eighteenth-century style note-to-note counterpoint
Follow the instructions for part I.
A. Conclusive closes
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
B. Less conclusive closes
___ ___ ___ ___ ___ ___ ___ ___ ___ ___

NAME ___________________________________________________
Assignment 11.3
Writing a note-to-note counterpoint in eighteenth-century style
A. Above a given bass line
1. Examine the bass line to identify the key and mode, then determine which chords (selecting from
I, i, I6, i6, V, V6, V7, V 65 , and V 43 ) are implied at the beginning and end, and write those Roman
numerals in the blanks.
2. Write the opening and closing counterpoint, then provide one soprano note for each of the other
bass notes.
3. You may use chordal dissonances (d5, A4, m7) if they can be resolved correctly; approach these
intervals by common tone or step.
4. Label the harmonic intervals between the staves, and circle chordal dissonances.
(1)
(2)
(3)

B. Below a given chorale melody
1. Identify the key, and determine which chords (selecting from I, i, I6, i6, V, V6, V7, V 65 , and V 43 ) are
implied at the beginning and end, as for part A.
2. Write the opening and closing counterpoint, then provide one bass note per quarter-note beat.
3. You may use chordal dissonances (d5, A4, m7) if they can be resolved correctly; approach these
intervals by common tone or step.
4. Label the harmonic intervals between the staves, and circle chordal dissonances.
(1) “Ich muss meine Abendswerk tun” (“I Must Perform My Evening’s Work”)
(2) “Heut ist, o Mensch, ein grosser Trauentag” (“Today Is, O Man, a Day of Great Sadness”)
(3) “In allen meinen Taten” (“In All My Actions”)

NAME ___________________________________________________
Assignment 11.4
I. Analysis of 2:1 counterpoint in eighteenth-century style
Circle each embellishing tone in each measure, and label as P (passing), N (neighbor), or CS (consonant or
chordal skip). Indicate the key and mode for each example, and label the implied harmonies (dominant or
tonic only) with Roman numerals and figures.
II. Analysis of suspensions

Circle and label each suspension, and indicate its type (e.g., 4–3). Also label the preparation (prep) and
resolution (res). Indicate the key and mode for each example, and label the implied harmonies (dominant
or tonic only) with Roman numerals and figures.

III. Analyzing suspensions in musical contexts
Listen to the opening of this aria, then label the intervals between the soprano and bass lines. For each
suspension, write 4–3, 2–3, or 7–6 between the staves and “sus” above the staff.
Handel, “Rejoice greatly”
A. Mm. 7–8
B. Mm. 20–22
C. Mm. 34–35

NAME ___________________________________________________
Assignment 11.5
I. Analysis of chorale-style counterpoint
Given are four settings of the opening phrase of the tune “Nun danket alle Gott” (“Now Thank We All Our
God”), a chorale melody composed by Johann Crüger (1648): two settings are by J. S. Bach, one is by Felix
Mendelssohn (1840), and one is by the authors.
Write the scale degrees for the melody above the first setting, then sing or play each one. Label the
harmonic intervals between the staves, and examine the counterpoint. In the blanks below the staff,
identify any implied I or V chords, and indicate inversions. Circle and label any dissonant passing or
neighbor tones.
As your teacher assigns: Write a paragraph summarizing the similarities and differences in these
settings, or be prepared to compare them in class discussion.
A. Bach, Chorale No. 32
B. Bach, Chorale No. 330
C. Mendelssohn, from Episcopal Hymnal 1940
D. Clendinning and Marvin

II. Writing chorale-style counterpoint from a given bass line
Write a chorale-style counterpoint for each given line. Combine note-to-note and 2:1 patterns, using 2:1
where possible; you may include suspensions, but don’t change the given line. Write the harmonic interval
numbers between the staves, circle any dissonant intervals, and label any passing tones, neighbor tones, or
suspensions. Identify the key and mode, and write Roman numerals and figures for the opening and closing
chords in the blanks, using only I and V(7).
A.
B.
C.

NAME ___________________________________________________
Assignment 11.6
I. Writing chorale-style counterpoint from a chorale melody
Write a chorale-style counterpoint for each given line. Combine note-to-note and 2:1 patterns, using 2:1
where possible; you may include suspensions, but don’t change the given line. Write the harmonic interval
numbers between the staves, circle any dissonant intervals, and label any passing tones, neighbor tones, or
suspensions. Identify the key and mode, and write Roman numerals and figures for the opening and closing
chords in the blanks, using only I and V(7) and their inversions. Write scale-degree numbers above each
melody.
A. “Nun danket,” mm. 1–4
B. “Heut ist, o Mensch, ein grosser Trauentag,” mm. 1–3
C. “In allen meinen Taten,” mm. 1–2

II. Bach, Chorale No. 168, mm. 4–6 (adapted)
This chorale melody by Matthäus Apelles von Löwenstern (1633) is known as “Heut ist, o Mensch, ein
grosser Trauertag.” From Bach’s four-part setting, pairs of voices have been isolated in A–C. Consider each
pair a two-part counterpoint: write the harmonic interval numbers below the staff (A) or between the
staves (B and C), circle any dissonant intervals, and label any passing tones, neighbor tones, or suspensions.
(Hint: Watch out for rearticulated suspensions.) For B and C, provide Roman numerals in the blanks.
When there is a chordal skip in the bass, calculate the inversion from the lowest bass note. Then compare
these two-part counterpoints to the four-voice setting in D, and circle and label any dissonance not found
in A–C.
A. Soprano and alto
This is a chain of 5 rearticulated 2–3 suspensions.
B. Soprano and bass
C. Alto and bass
*Parallel fourths caused by a passing tone in the bass.
D. Full chorale setting

12 The Basic Phrase
in SATB Style
NAME ___________________________________________________
Assignment 12.1
I. Analyzing cadence types
Identify the key of each excerpt, and write Roman numerals for the two chords that end each phrase. Circle
the abbreviation that represents the cadence type. If cadence is IAC, circle “strong” or “contrapuntal.”
A. Bach, “O Haupt voll Blut und Wunden,” mm. 11–12
B. Schubert, “Der Lindenbaum,” mm. 29–32
141

C. Bach, “Aus meines Herzens Grunde,” mm. 1–4
II. SATB doubling in triads

Write the triads requested in four parts (SATB), using half notes and adding any accidentals needed to
make the correct chord quality. Carefully check the stem direction, voice range, doubling, and spacing.
A. Root position
E b major F minor A b major D minor G major A major G minor B major
B. First inversion
C minor E major C# diminished B b major B diminished G # minor F major D diminished
C. Second inversion
C major E minor D major F # minor A major B b major G b major A minor

NAME ___________________________________________________
Assignment 12.2
I. Error detection in chord spacing
Write the root, quality, and inversion ( 35 , 63 , or 46 ) for each SATB chord. Then choose from the following
list the type of error that applies to the chord, and write the letter in the blank. Rewrite the chord in the
measure to the right, with the error corrected.
A. Incorrect doubling
B. Spacing more than an octave between soprano and alto
C. Spacing more than an octave between alto and tenor
D. Voice part out of suggested range
E. Crossed voices
F. Incorrect chord spelling
Root:
A C
_____ _____ D E B b
_____ _____ _____
maj min
Quality: _____ _____
min min maj
_____ _____ _____
5 6 5 6 6
Inversion: _____ _____
3 4 3 3 3
_____ _____ _____
Error: C A
_____ _____ D E A or F
_____ _____ _____
Root: F D
_____ _____ E G D
_____ _____ _____
min maj
Quality: _____ _____
dim min ?
_____ _____ _____
6 5 6 5 5
Inversion: _____ _____
4 3 3 3 3
_____ _____ _____
Error: C D
_____ _____ C E A or F
_____ _____ _____
Chapter 12 The Basic Phrase in SATB Style 143

II. Analyzing basic phrases
For each basic phrase given, label the key and provide a Roman numeral analysis. Circle the correct label
for each cadence. Finally, complete a contextual analysis (T–D–T) that shows the positions of the tonic and
dominant areas in each phrase.
A. Friedrich Kuhlau, Sonatina, Op. 55, No. 1, mvt. 1, mm. 1–4
B. Jeremiah Clarke, Trumpet Voluntary, mm. 49–52
C. Johann Kuhnau, Biblical Sonata No. 1, “The Fight between David and Goliath,” closing section, mvt. 2,
mm. 1–8

NAME ___________________________________________________
Assignment 12.3
I. Scale-degree triads in inversion
For each of the Roman numerals in the keys indicated, notate the triads in quarter notes on the grand staff, in
the specified inversion. Use proper SATB voicing, stem direction, doubling, and spacing. In minor keys, use
the leading tone to spell the chords built on 5̂ and 7̂.
G: I6 IV6 V 46 ii6 vi6 I 46 viiL6
E b : I vi6 IV ii6 V V6 vi ii
f # : iv6 i 46 V6 viiL6 iv 46 iiL6 i6
a: i 46 viiL6 VI6 iv 46 V6 iiL6 i6

II. Analyzing SATB voicing and spacing
(1) Listen to the following piece, or sing it with your class. (2) Write the chords in root position on the
staff below the example, and label each chord and quality in the blanks (maj, min, Mm7, etc). Disregard
the circled pitches. (3) Evaluate the spacing; write an asterisk (*) above any chord that diverges from the
doubling guidelines, and be prepared to discuss in class. (4) Circle any spots where voices cross.
William Billings, “Chester,” mm. 1–12
Root:
C ___ ___
___ A G ___
C F C A
___ ___ ___ G
___ C
___ C F ___
___ ___ C
Quality: maj
___ min maj
___ ___ maj
___ maj maj min
___ ___ ___ maj
___ maj
___ maj MM7 maj
___ ___ ___
Root:
D A G F#
___ ___ ___ ___ G
___ C
___ F D
___ ___ C D
___ G
___ ___ C D
___ G
___ ___ C
___
Quality: m
in min maj dim
___ ___ ___ ___ maj
___ maj
___ maj min
___ ___ maj
___ min maj
___ ___ maj
___ min maj
___ ___ maj
___
Doublings: (a), (c), and (f) show unusual doublings to create parallel thirds between voices; (b) shows
a change of voicing/position within a single harmony for variety; (d) and (e) feature unusual doubling to
keep a smooth line in individual voices. In mm. 9–10, the crossed voices are possibly intended to create
more interesting tenor and bass melodic lines. Students may also note parallel fifths between soprano
and tenor.

NAME ___________________________________________________
Assignment 12.4
I. Writing triads from figured bass
Write the triad indicated above each given bass note. Use half notes, in SATB style, making sure the stem
direction is correct. In the blank, write the Roman numeral and inversion symbol for each chord in the key
indicated.
A. SATB spacing and voicing
B. Keyboard spacing and voicing (three notes in the right hand and one in the left)

II. Writing cadences with I and V
Write the following cadences in SATB voicing, with half notes. Provide the appropriate key signatures, and
add accidentals as needed in minor keys. Keep a common tone between chords. Draw arrows to show the
upward resolution of leading tones.
A. Write a PAC.
V I E: V I f #: V i B b : V
D: I
B. Write a strong IAC (root-position triads).
C: V I b: V i F: V I A b : V I
C. Write a HC.
F: I6 V A: I V c: i6 V f #: i V
D. Write an authentic cadence (PAC or IAC) of your choice. Circle the appropriate label.
E b : V I c #: V i f: V i g #: V i
PAC IAC PAC IAC PAC IAC PAC IAC

NAME ___________________________________________________
Assignment 12.5
I. Writing basic phrases
Write the following progressions in SATB voicing in the meter indicated, one chord per measure. Provide
the appropriate key signatures, and add a contextual analysis beneath the Roman numerals. Where a chord
is repeated, change the spacing. Finally, label the cadence type.

II. Keyboard settings
Below the empty staves are Roman numerals for the progressions you wrote in part I, exercises B and E.
On the first staff, write a keyboard setting with arpeggiation, Alberti bass, or another figuration shown in
the chapter; follow the voice-leading from your SATB part-writing. On the second staff, convert the major
setting into the parallel minor by changing the key signature and adding appropriate accidentals (without
changing the part-writing or figuration).
A.
(1) Keyboard setting of I B
(2) Minor setting of I B
B.
(1) Keyboard setting of I E
(2) Minor setting of I E

NAME ___________________________________________________
Assignment 12.6
I. Folk melody harmonization
Sing each melody on scale degrees or solfège, or play it on an instrument. Use the scale degrees (and your
ears) to harmonize each measure: pick either I or V. You may wish to play the bass and melody at the
keyboard. For melody B, use the leading tone for a major V chord, and harmonize measure 6 with i (instead
of minor v). Circled notes are embellishing tones, which may be ignored in choosing harmonies.
A. “Hush, Little Baby,” mm. 1–8
Key: F
I
___ ___ I V
___ ___ V
___
V
___ V ___
___ I I ___
B. “Peter Gray,” mm. 1–8
Key:
c
___ i V i i
___ ___ ___ ___
i ___
___ i V
___ i
___
C. “The More We Get Together,” mm. 1–8
Key:
___ F I
___ I
___ V
___ I
___
I ___
___ I V ___ I
___

D. Waltz tune, mm. 1–8
E b I
Key: ___ ___ I6 I
___ ___ V
___

V I V
___ ___ ___ I
___
II. Writing in freer textures

Write a keyboard accompaniment to one of the melodies in part I. Write the melody on the top staff, and
align the accompaniment on the grand staff below it.

Dominant Sevenths, the
13 Predominant Area, and

Chorale Harmonization
NAME ___________________________________________________
Assignment 13.1
I. Writing root-position V7–I and V7–i from soprano-bass pairs
in SATB style
For each two-chord progression, provide a key signature and write the inner voices in quarter notes. If a
harmony is marked with an asterisk, write an incomplete chord. Use the leading tone in minor. Label the
leading tone (LT) and chordal seventh (7), and draw arrows to show the resolution of the leading tone up
and the chordal seventh down. In the blanks below each example, write “I” or “C” to designate which chords
are incomplete and complete.
g: V7 i A: V7 I B: V7 I f: V7 i c: V7 i
* * * * *

I C ___
___ ___ C I
___ I C
___ ___ C I
___ ___ I C
___ ___
D b: V7 I f #: V7 i G: V7 I d: V7 i b: V7 i
* * * * *

I C ___ ___
___ ___ C I ___ ___
I C ___ ___
C I ___ ___
I C
153
CH13_MGTA3_SWB_26462_153_164 page 153 7 January 2016 11:16 PM Third Pages

II. Analysis
Write the key and provide Roman numerals below the staff, disregarding any circled embellishing tones;
assume a harmonic rhythm of one chord every one or two measures. Write a contextual analysis below the
Roman numerals, assuming two four-bar phrases in each example; label all cadences.
A. Mozart, “In quegli anni” (“In Those Years”), from The Marriage of Figaro, Act 4, No. 2, mm. 42–49
B b: I V7 I I
T D T T
PAC
V7 I
D T
PAC
Translation: While I silently gaze at that gift.
B. Schubert, Dance, Op. 9, No. 23, mm. 1–8
B: I V7 I I V7 I
T D T T D T
PAC PAC

NAME ___________________________________________________
Assignment 13.2
I. Error detection
In each cadence pattern, locate three voice-leading errors, and mark them on the score. In the blank
underneath, write the number of each error type found in that measure.
1. missing/incorrect chord tone 3. unresolved chordal 7th 5. unresolved leading tone
2. parallel fifths or octaves 4. doubled leading tone 6. incorrect Roman numeral or figure
1, 2, 3
_____________ 1, 2, 3, 4
_____________ 1, 5, 6 1, 3, 6
_____________ _____________
II. Resolving V7 and its inversions

Write the following progressions in SATB voicing, with half notes. Provide the appropriate key signatures,
and add accidentals as needed. Draw arrows to show the resolution of leading tones up and chordal
sevenths down. For root-position V7–I, make one chord incomplete.
D: V7 I E b: V 65 I A: V 43 I e: V 42 i6 c: V 65 i
g: V7 i B: V 42 I6 c #: V 43 i6 D b: V 65 I f: V 42 i6
Chapter 13 Dominant Sevenths, the Predominant Area, and Chorale Harmonization 155

III. Figured bass
A. Part-write the following figured-bass progressions in quarter notes. In the blanks, write the key and a
Roman numeral analysis.
A: I 6 V 43 I g: i V 42 i6 f: i 6 V7 i
____ ____ ____ ____ ____ ____ ____ ____ ____
B. Analysis: Antonio Vivaldi, Gloria, sixth movement, mm. 7–11
Realize the figured bass given to accompany the soprano solo. Use keyboard spacing: a three-note chord
in the right hand for each dotted-quarter beat. When a triad is repeated, you may change the right-hand
voicing to create musical interest. (Don’t worry about parallel unisons or octaves with the voice, if you
temporarily double that part.) Write the key, Roman numerals, and cadence type below the staff. Then
provide a contextual analysis for the phrase beginning in measure 9.
Translation: Lord God, heavenly king.

NAME ___________________________________________________
Assignment 13.3
I. Three-chord progressions in SATB style
For each progression, provide a key signature and part-write in quarter notes. Use the leading tone in
minor. Where V appears between two tonic chords, write parallel tenths between the soprano and bass.
B b: I V 43 I6 e: i V 42 i6 c: i V 43 i6 E: I6 V 43 I
II. Writing basic phrases

Write the following progressions in SATB voicing in the meter indicated. (Bar lines are indicated with
the Roman numerals.) Provide the appropriate key signatures, and add accidentals as needed. Write a
contextual analysis beneath the Roman numerals.
B: V6 I V7 I g: i V 43 i6 i V i
T D T T D T
D b: V6 I I6 V8 ––––– 7 I c #: i V 65 i V7 i
T D T T D T

III. Analysis
For each excerpt, write the key and provide Roman numerals below the staff, disregarding any circled
embellishing tones. Each excerpt consists of two phrases; label each cadence. Below the Roman numerals,
provide a contextual analysis.
A. Schubert, Waltz in B Minor, Op. 18, No. 6, mm. 1–8
b: i V7 i V7 i V7 i V7 i
T D T D T
Cadence: HC Cadence: PAC
B. Schubert, “Morgengruss,” from Die schöne Müllerin, mm. 1–10
C: I V 43 I6 ii 65 V I I
T PD D T T
Cadence: IAC (strong)
V 43 I6 ii6 V7 (I 46 ) V
(T) PD D
Cadence: HC
Teacher note: We will return to the use of a 64 to expand the dominant area in Chapter 14. For now,
student can simply label the sonority based on the chord members and inversion.

NAME ___________________________________________________
Assignment 13.4
I. Connecting predominant and dominant harmonies
Write the following progressions in SATB voicing with half notes. Provide the appropriate key signatures,
and add accidentals as needed.
D: IV V b: iv V G b: ii6 V E: IV V
f #: iiL6 V f: iiL6 V A b: IV V F: ii6 V
II. Writing predominant and dominant harmonies in short phrases

Write the following phrases from Roman numerals and melody in SATB voicing. In the blank under each
measure, label the cadence type (HC, PAC, IAC).
B b: I6 ii 65 V I B b: i i6 ii 65 V g: i6 iv V7 i g: i ii ø V
6
5 i
Cadence type: PAC HC IAC PAC

III. Analysis
Write the key, and provide Roman numerals in the blanks below the staff; these should indicate a harmonic
rhythm of one or two chords per measure. When a single harmony spans more than one bass note, choose
the lowest note to calculate the position/inversion. Write a contextual analysis below the Roman numerals,
and label any cadence types.
A. Beethoven, Piano Sonata, Op. 2, No. 3, mvt. 1, mm. 1–8
C: I
____ V
____ V7
____ I
____ I V7
____ ____
T
I V7
____ I ii
____ 7 V I
____ ____ ____
PD D T IAC
B. Haydn, String Quartet, Op. 20, No. 5, mvt. 1, mm. 1–5
f: i
____ V 65 i
____ ____
T
ii
6 V7 i
____ ____ ____
PD D T PAC

NAME ___________________________________________________
Assignment 13.5
I. Writing basic phrases with predominants
Write the following progressions in SATB voicing in the meter indicated. In minor, raise b 7̂ to make a
leading tone. Provide a contextual analysis below the Roman numerals.
E: I I6 IV V8 7 I g: i iv6 iv V i
T PD D T T PD D T
f #: i ii 65 V ø i D b: I I6 ii6 V I
T PD D T T PD D T
A b: I V 43 I6 IV V I d: i i6 i ii 65 V i ø
T PD D T T PD D T

II. Analysis: Chopin, Mazurka, Op. 33, No. 2, mm. 1–16
Provide Roman numerals in the blanks below the staff, disregarding any passing or neighbor tones.
Indicate the entrance of a chordal seventh off the beat by the figures 8–7 where appropriate. Write a
contextual analysis below the Roman numerals, and label each cadence.
______ 7
D: ____
I V7 I
____ ____ V8
____
T
I
____ ii6 V
____ 7
____ I I
____ ____ V7
____
PD D T PAC T
____
I
____ V8 7 I
____ ____ ii6 V
____ 7 I
____ ____
PD D T PAC
Students may identify cadences as IAC, since the approach to the tonic is by leap.
This excerpt could be analyzed as four four-measure phrases or two eight-measure phrases; what would
be the cadence labels for each phrase? What factors support each interpretation? How might a performer
make the phrases clear?
The essential point here is the choice of whether or not to read a half cadence at mm. 4 and 12; there
are PACs in 8 and 16. Some analysts may prefer eight-measure phrases because the seventh of the
V7 enters on beat 3 in mm. 4 and 12, connecting it to the next measure. Performers may choose either
analysis, using musical timing either to push ahead or to linger briefly on the half cadence.

NAME ___________________________________________________
Assignment 13.6
I. Analysis
Write the key, and provide a Roman numeral and contextual analysis for each chorale phrase, ignoring any
circled embellishing tones. Indicate the entrance of a chordal seventh off the beat by the figures 8–7 where
appropriate. Label each cadence type. For class discussion: How does the placement of the embellishments
and the choice of inversions add to the interest of each harmonization?
A. Bach, “Lass, o Herr, dein Ohr sich neigen” (“Incline Your Ear, O Lord,” Chorale No. 218), mm. 1–3
g: i i6 V i6 (i) V 65 i ii 65 V8 7 i ø __
T PD D T PAC
B. Bach, “Lobt Gott, ihr Christen allzugleich” (“Praise God, Christians, All Together,” Chorale No. 342),
mm. 1–2
_ _
A: I V6 V8 7 I I6 (I) IV V8 7 I
T PD D T PAC
II. Chorale melody harmonization

Harmonize each melody in SATB style, following phrase-model progressions. Remember to consider the
counterpoint between the soprano and bass, while also evaluating the harmonies supplied by the melody.
Use only triads and sevenths studied thus far (I, ii, IV, V and their inversions), in primarily quarter-note
rhythm. Write a predominant harmony at the positions marked by an asterisk. Write the key, Roman
numerals, and cadence type below each staff. Answers will vary.
A. Bach, “O Haupt voll Blut und Wunden,” phrase 6, mm. 11–12
The melody’s leap to A4 makes it

difficult to avoid direct octaves.
Allow your students to harmonize
with a root-position V, but discuss
the issue in class.
D: I V 65 I ii6 V I
Cadence: IAC (strong)

B. Bach, “Liebster Jesu” (“Blessed Jesus,” Chorale No. 131), phrases 1 and 2, mm. 1–5
5
G: I 6 V 6 I 6 V I 6 3 V I ii 65 V I
Cadence: HC Cadence: PAC
C. Bach, “Herz liebster Jesu, was hast du verbrochen” (“Dearest Jesus, What Have You Done,”
Chorale No. 111), phrase 1, mm. 1–3
_____ i6 V i
_____ iv6 V
a: i i i6 V
Cadence: HC
D. Bach, “Christus, der ist mein Leben” (“Christ, Who Is My Life,” Chorale No. 6), phrase 1, mm. 1–4
F: I I V6 I IV6 V I IV V V 65 I V I
Cadence: IAC Cadence: IAC

14 Expanding the Basic Phrase
NAME ___________________________________________________
Assignment 14.1
6
I. Writing cadential 4s from Roman numerals
A. Write the following cadence patterns in SATB voicing, with quarter and half notes in the meter
indicated. Add accidentals as needed. Circle the cadence type: HC, IAC, or PAC.
8 7
6 5
4 3
B. Write the following longer progressions in SATB voicing, with rhythms appropriate to the meter
indicated. Add accidentals as needed, and a contextual analysis beneath.
8 7
6 5
4 3
165

II. Brief analysis
Identify the key of each excerpt, and provide a Roman numeral and contextual analysis. Disregard any
circled notes.
œœ Where a triad is arpeggiated, choose the lowest note to determine its inversion.
œœ Where the tonic area is expanded by V, draw a horizontal line after the “T.”
œœ Circle the correct cadence type.
A. Hensel, “Neue Liebe, neues Leben,” mm. 52–56
8 –––––– 7
g: i
___ V 43 i
___ ___ V 43 i
___ ___ ___
6 –––––– 5
iv _V______
4 –––––– 3 i
___
T PD D T
HC IAC PAC
Translation: [The sweet, mischievous] maiden holds me so tightly against my will.
B. Mozart, Piano Sonata, K. 570, mvt. 3, mm. 1–4
b: I V 43 I 4 6 –– 5
B ____ ____ ___________ V6 I V___________ __________ __________
____ ____ 3 I6 V6 I ii
______ 6 V 4
__ –– 3
______
T PD D
HC IAC PAC
C. Schubert, Sonata for Violin and Piano, Op. 137, No. 3, mvt. 2, mm. 1–4
E
b: I V7 I I
_________ _________ _____
___
___
6 –––––––––––––––––– 5
6 IV V 4 –––––––––––––––––– 3
___________
T PD D
HC IAC PAC

NAME ___________________________________________________
Assignment 14.2
6
I. Writing cadential 4s from figured bass
A. Write the following cadence patterns in SATB voicing, with quarter and half notes in the meter
indicated. Add accidentals as needed, and analyze with Roman numerals. Circle the cadence type.
E b: B b:
8 ––– 7
ø
6 ––– 5 6 ––– 5 6 ––– 5 6 6 ––– 5
4 ––– 3 7 4 ––– 3 g: 6 4 ––– a: 5 4 ––– #
V 46 –––––– 35 I ii7 V 46 –––––– 35 iiL

8 ––– 7
6 V 6 ––– 5 i ii 6 6 ––– 5
4 ––– 3 5 V 4 ––– 3
HC IAC PAC HC IAC PAC HC IAC PAC HC IAC PAC
B. Write the following longer progressions in SATB voicing, with rhythms appropriate to the meter
indicated. Add accidentals as needed, and provide a Roman numeral and contextual analysis.
8 7
6 5
4
Chapter 14 Expanding the Basic Phrase 167

6
II. Analysis: Recognizing 4 chords
In these excerpts, circle at least one 46 chord, then circle its type: pedal (neighboring), cadential, or
arpeggiating.
A. Handel, Chaconne in G Major, mm. 29–32
pedal (neighboring) 46 cadential 46 arpeggiating 46
B. Schumann, “Wilder Reiter,” mm. 1–4
C. Mozart, String Quartet in D Minor, K. 421, third movement, mm. 44–47

NAME ___________________________________________________
Assignment 14.3
6
I. Writing pedal (or neighboring) 4 s
Write the following 46 patterns in SATB voicing, using primarily quarter notes, in the indicated meter. Add
accidentals as needed. Write (ped 46 ) or (N 46 ) to show the type.
A. From Roman numerals: add a contextual analysis.
E b: I IV 46 I g: i IV 46 i f #: V i 46 V G: V I 46 V
(ped 46 ) (N 46 ) (N 46 ) (N 46 )
T ______ T ________ _______ D
D ________
B. From figured bass: provide Roman numeral and contextual analyses.
e: 46 d: # 46 # B: 46 F: 46
i iv 46 i V V I I I I IV I
(ped 46 ) (N 46 ) (N 46 ) (N 46 )
T ______ D ________ T _______ T ________
6
II. Writing arpeggiating 4 s
Write the following 46 patterns in SATB voicing, using primarily quarter notes, in the indicated meter. Add
accidentals as needed, and write (arp 46 ) to show the 46 type.
A. From Roman numerals: add a contextual analysis.
C: IV IV 46 IV6 d: i i 46 i D b: V V6 V 46 D: V V 46 V6 V7 i
(arp 46 ) (arp) (arp) (arp)
T ______ T ______ D ______ D __________ T

B. From figured bass: provide Roman numeral and contextual analyses.
f: 46 6 n A: 46 6 e: 46 6
6 6
i i 4 i6 V I I 4 I6 V i i 46 i i6
(arp) (arp) (arp)
T ________ D T _________ D T ___________
III. Analysis
Label the key, then analyze with Roman numerals and specify the 46 chord type, if applicable. Provide a
contextual analysis under the Roman numerals and identify the cadence type.
A. Bach, “O Haupt voll Blut und Wunden,” mm. 3–4

(Hint: Measure 3 begins with a 9–8 suspension.)
Translation: Full of sorrow, full of scorn.
B. Mozart, Piano Sonata, K. 457, mvt. 2, mm. 1–3
Some students may mark measure 1, beats 3–4 as a cadential V 64 –– 53 . Because this progression does
not come at a cadence and is not preceded by a predominant harmony, as would be expected of a
cadential 64 , we prefer to analyze as an arpeggiated 64 .

NAME ___________________________________________________
Assignment 14.4
6
I. Passing 4 chords
Write each example in SATB style, using quarter notes. Provide two levels of Roman numerals to show
which harmony is expanded.
A. From Roman numerals
B. From figured bass
II. Melody harmonization

A. Harmonize the given melody in an SATB setting, with a harmonic rhythm of one chord per beat. In
each position marked by an asterisk, write a 46 chord. Analyze with Roman numerals, label each 46 chord
type, and provide a contextual analysis.

B. Brahms, “Lullaby” (Although this melody was composed by Brahms, it is now so well known that some
consider it a folk tune.)
Write a simple piano accompaniment to this melody, following the model given in the first measure and
using a harmonic rhythm of one chord per measure. Use a 46 chord in the spots marked by an asterisk
(mm. 2, 9, and 11) and specify the 46 chord type. Provide a Roman numeral analysis below.

NAME ___________________________________________________
Assignment 14.5
6
I. Writing 4 chords from figured bass
Write the following phrases in SATB voicing, with quarter, half, and dotted-half notes in the meter indicated.
Add accidentals as needed and analyze with Roman numerals. Provide a contextual analysis underneath.
A.
B.
II. Figured bass: Rule-of-the-octave harmonization

The “rule of the octave” was an eighteenth-century keyboard exercise with a bass line that spanned an
octave by step (like the one shown). Musicians memorized and transposed them to every key. Part-write the
progression from figured bass, then write the key and a Roman numeral analysis below the staff. Because
this is a keyboard exercise, write in keyboard style, with three notes in the right hand. Specify each 46 type.

III. Analysis
Label the key, then analyze with Roman numerals and specify the chord type, if applicable. Provide a
contextual analysis under the Roman numerals, and identify the cadence type.
A. “St. Anne” chorale, mm. 1–2
B. Schubert, “Du bist die Ruh,” mm. 8–11
C. Hy Zaret and Alex North, “Unchained Melody,” mm. 13–17

NAME ___________________________________________________
Assignment 14.6
I. Part-writing with the submediant
Write each example in SATB style, using quarter notes.

After writing the harmonic progression, add a contextual analysis below the Roman numerals.

Provide a Roman numeral and contextual analysis that shows how the tonic area is expanded.
(1)
(2)

6
II. Analysis with 4 chords
For each excerpt, supply Roman numerals in the blanks provided, then add a contextual analysis below.
Disregard the circled notes. For each 46 chord, label its type. For the minuet, base your analysis on the chords
implied by the two voices.
A. Anonymous, Minuet in D Minor, mm. 1–4
(1) Mm. 1–4
(2) Mm. 13–16
B. Mozart, Sonata for Violin and Piano, K. 296, mvt. 3, mm. 9–16

15 New Cadence Types and
Diatonic Root Progressions
NAME ___________________________________________________
Assignment 15.1
I. Writing deceptive, plagal, and Phrygian cadences
Write the following cadence patterns in SATB voicing, with half notes. Identify each cadence pattern as
deceptive, plagal, or Phrygian.
A. From Roman numerals: Provide the appropriate key signature, and add accidentals as needed.
Cadence: deceptive plagal Phrygian deceptive
B. From figured bass: Provide a Roman numeral analysis under the figures.
V
7 vi iv
____ ____ 6 V
____ ____ IV I
____ ____ V7 VI
____ ____
Cadence: deceptive Phrygian plagal deceptive
177
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II. Cadences in SATB settings
Identify each cadence by circling the correct label. In each example, circle one spacing or voice-leading
irregularity, and write its type in the blank.
A. Praetorius, “Rosa Mystica,” mm. 1–5
Voice-leading: overlapping HC IAC PAC

The lines of the poem indicate a division after m. 2, beat 2 (where there is a deceptive “cadence”),
but the text is all one thought to the end of the phrase. This is a typical deceptive resolution, but some
musicians may refer to it as a deceptive cadence.
B. Bach, “O Mensch, schau Jesum Christum an” (“O Mankind, Look on Jesus Christ,” Chorale No. 203),
mm. 8–11
This example uses a Baroque key signature: one flat in the signature and E b s written in as needed. Analyze
this passage in G minor.
Voice-leading: crossed voices deceptive plagal Phrygian

The voice crossing (and overlapping) at the cadence is quite surprising, given the dissonant leap it
requires the altos to make! It helps obscure parallel fifths from C4-G4 to D4-A4. Warn your students
not to try this move on their homework!
C. John Henry Hopkins Jr., “We Three Kings,” mm. 26–33
Voice-leading: overlapping deceptive plagal Phrygian

NAME ___________________________________________________
Assignment 15.2
I. Writing deceptive, plagal, and Phrygian cadences
Write the following cadence patterns from Roman numerals and identify them, as in Assignment 15.1, I.A.
Cadence: deceptive plagal Phrygian plagal
II. Realizing figured bass: Corelli, Allemanda, from Trio Sonata in

A Minor, Op. 4, No. 5
Realize the figured bass in keyboard style (add two or three pitches in the right hand, treble clef ). Write a
Roman numeral and contextual analysis beneath the staff, and label the cadence type.
A. Mm. 10–12: The figures 45 and 6 in measures 10–11 indicate the 4–3 suspension in violin 1, with a change
of bass (to a first-inversion triad) as the suspension resolves.
a: i V i V i v6 iv6 V
___________________________________________________
T PD D ____
Cadence: Phrygian
Chapter 15 New Cadence Types and Diatonic Root Progressions 179

B. Mm. 27–28: The figures 9 and 6 in measure 27 indicate the 9–8 suspension in the violin 2 that resolves
with a change of bass.
a: i iv V7 VI ii 7 V i ø
T (PD D Ts) ____ PD D T
Cadence: PAC
A deceptive resolution appears in measure 27 .
III. Analysis
Corelli, Sarabanda, from Sonata for Violin and Continuo, Op. 5, No. 8, mm. 5–8
Provide a Roman numeral and contextual analysis for the excerpt, and identify the cadence type.
Cadence: Phrygian
This progression features (circle any that apply):
desc. 5ths root progression desc. 3rds root progression parallel 63 chords minor v

NAME ___________________________________________________
Assignment 15.3
I. Analysis
In the space below each excerpt, circle the name of the root progression that governs the passage. In these
popular-music pieces, some chords are enriched with additional tones. Look for the underlying triads or
seventh chords—usually one per measure—to find the root progression.
A. Nino Oliviero, Riz Ortolani, and Norman Newell, “More,” mm. 9–12
Root progression: descending thirds descending fifths ascending seconds
B. Earl Edwards, Eugene Dixon, and Bernie Williams, “Duke of Earl,” mm. 1–4
C. Rodgers and Hammerstein, “My Favorite Things,” from The Sound of Music, mm. 27–30

II. Writing music with root progressions
Write the following progressions in SATB voicing, with quarter and half notes, in the meter indicated.
Above the staff, bracket and label any chord pair with roots related by ascending second (asc. 2),
descending fifth (desc. 5), or descending third (desc. 3).
A: I iii IV IV6 V V7 I
g: i VI iv iiL6 V V7 i
B. From figured bass. Provide a Roman numeral analysis.
c: i iv i ii 7 V8 ø _____ 7
i

NAME ___________________________________________________
Assignment 15.4
I. Writing chords from Roman numerals
In each key specified, write the harmonies indicated by the Roman numerals.
A. Descending fifths
B. Descending thirds
C. Ascending seconds
D. Longer progressions

II. Melody harmonization
Write an accompaniment for this modal melody, including the minor v. First write Roman numerals for
your harmonic choices under the melody note, then complete the accompaniment, selecting an appropriate
keyboard pattern and using correct voice-leading. Don’t worry about doubling the vocal part. Perform as an
accompanied round in class, comparing different settings of the tune.
“Hey, Ho, Nobody Home”

1 2
III. Analysis: Mozart, Piano Sonata in C Major, mvt. 3, mm. 1–4

Provide a Roman numeral and contextual analysis for this excerpt, and identify the cadence type.
Measures 1–2 feature (circle one):
desc. 5ths root progression desc. 3rds root progression parallel 63 chords

NAME ___________________________________________________
Assignment 15.5
I. Figured bass: Rule-of-the-octave harmonization
Part-write the progression from the figured bass given, then write the key and a Roman numeral analysis
below the staff. Because this is a keyboard exercise, write in keyboard style, with three notes in the right
hand. Begin with 1̂ in the highest voice.
This progression features (circle any that apply):

cadential 46 passing 46 asc. 2nds root progression desc. 3rds root progression parallel 63 chords
II. Analysis
Provide Roman numerals and figures for the following excerpts, and answer the questions below each.
Write a contextual analysis underneath the Roman numerals.
A. Mozart, Piano Sonata in G Major, K. 283, mvt. 1, mm. 112–114

Hint: In writing the Roman numeral analysis, consider each rhythmically displaced note as part of the
chord that began on the beat. Circled pitches are embellishing, and not part of the chord.
(1) This progression is embellished with suspensions in the top part, introduced by a 5-6 motion.
What type are they? (circle one): 7–6 4–3 9–8 2–3
(2) This progression features (circle any that apply):

cadential 46 passing 46 desc. 5ths root progression desc. 3rds root progression parallel 63 chords
Note: students might circle desc. 5th progression for the ii-V at the end.
(3) With which type of cadence does this example end? (circle one)
PAC IAC HC Phrygian DC Plagal

B. Mozart, Piano Sonata in C Major, K. 545, mvt. 1, mm. 63–73
Hint: Measure 68 includes chromaticism that we will study in Chapter 20. Ignore that measure for now.
(1) The harmonic rhythm in this example is primarily (choose one)

one chord per measure two chords per measure three or more chords per measure
(2) What is the cadence type in measures 69–71? (circle one)

(3) What is the cadence type in measures 72–73? (circle one)

(4) Measures 71–73 are called a cadential extension (other acceptable answers: tonic extension, codetta)
(5) This passage features (circle any that apply):

cadential 46 passing 46 desc. 5ths root progression desc. 3rds root progression parallel 63 chords

16 Embellishing Tones
NAME ___________________________________________________
Assignment 16.1
I. Writing embellishments
Add passing or neighbor tones as specified, using eighth notes on the offbeat between the given chords.
œœ Don’t change the voicing or spacing.
œœ There are multiple correct answers; play the progressions with the passing or neighbor tones you have
added to check that they sound good and do not create voice-leading problems.
œœ Provide a Roman numeral analysis.
A. Add passing tones.
E b: I I6 I I ii6 ii IV ii V 65 V7
B. Add neighbor tones.
f #: i i6 i i iv iv6 VI ii ø V V
6
5 6
187

C. Add simultaneous passing tones.
g: i i6 i6 i iv6 iv VI iiL6 V 65 V7
D. Add simultaneous passing and neighbor tones.
A: I I6 I I ii6 ii vi ii 65 V6 V
Answers are not given because there are many solutions; see parts A–C for some possibilities.
II. Part-writing
Write the following progressions in SATB voicing, including the specified embellishing tones. Write a soprano
line that makes an interesting melody and good counterpoint with the bass. Include passing tones, neighbor
tones, and at least one pair of simultaneous passing or neighbor tones, and use eighth-note motion in at least
one part on each beat except the last measure. When a chord is repeated, you may change the voicing of the
upper three parts to incorporate passing tones. Circle and label each embellishing tone in your setting.
A.
B.

NAME ___________________________________________________
Assignment 16.2
I. Writing suspensions and retardations in four parts from Roman numerals
Write the following progressions with SATB voicing and durations appropriate for the given meter.
Include suspensions or retardations where specified, with the proper preparation and resolution. Provide a
contextual analysis below the Roman numerals, and label the cadence type.
9 –––––––––––––––– 8
(a) (b) 7 –––––––––––––––– 8
4 ––––––––––––––––– 3
(c)
8 ––––––––––––––––– 7
6 ––––––––––––––––– 5
4 ––––––––––––––––– 3
II. Part-writing
Write the following progressions in SATB voicing, including the specified embellishing tones. Write a
soprano line that makes an interesting melody and good counterpoint with the bass. Circle and label each
embellishing tone in your setting.
A. Include passing tones, neighbor tones, and a suspension.
d: i iv i i6 ii ø V
6
5 8–7 i
Chapter 16 Embellishing Tones 189

B. Include one set of simultaneous passing or neighbor tones and two suspensions.
G: I I6 IV I6 V 43 I V I
III. Analysis
Write a Roman numeral under each chord. Circle and label each embellishing tone. Provide a contextual
analysis.
Mozart, String Quartet in D Minor, K. 421, mvt. 4, mm. 1–4

A blank staff has been included in case you want to make a reduction to help you identify the chords.

NAME ___________________________________________________
Assignment 16.3
I. Writing anticipations
Add an anticipation in the soprano part to each short progression, using a or rhythm. Provide a
E b: V7 I f #: V7 i g: V i
II. Analysis: Purcell, “Dido’s Lament,” from Dido and Aeneas, mm. 38–44
Provide a Roman numeral analysis, and circle and label each embellishing tone in the vocal melody.
In measure 39, label a new chord on beat 2, with a tonic pedal point. In measure 41, analyze with a
downbeat 7–6 suspension, as shown. In measure 42 consider beat 2 to be a passing chord.
iiL6 V 46 ___ 35 i viiL7 V6 v6 IV 65 iv6

___ 7
g: i6
(tonic pedal)
v (passing) i6 ii ø V
6
5
8 ____ 7
6 ____ 5
4 ____ 3 i

III. Analysis
Circle and label the embellishing tones in following excerpts. Provide a Roman numeral analysis in the
blanks. Bracket and label any passages with pedal points as “tonic pedal” or “dominant pedal.” Provide a
contextual analysis.
A. Beethoven, Sonatina in F Major, mvt. 2, mm. 1–8
B. Beethoven, Sonatina in F Major, mvt. 2, mm. 17–29
C. Schumann, “Ich grolle nicht,” mm. 32–36

NAME ___________________________________________________
Assignment 16.4
Analyzing mixed embellishing tones
The embellishing tones in the following excerpts are circled.
œœ Examine the immediate harmonic context and label each with the abbreviation P, N, IN, ANT, R, or S
in the score.
œœ A composer’s choices of embellishments are a marker of style. Complete the table below each passage
by circling P, N, IN, ANT, R, or S in the table for each embellishing-tone type found in that measure to
summarize the types of embellishments found.
œœ In the blanks to the right, specify the type of suspension if present, and write “chromatic” if the P, N,
or IN embellishment is chromatic (do not consider the leading tone in minor to be chromatic).
œœ We will then use this table to compare Joplin’s embellishing tones with Bach’s (on the next page).
A. Joplin, “Pine Apple Rag,” mm. 5–12
Measure 5: P N IN ANT R S chromatic

Measure 6: P N IN ANT R S
Use the chart to compare the embellishments in this example with those of others. (It also simplifies
the grading.)

B. Bach, “Jesu, meine Freude” (“Jesus My Joy,” Chorale No. 138), mm. 1–13
Measure 5: P N IN ANT R S 4–3
Measure 10: P N IN ANT R S 4–3
In a sentence or two, summarize how Bach’s use of embellishing tones is similar to or different from
Joplin’s.
Joplin uses more N and IN than Bach; Bach uses more anticipations and suspensions. Joplin has no
suspensions at all, while Bach uses them to mark the approach to two cadences.

NAME ___________________________________________________
Assignment 16.5
I. Embellishing tones in popular music
Examine the embellishing tones in the passages that follow and answer the questions.
A. Taylor Swift, “Back to December,” mm. 33–37
(1) Measures 33–35 feature repeated P N IN ANT R S

(2) The cadence in measure 37 includes P N IN ANT R S
B. Bono, The Edge, and U2, “Stuck in a Moment You Can’t Get Out Of,” mm. 5–7
(1) Measure 6, beats 1–2 feature P N IN ANT R S

(2) The dissonance over the bar line between measures 6–7 is:
P N IN ANT R S
C. John Deacon, “You’re My Best Friend,” mm. 5–8
(1) The accompaniment features IN ANT PED R S

(2) The end of each vocal subphrase (“make me live” and “give to me”) features
P N IN ANT R S

II. Analysis of a jazz standard
Jerry Gray and Eddie de Lange, “A String of Pearls,” mm. 5–11
Despite its complicated sound, this piece has a fairly simple harmonic plan, with one main type of
embellishment. Examine and label the circled embellishing tones, and answer the questions that follow.
(1) The harmony prolonged in measures 5–9 is T PD D
(2) The type of embellishing tone featured in this excerpt is chromatic passing .
(3) Listen to the bass line in measures 10–11, and use your knowledge of the basic phrase to sort out the
embellishing tones. The Roman numerals for the first two beats of measure 10 are I and
vi7 , expressing tonic function.
(4) The cadence type is PAC .
(5) In the last chord (m. 11), there is an added interval above the bass that does not alter its harmonic
function, but gives it a jazzy sound. What is it? 6th, added sixth
In m. 10, the chromatic passing tone on the “and” of beat 3 turns ii7 into a V7/V. The seventh of the
chord (Eb4) resolves to D4 on beat 4, and G4 moves down to F4, while the temporary leading tone of
the V7/V (A natural) moves down chromatically to the seventh of the V7.

NAME ___________________________________________________
Assignment 16.6
Embellishing tones in variation sets
In parts A and B, first listen to the theme while following the anthology score. Then examine the variations
shown here. Circle and label embellishing tones (N, IN, DN [double neighbor], P, and include suspension
types, e.g., S4–3), and indicate what types are employed in each variation.
A. Mozart, Piano Sonata in D Major, K. 284, mvt. 3

(1) Variation 4, mm. 69–72
Embellishment type(s): N
(2) Variation 11, mm. 188–191
Embellishment type(s): P
We have interpreted the anacrusis as representing dominant harmony; students might read it as tonic,
and circle G and E.

B. Mozart, Variations on “Ah, vous dirai-je Maman”
(1) Variation 3, mm. 73–80 (in mm. 76–79, align the notes in the right hand as a chord to identify the
embellishments)
Embellishment type(s): P, N, S
(2) Variation 6, mm. 145–152 (in mm. 147–150, there are embellishing tones in both hand parts)
Embellishment type(s): N, P, S
(3) Variation 9, mm. 217–224
Embellishment type(s): S

17 L ø
Voice-Leading Chords: vii 6,
vii 7, vii 7, and Others
NAME ___________________________________________________
Assignment 17.1
L
I. Chorale analysis with vii 6: Bach, “Aus meines Herzens Grunde”
Listen to this chorale, then provide a Roman numeral analysis for these chorale phrases. Circle and label all
embellishing tones, and label the cadences. For suspensions, label the type (e.g., S7–6). Each phrase begins
with a substantial tonic prolongation prior to the cadence. Below the Roman numerals, add a two-level
contextual analysis that shows how the tonic area is expanded with embedded PD–D–T in the first level,
and the overall basic phrase T–PD–D–T progression in the second level.
A. Mm. 1–7
N
P P
G: I I IV6 V6 I V vi IV 42 viiL6 I V I V6 I viiL6 I6 ii 65 V8–7 I (PAC)

T (T PD D T) Ts PD D T D T PD D T
T (PD D T) D (HC)
B. Mm. 15–21
9–8 sus
9–8 sus P
P P
I viiL6 I6
2–3 sus P
P
G: I V 65 5
IV I V I V6 IV6 vi ii 65 V8–7 I
3 V8–7 vi
T D TS T D T Ts PD D T
T T D (HC) (PAC)
199

II. Analysis: Clementi, Sonatina in G Major, Op. 36, No. 5, mvt. 3, mm. 1–16
Write Roman numerals under the staff, circle and label all embellishing tones, and label the cadences.
P P P P N P N N P P P P
G: I I6 V I V vii ø7
HC
P P P P P P P P N
P
I V7 I6 I V 43
IAC
N N
P P P P
P P P P
I V vii 7 I V7 I ø
ø
HC PAC
Write a few sentences explaining the function of the vii 7 chords.
This movement features four-bar phrases, with the cadences HC, IAC, HC, PAC. The vii 7 chord in mm. 5 and
13 functions identically (only the octave is changed) as a weaker dominant-function chord that leads to the
strong tonic of mm. 6 and 14. Each vii 7 immediately follows a cadence (HC) on V; the shift from cadential V to
phrase-beginning vii 7 helps distinguish the phrases. This piece was used as a source for Toni Wine and Carole
Bayer Sager’s song “A Groovy Kind of Love.” The Mindbenders’ upbeat recording released in 1965 helped
popularize the slang word “groovy,” and reached No. 2 on the US and UK Billboard charts in 1966. Phil Collins’s
performance, which interprets the song as a nostalgic ballad, topped the charts in 1988. Recordings are available
online for in-class comparison with the Clementi example.

NAME ___________________________________________________
Assignment 17.2
I. Writing and resolving vii
L6
Write the following SATB progressions, in quarter notes, from the given Roman numerals. Provide the key
signature and any needed accidentals. Draw an arrow to show the correct resolution of the leading tone.
E b: viiL6 I A: viiL6 I G: viiL6 I D b: viiL6 I
c: viiL6 i f #: viiL6 i e: viiL6 i b b: viiL6 i
II. Expanding the tonic area with passing vii

L6 or V46 chords
Write the following SATB progressions from the Roman numerals or figured bass. In part A, provide the
key signature. In both A and B, write a second level of Roman numerals to show the tonic expansion. Use a
voice exchange [as shown by the crossed lines in example A(1)] in each progression.
D: I viiL6 I6 E b: I V 46 I6 c: i V 46 i6
I 6 I 6 I 6
Chapter 17 Voice-Leading Chords: vii 6, vii 7, vii 7, and Others 201

D: 6 6 F:
6 6 A b: 6
4 6
III. Analysis with vii

L6
For each passage, write a Roman numeral analysis in the blanks provided. Add a contextual analysis
beneath.
A. Handel, Chaconne in G Major, mm. 13–16
G: I I6
____ ____ IV viiL6 I6 ____ ____
____ _____ ____ IV V I
____

B. Bach, “O Haupt voll Blut und Wunden,” mm. 1–2
____ ____ ____ __ __ __ :____ :____ ____

NAME ___________________________________________________
ø
Assignment 17.3
I. Resolving vii 7 and vii
L7
Part-write the following SATB progressions, in quarter notes, from the Roman numerals. Provide the key
signatures and needed accidentals, and draw arrows to show the resolution of leading tones and chordal
sevenths.
ø
C: vii 7 I D: vii ø I Ab: viiø I B: viiø I
4
3 6 6
5 6 7
viiL7 i g: viiL 65 i g #: viiL 43 i6 b: viiL 42 V 46 ____ 35

____
a:
II. Harmonizing melody fragments with leading-tone seventh chords

For each melody fragment, expand the tonic area using viiL6 or viiL 65 . Provide Roman numerals on two
levels to show the tonic expansion. Answers will vary.
A. In a minor key
e: i6 viiL6 i i viiL 65 i6 i viiL 65 i6 i viiL 65 i6

i6 35 i 6 i 6 i 6

B. In a major key
Write a viiL 65 : add an accidental to lower the chordal seventh.
A b: I viiL 65 I6 I6 viiL 65 I I6 viiL 65 I6 I viiL 65 I6
III. Expanding the tonic with passing chords

Part-write the following SATB progressions, in quarter notes, from the Roman numerals or figured bass. In
part A, provide the key signatures and accidentals needed. In both A and B, write a second level of Roman
numerals to show the tonic expansion.
A: I viiL 65 I6 g: i6 viiL 65 i f: i6 V 43 i
I 6 i6 35 i6 35
L
4
g: 65 6 e:
6 6
4 f: 3 6
6 6 4
i vii 5 i i V 4 i i V 3 i6
6 6
i 6 i6 35 i 6

NAME ___________________________________________________
Assignment 17.4
4
I. Writing passing and neighboring 2 chords
Write the following progressions from Roman numerals in SATB voicing.
A b: I I 42 IV6 f #: i i 42 iv6 E b: I ii 42 I d: i iiø 42 i iv

(passing) (passing) (N) (N)
II. Figured-bass realization

Realize these figured bass excerpt in keyboard spacing. Provide a Roman numeral analysis; write “passing”
for each passing 42 chord.
Bach, Cantata No. 140, mvt. 1, mm. 1–5
E b: I I 42 vi vi 42 ii 65 ii7 V7 V 65 V7 I
(passing) (passing)
III. Analysis
Write a Roman numeral analysis and circle and label all embellishing tones. This excerpt contains parallel
6 6
3 chords; provide a Roman numeral for each sonority and then bracket and label the parallel 3 passage.
Handel, “Rejoice greatly,” mm. 3–7
B b: I6 V 65

IV. Melody harmonization
Set the following melody with one chord per half or whole note. (This melody, “Old Hundredth,” appears in
the anthology; write a different harmonization here.)
œœ First locate the places where there should be strong cadences, and select appropriate chords.
œœ Then examine the beginnings of the phrases to select a progression that makes a tonic expansion,
using inversions of V, leading-tone chords, or an embedded PD–D–T.
œœ Complete the remaining voices using the progressions you have selected, and add a contextual analysis.
G: I I V7 vi V6 I V I I I6 I viiL6 I6
T D T
V 43 I V I6 V 43 I vii 43 I6 ii6 V7 ø
D (HC) T PD D
8 ________
________ 7
I V6 I I6 ii6 ii7 V 46 ________ 35 I
T PD D T

NAME ___________________________________________________
Assignment 17.5
I. Setting scalar bass lines (rule-of-the-octave harmonization)
The rule of the octave was an eighteenth-century musician’s keyboard exercise, memorized and transposed
analysis below the staff. In A (2) and B (2), revise these harmonizations using substitute chords viiL6 and
to every key. In A (1) and B (1), realize the figured bass in keyboard spacing, then write a Roman numeral
viiL7 or their inversions for V 46 and V 43 . You may also substitute other harmonies, such as vi for I, I 42 for V6
with a descending 7̂, or ii 43 for IV6. Play both solutions to hear the difference.
A. Ascending
E b: I V 46 I6 IV I 46 IV6 V6 I V 43 I
(passing)
E b: I viiL6 I6 IV I 46 IV6 V6 I viiL 65 I

(passing)
B. Descending
E b: I V6 IV6 V V 42 I6 V 46 I V 65 I
E b: I I 42 IV6 V V 42 I6 viiL6 I viiL7 I

II. Harmonizing scalar melodies
Choose a harmonization for these melodies, incorporating passing chords and phrase-model progressions.
Include at least one leading-tone triad or seventh chord. Where possible, aim for a bass line in stepwise
contrary motion to the soprano. Write in SATB style, and provide a Roman numeral analysis below the staff.
A. Ascending, major key
D: I6 viiL6 I IV6 I 46 IV I vi V7 I
(passing) (passing)
B. Descending, major key
D: I V vi I viiL6 I6 viiL7 I V7 I
(passing)
C. Ascending, minor key
d: i viiL7 i iv6 i 46 iv i IV viiL6 i

(passing)
D. Descending, minor key (Hint: Use minor v to set the subtonic scale degree.)
d: i v VI v6 viiL7 i V VI V7 I

18 Phrase Structure and
Motivic Analysis
NAME ___________________________________________________
Assignment 18.1
I. Analyzing phrases
A. Hensel, “Neue Liebe, neues Leben,” mm. 1–8 (anthology)
Listen to the opening of this song while following your anthology score.
(1) Draw a diagram that represents the phrase structure. Include the number of measures in each phrase,
letters to show whether the phrases are parallel or contrasting, and cadence types.
a a

4 mm. 4 mm.
m. 1 4 5 8
HC PAC

parallel period
(2) Circle the term that best describes this passage:

(a) parallel period (b) contrasting period (c) repeated phrase (d) two independent phrases
B. Schubert, “Der Lindenbaum,” mm. 9–24 (anthology)

Start by listening to the introduction and first stanza of this song (to m. 24), while following your anthology
score.
(1) Draw a phrase diagram of measures 9–24. Include the number of measures in each phrase, letters to
show whether the phrases are parallel or contrasting, and cadence types.
a a b b

4 mm. 4 mm. 4 mm. 4 mm.
m. 9 12 13 16 17 20 21 24
PAC PAC HC PAC

repeated phrase p
arallel period
(2) Circle the term that best describes measures 9–16:

209

C. Beethoven, Für Elise, mm. 1–8 (anthology)
Listen to the opening of this piano piece while following your anthology score.
(1) Draw a diagram that accurately represents the phrase structure. Include the number of measures in
each phrase, letters to show whether the phrases are parallel or contrasting, and cadence types.
a a

4 mm. 4 mm.
m. 1 4 5 8
IAC (strong) PAC

parallel period
(2) Circle the term that best describes this passage:

II. Motivic transformations

These motives are from the first movement of Clementi’s Sonatina in F Major, Op. 36, No. 4. Listen to each
one, then write its inversion. For the inversion, invert the contour and retain the interval size (don’t attempt
to match the interval quality). Play your solutions and alter them if necessary to “make sense” in the key
and meter (there may be more than one possible solution). A first note is suggested.
A. From mm. 1–2 B. From m. 13
C. From mm. 9–10 D. From m. 15
E. From mm. 18–19

NAME ___________________________________________________
Assignment 18.2
Analyzing phrase structure and motives
A. Mozart, Piano Sonata in C Major, K. 545, mvt. 3, mm. 1–8
Listen to this movement while following your anthology score.
(1) Write a Roman numeral analysis below the staff, and label each cadence type.
C: (I) vi ii6 V I6 ii6 ii V (HC) (I)
vi ii V I ii6 V7 I (PAC)

(a) parallel period (b) contrasting period (c) sentence (d) subphrase

(a) parallel period (b) contrasting period (c) sentence (d) subphrase
(4) Listen to the movement again. In the score provided, identify two motives in the first eight measures
that appear later in the piece. In the following table, list measure numbers where they reappear, and
indicate how they are transformed.
Motive 1 (from mm. 1–8): mm. 1–2 (thirds)
Motive 2: mm. 6–7 (scale)
(Answers will vary; students probably will choose the thirds and the scale segment.)
Chapter 18 Phrase Structure and Motivic Analysis 211

B. Mozart, Piano Sonata in B b Major, K. 333, mvt. 3, mm. 1–16
Listen to this excerpt, then draw a phrase diagram of all sixteen measures. Include the number of measures
in each phrase, letters to show whether the phrases are parallel or contrasting, and cadence types. Indicate
how many phrases and periods are in this excerpt, and of what type. Circle on the score two different
motives and their repetition in an altered form. Draw an arrow from each motive to its transformation.
embellished inverted, large intervals
embellished
Phrase diagram:
a a a a

4 mm. 4 mm. 4 mm. 4 mm.
m. 1 4 5 8 9 12 13 16
HC PAC HC PAC

parallel period varied repetition of first parallel period

NAME ___________________________________________________
Assignment 18.3
I. Writing consequent phrases
Here, you will write antecedent-consequent phrases in Classical style, based on major-key melodies from
Mozart piano sonatas. Sing through the antecedent phrases (ending on a HC), then write two possible
consequent phrases, each ending on a PAC. For your first solution, write a parallel period; for your second,
write a contrasting period. The slurs are Mozart’s markings; slurs are optional in your answer. (If you like,
find a score and compare your consequent phrase with Mozart’s!)
A. Sonata in B b Major, K. 281, mvt. 3, mm. 1–4
B. Sonata in D Major, K. 284, mvt. 3, mm. 1–4

C. Sonata in D Major, K. 311, mvt. 3, mm. 1–4
II. Composing complete parallel periods

In this exercise, you will write a harmonic progression and two melodies that fit with it. Each melody
should be an eight-measure parallel period, with each parallel period consisting of two phrases. You
will need to work on your own staff paper, or use notation software to prepare your score. We strongly
recommend that you work at a keyboard, to be able to hear the progression you have written while
composing your melodies.
œœ Start by preparing your score. You will want three staves—one for your melody, and two below it
connected with a grand staff for your keyboard harmonization.
œœ Write a four-part harmonic progression of your choice, in keyboard style, that follows an antecedent-
consequent model (T–PD–D, T–PD–D–T). Use a slow harmonic rhythm, with one or two chords per
measure. The tonic harmony may last for one or more measures at the beginning of each phrase, with
an acceleration at the cadence.
œœ Play your progression at a keyboard, or listen to it using notation software, and sing improvised
melodies to go with the progression. Use parallel structure: the first part of each phrase should have
the same melody.
œœ When you have composed a melody you like, write it out on the top stave above the harmonization.
œœ Prepare a second (different) melody following the same procedure, using the same harmonic
progression.
Extra challenge: Make a piano setting from your harmonization to accompany one of your melodies.

NAME ___________________________________________________
Assignment 18.4
Analyzing phrase structure
A. Haydn, Piano Sonata No. 13 in E Major, mvt. 2, mm. 1–8
(1) This example is the opening section of a short movement. Write a Roman numeral analysis, and label
each cadence type.
E: I I IV 46 (pedal) I IV6 iii6

parallel 63 chords
ii6 I6 viiL
__
I V 46 __ 35 (HC)
(2) Measures 1–4 are best described as a subphrase because:

(a) its motives are not developed. (b) it has no cadence. (c) it is short.

(a) parallel period (b) contrasting period (c) single phrase (d) subphrase
B. Mozart, String Quartet in D Minor, K. 421, mvt. 3

The opening phrase of both the minuet and the trio are shown for comparison. Listen to each, focusing on
cadences and phrase structure (you need not analyze every chord). Then answer the questions that follow.
Minuet, mm. 1–10

Trio, mm. 40–47
(1) Draw a diagram that represents the phrase structure of the Trio (the second excerpt shown). Include
the number of measures in each phrase, letters to show whether the phrases are parallel or contrasting, and
cadence types.
a b

4 mm. 4 mm.
m. 40 43 44 47
HC PAC
(2) Circle all terms that apply to the Trio’s phrase structure.
(a) parallel period (b) contrasting period (c) modulating period (d) sentence
(3) The first phrase of the Minuet is 10 measures in length; it is expanded by

(a) internal expansion (b) external expansion (c) cadential extension
(4) On the scores provided, circle one motive in each passage. Then circle a repetition or transformation
(transposition, inversion, etc.) of each.

NAME ___________________________________________________
Assignment 18.5
Phrase analysis: Beethoven, Sonata for Violin and Piano in C Minor,
Op. 30, No. 2, mvt. 1, mm. 1–23
Listen to the first twenty-four measures of this sonata movement.

(1) The opening of this movement is characterized by short motives and subphrases separated by rests.
Remember to look for cadences as you determine the phrase structure.
Provide a phrase diagram for the first sixteen measures. Include the number of measures in each phrase,
letters to show whether the phrases are parallel or contrasting, and cadence types.
a a

8 mm. 8 mm.
m. 1 8 9 16
HC PAC
(a) parallel period (b) contrasting period (c) two independent phrases (d) sentence

(a) parallel period (b) contrasting period (c) two independent phrases (d) sentence
(4) Find two lead-ins, and give their measure numbers: m. 16 ; m. 20
(5) For class discussion or a short essay (on your own paper): Consider the relationship between the violin
and piano in this section. What might contribute to the idea that the first eight measures are introductory?
What is the source of the thematic material in measures 17–23?
The first eight measures of this parallel period sound introductory in part because the violin has not yet entered;
in addition, the piano’s first phrase ending on a HC sounds more like preparation for the violin entrance than an
equal partner.
Mm. 9–16 must be considered one phrase because there is no real harmonic movement in the first four measures
(only tonic prolongation) and no strong cadence until 15–16 (PAC). The four-bar units are subphrases, with the
motivic structure suggesting a 2 + 2 + 4 sentence structure.
Mm. 17–20 repeat material from the end of the previous phrase (13–16), with the piano/violin roles reversed, and
sounds like an extension of the previous phrase. The last portion takes material from 18–20, now with the violin
and piano playing the same material for the first time (doubled in octaves), with repetitions at the cadence to
make a strong closing to this section.

NAME ___________________________________________________
Assignment 18.6
I. Phrase analysis and hypermeter: Haydn, Piano Sonata No. 13
in E Major, mvt. 2
Listen to or play through this movement.
We examined the first phrase of this movement in Assignment 18.4. We look now at the remainder of the
movement.
(1) Following the opening phrase (measures 1–8), measures 9–14 comprise a six-bar phrase. The phrase
expansion occurs at the (circle one)
beginning middle end

(2) Cite two places in measures 8–14 that relate motivically to phrase 1. Give measure numbers and the
type of motivic transformation.
MEASURE NUMBER TRANSFORMATION LOCATION OF ORIGINAL MOTIVE
(3) Measures 15–24 comprise a ten-bar phrase. Compare with measures 1–8. The phrase expansion occurs
at the (circle one)
beginning middle end
(4) Name two ways that this final phrase differs from that in measures 1–8.
(a) Mm. 21–22 are inserted in the middle.
(b) The cadence is altered to end on a PAC.
(5) How are the motives in the phrase expansion related to what has been heard previously?
The downbeat of m. 21 is in the same position as m. 7 in phrase 1. The m. 7 ascending minor-
third motive has its intervals expanded dramatically to an ascending major sixth. The melody of
measure 22 is identical to measure 5 (and m. 19).
II. Composing a sentence from a motive

Given the two-measure basic idea from Beethoven’s Bagatelle Op. 119, No. 1, compose a sentence with the
following guidelines:
œœ Use 2 + 2 + 4 measure groupings.
œœ Answer the harmonic motion of the basic idea (i to V) with a variant of the basic idea that moves from
V to i.
œœ Develop the motive further in the final four measures with accelerated motion toward a PAC.

19 Diatonic Sequences
NAME ___________________________________________________
Assignment 19.1
I. Completing sequences
Each of the following exercises provides a two-chord sequence pattern and the first chord of its transposition.
œœ Examine the given pattern, then complete the sequence so that it connects to the harmonic conclusion
shown. Remember to maintain the exact voice-leading and doubling in the transpositions.
œœ Bracket the sequence pattern and each of its transpositions, and use arrows with numbers above to
show the interval of transposition.
œœ Write the LIP (linear intervallic pattern) interval numbers between the staves, and fill in the name of
the sequence type and LIP in the blanks provided.
œœ Complete the Roman numeral analysis.
A.
Sequence type: descending fifths LIP: 8–5
B.
Sequence type: Pachelbel (alt ) LIP: 10–6
221
CH19_MGTA3_SWB_26462_221_232 page 221 29 January 2016 11:49 AM Fourth Pages

C.
Sequence type: Pachelbel LIP: 8–10
II. Analysis of sequences

Locate the sequence in each short excerpt. Below the staff, write the root of each chord (using capital
letters). Mark the sequence pattern with a bracket above the staff and add an arrow with the interval of
transpositions, then identify the pattern length in beats, interval of transposition, and sequence type.
A. Mozart, Rondo, K. 494, mm. 95–98
Pattern length: two beats Interval of pattern transposition: down a step

Sequence type: descending fifth
B. Bach, Invention in F Major, mm. 21–24
Pattern length: three beats (one measure) Interval of pattern transposition: down a step
Sequence type: descending fifth

NAME ___________________________________________________
Assignment 19.2
I. Writing three-voice sequences
Each of the exercises provides an incomplete sequence, which appears in three parts to avoid the parallels
that would occur with the usual doublings in four parts.
œœ Examine the given pattern, then complete the sequence so that it connects to the harmonic conclusion
shown.
œœ Write the LIP (linear intervallic pattern) interval numbers between the staves, and fill in the name of the
sequence type and LIP in the blank.
A.
Sequence type: descending parallel LIP: 6–6
B.
Sequence type: ascending parallel (with 5–6) LIP: 5–6
C.
Sequence type: descending parallel (with 7–6) LIP: 10–10
Chapter 19 Diatonic Sequences 223

II. Analysis of sequences
Locate the sequence in each short excerpt. Mark the pattern with a bracket above the staff and add
an arrow with the interval of transposition. Then, in the blanks, identify the pattern length in beats or
measures, interval of transposition, and sequence type.
A. Domenico Scarlatti, Sonata in G Major, L. 388, mm. 72–78
Pattern length: one beat Interval of pattern transposition: down a step

Sequence type: parallel chords
B. Beethoven, Für Elise, from Albumblatt, mm. 17–20
Pattern length: two measures Interval of pattern transposition: down a third

Sequence type: Pachelbel
C. Bach, Chaconne, from Violin Partita No. 2 in D Minor, mm. 56–59
Pattern length: one measure Interval of pattern transposition: down a second

Sequence type: descending fifths

NAME ___________________________________________________
Assignment 19.3
Figured-bass realization
Realize these figured basses. For each:
œœ Use keyboard spacing (two or three voices in the right hand).
œœ Provide a Roman numeral analysis.
œœ Mark the sequence pattern with a bracket above the staff, and add an arrow with the interval
of transposition.
œœ Identify the sequence type.
œœ Identify the LIP with interval numbers (e.g., 10–10–10).
œœ Follow any specific instructions given with the individual exercises.
A. Antonio Vivaldi, Gloria, mvt. 1, mm. 8–15

This type of sequence is usually voiced with two upper parts instead of three; use a half-note harmonic
rhythm. Change to three voices after the sequence, at the cadence.
2 2 2
Sequence type: parallel with 7–6 LIP LIP: 7–6

Cadence type (mm. 12–13): HC

B. Vivaldi, Violin Concerto Op. 8, No. 4 (“L’inverno” [“Winter”]), from Le quattro stagioni (The Four
Seasons), second movement, mm. 10–13.
Use quarter note chords, with two or three parts in the right hand.
For measures 10–11

Pattern length: one measure Interval of transposition: up P4
For measures 12–13

Pattern length: two beats Sequence type: ascending with 5–6 motion
C. Vivaldi, Gloria, mvt. 7, mm. 18–26

Despite the key signature, this excerpt is in C major. Change to a three-voice texture (two voices in the
right-hand part) when the sequence begins in measure 20.
2 2
Sequence type: descending parallel (with 7–6 suspensions) LIP: answers vary
Cadence type (mm. 25–26): HC

NAME ___________________________________________________
Assignment 19.4
Analysis
A. Mozart, Sonata in C Major, K. 545, mvt. 1
Listen to the opening of this movement, following your anthology score.
(1) Bracket the pattern of the sequence above the treble staff and add an arrow with the interval of transposition.
Then make a chordal reduction of measures 5–9 on the grand staff, with one whole-note chord per measure.
(Although scales are prominent in this excerpt, don’t show them in the reduction. They simply decorate the
underlying sequence framework; focus on the downbeats.) Identify the sequence type and LIP.
2 2 2
Sequence type: descending parallel chords

Pattern length: one measure LIP: 10–10–10
(2) Bracket the sequence pattern and add an arrow with the interval of transposition, then make a two-
voice reduction of measures 18–21 on the grand staff, with two half notes per measure. (Again, use the
strong beat and harmonic rhythm to guide your reduction.) This passage is in G major. Label each chord
with Roman numerals that represent the entire harmony. Bracket the pattern and its transpositions in your
reduction.
2 2

2
2 2 2
Sequence type: descending fifths; alternating

Pattern length: one measure LIP: 10–10
B. Bach, Invention in B b Major, mm. 4–5

Bracket the sequence pattern and label the interval of transposition, then make a two-voice reduction of
measures 4–5 (through beat 3) on the grand staff. The harmony changes on each beat. In the reduction,
show only the highest and lowest note in each chord, but label each chord with a Roman numeral that
represents the entire harmony (the fifth is omitted in most of the chords). Bracket the pattern and its
transpositions in your reduction.
2 2
2 2
Sequence type: descending fifths

Pattern length: two quarter notes LIP: 10–10

NAME ___________________________________________________
Assignment 19.5
I. Analysis
Bracket the pattern of the sequence above the treble staff and add an arrow with the interval of
transposition. Provide Roman numerals for each chord and then identify the sequence type.
A. Handel, Chaconne in G Major, Variation 13, mm. 105–108
Sequence type: descending fifths (root)
B. Bach, Prelude, from Cello Suite No. 2 in D Minor, mm. 4–8

For this sequence, analyze one Roman numeral per measure (watch for seventh chords).
Sequence type: descending fifths (root) with sevenths
II. Figured bass

Corelli, Allemanda, from Trio Sonata in A Minor, Op. 4, No. 5, mm. 23–24
Realize the figured bass in keyboard style (three notes in the right hand). Provide Roman numerals and
a contextual analysis that includes a sequence label. (Reminder: 9 6 in the figures of the final measure
denotes a 9–8 suspension with change of bass.)
a: V 65 i iv7 VII7 III7 VI7 ii 7 V i ø

T ( desc 5ths w/7ths) PD D T

III. Completing sequences with seventh chords
Continue the two-chord pattern as a descending-fifth sequence with seventh chords.
œœ Prepare all sevenths by common tone and resolve down by step.
œœ For sequences with all root-position seventh chords, alternate complete and incomplete chords
(to avoid parallels).
œœ Bracket the two-chord pattern above the staff and add an arrow with the interval of transposition.
A.
B.

NAME ___________________________________________________
Assignment 19.6
Creative writing
Write your own sequence-based composition. First decide what combination of instruments you will use.
A. Song or solo with keyboard accompaniment: Set up the score with three staff lines—the top line for the
solo part (choose either bass or treble clef ), and the lower two for the keyboard part in a grand staff. If you
are writing for a vocalist, select a text, and make sure the vocal line falls within an appropriate range for the
singer (soprano, alto, tenor, or bass). A good model is Hensel’s “Neue Liebe,” measures 1–8. If writing for an
instrument, make sure your solo falls within the range for that instrument. For transposing instruments,
prepare both a score for the accompanist and the transposed part for the soloist.
B. Unaccompanied solo: For unaccompanied vocalist or solo instrument, set up the staff with the
appropriate clef for the instrument you have chosen. This assignment is more difficult, because the solo line
will need to capture the sense of the sequence framework through arpeggiation or compound melody, while
making a playable/singable line.
C. Keyboard solo: Use a grand staff, and make sure right- and left-hand parts are playable (not too wide a
reach) and are idiomatic for the keyboard. There are many models of keyboard sequences in the chapter.
Choose a sequence framework that you like (from examples or assignments), then follow this procedure:
œœ Select a key and mode. Write in the key signature.
œœ Sketch an opening progression that establishes the tonic harmony in measures 1–2; perhaps use one
of the tonic expansion progressions.
œœ Sketch in the cadences: use a half cadence in measures 7–8 and a PAC in 15–16.
œœ Transpose the sequence framework you have selected to the key and mode you have chosen. Sketch it
in measures 3–6.
œœ Embellish the sequence framework by adding passing or neighbor tones, or arpeggiate it to create the
accompaniment or solo part, or apply a melodic or rhythmic motive to make an interesting sequence.
Any of the voice-leading strands of the sequence (S, A, or I in the chapter or workbook examples)
can serve as the highest part, as long as the entire strand is in the same part and there is one of each
strand. The bass lines of these frameworks need to stay in the bass.
œœ Copy measures 1–6 in 9–14 to start the second phrase of a parallel period.


20 Secondary Dominant and
Leading-Tone Chords to V
NAME ___________________________________________________
Assignment 20.1
I. Spelling root-position secondary dominants to V
Write the triad or seventh chord in each key requested, in whole notes. Provide the key signature, and then
add any necessary accidentals to adjust the chord quality.
II. Resolving root-position secondary dominants to V

Write the two- and three-chord patterns in the keys specified, using SATB voicing and quarter notes.
œœ Draw arrows to show temporary leading tones resolving up and chordal sevenths down.
œœ For V7/V to V, make one chord complete and the other incomplete.
œœ For V7/V to V7, move the temporary leading tone down to the chordal seventh of V7.
œœ In minor keys, add an accidental to the V chord to make it major.
f: V7/V V A: V7/V V d: V7/V V E b: V7/V V7 G: V7/V V
233

A b: V7/V V7 I e: V7/V V 46 –––––––– 35 B: V7/V V 46 –––––––– 35 c: V7/V V7 i
III. Analysis
Provide a Roman numeral and figures analysis.
A. Foster, “I Dream of Jeanie,” mm. 5–8
F: I vi IV I V7/V V
B. Billy Joel, “Piano Man,” mm. 18–25

Hint: This excerpt features passing 46 and 42 chords for the stepwise bass.
C: I I 42 vi I 46 IV I6 V7/V V

NAME ___________________________________________________
Assignment 20.2
I. Spelling secondary dominants to V with inversions
Write the secondary dominant in each key requested, in whole notes. Provide the key signature, and then
add any necessary accidentals to adjust the chord quality.
II. Resolving secondary dominants to V

Write the two-chord pairs in the specified keys, using SATB voicing and half notes. Draw arrows to show
resolutions of leading tones up and chordal sevenths down. Compare with Assignment 13.2, part II. How
are the progressions there related to these?
G: V7/V V A b: V 65 /V V D: V 43 /V V a: V 42 /V V6 f: V 65 /V V
c: V7/V V E: V 42 /V V6 f #: V 43 /V V6 G b: V 65 /V V b b: V 42 /V V6
These are the same pairs of chords as in Assignment 13.2, but in different keys and context (which
transforms them to secondary dominants). In (d), (e), (f), (h), and (j), the V chord needs a raised third
to have a major quality.
Chapter 20 Secondary Dominant and Leading-Tone Chords to V 235

III. Resolving secondary dominants to V7
Write the two-chord pairs in the specified keys, using SATB voicing and quarter notes. Draw arrows to
show resolutions of the chordal seventh down; resolve #4̂ to n4̂, the chordal seventh of the dominant.
D: V7/V V7 g: V 43 /V V7 E b: V 42 /V V 65 b: V7/V V7
IV. Analysis
A. Mozart, Piano Sonata in C Major, K. 545, mvt. 3, mm. 10–12
Provide a Roman numeral and contextual analysis, and label the cadence type (PAC, IAC, HC, THC, or DC).
G: V6 I 6 ii6 V 6
5 /V V
T PD D
Cadence: HC
Students may analyze the secondary dominant (m. 11) as V 65 /V or V6/V, depending on whether they
interpret the G n in the right hand as a chord tone ( 65 ) or passing tone (6).
B. Mozart, Piano Sonata in D Major, K. 284, mvt. 3, mm. 22–25

Provide a Roman numeral analysis and label the cadence type (PAC, IAC, HC, THC, or DC).
I6 I viiL6/V V 65 /V V vi6 V 46 –– 35 I
7
D:

V
Cadence: HC
In measure 24, the E # on beat 2 and the D # on beat 3 are chromatic embellishing tones.

NAME ___________________________________________________
Assignment 20.3
I. Preparing and resolving secondary dominants
Write the chords in SATB style in the keys specified.
œœ For (a)–(c) approach the chromatic tone by half step to avoid cross relations.
œœ For (d)–(f ) write a chromatic voice exchange and mark it with an X.
œœ For (e) and (f ), add a passing chord (in eighth notes) between the first two chords.
F: ii 65 V7/V V c: iv V 65 /V V B: iiL6 V 65 /V V
E b: ii 65 V7/V V A: IV6 I 46 V 65 /V V D: ii7 I6 V 65 /V V

(passing)
II. Writing secondary dominants in a phrase

A. From Roman numerals: Write the progressions in the keys and meters indicated, with SATB voicing.
Remember to approach the chromatic tone in the secondary dominant by half step to avoid cross relations.
Add a contextual analysis below the Roman numerals.
G: I V 46 I6 ii6 V 65 /V V V 65 I
T PD D T

E b: I V 46 I6 IV ii V6 V 43 /V V7 I
T PD D T
B. From figured bass: Realize the following figured bass in keyboard style. Provide Roman numeral and
contextual analyses in D major.
Corelli, Preludio, from Sonata in D Minor, Op. 4, No. 4, mm. 1–5
42 65 42 65
D: I IV I ii 42 V 65 I
V I V ii 42 V 65 I
(T PD D T) V
T D
OK for final cadence to be labeled vi 42 V 65 /V V with “slash” notation.
III. Analysis: Mozart, String Quartet in D Minor, K. 421, mvt. 3, mm. 48–55
Listen to the example, and analyze the measures reproduced here. Provide one Roman numeral per
measure; use the downbeat of the measure to determine the inversion. Circle and label embellishing tones.
ANT
RET RET
D: V7 I V 43 /V V7/V V

NAME ___________________________________________________
Assignment 20.4
I. Spelling secondary leading-tone chords to V
Write the secondary diminished seventh chord in whole notes, in each key requested. Provide the key
signature, and add any necessary accidentals to adjust the chord quality.
C: viiL6/V a: viiL7/V F: vii ø /V Bb: viiL /V

6
5 6 G: viiL7/V A b: viiL 42 /V
e: viiL6/V A: viiL7/V E b: viiL 65 /V G: viiL6/V D: vii ø /V

4
3 f: viiL7/V
II. Resolving secondary leading-tone chords to V

Write the two-chord pairs in the specified keys, using SATB voicing and half notes. Provide the key
signature, and draw arrows to show the resolution of leading tones up and chordal sevenths down.
ø
G: vii 7/V V ø /V V
A b: vii 6
5 6 D: viiL6/V V6 B b: viiL 65 /V V
a: viiL7/V V f: viiL 65 /V V6 c: viiL6/V V b: viiL7/V V

III. Resolving secondary leading-tone chords to V7
Write the two-chord pairs in the specified keys, using SATB voicing and quarter notes. Provide the key
signature, and resolve #4̂ to n4̂, the chordal seventh of the dominant.
B b: viiL 65 /V V7 A: viiL6/V V7 e: viiL 43 /V V 65 E b: viiL 65 /V V7
IV. Melody harmonization

Harmonize the following melodies in SATB voicing, with a harmonic rhythm of one chord per beat. Write
a secondary-function chord to harmonize #4̂ in each melody. Provide a Roman numeral and contextual
analysis underneath.
A. Harmonize with a secondary dominant and use one pedal 46 chord.
F: I IV 46 I V I 46 V7 I ii7 V(7)/V V
(pedal) (pedal)
T PD D
B. Harmonize with at least one secondary dominant and one secondary leading-tone seventh chord. The
harmonic rhythm moves by eighth note, so include passing chords or pedal 46 s as needed.
G: I6 V 46 I V viiL 65 /V V6 V/V V 46 V7/V V

(passing) (pedal)
T D

NAME ___________________________________________________
Assignment 20.5
I. Spelling review
Spell each of the secondary-function chords, in whole notes. Provide the key signature, and then add any
necessary accidentals to adjust the chord quality.
c: V 43 /V F: viiL7/V b: V 65 /V A b: V7/V D: vii ø /V

4
3
a: viiL 65 /V E b: viiL6/V c: V 42 /V d: V7/V B: viiL 65 /V
II. Writing dominant expansions

Write the dominant expansion progressions in the specified keys, using SATB voicing and quarter notes.
Draw arrows to show the resolution of leading tones up and chordal sevenths down.
G: V viiL6/V V6 A b: V V 46 /V V6 D: V6 viiL 65 /V V6 C: V viiL7/V V
f: V V 46 /V V6 c: V6 viiL65/V V b b: V6 viiL65/V V e: V6 V 46 /V V

III. Analysis
Identify the key, then provide a Roman numeral and contextual analysis for the following excerpts.
A. Bach, “Wie bist du, Seele, in mir so gar betrübt?” (“Why art Thou, Soul, so troubled?”), mm. 1–2
e: i viiL6 i6 (i) V 65 /V V i
T D T
B. Handel, “Rejoice greatly,” mm. 9–11
B b: I 6 5
3 V6
5 L6
3 I vii 5 /V V 6
T D
C. Brahms, Variations on a Theme by Haydn, mm. 11–18
B b: V viiL7/V V7
___
I6 V46 I IV6 I 46 ii6 V65/V V 49 ___ 38
dominant pedal (passing) (passing)
D T PD D

21 Tonicizing Scale Degrees
Other Than V
NAME ___________________________________________________
Assignment 21.1
I. Spelling secondary dominant chords
Write the chords requested, in whole notes. Provide the key signature, then add any necessary accidentals
to adjust the chord quality. It might also be helpful to provide the chord of resolution as a block chord, as
shown in (a); space is provided for you to do this. Don’t worry about voice-leading for now.
II. Resolving secondary dominants

signature, and draw arrows to show the resolution of leading tones up and chordal sevenths down. For
root-position chords, remember to make one complete and one incomplete.
243

III. Analysis: Corelli, Preludio, from Sonata in D Minor, Op. 4, No. 8,
mm. 25–38
Provide a Roman numeral analysis for the passage, then answer the questions that follow. (The Roman
numerals need not include the many suspensions indicated by the figures).
d: V 7 i iiL6 iv V i 46 V 65 V/iv V 65 /iv iv V7 VI ii ø 6

5
(pedal)
d: V 46 5
3 i V6/iv V7/iv iv V 65 /iv iv V6/iv V7/iv iv V 65 /iv iv V iv6 V
(a) This passage tonicizes just one triad repeatedly. What is it? iv
(b) This tonicization prolongs what function within the basic phrase? predominant
(c) What type of cadence does it prepare? Phrygian
(d) What rhythmic device marks the cadence? hemiola
Students may want to use bracket notation for the extended tonicization of iv (in mm. 32–38):
d: i V6 V7 i V 65 i V6 V7 i V 65 i V iv6 V
iv

NAME ___________________________________________________
Assignment 21.2
I. Resolving secondary dominants
G: V7/ii ii E: V 65 /vi vi f: V 65 /III III c: V 43 /iv iv b b: V7/VII VII
II. Writing secondary dominants

Write the progressions in the keys and meters indicated, using SATB voicing. When the temporary leading
tone requires an accidental, prepare and resolve it stepwise in a single voice to avoid cross relations. Add a
contextual analysis below each.
E: I V 43 /IV IV6 V 43 /ii ii6 V 7 I

T D T
g: i V7/VI VI V/iv iv ii 65 V7 i ø
T PD D T
Chapter 21 Tonicizing Scale Degrees Other Than V 245

III. Analysis: Schubert, “Erlkönig”
This song tells the story of a sick boy and his father, who are riding through a stormy night on horseback.
The son hears the calls of the Elf King (a mythic creature associated with darkness and doom), who
eventually woos the boy to his death. The passages below are sung by the Elf King.
A. Provide a Roman numeral and contextual analysis for measures 66 to 72. Begin the basic phrase with T
in measure 67.
B b: V V7 I V7
T
8 ___________
___________ 7
I V7/ii ii V 46 ___________ 35 I
(T) PD D T
B. Now look at the passage from measures 86 to 96 in your anthology. Provide Roman numerals and
measure numbers for two different secondary dominants that are found in this passage. Do they resolve as
you would expect?
ROMAN NUMERAL MEASURES REGULAR RESOLUTION?
(1) V7/vi vi 89–90 yes

(2) V7/V V 91–92 yes
C. Optional: Listen to the entire song with the score to put this verse (mm. 86–96) into perspective. Then
either (1) prepare for a class discussion, or (2) write a short essay, to answer the following questions: What is
the mood of this verse? How do the accompaniment pattern, melodic embellishment, and harmonic choices
correspond to the text? What interpretive choices by the performers would help bring out the mood?
Students should note that the mood is pleasant and beguiling, even though the evil Elf King is singing. The
accompaniment is dance-like and light. The Elf King is winning the boy over to his side not by fear, but by
enticement. In a full performance, the singer may want to try using different vocal timbres for each character:
narrator, father, son, and Elf King. During the Elf King’s verses, both performers should work together to create a
light mood (with some underlying menace!).

NAME ___________________________________________________
Assignment 21.3
I. Identifying secondary dominants and leading-tone chords
For each secondary-function triad or seventh chord notated, provide a Roman numeral in the key specified.
B: viiL 65 /IV g: V 43 /VI c #: viiL 65 /V A b: V 42 /IV F: viiL7/ii
f #: V7/VII D: V 43 /ii D b: viiL7/vi f: V 43 /III e: viiL 65 /iv
II. Resolving secondary leading-tone chords

G: viiL7/ii ii A b: viiL 65 /IV IV6 D: viiL6/vi vi E b: viiL7/iii iii
a: viiL7/III III f: viiL 43 /iv iv6 c: viiL6/VI VI b b: viiL7/VII VII

III. Analysis
Provide a Roman numeral analysis for each passage.
A. Bach, Prelude in C Major, mm. 18–24
C: V7 I V7/IV
IV7 viiL7/V viiL 42
V7
In which measures does a secondary dominant resolve irregularly? What is irregular about it?
mm. 22–23, resolution to V is delayed
B. Queen, “Killer Queen,” mm. 12–14

Hint: This excerpt ends on a minor dominant.
c: V i V/III III V7/V v
Students may write V7 on beat 1 of me. 12 and V7/III on beat 1 of measure 13 because of the chord
symbols.

NAME ___________________________________________________
Assignment 21.4
I. Analysis: Mozart, “Voi, che sapete,” from The Marriage of Figaro,
mm. 21–28
Provide a Roman numeral analysis.
F: I IV 46 I V7 I
(pedal)
8 __
__ 7
vi V7/vi vi V 46 __ 35 V7
II. Preparing and resolving secondary chords

Write the three-chord progressions in the specified keys, using SATB voicing and quarter notes. Provide
the key signature, then prepare the temporary tonic with stepwise motion and resolve the tendency tones
properly.
b: i V6/III III G: ii V7/V V7 d: i V 42 /iv iv6

E : I viiL7/ii ii f: i viiL7/VII VII A: IV6 viiL 65 /V V
III. Figured bass

Realize the figured-bass continuo part on the grand staff. Use keyboard voicing (three voices in the right
hand, the bass line provided in the left) and a whole-note harmonic rhythm (half notes in m. 57). If
necessary for proper voice-leading, you may temporarily reduce the texture to two voices in the right hand.
Write a Roman numeral analysis beneath the bass line.
Antonio Vivaldi, Gloria, mvt. 1, mm. 50–61
D: V 65 /vi vi V 65 /V V
ø
vii 7/ii V/V V7/V V7 I
V I
What is unusual about the resolution of the harmony in measures 54–55?
The vii 7 chord resolves to a major-quality chord as it should (because of its half-diminished quality);
instead of the diatonic ii, it resolves to V/V.

NAME ___________________________________________________
Assignment 21.5
I. Figured bass: Vivaldi, “Qui tollis,” from Gloria , mm. 8–15
Realize the following figured bass in keyboard style. The soprano line of the choral part is shown; don’t
worry about doubling keyboard voices with the soprano. This excerpt is in E minor; provide a Roman
numeral analysis underneath.
e: i iv V 42 /VII VII6
V 4 6 _____ 5 L
2 i6 vii 7/V V 4 _____ 3 i
Translation: Hear us now, as we make our prayers to thee.
II. Analysis
Write the key and Roman numerals for each excerpt, then answer the questions that follow.
A. Bach, Chaconne, from Violin Partita No. 2 in D minor, mm. 92–96

B. Joplin, “Solace,” mm. 57–60
8 ______________________
______________________ 7
F: I V 46 ______________________ 35 i V7
iii
(1) Which diatonic triad is tonicized in this phrase? iii
(2) Is this a common choice for a phrase ending in a major key? not a common choice
C. Brahms, Variations on a Theme by Haydn, mm. 1–5

Add a contextual analysis below the Roman numerals.
ø
____
____
B b: I IV I V V 65/vi vi ii6 vii 7/V V 46 5

3
T PD D (HC)
(1) What is the cadence type? HC
(2) What chords are tonicized in this passage? vi and V
(3) Are these commonly tonicized chords in a major-key piece? yes, among the most common

NAME ___________________________________________________
Assignment 21.6
I. Chorale harmonization: Bach, “Jesu, meine Freude” (“Jesus, My Joy”)
Harmonize this chorale tune, without modulating from E minor (although you may include tonicized half
cadences). Set each melody pitch marked with an asterisk with either a secondary dominant or secondary
leading-tone chord. In Baroque style, you may use a minor v in positions other than at the cadence. After
completing and checking your harmonization for part-writing errors, add embellishing tones to make a
typical chordal texture. Provide a Roman numeral analysis.
Bach set this melody many times. Compare your setting with one of his (for example, Chorale Nos. 96,
263, 283, 324, or 356), as well as with those of your classmates.
i viiL7/iv iv
__
e: i V/V V8 7 i v V6/v v V 65 i V
i6 5 6 __
3 V 5 /V V8 7 i i viiL7/iv iv i ø
ii 7 V7 i
____
v V6/v v V6 i v V8—7/V V8 7 i V 42 /iv iv6 i V7/V V i
For a shorter assignment, assign just measures 1–6 and ask students to write one secondary chord of
each type. This provides an opportunity to practice writing both a secondary dominant and secondary
leading tone chord.

II. Analysis
For each excerpt, determine the key and provide Roman numerals with inversions. Circle the Roman
numerals for any secondary dominant or leading-tone chord with an irregular resolution. Ignore any
circled pitches.
A. Bach, “Er kommt,” from Cantata 140 (“Wachet auf ”), mm. 11–13
b7 n 42 4 __ n 3
viiL7/iv iv
6 6
__
c: V 42 i6 iv6 V 4 3 i
B. Beethoven, Pathétique Sonata, 3rd mvt., mm. 48–51
E b: V 42 I6 V 65 /IV IV V7 I
C. Brahms, “Die Mainacht,” mm. 15–19 (Note that both hands of the piano are notated in treble clef.)
D: I6 viiL 43 I6 viiL 43 I6 V 46 V 65 /ii V 42 /V V6

(P)
Translation: Veiled by leaves, a pair of doves coo their delight in front of me.

III PART
Chromatic Harmony
and Form

22 Modulation to Closely
Related Keys
NAME ___________________________________________________
Assignment 22.1
I. Triad functions
In the following charts, four triads are given in the top row. For each Roman numeral in the left-hand
column, and for each triad given, fill in the appropriate key. For example, in which key would an E major
triad function as III?
257

II. Identifying pivot chords
On the top staff, write the diatonic triads for each scale degree of the first key. On the given staff, copy those
same chords, but add the necessary accidentals for the new key. Label all chords with Roman numerals.
Draw a box around each of the possible pivot-chord pairs. In minor keys, write the triads on 5̂ and 7̂ twice:
once in natural minor and once with the leading tone.
A. Modulation from G major to D major (I to V)
G
major I ii iii IV V vi viiL
_____ _____ _____ _____ _____ _____ _____
D major
IV V vi viiL I ii iii
_____ _____ _____ _____ _____ _____ _____
B. Modulation from E minor to B minor (i to v)
E minor _____
i ii L III iv v or _____
V VI viiL
VII or _____
_____ _____ _____ _____ _____ _____
B minor _____
iv v or V _____
_____ _____ VII or viiL _____
VI _____ _____ iiL III
i _____ _____
C. Modulation from G minor to B b major (i to III)
G
i iiL
minor _____ _____ _____ _____ _____
III iv v or V VI VII or vii
_____ _____ _____
L
_____
vi viiL
B b major _____ _____ _____ _____ _____
I ii iii IV V
_____ _____
258 Part III Chromatic Harmony and Form

NAME ___________________________________________________
Assignment 22.2
I. Modulating phrases with pivot chords
Write a six-chord progression that modulates between the keys specified, using SATB voicing. The
first three chords should establish the first key. Choose an appropriate pivot chord (you may refer back
to Assignment 22.1, II), and write its Roman numeral in both keys; continue the analysis to the end.
Remember to include accidentals needed for the cadence in the new key, and resolve all leading tones and
sevenths.
A. Modulation from G major to D major (I to V)
G: I V 65 I vi
D: ii V7 I
(V)
B. Modulation from E minor to B minor (i to v)
e: i V 43 i6
___
b: iv6 V 46 ___ 35 i
(v)
C. Modulation from G minor to B b major (i to III)
g: i V 65 i VI
B b: IV V7 i
(III)
Chapter 22 Modulation to Closely Related Keys 259

II. Analysis: Joplin, “Pine Apple Rag,” mm. 53–60
Provide a Roman numeral analysis for this passage. The harmonic rhythm is one or two chords per
measure. Be prepared to answer the questions that follow for class discussion.
E b: I I IV b7 I
E b: I vi
8 __________________
__________________ 7
g: VI iv V 46 __________________ 5
3 i
(iii)
(a) If the harmonic rhythm is one or two chords per measure, how do you label the syncopated eighth-note
“chord” in measures 53, 54, and 57? If considered an actual chord, does it resolve as expected?
This “chord” is best labeled as neighboring tones—F #4, A3, and E b4. If considered a real chord, it is
F #-A-C-E b, a fully diminished seventh of G major or G minor, which is nowhere in evidence here. This
type of chord is sometimes called an embellishing or common-tone diminished seventh chord, and
does not function like a secondary dominant.
(b) What type of cadence appears in measures 59–60? Is this modulation to a key you would expect?
(c) Where and what is the pivot chord?

(d) How is the new key established? Does the music continue in that key? (Consult the complete score in
your anthology.) If so, for how long? If not, what happens next?

NAME ___________________________________________________
Assignment 22.3
I. Writing modulating phrases from Roman numerals
Write the two-phrase progressions in the keys and meters indicated, using keyboard spacing (three notes in
the right hand within the span of an octave, and one note in the left hand).
A. D major
D: I vi V6 I V7 vi
A: ii V7 I
(V)
B. G minor
ø
g: i VI iv ii 65 V 46 __ 35 i
8 __
__ 7
i VI iv 8 __
B b: IV ii ii 65 V 46 __ 35 I
__ 7

(III)
C. Write a keyboard elaboration of the progression in exercise A. (Hint: Use a Classical-style Alberti bass;
embellish the melody slightly to add interest.
D: I vi V6 I
D: V7 vi
A: ii V7 I
(V)

II. Analysis: Bach, Prelude in E b Major, from The Well-Tempered Clavier,
Book II, mm. 1–12
Listen to this prelude, or play through it at the keyboard, and analyze with Roman numerals. This excerpt
includes both a tonicization and modulation. Label each. You may wish to circle and label the embellishing
tones in the score to help you identify the chords.
E b: I
_______ 7
V ii7 V8
E b: I V7/IV IV 46 (or IV with pedal point)
E b: viiL6 V7 I vi
B b: ii
(V)
B b: V7 I IV V I
How do you distinguish between the tonicization and modulation in this passage?
The tonicization (V7/IV to IV in mm. 5–6) is temporary, involving only two chords. The pivot-chord
modulation to B b (m. 9) is confirmed by a continuing progression in that key and a cadence (m. 11–12).

NAME ___________________________________________________
Assignment 22.4
Melody harmonization
A. Melodic fragments
Each of the one-measure fragments, taken from the end of a chorale phrase, may be harmonized in at least
two different keys.
œœ Set each fragment twice in SATB voicing: once in the major or minor key associated with the key
signature and once in another, closely related key.
œœ Label each key, and write an analysis with Roman numerals.
œœ Fragments may end with half or authentic cadences.
œœ You may write accidentals in the lower voices, but don’t change the given pitches.
B. Mozart, Sonata for Piano and Violin, K. 6, Menuetto I, mm. 1–8 (piano melody only)
Write a keyboard accompaniment for this melody by Mozart. There are several chromatic tones in the
melody; circle and label those that are embellishing tones.
œœ The first phrase (mm. 1–4) should confirm the initial key; the second (mm. 5–8) should modulate to
the key indicated by the pitches and accidentals.
œœ Provide a Roman numeral analysis of your harmonization, and indicate cadence types and pivot
chord(s).
œœ Start by writing the progression you have chosen in block chords, keyboard style, to check the
voice-leading, then choose an accompaniment pattern similar to those described in Chapter 12.

Cadence type: IAC
Cadence type: PAC in G major
Compare student versions with Mozart’s original setting below. Mozart’s is a two-voice keyboard texture. Student
setting is for solo instrument, adding a keyboard accompaniment, so the solutions will be quite different. Students
may modulate earlier with the introduction of the F # in measure 5.

C:
I V V I
Cadence type: IAC
C: I viiL 46 /V V6 I
G: IV V I
Cadence type: PAC in G major

NAME ___________________________________________________
Assignment 22.5
I. Figured bass: Bach, “Erhalt uns, Herr, bei deinem Wort” (“Keep Us in
Thy Word,” Chorale No. 72)
Of this chorale’s four phrases (indicated by the fermatas), the first establishes the tonic, the second tonicizes
(but does not modulate to) the relative major, the third modulates to the relative major, and the final phrase
returns to the tonic key by means of a direct (or phrase) modulation.
Realize the figured bass with SATB spacing, as shown in measure 1, and one chord on each beat. Provide
a Roman numeral analysis, identify each cadence type, and show pivot chords by drawing a box around the
pivot Roman numerals in each key. If possible, arrange for a performance in class.
g: i i iiL6 V i6 viiL6 i iv7 V i i

Cadence type: PAC
g: V6/III V/III III i iv6 V i iv

B b: ii I V6 I
Cadence type: HC (III)
B b: V7 ø
I g: V6 i ii 7 viiL6 i6 V8 7 VI iv V7 i
__
(i)
Cadence type: PAC Cadence type: PAC

II. Analysis: Richard Rodgers and Lorenz Hart, “My Funny Valentine,”
mm. 29–36
This entire song is in C minor, except for the final four measures. The excerpt shows the end of the song,
preceded by the cadence in measures 30–31 in C minor. Provide a Roman numeral analysis, beginning on
the second beat of measure 30, as shown.
c: V7 i V7/VI
c: VI
E b: IV 4
2 ii7 V7 I
(III)
Is there something in the text that might motivate the modulation?

Perhaps the change to a major key is to indicate a “happy ending” for the story, if the singer’s
valentine does indeed stay.

NAME ___________________________________________________
Assignment 22.6
I. Analysis: Johann Phillip Kirnberger, “La Lutine”
Provide a Roman numeral analysis for this piece, and label the phrases and cadence types. Most measures
have a harmonic rhythm of one or two chords per measure, but those approaching a cadence may have
three to four harmonies suggested by the counterpoint. This piece includes a modulation to a closely
related key and two sequences; locate and label the pattern and level of transposition for each sequence.
A: I IV V V 65 I I6 ii6 V I V6 V I6 I
6
E: IV V7 5
(V) 2
E: I vi ii6 V I A: V7/ii ii8–7 V7 I (I6)

(I) descending 5ths with alternating 7ths
A: ii 65 iii 65 IV 65 V 65 I IV V I IV V V 65
parallel 65 chords
____________ 7
A: I ii6 V I V6 V I6 I V8 I vi ii6 V I
(1) Where does the modulation take place? Is it a pivot-chord modulation or a direct modulation? What
evidence supports each point of view?
The progression at the beginning of the second phrase (m. 5) can be heard as A: V–I, or in E: I–IV. The
D # of V of E major enters in m. 6; by then, a modulation has occurred.
(2) What types of sequences are employed?

6
Mm. 9–12 feature a descending-fifth sequence with secondary dominants; mm. 13–14 have parallel 5
chords ascending by step.

(3) The music from the beginning returns in measure 17; how has it been changed?
Mm. 17–20 are identical to 1–4; mm. 21–24 are altered so as not to modulate.
Though students do not need to know this to do the analysis, this is a short binary form. You can
return to it in the next chapter to add an analytical layer and discussion of form.
II. Figured bass: Jean-Baptiste Loeillet, Sonata in B Minor, Op. 3, No. 10,
mvt. 3, mm. 1–8
Prepare a keyboard realization of the given figured bass to accompany the flute melody. Use keyboard spacing,
as shown in measure 1, and half notes (with the exception of m. 7, beat 1). Provide a Roman numeral analysis.
D: I V vi V 65 /V (V7/V)
D: V I vi
5

Cadence type: HC A: ii V6 3
(V)
A: I IV7 V V7 I I
Cadence type: PAC

23 Binary and Ternary Forms
NAME ___________________________________________________
Assignment 23.1
Analyzing binary forms
Listen to each movement. Write uppercase letters above the score to represent the large sections and
lowercase to show phrase structure. Label cadences, and be sure to indicate any changes of key. Provide a
A. Mozart, Minuet in F Major, K. 2

Aa b
PAC HC
____ _________ _________ ____

F: I I6 IV V 46 ____ 35 I V 35 I 6 _________ 5
_________ 4 V 3 V 65 I V 46 ____ 35
(N)
Bc c
PAC PAC
F: viiL7/ii ø
iiL6 V
ii F: vii 7 I ii6 V I
g: i i
A a a
DC PAC PAC
_____ _____
F: I6 IV V 46 _____ 35 vi I6 IV V 46 _____ 35 I
Circle any labels that apply to the form:

rounded simple continuous sectional balanced binary
269

B. Haydn, Scherzo, from Sonata No. 9 in F Major, mm. 1–25
Aa a
IAC
F: I I V7 I I
Bb
PAC
V7 I V 65 I V 46 I6
c A a
HC
V 65 I IV V 65 /V V I I
a
IAC PAC
V7 I I ii6 V I
Circle any labels that apply:

rounded simple continuous sectional balanced binary

NAME ___________________________________________________
Assignment 23.2
Figured bass: Corelli, Sarabanda, from Sonata in E Minor for Violin and
Continuo, Op. 5, No. 8
Realize this figured bass to accompany the violin melody. Use keyboard spacing, with one chord per beat.
(The 47 in mm. 9, 11, 17, and 19 indicates that the bass note on beat 3 is a passing tone; the note on the “and”
of beat 3 is the chord tone.) Provide a Roman numeral analysis, label any cadences; identify any sequences
with brackets and arrows above the staff and label the sequence type below the Roman numerals.
___
e: i V i6 iv V 65 /III III4 3
ø
e: VI7 iv ii 7 V 65 i v6 iv6 V
Cadence type: Phrygian
2
e: V i V6/VII VII
Fonte (descending-fifth sequence)
Chapter 23 Binary and Ternary Forms 271

e: III i
b: VI iv V i6 ii ø V
6
5
_____
4 3 i
(v) Cadence type: PAC in B minor (v)
e: V6/IV iv V6/III III

Fonte (descending-fifth sequence)
e: iv6 V i6 ii ø V
6
5
____
4 3 i
Cadence type: PAC
Circle any labels that apply:

rounded simple continuous sectional balanced composite binary ternary
Ponte Fonte Monte

NAME ___________________________________________________
Assignment 23.3
I. Part-writing: Binary form B section
In Assignment 22.3, you wrote two-phrase progressions that, when elaborated, could serve as the first
section (A) of a binary form. Now write the harmonic progression for a second section (B) to complete the
harmonic progressions for a small binary composition. Use keyboard spacing.
A. B section of binary piece in D major (with Monte)
B. B section of binary piece in G minor (with sequence)
II. Writing a minuet

Write a minuet in Classical style following the guidelines presented next. The goal of this project is to write
a piece you will be proud to have performed in class and, in the process, to learn more about Classical style.
Aim to make sure all aspects of the composition are stylistically correct and musical.
A. Requirements
œœ Your minuet should be 16 measures long in meter.
˙ The first section should be 8 measures long, with two 4-measure phrases or a sentence structure;
˙ The second section should be 8 measures long, with a 4-measure harmonic disturbance followed
by a 4-measure phrase that re-establishes the tonic and ends with an authentic cadence.
œœ Write repeat signs at the beginning and end of the sections. You may write a first and second ending
if you like at the end of the first section, to make the connection smoother from measure 8 back to
the beginning and from measure 8 into the second section.
œœ During the Classical period, major or minor keys with up to two flats or sharps were common, along
with C major, C minor, and A minor. Use one of these keys.
œœ You may compose your own harmonic progression following the models in this chapter, or you may
refer back to Assignment 22.3, Part I (p. 261) and choose the D major or G minor progression there
for your A section, and then choose the corresponding progression in Part I of this assignment for
your second section.

œœ This composition may be scored for keyboard, keyboard and a melodic instrument, or string quartet,
as shown in the following models. It will not be written in SATB block chords, but you can sketch in block
chords to plan your progression and voice-leading prior to preparing a stylistic texture based on the
models.
œœ If possible, arrange for a performance in class.
B. Some tips to help you get started

œœ Make a plan for your model composition, based on information provided in Chapters 22–23. Decide
which of the harmonic plans you wish to use from Key Concept boxes on pp. 476–477.
˙ The minuet may be sectional (first section does not modulate) or continuous; Assignment 22.3
provides guidance on writing periods with a modulation in the second phrase.
˙ The second half will start with a harmonic disturbance. You may use sequential Monte or Fonte
progressions or another sequence pattern (see Chapter 19 for options), or use Ponte to prolong the
dominant harmony. The harmonic disturbance area of the section normally ends harmonically
open—on a half cadence or without a clear cadence.
˙ The last four measures of the second half return to the tonic and may feature a return of the
opening material (rounded) or not (simple).
œœ Your chord choices, voice-leading, and part-writing must follow appropriate guidelines for tonal
composition. It will not be four-part SATB block chord style, but will follow an embellished style as
demonstrated in the models, using accompaniment patterns in two, three, or four parts, or two-part
counterpoint. If you need to review how to construct cadences in two parts, see Chapter 11; for cadences
in four parts and accompaniment patterns, see Chapters 12–13; for embellishing patterns, see Chapter 16.
œœ One way to begin is by laying out the measures and repeat signs for each section on a piece of
manuscript paper, prior to entering your score in a music notation software program.
˙ Write a tonic chord in measure 1 and the last measure.
˙ Write in phrase and section labels above the staff for the formal plan you have chosen, indicate
the cadence types, then sketch in the cadences.
˙ Study the models for the type of binary form you are writing to see how the melodic and bass lines
are constructed in regard to intervals, melodic contour, and rhythm, and the type of chords that
are used. Then sketch in the chords you want to use or write a melody or bass line for the opening
period or sentence structure.
˙ Sketch in the chords for the harmonic disturbance you have selected.
œœ Your composition is meant to model Classical style. The style is conveyed through texture, harmonic
choices, location and type of cadences, melodic design, and other features. Closely observe the
compositions you are modeling to create your own composition in that style.
Here are some models to emulate for a Classical-style composition besides those in the chapter:
œœ Mozart, Minuetto K. 2 (Assignment 23.1)
œœ Haydn, Scherzo (Assignment 23.1; also anthology)
œœ Haydn, String Quartet in D Minor, Op. 76, No. 2 (anthology; has Baroque characteristics as well,
such as imitation)
œœ Mozart, K. 284, mvt. 3 Theme (anthology)
œœ Mozart, Variations on “Ah, vous dirai-je Maman,” Theme (anthology)
œœ Kirnberger, “La Lutine” (Assignment 22.6)
When these steps are completed, you will be well on your way to writing the composition.

NAME ___________________________________________________
Assignment 23.4
Analyzing Binary and Ternary Forms
Listen to the following pieces to determine whether they are binary or ternary. Write uppercase letters in
the score to represent the large sections and lowercase to show phrase structure. Label cadences, and be
sure to indicate any changes of key.
A. Schumann, “Wilder Reiter”

Provide a Roman numeral analysis.
Aa a
__________________ __ __ _ __________________ __
a: i 35 __________________ 46 __ 35 V 35 __ 46 _ 35 i V i 35 __________________ 46 __ 35
HC
Bb
___ _
V 35 ___ 46 _ 35 i V i F: I V6 5
3 I V
PAC HC
b Aa
5 ____________________ __
I V6 3 I V I a: i 35 ____________________ 46 __ 35
PAC
a
___ _ ____________________ __ ___ _

V 35 ___ 46 _ 35 i V i 35 ____________________ 46 __ 35 V 35 ___ 46 _ 35 i V i
HC PAC
(1) Circle the best term for the form of measures 1–8:
(a) parallel period (b) contrasting period (c) sentence structure

(2) Compare measures 9–16 with 1–8. What is the same? What is different?
Students may mention the motives, texture (though the roles of the two hands are reversed), and
articulation as the same; the key and mode (A minor, F major) are different.
(3) Which of the following best applies to the entire piece?
A A A B A B A A BA
(4) Circle any labels that apply to the form of the entire piece:
B. Schumann, “Kuriose Geschichte” from Kinderszenen, Op. 15, No. 2

Use your anthology score to answer the following questions by circling the correct answer or filling in a
brief response.
(1) The cadence in measures 3–4 is best described as

(a) an IAC in the tonic key (b) a PAC in the dominant key (c) a DC in the tonic key (d) not a cadence
(2) The cadence in measures 7–8 is best described as

(a) a PAC in the tonic key (b) a PAC in the dominant key (c) a DC in the tonic key (d) a plagal cadence
(3) The phrase form in measures 1–8 is

(a) one phrase, 8 measures long: a (b) a parallel period: a a (c) a parallel modulating period: a a
(d) a repeated phrase (same cadence type): a a (e) a contrasting period: a b
(f ) a contrasting modulating period: a b
(4) Briefly describe the relationship of measures 9–16 to 1–8.

(5) What is the formal function of the passage spanning from the double bar in measure 16 to measure 20?
With which type of cadence does it end? In which key?
(6) Measures 21–28 present music that should be familiar from earlier in the piece, but there are some
slight changes throughout and a significant change in harmonic direction in measures 25–28. Why are the
harmonies changed in this way?
(7) Briefly describe the formal function of measure 28 (after the double bar) to the end of the piece.
(8) Circle any labels that apply to the form of the entire piece:

NAME ___________________________________________________
Assignment 23.5
Analyzing binary and composite ternary forms
This exercise focuses on the phrase structure, tonal structure, and overall form of a piece; it is not necessary
to prepare a complete Roman numeral analysis.
œœ Listen for the overall formal plan. Look at the score for clues, such as repeat signs. Determine whether
the piece is a binary or ternary design. Write uppercase letters in your anthology score to represent
the large sections.
œœ Listen carefully to locate and label each phrase and cadence. Be sure to indicate any changes of key.
Fill in the given charts, and prepare the questions that follow for class discussion (they also provide hints
for the analysis). The optional Comments column is a place to write any observations that don’t fit in the
other spaces.
Mozart, String Quartet in D Minor, K. 421, mvt. 3
A. Menuetto (mm. 1–39)
SECTION MEASURES PHRASE CADENCE TYPE COMMENTS
A 1–10 a PAC Mm. 1–10 are a single phrase.
B 11–29 HC in D minor Sequential, chromatic,

harmonic instability.
A 30–39 a PAC
Circle any labels that apply to the Menuetto:

(1) What is unusual about the phrase structure in measures 1–10?
Mwasures 1–10 are a single phrase, without a dividing cadence in the middle: mm. 1–3 prolong the
tonic with a tonic pedal, and there is a sequence beginning in m. 3 that breaks off in m. 8 to prepare
for the PAC at the end of the phrase.
(2) Indicate the cadence type in measures 28-29, and describe what you hear in measures 11–29. What is
the function of these measures, and where do they fit in the formal design?
Mm. 11–29 are sequential in nature, and provide the area of harmonic instability for this binary design.
The cadence in mm. 28-29 is a HC.

B. Trio (mm. 40–63)
Use letters A and B for the Trio sections in this chart; when you make a graph below (part C) for the entire
movement, use C and D for the Trio sections.
SECTION MEASURES PHRASE CADENCE TYPE COMMENTS
A 40–43 a HC I to V
44–47 b PAC 40–47 constitute a

contrasting period.
B 48–51 c Two-measure sequence: V I.
52–55 d PAC; tonicizes V Mm. 48–55 form a

sentence structure.
A 56–59 a HC Slightly reorchestrated; very

similar to before.
60–63 b PAC
Circle any labels that apply to the Trio:

C. Menuetto and Trio together

Make a graph showing the overall form of the movement, including the da capo. Include section labels for
the large form, internal forms, and repeat signs. Then answer the questions that follow.
A B A (da capo repeat of Menuetto)

⎪
⎪
⎪
⎬
⎪
⎪
⎪
⎪
⎪
⎪
⎬
⎪
⎪
⎪
⎪
⎪
⎬
⎪
⎪
⎤
⎦
⎤
⎦
⎤
A B A C D C A B A
(1) Compare the texture of the Menuetto with that of the Trio. How do they differ? How are they similar?
The texture of the Menuetto is a little thicker and more contrapuntal than that of the Trio, which may
be described as melody and accompaniment. The Trio begins with a change of timbre—the second
violin, viola, and cello are playing pizzicato chords. The dynamic level is p throughout, while the
Menuetto’s dynamics level varies.
(2) What is the key relationship between the Menuetto and Trio?
The texture of the Menuetto is a little thicker and more contrapuntal than that of the Trio, which may
be described as melody and accompaniment. The Trio begins with a change of timbre—the second
violin, viola, and cello are playing pizzicato chords. The dynamic level is p throughout, while the
Menuetto’s dynamics level varies.el minor and major keys).
(3) Circle any labels that apply to the entire movement:


NAME ___________________________________________________
Assignment 23.6
Analyzing rags and marches
These examples focus on the phrase structure, tonal structure, and overall form of a piece; it is not
necessary to prepare a complete Roman numeral analysis. For each piece:
œœ Listen for the overall formal plan. Look at the score for clues, such as repeat signs. Determine whether
the piece is a binary or ternary design. Write uppercase letters in your anthology score to represent
the large sections. Identify the composite form and the smaller forms encompassed.
œœ Listen carefully to locate and label each phrase and cadence. Be sure to indicate any changes of key.
A. Joplin, “Pine Apple Rag”

In the following chart, include large sections, phrases and cadences, location of modulations, and other
information about the piece. (If you analyze the chords, you will find a new harmony in mm. 69–78: bVI,
substituting for the submediant.) Use the optional Comments column for any information that does not fit
elsewhere in the chart.
SECTION MEASURES PHRASE KEY CADENCE TYPE COMMENTS
Introduction 1–4 B b major HC Melody doubled

in octaves
A 5–12 a HC Tonicizes V
13–20 a PAC Mm. 5–20 form a

parallel period.
B 21–28 b Embellished I to V–I motion, repeated.

6
I 4 sounds like HC.
29–36 b PAC Mm. 21–36 form a

parallel period.
A 37–44 a HC
45–52 a PAC
C 53–60 c E b major PAC in G minor Modulates from I to

iii (G minor).
61–68 c PAC in new Stays in new tonic.

tonic key (E b)
D 69–76 d IAC Emphasis on bVI at

beginning of phrase.
77–84 d PAC

(1) The form of measures 5–52 is ternary .
(2) The form of measures 53–84 is binary .
B. Sousa, “The Washington Post March”

Complete the following graph. Include large section labels, the measures spanned, and the overall
harmonic motion of each section. You do not need to include phrase and cadence information. Indicate
which sections are part of the March and which of the Trio.
March (mm. 1–40) Trio (mm. 41–80)
Intro A B C D C
mm. 1–7 8–24 25–40 41–56 57–63 64–80
V G major V G major C major emph. V C major
For the March section, circle any labels that apply:

For the Trio section, circle any labels that apply:

Prepare the following questions for class discussion (or your teacher may ask you to write a brief essay on
one or more of them).
(1) What is the relationship of the different key areas?
The A and B sections are in G major, with a tonicization of V at the end of A, in m. 24. The Trio is in C
major, the subdominant of G major.
(2) The texture is markedly different in measures 57–63. How does that passage fit into the overall scheme
of that portion of the march?
Mm. 57–63 provide the harmonic instability for the binary-form Trio. While not tonally unstable—this
passage focuses on V—the dramatic change in texture reinforces the contrasting nature of this
portion (the “dogfight”).
(3) How do the melodic ideas of the chromatic introduction return in the following strains?
There are many things that can be mentioned, including the chromatic ascent in mm. 61–63, chromatic
passing tones in 13–24, the chromatic neighbors in 48–50, and the chromatic bass line in mm. 16–21,
which descends from D3 to A2.
(4) At the time it was composed (1889), this march was frequently performed at dances, to accompany
the two-step, a wildly popular dance of the day. Which rhythmic elements contribute to its dance-like
character?
Among the many elements are a variety of rhythmic patterns that emphasize subdivisions 1, 3, 4, and
6 of the meter—for example, the melody in mm. 9–12, 13–16, and 25–26.
(5) If possible, listen to several recordings of this march. In some performances, it sounds quite dramatic;
in others, dance-like; and in still others, like a routine march (meant for actual marching). How are
the repeated sections treated in the various performances? Do all of them follow the notated dynamic
markings? Would you make the repeats distinctive if you were conducting this march, or would you play
them the same? What would the dramatic character be for each section in your ideal performance?
Answers will vary.

24 Invention, Fugue, and
Baroque Counterpoint
NAME ___________________________________________________
Assignment 24.1
Baroque melody
A. Bach, Prelude, from Cello Suite No. 2 in D Minor
Listen to measures 1–31 while following the score in your anthology. The passage begins and ends in D
minor, but its Fortspinnung melody passes through a number of keys. Annotate each given excerpt as
specified.
(1) Mm. 13–17

Measures 1–13 end with a cadence to the relative major (F), followed by a sequence. Provide a Roman
numeral analysis in D minor in the blanks, and circle the type of sequence. Identify the melodic pattern
with brackets above the staff.
d: III
_____ V7/iv
_____ iv V
_____ 7/v v
_____ _____
Circle one: Ponte Monte Fonte
(2) Mm. 18–20

A new sequence pattern is introduced in measure 18. Mark the pattern with brackets, provide Roman
numerals in the blanks, and label the stepwise progression of the lowest and highest “voices” with an arrow.
d: viiL6/v v
_____ 6 i
_____ _____
281

(3) Mm. 21–22
In this compound melody, the upper voice is sequential but the bass line is not. Mark the upper-voice
sequence with brackets, and the bass line with arrows.
(4) Mm. 26–30

Mark the sequence pattern with brackets. The bass voice of this compound melody moves up an entire
octave by step; mark its step progression with arrows.
Circle the interval by which the sequential pattern is transposed:

ascending step ascending third ascending fifth
B. Handel, “Rejoice greatly,” mm. 21–23
Listen to the excerpt, then provide Roman numerals and label the cadence type. Mark the melodic
sequence with brackets and the step progression (in the melody) with arrows.
B b: V 42 /V V6 I 42 IV6 vii ø iii vi ii V I viiL I

4
2 6 4
2 6 4
2 6 6 V
(HC)
Circle the sequence type.

descending fifth descending second ascending fifth

NAME ___________________________________________________
Assignment 24.2
Real and tonal answers
These subjects and answers are from Bach’s Well-Tempered Clavier, Book I. Play or listen to each subject
and answer. (1) Indicate whether each answer is real or tonal, and explain what aspect of the subject
indicates that it will take a real or tonal answer. (2) Write the interval numbers between the subject and
accompanying counterpoint, circling the dissonant intervals. (3) Explain how the rhythm and melody of
the accompanying counterpoint contrast with the subject.
A. Bach, Fugue in Ab Major, mm. 1–3
Circle one: real answer tonal answer
Why?
The subject begins with 1̂–5̂–3̂–1̂, which is answered 5̂–1̂–7̂–5̂.
How does the accompanying counterpoint contrast with the subject?

The rhythmic pattern moves from predominantly eighths in the subject to sixteenths in the counterpoint,
and the melody moves from di
sjunct triadic leaps to stepwise motion, filling in thirds.
B. Bach, Fugue in Bb Minor, mm. 1–6
Why?
The subject begins with 1̂–5̂–6̂, which is answered 5̂–1̂–3̂.

The distinctive leaps of the subject are replaced with stepwise motion. Rhythmically, the
accompanying counterpoint adds eighth notes and ties; unlike the subject, it has no rests.
Chapter 24 Invention, Fugue, and Baroque Counterpoint 283

C. Bach, Fugue in F# Minor, mm. 1–7

Why?
The subject does not begin with emphasis on 1̂–5̂ or 5̂–1̂.

When the subject has sustained pitches, the counterpoint has eighth notes, and vice versa. When both
have eighth notes, contrary motion is featured.
D. Bach, Fugue in G Major, mm. 1–9

Why?
The subject does not emphasize 1̂–5̂ or 5̂–1̂ at the beginning.

Rhythmically the accompanying counterpoint supplies eighths where the subject has sixteenths, as
well as sixteenths when the subject has eighths. Motives in the counterpoint are derived from the
subject in inversion: in m. 5, the ascending stepwise motion in eighths comes from the subject in mm.
2–3; and the sixteenths in mm. 6–8 use a pattern from m. 1 in a contour inversion.

NAME ___________________________________________________
Assignment 24.3
I. Real and tonal answers
Play or listen to each given subject and answer, from Bach’s Well-Tempered Clavier, Book I. Analyze the
intervals between the two voices and circle any dissonances. Then answer the questions that follow.
A. Bach, Fugue in F# Major, mm. 1–5

U
Why?
The subject begins with 5̂–1̂, which is answered 1̂–5̂.

The rhythmic pattern moves from predominantly eighths to sixteenths and adds a tie. Melodically, the
counterpoint features a striking octave leap followed by stepwise motion.
B. Bach, Fugue in E Minor, mm. 1–5
Why?
The subject arpeggiaatic subjects typically take a real answer.

The counterpoint has more rhythmic variety, with eighths, sixteenths, and a tied quarter note that
contrast with the continuous sixteenths of the subject. The subject begins with a triadic arpeggiation
and then a descending chromatic line; the counterpoint has neither of these features.

II. Invention analysis: Bach, Invention in F Major
A. Mm. 1–3
Begin by listening to the invention while following your anthology score. Mark the first two appearances of
the subject in measures 1–3, and draw a box around two motives in these measures that appear later in the
invention.
Some possible motives in the first two measures are the arpeggiated chord in m. 1; the figure on
beat 1 of m. 2; and the figure on beats 2 and 3 of m. 2.
B. Mm. 10–14
In these measures, circle an example of compound melody; identify the cadence to the second key area of
the invention; and bracket the entrances of the subject in the new key area.
compound melody
C (V): V I (PAC)
C. Mm. 30–34
Compare the approach to the final cadence in this passage with the cadence in the previous example (B).
What is the relationship between them?
Mm. 32–33 are an exact transposition of 10–11 down a P5.
Optional: As your teacher directs, write an essay addressing the following questions, or prepare these
questions for class discussion.
(1) Trace the reappearances of the motives you identified in the first three measures throughout the
invention. How are they varied?
(2) Does Bach feature period structures or Fortspinnung in this piece? Support your answer by citing
specific measure numbers and examples.
Fortspinnung is featured. This invention is almost entirely made up of sequences; melodic fragments
from mm. 1–2 make up almost all the ensuing compositional material. There is only one internal
cadence, at mm. 11–12.

NAME ___________________________________________________
Assignment 24.4
Fugue analysis: Bach, Fugue in G Minor, from The Well-Tempered
Clavier, Book 1
A. Exposition, mm. 1–8
Mark on the score the entry of the subject (S) or answer (A) in each of the four voices and the entry of the
countersubject (CS), if present. Label the bridge if present. Then answer the questions that follow.
A bridge
S
CS
CS
S CS
This answer is a (circle one): real answer tonal answer
Is there a countersubject? yes no, only free counterpoint
If there is a countersubject, is it presented in invertible counterpoint? yes no
If there is a countersubject, are motives derived from the subject? yes no

If so, how? augmentation diminution inversion no CS
Is there a link or bridge between the second and third entries? yes no
If so, mark it on the score.
Identify and circle two significant motives introduced in the exposition.

Students are likely to select motives in m. 1 ( ) and m. 2 ( ).
B. On the back of this page, make a graph (like that in the chapter) for the entire fugue, starting with the
entries you have marked on the score in part A.
œœ Enter measure numbers and beat (using a, b, c, d for beats 1, 2, 3, 4) at the top of the graph for the
beginning and ending of subject and answer entries, and for sections. Draw vertical lines as needed
between events in the fugue, as shown, and write in the top space of the graph exposition (and its
key), episode, cadence types (e.g., PAC), and coda (if present).
œœ Within the expositions, show what musical materials are present in each voice, including subsequent
subject or answer entries (write “subject” and “answer” or S and A), and countersubject entries (CS)
if appropriate; indicate any voices with “free counterpoint” (cpt), and leave the space blank for any
voices not present in the texture.

œœ For episodes, you do not have to account for each voice, but indicate if there is a sequence, and if so,
which type, as well as listing the key to which it modulates.
mm. 1–2c 2c–4a 4a–5a 5a–6c 6c–8a 8a–12a
Exposition I (G minor) Episode modulates to III (B b major)
S answer bridge CS cpt Sequences with S motives ends

with PAC in B b major.
A subject CS bridge cpt cpt

T answer
B subject CS
mm. 12a–13c 13c–15a 15a–16c 16c–17a 17a–18d 19a–20a
Exposition II (B b major) Episode modulates to iv

(C minor)
S subject CS Sequences with CS motives

on V/V ends on V of C minor.
A subject cpt cpt cpt subject on

V (stretto)
T CS CS cpt cpt cpt
B answer CS dominant subject

pedal on I
mm. 12a–13c 13c–15a 15a–16c 16c–17a 17a–18d 19a–20a
Exposition II (B b major) Episode modulates to iv

(C minor)
S subject CS Sequences with CS motives

on V/V ends on V of C minor.
A subject cpt cpt cpt subject on

V (stretto)
T CS CS cpt cpt cpt
B answer CS dominant subject

pedal on I

NAME ___________________________________________________
Assignment 24.5
Analysis: Bach, Fugue in D Minor
Review the discussion of this fugue in the chapter, and listen while following your anthology score.
Then locate the subject and answer entries in the measures specified: the first passage (A) features
unaltered (transposed) presentations of the subject and answer; the middle section (B) includes inverted
subjects or answers; and the final passage (C) features augmentations and rhythmically altered subjects
and answers. Also indicate for each entry, in the last column, whether it overlaps with another in stretto.
A. Mm. 12–26
Indicate each presentation of the subject or answer in the following chart. One statement appears in a
rhythmic variant; note this variant in the subject/answer column.
measure beat voice starting subject or complete or stretto?

part pitch answer? incomplete?
12 1 bass A #2 answer complete no
19 3 alto A #3 subject complete; one note yes

shortened
20 1 soprano A #4 subject complete; one note yes

shortened
24 1 soprano E #5 answer complete, second interval yes

altered
24 2 alto A #4 answer; rhythmic nearly complete; second interval yes

variant altered, ending truncated
24 3 bass F #3 answer incomplete yes
B. Mm. 34–47
Indicate inversions of the subject or answer in the following chart.

36 1 alto G #4 answer complete no
39 1 bass D #4 answer complete; opening leap filled in no

shortened
44 2 bass A #2 subject complete yes

45 1 soprano A #4 subject complete yes

C. Mm. 67–87
Indicate presentations of the subject or answer in the following chart. Some are rhythmically varied or
stated in augmentation. If so, note this information in the subject/answer column.

67 1 bass G #3 answer complete yes
67 3 alto G #4 answer in complete yes

augmentation
69 3 soprano C #5 answer; first complete no

note shorter
72 3 alto F #4 answer missing last note, second no

interval changed
77 1 bass E #3 answer leaps filled in, last note missing yes

77 2 alto E #4 answer; rhythmically last note missing yes

varied
77 3 soprano E #5 answer in complete yes

augmentation
80 3 alto A #3 answer complete no

NAME ___________________________________________________
Assignment 24.6
Form analysis: Bach, Fugue in E b Major (St. Anne)
Analyze the expositions for subjects 1 and 2 of this triple fugue, using the score in your anthology and the
following graphs. Indicate each subject and answer entry (specify whether real or tonal). Neither exposition
has a CS that recurs consistently with each subject/answer entry, but the accompanying counterpoint
features recurring motives. Label this counterpoint with letters: motive A, motive B, and so forth. For
linking passages, write “cpt” unless the counterpoint has exact statements of motive A or B. Then answer
the questions regarding the music that follows each exposition.
Exposition: Subject 1
mm. 1–2 3–4 5–6 7–8 9–10 11–13 14–15
Function exposition _________ _________ _________ _________ _________

(link)
cpt
Sop. 1 subject cpt motive B

cpt
Sop. 2 answer cpt
(tonal)
Alto subject motive A

cpt cpt cpt cpt cpt
Tenor answer motive A motive B motive A cpt cpt

(tonal)
Bass subject
An episode (mm. 16–21) cadences on the dominant. Describe the subject or answer entries in measures
21–24. In what voices do they appear, and how are they varied from the original subject? Compare them
with entries in measures 31–33.
In m. 21, the answer enters in soprano 1 beginning on E , rhythmically altered so that the syncopated
rhythm becomes even half notes. This is an incomplete statement. It is overlapped in stretto by the
subject in the tenor (m. 22) with the original rhythm, but offset to begin mid-measure. The same type
of stretto entries recur beginning in 31, this time with the subject first in the bass, and the overlapping
half-note answer in the alto (on beat 4).

Exposition: Subject 2
mm. 37–38 39–40 41–42 43–44 45–46
Function exposition _________ _________ _________ _________

(link)
Sop. 1 answer
(real)
cpt
Sop. 2 subject

Alto answer cpt cpt cpt

(real)
Tenor subject motive A motive A cpt cpt
Bass
(1) Write a few sentences that describe how the exposition for subject 2 differs from that of subject 1.
Consider number of voices, type of subject, and type of answer.
Exposition 2 is a four-voice, rather than a five-voice, fugue, with no pedal. The subject differs in meter
and mood, with a more fluid, rapid-moving melody. Subject/answer entries occur in order, from lowest
voice to highest. This exposition features a real rather than tonal answer. A real answer is possible
because the subject begins on the tonic with stepwise motion, rather than triadic skips.
(2) On what material is the episode that begins in measure 47 based? What type of sequence appears here?
Exposition 2 is a four-voice, rather than a five-voice, fugue, with no pedal. The subject differs in meter
and mood, with a more fluid, rapid-moving melody. Subject/answer entries occur in order, from lowest
voice to highest. This exposition features a real rather than tonal answer. A real answer is possible
because the subject begins on the tonic with stepwise motion, rath
(3) Consider the role of the pedal from this point in the fugue to the very end. How does its presence or
absence contribute to the dramatic reentry of the “St. Anne” theme?
The pedal is completely absent from m. 37 to m. 92, until the middle of the third exposition. It
reappears as the fifth and final entry of subject 3 in that exposition. Then in m. 94 the subject is
transformed into the “St. Anne” theme. This has occurred already in the soprano and alto in 89 and
following, but the pedal entry after having been withheld for so long is particularly dramatic.

25 Variation
NAME ___________________________________________________
Assignment 25.1
Analysis: Bach, Chaconne, from Violin Partita No. 2 in D Minor
A. Listen to the Chaconne in its entirety, following along in your anthology score. Mark each repetition of
the four-measure-long theme (shown here, extending from the anacrusis before measure 1 to the first beat
of measure 4). You may observe that some variations of the theme are paired (as shown) or are in groups of
threes; also some are elided, with the figuration of the following variation beginning as the one before ends
on beat 1. Also make notes in your score when you hear changes of texture, mode, figuration, character, and
so on.
8 ––––––– 7
6 ––––––– 5
4 –––––––– 3
B. Harmonic Variations
Provide a harmonic analysis in the blanks for each of the following variations, and answer the questions
provided with each. To calculate inversions, use the lowest-sounding chord tone in each beat or group of
beats (as indicated by the blanks) as the bass note.

d: i V 65 v6 IV6 ii 43 V 46 _____ 35 i ø
________________ _____ __________ _____ ____________ _____ __________ ___
_____ 7
Examine the bass line (lowest notes) and write its name here Lament bass
Find two other variations on the first page of the score with this same bass line, and write their variation
number here: Var. 6 and Var. 9
293

d: i
V/V V
_____________ _________ 7 V7/IV IV
_______ ________________ _______________ V
________
i V 65 i
_______ _________________ _______
d: i
iv
________ ______ VII
_________ ______ iiL
III _________ ______
VI i6 V i
_____ ______________ ___
What type of sequence is represented in this variation? descending fifths
(4) Variations 24–25, mm. 92–100
For measures 92–96 use the downbeats as the bass for inversions; these strong beats outline the lament
bass, D–C–Bb –A.

d: i
__________ vii
L65/iv iv
___________ 6 ii 6 ø 6 ____ 75
5 V 4 ____ 3 i V7/iv iv46 vii
______ ____ ______ ____ __________ ___________ ___
L65___ ____ _______ ___
___ i6 iv V4 3 i
__
(5) Variation 34, mm. 132–136
D: ______________ ________________
I V vi ii
____ 6 V I
__________ ________________ _____
This is the first presentation of the theme in major: compare the progression to the initial theme, and
describe briefly what has changed.

NAME ___________________________________________________
Assignment 25.1 (continued)

C. Sectional shaping in the A section (Variations 1–33)
As is typical for continuous variations, this movement features rhythmic acceleration as a part of the
overall form. Trace its progress in the first large section, measures 1–132, by filling in the following chart.
The variations that are paired or grouped are indicated in the left column. Portions of the chart have been
completed for you.
variations number of variations prevalent duration/ texture (melody, scales, arpeggiation

in the group rhythmic pattern compound melody, block chords, etc.)
1–2 2 quarter and half notes block chords, double theme
3–6 4 dotted eighth–sixteenth scalar melody, occasional chords
7–8, 9–10 2 + 2 eighth notes, then sixteenths melody and infrequent chords
(two pairs)
11–14 4 sixteenth notes melody and arpeggiation only;

compound melody
15–16 2 eighth notes to sixteenth notes chords, arpeggiation, figuration;

descending fifths
17–19 3 thirty-second notes scalar; compound melody
20–21 2 sixteenth notes arpeggiation; compound melody
22 1 thirty-second notes acceleration into the arpeggiation
23–30 8 thirty-second notes arpeggios; simplifying variations
31 1 thirty-second notes scales and deceleration
32–33 2 mostly quarter notes chords, double theme

simplifying variation
Where do you hear the musical climax of the first large section to be? Explain.
For most listeners, the arpeggios of Variations 23–30 constitute the climactic point in the first half of
this piece. Those variations are the most “dense” and active. Their climactic nature is emphasized by
the setup for them in Variation 22, and the deceleration in Variation 31.
Chapter 25 Variation 295

D. Larger Form
As indicated in the chapter, this movement is divided into three large parts (A B A), based on the change
of mode to D major in Variation 34, and the return to D minor in Variation 53. Based on the total number
of variations, however, the change to D major is past the halfway point: 34 of 64.
(1) Without completing a detailed chart tracing the durations, what is the plan for sectional shaping in the
B section? The A section?
There is a rhythmic acceleration in the B section similar to the A section traced in the chart above.
After the B section’s climax, there is not much more intensifying of activity or dynamic level that is
possible with a violin. The D minor A section brings in bariolage—a very visually showy technique of
bowing across two strings that makes it look more exciting, even though the durations are sixteenth
not
es, not the thirty-seconds of the initial A section’s climax.
(2) How is the movement brought to a close?

The double theme returns, as at the beginning, to close the set gently.

NAME ___________________________________________________
Assignment 25.2
Analysis of variations: Purcell, “Ah, Belinda, I am prest”
In this early Baroque opera (Dido and Aeneas), arias are accompanied by a continuo part (harpsichord
playing from a figured bass, with the bass line doubled by a cello or bass viol). The accompaniment
provided here is a keyboard realization. Listen to this aria (anthology), then answer the following questions.
A. Ostinato bass and form
(1) The main theme is the repeating bass line in measures 1–4. Trace this bass line throughout the piece,
and number the start of each repetition on your score; start by marking measure 5 as statement 2.
(a) The bass line is stated 11 times (counting mm. 1–4) before the first substantive change.
(b) The first substantive change to the bass line occurs in what measure? 45
What is different about it there?
It is transposed down a P4; it tonicizes V.
This changed bass is stated 2 times.
(c) The bass line from measures 1–4 is reestablished in measure 53 .

It is stated 8 more times, until the end of the piece.
(d) What is different about the last two presentations of the bass line in this realization?
It is doubled at the octave.
(2) This variation set is a (circle one): continuous variation sectional variation
B. Upper parts of the accompaniment and the melody, measures 2–17
(1) Listen to the melody for measures 2–17. Draw an arc graph showing the phrase structure of the melody
and upper accompaniment parts for these measures. Include measure numbers for each phrase.

mm. 2–8 PAC mm. 9–17 IAC
Measures 2–8 are a melodic phrase, as are 9–17 (with a two-measure phrase extension, 16–17); some
students may want to break this into four-measure phrases, but that disrupts the longer thought of the
text.
(2) Consider each of the melodic phrase endings in measures 2–17. How do they correlate with the bass-line
repetitions?
The phrase ending/beginning in mm. 8–9 coincides with the end of one bass pattern and the beginning
of the next, making a cadence in both parts in m. 8; but there is a bass-pattern ending also in m. 4,
and the start of the first bass pattern is a measure before the voice enters. A bass pattern ends in m.
12, making a cadence in the middle of what had been a longer vocal phrase (the similar spot was mm.
2–8). Here, the vocal phrase continues past the bass-pattern ending. The bass pattern and melodic
ending do not correspond in mm. 16 and 17; the bass pattern cadences a measure before the melodic
pattern.

C. Harmonies, melody, and text painting
(1) Write a Roman numeral analysis for these two passages, then compare their harmonies. What elements
of the text in the second passage may have inspired the harmonic choices there?
(a) Mm. 1–4
6 5
6 6 4 ____
c: i iv6 i6 iv V 4 ____ 35 i
6
(b) Mm. 53–56
n 4 4 ____ n 3
c: VI6 V 5 i i 4 VI7 i6 viiL 43 V

6 7 — 6
4
6 7 6
3
6 6
I (or V = iv)
L
The first passage includes exclusively i, iv, and V chords, while the second uses a wider palette of harmonies—
those, plus VI and vii 7. In addition, the second features a 4–3 suspension on “would not.”
(2) Identify two features of the melody or harmonies in the whole piece that represent musically the
torment addressed in the text. List the measure numbers, and explain how that feature constitutes text
painting.
1: mm. Text painting:
2: mm. Text painting:
Among the topics students may mention are the sigh motive on C–B (“Ah”) in mm. 3 and 19, and on F–E
(“would not”) in m. 56, where the first note of the sigh (F) is the dissonant fourth of a 4–3 suspension;
the leap of a diminished fourth (B n –E b) in mm. 3–4; the descending chromatic vocal line in 56–58; and the
rhythmic association with the word “torment” in 15 and 31.
D. Larger form
(1) Measures 1–17 constitute the first subsection of the piece, which we will call a. There are five subsections,
based on the text, melody, and accompaniment upper parts. Where are the other subsection divisions? Fill
them in here, and assign letters to designate their formal function.
measures 1–17 18–36 36–44 45–64 64–end
section a a b c b
(2) These subsections group into two larger sections, based on the text and the sectional labels. Identify
them here.
A: mm. 1– 36 , and B: m. 36 to the end.

NAME ___________________________________________________
Assignment 25.3
Analysis: Handel, Chaconne in G Major
A. Variation procedures: Listen while following the score in your anthology, then complete the following
chart. Describe in column 2 the figure, rhythm, or prevalent durations (or insert musical notation). In this
variation set, figures often swap hand parts; indicate whether a figure or rhythmic pattern is present in one
hand (LH or RH) or both hands. In columns 3 and 4, record any changes of mode or tempo. If a variation
pairs or groups with one or more others, indicate which ones in column 5; if it does not, write “none.”
VAR. FIGURE/RHYTHM/DURATIONS MODE TEMPO PAIRS
1 Running eighth-note pattern in RH; three- or four-part major moderate Var. 2

block chords in LH.
2 Exchange of hand parts from Var. 1 (block chords RH; major same Var. 1
running eighth-note pattern in LH).
3 Triplet eighth notes ( meter) in RH; block chords major same Var. 4
( meter) in LH.
4 Exchange of hand parts from Var. 3. major same Var. 3
5 Scalar pattern in sixteenth notes in RH; block chords major same Var. 6
in LH.
7 Compound melody (wedge) in RH; block chords in LH. major same Var. 8
9 Suspension chains in LH, singing melody in RH. minor adagio Var. 10
10 Exchange of position of chain (now RH). minor same Var. 9
11 Sixteenth-note compound melody in RH, chord minor same Var. 12

arpeggiation in LH.
12 Combination of elements from Vars. 11–12 minor same Vars. 11

(wedge and neighbors in both hands). and 12
13 Scalar sixteenth-note pattern in RH; suspension chain minor same (Var. 9)

in LH (like Var. 9).
14 Sixteenth-note arpeggiations in RH; descending octave minor same none

arpeggiations in LH.

VAR. FIGURE/RHYTHM/DURATIONS MODE TEMPO PAIRS
15 Sixteenth-note chromatic wedge in LH; arpeggiation, minor same none

mostly eighth notes, in RH.
16 Wedge (like Var. 16 but diatonic, or like Var. 7) in RH; major same Var. 18
block chords (like Var. 7).
17 Compound melody arpeggiation in RH; block chords major same Var. 17

in LH.
18 Block chords in RH; arpeggiation in LH. major same Var. 20
19 Exchange of hand patterns from Var. 19. major same Var. 19
20 Combination of elements from Vars. 19–20. major same Var. 19

and 20
21 Combination of elements from Vars. 19–20. major same Var. 19

B. Variation type: This piece contains elements of both continuous and sectional variations. List at least
two features that are characteristic of each type.
Sectional variation elements:

(1) Clear cadence at the end of each variation.

(2) Each variation is repeated as a section.

Continuous variation elements:

(1) The theme is a bass line and chord progression.

(2) The theme is only eight measures long.
The rhythmic motion is continuous, with connecting material in the final measure of each variation.

NAME ___________________________________________________

C. Harmonic analysis
(1) Theme (mm. 1–8)

Provide Roman numerals below the staves. Label and cadences.
G: I V6 vi V7/V
IV I6 viiL6 I ii 65 V 46 _ 35
8_
_7
G: V (HC) V7 I6 I (PAC)
(2) Now compare the harmonies in measures 1–8 with those of Variations 1–8.
(a) Are the same chords used in each variation? Are the inversions changed?
There are some slight changes, most involving changes of inversion, but for the most part the
harmonic progressions are the same.
(b) How does the texture of the variations and the number of harmonies per measure change as the
prevalent durations become shorter?
Overall, the chords are less thickly voiced as the rhythmic activity level increases. There are more
rests, and the number of parts in the chords also decreases.
(c) Which measure of the theme most often undergoes chord changes in the variations?
including 1 and 3, substitute IV–viiL6–I6 (swapping the order of the last two chords). Others, like 5
Measure 6 of the theme (and the corresponding measures in the variations). Some variations,
and 6, leave out one of the three chords in that measure.

(3) Examine the harmonies in the minor variations.
(a) How is the descending bass line (first phrase of each variation) set in Variations 9, 10, 11, and 14?
Write in Roman numerals for the opening of Variation 9 (next), and label the intervallic motion for the
suspensions. Compare with the other three variations.
from the tenor to the higher parts.
Sus: 5–6 7–6 7–6

Key: g: i v6 iv6 V
(b) Write in Roman numerals for both phrases of Variation 12 (next), and compare with the
progressions in the other variations.
Key: g: i iv6 VII III6 VI iiL6 V7
iv6 N6* N6* viiL/VI VI

____
g: i iv V 46 ____ 35 i
* Indicates a chromatic harmony we have not studied yet, a Neapolitan 6 (N6 or bII6).
How does the second phrase in Variations 9–15 vary?

Each of these variations has differences in the harmonic progressions as compared to the others.
Variations 12 and 13 are the most chromatic; in Variations 9, 11, 14, and 15 the only accidental is
the leading tone.
(c) What is the overall formal organization of these variations as a set? Consider change of mode,
harmonic complexity, and tempo, as well as places where the momentum shifts. Add brackets and large
section labels (A, B, etc.) above the variation numbers on the graph to show which variations belong in
each large section. Show where there is a rhythmic acceleration (or deceleration) over several variations
by using a crescendo (decrescendo) symbol under the variation numbers. Be prepared to discuss your
decisions in class.
A B A

Theme 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

NAME ___________________________________________________
Assignment 25.4
Analysis of Variation Form: Mozart, Piano Sonata in D major, K. 284,
mvt. 3
Listen while following the score in your anthology, then answer the questions, comparing the variations
to the theme and to each other. Additional questions for class discussion are included at the end of this
assignment. (There is a detailed analysis of the theme in Chapter 23; we will consider the chromatic
harmonies in some of these variations in later chapters.)
A. The theme is in D major; which variations are in a minor key? What is the minor key and what is its
relationship with the opening major key?
For Variation XI, there is no actual change in the length of the variation, but the repeats are written
out because the figuration is varied. It also looks long (and takes more score pages) than it is because
of the extensive figuration.Variation XII also has written-out repeats, and the repeats are varied. This
variation, as the last one, has extended figuration e to mark the start of the coda).
B. The theme is in cut time ( ); which variations are in a different meter? Which meters?
variation, as the last one, has extended figuration e of the coda).
C. One variation has a different tempo specified—which one? What is the tempo marking, and what
features of that variation make the change of marked tempo necessary or appropriate?
variation, as the last one, has extended figuration e
D. The last two variations have many more measures than the others (which are the same length in
measures as the theme). For each, what accounts for the additional measures?
variation, as the last one, has extended figuration e

E. Some of the variations make pairs because of shared rhythms, durations, or figuration. Select two
variations that you feel make a pair, and describe what links them together. Describe or write the rhythm or
figuration involved.
Variations I and II pair because of the eighth note triplets: in the RH part in Var. I, with quarter-note
chords and rests in t
he LH; in the LH part in Var. II, with descending scales and descending scales and rests in the RH.
Variations III and IV also pair, with a similar exchange of the sixteenth-note rhythms.
F. Some of the variations present a distinct mood or character. Select one variation and describe specific
elements of the music that help to create that mood or character. Consider dynamic markings, range, and
register, as well as rhythmic and melodic figuration.
Student answers will vary, depending on the variation the students select. This is a great item for
class discussion, as students may come up with different images, moods, or characters. Look for some
specific musical details that support the student’s answer. Here are a few samples.
Variation II: The alternation between the hand parts and the use of range and register make this
variation sound like a conversation, possibly a fliratation, between two people. Perhaps one ise using
a fan, a typical woman’s prop for eighteenth-century flirtation (represented by the ornaments). In
measures 43–47 they are talking at the same time!
Variation IV: This is a figural variation: sixteenth notes in the LH part with an arpeggiation plus
neighbor-tone figuration; chords (mostly) in the RH, but the RH joins in the sixteenth-note figuration
at times. The RH part seems bold, and striding forth; it is answered by the measures (like m. 71) with
figuration in both parts. The dynamic level is f except two measures, which contributes to the image of
a strong, striding character.
p f
Variation V: This is a figural variation, with the motive and dotted eighth-sixteenth
rhythms. Because of the figure and the dynamic changes from to , this variation sounds like a bird
chirping and hopping around.
Variation VII: This variation is in minor and sounds mysterious, like someone sneaking around a dark,
creepy house. This is a melody plus accompaniment texture, with many changes in dynamic levels
make sudden surprises.
Question for class discussion (consider this as you listen):

This theme has an “extra measure” of rests in measures 12–13 that makes it a 17-measure-long binary form
(instead of the normal 16 measures)—what does Mozart do with that measure in each variation?

NAME ___________________________________________________
Assignment 25.5
Variation Form Analysis: Holst, Second Suite in F Major, mvt. 4,
“Fantasia on the ‘Dargason’”
Listen while following the score in your anthology, then answer the questions.
A. Measures 1–56 (first excerpt, with the theme and six variations in full score)
(1) One of the significant factors varied in this movement is the instrumentation—not only which
instruments and their timbres, but also the number of instruments, including changes in range and register,
and presence of drones (sustained notes mimicking the sound of bagpipes) or countermelodies (melodies
with an accompanimental function). Fill in the following chart to trace the changes in range, register,
instrumentation, dynamic levels, and texture. For instrumentation, indicate accompanying instruments by
putting them in square brackets (e.g., [alto clarinet]). If almost everyone is playing, specify tutti (all) then
indicate which instruments are omitted. Portions of the chart have been completed for you.
VAR. MM. INSTRUMENTATION LOWEST/ MELODY DYNAMIC TEXTURE

HIGHEST RANGE MARKING LAYERS
p
PITCHES
Theme 1–8 solo (one player) alto clarinet, alto sax, F3/G4 F3–G4 very
tenor sax sparse,
melody
Var. 1 9–16 clarinet (solo); [alto sax (solo)] F3–G4 F3–G4 melody, p
drone
Var. 2 17–24 clarinets [alto and bass clarinets, F2–G5 F4–G5 melody, p
bassoons, saxophones, horns 1–2, drones
euphoniums, basses, triangle]
Var. 3 25–32 clarinets, bassoons, alto/tenor saxes; D2–B b5 F3–G4 cresc. melody,
[1st and solo clarinet, baritone sax, counter-
basses; horns 1–2] melody,
chords

VAR. MM. INSTRUMENTATION LOWEST/ MELODY DYNAMIC TEXTURE
HIGHEST RANGE MARKING LAYERS
F
PITCHES
Var. 4 33–40 clarinets, bassoons, alto/tenor saxes; C2–F5 F3–G4 melody,

[oboes, E b clarinet, bass clarinet, bassoons cresc. counter-
baritone/bass saxes, 2nd cornets, horns melody
1–2, trombones, basses; snare drum]
Var. 5 41–48 flutes, piccolo, oboe, clarinet, soprano F1/F7 F4–G5 thick! f
sax, 1st cornet [Tutti except horns 3–4; F5–G6 melody;
incl. tambourine] F6–G7 two
accomp.
parts
Var. 6 49–56 flutes, oboes, 1st clarinets [Tutti except D2–F7 F4–G5 dim. much
horns 3–4 and soprano sax; incl. triangle] F5–G6 thinner;
F6–G7 melody,
drones
(2) On the grid provided, use the information you have collected about range, register, instrumentation,
and texture to show graphically how this first large section is shaped.
œœ The rows represent a range of pitches, with each octave divided in half; use row F1 for pitches
between F1 and B b1, row B1 for B1 to E2, and so on.
œœ Start by lightly shading in the boxes to show which pitches are sounding in the theme and each variation.
œœ Then darken (or lighten) your shading to represent how thick or thin the texture sounds (based on the
number of instruments playing, the dynamic level, and the number of different moving parts) within
each variation.
THEME VAR. 1 VAR. 2 VAR. 3 VAR. 4 VAR. 5 VAR. 6
F7
B6
F6
B5
F5
B4
F4
B3
F3
B2
F2
B1
F1

NAME ___________________________________________________

B. Measures 57–88 (anthology, condensed score)
In measure 57, there is a striking change of mood, marking the beginning of the second large section. A
second melodic line, “Greensleeves” (see anthology), enters here. Listen with the condensed score, then
describe what is different in this section as compared to the end of the last one. What aspects provide
continuity? Consider instrumentation, texture, rhythmic and metrical elements, melody, and accompaniment.
This movement alternates large sections without and with “Greensleeves,” and the final group of
variations, based on Dargason only, creates a coda.
C. Measures 80–end (anthology, condensed score)
(1) We have seen that many of the large variation movements have variations grouped into a large A B A
formal design. If we refer to the Theme and Variations 1–6 (mm. 1–56) as the first large section A, and
the variations with both the Dargason and Greensleeves melodies as large section B (measures 57–88),
what letter(s) should be applied to the remaining portion of the movement? Is there a coda? If so, which
variations/measures? Complete the large-form graph, and explain your choices regarding section labels and
section divisions.
SECTION A B A B Coda (A)
VARIATIONS Theme, 1–6 7–10 11–17 18–21 22–25
MEASURES 1–56 57–88 89–143 144–174 175–210
This movement alternates large sections without and with “Greensleeves,” and the final group of
variations, based on Dargason only, creates a coda.

(2) This variation movement is based on a melody that is 8 measures long. Though a melody—not a bass
line such as continuous variation sets typically employ—the Dargason tune is repeated like a continuous
variation bass. Which aspects of this set are like continuous variations, and which are like sectional
variations?
Continuous variation elements: The Dargason melody is only 8 measures long—typical for a
continuous-variation theme, and the variations connect smoothly one to the next, without sectional
breaks. There are a lot of short variations rather than a smaller number of longer ones.
Sectional variation elements: The elements varied are instrumentation, range, and timbre, but also
accompaniment patterns. The Dargason melody is a melody, not a bass line, though it travels through
the band.

NAME ___________________________________________________
Assignment 25.6
I. Writing variations
Choose either a sectional or continuous variation set to compose for performance in class.
A. Sectional variations
Choose a familiar children’s, patriotic, or holiday song to serve as the basis for the theme. The variations
may be written for keyboard or for any small ensemble that is available in your class. If you like, you may
work on this assignment as a group or class project, with each person writing a few variations and then the
group arranging the results into a satisfying musical whole.
(1) Harmonize the melody in four-part chordal style to create the theme, keeping your chord choices
simple. Check the harmonization and voice-leading carefully before proceeding.
(2) Prepare four or more variations on the theme. One variation should contrast in mode. One should
be a figural variation, with melodic embellishment. One should be a “character variation,” with rhythms,
meter, and figuration characteristic of a specific genre—a march, waltz, minuet, and so on. And one should
substitute more complex harmonies or add embellishing secondary dominant or seventh chords.
(3) Arrange your variations in a logical order to make a set. Add a coda if you wish.
(4) Prepare a performance for your class.
B. Continuous variations
Compose a set of continuous variations using the bass line given here, or one of the bass lines provided
in the textbook in Example 25.3, part a, b, or e, or Example 25.4, as your teacher assigns. Begin by
harmonizing the bass line with a simple progression, then prepare six variations, in three pairs—two with
eighth notes, two with triplet eighth notes, and two with sixteenth notes. Keep the bass line identical in
each variation, altering only the upper voices. Arrange your settings from the simplest to the most complex,
and write a lead-in to connect each variation to the next.
L
Some possibilities for harmonizing the bass line above include i–V–VI–III–iv–V 64 –– 53 –i; i–V7–VI–V7/VI–iv–
V 64 –– 53 –i; or i–V–iv6–i6–ii 65 –V 64 –– 53 –i. Harmonizations are provided for the diatonic and chromatic
Lament bass in Example 25.4. For Example 25.3 parts a and b (Romanesca and La Folia), a basic
harmonization uses the bass as the chord root throughout, producing a modal sound shifting between
the relative major and minor; a harmonization for part e (Pachelbel) is in Example 19.16. Bach’s
Passacaglia bass line (part d) is more challenging, and thus has been omitted from the instructions.

II. Writing about variations
Choose one variation composition to analyze.
Brahms, Variations on a Theme by Haydn, Opp. 56a and 56b

(The theme is provided in your anthology; the score for the complete variation is available from online
public-domain score sources.)
Purcell, “When I am laid in earth”
Begin your study of the piece by listening to the recording while examining the score. On your own paper,
write a short essay that addresses the following questions.
Alternately, this assignment could be prepared outside of class for in-class discussion or used as an in-class
collaborative learning activity, as your teacher directs.
A. Variation procedures: What musical features help delineate the variations? Describe the theme and
each variation. For the Brahms variations, include information about the key, meter, tempo, articulation,
prominent rhythmic patterns, mood, instruments, range, character, and any other features that you notice
are varied. For the Purcell song, indicate the number of iterations of the ground bass, how its harmonic
setting changes, how the vocal line and ground bass interact, and any important text painting.
For the Brahms variations, compile a list of the various elements that students notice. Unlike most of
the other sectional variation movements we have studied, where there is a continual acceleration, the
strategy in the Brahms variations seems to be an alternation of faster and slower variations, with a
somewhat slower one concluding the set. Contrast between variations is one or the main organizing
features. There are also many changes in dynamic le
B. Overall organization: In other variation sets we have considered, there has been an evident strategy
for the overall organization—for example, a rhythmic acceleration or A B A form. What seems to be the
strategy here?
For the Brahms variations, compile a list of the various elements that students notice. Unlike most of
the other sectional variation movements we have studied, where there is a continual acceleration, the
strategy in the Brahms variations seems to be an alternation of faster and slower variations, with a
somewhat slower one concluding the set. Contrast between variations is one or the main organizing
features. There are also many changes in dynamic level, including quite a few in the Finale alone.
C. Brahms only: Consider carefully the final variation (Finale): it combines elements of a continuous
variation with the overall sectional design. What is happening there?
The Finale employs a five-measure ground bass (derived from the theme) that is repeated 16 times,
moving into the upper parts for repeats 13–16.

26 Modal Mixture
NAME ___________________________________________________
Assignment 26.1
I. Identifying mixture chords
A. Write the Roman numeral for each key and chord.

A:
_____
ø viiL 43 B:
ii 65 E b: _____ iv6 F:
_____ bVI B b: _____
_____ iv D: viiL7
_____

D b: _____
i6 C: iiL6 E:
_____ _____ viiL 65 G b: _____
bIII A b: _____ bVI6 G: i
_____
B. On the following staves, spell each mixture chord in the key and clef specified. First provide the correct
key signature, then write the note heads for the correct scale-degree chord, and finally add any necessary
accidentals.
B: bVI E b: iv6 F #: i6 D: bIII E: iiL6
F: bVII A: ii ø
6
5 A b: iv G: bVI6 B b: i
311

II. Writing two-chord pairs with mixture
Write the chord pairs specified with SATB voicing. Pay careful attention to accidentals, and watch for
parallels when moving between root-position chords.
F: ii ø V Bb: V bVI
6
5 C: I bVI A b: iv6 V
B: viiL 65 I6 E b: I bVI6 G: ii ø V
4
2 6 A: bVII bIII
III. Analyzing modal scale degrees: Hensel, “Nachtwanderer,” mm. 14–17

Write a Roman numeral analysis under the score. Circle any modal scale degrees.
F: I 4
2 vi (PT) I 46 viiL7/V V7 I
Translation: Then again, all is gray and still.
To color the text “all is gray,” Hensel incorporates modal scale degrees but no mixture chords. Identify the
scale-degree number for each modal scale degree and its embellishing or harmonic function.
m. 15: 6̂—chromatic passing tone in bass
m. 16: 3̂—seventh of a secondary dominant

NAME ___________________________________________________
Assignment 26.2
I. Writing progressions with mixture chords
Write the given diatonic progression on the first grand staff. On the second, rewrite the progression
converting at least two of the harmonies into mixture chords (e.g., replace IV with iv). Maintain the
same voice-leading where possible. Analyze with Roman numerals, and circle any Roman numeral that
represents a mixture chord.
I viiL 65 I6
8 ____
____ 7
E: I vi IV ii 43 V 46 ____ 35 I
E: I viiL 65 I6 I bVI iv ii ø V
4
3
8 ____ 7
6 ____ 5
4 ____ 3 I
II. Analysis: Leonard Bernstein and Stephen Sondheim, “One Hand, One
Heart,” from West Side Story, mm. 1–17
This love song between Maria and Tony, the two main characters in this updating of the Romeo and Juliet
story, includes several mixture chords. Write a Roman numeral analysis beneath the staves, and circle any
numeral that represents a mixture chord.
G b: I IV6 V6 I vi iii
Chapter 26 Modal Mixture 313

bVII IV6 I46 IV V6 IV6

(passing)
bVII6 bIII6 ii6 V7 I

(or V6/bIII
(a) Bernstein uses only two of the three modal scale degrees. Which are they? Where does each one appear?
7̂ (F ) in mm. 7, 13, and 14; 3̂ (B ) in mm. 14 and 16.
(b) In what way are the chord symbols above the vocal line misleading when compared with your Roman
numeral analysis?
They are misleading because of the enharmonic respelling: E n instead of F , B n instead of C , and A n
instead of B .
(c) Which phrase of text is set with the most mixture? Why?
The phrase “only death will part us now” contains the most mixture. These lowered scale degrees
color the word “death” and foreshadow the tragic ending of the story (Tony dies).

NAME ___________________________________________________
Assignment 26.3
I. Spelling chromatic chords
Spell each chromatic chord in the key and clef specified. Chromaticism may indicate a mixture, secondary
dominant, or secondary leading-tone chord. First provide the correct key signature, then write the note
heads for the correct scale-degree chord, and finally supply any necessary accidentals.
G: V 42 /V F: iiL6 D: bVI f: viiL 43 /V B b: iv E: ii ø 6

5
A: bVI d: viiL6/V G: ii ø 6
5 f: V 65 /V B b: vii ø /ii F: iv
4
3
D: viiL 42 /ii c #: V 65 /VI ø

E b: vii 7/V D b: V6/ii B: iiL6 A b: viiL7
B b: i6 E: ii ø
4
3 A: iv6 D b: viiL 65 g: V 65 /iv e: viiL6/VI
II. Writing progressions with mixture chords

Write the following progressions with SATB voicing.
A: I viiL7 I bVI iv iiø7 V viiL7/V V7 I

F: I V 43 I6 V 65 /IV iv V 65 /bIII bIII i6 ii ø Vb
6
5
8 ___ 7
6 ___
4 ___ 5 I
3
In B, he parallel tenths in the outer voices (m. 1) are idiomatic. This permits the seventh of the
dominant harmony to move up instead of resolving down, and the d5 between soprano and alto to
resolve to P5.
III. Analysis: Joplin, “Pine Apple Rag,” mm. 76–84

Listen to the concluding strain of this rag, then analyze measures 76–84. There are many embellishing tones
in this style; focus on the overall harmonic motion. The harmonic rhythm moves slowly, with one chord
per one or two measures for most of the excerpt. Consider the lowest pitch of the measure to be the bass
whether it appears on beat 1 or not (don’t change the inversion when a chord is arpeggiated). Circle the
Roman numeral of any mixture chord.
E b: I bVI I46 passing
IV7 ii ø V 8 ________________ 7
6 ________________ 5
4 ________________ 3 I
(a) Describe how the first mixture chord in the passage is foreshadowed.
Joplin introduces an F on the downbeat of m. 76 as an accented passing tone, foreshadowing the G
of the VI chord (m. 77).
(b) What is the function of the chord in measure 79? In measure 82?
M. 79—passing 64 : the bass passes from C through B to A . M. 82—cadential.

NAME ___________________________________________________
Assignment 26.4
Analysis: Beethoven, Waldstein Sonata, mvt. 1, mm. 1–13
A. Listen to the opening of this movement. Write the Roman numerals and figures for measures 1–13
beneath the score. Circle any Roman numeral that represents a mixture chord in the context of C major.
C: I V 42 /V V6 V6
bVII V42/IV IV6 iv6

(or IV V 42 I6)
IV
V7 iv6 V7 iv6 V7 iv6 V7
i V

B. Provide Roman numerals for the following measures. Circle any mixture chords.
C: V7 i bVI bII bVII
bIII iv7 viiL42 viiL7/V V46 _____

8 7
_____ 5 I
3
C. Locate three mode mixture scale degrees in melodic embellishments in measures 1–13 (refer to your
anthology score) that foreshadow their appearance as roots of mixture chords in measures 166–174. Indicate
the measure number and context of each embellishment, and also the location and type of mixture chord
for which it is later a root.
Using your anthology score, compare the final presentation of this material (mm. 295–302) with measures
1–13 and measures 166–174. How does the final presentation differ in length and use of mixture?
The final statement is shorter, and the only element of mixture is in the subdominant: this time stated
first as a major chord, then minor (m. 298).

NAME ___________________________________________________
Assignment 26.5
I. Figured bass
Realize the figured bass of each short progression in SATB style, and write a Roman numeral analysis
beneath.
A.
F: I viiL6 I6 ii ø V
6
5
____
8 7 I
Some students may use 10-10-10 between soprano and bass for the first three chords; if so, the
d5-P5 between the second and third chord is idiomatic to that progression.
B.
6 8 ––––––––––––––– 7
5 6 ––––––––––––––– 5
ø
3 4 ––––––––––––––– 3
E: I viiL7 bVI
8 ____ 7
I IV ii 6 6 ____ 5
5 V 4 ____ 3
C. Hint: This progression modulates by pivot chord.
G: I IV V 42 I6 ii6
____
C: vi6 iv6 V 46 ____ 35 I

II. Analysis: Hensel, “Neue Liebe, neues Leben,” mm. 56–77 (anthology)
Listen to this song while following your anthology score, paying particular attention to the opening
measures and 56b–77. (For this analysis we will be using a measure number and “a” [e.g., m. 73a] to
represent the first half of the measure; likewise, a measure number and “b” represents the second half of the
measure.) Provide a Roman numeral and phrase analysis for these measures in your anthology, then answer
the following questions.
A. Compare measures 1–8 with 56b–64a.
(1) List three chromatic embellishing tones that are added in measures 56b–64a as compared with
measures 1–8; indicate which measure each appears in, and its scale degree. Watch for these chromatic
scale degrees to appear in chromatic chords later in the passage.
CHROMATIC EMBELLISHING TONE MEASURE SCALE DEGREE
E 60
4
C 61
2 (or 3)
A 62
7
(2) The Roman numerals for the cadence in measures 63–64a are C: V7 IV6 .
The cadence type is PAC HC IAC DC
(3) How does this surprising harmonic event connect to the text set at that point?
B. Now examine measures 64b–73a. There are two phrases here; fill in the information, then answer the
following questions.
(1) Phrase 1 is measures 64b–68a and ends with a(n) PAC HC IAC DC
(2) Measures 64b–66 feature a LIP—which type? ascending 5–6
(3) Phrase 2 is measures 68b–73a and ends with a(n) PAC HC IAC DC
(4) Write the Roman numerals for phrase 2 here, and circle the mixture chords:
B:
(5) The harmonic sequence in measures 68b–71 is a Monte Fonte Ponte
C. Discuss Hensel’s use of dissonance from measures 64b to 77. Identify any of the following that you find:
accented dissonance, chromatic passing tones that foreshadow mixture chords heard later, suspensions, or
diminished seventh chords. How do these elements build to the climax? Which of these dissonances might
you single out for special treatment in performance? Give specific measure numbers. Either answer these
questions in an essay or be prepared to discuss them in class, as your teacher directs.
In mm. 60b–64a, Hensel embellishes the melodic line with chromatic passing tones that foreshadow
the mixture chords to come: A b foreshadows the bVII chord, and C # foreshadows the D b of the bIII
chord. Mm. 68b–71 are supported by a chromatic 5–6 ascending sequential pattern that intensifies
the progression of 64b–68a. On the last quarter of m. 70, a chromatic passing tone creates an
apparent augmented-sixth chord, which resolves deceptively to help build the climax. Other accented
dissonances from suspension color this passage, including those on the downbeats of mm. 67 and 68.

27 The Neapolitan Sixth and
Augmented-Sixth Chords
NAME ___________________________________________________
Assignment 27.1
I. Spelling Neapolitan sixth chords
For each major or minor key specified, write the key signature and a N6 chord.
g: F: g #: e: A: c:
II. Resolving Neapolitan sixth chords

Write the following progressions, in SATB spacing, in the key and meter indicated. Draw arrows to show
the resolution of b2̂ and b6̂ downward. The parentheses in (a) show that filling the d3 with a passing tone is
optional.
d: iv N6 V f#: N6 viiL7/V V
___
i b: N6 V 46 ___ 35
c: iv6 III6 N6 V G: I bVI N6 V A: I6 N6 viiL7/V V I
321

V 46 ____ 35 i B b: I bVI V7/N N N6 V
____
d: iv6 V7/N N I
III. Analysis: Mozart, Piano Sonata in C Major, K. 545, mvt. 3, mm. 41–48
Listen to this movement while following the score in your anthology, then provide a Roman numeral
analysis for measures 41–48, with a harmonic rhythm of primarily one or two chords per measure, notating
the change of harmony on the downbeat. Although the movement is in C major, this portion is in the relative
minor. The exchange of motives between right and left hands produces a 46 chord in measures 41 and 44.
a: i 46 ii V i6 iiL6 V 43 6
5
i viiL6 i6 V 65 /iv iv 6–5

6 N6 V 4 – 3 i
Is the voice-leading resolution of the chromatic tone(s) in measures 47–48 typical? Briefly explain.
When it resolves, 2̂ moves down through the passing tone 1̂ to 7̂, as expected. Scale degree 1̂ is
harmonized by a cadential 64 , which is also typical.

NAME ___________________________________________________
Assignment 27.2
I. Writing progressions with Neapolitan sixth chords
A. Figured bass
Realize the following short progressions from the figured bass in the keys indicated, with SATB spacing.
Provide a Roman numeral analysis below the staff.
F: I iv6 N6 viiL7/V V
____
i iv6 III6 N6 V 46 ____ 35
I b:
B. From Roman numerals

Write the following progression with SATB spacing.
i viiL6 i6 V6 VI6 V6 VI6 viiL6/iv iv6 III6 N6 viiL7/V V 46 __ 35 i

__
g:
II. Analysis: Beethoven, Variations on “God Save the King,” Variation V,

mm. 1–14
Complete a Roman numeral analysis for this variation, then fill in the chart that follows.
c: i VI ii ø V
6
5 i iv6
Chapter 27 The Neapolitan Sixth and Augmented-Sixth Chords 323

III 46 viiL7 i N6 viiL7/V V7 i V
i viiL6/III III V 43 i
ø
iv6 ii 43 V7 IV6 V7 i viiL 46
(passing)
viiL6/III i
8 _____ 7
i6 V6/iv V 65 /iv N6 V 46 _____ 5
_____ 3 i
Find two Neapolitan sixth chords in the variation, then fill in their measure numbers and other items in this
chart.
Students may label the second chord in mm. 6 and 14 as ii 6; however, vii 6/III better captures its
function.

NAME ___________________________________________________
Assignment 27.3
I. Realizing figured bass: Jean Baptiste Loeillet, Sonata in F Major for Flute,
Oboe or Violin, and Continuo, Op. 1, No. 2, mvt. 4 (Giga), mm. 1–21
Realize the following figured bass in keyboard spacing. Place a chord on each beat, except
œœ in measures 1–7, where a rest occupies the second beat of each measure;
œœ in measure 12, where the figures indicate a faster harmonic rhythm.
Write a Roman numeral analysis underneath the bass staff, then answer the questions that follow. If
possible, arrange for performance in class.
d: i iv7 VII7 III7 VI7 ii ø

7
V7 i N6 i6 5
3 N6 i6 viiL 65 i6
___ __
iv6 7 V4 3 i 6 V6 i iv
F: ii V I ii6

____ ____ ___
V I ii 65 V4 3 I IV7 6 V4 3 I
(a) The N6 is found in measures 8 and 10 .
(b) The N6 resolves irregularly to what harmony? i6
(c) What melodic feature implies a regular resolution to the dominant?
2 motion down to implies a dominant function harmony between N6 and i6.
(d) Circle the sequence type with which the movement opens (mm. 1–8):
descending thirds descending fifths ascending seconds
(e) The excerpt is the A section of a binary form. Circle the term that best describes the harmonic design of
the form.
sectional continuous
(f ) Be prepared to discuss the phrase structure of this movement in class.
A phrase analysis of this piece provides a good example of how Baroque and Classical phrases differ. There are
three main phrases (not the usual two or four of later Classical pieces): mm. 1–8, an eight-measure sequence
beginning and ending on the tonic in D minor; 8–13, a progression in D minor; and 14–21, an eight-measure phrase
beginning in D minor and ending in F major. The cadence in m. 8 elides with the start of the next phrase. The
second phrase is also elided, by means of the cadential extension, with the beginning of the third (mm. 13–14).
Counting the elisions on both ends (mm. 8 and 14), the middle phrase is still a measure short of the other two,
making the total section length 21 measures instead of 24. The elisions, along with the rapid change of harmonies
in phrases 2 and 3, maintain forward momentum in this lively dance. If possible, arrange for a performance in
class, since these phrase arrivals are easier to hear than see.
II. Harmonizing a melody: Schubert “Die Krähe” (“The Crow”), from

Winterreise, mm. 1–5 (adapted)
Set the melody with SATB harmonization. The harmonic rhythm is three to four chords per measure. Place
a Neapolitan sixth chord in the position marked by an asterisk (*). Optional: Make a piano arrangement,
then compare it with Schubert’s setting. You may wish to share with students Schubert’s harmonization.
__
c: i V 43 i6 V 65 /iv iv V iv6 5 6
3 V 5 i N6 V 46 __ 35 i

NAME ___________________________________________________
Assignment 27.4
Analysis
A. Schubert, “Erlkönig,” mm. 136–147
You have already analyzed several passages of this piece in earlier chapters. Here, focus on the concluding
stanza, in which the child—snatched from life by the Elf King—arrives at the courtyard dead in his father’s
arms. Write the Roman numerals for the following measures, and be prepared to discuss Schubert’s use of
the Neapolitan in setting this dramatic conclusion.
g: i i V7/iv iv
chromatic ascent N viiL 65 /N
N N6 viiL7/V V7 i
Translation: He holds in his arms the moaning child; he reaches the courtyard with effort and distress; in his arms, the child was dead.
L
For class discussion: The Neapolitan chord in mm. 143 and 145 is in root position. This is not so unusual, given
that it is tonicized with vii 65 /b II (tonicized Neapolitans often appear in root position). The approach by chromatic
ascending bass line is a little unusual, though the chord that precedes the ascent is a (typical) iv chord (m. 140).
In m. 146, each note of the chord is doubled. The highest voice of the piano resolves down (as does the singer’s
line after some embellishment). After almost continuous eighth-note triplets in this song, the rhythmic impetus
stops abruptly with a half-note value N6 chord in m. 146 at the marking “Recitative,” the child is declared dead.
The use of the Neapolitan, as well as the sudden cessation of motion in the piano and the isolation of the vocal
line, creates a chilling musical effect.

B. Mozart, Piano Concerto in A Major, K. 488, mvt. 2, mm. 1–12
Provide a Roman numeral analysis beneath the score, then draw a phrase graph for the passage and be
prepared to discuss (1) decisions you made in graphing the passage, and (2) Mozart’s use of the Neapolitan
chord.
f #: i ii ø V i
4
2 iiø V
6
5 6 6
5
6 __________ 5
4 __________ 3
Note 1 Note 2 Note 3
ø
VI6 vii 7/III III i IV 65 V 65 I VI (= V/N)
8 ____________
____________ 7
N6 V 46 ____________ 35 i
Phrase structure: three-phrase period

Graph:
ø
Note 1: Here, students may think to modulate temporarily into the relative major. This is understandable, as it
pivot back to the minor-key tonic with vi = i in f #. Because the progression includes PD–D–T in the new key, the
seems as though the new phrase begins in a new key (direct modulation): IV6 vii 7 | I in A major, followed by the
modulation is not incorrect—but in the larger scheme of the phrase, and given the brevity of the modulation, we
would lean toward interpreting this as a tonicization of III.
Note 2: Students may write this IV 65 as a secondary dominant (V 65 /VII), because of its Mm7 quality. Its resolution
is not to VII, however, and the harmony plays a predominant role in the phrase.
Note 3: Students may have difficulty deciding what type of cadence this is (for the phrase diagram). Although
there is a weak V 65 –I progression here, the tonic is colored (through mixture) to a major quality, and the melodic
figuration treats what would be a chord tone in the major tonic (A #) as though it is a chromatic passing tone to
the VI chord. Is the goal of the phrase the tonic chord (authentic cadence) or the submediant chord (deceptive
cadence with figuration)? For that matter, is the VI chord considered the end goal of phrase 2 (deceptive
cadence), or the pickup to phrase 3 (V/b II)? Either choice can be supported, and the performance interpretations
would depend on how you decide on this issue. Phrase diagrams will also depend on how students answer these
questions. What should be clear from their diagrams is a three-phrase unit with cadences that are weak-weak-
strong, ending with a PAC and forming a three-phrase period.

NAME ___________________________________________________
Assignment 27.5
I. Spelling N6 and A6 chords
Write the key signature, then spell a Neapolitan sixth and all three types of augmented-sixth chords in each
key specified.
II. Spelling and identifying augmented-sixth chord types

A. For each major or minor key and augmented-sixth chord, write the key signature and chord.
d: Fr6 A: It6 E b: Gr6 b: It6 f #: Fr6
c #: It6 F: Fr6 A b: Gr6 G: It6 c: Gr6

B. Label the minor key and chord type in the blanks provided.
_____
c: It6
Gr6 Fr
e: _____ f: 6 It
_____ g: 6 Fr
_____ b: _____
6
III. Part-writing with augmented-sixth chords

A. Part-write each set of chords described by the given key and Roman numerals. Write primarily half
notes in common time.
B b: It6 V a: Fr6 V f #: Gr6 V 46 ––––– 5

––––– 3 E: It6 V
B. Part-write each short progression in quarter notes, in the keys specified. Draw arrows to show the
resolution of b2̂ downward and #4̂ upward. Supply an appropriate meter signature.
c #:
____
g: iv6 It6 V VI Fr6 V a: i Gr6 V 46 ____ 35
E b: bVI Gr6 V46 __ 35

__
f: i iv6 Fr6 V B: I iv6 It6 V

NAME ___________________________________________________
Assignment 27.6
I. Writing progressions with augmented-sixth chords
A. Figured bass
Part-write the following short progressions from the figured bass given. Analyze with Roman numerals
below the staff.
____
e: i iv6 Gr6 V 46 ____ 35 c:
i VI6 iv6 Fr6 V
B. From Roman numerals

Write this progression, with SATB spacing.
I viiL7/ii ii viiL7 I V 65 /iv iv iv6 Gr6 V 46 ______ 35 I

______
D:
II. Analysis
Provide a Roman numeral analysis for the following passages, where augmented-sixth chords intensify a
cadence. Identify each cadence type.
A. Mozart, String Quartet in D Minor, K. 421, mvt. 3, mm. 7–10
d: 4
Gr6 V L 6 5
2 i6 ii 6 V 4 __ 3 i Cadence:
8 __
__ 7
PAC

B. Haydn, String Quartet in D Minor, mvt. 1, mm. 1–12
d: i iiL 42 V 43 i6 V6 i V7 VI Gr6 V (HC)
i iiL 42 V 43 i6 V6 i V i
viiL6 VI6 V6 VI6 V6 VI6 V6 V 42 /iv iv6 V42/iv iv6 V42/iv iv

8 ____
____ 7
V 46 ____ 35 i (PAC)
(1) This example has two phrases: measures 1–4 and measures 5–12 , and forms a (circle any
that apply)
parallel contrasting symmetrical asymmetrical period.
(2) The augmented-sixth chord is in measure 4 , beat 2 . It is a It6 Fr6 Gr6.

What is unusual about its resolution?
The Gr6 resolves with beat-to-beat parallel fifths in the viola and cello.

NAME ___________________________________________________
Assignment 27.7
I. Analysis: Beethoven, Pathétique Sonata, mvt. 3, mm. 41–51
A. Listen to this passage, then provide a Roman numeral analysis on the score provided and answer the
questions that follow. Although the sonata is in C minor, this passage is in the relative major throughout.
8 ________________
E b: IV
________________ 7
V 46 ________________ 35 I
V 42 I6 IV6 Fr6 V
V 42 I6 V 65 /IV IV V7 I
B. Identify an augmented-sixth chord in the passage.
Measure: 46 Type: French Preceded by: IV6
Voice and resolution of #4̂: soprano, to 5̂
Voice and resolution of b6̂: bass, to 5̂

II. Analysis: Mozart, Piano Sonata in D Major, K. 284, mvt. 3,
mm. 246–250
Listen to this passage, then provide a Roman numeral analysis (expect a fast harmonic rhythm in measures
247–248; chord changes on almost every note). Answer the questions that follow.
D: I viiL/ii ii viiL 43 /ii ii6 viiL I viiL 43 I6 V 65 /iv
iv i 46 It6 V
passing
A. Identify two mixture chords and an augmented-sixth chord by measure number and Roman numeral.
(1) Measure 248 Roman numeral: vii
(2) Measure 249 Roman numeral: iv
(3) Measure 249 Roman numeral: It6
B. Circle the word that best describes the function of the i 46 chord in measure 249.
neighbor cadential passing
C. What harmonic detail creates a sense of surprise on the downbeat of measure 249?
The downbeat is preceded by a V 65 /IV, which normally would resolve to IV. The B on the downbeat of
m. 248 is canceled by a natural on the third beat, implying that the mixture (on the downbeat) is only
momentary—making the minor iv in m. 249 sound surprising.
D. There are several editions of this score, which differ with respect to accidentals in measure 249. What
might be the missing accidental? (Hint: It helps to play through the measure.)
The motivic design of this passage features an octave leap in the right hand followed by a chromatic
lower neighbor (by half step). On beat 3, however, the lower neighbor is a whole step. Some editions
give F as an editorial addition. Play both versions for the class to hear the difference.

28 Vocal Forms
NAME ___________________________________________________
Assignment 28.1
I. Analysis of a recitative-aria pair: Bach, “Soll denn der Pales Opfer”
and “Schafe können sicher weiden” (anthology)
A. Provide a Roman numeral analysis for measures 4–10 of the recitative. Begin in F major. To which key
does this recitative modulate? G minor
iiL6
F: I6 IV
g: III VI iv
ø
g: V 42 i6 ii 7 V7 i V 42 /iv iv7 V7/III III iiL6 V46 –– 35 i
Translation: And since the whole land with “Vivat” echoes—even this beautiful field—to honor our Saxon hero, to stir to joy and passion.
B. Look at the entire recitative in the anthology, along with the text’s translation provided there. List two
instances of text painting, and indicate how each is set. Students should identify two of the following:
1. The word “Freud” (“joy”) in mm. 8–9 is set with an ascending line of sixteenth notes (after primarily
eighth-note motion).
2. The insistent repeated “Nein! Nein!” (mm. 2–3) is declaimed on a single note, as though shouted or
spoken emphatically.
3. There is an upward leap to “Vivat.”
335

C. Listen to the aria, and complete the form graph that follows. In the second row, indicate whether each
subsection of A or B is vocal or ritornello. Which passages are tonally stable and which modulatory? In
sections that modulate, mark the Roman numerals for the beginning and ending key (fourth row).
FORM: A B (da capo)

VOCAL/RIT: rit vocal rit vocal rit vocal vocal
MEASURES: 1–4 5–17 17–21 21–26 26–30 30–40 41
KEY: B b B b B b g to c c c to F Bb
ROMAN NUMERAL: I I I vi to ii ii ii to V I
II. Analysis of recitative, Handel “Thy rebuke hath broken his heart,”
from Messiah, mm. 1–10
A. Provide a harmonic analysis on the score. Listen to the recording or work through the passage at the
piano to hear key changes. Expect direct modulations without a pivot chord; determine changes of key by
cadential gestures. Begin in F minor.
f: III viiL6 i I 42 g: V7 i
(passing) or V 42 /V
viiL7/V V 46 ______________ 35 a: V6 i
______________
e:
B. List three musical factors that help portray the sadness of the text.
1. The excerpt moves through a series of tonicized minor keys that provide harmonic tension by rising
(F minor to G minor, ending the excerpt in A minor).
2. There is a stepwise chromatic descent in the bass line in mm. 1–4, a typical way of depicting sadness.
3. The measure-long 64 –– 53 cadential in 7–8 does not resolve, but moves to another dominant-function
harmony in a new key.
4. The E5-B b4-E4 tritone motion in the opening of the melody and the many minor thirds may also
represent sadness.

NAME ___________________________________________________
Assignment 28.2
Analysis: Schubert, “Der Lindenbaum” (anthology)
Before listening to the song, read the poem by Wilhelm Müller in the anthology, and number each strophe.
Think about imagery that might be reflected in the music. Then listen to the song while following the score
to see how Schubert’s realization does or does not match what you anticipated.
A. Poetic structure
(1) The poem consists of six strophes, with the same rhyme scheme.
Write the rhyme scheme here, using lowercase letters: abcb .
(2) What story does the poem tell?

A wanderer revisits the site of earlier joys, in the shade of a linden tree. Presumably, he met his
girlfriend there and they carved their initials into the bark. When he returns, however, the night is
stormy and unwelcoming, and the call of the tree to find rest there is almost threatening (could “rest”
mean death?).
(3) What shifts of mood in the story might suggest contrasting sections in the musical form?
We might expect the musical treatment of strophes 3 and 5, with images of darkness and stormy
winds, to contrast with the setting of the first two strophes, with references to sweet dreams and fond
memories.
B. Musical form
(1) In the score, mark the beginning of each strophe, as well as musical phrases, cadences, and sections,
then fill in the chart on the back of this page. Trace the progression of keys, and relate any key change to
the poem. Use the Comments column for observations on text painting or any other aspect of the setting
(texture, repeated phrase, harmony, etc.).
(2) The setting of strophe 5 prolongs a mixture chord—which one? How has this element of mixture been
prepared musically by a prominent neighbor-tone motive in the introduction and elsewhere?
Strophe 5 prolongs the C n –B motive, or bVI (mixture chord) to V. An expansion of this neighbor-tone
motive appears at the emotional climax of the song: mm. 45–58. Here the neighbor motive is drawn
out in the bass line to span fourteen measures. It appears in the vocal line as well as in mm. 50–53.
This element of mixture has been prepared by the C # –B motive stated first in the introduction in the
right hand (m. 2), then in the left (m. 4), and in the vocal line in mm. 18–19. The neighbor motive shifts
to the half-step version when mixture is introduced in the A section, where the motive becomes C n –B
in mm. 26 and 28. Another “foreshadowing” element is the use of B # in the introduction (m. 4), which
hints at the prolonged C n to come.
Chapter 28 Vocal Forms 337

POETIC LARGE PHRASE MEASURES KEY/ CADENCE COMMENTS
STROPHE FORMAL MODE TYPE
SECTION
none intro 1–8 E major HC Rustling figure in piano =

leaves on tree
1 A a 9–12 PAC Statement of fact
(objective)
a 13–16 PAC Repeated phrase
(almost exact).
2 b 17–20 HC Parallel period (b b).
b 21–24 PAC Soaring line with

pleasant memories.
none interlude 25–28 E minor Minor key foreshadows
night.
3 A a 29–32 PAC Dark night; triplets could be
lullaby (“you will find rest”).
a 33–36 PAC Repeated phrase.
4 b 37–40 E major HC Branches rustle.
b 41–44 PAC Parallel period.
none very brief 45 bVI

interlude
5 B c 46–49 DC Oscillates between V7
and bVI; frigid wind.
d 50–53 no cadence Wind takes away his hat.
(or HC?)
none interlude 53–58 HC Horn calls.
6 A a 59–62 PAC Return to simpler

texture (strophe 3).
a 63–66 PAC
6 b 67–70 HC
repeated
b 71–76 PAC Parallel period with
phrase extension.
none coda/ 77–82 PAC
postlude

NAME ___________________________________________________
Assignment 28.3
Analysis: Brahms, “Die Mainacht” (anthology)
Listen to this piece while following the score in your anthology.
A. Poetry and form

(1) Briefly describe the story of the poem. What do we know about the speaker and where the action takes
place? What does he or she hear, see, and do?
A lonely person is wandering sadly outdoors at night, contemplating lost love. The moon is shining on
shrubs and lawn, and the nightingale sings. The doves have found mates, but our character has not.
The speaker seeks a darker, shadowy area, and a tear runs down his/her cheek.
(2) Does the poem have a consistent rhyme scheme? Are there any recurrent images that might have
implications for the form of the song?
There is no consistent rhyme scheme that would imply a parallel musical setting. A recurring image of
a tear, however, might imply a parallel setting at the ends of strophes 3 and 4.
B. Harmonic analysis
(1) One way Brahms depicts the restlessness of the main character is by avoiding the root-position tonic
triad on the downbeat. Where is the first downbeat root-position tonic triad?
It appears at the end of the song, on the last syllable the singer sings (m. 48).
(2) Find each cadence, then list the measure numbers for each phrase in the chart provided. Identify the
cadence type and key area, and include a Roman numeral to show the relationship to the main key of
the work. Use the “Comments” column to indicate if the melody and accompaniment cadence in different
locations, or other details. Then list the letters for the main sections of the form in column 1.
OVERALL FORM MEASURES CADENCE TYPE KEY COMMENTS
A 1–8 THC F# major (I)

9–14 PAC F # minor (i) Melody cadences in mm. 12–13;
accompaniment on beat 3 of m. 14.
B 15–19 HC D major (bVI) Tonicized HC.
20–26 HC F # minor (i) Tonicized HC.

27–32 HC F # minor (i) Melody cadences in mm. 30–31; both minor
and major cadential 64 present in m. 31.
A 33–38 HC F # major (I) Tonicized HC.

39–48 PAC F # major (I) Two measures of V7 before resolving
to tonic.
F # major (I)
plagal cadence,” iiL 42 –I.
Codetta 48–51 Tonic prolonged; ends with “Romantic


(3) Provide a Roman numeral analysis for measures 9–14.
f #: V iv V7/bIII bIII i6 iiø 65
8 ___________
V b46 ___________ 35 V b46 ___________________________ 35 i
___________ 7 ___________________________

Translation: And the nightingale flutes, I wander sadly from bush to bush.
(4) How does mixture in the harmonic progression in measures 9–14 prepare for the key change at 15?
In 9–14, the piece shifts to the parallel minor; almost every harmony is a mixture chord. A good
number of D s are introduced in 9–11, which prefigure the D major of the middle section (a tonicization
of a mixture chord: VI).
(5) What exotic harmony colors the climax in measure 45? What harmonies and embellishments prepare
this chord in the preceding measure? Where has this harmony been foreshadowed (or prepared tonally)
earlier in the song?
In 9–14, the piece shifts to the parallel minor; almost every harmony is a mixture chord. A good
number of D s are introduced in 9–11, which prefigure the D major of the middle section (a tonicization
of a mixture chord: VI).on: D major.
(6) Choose three specific key words or phrases and be prepared to discuss in class how their harmonic
setting, texture, contour, register, and other aspects reflect text painting.
(a) “Traurig” (sadly; m. 11) leaps to modal D over a half-diminished chord. “Taubenpaar” (pair of
doves; m. 17): the piano RH is cooing (!) and LH is “paired” (two voices).
(b) “wende mich” (turn away; m. 22) features a high G ( 2̂ of tonic key) and dramatic leap down a
seventh. “Suche dunklere Schatten” (seeking darker shadows; mm. 23–26): A ( 3̂) colors the chord
qualities via mixture as the voice moves into a lower, darker register.
(c) “einsame Träne” (lonely tear; 28–30, 40–42) is set with an ascending vocal line, crescendo, 9–8
suspensions in piano; a point of high drama.

NAME ___________________________________________________
Assignment 28.4
Analysis: Hensel, “Bitte”
A. Poetic analysis
(1) Read the poem in your anthology. Analyze the rhyme scheme with lowercase letters, and then write the
rhyme scheme for each strophe.
Strophe 1: abcb Strophe 2: defe
Only lines 2 and 4 of each verse rhyme. (Students may not consider “mir” and “für” a rhyme; discuss
in class.) Because alternate lines rhyme, this could imply a musical rhyme as well.
(2) List three images that seem essential to setting the scene in this poem, which might influence the
composer’s musical choices.
(a)
(b)
(c)
B. Harmonic analysis
Listen to the song, then provide a Roman numeral analysis in A b major for measures 9–16. Circle the
Roman numeral of any chord whose quality results from mixture. Hint: Watch for embellishing tones. For
example, the first syllable of “süsse” in measure 15 is colored by embellishing tones; analyze the harmony
from the eighth-note second syllable. The excerpt begins with a secondary dominant.
___________________ 7
A b: V 65 /IV V b46
8 ___________________ 5
iv ___________________ 3
bVI V43/IV iv i6 V7/V iv6 i 46 viiL 43 I
Translation: [Power], somber, tender, dreamy, unfathomably sweet night.

C. Form
(1) Compare the form of the poem’s first strophe with the form of its setting by completing the following
chart. At the end of each line, consider the punctuation and whether Hensel made any changes. Is there a
cadence at each line ending? Write “no” or identify the cadence type. Use the Comments section to describe
any ambiguous or striking line ending. Use measure numbers with “a” to designate an event in the first half
of the measure, and “b” for an event in the second half of the measure (e.g., m. 3b).
MEASURES LINES OF PUNCTUATION PUNCTUATION CADENCE? COMMENTS

POEM IN POEM IN SONG
1–3a 1 comma comma no
3b–5a 2 comma comma HC
5b–7a 3 comma comma no
7b–9a 4 period comma no ends V 65 /iv
9b–11a 3 comma comma no
11b–13 4 period comma DC mixture ( VI)
14–16 4 period period IAC weak cadence
(2) The form of this song is (circle one): A B A A A B through-composed strophic
(3) How do the harmonic choices in measures 9 and 13 propel the song forward and correspond with
repetitions in the text? How might an understanding of the cadences affect your performance?
In mm. 8–9, the cadence is approached from a C dominant seventh chord—V7/ VI, setting up a
deceptive cadence with mixture—but the tonic pitch is harmonized with a secondary dominant to iv.
This initiates a repetition of the text that leads to another deceptive cadence—this time with a lowered
cadence (viiL 43 –I). In performance, the hierarchy of these cadences should be made clear by means of
submediant (mixture chord)—initiating another partial repetition to the final rather weak authentic
expressive timing in the final cadence. M. 9 might initiate forward motion to the repetition, and m. 13
might be colored more darkly for the mixture chord.
(4) Which of the images you identified in part A (2a–c) help explain Hensel’s extensive use of mixture? List
three words or images and explain how each is depicted through text painting.
Students should list three of the following:
1. M. 2, “dunkles” (dark), is set with 6̂.
2. Motion through VI and III7 in mm. 7–8 highlights “unfathomably sweet night” and “You alone hold
sway forever and ever.”
3. A VI returns in m. 13 to the same text.
4. In m. 12, the voice has an accented incomplete neighbor tone on C ( 3̂) to highlight “sweet night.”

NAME ___________________________________________________
Assignment 28.5
Analysis: Schubert, “Der Neugierige” (“Curiosity”), from Die schöne
Müllerin
A. Text, musical texture, and form
This song cycle tells the story of a young mill worker who has wandered beside a brook to a mill, where,
catching sight of the miller’s daughter, he decides to seek work. In this song, he wonders if the beautiful
miller maid loves him. Read the poem in the anthology, and consider the rhyme scheme, the speaker, and
to whom he is speaking.
(1) The rhyme scheme for each strophe is abcb .
(2) In the following chart, indicate for each strophe to whom the miller boy is speaking (including to
himself ), and any important imagery or ideas. Then decide whether the strophe shares characteristics with
another strophe, and what those characteristics are.
STROPHE SPEAKING IMAGES/SIGNIFICANT SIMILAR TO CHARACTERISTICS SHARED

OF POEM TO WHOM? IDEAS STROPHE
1 himself flower, star, 2 Strophes 1 and 2 share

unanswered question nature images.
2 himself gardener, star, 1 The unanswered question.

unanswered question
3 brook, brook, silent, 5 Both are addressed to the brook.

then self asks question
4 brook? self? possible answers to none Stands alone in providing

the question possible answers.
5 brook, brook, strange, 3 Same first line; similar last

then self asks question two lines.
(3) Now listen to the song, and locate the setting for each strophe. For each, provide a formal designation
(A, B, C, etc.) and measure numbers.
STROPHE: 1 2 3 4 5
intro A A B C B postlude
MEASURES: 1–4 5–12 13–21 23–32 33–42 43–52 52–55
(4) What “character” is represented by the piano accompaniment figures in strophes 3 and 5?
The flowing sixteenth notes represent the brook addressed in these strophes.
(5) How does the musical texture of strophe 4 differ from the rest, and what is the significance of this
change of texture?
This strophe is set with a recitative-like texture. Here the babbling of the brook, portrayed by sixteenths
in strophes 3 and 5, is silent, and the voice is accompanied by sustained chords. The voice sings rapid
eights and sixteenth notes over sustained chords in mm. 33–34, more like recitative than Lied. The
singer’s melody contrasts the two possible answers to the question: “yes” (F ) with “no” (D ).

B. Harmonic setting
(1) What aspects of the harmonic motion might represent asking a question? Consider in particular the
introduction and the beginning and end of the first two (eight-measure) phrases.
unstable viiL7/V harmony. The first two phrases (5–12 and 13–20) both move from tonic to tonicized
Mm. 1–2 seem to be asking a question, ending a subphrase on the highest pitch thus far and an
dominant—perhaps representing harmonically the act of asking a question. Further, the short keyboard
interlude after the second phrase ends on an unstable V7 followed by silence, as tho
(2) The meter, tempo, and accompaniment patterns change when the singer addresses the brook (from
m. 23). Where is there mode mixture in this passage, and what does it indicate?
The mode mixture, in m. 25, may represent the brook not answering, or it may be a foreshadowing of
the word “Nein” in m. 35, since both feature the D .
(3) What key area appears with the word “Nein” (no) in measure 35? How does it relate to the previous
key? How is the modulation accomplished?
up by viiL7 of B major, which resolves deceptively to the lowered submediant. The voice-leading is
When “Nein” is sung, the key changes abruptly to G major ( VI of B major); the modulation is set
facilitated by the common tone (G ) between the chords.
(4) Provide Roman numerals for measures 40–42, beginning in G major. How does Schubert get back to
the tonic key in measure 42 for the question to the brook?
8 ––– 7 8 –––––––––––––––––––––––––––––––––––––––––––––––– 7
G: I6 ii6 V 46 –––––– 35 I B: Gr6 V 46 –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– 35
The modulation back is by a German A6 (G -D -E -B), which results from adding an E to a G major
chord, resolving to a V 64 –– 53 in B major.
(5) There is one last surprising harmonic twist in this song, in measure 50. What chord represents the
answer to “Brook, does she love me?” The singer does not take that answer as the final one, and repeats the
ending of the phrase to attain a tonic cadence. What do you think the answer is: “ja” or “nein”?
Instead of the expected tonic chord in B major in m. 50, the bass slides up a half step to F , bringing
in a V/vi (D -F -A -C ), which resolves to vi in an enhanced deceptive move before repeating and
resolving in B major. Given the poetry and songs of the rest of the cycle, the answer is surely “no.”
The emphasis on mixture throughout this passage and the D of “nein” imply that this is the case.

NAME ___________________________________________________
Assignment 28.6
I. French mélodie: Fauré, “Après un rêve,” mm. 24–30
A. Provide a Roman numeral analysis for the following passage.
c: i vii6 VIÑ 46 V 65 /iv
N6 (iv) V7 I N 43 ii ø I
6
5
Translation: The skies parted their clouds for us, splendors unknown, divine light glimpsed.
Students may hear the major-quality tonic triad in m. 30 as moving towards a toncization of F,
particularly when the B 7th of the chord enters on the last beat.
B. List three harmonic features that give this passage a characteristic sound quite different from the
German Lieder you have studied. Explain what is unusual about each.
Students may list any of the following:
1. The minor key is given a modal flavor by avoiding the leading tone in m. 25; rather than employing
the diatonic VII chord, Fauré has altered the quality to a minor vii chord.
2. The downbeat of m. 26 has an augmented triad; although it might be explained via embellishing
tones, the augmented triad occurs elsewhere in the song and is part of the style.
3. The secondary dominant to iv in m. 26 instead goes to a Neapolitan chord. The Neapolitan harmony
reappears in m. 29 with a seventh added, which is unusual.
4. The cadence of the phrase (mm. 29–30) is of a Romantic plagal type with a half-diminished ii chord
substituting for the dominant in moving to the tonic.

II. Analytical writing: Hensel, “Neue Liebe, neues Leben”
Write a short analytical paper about this song. Begin by reading the poem in your anthology. Think about
the structure and meaning of the text, as well as the ways you might interpret them musically if you were
the composer. Next, listen to the song while following the score. Apply all the skills you have developed
in recent chapters to analyze form, harmony, phrase structure, modulatory schemes, motives, and text
painting. Support each point you make by giving measure numbers, reproducing musical examples with
analytical markings, or creating charts or graphs.
Your essay should include the following:

œœ A description of the form of the song and its relation to the form of the text, including rhyme scheme
and musical rhyme, poetic and musical strophe structure, objective versus subjective lines of text,
characteristics of contrasting sections, and all changes of key.
œœ A detailed harmonic analysis of at least two sections of your choice, with a discussion of the dramatic
and musical function of any mixture or chromaticism and its possible relation to the text.
œœ Analysis of motives, text painting, and/or embellishment of repeated motives.
œœ A discussion of the relationship between the vocal line and piano accompaniment, including changes
between the two as the song progresses and changes of texture that correspond with form.
œœ A discussion of the dramatic structure, including comments on how your analysis of this song may
have enriched your ideas about its interpretation and how you would shape the large-scale structure
of your performance.
Form of song: A B A
Form of text: three strophes, each with a rhyme scheme of ababccdd. The abab rhyme scheme is
interpreted by Hensel as a parallel phrase structure (compare m. 2’s “geben” with m. 6’s “Leben,” for
example). Likewise, the two c’s are parallel (compare “liebtest” in m. 10 with “trübtest” in 12), as are
the two d sections.
The large-scale structure of each verse might be interpreted as two-part, A (abab) B (ccdd). With
three strophes, we might expect the song to be in strophic form, with each verse having an A B
form. Instead, Hensel presents a large A B A form for the song, where the initial A corresponds to
strophe 1 and the first half of strophe 2. The contrasting B section (m. 26b) sets the second half of
strophe 2 and the first half of strophe 3. The B section is marked by a change from the arpeggiated
accompaniment of the opening to a driving reiterated chordal accompaniment. The return of A (m.
56b) sets the second half of strophe 3; in order to balance the length of the initial A section, A
incorporates a great deal of text repetition. The A section moves from tonic to the mediant (d minor)
and back; B begins in the tonic and moves to the relative minor and stays there. The return of A is
marked by a return to the tonic key.
Students may wish to discuss the sequential nature of the melodies. Text painting includes use
of chromatic incomplete neighbors to highlight significant words: “liebtest” (loved) in m. 10 and
“betrübtest” (troubled) in 12; reiterated chords and a descending chromatic bass line to portray “if I
rush to escape her”; the melodic downward leaps for “escape her” and “flee her” in 28 and 30; and
the unexpected half-note rhythms of 50–51 and 55 to portray the singer being held back against his
will. The repetitions of text and motive in the final section (e.g., 68–70) intensify the pleading nature of
“let me free!”

29 Popular Music
NAME ___________________________________________________
Assignment 29.1
Song analysis
A. Stephen Foster, “Jeanie with the Light Brown Hair” (anthology)
Listen to this nineteenth-century American song, then complete the analysis as directed.
(1) Draw an arc to represent each phrase. Label the arc with a lowercase letter, and identify each cadence
and key change. In the blanks provided, identify the form: quaternary, verse-refrain, strophic, and so forth.
Form of each verse: quaternary song from (a a b a)

Form of entire song: strophic
There are no cadences at m. 2, 6, or 10 because there is no harmonic motion in which two or more
chords lead to a tonal goal. There is a rhythmic resting point in these measures; some students
may try to divide phrases there. M. 15 is a little different, for it contains a progression that can be
considered cadential: V 65 –vi. But the phrase-rhythm patterns established in previous phrases help us to
hear mm. 14–17 as the formal unit.
(2) Identify three ways Foster creates contrast in the bridge section.
(a) new rhythmic motive ( )
(b) return to a tonic key
(c) new stepwise contour, constrained range
(3) Name two ways Foster musically portrays the insubstantial “vapor” of the longed-for Jeanie at the end
of the song.
(a) rests in midphrase (mm. 16–17)
(b) fermata on the rest after “vapor”
Students might also cite the rhythmic setting of “vapor” with the whispy scotch-snap rhythm of
347

B. Jerome Kern, “Look for the Silver Lining” (anthology)
Listen to this 1920 Broadway musical song, then complete the analysis as directed.
(1) At the largest level, this song is divided into two parts. Give the term that is associated with each part,
then examine how the two differ.
mm. 1–11: verse mm. 12–43: refrain
(2) Identify three ways that the two parts differ.
(a) 1st part: constant even eighth-note motion; 2nd part: in halves and quarters.

(b) 1st part: two verses with different lyrics; 2nd part (“Chorus”): sung twice with same lyrics
( then ).
(c) 1st part: “conversational” in tone, personal; 2nd part: has the “hook” of the song (its title),
and is more lyrical and memorable.
Other answers are possible: 1st part has repeated stepwise bassline (mm. 1–4, 7–8, 10–11); 2nd part
piano has patterns of 1̂–5̂ in bass with offbeat chords. 1st part is stable in E major; 2nd part modulates.
(3) For the second part of the song (beginning in m. 12), draw a graph with an arc to represent each
phrase. Label each arc with a lowercase letter, and identify each cadence. Watch for a key change and label
the cadence in that new key (mark both cadence and key). In the blank provided, identify the form of this
part of the song.
Form of the second part: quaternary song from (a b a c)
C. Quaternary song form in television theme songs

In the 1960s and 1970s, when television was a relatively new form of entertainment, many of the television
shows had theme songs that introduced the show and were composed in quaternary song form. Here are
two that you may know—both from cartoons.
œœ Find a video of each theme song online. Count along while listening to the song (you may wish
to conduct to help count the measures), then complete the following graphs. Each song has a
brief introduction prior to the main body of the song. Begin counting measure numbers after the
introduction ends.
œœ List measure numbers for each phrase (including any cadential or phrase extension), identify the
cadence type, and provide phrase letters. You may find variant versions from different years of the
show; you can use this technique to compare them.
(1) Hoyt Curtin, Joseph Barbera, and William Hanna, “Meet the Flintstones” (theme song from The
Flintstones):
4 4 4 6
(Intro)
a a b a
m. 1 4 5 8 9 12 13 18
HC PAC V7 PAC
(or HC)
(2) Ben Raleigh, Scooby-Doo Theme Song (1969)
(4 + 4) (4 + 4) (4 + 4) (4 + 4)
8 8 8 8
(Intro)
a a b a
m. 1 8 5 8 9 12 13 18
PAC PAC HC PAC

NAME ___________________________________________________
Assignment 29.2
I. Reading chord symbols
In the space provided, notate the root-position chords indicated by the chord symbols above the staff.
II. Writing blues scales

On the given staves, first write the indicated minor pentatonic scales ascending and descending, then add
blue notes (check the spelling on the ascending versus descending form).
Chapter 29 Popular Music 349

III. Analysis
A. Chord symbols: For each chord, provide the appropriate chord symbol.
B
(1) badd6 (2) ______
______ G7( b9) Dsus C9 F
(3) ______ (4) ______ 7 E
(5) ______ bm6 Csus
(6) ______ Dm9
(7) ______ (8) ______
B. Blues: Listen to the following passage, then answer the questions.
Phillips, “Blues for Norton,” mm. 20–24
(1) Write out the appropriate blues scale (ascending) that corresponds with this passage.
(2) From what point in the standard blues progression is this passage drawn?
This is the very end of the twelve-bar blues progression: V7–IV7–I7. (The measure numbers 20–24
indicate that this passage comes at the end of the second time through a twelve-bar pattern.)

NAME ___________________________________________________
Assignment 29.3
I. Song analysis: Mel Leven, “Cruella de Vil,” from 101 Dalmatians
Listen to this song, then answer the questions.
A. Harmonic analysis: Indicate the key, and write in Roman numerals for measures 5–12; the harmonic
rhythm is typically one or two chords per measure. Several chords include sevenths and ninths—indicate
them with the Roman numeral.
I 97 * IV 97 I 97 *
bVI 97 bVII 97 V 97 /ii

11
IV 97 I
(embellishing)
V b97/V V 97
*As is typical in jazz and blues writing, the tonic harmony can include a seventh or ninth. Because of
the added seventh and the motion to a IV chord, students may analyze as a secondary dominant to IV,
which is perfectly acceptable.

B. Form: Complete the form chart for the entire song. Count along with a recording (starting after the
introduction) to determine the measure numbers, formal divisions, and cadences.
MEASURES FORMAL DIVISION CADENCE TYPE (OR INDICATE NO CADENCE)
1–4 introduction authentic cadence in B b, mm. 3–4
5–12 a AC in F (V) or tonicized half HC
13–20 a PAC in B b
21–28 b no cadence
29–36 a PAC in B b
What is the overall form of this song? (circle one)

through-composed verse-refrain quaternary da capo aria
C. Text painting
Give three specific examples of text painting, as requested here. For each, include the measure numbers and
a description of how that example represents text painting.
TYPE OF TEXT PAINTING MEASURE(S) DESCRIPTION
harmonic quality or 9–10 “Take a sudden chill” is set with mode-mixture chords;
chord choice exotic-sounding embellishing chord on “chill.”
the melodic line 5 D4–A b4 outlines a tritone for “Cruella de Vil”

(the devil’s interval).
one other example 11–12 Half step “lament,” D5–D b4 and D b5–C5, on “Cruella, Cruella.”
of text painting
D. Blues style elements

Though this song is not based on the twelve-bar blues harmonic progression, it does feature some blues-
related style elements. Listen carefully to the melody, and identify blues elements.
The half steps (C –D, F –G) sound bluesy, as do the lowered thirds (the song is in B major, but
includes 3̂ (D ) and 7̂ (A ). Students may also cite the opening’s two short melodic ideas, similar to
“Splanky.”
II. Writing a blues melody

Taking “Splanky” and “Blues for Norton” as your models, write three melodic ideas on your own manuscript
paper, using a blues scale in the key of your choice. Next to each melodic idea, write at least one variant (for
example, change the melodic contour or add, replace, or remove a note). Keep a copy of the one you like
best; you may be asked to play it in class and, if you wish, you may use it in Assignment 29.4.

NAME ___________________________________________________
Assignment 29.4
Composition: Twelve-Bar Blues
Compose a blues tune using the twelve-bar blues progression, as shown here and demonstrated in
Example 29.6 (MGTA p. 603), transposed to a key other than C. Those familiar with blues or jazz blues
style may choose to use a more elaborate version of this progression; students working with the blues
progression for the first time are encouraged to keep it simple, as shown here. Chords in parentheses are
c
optional; the chord prior to them can continue through those measures. The progression should be in
common time ( ) as shown.
Provide a melodic line for two complete cycles through the twelve-bar progression:
(1) write a blues melody for a solo instrument (or for call-and-response between two instruments) to be
played over one cycle through the progression, and
(2) write a different blues melody to be sung, along with your own lyrics, for a second cycle through the
progression.
This means your entire composition will be 24 measures long: 12 measures of instrumental melody and 12
measures of vocal melody. In your performance, either the sung melody or the instrumental melody can be
played first, followed by the other setting.
Notate your score on your own manuscript paper using two staves: a staff with the melody
(instrumental, then voice, or vice versa) aligned above a staff with the accompaniment part (keyboard,
guitar, or small combo) in slash notation as shown. Be sure to include the lyrics for the vocal melody. If you
are writing your instrumental one for call-and-response between two instruments you can use two staves
for the melodic instruments in addition to the one for the keyboard, for a total of four staves.
This type of composition is intended for performance by a jazz or blues combo: accompaniment part,
one or two melodic instruments (trumpet, saxophone, flute, or trombone are typical, but don’t consider
that a limitation), and voice. Practice your song and solo for performance in class, and/or get a friend (or
two) to help you perform it. If available in your class, the performance may also include a bass player or
percussionist (those parts are normally improvised; you will not notate them).
Getting started
(1) Your composition should model blues style. The style is conveyed through the conflict between the
major-key chords in the accompaniment, the minor-inflected melody, characteristic rhythmic patterns
including swung rhythms (notated as straight eighth notes, but played swung), melodic motives, lyrics, and
other features. Closely observe the compositions you are modeling to create your own composition in that
style.

Here are some models to emulate for a blues composition:
“Rock Around the Clock” “Blues for Norton”
“Hound Dog” “Splanky”
“Blues in the Night” “Harlem Nocturne”
“Blue Monk”
“Mustang Sally” (twenty-four bars—each measure of the progression repeated)
(2) Begin by transposing the harmonic progression given to a key than C major, using a major key
signature with one to three flats or sharps, and set up the measures for the accompaniment part in common
time, using four slashes per measure. If you wish, make this progression more elaborate by modeling a
specific blues composition. Write out the harmonic progression twice, to make 24 measures.
(3) Write out the blues “scale” in the key you have chosen, following Example 29.7 (MGTA p. 603) to serve
as a collection of notes from which to improvise melodic ideas.
(4) A suggested way to start composing your melodies is by playing the chords of the progression and
improvising above the chords. You may use chord tones, but also connect between chord tones using
notes of the blues scale. The instrumental solo melodies often feature short motives, as shown in Example
29.6 (MGTA p. 603), that are expanded or elaborated over the course of the solo, and you may choose to
feature call-and-response between two instrumental soloists. Choose interesting rhythms, especially for the
instrumental melody; it is possible to create a stylistic blues melody using mostly rhythmic motives without
a lot of pitch elaboration. Write down your best melodic ideas and work with those to create your melodies.
(5) For the vocal melody, you will need to write lyrics.
Strategies for creating lyrics:
œœ Keep the language simple and direct.
œœ Most popular songs are about love—finding love, being in love, losing a love; blues lyrics tend to be
about love gone wrong in some way, but are not usually sad overall (singing the blues helps put a
better perspective on the problem, perhaps). Blues lyrics may engage other topics, too, including hard
times, poor employment, or anything else worth complaining about.
œœ Blues lyrics often have double meanings or implied subtexts—for example, the “hound dog” in Big
Mama Thornton’s performance of “Hound Dog” is two-legged (a man), not four-legged.
œœ Try this model for the lyrics: subphrases 1 and 2 state a “problem” and subphrase 3 reveals a
consequence of the problem.
œœ You can also think of the blues lyrics as a kind of call and response, with a conclusion.
Subphrase 1 (call) I I I I
Subphrase 2 (response) IV IV I I
Subphrase 3 (conclusion) V IV I I (or V7)
The lyrics to W. C. Handy’s “St. Louis Blues” are a good example:
I hate to see that evening sun go down, call
I hate to see that evening sun go down, response
’Cause, my baby, he’s gone left this town. conclusion
Feelin’ tomorrow like I feel today, call
If I’m feelin’ tomorrow like I feel today, response
I’ll pack my truck and make my get away. conclusion

NAME ___________________________________________________
Assignment 29.5
Song analysis
Listen to each song online or by download, then fill in the form chart and answer the questions that follow.
Both of these songs from the 1960s draw on earlier forms—quaternary song form or twelve-bar blues.
Include the section name (intro, verse 1, verse 2, chorus, bridge, instrumental break, outro), the start
of the text, and the number of measures in the section (conduct along in and count them). If there is a
refrain at the end of a verse, indicate its text and location. For any instrumental breaks, write “no text” and
what section the break is based on (if identifiable).
A. John Lennon and Paul McCartney, “Can’t Buy Me Love”
SECTION NAME START OF TEXT NUMBER OF MEASURES
intro (based Can’t buy me . . . 6 (plus anacrusis)

on refrain)
verse 1 I’ll buy you a . . . 12; 4 + 4 + 4 (refrain)

(refrain: ’Cause I don’t care . . .) 12-bar blues progression
verse 2 I’ll give you all . . . 12; 4 + 4 + 4 (refrain)

(refrain: ’Cause I don’t care . . .)
chorus Can’t buy me . . . 8
verse 3 Say you don’t need . . . 13; 4 + 4 + 4 (refrain) + 1

(refrain: I don’t care . . .) (scream)
instrumental (no text; based on verse) 12; 4 + 4 + 4 (refrain)

break
verse 3 Say you don’t need . . . 12; 4 + 4 + 4 (refrain)

(refrain: I don’t care . . .)
(1) Listen for the harmonic changes and number of measures in each verse. What term best describes the
harmonic structure of the verse?
12-bar blues progression
(2) If there is an instrumental section, does its musical material come from elsewhere in the song? If so,
where?
The instrumental break is based on the verse (12-bar blues structure); it could be called an
instrumental verse.

B. Lennon and McCartney, “Eight Days a Week”
Complete a form chart for this song, counting measures and writing the appropriate formal designation
and beginning lyrics in the space provided.
intro (no text) 4

verse 1 Ooh I need your . . . 16

verse 2 Love you . . . 16

bridge Eight days . . . 8
verse 1 Ooh I need your . . . 16

bridge 8

verse 2 Love you . . . 16
outro (repeat of refrain: “Eight days a week . . .,” then 8 (4 + 4)

instrumental)
(1) For the first verse, identify the phrases with letters and arcs, and indicate the number of measures for
each.
4 4 4 4

a
a b
a
(2) On what form is the verse based?

quaternary song form
(3) How is the bridge similar to and different from the verses? (This question refers to the more
contemporary meaning of “bridge,” which follows the first two verses.)
The bridge takes the beginning of its text from the refrain at verse’s end (“Eight days a week”),
but extends it. The music departs from the 12-bar blues structure and has a new two-phrase
melody.“Love” is drawn out with many pitches to a single word, in a type of text setting that is not
present in the verses.

NAME ___________________________________________________
Assignment 29.6
Song analysis
Listen to each song online, then fill in the form chart. Include the section name (intro, verse 1, verse 2,
chorus, bridge, prechorus, postchorus, instrumental verse, outro), the start of the first line of text, and the
number of measures in the section (conduct along in and count them). If there is a refrain at the end of a
verse, indicate its text and location. For any instrumental breaks, write “no text” and what section the break
is based on (if identifiable).
A. Pharrell Williams, “Happy” from Despicable Me 2

(1) Counting the measures in this song might be a tricky because of the syncopation in the vocal part. Start
counting the verse measures when the voice enters. There is a four-measure harmonic loop under the verse,
but there is a stop-time (pause in the accompaniment) measure under the vocal entry, so that the first
complete loop begins in the measure with the word “Sunshine”—listening for the loop will help you count.
Use the following questions to help you complete the column on “accompanying parts.”
SECTION NAME START OF TEXT NUMBER OF MEASURES ACCOMPANYING PARTS
intro (no text) 1 keyboard
verse 1 It might seem crazy . . . 16 (4+4+4+4) keyboard, drums

chorus Because I’m . . . 16 (4+4+4+4) keyboard, drums, hand claps,
backing vocals
verse 2 Here come bad . . . 16 (4+4+4+4) keyboard, drums, occasional
backing vocals (“yeah”)
chorus Because I’m . . . 16 (4+4+4+4) keyboard, drums, hand claps
backing vocals
bridge Bring me down . . . 16 (4+4+4+4) hand claps, backing vocals, adds
textural elements toward chorus
backing vocals
backing vocals
bridge Bring me down . . . 8 (4+4) hand claps, backing vocals
(“Happy”)
backing vocals
backing vocals
(2) Listen again to the verse and chorus sections, and compare the vocal part in these sections. Which
has the most continuity in the vocal line and which has more rests between sung lines? Which has more
rhythmic repetition? Which has more melodic variety and which stays more on the same few pitches? How
does the vocal line (and text) in the bridge differ from both of them?
The chorus has a regular, repeating four-measure rhythmic pattern, stays much of the time on one note, and has
no substantial rests for the voice part; in contrast the verse has shorter melodic ideas, long spans of rests, and
more variety in the pitches used. The bridge has many repetitions of the same text “Can’t nothing bring me down”
and the chords and drums drop out (only hand claps.

(3) Now listen to the rhythm section and harmonies. The four-measure harmonic loop under the verse
has a sustained chord for two measures then four syncopated chords in the remaining two. How does the
harmonic rhythm change in the chorus? How are the sections differentiated by the parts other than the
lead vocal?
The chorus has a regular, repeating four-measure harmonic loop that differs from the verse loop both in the
harmonic rhythm (one chord per measure) and in the chords used. This matches up with the four-measure vocal
lines, and helps establish the groove of the chorus, along with the additional accompanying parts (backing vocals
and hand claps) that come in for the chorus. In the bridge the chords and drums drop out (only hand claps and
backing vocals that build toward the return of the chorus).
B. Green Day (Billie Joe Armstrong, Mike Dirnt, and Tré Cool), “Wake Me Up When September Ends”
(1) Identify the sections as before—many are verses—but pay attention to the character of the sections, and
consider how the phrases group to help determine whether you hear a bridge or chorus with the verses. If a
verse repeats, then repeat that verse number on the chart.
intro (no text) 4
verse 1 Summer has come . . . 8

(refrain: Wake me up . . . )
verse 2 Like my father’s . . . 8
bridge Here comes the rain . . . 8
verse 3 As my memory . . . 8
instrumental (no text; based on verse) 8
break
verse 4 Ring out the bells again 8
bridge Here comes the rain . . . 8
verse 3 As my memory . . . 8
instrumental (no text; based on verse) 16 (8 mm. [verse] + 4-mm. exten-
break sion, then 4 mm. like the intro)
verse 2 Like my father’s . . . 8
outro repeat of last line 8
(2) Does a larger section of the form repeat? If so, where?

The first four sections (verse 1, verse 2, bridge, verse 3) make a quaternary song form. After the instrumental
break, the quaternary form is repeated, with verse 4 substituted for verse 2. A longer instrumental break
precedes a partial return of the quaternary form, and the refrain is repeated to end the song.

30 Chromatic Harmony
and Voice-Leading
NAME ___________________________________________________
Assignment 30.1
Chromatic sequences
Write an embellished version of each diatonic sequence framework shown. Provide a Roman numeral
analysis for each exercise in part A.
A. Descending-fifth sequence with seventh chords, root position
G: I ø
IV7 vii 7 iii7 vi7 ii7 V7 I
(1) With secondary dominants alternating with triads
(2) With each chord a secondary dominant. Draw arrows to show leading tones and chordal sevenths both
resolving down.
359

(3) With chromatic passing tones filling in whole steps
B. 5–6 ascending sequence
With chromatic passing tones
C. Descending thirds with stepwise bass
With chromatic passing tones

NAME ___________________________________________________
Assignment 30.2
I. Chromatic sequences
Write an embellished version of each diatonic sequence framework provided. Roman numerals are not
required.
A. 7–6 descending (parallel sixths)
With added chromaticism
B. Descending fifths
With a descending chromatic bass line
Chapter 30 Chromatic Harmony and Voice-Leading 361

II. Chromatic elaborations of voice exchanges
Write a chromaticized version of each voice-exchange framework. Use durations matching those provided.
A. Fill in the outer-voice exchange with chromatic passing tones (see Example 30.5 in the text).
B. Fill in chromatically with rhythmically staggered chromaticism.
C. Make a harmonized segment of the chromatic scale based on this voice exchange. Use segments of the
chromatic scale in the soprano and bass in contrary motion.
III. Writing a chromatic introduction

Write a four-measure chromatic introduction in G major modeled after Joplin’s introduction to “Pine Apple
Rag” (anthology). Use chromaticism in parallel motion. One possible solution.

NAME ___________________________________________________
Assignment 30.3
Analysis: Mozart, String Quartet in D Minor, K. 421, mvt. 3 (anthology)
Begin by listening to this movement while following the score in your anthology.
A. Mm. 1–10
(1) Examine the first section here. Show how the descending chromatic bass is harmonized by providing
Roman numerals and a contextual analysis. Bracket any sequence pattern, and specify the level of
transposition within the bracket.
pattern down a step
d: i tonic pedal i V 65 VII deceptive

with Ns above resolution
T sequence
T
V 65 /VII GrÑ6 V V 42 i6 iiL6 V 68 ___ 35 i

8 ___
___ 7
deceptive resolution
(PD D T) PD D T
T PD D T
(2) Based on your analysis, explain how this ten-measure phrase is constructed. (Are there internal phrase
expansions? Is there a cadential extension?)
The answer to this question is multifaceted, in that the elements are well integrated into the phrase
design. Students may observe that the sequential repetition of mm. 3–4, in mm. 5–6, is a two-measure
internal expansion of the phrase. Also: the tonic prolongation in mm. 1–2 is a phrase expansion that
could be omitted; or the dominant-tonic cadence could have moved two measures earlier by omitting
mm. 7–8.

B. Mm. 11–22
Examine the beginning of the B section given here. Now the descending chromatic line appears in an upper
voice. Provide a Roman numeral analysis (except for mm. 14–18); bracket any sequence pattern, and specify
the interval of transposition.
pattern
a: viiL7 i i It6 V dominant pedal
down a step
iiL6 V 46 _ 35 I7 = V7 of d
_
dominant pedal V7 V 42 i6 V 43 6
5 i
(1) What harmony is prolonged throughout measures 14–19? dominant in A minor

How is it prolonged? a pedal point
(2) The upper strings in measures 15–18 are sequential. Mark the pattern and transposition on the score,
and write the interval of transposition below.
Mm. 15–16 and 17–18 are the pattern. The transposition is down a whole step.
(3) For class discussion: What constitutes the “harmonic disturbance” that is expected in this passage’s
position in the binary form (beginning of the B section)?
This is an opportunity for students to pull together the harmonic analysis with an understanding of
binary form. The harmonic “disturbance” includes the dominant pedal point in the dominant key,
preceded by an It6 and followed by a chromatic sequence.

NAME ___________________________________________________
Assignment 30.4
Analysis: Handel, Chaconne in G Major (anthology)
Each of the following passages is taken from an analogous location in different minor-mode variations of
the Handel Chaconne. Provide a Roman numeral analysis for each, and consider how Handel varies the
basic idea (presented in Variation 9) by introducing chromaticism in subsequent variations.
A. Variation 9, mm. 77–80
iv viiL 43 _______ 35 V 46 ____ 35 i

_______ ____ 7
g: i6
B. Variation 10, mm. 84–87
g: i6 viiL/iv iv iiL 65 V7 i iiL6 V 46 ____ 35 i

____ 7
(1) What new chromatic elements are introduced in Variation 10?

secondary leading-tone chord to iv
(2) What other aspect adds to the intensification of this passage as compared with Variation 9?
added chords and a faster harmonic rhythm
C. Variation 12, mm. 101–104
____
g: i i6 N6 ?? VI iv V 46 ____ 45 3 i
T PD D T
The chord in measure 102, beat 1, is N6 . This chord would normally progress to V .
What happens here? Explain. (Hint: Write in the contextual analysis.)
The N6 moves to a voice-leading chord that shares characteristics with V, but is the “wrong” quality
(D-F-A b instead of D-F #-A). This is a passing chord to VI, which follows on beat 3, continuing in the
L
PD functional area to iv. Some may label the voice-leading chord as vii /VI; however, secondary
diminished chords typically include sevenths, which this does not. M. 102 might alternatively be seen
as a tonicization of VI (IV6–vii –I in E major), though the root-position vii is uncommon.

D. Variation 14, mm. 117–120
g: i i6 iv i 46 iv6 i 46 ii ø V i
6
5 7
(passing) (passing)
Measures 118 to 119, beat 2, prolong what function in the phrase? predominant
Explain.
There is a voice exchange with a passing 64 in m. 118, which overflows into the next measure but ends
with a ii 65 instead of iv, to expand the PD function to beat 2; alternatively, the ii 65 in m. 119 could be
read as neighboring to the cadential 64 progression.
E. Variation 16, mm. 129–136

You examined mm. 129–132 in the chapter; what happens next? Provide a Roman numeral analysis below
the score for mm. 132–136, and answer the questions that follow.
g: V7 V7/iv
or V7/C
____ 7
V7/VII V7/III V7/VI i6 iv V 46 ____ 35 i
V7/F V7/B b V7/E b
(1) The sequence type in measures 132–134 is V .
(2) This sequence connects to the previous one by V .
(3) How does this sequence connect to the cadence?

After the end of the sequence in m. 134 (which prolongs the tonic), there is a T–PD–D–T progression
leading to a cadence in G minor.

NAME ___________________________________________________
Assignment 30.5
I. Other chromatic embellishments
Decorate each of the following chords or progressions with the requested embellishment.
A. Common-tone diminished seventh chords (see Example 30.10b and c)
A: I (CTL7) I F: V (CTL7) V 43 /V A b: V (CTL7) V 43 /V
B. Common-tone augmented-sixth chords (see Example 30.12). (Hint: Remember to double the fifth in
the tonic triad.)
B: I (CT A6) I E b: I (CT A6) I A b: I (CT A6) I
C. Common-tone diminished seventh and augmented-sixth chords. Write an appropriate embellishing

chord between the given chords.
F: V (CTL7) V A: I (CT A6) I E b: I (CT A6) I
E: V (CTL7) V 43 /V D: I (CTL7) I c: i (CT A6) i

II. Analysis
A. Schubert, Moment Musical No. 6 in A b Major, Op. 94, mm. 32–36
(1) Provide Roman numerals for this short excerpt.
E: V7 I (CTL7) I viiL7 over tonic pedal I

(2) What harmonic device creates the chord quality in measure 34? Cure In measure 35? Cure
B. Beethoven, Piano Sonata in E b Major, Op. 7, mvt. 2, mm. 15–24

Listen to this passage, then provide Roman numerals for measures 15–16 and 19–24 (with anacrusis to m. 19).
___ 7
C: I V 65 V6 I vi V 65 /V V 46 ___ 35
viiL 42 /ii V7/ii ii V6/ii V6/ii ii

8 ___
___ 7
I I IV I 46 V 43 /V V 46 ___ 35 I
(passing)
(1) Measures 16–18 include two types of chromatic sequences connected by an elision. Mark the patterns of
the sequence with brackets, then identify the transposition level between patterns and the type for each. Be
prepared to discuss the sequences in class.
The first sequence is the repetition of m. 16’s material up a step in m. 17, transforming V6–I to V6/ii–
ii—a Monte pattern. The ii chord is the start of a chromaticized 5–6 sequence moving up by step (as is
usual for that sequence): D3 with A3–B b 3 above; E3 with B b 3–C4; F3 with C4–D4. At G3–D4, the bass
line moves up instead: G3–G 3–A, to end the sequence on vi (A3–C4–E4/5).
(2) Measures 18–19 lead to an authentic cadence in the key of C major , but the expected
resolution is delayed in measures 20–21. The authentic cadence finally arrives in measures 23–24 .
(3) Explain how this “diversionary passage” (mm. 20–21) connects to the chords that precede and follow it
and how it is prepared by measures 16–18.
The chord on the downbeat of m. 20 provides a starting aural effect in place of the tonic triad; it
moves to the V7/ii through common tones. The tonicization of ii was prepared in m. 17 by the Monte
pattern. The connection of ii–I at the end is by contrary-motion voice-leading. Both B b and C # (m. 20)
are introduced in the chromatic sequence.

NAME ___________________________________________________
Assignment 30.6
Analysis: Beethoven, Piano Sonata in E b Major, Op. 7, mvt. 2
Write a Roman numeral analysis under these excerpts; circle and label embellishing tones. Then complete
the statements or questions that follow.
A. Mm. 1–14 sus

IN
PT
C: I V 65 V 65 I I V6/V V6/V V 42 I6 V 43 I ii 65
NT IN PT NT sus
sus
IN
9 ___
___ 8
V7 I 47 ___ 38 V 43 /V V V 43 /V
NT NT IN NT IN
V V 43 /V iiø V
4
3 7
(1) The first phrase ends in measure 8 with a(n) authentic cadence, embellished
by a retardation and suspensions . (Students may say 9–8, 7–8, or 4–3.)
(2) Measures 9–14 tonicize the dominant .
(3) Describe the quality and function of the chord in measure 13, beat 3.
It is a passing chord: A passes to A , then to G; instead of resolving up, F passes down to F to
become the seventh of the V7 chord in m. 14.

B. Mm. 22–33 N N P P
N N P P
bVI
8 ___
___ 7
C: I IV I46 V43/V V46 ___ 35 I i
passing A b: I
T PD D T
sus RET IN
sus
A b: V 43 viiL 65 /ii ii6 V7 I vi

f: i
f: V6 viiL 43 i6 i ii ø V
4
3
IN 7
6 ________ 5
4 ________ 3
P P
f: i VI
C: N
(1) In the key of C major, the Roman numeral for the chord in measure 25 is VI . How are the
chromatic pitches of this chord introduced in measure 24?
The E is introduced through mixture.
(2) The chord is tonicized in measure 26. How are the pitches of this new key prepared in the
chromaticization of measures 1–14?
The A is introduced as a chromatic neighbor tone in m. 7 and again in the mixture chord of m. 13. The
C of 10 and 12 enharmonically prepare the D of the new key.
(3) The cadence in measures 27–28 is a(n) authentic cadence in the key of A major .
This key is a chromatic submediant in relation to C major.

31 Chromatic Modulation
NAME ___________________________________________________
Assignment 31.1
Analysis of chromatic modulations: Schumann, “Widmung”
Listen to the entire song while following the score in the anthology before analyzing these two passages.
The song is in A B A form, with the middle section in a contrasting key. The following excerpts show the
modulation into and out of that contrasting key area.
A. Mm. 10–17
Provide a Roman numeral and contextual analysis for measures 11–17, then answer the questions that follow.
Translation: [O you, my] grave, into which I eternally pour my sorrow! You are rest, you are peace.
A b: viiL 43 V 65 /IV IV iiL V 46 ____ 35 I

8 ____
____ 7
PD D T
E: I V7/IV IV 46 I ii 42 V7 I
6
T (tonic pedal) (pedal 4 ) PD D
(over tonic pedal)
Mm. 14–17 have a tonic pedal point. Although we have analyzed the IV and the ii chords with the 1̂ in
the bass as chordal, another opinion is to analyze without inversion while noting the presence of the
pedal. In that case, IV and ii7 in 15–16, without inversion, are correct.
371

(1) The harmony tonicized in measure 11 is IV (Roman numeral) in the key of A major.
(2) The cadence in measures 12–13 is a (circle one) PAC IAC HC DC in the key of A b major.
(3) The bass line in measures 14–17 is a (circle one) tonic pedal dominant pedal.
(4) The key established in measures 14–17 is E major .
(5) This key may be enharmonically respelled as F major .
(6) Compared with the main key of the song (A), that key is (circle any that apply):
major minor relative chromatic mediant submediant dominant tonic
(7) What type of modulation is this? pivot pitch, A = G
(8) The chord on beat 3 in measure 16 includes elements of two different harmonies. Explain.
This chord has elements of I (E-G -B) and V (B-D -F -A); it resolves as a weak V7 over a tonic pedal.
B. Mm. 25–30
Provide a Roman numeral analysis for measures 25–29, then answer the questions that follow.
Translation: You lift me lovingly above myself, my good spirit, my better self!
E: IV IV7 A b: V7 VL I
(over dominant pedal)
A b: V7/V V7 I
(over dominant pedal) HC (new phrase)
(1) The chord in measure 25 is IV7 (fill in Roman numeral) in E major.

(2) The interval in the bass from measure 25 to 26 is a tritone .
(3) The bass line in 26–29 is a (circle one) tonic pedal dominant pedal.
(4) The cadence in measure 29 is a PAC IAC HC DC in the key of A major .
(5) What type of modulation is used in this passage? pivot pitch or common-tone modulation, C = D

NAME ___________________________________________________
Assignment 31.2
I. Common-tone or pivot-tone modulations
Given a tonic triad in D major, how many keys can be reached by using D, F #, or A as a pivot tone? Write
each chord as indicated. For some, there are two possibilities (e.g., D as the 3rd). Under the chord, indicate
(1) the key for which it would be the tonic and (2) the Roman numeral relationship to D major (e.g., B b
major would be bVI). For the last chord, the seventh of a V7, indicate to which key the V7 would resolve.
A. Keep D as a common tone.

D as root D as 3rd D as 5th D as 7th of V7
Triad: D
______ d B b b
______ ______ G
______ g
______ E7
______
Roman numeral:
______ i bVI vi
______ ______ IV
______ iv
______ V7/A
______
B.
(1) Keep F # as a common tone.

F # as root F # as 3rd F # as 5th F # as 7th of V7
Triad: D
F # f # d # B b G #7
______ ______ ______ ______ ______ ______
Roman numeral:
III iii #i VI vi V7/C #
______ ______ ______ ______ ______ ______
(2) Since F # may also be spelled G b, now spell each chord enharmonically. Roman numerals are not required.
G b as root G b as 3rd G b as 5th G b as 7th of V7
Triad:
G b g b
______ ______ e b
______ C b c b A b7
______ ______ ______
C. Keep A as a common tone.

A as root A as 3rd A as 5th A as 7th of V7
Triad: D
A a
______ ______ F f # d
______ ______ B7
______ ______
Roman
numeral: V v
______ ______ bIII iii
______ ______ i V7/E
______ ______
Chapter 31 Chromatic Modulation 373

II. Part-writing common-tone modulations
On the following staves, write a melody for a solo instrument of your choice and a keyboard
accompaniment.
(1) Begin by deciding whether you need a treble, bass, or alto clef for your solo instrument, and fill in the
clefs and key signatures.
(2) Sketch in the bass line and chords, using half notes, whole notes, and dotted whole notes, as indicated
by the Roman numerals, in SATB voicing. Be sure to check the doubling, spelling, and voice-leading of the
chords.
(3) Now sketch in a melodic framework for the instrumental melody that makes a good counterpoint with
the bass, using chord tones. End the first phrase on 1̂ and begin the melody of the second phrase with the
same pitch, which is now 3̂; this is the common tone. It is stylistic for your melody to double elements of
the accompaniment voice-leading.
(4) Embellish your melodic framework with passing tones, neighbor tones, and chordal skips.
Optional: Keeping the bass line simple, write an accompaniment pattern using the voice-leading you have
sketched out for the soprano, alto, and tenor parts.
8 __________ 7
6 __________ 5
4 __________ 3
This chord progression is based on that for the beginning of Schumann’s “Widmung,” which appears in
Assignment 31.1 Part A.

NAME ___________________________________________________
Assignment 31.3
I. Modulation by enharmonic respelling
A. Using fully diminished seventh chords
in (2)–(4) so that each note is the root. Resolve each viiL7 chord to its tonic, based on the given Roman
Resolve each given diminished seventh chord in (1). Then invert the chord and respell it enharmonically
numeral (i or I). In the blanks provided, indicate the key of the tonic to which each chord resolves.
B. Respelling dominant seventh chords and the Gr6

First write the requested chord and resolve it normally. Then respell the chord enharmonically, and resolve
it; write a Roman numeral under each chord of resolution. Avoid parallel fifths in resolving the Gr6. Finally,
fill in the key name to which the respelled chord resolves. Use half notes and whole notes.

II. Chromatic modulation
For each pair of key areas in A–D, indicate how you would modulate from one to the other, using the two
methods specified (no need to provide voice-leading). Write out the chords on the staff, using accidentals
rather than key signatures, and provide Roman numerals in each key. Assume that the first key is well
established, and that the second key can continue from where the progression leaves off. For example, from
F # major to C major:
(1) By mixture pivot chord (2) By enharmonic respelling of viiL7 chord
F #: I bVI N F #: viiL7 I
C: V/V V I C: viiL7 I
A. From D major to A b minor (tritone relation, plus change of mode)

(1) By mixture pivot chord (2) By sequence of secondary V7 plus mixture
D: I bVI N D: I V7/V V7/C V7/F V7/Bb V7/Eb V7/Ab

a b: V V i (G) a b: V7 i
B. From E major to F major (up a half step)

(1) By enharmonic spelling of a Gr6 to V7 (2) By pivot pitch (common-tone modulation)
E: Gr6 = F: V7 I E: I (pivot F: V7 I
pitch)
C. From C major to B minor (down a half step)

(1) By enharmonic spelling of V7 to Gr6 (2) By pivot pitch (common-tone modulation)
________
C: V7 = b: Gr6 V 46 ________ 35 C: V7 (pivot b: i
pitch)
D. From G major to B b major (chromatic mediant)

(1) By pivot pitch (common-tone modulation) (2) By sequence of secondary dominants
G: I (pivot B b: I G: V7/G V7/C V7/F V7/B b

pitch) B b: V7 I

NAME ___________________________________________________
Assignment 31.4
Analysis: Beethoven, Waldstein Sonata, mvt. 1, mm. 73–90
E: V 65 I ______________ 7
a: V V7 V 46 ______________ 35
iiL6 V 46 _____ 35
____________ 5
a: i 8 _____
a: V V7 V 46 ____________ 3
_____ 7
e: iv e: I
iiL6 V 46 _______ 35
a: i 8 _______ 8 _______
_______ 7 _______ 7
e: iv i i6 iv N6 V 46 _______ 35
e: VI 8 _______
_______ 7
C: I I6 IV ii6 V 46 _______ 35 I
8 _______
_______ 7 8 _______
_______ 7
F: V I6 IV ii6 V 46 _______ 35 vi I6 IV ii6 V 46 _______ 35 I

This modulatory passage is shown with first and second endings. The first ending connects E major to the
tonic key of the movement, C major, for the repeat. The second ending moves through C to F to begin the next
large section. Both passages make use of a recurring melodic sequence that coincides with the key changes.
A. Mm. 73–87 (first ending)
(1) Mark the melodic sequence patterns in measures 80–86 with brackets. This pattern also appears once
earlier in the passage; mark it there as well.
(2) After an emphasized cadence in measures 73–74 in E major, this passage modulates quickly through
several keys, each confirmed by a cadence; identify each key and cadence, then provide a Roman numeral
analysis for measures 73–86.
(3) For the measures specified in the following chart, identify the key and cadence type. If the passage
modulates, specify in the following chart the pivot-chord type; if not, write “none.”
MEASURES KEY/ CADENCE METHOD OF KEY CHANGE
MODE TYPE
into 74 E major IAC Pivot chord (E: I = a: V) or direct modulation by secondary dominant
(E: I becomes V7/IV, resolving to iv)
74–76 A minor IAC pivot chord in 76, a: i = e: iv
76–78 E minor PAC Mixture pivot chord in 78, E minor passage ends on major I = a: V.
78–80 A minor IAC pivot chord in 80, a: i = e: iv
80–82 E minor PAC none
82–84 E minor DC pivot chord, e: VI = C: I
84–86 C major PAC none
B. Mm. 73–90 (second ending)

(1) Analyze the passage beginning in measure 84; skip over the first ending and examine the harmonies
of the second ending. Mark the melodic sequence patterns with brackets, and provide a Roman numeral
analysis.
(2) Complete the chart to summarize your analysis of measures 84–90.
MEASURES KEY/ CADENCE METHOD OF KEY CHANGE
MODE TYPE
84–86 C major PAC pivot chord, C: I = F: V

86–88 F major DC none
88–90 F major PAC none
(3) Now look back at the melodic sequences you marked in both passages. Are the harmonies sequential also?
The melodic sequence appears each time with the same harmonic progression, transposed at the same level as
the sequence; the voicing of the chords is similar, but not an exact sequence.
Mm. 74–77 and 78–81 feature the same musical material, transposed down an octave for their repetition. The
melodic sequential pattern, which is introduced as a single iteration in mm. 76–78, returns in 80, connects 80–86,
and provides an added “distraction” for the listener when it flows over the second ending to m. 90. The sequence
descends by step in m. 80 (beats 3–4) to 82 (beat 1), then repeats in 82 (beats 3–4) to 84 (beat 1). The two eighth
notes that link the repetition—in m. 82, beat 2—are also part of the longer sequential pattern, involving the entire
texture, that extends from m. 82 (beat 2) to 84 (beat 1) and is repeated down a M3 in 84 (beat 2) to 86 (beat 1).
The alternation between E minor and A minor in this codetta is not a coincidence; it represents a prolongation
of E major throughout this passage (until m. 84) by mode mixture and the alternation of tonic- and subdominant-
related keys, much as an alternation of I–IV–I or i–iv– i prolongs the tonic in a more localized context.

NAME ___________________________________________________
Assignment 31.5
Analysis of chromatic modulations: Brahms, Neue Liebeslieder, Op. 65,
No. 6
A. Provide a Roman numeral analysis in the blanks; the harmonic rhythm (number of chords per
measure) is indicated by the number of blanks. Some chord analysis is provided. Then answer the questions
that follow.
Translation: Mother pinned roses on me because I am so sad. She is right, the roses wilt as I do, losing their petals.
F: I6 viiL6 vi6
V 65 ii
____________
4
2 V
____________
6
5
____________ I V6 vi
___ ___ ___
(neighboring)
F: iii6
L65 V
A: _________
i6 V 7 I F: ii6 ii
___________ ____________ ______ ___ ___________

F:
ii6 ii
____
6
5 V
___
9
7
ø
_________ i6 bVII
___
6 bVI6 viiL 4
___ ___ 3 /iv iv
_______ ___ V
6 7
___ ___ I
____
B. Harmonic features: Circle the best answer.
(1) The harmony in measure 3 has which function?

passing neighboring secondary dominant secondary leading tone
(2) The modulation in measure 6 is effected by which method?

pivot note mode mixture pivot dyad enharmonic respelling
(3) The cadence in measure 8 tonicizes the

dominant (V) supertonic (ii) subdominant (IV)
chromatic submediant ( VI) chromatic mediant (III)
(4) Measure 13 features which harmony?

dominant (V) supertonic (ii) subdominant (IV)
chromatic submediant ( VI) chromatic mediant (III)
(5) The harmony on the downbeat of measure 14 has which function?

tonic neighboring secondary dominant secondary leading tone
C. Chromatic practices: Which of the following types of chromaticism are featured in this song? Circle all
correct answers.
chromatic passing tones secondary leading-tone chords chromatic neighbor tones
modulation to a closely related key mode mixture modulation to a remote key
Neapolitan sixth chord(s) augmented-sixth chord(s)
D. Musical form: Which of the following terms apply to the form of this song? Circle any that apply.
ternary binary simple rounded composite continuous sectional

NAME ___________________________________________________
Assignment 31.6
Analysis: Chopin, Mazurka in F Minor, Op. 68, No. 4 (anthology)
Listen to this piece and determine where new key areas are tonicized; mark them on the score.
N N N
N Ant P
f: i6 ——————————————— chromatic descent (parallel 10ths) ————————————
P IN
Sus P P N Sus IN
N
_______ 6 chromatic
V 97 i i
sus IN P P
N P P
IN
descent (parallel 10ths) —————————————— Fr6 Gr6

respelled
A: V7 I
P P P P P P
P P N
A: IV 46 V7 I IV 46 V7 I
(pedal) (pedal) b b: V7 i
f: V7

P IN
P P
f: i VI V7 i
c: V7/VI VI
c: V7 i V7 i iv6
V i
down a half step
A. Mm. 1–8
Circle and label the embellishing tones of the melody on the score, then examine the harmonies. Where
might Roman numerals apply? What else is organizing this passage?
The opening measures are governed by the descending chromatic lines in both voices. The top line
moves C–B n –B b –A n –A b –G with the bass moving in parallel tenths below. Roman numerals may not be
appropriate, except at the beginning and end; there is a i6 in m. 1, and a V 97 cadence in 7–8. The other
chords are best labeled as voice-leading chords.
There are some hints of a chromatically filled-in descending-fifth sequence in mm. 2–5. M. 2 has a
V7/V (G-B-D-F); we expect its temporary tonic, C minor, but instead get C-E b-G b in second inversion
and approached by chromatic voice-leading. Mm. 4–5 are a sequential repetition of 2–3 (transposed
down a step), but the dominant seventh chord (F-A-C-E b) goes to a B diminished seventh (B-D-F-A b) in
m. 5 instead of the expected B b major triad. The B chord does move to E7 (E-[G #]-B-D) in m. 5, but it
then shifts chromatically to an E diminished seventh in m. 6, which does not resolve in a normal fashion.

NAME ___________________________________________________

B. Mm. 9–15
(1) What is the relationship of these measures to the music analyzed in measures 1–8? What is similar?
What is changed? Start by comparing the right-hand melodic lines of the two phrases. Circle and label the
melodic ornamentations in the melody in measures 9–15.
The melody of the second phrase is an ornamented repetition of the first. Students should be able
to identify the added ornamentations and the rhythmic shifting that takes place to accommodate
them. There are some chord changes as well, including some voice-leading motions that are shifted
rhythmically.
(2) Examine the harmonies in measures 14–15. What is different about the cadence here as compared with
measures 7–8? What type of chromatic modulation technique is used? What is the relationship of the goal
of the modulation to the original key?
The cadence at the end of this phrase modulates from F minor to A major. The progression to A major
is made with a Fr6 (F b-G #-B b-D) of A b major (relative major to F minor); a chromatic inflection B b –B
at the end of m. 14 makes it a Gr6 chord, which is enharmonically respelled E-G #-B-D to make V7/A
major. A major is the chromatic mediant of F minor.
C. Mm. 15–23
(1) Circle and label the embellishing tones for measures 15–19 in the score, examining the harmonic
context carefully, then write in Roman numerals.
The A2 in the left hand is a pedal point .
Compared with the previous measures, how chromatic are the harmonic progressions?
The harmonic progressions here are much simpler and more diatonic: I–IV–V7 over an A2 pedal
point, which is then repeated. The embellishing chromaticism makes this passage an appropriate
continuation, maintaining a chromatic character consistent with the rest of the mazurka.
(2) Measures 19–23 tonicize several keys in succession; mark keys and Roman numerals for this passage.
(Hint: comparing the melodic line of measures 19–20 with 21–22 may help.)
The harmony tonicized in measures 19–20 is B minor .
The key established in measures 20–23 is F minor .
Compared with the main key of the mazurka, the key in measures 20–23 is (circle any that apply):
The melodic lines in 19–20 and 21–22 are almost identical, but the harmonies are different. Mm. 19–20
briefly tonicize B b minor (with V7–i), followed by V7/F; the following measures include the resolution of
that last V7 to i in F minor, followed by VI–V7–i.

D. Mm. 24–32
Provide Roman numerals for measures 24-32 and then answer the following questions.
The harmony tonicized in measures 24–25 is A major .
The key established in measures 25–32 is C minor .
Compared with the main key of the mazurka, the key in measures 25–32 is (circle any that apply):
E. Mm. 32–40
This passage is based on a series of chromatic sequences. Identify the sequence patterns and interval of
transposition. You need not provide Roman numerals.
(1) What type of sequence is found in measures 32–36? descending fifth
(2) Examine measures 37–39, and listen carefully. What is the sequence pattern here? Mark it on the score
with a bracket, and indicate the level of transposition. How are the chords within the pattern organized?
step. The first chord in each pattern is a fully diminished seventh chord (viiL 42 ), which moves by
The sequence pattern is from m. 37 (beat 2) to 38 (beat 1), and is repeated each time down a half
chromatic linear voice-leading to a dominant seventh sonority.
(3) Find several beats in these measures in which there are two different chromatic notes with the same
letter name (for example, E b and E # on beat 2 in measure 38). Explain the functional meaning of each note.
The E in m. 38 is a neighbor to F ; the E is a chord tone in the F -A-C-E diminished seventh chord. In
m. 37, the F is a chord tone, and F is a neighbor tone.
(4) What is the meaning of “dal segno senza fine”? How might you perform the Mazurka to create an
effective ending?
“Repeat to the sign without end.” Performers often stop at m. 23 of the repeat, leaving out the third
chord in the left hand. Another option is to stop at the arrival of the tonic in m. 8.

32 Sonata, Sonatina, and Concerto
NAME ___________________________________________________
Assignment 32.1
Form Analysis: Beethoven, Sonata Op. 2, No. 1, mvt. 1
Listen to this movement in its entirety while following your anthology score. Think about the overall formal
organization, and mark where you hear sections beginning or ending. Label any themes or motives that
return later in the movement, and indicate with measure numbers where you first heard them. For this
analysis, you don’t have to label every chord, but do examine the harmony for cadences, sequences, and
key changes. Answer questions under parts A–D, then consider the additional questions in part E for class
discussion.
A. First theme and transition
(1) The first theme spans measures 1 to 8 ; it is in the key of F (circle one)
major minor
(2) The first theme’s phrase form is a (circle one)
contrasting period parallel period phrase group sentence
(3) The transition between the first and second themes first tonicizes the (circle one)
relative major minor dominant
subdominant submediant
Then it moves to the second key area, which is the (circle one)
relative major minor dominant
subdominant submediant
(4) This transition is a(n) (circle one) independent transition dependent transition
B. Second theme and closing theme

(1) The second theme group (part 1) begins with the change in accompaniment pattern in measure 20 .
(2) In relation to the key of the second theme group, the pedal in measures 20–25 is a (circle one)
tonic pedal dominant pedal
(3) The second key area of the exposition overall is A major, but the second theme, part 1, features
mode mixture, especially the modal scale degree (circle one)
2̂ 3̂ 6̂ 7̂
(4) The second subsection of the second theme group (second theme, part 2) begins in measure 33 ,
signaled by a change in texture in the left-hand part and regular four-bar phrases.
(5) After a definitive PAC in measures 40–41 , the closing theme begins in measure 41 and
extends to measure 48 .
385

C. Development and retransition
(1) The development begins in measure 49 , with material from the (circle one)
first theme transition second theme, part 1 second theme, part 2 closing theme
(2) The first key area touched upon in the development is A (circle one) major minor
Compared to the initial key of the movement, this is (Roman numeral) III .
(3) Measures 55–73 develop materials from the (circle one)

first theme second theme, part 1 second theme, part 2 closing theme
(4) The retransition begins in measure 81 with the entry of a dominant pedal.
D. Recapitulation
(1) The recapitulation begins with the return of the first theme in measure 101 .
(2) Compared to the exposition, there is a change in the transition between the first and second theme in
measures 109 to 118 .
(3) The second theme group (part 1) returns in measure 119 (or anacrusis to 120)
in the key of F (circle one) major minor
(4) The closing theme returns in measure 140 , and there is a cadential extension in measures
147 to 152 .
E. For class discussion
(1) How does the modal degree in the second theme prepare for the return of this theme in the
recapitulation?
The inclusion of 6̂ in the second theme, part 1, as a notable feature prepares for the return of this theme in F
minor in the recapitulation. If there had been F ns instead of F bs in the second theme, when it returned in minor it
would not sound as much like the original second theme.
(2) What is the function of measures 26–32 within the second theme area? Consider the rhythmic and
harmonic character of these measures to answer this question.
These measures feature sequences, short motives, and a lot of harmonic motion, especially after the static
dominant pedal point in measures 20–2
5. They belong to the second theme group, but have a transitional character.
(3) What characteristics separate the second theme group, part 2, from the closing theme? Discuss, citing
measure numbers.
The inclusion of 6̂ in the second theme, part 1, as a notable feature prepares for the return of this theme in F
minor in the recapitulation. If there had been F ns instead of F bs in the second theme, when it returned in minor it
would not sound as much likce closing the exposition.
(4) Consider the development and retransition in more detail, and identify as many motives from the
exposition as you can, citing measure numbers.
There are a lot of connections—most of the development is based on the second theme, part 1, but students may
note the rhythmic connection in the left hand between mm. 74–78 and mm. 33–40, and the embellishment from
the first theme that returns in the retransition mm. 95–100, among others.
(5) Compare the exposition and recapitulation and identify specific changes between them, citing measure
numbers.
Places to focus on include the transition between the first and second theme and the change of the second theme
into the minor mode (F minor from A major).

NAME ___________________________________________________
Assignment 32.2
Form analysis: Mozart, Piano Sonata in C Major, K. 545, mvt. 1
Listen to this movement in its entirety while following your anthology score. Think about the overall formal
organization, and mark where you hear sections beginning or ending. Label any themes or motives that return
later in the movement, and indicate with measure numbers where you first heard them. For this analysis, you
don’t have to label every chord, but do examine the harmony for cadences, sequences, and key changes.
Answer questions under parts A-D, then consider the additional questions in part E for class discussion.
A. First theme and transition
(1) The first theme spans measure 1 to 4 ; this theme is in the key of C (circle one)
major minor
(2) The first theme’s phrase form is a (circle one)

single phrase contrasting period parallel period sentence structure
(3) The transition between the first and second themes features which compositional technique? (circle one)
pedal point melodic sequence harmonic sequence augmentation
(4) This transition is a(n) (circle one) independent transition dependent transition.
Explain.
The transition features scales, which have not appeared at all in measures 1–4; it is strongly
contrasting.
(5) The accidental indicating the change of key in the transition first appears in measure 10 .
(6) The medial caesura is in measure 12 .
B. Second theme and closing theme
(1) The second theme group begins in measure 14 , after a lead-in.
(2) The second key area of the exposition is G (circle one) major minor
(3) The closing theme begins in measure 22 .
(4) Between the second and closing themes there is a transition in measures 18 to 21
featuring a sequence. This sequence is best described as
6 5
descending 5ths, alternating 3 and 3
(5) After a definitive PAC in measures 25–26 , the codetta begins in measure 26 and extends
to measure 28 .
C. Development
(1) The development begins in measure 29 , with material from the (circle one)
first theme transition second theme closing theme codetta
Chapter 32 Sonata, Sonatina, and Concerto 387

(2) The first key area touched upon in the development is G (circle one) major minor.
Compared to the initial key of the movement, this is (Roman numeral) minor v .
(3) Measures 33–35 tonicize D (circle one) major minor

and develop materials from the (circle one)
first theme second theme closing theme codetta
(4) There is a long and prominent sequence in measures 37 to 40 . The sequence type is
6
best described as descending 5ths, alternating 3, and root position triads
D. Retransition and recapitulation
(1) There is a very brief retransition in measure 41 , setting up the recapitulation and the
return of the first theme in measure 42 . This theme begins in the unexpected
key of F (circle one) major minor
Compared to the main key of the movement, this is (Roman numeral) IV .
(2) In the recapitulation, the transition between the first and second themes is measures 46 to
57 . Are there changes in the transition in comparison to the exposition? If so, where?
The transition is longer. Mozart inserts measures 50–53 and reverses the roles of the hands.
(3) The second theme group returns in measure 58 in the

key of C (circle one) major minor
(4) The closing theme returns in measure 67 , the codetta theme in measure 71 , and the
movement ends in measure 73 .
(1) Consider the phrase form of the theme. What is unusual about it?
The first four measures seems like it is the start of a sentence structure because of the 2 + 2 design,
melodic similarity, and the lack of a root position cadence in m. 4, but the continuation portion spins
out into what is clearly the transition. It is also very short for a first theme, at only four measures!
(2) In the recapitulation, what does the presence of the unusual key for the first theme change about the
task of the transition between the first and second themes?
The relationship between F and C major is the same as the relationship between C and G major—
Mozart could have simply used the same transition, and let it modulate from F to C.
(3) Choose one motive that is important in this piece, and briefly describe it. Explain where the motive
appears and how it is developed.
There are quite a few interesting motives to trace through the movement. For example: In m. 1, the
triad arpeggiation appears ascending (theme 1), while in m. 14 it is descending (theme 2). The right
hand B–C–D–C contour and rhythm in m. 2 returns in m. 14 on beats 2 and 4.

NAME ___________________________________________________
Assignment 32.3
Form analysis: Mozart, String Quartet in D Minor, K. 421, mvt. 1
I. Exposition (mm. 1–41)
A. Listen to these measures, and locate the first theme, transition, second theme group, closing theme,
and codetta. (Hint: Look for a strong cadence in the new key for the beginning of the second theme group.)
œœ Within each theme, label the phrase structure and cadences.
œœ Complete the following chart: the questions in part B will help you locate the formal elements.
œœ Use the optional Comments column to record anything else of interest you notice, such as where a key
is tonicized, or what is varied (other than the cadence type) in a phrase that receives a prime ().
THEME/ PHRASES MEASURES KEY/MODE CADENCES COMMENTS

SECTION
first theme 1–8 D minor
a 1–4 D minor IAC
a 5–8 D minor PAC mm. 1–8 is a parallel period
transition 9–24 F major 9–12 tonicizes the dominant;

in m. 24 15–24 moves to the relative major
second theme 24–35 F major dramatic change of character
b 24–28 F major PAC
b 29–32 F major PAC triplet ornamentation

cadential 32–35 F major

extension
closing theme 35–39 F major beginning elided
codetta 39–41 F major
B. Answer the following in a few sentences, or be prepared to answer in class.
(1) The first theme is divided in half after measure 4. How do the first and second halves differ from each
other? Consider the melody, bass line, and harmonies.
gmented-sixth chord.

(2) This movement is in D minor—what is the expected second key area? Where does the modulation
occur? Is there another tonicization in the transition to the second key?
The transition tonicizes the dominant in mm. 9–12, then moves to the relative major in the second part
of the transition, 15–24, with the new key established by a strong cadence to F major, the expected
second key area, in m. 24.
(3) In what ways, other than key and mode, do the first and second themes contrast? What is the character
of each? How would you perform these themes to bring out their emotional content?
Both themes are lyrical, but the minor-key first theme also seems sad and distraught, because of its
wide leaps, sudden dynamic changes (mm. 9, 11, 14), and descending bass line (mm. 1–3, 5–7). The
second theme, in a major key, seems more optimistic and hopeful because of its melodic steps and
skips, ebullient triplet motion (29–32), and ascending lines (starting m. 33). Performers should be
aware of these features to maximize the contrast between themes.
(4) Is the material beginning at measure 35 better labeled a codetta or a closing theme? Defend your choice.
Since this section is preceded by a strong PAC, either term could apply. However, mm. 35–39 have the
tuneful character of a closing theme rather than the typical character of a codetta; we have labeled
39–41 a codetta.
II. Recapitulation (mm. 70–117)

A. Listen to the whole movement, paying particular attention to measures 1–41 and 70–117.
œœ Begin by locating the recapitulation, then identify the first theme, transition, second theme, and
closing theme or codetta by comparing this passage with measures 1–41.
œœ Complete the following chart, listing the location of each element. The questions in part B will help
you locate the formal elements.
œœ Use the optional Comments column to include information comparing the phrase here to the
comparable one in the exposition.

SECTION
first theme 70–77 D minor
a 70–73 D minor IAC identical to mm. 1–4
a 74–77 D minor PAC similar to 5–8
transition 78–94 78–83 same as 9–14; 15–24 trans-

posed and altered to stay in minor

NAME ___________________________________________________

SECTION
b 94–98 D minor PAC
b 98–103 D minor PAC triplet ornamentation

cadential 103–106 D minor

extension
closing theme 106–112 D minor beginning elided
codetta 112–117 D minor 1st ending to repeat second large

section; 2nd ending to end movement
B. Answer the following in a few sentences, or be prepared to answer in class.
(1) Is the entire recapitulation in the tonic key (D minor)? If so, how is the transition between the first and
second themes altered to stay in D minor?
The end of the recapitulation includes a first and second ending to facilitate the repetition of the
development and recapitulation. The first ending extends the codetta material, bringing in a B b
dominant seventh (V7/N) in a similar way to the second ending in measure 41, to connect to the
development, which begins in E b major. The second ending stays in D minor, and repeats a cadential
gesture in the last three measures.
(2) What is unusual about the location of the second theme here as compared with the exposition? What
is added here, and how is the shifted location compensated for later in the recapitulation? What does the
location of this entry reveal about metrical practices in the Classical era?
development, which begins in E b major. The second ending stays in D minor, and repeats a cadential
gesture in the last three measures.
(3) In this movement, the second large section is meant to be repeated. How is the end of the
recapitulation designed to facilitate the repetition? And how does the movement end?
development, which begins in

III. Development (mm. 42–70)
A. Listen to this movement again in its entirety, now focusing on the development (mm. 42–70). Locate
any appearances of musical motives from the first theme, transition, second theme group, closing theme, or
codetta.
MEASURES KEY/MODE WHAT IS DEVELOPED/COMMENTS
42–58 E b major (N) Develops the first theme, especially the violin 1 motive from m. 2;
imitation in 46–49; 53–58 are chromatic and dissonant.
59–65 Development of the codetta motive in imitation throughout

the parts.
66–70 back to D minor Retransition; establishes a dominant pedal, continuing with the
codetta motive.
B. Answer these questions, or be prepared for discussion in class.
(1) In which key does the development begin? What material is developed there?
E major, the Neapolitan. The first theme is developed.
(2) Which three motives are developed the most in this section? Identify the origin of each, giving measure
numbers.
The violin 1 melody from m. 2, beats 1–3 (trill motive); the octave leap from m. 1 (leap motive); and the
codetta motive (m. 39, violin 1).
(3) Where does the retransition begin? What element identifies it as a retransition? What motive appears
here?
The retransition begins in m. 66 with the resolution of the augmented sixth to V and the beginning of
the closing material. There is a dominant pedal point in the cello. The closing theme is developed here.
(4) Considering the movement as a whole, give measure numbers for one passage with each of the
following typical string quartet textures. Answers will vary; those shown are samples.
(a) One instrument plays a solo part while the others accompany: mm. 1–8, or 25–32
(b) Violin 1 and 2 play a duet, while the others accompany: mm. 9–12, 14–18
(c) A motive is passed through the quartet, with each instrument playing it in turn:
mm. 12–14, 53–58, 67–69 (without cello)
The motive in mm. 53–58 moves successively upward (A–B –C –D–E –F ), with some octave
displacement in the cello.
IV. Large essay (optional)

Write an analytical paper of three to four pages that synthesizes your answers in this assignment. Use
musical examples, charts, or diagrams to illustrate your analysis. Conclude with a discussion of how this
analysis might assist a quartet in shaping their interpretation. Include at least two specific examples (with
measure numbers) to support your points.

NAME ___________________________________________________
Assignment 32.4
Analysis: Clementi, Sonatina in C Major, Op. 36, No. 1, mvt. 1
Listen to this movement while examining the score in your anthology, then provide a complete harmonic
analysis with Roman numerals in the score. Since the texture is only two to three voices, you may need
to consider some ambiguous chords, determine which pitches are embellishing tones, and draw on your
knowledge of progressions to identify them. Label each phrase and cadence.
A. First theme
(1) The first phrase is measures 1 to 4 , and ends with a half cadence.
(2) The second phrase is measures 5 to 8 , forming a parallel period with the
first phrase.
(3) Write in the Roman numerals and figures for this modulating second phrase.
The cadence at the end of this phrase is a PAC in the key of V (G major) .
ø
C: I

I
G: vii 7 ø
vii 7/V V I
I IV V 65 – 5
– 3 I
(4) Is there a transition between the first and second themes? If so, indicate which measures; if not,
explain how these themes connect, and what takes the place of the transition.
The end of the first theme’s parallel modulating period is elided in m. 8 with the second theme. There is
no transition, but the modulation in the second phrase of the first theme accomplishes the change of key.
B. Second theme
(1) Write in the Roman numerals and figures for measures 8–15.
G: I V6 I V 43
8 –––––––––––– 7
G: I6 IV ii 65 V 46 –––––––––––– 5
–––––––––––– 3 I

(2) How is this passage divided into smaller units? Indicate the length (in measures) for each unit. After
the second theme, is there a closing theme or codetta?
This passage is 2 + 2 + 4—similar to a sentence structure, but without the typical harmonic plan.
Mm. 8–11 could be considered the second theme, with 12–15 as a closing theme, or the entire passage
in G major can be considered a second theme group, because of the 2 + 2 + 4 division and the
absence of a cadence in m. 11.
C. Development
(1) What themes or motives are explored in the development section? What type of harmonic motion is
featured?
The development focuses on the first theme, and touches on C minor. The retransition beginning in m.
20 features a G pedal point and octaves reminiscent of the second theme group.
(2) Compare measures 16–23 with the Mozart development section reviewed in the chapter, and with the
“harmonic disturbance” of rounded binary—which form does this passage most resemble?
This development is quite abbreviated. With the retransition beginning in m. 20, some might consider
this passage transitional rather than a true development. It is more like the harmonic disturbance of a
binary form in scope and function.
D. Recapitulation
(1) What changes when the themes return in the recapitulation? Are the themes all in the tonic key?
The entire recapitulation is in the tonic key, C major. The first phrase theme is transposed down an
octave, then the second phrase is a melodic inversion, with the ending also changed to stay in C major
rather than modulating. The second theme is transposed down to C major.
(2) How do the changes to the passage between the first and second themes in the recapitulation, when
compared with the exposition, confirm that measures 5–8 of the exposition are part of the first theme?
Mm. 30–31 have a clear cadence in the tonic key, confirming the connection of this phrase to the
previous one in a parallel period.
E. Review of overall form

(1) The exposition is measures 1 to 15 .
(2) The development is measures 16 to 23 .
(3) The recapitulation is measures 24 to 38 .
(4) How does this sonatina compare in scope with the Mozart sonata-form movement discussed in the text
chapter? What elements are shortened or left out?
The entire sonatina is about the size of a rounded binary form, but the arrangement of the themes,
the placement of the modulations, the retransition, and the return of the A section in the tonic key
follow the sonata-form model. The development (including the retransition) is the length that would
be expected of a B section in a 32-measure rounded binary form, and the whole piece is only slightly
longer than that, at 38 measures.

NAME ___________________________________________________
Assignment 32.5
Analysis: Mozart, Piano Sonata in F Major, K. 332, mvt. 1
œœ Listen to this movement, and begin by identifying the large sections on your anthology score.
œœ Next, locate the themes, transitions, and key areas in the exposition and recapitulation, and consider
the materials used in the development.
œœ Examine the harmonic progressions in measures 20–40 and 55–67.
œœ Then use this analytical information to fill in the following blanks.
A. Large sections
(1) The exposition spans measures 1 to 93 .
(2) The exposition begins in the key of F (circle one) major minor
It modulates to C (circle one) major minor as the second key area.
(3) The development spans measures 94 to 132 .
(4) The recapitulation begin in measure 133 .
(5) The coda begins after the PAC in measure 222 and extends to the end of the piece.
B. Exposition
(1) The first theme group spans measures 1 to 22 . It has several different melodic ideas,
all in the initial key of the movement.
(2) The first PAC of the movement occurs in measure 12 . The music from measure 1 to this
cadence has two distinct parts. For each, give the measure numbers and a few words that describe the
music’s style and texture.
Measures 1 to 4 : Melody and accompaniment (optional: “singing style”)
Measures 5 to 12 : Imitative counterpoint (optional: “learned style”)
(3) The second PAC of the first theme group occurs in measures 19 to 20 , and a cadential
extension in measures 20 to 22 . Between the first and second PACs are two phrases that
form a (circle one) parallel contrasting period
(4) The transition between the first and second theme groups begins in measure 23 ; it begins with a
temporary emphasis on the (circle one) relative minor parallel minor dominant of the initial key
(5) The fully diminished seventh chord in measure 29 in the transition leads to a tonicization of the (circle one)
minor dominant dominant minor subdominant of the initial key
(6) The medial caesura is in measure 40 with a (circle one) PAC HC DC
in the second key area of C (circle one) major minor
(7) The second theme begins in measure 41 . It consists of two phrases. Draw a phrase graph
showing the two phrases, indicating the cadence types and the relationship of the phrases to each other
(using a, a, b). Then describe the relationship of the phrases.
8 8

a
a
m. 41 48 49 56
HC PAC
The second phrase is a varied repetition of the first, but with a stronger cadence at the end; the two
phrases form a parallel period.

(8) After the second theme, there is another transitional passage, beginning in measure 56 . This
transition features (circle one):
melodic ideas from the first theme group melodic ideas from the second theme
a descending-fifth sequence modulation to a third key area
(9) The closing theme begins in measure 71 . It has (circle one) one two three
phrases, and ends with a cadential extension, leading to a PAC in measure 86 . This cadence marks
the beginning of the codetta, which ends the exposition.
C. Development
(1) The first sixteen measures of the development section are surprisingly harmonically stable. They are in
the key of C (circle one) major minor. Compared to the original tonic key, this is the
(circle one)
relative minor parallel minor dominant subdominant
(2) The melodic ideas in the first part of the development are based on (circle one)
first theme group second theme group
transition between the second and closing themes codetta
(3) The second part of the development section is sequential, based on musical materials from the (circle one)
first theme group second theme group
transition between the second and closing themes codetta
(4) The retransition is measures 123 to 132 .
D. Recapitulation
(1) The music of the exposition and the recapitulation is identical until measure 163 . This first
change in musical materials is in the (circle one)
first theme transition to the second theme second theme
(2) Compared to the exposition, the transition to the second theme in the recapitulation is (circle one)
shorter the same length longer
(3) The second theme begins in measure 177 and is presented
(4) The closing theme begins in measure 207 and is presented
(5) The coda returns in measure 222 , and serves as the coda ending the sonata-form movement.
For class discussion

(1) The exposition of this sonata includes some striking changes of texture and mood, which we examined
at the beginning of the first theme group. Identify other moments of sudden change of texture by measure
number and possible “topic” or style reference (see Chapter 25), and consider how this might impact your
performance decisions.
Beginning in measure 12, “hunt” topic, horn calls; measure 22, agitated, “Sturm und drang”; measure 41,
“minuet” style; measure 90, “orchestral unison.” Students may identify others.
(2) Compare the exposition and the recapitulation. List what is different in the recapitulation as compared
to the exposition.
Differences occur in the transition between the first and second theme, which is expanded and altered
in the recapitulation. Students may also point out changes of register in the recapitulation’s transposed
second theme.

NAME ___________________________________________________
Assignment 32.6
Analyzing a Concerto: Haydn, Concerto for Corno di caccia (Horn), mvt. 1
Begin by listening to the movement several times while following the score in your anthology.
œœ Concerto first movements are similar to sonata form, in that they typically have a first theme or first
theme group, a transition, a second theme group, and a closing or codetta theme group.
œœ In Classical-era concertos, some of these are typically repeated by the soloist as a part of a double
exposition. The presence of a soloist and the possibility of alternating solo and tutti (orchestral)
sections provides an added dimension in analyzing a concerto.
œœ As you are listening, mark in your score the location of themes, transitions, cadences, and other form-
identifying features as you would for a sonata-form movement, but also consider where solo and tutti
passages appear, then use the following questions to refine your analysis.
Note: The horn part is scored for D horn (instead of F horn, which is the most common modern
transposition), and is written without accidentals, as if it were in C major. When the horn plays a C, a D
sounds; the concert pitch is up a whole step from the notated pitch. Practically speaking, you can look at
the first violin part most of the time to help follow what the horn is playing, or think of the scale degree in
C, then find that scale degree in D major.
A. Exposition (Part I, orchestra)
(1) Listen to the first 30 measures of the piece (up to the entrance of the solo horn), identify the main key
of this work, and locate the cadences in this passage. The key is D (circle one)
major minor
(2) The first phrase ends in measure 4 , beat 1 with a perfect authentic cadence.
(3) Where does the transition between the first and second themes begin? How do you determine that? Is
it a dependent or independent transition? Explain.
The beginning of the second theme is in m. 16. The theme alternates V and I in the key of D major (I); the
presence of the second theme in the tonic key is typical of double expositions in Classical-era concertos.
The PAC in m. 26 initiates the brief closing theme in mm. 26–30, ending with
(4) Is there a medial caesura? If so, where? Explain.

The beginning of the second theme is in m. 16. The theme alternates V and I in the key of D major (I); the
presence of the second theme in the tonic key is typical of double expositions in Classical-era concertos.
The PAC in m. 26 initiates the brief closing theme in mm. 26–30, ending with
(5) Where does the second theme group begin? What key is it in? Where does it end? (Hint: Listen for a PAC.)

(6) Is there a closing or codetta theme? What type of cadence prepares the entrance of the horn? In which
key?
The PAC in measure 26 initiates the brief closing theme in measures 26–30, ending with a PAC in D major (I).
B. Exposition (Part II, with horn)

Now listen to measures 30–60. In a Classical-era concerto with a double exposition, elements of the
orchestral exposition are typically repeated, with the melody performed by the soloist and accompanied by
the orchestra. Compare these measures to 1–30, noting which aspects are similar and which are different,
then answer the following questions.
(1) In which measures does the horn present the first theme and transition? How are these musical
materials altered as compared to the orchestra’s tutti version? What type of cadence ends the transition?
The horn plays the initial arpeggiation of the theme with the first violins, prior to the orchestral
accompaniment entering. In measure 34, the horn does not play (perhaps to catch a breath), but this
highlights the role of that measure as a lead-in to the repetition of the melody in measure 35 as a part
of the dependent transition. In the transition, the horn and first violins embellish the melody that was
heard before, changing the end of the transition and adding a measure. Throughout this passage, the
oboes are tacet (do not play—they are out whenever the solo horn is playing), and there are minor
changes in the string parts, especially for the violas. The correspondence between the orchestral and
horn versions breaks off in measure 43, preparing a PAC in D major in measure 44 (instead of the half
cadence in m. 15).
(2) Following the transition considered in question 1, the horn presents new melodic materials in D major
(the original tonic key), leading to a cadence in measure 50. What is the cadence type there, and in which
key? What happens next, in measures 51–60? (Hint: What would be expected is the orchestral second
theme in A major (V), followed by the closing theme that preceded the horn’s initial entry.)
The cadence in m. 50 is a HC in D major. The theme that follows (mm. 51–55) is also new, but is over a
tonic pedal in A major and has G#s, as expected in that key: this is the horn’s second theme (different
from the orchestral second them). Mm. 55–60 are drawn from the orchestra’s version of the closing t
heme (mm. 26–30), but with the horn included and a measure added.
C. Development
This movement does not have repeat signs to indicate the end of the exposition or the beginning of the
development—since the horn exposition is equivalent to a repeat—but by measure 60, all of the expected
exposition elements have been presented (plus a few unexpected ones!). What should happen next is a
continuation to the development.
(1) Listen to mm. 60–74. What aspects of the music indicate that this is not a repetition of the exposition,
but instead is the beginning of the development? Identify the key and type of cadence in measure 74. Cite
specific measures in your explanation.
accompaniment entering. In m. 34, the horn does not play (perhaps to catch a breath), but this
highlights the role of that measure as a lead-in to the repetition of the melody in m. 35 as a part of the
dependent transition. In the t

NAME ___________________________________________________

(2) Prior to considering which themes appear in the development, it will be useful to locate the end of
the development. Listen, following along in the score, to locate the entry of the first theme in tonic that
signals the recapitulation. (Hint: This is trickier than it might seem because unusual things can happen in
a development section!) When you find a theme entry in D major, check to see that the music continues in
the tonic key; explain what you find, citing measure numbers.
accompaniment entering. In m. 34, the horn does not play (perhaps to catch a breath), but this
highlights the role of that measure as a lead-in to the repetition of the melody in m. 35 as a part of the
dependent transition. In the t
(3) Using the starting point of measure 61 and the ending of the recapitulation you located in the previous
question, examine the contents of the development section. Locate the following features:
an ascending sequence: measures 91 to 94 pattern length: 2 mm.
a descending sequence: measures 100 to 106 pattern length: 3 mm.
development of horn closing theme: beginning in measure 74
development of first theme: beginning in measure 78
development of orchestra second theme: beginning in measure 108
(4) Now examine the music just prior to the recapitulation: where is the retransition? Explain, citing
measure numbers.
Mm. 155–172 present musical materials from mm. 13–30, beginning with the transition into the
orchestra’s second theme and ending with the cadence that preceded the initial horn entry. The
cadence that ended the orchestral expeasure 155.
D. Recapitulation
If this were a sonata–form movement, the next step would be simply to locate the reappearance of each
of the themes in the tonic key, and note any changes to the transition (to stay in tonic) or other musical
materials as compared to the exposition. Because this is a concerto with a double exposition, and different
thematic materials in the orchestral and horn expositions, there are more variables.
(1) Start by comparing the presentation of the first theme in the recapitulation with the prior presentations
by the orchestra and the horn. Which measures correspond, and where does the similarity break off? How
are cadences changed, as compared to the exposition? Explain, citing measure numbers.
cadence that ended the orchestral expo measure 155.

(2) Now examine measures 133–154: locate the presentation of the second theme and the closing material.
Which is presented—the orchestra version or the horn version? Explain, citing measure numbers to show
the correspondence and where there are alterations necessitated to stay in D major.
cadence that ended the orchestrameasure 155.
(3) Measure 154 has two fermata signs, indicating that the orchestra pauses on the first fermata chord for
the horn’s solo cadenza. The second fermata sign shows the note the horn is to play to signal the end of the
cadenza and the return of the orchestra. (The cadenza itself is not notated.) There is a theme that has not
yet returned in the recapitulation. Examine the coda, and locate the theme and its source. Does the horn
play after the cadenza? Explain, citing measure numbers.
cadence that ended the orchestral exposition also ends the entire movement. The horn does not
reenter after the cadence at the end of the cadenza in measure 155.he end of the cadenza in measure
155.
(1) Compare the first theme in this concerto with those in Assignments 32.1 and 32.2. How are they alike
in harmonic and melodic design?
Two points of interest: all of these first themes are extremely short, and all are based on ascending
arpeggiations of the tonic triad. Students may observe other similarities.
(2) Thinking back over the Classical sonata forms analyzed in this chapter, what are the primary
differences you have observed between sonata first movements and this concerto first movement? What
aspects are the same?

33 Rondo, Sonata-Rondo,
and Large Ternary
NAME ___________________________________________________
Assignment 33.1
Form Analysis: Mozart, Sonata in C Major, K. 545, mvt. 3
Listen to the final movement of Mozart’s Sonata in C Major, while following the score in your anthology.
You will use the information gathered in parts A and B to complete the form chart in part C.
A. A sections (refrain)
(1) The double bar setting off the first eight measures defines the A section, or refrain. Graph its phrases
using arcs; include key areas, measure numbers, and cadence types. Label the phrase or period type.
4 4

a a
mm. 1 4 5 8
C major: HC PAC Phrase structure type: parallel period
(2) Where does the A section material next return in the tonic key? List the measure numbers and circle
the form letter for each return. For now, ignore thematic returns in a non-tonic key.
Measure numbers: mm. 21–28 (circle one) A A
Measure numbers: mm. 53–60 (circle one) A A A
B. Episodes and transitions/retransitions
(1) Look at the music between the first and second refrain (A) sections, beginning in measure 9. Graph
the phrases of the B section using arcs; include key areas, measure numbers, and cadence types. Label the
phrase or period type.
4 4

b c
mm. 9 12 13 16
G major: HC PAC Phrase structure type: contrasting period
(2) The retransition following the first episode (B) is measures 16–20 . Hint: Look after a
significant cadence. How does it prepare for the return of the refrain? Explain.
The retransition begins after the PAC in G major (measures 15–16). The G (tonic) transitions to G as
dominant pedal point, under a melodic sequence.
401

(3) Look at the music between the second and third refrain (A) sections. Graph the phrases of the C
section using arcs; include key areas, measure numbers, and cadence types. Label the phrase or period type.
4 4

d e
mm. 29 40 41 48
A minor: HC PAC
(4) The retransition in the second episode C is measures 48–51 . How does it prepare for the
return of the refrain? Explain.
The retransition begins after the PAC in A minor (mm. 47–48), and stays in A minor until measure 51, where V7/C
enters.
(5) The B or C sections share material with the A section (refrain). Where (give measure numbers) and
which materials? Explain.
The consequent phrase of B (mm. 13–16) takes motives from the A section and states them in the new key.
Section C also has some motivic material from the refrain in measures 32–33 and 41–45.
(6) After the third statement of the refrain, locate the coda, from measures 61 to 73 .
The coda (mm. 61–73) follows the cadence (mm. 59–60) that ends the refrain. It differs in texture from the refrain,
but brings back Alberti bass figuration and other patterns from previous parts of this five-part rondo.
C. Using a chart to show rondo form

As you answer the questions in parts A and B, complete this chart then answer the question below.
SECTION PHRASE
SECTION MEASURES MEASURES CADENCES KEY/MODE/RELATIONSHIP TO TONIC
A 1–8 C major (I)

1–4 HC
5–8 PAC
B 9–16 G major (V)
9–12 HC
13–16 PAC
Retransition 17–20 Prolongs V7 of C
A 21–28 C major (I)
21–24 HC
25–28 PAC
C 29–48 A minor (vi)
29–40 HC
41–48 PAC
Retransition 49–52 In A minor to last bar
A 53–60 C major (I)
53–56 HC
57–60 PAC
Coda 61–73 PAC
Circle the correct form label: five-part rondo seven-part rondo

NAME ___________________________________________________
Assignment 33.2
Analysis: Beethoven, Für Elise
Listen to this piece, while following the score in your anthology.
A. Analysis of measures 1–22 (first large section)
(1) Based on both the melodic design and harmonic progressions employed, measures 1–8 are best labeled
as a(n) (circle one)
sentence constrasting period parallel period introduction
(2) Describe two motives introduced in measures 1–8 that are strongly associated with the sound and
character of this piece, and that are featured later in the piece. Include the measure numbers, and mention
melodic, rhythmic, and contour details. Answers may vary.
anacrusis to measure 1: half-step lower neighbor
(a)
measures 2–3: ascending arpeggio followed by an ascending second to the downbeat
measure 7–8: intervallic pattern of ↑7th, ↓2nd, ↓2nd leading to the downbeat
(b)
(3) Measures 9–12 feature a(n) (circle any that apply)

upper-neighbor motion in the highest voice-leading strand melodic sequence

deceptive resolution of a dominant seventh chord harmonic sequence

(4) What is the purpose of measures 9–12 in the form of the first section (mm. 1–22)? What is the harmonic
progression here? Briefly explain, using appropriate terminology.
This is the harmonic disturbance (B section) of a binary form. The chords are C–G7–A minor–E, or
III–V7/III–i–V in A minor. It features a full-texture sequence that ends on V—typical of that section of
a binary form piece.
(5) What is the purpose of measures 13–14 in the form of the first section (mm. 1–22)? What harmony is
prolonged here? Briefly explain, using appropriate terminology.
These measures prolong the dominant of A minor, and connect back to the return of the music from
mm. 1–8. They are an extended lead-in (longer than that from the anacrusis through measure 1).
(6) Though this is the first large section of the piece’s overall form, it has a smaller embedded form within
it. Draw a form graph that represents the smaller form, with the first and second endings represented by
repeat signs. Include the measure numbers, location of phrases, phrase letters, and cadence types.
sections:
phrases:
measures:
cadence types:
The overall form of measures 1–22 is best described as (circle any terms that apply):
binary ternary sectional continuous rounded
simple composite
Chapter 33 Rondo, Sonata-Rondo, and Large Ternary 403

B. Analysis of measures 23–59
(1) To start the second large section, the anacrusis chords in measure 22 (second ending) through
measure 23 establish the key of F (circle one) major minor
Compared to the key of the A section (mm. 1–22), this key is best described as the
tonic key (i) parallel major (I) relative major (III)
subdominant (iv) minor dominant (v) major dominant (V)
submediant (VI) subtonic (VII)
(2) The cadence in measures 29–30 is a(n) perfect authentic cadence

in the key of C (circle one) major minor
(3) Compared to the key of the A section (mm. 1–22), the key established by the cadence in
measures 29–30 is best described as the
But, compared to the key established at the beginning of this section (mm. 22–23), the cadence in
measures 29–30 is to the:
(4) Briefly describe the function of measures 30–37, using appropriate terminology. Indicate where in this
passage the key area changes (giving measure numbers), and where the passage leads.
Students should indicate that the passage stays in C major until measure 33, then moves toward V of
A minor in measure 34 to set up the return of the A section in measure 38. This is a retransition, and
they should also use the term “lead-in” for measures 35–37.
(5) The best sectional label for measures 38–59 (the third large section) is:

A A A B B C
Briefly explain.
Students should indicate that this section is identical to the original A, except that the repeats have
been omitted. Some may circle A and others A, but the explanation should include omission of the
repeats.

NAME ___________________________________________________
C. Analysis of measures 59–103
(1) Now examine the section starting with the lead-in at measure 59. Identify the main key of this section
(presence of a pedal point will help with that task!), then provide Roman numerals and figures in each
blank for measures 60–67, shown here. (Hint: Where there is a pedal point, identify the chords and
inversions above it, ignoring the pedal.)
L65/iv iv 6 viiL7 i iv viiL7/V

Key:
Am: vii
_____ ___________ ___________ ___________ ___________ ___________ ___________
8 ________
(“surprise”)
6 ________ 7
5
V
4 ________ 3 i
_______ ____ ___________
(2) The phrase you just analyzed is repeated beginning in measure 68, but something surprising happens
in measure 71 (last measure in the example, labeled “surprise”). Using the key established in the measures
you just analyzed, what is this chord? (Roman numeral and figures) N 53 or II 53
What progression follows from this “surprise” chord to conclude the phrase. In what key does this phrase
end? Briefly explain how the voice-leading here works to make this connection.
Students should indicate that the “escape” from the “surprise” chord uses chromatic motion: B -A-G
in the upper part, and B -B-C in the bass, with common tones in the inner voices. The chord in m. 74 is
6
a vii 5 of A minor, which resolves to i6.
(3) Consider the harmonic motion in measures 76-77. Is there a cadence here? Where? What type? How
might this information shape your performance of this passage?
(4) Compared to the main key of this piece, what harmony is prolonged in measures 77–80?
tonic dominant subdominant relative major

(5) What music is presented in measure 82 to the end? Briefly describe the function of measures 77–81 in
this formal location, using appropriate terminology.
Students should indicate that these measures are transitional, leading to the return of the A section in
the rondo form. They may want to use the term “retransition,” which is OK, even though the tonic key
is already established here, or to indicate that mm. 81b–83a is a lead-in.
(6) Complete the following form chart. Include large sections, retransitions, key areas (including any
changes of key within a section), and how the keys are related to the initial tonic.
LARGE SECTION/RETRANSITION MEASURES KEY/MODE RELATIONSHIP TO TONIC
A 1–22 A minor (tonic)

B 23–34 F major (VI) to C major (III)
retransition 34–37 back to A minor (tonic)
C 59–77 A minor (tonic), but with some chromaticism
retransition 77–81 A minor (tonic); no need to modulate
(7) The overall form of this movement is:

sonata composite ternary five-part rondo seven-part rondo

NAME ___________________________________________________
Assignment 33.3
Analysis: Schumann, Papillon
A. Harmonic analysis: Write in the Roman numerals. Be sure to indicate a change of key anywhere this
occurs. (Hint: In mm. 25–32, use the lowest note in the measure as the bass for the figures.)
d: viiL 42 V7 i viiL 42 i V7 i
8–7
( over dominant pedal) F: vi V 65 /V V 46 –– 35 I
A: I IV I6 V 43 I I IV I6 V 43 I d: viiL 42
d: V7 i viiL 42 i V7 i V 9
7 i iv ii7 i ii7 i
———————— pedal ————————
F: I ii 65 V7 V 65 /vi vi V 65 I V

F: I6 V I d: viiL 42 V7 i viiL 42 i V7 i V V 97 i
B. Form: Complete the following chart showing the formal organization of this piece. Use the optional
Comments column to record any other observation you wish to make about any section.
MEASURES FORMAL KEY/MODE/ CADENCE TYPE COMMENTS

DIVISION RELATIONSHIP
TO TONIC
1–6 A D minor (i) PAC in F major Modulates to the relative major (F major)
7–14 B A major (V)
15–24 A D minor (i) PAC but Mm. 20–24 are a cadential extension over
extension a tonic pedal.
25–32 C F major (III) PAC in 2nd HC in first ending

ending
33–40 A D minor (i) PAC
(1) What is the form of this piece? (circle one)

ternary quaternary five-part rondo
(2) What is unusual about the initial A section, based on expectations for this form?
It does not include any root-position tonic chords. It does not end in the tonic key.
It does not have a clear phrase form. All of the above.
(3) Which of the following terms apply to measures 20–24? (circle any that apply)
retransition to main key cadential extension pedal point
(4) What is the phrase form of measures 25–32, including the repeat with first and second endings?
contrasting period parallel period phrase group sentence none of these
(5) What is the relationship of the contrasting-section keys to the main key? (circle any that apply)
relative major chromatic mediant dominant chromatic submediant

NAME ___________________________________________________
Assignment 33.4
Analysis: Beethoven, Sonatina in F Major, Op. Posth., mvt. 2 (anthology)
Listen to this piece in the anthology to locate the key areas, phrases, and cadences.
A. Rondo form
(1) If measures 1–16 are considered the A section, identify where this music returns. Fill in the correct
measure numbers for each A, B, and C section in the chart, and add a prime () if needed to any of the
letters.
(2) Fill in the appropriate information regarding key areas and cadences. List the measure numbers for the
retransitions and coda.
SECTION MEASURES KEY CADENCE AT THE END OF SECTION
A 1–16 F major Ends in tonic key with a PAC, harmonically closed.
B 17–27 C major PAC in C major; harmonically closed.
retransition 27–28 to F major
A 29–36 F major PAC in F major; harmonically closed; identical to mm. 9–16.
C 37–66 D minor PAC in D minor; harmonically closed.
retransition 67–74 back to HC in F major in m. 71.

F major
A 75–90 F major Identical to mm. 1–16.
coda 91–94 F major Repeats V–I cadential pattern.
B. Analysis of measures 1–36

(1) If you were analyzing only measures 1–36 as a complete piece, what form would this be?
sectional simple binary sectional rounded binary
continuous rounded binary simple ternary
(2) Draw a form graph for these measures. Show phrases with lowercase letters, draw phrase arcs, and
indicate the measure numbers of each phrase. Show sections with uppercase letters. Indicate the key areas,
the location of cadences and their type, repeat signs, and any modulations or sequences.

(3) (a) Is the form graph typical in every way of the form you named in B (1)?
YES NO
(b) Could this section be played as a free-standing piece? YES NO
(c) Explain your answers.
The A section at the beginning does not repeat, but mm. 1–36 are harmonically closed, and could be
performed as a self-contained piece. Mm. 17–25 prolong the dominant, which is one of the options
Riepel gives for harmonic instability in binary forms (Ponte). Mm. 26–27 are a retransition that
modulates back to the main key of the piece; the presence of a retransition is typical of rondo, but not
small binary forms.
C. Analysis of measures 37–66
(1) If you were analyzing these measures as a complete piece, what form would this be?
sectional simple binary sectional rounded binary
continuous rounded binary simple ternary
(2) Draw a form graph below for measures 37–66. Show phrases with lowercase letters (beginning with c),
draw phrase arcs, and indicate the measure numbers of each phrase. Show sections with uppercase letters
(beginning with C). Indicate the key areas, the location of cadences and their type, repeat signs, and any
modulations or sequences.
(3) (a) Is the form graph typical in every way of the form you circled in (1)? YES NO
(b) Could this section be played as a free-standing piece? YES NO
(c) Explain your answers.
This section is typical of rounded binary form, with a sequence instead of a modulation at the
beginning of the second section.
D. Considering a hybrid form

(1) In a five-part rondo form, the B and C sections are often about the same length. Is that true of this
sonatina? How does this piece deviate from a typical rondo?
If we read this form as a rondo, the C section (mm. 37–66) is too long. One argument for calling it a
five-part rondo would be the key structure: the D minor that unifies the C D C portion (mm. 37–66)
argues for this to be considered one big C section, making the form A B A C A. This is not a
completely satisfactory analysis, since the D section carries at least as much weight as the B section,
and shouldn’t be left out of the reading of the form.
(2) If measures 1–36 and 37–66 are analyzed as large sections A and B, this piece could also be considered
to have a composite ternary form. What aspects of the piece are not typical of composite ternary? (Hint:
Look at mm. 67–end.)
The overall form resembles composite ternary, but with a truncated return of the A section. Mm. 67–
end would be the return of A in composite ternary, but only the first sixteen measures of the “big A”
section return—it is a much shortened A. Mm. 67–74 are a retransition, modulating from D minor to F
major, which is more typical of rondo form.

NAME ___________________________________________________
Assignment 33.5
Analyzing a sonata-rondo: Beethoven, Pathétique Sonata, mvt. 3
(anthology)
The final movement of Beethoven’s Pathétique sonata includes a refrain section that returns like the A
section of rondo form, but also has sonata-like passages that are transitional or developmental. As you listen,
think about which elements are like a rondo and which conform to sonata form. Mark all the sectional
divisions in your score as you go, as well as filling in the following information; this will save time on later
questions.
A. Analysis of the rondo refrain (A sections).

(1) To become familiar with the rondo refrain, start with harmonic and phrase analysis. Provide a Roman
numeral analysis for measures 1–17, and label the phrases and cadences.
c: i V7 i V6 vi7 V (HC)
(tonic pedal)
b
c: viiL 43 i6 Gr6 V 46 5
3 i (PAC)
b (suffix)
c: viiL 43 i6 V6/V V 46 5
3 i (PAC) V 65 /iv
c: iv V7 vi V 43 /iv iv V i V i V i (PAC)

(2) In a sonata-rondo (or a seven-part rondo), we expect to hear the A section four times in total, each
time in the tonic key, alternating with contrasting sections in other keys. Listen to this movement in its
entirety while looking at your anthology to locate the places where the refrain returns, mark them on your
anthology score, and fill in the information in the following chart.
For now, list the entire span of measures that are “not A” for the contrasting sections; we will examine
these passages in more detail shortly to determine the key areas, locate transitions, retransitions, or
developmental activity, and to apply primes (e.g., A, B) where appropriate.
When you find a return of the refrain, compare it measure by measure with measures 1–17. Confirm
that each returns in the tonic key. If an A section is shortened, extended, or otherwise altered, indicate that
on the chart by adding a prime to the A label. There is one place in the form where something unusual
happens toward the end of an A section; if you are not sure where it ends (or the next section begins), for
now write ?? instead of a measure number.
MEASURES A NOT A A NOT A A NOT A A CODA
KEY/MODE C minor C minor C minor C minor

(i) (i) (i) (i)
MEASURES 1–17 18–61 62–78 79–120 121–?? ??–170 171–182 182–210
B. First episode (B)/sonata second theme group
(1) Now examine the first of the “not A” sections. The entire first “not A” is measures 18–61 .
(2) At this point in analysis of a sonata-rondo it is helpful to think about the piece as a sonata. Starting
from the end of the A section, the sonata’s first theme group, listen to determine how long the transition is,
where the second key is established, and where the second theme group (rondo B section) begins. Now fill
in these blanks.
Transition: Measures 18 to 24 . Modulates to the key of E (circle one)
major minor
This key is III (Roman numeral) compared to the original tonic key.
The second theme group/rondo B section begins in measure 25 .
(3) Now determine for the remaining portion of this “not A” section (a) where the second theme group
ends, (b) whether there is a closing or codetta theme, and (c) where the retransition to the original tonic
and return of section A begins.
The first two of these tasks are handled the same way as they would be in a sonata analysis: listen
for cadences and changes of melodic material, texture, or other form-defining features. The last of these
(retransition) is specific to sonata-rondo, as there is not normally a return to the tonic key in sonatas prior
to the development section. Here, consider where the modulation back to the original tonic takes place. You
can work on this in either “direction”: beginning with the start of the second theme, or by moving ahead to
the second A section (see your chart) and working backward.
(a) The definitive PACs in this section are in measures 43 and 51 , both in the key of
E . These cadences may be used to divide the B section into subsections.
(b) Compared to the beginning of the B section (the sonata’s second theme group), significantly
different textures appear in measures 33 – 43 , 43 – 51 , and
51 – 61 .

NAME ___________________________________________________

(c) Based on these cadences and changes in texture, the sonata-form’s closing theme group would best
be placed at measures 43 – 51 .
(d) The retransition to A (modulatory to V7 of C minor) is measures 51 – 61 .
In considering the movement as a rondo, group together the second theme and closing theme as section B
(both are in the same key), and mark the transition and retransition on your score or form chart separately
from A and B.
C. Rondo second episode/sonata development
(1) Now examine the lengthy second of the “not A” sections. The entire second “not A” (from your chart in
part A of this assignment) is measures 79 – 120 .
(2) In a sonata-rondo, this part of the form emulates the development and retransition of a sonata form.
There may be at transition at the beginning of this portion from the immediately previous statement of the
refrain, though that is less common.
Following our procedure for analyzing a sonata form, begin by locating the recapitulation (the third A
in the rondo chart in part A); then identify the location of the retransition that leads to it. Recall that the
retransition of a sonata normally features a dominant pedal (V or V7), and there may be a change of texture
also.
(a) A dominant pedal extends from measure 107 to 120 .
(b) Look at the beginning of this “not A,” which we will now label the rondo’s C section (or the sonata’s
development). Is there a transition that leads to it? YES NO
(3) What melodic material is developed at the beginning of C? Look back at the first, second, and closing
theme areas to decide. How is the material developed? It may be helpful to describe this section in terms of
a musical “topic” (Chapter 25). Explain.
The development is based on the melody of mm. 5–7, but with the descending fifth intervals are
given a new rhythmic context, and treated as a contrapuntal subject (like a cantus firmus) and set in
strict counterpoint, an example of the “learned style.” Many techniques are used here: note-to-note
counterpoint (first species), inversion, syncopation (fourth species), doubling at thirds and sixths, to
name a few. The last two appearances of the subject (mm. 99–105) are set with scales in the other
hand part.
(4) Consider the tonal structure of the C section.

(a) What is the main key area? (Consider the key signature plus the most frequent recurring
accidentals.) A major
(b) Is it stable or unstable, with changes of accidentals indicating modulatory activity?
stable unstable
Explain:
Measures 79–103 imply A major, but most of the cadences are on E (V; they are HC).
(c) How does the key or keys relate to the main key of the movement?
A is VI (submediant) of C minor.

D. Recapitulation and coda
In a sonata form, we expect the materials of the exposition to return in the recapitulation with one
significant change: the music that was in the second key in the exposition (the second theme and any
subsequent materials) returns in the tonic. For a sonata-rondo, the A sections are already in the tonic; no
change is necessary for the last return of A. However, there are often changes between the first A of the
recapitulation (the third A overall) and the return of the B section, because of the need to transpose it to
tonic.
(1) Start by comparing the beginning of the recapitulation to the first A section of the piece. (You may
have noted something unusual about this A section when you completed part A of this assignment.) Which
measures have been changed? Explain.
Mm. 128–134 are altered to lead into C major, making the b phrase of the A section into a transition
to B.
(2) What key and mode are employed in the return of the second theme and closing theme materials?
What is the relationship of that key to the original tonic? (Because there are changes in this section, we will
label it B.)
C major; parallel major
(3) What additional feature is changed in the recapitulation as compared to the analogous locations in the
exposition? Why is this change made?
Because the “second key” is major, there are changes to mm. 158–170, the retransition to the final
presentation of A.
(4) What musical material is included in the coda? Identify the sources earlier in the movement of as many
of the coda’s motives and themes as you can. List specific measures to which they correspond.
Here are some connections that could be made: mm. 182–185 and 186–188 to 37–39; mm. 198–202
and 208–210 to mm. 58–61; and mm. 202–206 to mm. 1–2.
E. Movement as a whole
Looking back through this sonata-rondo, where are passages that might reflect musical topics? List them
by section, measures, and topic; you need only list each section once, where sections recur in the form.
Here are some possibilities:
A sections: Sturm und Drang
B sections: Hymn topic, mm. 44–51
C section: Learned style, mm. 79–97; brilliant, mm. 109–117

NAME ___________________________________________________
Assignment 33.6
Analysis of large ternary form: Brahms, Intermezzo in A Major, Op. 118,
No. 2 (anthology)
Use this worksheet to locate the large sections and subsections of this ternary form piece. Discover how
Brahms created its lush, Romantic sound through close harmonic analysis of selected passages, and
investigate the procedures of motivic development—called “developing variation”—that are characteristic of
this piece.
A. Ternary form
First, listen to the Intermezzo all the way through with the score in the anthology, then locate the three
large sections (notated in boxes). The B section should contrast in key (sometimes in mode as well) and in
melodic, rhythmic, or harmonic material. The third large section features a return of the music from the
opening.
(1) The first large section, A , is measures 1 to 48 .
(2) The second large section, B , is measures 49 – 75 .
(3) The third large section, A or A , is measures 76 –115.
(4) The main key and mode of A is A major .
(5) The main key and mode of B is F minor .
(6) The key of B is the (circle one) of A .

supertonic relative major subdominant dominant relative minor
(7) List two specific ways other than key that B contrasts with A .
(a) Some aspects that can be mentioned include triplet rhythms, with 2 in the right hand against

(b) 3 in the left; different melody; the block chords texture of the middle section of B .
(8) Should the last section take a prime () to indicate that the content is somewhat different from A ?
Why or why not?
Yes, the return is different from the original A . A conspicuous difference is that the initial parallel
period is not repeated, but there are also many small changes as well.
B. Section A and developing variation

The term “developing variation” is applied to pieces where musical ideas, instead of being repeated exactly,
begin to mutate (or be developed). For this process to be audible, there has to be a connection between the
original version of the musical idea (or motive) and the varied versions. Sometimes two individual ideas
will combine to make variants. Use this concept to think about the relationships between motives in A .
Begin by examining the two opening phrases. The first spans from the anacrusis to measure 4, ending
on beat 2. Write a Roman numeral and contextual analysis below the score, then answer the questions that
follow. (Hint: There are some elisions where a chord arpeggiation is completed at the same time another
chord enters. For example, the D3 of measure 1, beat 3, belongs to the same chord as beats 1–2, while the
bass note A2 and the right-hand parts constitute the entrance of a new chord. You can indicate this by a
curved line as shown.)

First phrase, mm. 1–4
A: I IV 46 I IV 46 IV V 42 I6 ii V 46 –
–3
5
T (PD D T) PD D
(1) There are two 46 chords in measures 1–3: a(n) neighboring or pedal 6
4 in measure 1 ,
arpeggiating or pedal 6 2
and a(n) 4 in measure .
These both function as (circle one):

tonic expansion predominant harmonies dominant expansion cadential embellishment
(2) The chord on the downbeat of measure 3 is a (Roman numeral) V 42 . It connects to the previous
and following chords as a part of a
tonic expansion predominant area strong dominant making a cadence
The two IV 46 chords have the same function, prolonging the tonic area; in measure 3 a V 42 moving to
tonic provides an embedded (PD–D–T).
(3) A third 46 in measure 4 is a(n) cadential 6

4.
(4) This phrase ends with which type of cadence?

PAC IAC HC Phrygian
(5) The second phrase (mm. 5–8) is shown next. Write a Roman numeral and contextual analysis.
ø
A: vii 65 /IV IV6 I 46 V 65 /V V 42 /V V6 vi
(passing) E: I6 ii V7 I 47 –
–3
8
PD D
E: T PD D T
(6) Consider the anacrusis to this phrase. Which terms describe the quality and function of the anacrusis
chord (m. 4, beat 3)? (circle any that apply)
secondary dominant secondary leading-tone chord fully diminished seventh chord
half-diminished seventh chord dominant seventh chord root position
first inversion second inversion third inversion

NAME ___________________________________________________

(7) What is the role of the F 3 in measure 4 on the “and” of beat 2? How is the G introduced?
The F 3 is a passing tone. The G is introduced through a voice exchange: G 4 and E4, E3 and G3, with
a connection of the inner voice B3 to the upper line C5–B4.
(8) To which closely related key does this phrase modulate?

supertonic subdominant dominant relative minor
(9) This phrase ends with which type of cadence?

PAC IAC HC Phrygian
(10) These two phrases (mm. 1–8) form a modulating

contrasting period parallel period phrase group
The phrases can be labeled (lowercase letters) aa .
C. Section B
The second large section constitutes a small ternary form embedded within the larger ternary. Locate the
three sections by their contrast in key and mode.
(1) The first section (A) is measures 49 – 56 ; its key is F minor .
(2) The second section (B) is measures 57 – 63 ; its key is F major .
(3) Other than key and mode, list two ways that this B section contrasts with A.
(a) Some aspects that can be mentioned include triplet rhythms in A, with 2 in the right hand
against 3 in the left; the texture of the middle section, primarily block chords. The tempo and

(b) articulation are different; the B section also includes ritardandos at the end of each phrase.
(4) Name one way that it is similar to the A section.

The most prominent aspect is that the melody, treated canonically between the hands, begins with the
same notes: C , F , E (E ), D (D ), C .
(5) The third section (A ) is mm. 64 – 75 .
(6) List two ways that this A differs from the A section.
(a) The melodies in the top voice and inner voice are reversed from A to A; the melodic ideas of

(b) A are embellished and expanded; there is a codetta in mm. 72b–75a.
D. For class discussion
(1) Measures 9–16 constitute a written-out repeat of the first two phrases, and with measures 1–8 form
an A section. Why were these written out instead of using repeat signs? What is changed? Compare each
measure to the corresponding measure of 1–8, and circle on your score each note that is changed.

(2) Listen to measures 16–48. Beginning in measures 17–20, Brahms presents musical ideas that contrast
with the opening phrases. This portion of the A section is similar in function to the contrasting section of a
binary or ternary form. Is there a sequence? A pedal point? Does the music of measures 1–8 return? Where?
Does the music of 17–20 return? Where? Where is the initial key of this section reestablished?
This passage is complicated, and analysts do not agree completely on how to parse it. Mm. 17–20 and
21–24 display elements of a sequence, but the end merges into a new ascending melodic line over
a dominant pedal, which builds tension toward the release in mm. 29–30. This makes a contrasting
section (B). Some analysts read 1–48 as a small ternary form, recognizing the elements of phrase a
that return at 29–30, along with the reestablishment of A major. Compare the phrase beginning at 29
with the a and a phrases from the beginning of the work. Mm. 31–32 are echoed with mode mixture
in 33–34 (hint of the upcoming topic). In 37–38, the phrase ending from 7–8 is redirected to end in A
major instead of the dominant.
Mm. 35–37 are also comparable in some ways to 5–8 (a), but there are prominent changes. The
melody of 35–37 is a contour inversion of the opening melody (mm. 1–2). The music beginning at 39 is
comparable in melodic shape to 17–20, but with harmonies and accompaniment more similar to 21–24.
Some analysts consider this a coda to the A section, which ends with a touch of the beginning motive
in 47–48 in an inner voice; others may read the overall form of A as neither binary nor ternary, but
alternating two distinct sections:
mm. 1–16 = a a (varied repeat)
17–28 = b b (with extension and retransition)
29–38 = a (a varied, with a two-measure mode mixture extension)
a (a varied and not modulating)
39–46 = b b (b and b varied)
47–48 = codetta
(3) How does the B section employ the idea of developing variation?
Student answers should include these two developmental features: the canonic treatment of the
melody in A and A constitutes development through contrapuntal repetition, and B (beginning in m.
57)—which sounds so different because of its thicker chordal texture—uses the same melody as A,
also canonically.

IV PART
The Twentieth Century

and Beyond

34 Modes, Scales, and Sets
NAME ___________________________________________________
Assignment 34.1
I. Identifying diatonic modes
For each given scale, identify the tonic note and scale type (e.g., B Lydian).
A. A Mixolydian B. F Phrygian
C. E Dorian D. D Lydian
E. G Locrian F. A Lydian-Mixolydian
G. Bb Mixolydian H. C Phrygian
II. Mode and scale identification in musical contexts

The following excerpts are drawn from music by Béla Bartók. Play each, then: (1) Identify the pc center.
(2) List the pcs in ascending order beginning with the pc center, using letter names. (3) Name the diatonic
mode. If a particular subset of the scale is featured (e.g., Phrygian tetrachord), specify it. Then, (4) briefly
explain how the pc center is established (repetition, register, etc.).
A. Bartók, Mikrokosmos, No. 37, mm. 1–8
421

(1) Pc center(s): F
(2) Pc list: FGABC
(3) Mode(s) or scale(s): Lydian pentachord
(4) How is the pc center established?

By its first note and lowest note, F3, and skips of the fifth F–C; triadic outline (LH, mm. 3–4); scalar
descent from C4 to F3 (LH, mm. 1–3) and C5 to F4 (RH, mm. 6–8).
B. Bartók, Mikrokosmos, No. 41, mm. 1–4
(1) Pc center(s): G
(2) Pc list: G A B C D E F (G)
(3) Mode(s) or scale(s): Lydian-Mixolydian

G repetition as pedal in LH, emphasis on G-B-D triad.
C. Bartók, Mikrokosmos, No. 59, mm. 1–6

This excerpt may be considered bimodal. First, identify the mode or scale in each hand separately. If the pc
center is unclear, discuss this ambiguity in your answer to the last question.
(1) Pc center(s): RH = FGA B C LH = FGA B C
(2)� Pc list: RH = F (or C) LH = F (or C)
(3) Mode(s) or scale(s): RH = Aeolian pentachord LH = Lydian pentachord

F is suggested as pc center by the outer boundaries of the pentachord, and the repetition of F as the
lower boundary. However, the final cadence suggests C as possible center, with B n –C leading-tone
motion.
422 Part IV The Twentieth Century and Beyond

NAME ___________________________________________________
Assignment 34.2
I. Writing diatonic modes
On the following staves, write the diatonic mode requested.
A. F Dorian B. A Lydian
C. G Phrygian D. B Mixolydian
E. C # Aeolian F. A b Lydian-Mixolydian
II. Identifying modes and compositional techniques in context

A. Britten, “In Freezing Winter Night,” from Ceremony of Carols, mm. 3–6
Listen to the excerpt or sing through it with your class.
(1) Write out the pc collection: G-A -B -C-D-E -F-G . The diatonic mode is G Phrygian .
(2) List two musical cues that support your conclusion.

A characteristic leap between 5̂ and 1̂.
(a)
The primary melody features repeated descents 3̂– 2̂–1̂.
(b)
Chapter 34 Modes, Scales, and Sets 423

(3) How does Britten emphasize the distinctive scale degree that differentiates this mode from natural minor?
Attention is focused on the A s by the harp trill on B –A and by the clash between trebles 1 and 3,
emphasizing that dissonant 2̂.
(4) Briefly describe the relationship(s) between the melodies in trebles 1 and 2 and in trebles 1 and 3.
The entry of treble 2 after 1 with its identical text seems to suggest a canon. However, the repetitive nature
of the melody forms atained A (making a heterophonic texture).
B. Excerpts from Stravinsky, Three Movements from Petrouchka
(1) Mvt. 1, mm. 22–23 (Hint: Use C, the lowest note, to build the scale.)
The mode used is (circle one) Lydian-Mixolydian whole tone hexatonic
(2) Mvt. 2, mm. 33–36
The harmonic materials used are (circle one) hexatonic split-third chord Petrouchka chord
(3) Mvt. 1, mm. 106–107
The compositional technique used is (circle one) parallel 9th chords planing bimodality

NAME ___________________________________________________
Assignment 34.3
I. Pitch-class integer notation
A. Provide the pc integer notation for each melody. Write the pcs in ascending order, beginning with the
lowest number.
(1) Varèse, Density 21.5, mm. 1–3 pcs: 14567
(2) Webern, “Dies ist ein Lied,” mm. 1–2 (voice) pcs: 1234568t
(3) Tavener, “The Lamb,” mm. 3–4 pcs: 356789e
B. In the following table, fill in the blanks for the chords and scales specified. In the Chord columns, either
provide integers for the given chord type or name the chord type. Then combine the two chords to form a
scale or mode, taking the root of chord #1 as the tonic pitch. In the last column, list the pcs in the mode or
scale you have created, without repeating any pcs. Then give the scale its correct name.
Chord 1 Chord 2 Scale type when combined
(1) Integer notation: 2 6 9 0 4 7 e 24679e0

Chord/scale type: D Mm7 E minor triad D Mixolydian
(2) Integer notation: 037t 158 013578t

Chord/scale type: C mm7 D b major triad C Phrygian
(3) Integer notation: 4 8 0 6 t 2 468t02

Chord/scale type: E augmented triad G augmented triad whole-tone scale (WTO)
(4) Integer notation: t258 0 4 7 t024578

Chord/scale type: B b Mm7 C major triad B Lydian-Mixolydian
Fø
(5) Integer notation: 2 6 9 0 58e3 235689e0
Chord/scale type: D Mm7 7 octatonic (OCT 23)

II. Writing scales
Write the scale requested on the following staves, beginning on the pc indicated. Then write out the pcs of
the scale in integer notation (in the same order as notated, but excluding any repeated pc). Use the integer
notation to check that what you have written matches the scale name.
A. F octatonic 23 (OCT 23) B. D whole tone (WT0)
pcs: 5689e023 pcs: 2468t0
C. E b major pentatonic D. C # octatonic 12
pcs: 357t0 pcs: 124578te
E. B hexatonic 23 F. F # octatonic 01
pcs: e2367t pcs: 679t0134
III. Analysis: Charles Ives, “The Cage”

Listen to this work while following the score in your anthology, then answer the questions. The composer
note at the bottom of the score instructs you to read all notes not marked with a sharp or flat as natural (no
accidentals carry across from beat to beat).
A. The chords of the piano introduction are (circle one):

whole tone quartal quintal octatonic
B. The piano accompaniment relies on the same type of chordal construction for most of the song, with
only a few exceptions.
(1) In the last line, what type of chords accompany the words “three hours”?
whole tone quartal quintal octatonic
(2) The dotted-half-note chord accompanying “wonder” contains all possible pcs except
(list the pcs missing from the aggregate) 48t
C. The singer’s line rocks back and forth between the even and odd whole-tone collections, much as a
leopard might pace back and forth in his cage. On the vocal line excerpted here, write “even” or “odd” and
write an arrow above the staff each time the collection changes.
EVEN

NAME ___________________________________________________
Assignment 34.4
I. Analysis: Debussy, “Fantoches,” from Fêtes galantes, mm. 10–13
In this short passage, the characters Scaramouche and Pulcinella gesticulate to the moon while contriving
an evil plan. Debussy emphasizes the difference between that gesture and the simplicity of song (“la-la-la”)
by a change of mode. Write the pc collection for each two-measure unit in integer notation, then identify
the mode.
Translation: Gesticulate, black, to the moon; la, la, la.
Mm. 10–11 pc collection: 458te12 Mm. 12–13 pc collection: 4579e0

Subset of which octatonic: OCT 12 Mode (tonic E): E Phrygian
II. Analysis: Bartók, Mikrokosmos, “Whole-Tone Scale” (No. 136)

Listen to this short piano piece in its entirety, following the score in your anthology. Then answer the
questions.
A. Measures 1–6
(1) List the pcs in ascending order.
Letter names: CDEF G Integers: {0 2 4 6 8}
(2) Of which mode or scale is this pitch collection a subset? even whole tone (WT0)
(3) The focal pitch of this section is C . Briefly explain how is it established.
The C4 is sustained and repeated to provide a point of stability, even in this symmetrical whole-tone
collection.
B. Measures 7–12
(1) For these measures, consider each hand a separate layer. How do the hand parts relate to each other
and to the opening phrase?
The RH is the same in mm. 7–12 as in 1–6, except that the C4 is not sustained. The LH is the music
from 1–6 transposed down a minor third.
(2) List the pcs in each hand part, in ascending order beginning with the pc center.
Letter names: RH: CDEF G LH: ABC D E
Integers: RH: {0 2 4 6 8} LH: {9 e 1 3 5}

(3) List the collections of which these are subsets.
RH: even whole tone (WT0) LH: odd whole tone (WT1)
(4) Are there focal pitches or pcs? If so, what are they, and how are they established?
There are two clear focal pitches (C4 in the right hand and A3 in the left); the pc collections in each
hand are drawn from two different whole-tone scales. This composition is stratified and bitonal: both
parts are whole tone but with different centers.
C. Measures 13–19
Letter names: RH: F G A B C LH: D E FGA
Integers: RH: {4 6 8 t 0} LH: {1 3 5 7 9}

RH: even whole tone (WT0) LH: odd whole tone (WT1)
(3) What motivic similarities and differences do you find when comparing the final phrase with the first two?
The two hand parts are a minor third apart, as in the previous phrase. The entire passage features a
stepwise scalar motive; in the opening, it ascends (mm. 3 and 9), and later descends (mm. 14 and 17).
The rhythmic motive of appears throughout, as does motion in parallel thirds.
D. Measures 20–27
Letter names: RH: ABC D E LH: C E FGA
Integers: RH: {9 e 1 3 5} LH: {1 3 5 7 9}

RH: odd whole tone (WT1) LH: odd whole tone (WT1)
(3) List two ways in which this section differs from those that preceded it.
(a) imitative counterpoint (b) both hands have the same scale, WT1
E. Remainder of the piece

The work continues juxtaposing the two whole-tone scales. It builds to a climax in measures 55–61, where
reiterated chords likewise come from different whole-tone scales.
(1) What striking change in texture occurs at the Tempo I, measure 62?
The hands are mirror inversions of each other.
Do the hands belong to the same collection here, or different collections? same different
(2) Describe the pitch material of the closing section (m. 74 to the end).
Both hands join in the same whole-tone scale (the even WT0) until the very last sonority, A-C. Here,
each note comes from a different scale, as in so many sections before.

NAME ___________________________________________________
Assignment 34.5
I. Analysis: Bartók, Mikrokosmos, “From the Isle of Bali,” (No. 109)
Listen to this work while following your anthology score, then answer the following questions.
A. Mode and scale

(1) The primary mode or scale of this composition is: OCT 23 .
Pcs in letter names: G # A B C D E b F G b Integers: {8 9 e 0 2 3 5 6 }
(2) Where does Bartók introduce a noncollection pc, and as what type of embellishment?
Measure: 15 Embellishment type: chromatic neighbor tone, A
B. Change of scale
(1) Where does the pc collection begin to change? (Hint: Look for a pc that falls outside of the scale.)
New pc: B (t)
Introduced in measures 29–30
Octatonic? YES NO
(2) Speculate on compositional reasons why Bartók may have made this departure from the scale of
the opening passage.
One possible reason is that Bartók is compressing the initial motive intervallically: the opening
sequence 1–5–1 (in pitch-interval integer notation) is altered in m. 23 to 1–4–1, which creates a pc
collection outside the octatonic.
C. Motivic development: List at least one aspect that is the same and one that is different in the passages
specified.
(1) Compare measures 5–10 with measures 1–4.
Same: Measures 5–10 use the same pc material in each hand as the opening measures.
Different: The tessitura and contour changed. The contour in 5–10 is inversionally related to the
opening.
(2) Compare measures 12–30 (risoluto) with measures 1–4.
Same: The risoluto passage begins with the same right-hand pc collection, now doubled in
octaves.
Different: Tenuto repeated pitches give this section its more aggressive rhythm; in m. 24, the
repeated pitch is extended to three repetitions. In m. 16., the unison texture gives way to an
ctave doubling, and again the motive is truncated (mm. 27–28).
D. How do the two hands relate to each other in measures 31–39 and 40–43? (Both are notated in the
treble clef in measures 31–35 over a sustained dyad in the bass clef.)
The pitches in the left- and right-hand parts in mm. 31–39 are symmetrical around G4 and are
inversionally related, while the sustained dyad is symmetrical around D3. The coda, mm. 41–43, is
symmetrical in pitch space around G4. The perceptive student may observe that the LH pitches in mm.
40–41 are identical to m. 1 (LH). RH pitches in mm. 40–41 = m. 2 (RH) but an octave higher.

II. Style composition
On your own manuscript paper, write a short duo (12–16 measures) in the style of Bartók or Stravinsky. The
goal of this project is to write a piece you will be proud to have performed in class and, in the process, to
learn more about early twentieth-century styles.
œœ Style is conveyed through texture, scales or modes used, pitch materials, meter, rhythm and durations,
melodic design, range and register, sizes of intervals employed, and other features.
œœ Closely observe the compositions you are modeling—Bartók’s “Isle of Bali” and other Mikrokosmos
movements, “Song of the Harvest” violin duo, and Stravinsky “Lento” (For the Five Fingers)—to create
your own composition in that style.
œœ This composition will be scored as a duet—either for two instruments each playing one part, or for
two separate hands on a piano (can be played by one or two people).
œœ Include all expressive markings (tempo, dynamic levels, articulation, etc.) needed by the performers
to reflect the mood or attitude your piece is intended to convey.
Choose one of the following designs for your composition:

(1) Modal in an A B A form. The A sections should have a lyrical, folk-inspired melody in meter, in
Dorian mode, with a counterpoint. The B section should be syncopated and aggressive, in meter, using
Lydian mode. Choose different pitch-class centers for the A and B sections (e.g., if the A section has a
center of D, the B section might focus on A b).
(2) Octatonic A B or A B A. Write a piece employing two of the three octatonic collections using changing
meter (several different meters in the piece). The form may be A B A or simply A B, with one of the
octatonic collections associated with the A section, and the other with the B section. Choose a different
pitch-class center for each section. The A and B sections should contrast in several ways—in motives used,
rhythm, texture, dynamics, and/or mood—as well as pc center and colleciton.
Getting started
(1) Decide which of the options you are going to work with and choose your instrumentation. Prepare
your score with the correct clefs and meter signature, and with enough systems for the required number of
measures.
(2) On a scratch sheet of paper, write out the scale(s) that form the foundation of your composition. Then
play with melodic ideas or motives using those materials. What sorts of pitch intervals and contours do you
wish to use? How are you going to make the melodic elements coherent, yet varied?
(3) Consider the meter(s) that you will be using. Write out some rhythmic patterns that work within that
meter, keeping in mind how the meter and rhythms are employed in the models you are studying. How will
the parts relate to each other rhythmically?
(4) Think about the musical texture(s) you wish to use. Do you want contrapuntal imitation between
the parts? Or a melody and accompaniment? Or some other texture? How can texture provide variety or
coherence in your composition?
(5) What moods or attitudes do you wish each section of your composition to convey? How can you create
them using musical materials? Consider expressive markings, as well as change of tempo, articulation, and
dynamic levels.
(6) Now consider the form of the piece. Sketch in the number of measures you will need, and mark where
you will need to express beginnings and endings of phrases. Label the sections A, B, and (if needed) A.
When these steps are completed, you will be well on your way to writing the composition.

NAME ___________________________________________________
Assignment 34.6
I. Scale review
On the following staves, write the scale or mode requested.
A. G minor pentatonic B. B hexatonic 23
C. F # whole tone 0 D. E Lydian-Mixolydian
E. A octatonic 23 F. B major pentatonic
G. E b whole tone 1 H. D Phrygian
I. C # octatonic 01 J. D b major pentatonic
II. Analysis: Compositional techniques

For each given passage, circle the term that identifies a prominent compositional feature. (For class
discussion, consider other compositional techniques operating in each passage.)
A. Stravinsky, Three Movements from Petrouchka, mvt. 1, mm. 9–12

Petrouchka chord planing stratification bimodality

B. Barber, “Sea Snatch,” from Hermit Songs, mm. 29–31
planing split-third chord aggregate ostinato
C. Ligeti, “Désordre,” mm. 1–3

Petrouchka chord quintal chords bimodality planing
D. Bartók, Bagatelle, mm. 4–7

planing quartal chords ostinato split-third chord

35 Rhythm, Meter, and Form
in Music after 1900
NAME ___________________________________________________
Assignment 35.1
Changing meter, asymmetrical meter, ostinato, and polymeter
In each of the following examples, identify at least one rhythmic or metric compositional technique, and
explain your choice.
œœ If the excerpt features polymeter, which type is it?
œœ If it features asymmetrical meter, how is the measure divided into beat units?
œœ If it features ostinato, mark the content and length of the pattern on the score.
A. Stravinsky, “Triumphant March of the Devil,” from L’histoire du soldat, mm. 7–11
Technique(s): polymeter, ostinato

Explanation:
433

B. Stravinsky, The Rite of Spring, rehearsal number 31 (mm. 216–223) (two-piano score)

Explanation:
C. Modest Mussorgsky, “Promenade,” from Pictures at an Exhibition, mm. 1–8

Explanation:

NAME ___________________________________________________
Assignment 35.2
I. Rhythmic composition
On the rhythm staves provided, write a short rhythmic composition in one part. Before beginning each
exercise, study the relevant examples in the chapter. Write the meter signature(s), measure lines, and
durations (no pitches), with optional dynamic and tempo markings. Be prepared to perform your patterns
in class and explain how each fits the specified criteria.
A. Ametric
Write a four-measure rhythmic composition that is notated with a meter signature but sounds ametric.
Above your example, mark where all the beats fall, and circle rhythmic patterns that work against the
perception of those beats.
B. Changing meter
Write an eight-measure rhythmic composition that features changing meter. Each measure should include
rhythmic patterns characteristic of that measure’s notated meter.
C. Perceived meter vs. notated meter

Write a rhythm that is notated in one meter but sounds like it is in another. When you perform this rhythm
in class, ask your classmates to conduct along, first in the meter they hear, then in the notated meter.
II. Form Analysis: Debussy, “La cathédrale engloutie,” mm. 1–43

(1) Listen to this movement, keeping in mind its programmatic and evocative title. Describe at least two
musical elements that paint the image of a Gothic cathedral shrouded in fog, or rising out of the ocean.
Answers will vary. The opening motive might suggest Gothic arches as it ascends and descends (e.g.,
mm. 14–15). The parallel fourths and fifths of the RH motive, from the first measure, might evoke
parallel organum of the early church. The low LH chords might portray a low church bell, as might the
E pedal point of 6–12. The lack of functional (strong tonic-dominant) tonality and the pervasive modal
and pentatonic collections may convey an “engulfed” feeling. Students should discuss their answers in
class.
Chapter 35 Rhythm, Meter, and Form in Music after 1900 435

(2) Form: This prelude does not easily fit into any established formal design. One possible division of the
opening large section (mm. 1–43) is shown next.
(a) Fill in the missing elements in the chart. If the pc center is too ambiguous to determine the mode,
write N/A for that section. If a section includes more than one mode, specify each.
Theme group 1 “Transition” Closing theme
a1 b a2 c1 c2 c3 tran-
sition
MEASURES 1–6 7–13 14–15 16–22 22–27 28–42 42–43
PC CENTER G E C B E b G D C N/A
penta- Lydian penta- pentatonic

MODE/SCALE polymodal Ionian, penta-
tonic tonic (pentatonic plus Mixo- tonic
(or Dorian) lydian
Ionian)
(b) Briefly discuss how you identified the pc centers and modes for each section. Specify measure
numbers and/or pcs as needed. If the pc center was too ambiguous to determine the mode, describe the
musical elements that created the ambiguity.
Section a1: Clearly pentatonic; only 5 pcs present (G A B D E).

Section b: The centric pitch is somewhat ambiguous. We choose the E pedal point. (If another
centric pitch were chosen, it would change the mode identified, Lydian.)

Section a2: This passage sounds pentatonic, but the C pedal point beneath makes it almost a full
diatonic collection: C D E G A B (missing F). It could thus be called C Ionian.

Section c1: Pentatonic throughout, but the center shifts from B (mm. 16–18) to E (19–21).

Section c2: Features pentatonicism in one hand and diatonicism (D Dorian) in the other.

Section c3: These measures change from Ionian (28–32) to Mixolydian (34–37), then back to
Ionian (38–41).

(3) Trace the descent of the long sustained bass line—expressed by dotted-whole notes, pedal points, or the
lowest pitch of each bar—that extends through much of measures 1–43. Indicate when and where the bass note
changes, and where it sustains the same pitch. How does it help establish formal units, stability, and mode?
The bass line is extremely important in this piece. The opening G in the bass descends by step to F (m.
3) and to E (m. 5), to prepare the E pedal point of 6–13. In m. 13, the descent continues through E and
D to C. Thus, the entire opening section is tied together by a fifth descent from G down by step to C.
The next section (mm. 16–22) includes a major-third ascent from B (m. 16) to E b (m. 19) to G (m. 22).
The entire closing portion of this excerpt (mm. 28–41) features a C pedal point.
(4) Trace reappearances of the opening D–E–B motive. How is this motive developed?
D–E–B is spanned in quarter notes in the opening measures (1, 3, 5, and again in 14). It is also
spanned at the dotted-whole-note level: the sustained D in the upper voice in mm. 1, 3, and 5, the
prolonged E pedal point in the upper line of mm. 6–13, and finally the B in the upper voice of the
dotted-whole-note chord in m. 14. The motive reappears (transformed) in the following sections: for
example, F –G –D (m. 16), B –C–F (m. 19), G–A–D (mm. 22–23), and C–D–G (mm. 28–29).

NAME ___________________________________________________
Assignment 35.3
I. Rhythm and form analysis: Alan Hovhaness, “Sicut locutus est,” from
Magnificat, mm. 44–45
Perform this passage with your class, then complete the exercise that follows.
In the space on the reverse side, write a paragraph that addresses these questions.
œœ How is sectional form created in this example?
œœ Which musical elements take the lead in shaping the passage?
œœ What type of rhythmic/metric structure is shown here?

π Ï π
The sectional form is created by changes in instrumentation, timbre, and register from m. 44 to 45. The primary
shaping element is the change in dynamics from to to as the melodic fragments in each voice part are
repeated. The individual vocal melodies have “cadencing gestures” at the end of the unit, but as they are not to
be sung together, these do not create the overall shaping of the passage. The passage is ametric, as there are no
hierarchical strong or weak beats, other than that caused by accentuation of text.
II. Form analysis: Ravel, “Aoua!,” from Chansons madécasses

A. Listen to the movement, read the text and translation, then complete the following chart. “Refrain”
refers to the “Aoua!” motive. Sections are indicated in the score by rehearsal numbers, as well as by changes
in text, texture, pedal points, and/or tempo.
œœ Pedal points may be dyads rather than single notes (specify both pcs) or may change every few
measures in less tonally stable sections (specify each change).
œœ Modes may be diatonic but with a distinctive scale-degree alteration; or they may be combinations
of tetrachords from two modes (e.g., D Lydian-Mixolydian), or incomplete (e.g., F Phrygian subset).
Write “subset” if there are five or fewer pcs.
SECTION Intro/refrain
A A B/refrain A Coda/refrain
MEASURES 1–5 6–17 18–30 30–37 38–62 63–71

REHEARSAL 1 2 3 4 5
PEDAL A-G # dyad G-F # dyad C, A, F #, D, B, F F-E dyad B-F, G-F #

POINTS (B), G #
MODE IN E Aeolian D # Aeolian- D # Aeolian- A b Lydian G # Aeolian- C #?
VOICE (PC Locrian
CENTER AND (Aeolian until m. 26 until m. 59
TYPE) with 5̂) (A #) (D # , E #)
B. Prepare the following questions for class discussion, or write a short paragraph for each, as assigned.
(1) In sections where the pedal points change, discuss any patterns you see in their transpositions. Where
pedal points are doubled by some interval, how does this doubling color the section?
A is largely the same as A with respect to stratification, except that the descending chromatic flute line is
omitted and a piano version of the “Aoua!” (refrain) motive is added to the LH (the piano therefore articulates
three different layers). The stratification in A is quite different and more sparse: the flute is given a quasi-
military trumpet call (labeled “quasi tromba”), the cello is not present. The piano has nothing but alternating
major seventh dyads, t
(2) Describe how the musical layers differ in A when compared with A. How do they differ in A? Discuss
how the layers differ in their pc collections, rhythm, and timbre.
(3) Comment on at least three ways the images of the poem are portrayed in Ravel’s setting.

NAME ___________________________________________________
Assignment 35.4
I. Pitch-time graphic analysis
Play through this excerpt at a keyboard, then make a pitch-time graph (like that in the chapter) on the grid
provided. The pitch axis (y) is divided into semitones; divide the time axis (x) into eighth notes.
Bartók, Mikrokosmos, No. 141, “Subject and Reflection,” mm. 1–6
A. The center of the pitch symmetry is E4 .

Is that pitch emphasized in this segment? YES NO
Explain. That pitch doesn’t sound in this section.
B. The pitch class emphasized most in this passage is B .

How is it emphasized?
B 3 and B 4 (pc t) are emphasized by the pedal points on those pitches and by the motion toward and
away from them.

C. Metrical procedures demonstrated in this example include (circle all that apply):
changing meter ametrical polymeter symmetrical meter
D. How is the structure of this work indicated by its title?

“Subject and Reflection” indicates that there is mirror symmetry in this movement. The inversional
relationships occur in pitch space (as seen on the graph) rather than pitch-class space.
II. Composition: Two-part rhythmic exercises

On the rhythm staves provided, write the following rhythmic compositions in two parts. Before beginning
each exercise, study the relevant examples in the chapter. Write the meter signature(s), measure lines, and
durations (no pitches), with optional dynamic and tempo markings, and one part aligned above the other.
Choose a partner and perform one or more of your duets in class. Afterward, ask your classmates to name
the combination of rhythmic or metric techniques you were performing.
A. Polymeter, with one part in and the other in . Each part should include rhythmic patterns that
strongly imply its notated meter, while combining well with the other part.
B. Ostinato in one part, changing meter in the other. Both parts may be notated in the same or a different
meter.
C. Polymeter, with one part in and the other in . Each part should include rhythmic patterns that
strongly imply its notated meter, while combining well with the other part.
D. In a meter, write one part in a rhythm that sounds ametric. Add a second part that emphasizes the
beats of the notated meter. Does your example sound syncopated? Or polymetric?

NAME ___________________________________________________
Assignment 35.5
Analysis
A. Corigliano, “Come now, my darling,” from The Ghosts of Versailles, mm. 23–26
This passage shows an interchange between soprano Rosina, and mezzo-soprano Cherubino—characters
drawn from Mozart but given a contemporary setting here.
(1) What rhythmic/metric compositional technique is shown? changing meter
(2) How does the composer use rhythm to portray the differing emotions and characters of the two singers?
The lower voice moves almost exclusively in straight eighth notes, harmonized in thirds, to show
innocence and simplicity. The higher voice has triplets that cross the beat and ties across the beat to
obscure the meter. This, with the accents and high register, help to portrya the rage of the text.
B. Webern, “Dies ist ein Lied,” Op. 3, No. 1

Listen to this song while following the score in your anthology.
(1) Counterpoint: Play through the vocal line of measures 1–4 several times, then play the vocal line along
with the upper line of the accompaniment. Consider the counterpoint used between the vocal line in
measures 1–2 and the upper line of the piano part in measures 1–3. Comment on the exact or inexact nature
of this counterpoint, as well as the rhythmic relationship between the two voices.
The voice and highest pitches of the piano are in imitation—the pcs are the same (for the most part),
but the rhythmic values vary. In fact, there is not strictly one “leader” voice and one “follower” voice,
since the canon starts in the piano but takes longer to complete there than in the voice (because of
rhythmic differences). While the pcs are clearly canonic, there are a few differences: the piano repeats
the first two pcs of the canon; it also adds one embellishing tone, an “incomplete neighbor” G5 in m. 2.

(2) Overall form: This song falls into a ternary (A B A) form, largely generated by the text. Indicate the
measures for each section in the following chart, and list the primary images in the text in the right column.
SECTION MEASURES TEXT
A 1–4 song for you, childish beliefs, pious tears
B 5–7 morning gardens, floats, light wings
A 8–12 only for you, song that moves the soul
(3) List three musical features that link the A and A sections; specify which measures are involved.
œ The piano RH in mm. 8–9, and partially in mm. 10–12, is a repetition of the vocal line from mm. 1–2.
œ The vocal line of mm. 9–10 is derived from the vocal line of mm. 1–2 and/or the piano RH of mm. 2–3.
œ The vocal line in mm. 1–2 appears in canon in the piano RH an octave higher in mm. 1–3. The A
section likewise features a canonic texture: the voice at 9–11 is a canon at the unison with the piano
at mm. 8–10 (with some internal repetitions), as mentioned in the chapter.
(4) List three musical elements in the B section that contrast with the A and A sections; specify which
measures and features are involved.
œ Range and register: The B section features the highest vocal pitches in the song (and widest vocal
leaps), as well as the lowest piano pitch (C1 in m. 6).
œ Webern doubles the vocal part in the B section for the first time.
œ The rhythmic agitation created by the LH sixteenth and thirty-second notes creates a very different
mood in the B section.
(5) What other musical cues separate one section from the next?
Webern uses ritardandi at the ends of sections, and a tempo or other tempo markings at the
beginnings.

NAME ___________________________________________________
Assignment 35.6
Analysis
A. Barber, “Sea-Snatch”
Listen to this song while following the score in your anthology, and then answer the questions.
(1) Complete the following form graph. Then write a few sentences that explain how the form is
articulated by text, mode or scale, vocal range, and accompaniment.
SECTION intro A interlude B interlude A
MEASURES 1–4 14–18 19–23 24–end
Explanation:
The form of the song is ternary: A B A. The third section (A) features a return to the text and music
of the opening. The contrasting middle section has a wider vocal range (both higher and lower than
the other sections) and shorter subphrases. Its melodic line is derived from A (pitches 2–7 of the
opening melody). The piano ostinato in the bass is the same as in the A sections.
(2) Discuss the pitch collections of the song, and how they align with its form.
(a) How is the pentatonic scale hinted at in the opening? What pcs are missing from the diatonic
collection? How are these missing pcs specially treated later in the song?
(b) Where are the diatonic sections? Are they written in major or minor or some other mode? Does the
harmonization support a modal interpretation or a tonal one?
The opening pentatonic collection is G A C D F (with G acting as a pc center); the “missing” pcs
from the diatonic collection are B and E (or E #), or 3̂ and 6̂. B enters only in m. 7 on “drowned us, O
King.” B is used more heavily in the middle section, and E # makes its appearance here in the B section
as well (but never appears in A or A). E # is featured in the accompaniment to the middle section,
making this not G # Aeolian but G # Dorian. When the voice ascends to its highest pitch thus far, 6̂
changes to E n. The accompaniment likewise changes to this pitch to make the collection Aeolian. The
harmonization supports a (twentieth-century) modal interpretation; there is no tonic-dominant tonal
axis. Students should point out the use of “fourth chords” in the harmonization instead of triads.

B. Bartók, Bagatelle, Op. 6, No. 2
(1) Using the score in your anthology and the graph paper on the following pages, make a pitch-time graph
for measures 19–30 of this piece, like that in the text. (Note: The lowest notes in measure 29 will not fit on
the graph; draw arrows downward to show where they belong.)
(2) Compared with measures 1–7, what has changed about the registral placement of the hand parts (the
wedge figure and repeated dyad) in measures 19–21? Does each hand play the same musical figure?
In mm. 19–21, the hand parts that were overlapping in range have moved outward by a tritone (a
tritone axis substitutes for modulation), and the hands have reversed roles. At the end of the passage,
the ostinato part expands to encompass an octave.
(3) Now consider measures 24–29. How do these differ from measures 1–7 and measures 19–21?
Each part moves out a tritone from the previous presentation, and the hand parts are restored to their
original roles.
(4) Where in the piece are the hand parts in the lowest register? How does that placement contribute to
sectional shaping and closure?
As the piece ends, the range expands out to its lowest point, as Bartók closes off the upper registers
one by one to bring the piece to an end.
(5) Consider the cadence at the end of the work. It sounds definitive—why? What elements come into
play? Consider both pitch and rhythmic elements.
Some elements that contribute to a sense of closure are the sustained E 3 moving by half step down
to D 3, followed by D 1; the gradual shutting down of registers; and the sustained A 3/B 3 dyad.

NAME ___________________________________________________

D2
A2

36 Music Analysis with Sets
NAME ___________________________________________________
Assignment 36.1
I. Pitch-class sets in integer notation
For each given pcset, circle the pcs on the clock face to determine the most compact form. Then write the
pc integers in normal order in the blank provided.

(1) A b E b D E n (2) E b F A D F # (3) F # E b B b C C #
Pcs: {2 3 4 8} { 2 3 5 6 9
}
{ t 0 1 3 6 }

(4) G # D B b A C # (5) B D B b C # (6) E G C#
{
Pcs: 8 9 t 1 2 }
{ t e 1 2 }
{ 1 4 7 }
447

II. Ordered pitch and pitch-class intervals
For the following melody, provide the pc integers, ordered pitch intervals, and ordered pcs intervals. The
excerpt begins in treble clef and changes to bass clef. For the chord in measure 32, provide the (unordered)
harmonic interval; you need not calculate an interval between measures 32–33. Ignore octave doublings.
Schoenberg, Three Piano Pieces, Op. 11, No. 1, mm. 30–33 (left hand)
Pcs: 8 9
__ 3
__ __ 6 7 1
__ __ __ e____
& 4 8 e 7
__ __ __ 6
__
Ordered
+1 –6 +3 +1
pitch intervals: __ __ –6
___ __ __ 8 +3
__ –4 __
__ __ –1
Ordered
pc intervals: 1 6
__ __ 3 __ __
__ 1 6 8
__ 3 8 __
__ __ e
III. Transposing pitch and pitch-class sets

A. Transpose Segment A as indicated, maintaining the contour, rhythm, and pitch intervals of the original.
On the right, rewrite in integer notation as a pitch-class set, in normal order. Enharmonic spellings of pitch
transpositions are also correct.
Segment A (from Webern, String Quartet, Op. 5, mvt. 4) Pcset: { t e 0 1 4 6 7 }
Segment B: Transpose Segment A down seven semitones. Pcset: { 3 4 5 6 9 e 0 }
Segment C: Transpose Segment A up eight semitones. Pcset: { 6 7 8 9 0 2 3 }
B. Analysis: Listen to the fourth movement of Webern’s String Quartet, Op. 5 in the anthology to locate
the segments of part A in the score (rhythms may differ). Provide the measure numbers.
Segment A: 6 Segment B: 10 Segment C: 12–13

NAME ___________________________________________________
Assignment 36.2
I. Transposing pcsets with mod12 arithmetic
For each given pcset, provide integer notation in normal order. Then transpose the pcset by the given pc
interval and write the result. (If it’s helpful, use the clock faces on pages 359–460 to determine the normal
order.)
Pcset Integer notation Transpose by Transposed set

(1) C # A D A b {8 9 1 2} T9 {5 6 t e}
(2) C A D F # A b { 6 8 9 0 2 } T3 { 9 e 0 3 5 }
(3) A B A b D { 8 9 e 2 } T5 { 1 2 4 7 }
(4) G C # E b { 1 3 7 } Te { 0 2 6 }
(5) B A D A b E { 8 9 e 2 4 } T2 { t e 1 4 6 }
(6) G # G A B b { 7 8 9 t } T4 { e 0 1 2 }
II. Interval-class vectors

Write the pc integers in ascending order and most compact form for the following excerpts. Calculate the ic
vector for the pentachord from these pcs.
A. Bartók, Music for Strings, Percussion, and Celesta, mvt. 1, m. 1
pc integers: { 9 t e 0 1 } ic vector:

[ 432100 ]
B. Webern, “Dies ist ein Lied,” m. 4 (vocal part)
pc integers: { 3 4 6 7 9 } ic vector:

[ 223111 ]
C. Messiaen, Méditations sur le mystère de la Sainte Trinité (Meditations on the Mystery of the Holy
Trinity), for organ, mvt. 4, m. 76
pc integers: { 6 7 9 e 0 } ic vector:

[ 222121 ]
Chapter 36 Music Analysis with Sets 449

D. Webern, String Quartet, Op. 5, mvt. 3, mm. 18–19

[ 432100 ]
E. Bartók, Mikrokosmos, No. 136, mm. 1–3

[ 040402 ]
F. Steve Reich, Piano Phase, pattern 1
pc integers: { e 1 2 4 6 } ic vector:

[ 132130 ]
III. Analysis
Compare the pentachords in part II (A–F) to answer the following questions.
A. How many ics are in a five-element set? 10
B. Which two pentachords share the same ic vector? AD
C. Which one has the most ic 3? B
D. Which one has the most ic 4? E
E. Which one has the most ic 5? F
F. Which one has the fewest ic 1? E
G. Which three have the fewest ic 5? ADE

NAME ___________________________________________________
Assignment 36.3
I. Inverting pitch and pitch-class sets
A. Write the ordered pitch intervals for Segment A on the blank provided; below it, write its ordered pitch
intervals. Then for Segments B and C, beginning on the pitch specified, write its inversion by reversing the
contour (from  to ) and notating the pitches that result. On the right, provide integer notation for each
new pcset, in normal order.
Segment A: Pcset: { 8 9 t e 1 3 4 }
Ordered pitch intervals: –4 –1 –4 –1 –4 –1
Segment B: Inversion beginning on B3 Pcset: { 8 9 e 1 2 3 4 }
Ordered pitch intervals: +4 +1 +4 +1 +4 +1
Segment C: Inversion beginning on C2 Pcset: { 9 t 0 2 3 4 5 }
Ordered pitch intervals: +4 +1 +4 +1 +4 +1
B. Analysis
Listen to the third movement of Webern’s String Quartet, Op. 5 (in the anthology). Locate Segments A and
C by measure number.
Segment A: 7 Segment C: 7

II. Inverting pcsets from integer notation
A. For each set, first write the pcs in normal order, then calculate the inversion and write it in the blank. If
using clock faces (optional) to complete the task, circle the pcs on the clock face and write the normal order in
the blank. Then invert the set (around the 0/6 axis) by drawing arrows across to the complementary pcs; put
a box around these pcs. Write these boxed pcs in the most compact ascending order in the inversion blank.

(1) B b D E n E b (2) G A b E b D F # (3) C C# F Eb B
Pcs: {t 2 3 4} { 2 3 6 7 8
}
{ e 0 1 3 5 }
Inversion: {8 9 t 2} {
4 5 6 9 t }
{ 7 9 e 0 1 }

(4) D # F G A C # (5) A D E b C # (6) E b C E G C #
{ 1 3 5 7 9
Pcs: }
{ 9 1 2 3 }
{ 0 1 3 4 7 }
Inversion: { 3 5 7 9 e }
{ 9 t e 3 }
{ 5 8 9 e 0 }
B. Invert each pcset by T0I and place in ascending order, then transpose by the integer given. Use mod12
arithmetic or clock faces. Check your work by making sure the pcset and its transposed inversion (in
reverse order) add up to a consistent index number.
Pcset Invert by T0I (clock) inversion Transposition

(1) {9 t 0 1 3} T3I {9 e 0 2 3} {0 2 3 5 6}
(2) {e 1 2 5 6 8} T7I { 4 6 7 t e 1 } { e 1 2 5 6 8 }
(3) {3 6 8 t} T2I { 2 6 4 9 } { 4 6 8 e }
(4) {2 4 5 9} TeI { 3 7 8 t } { 2 6 7 9 }
(5) {e 0 1 5 6} T6I { 6 7 e 0 1 } { 0 1 5 6 7 }
(6) {1 2 3 4 7 8} T1I { 4 5 8 9 t e } { 5 6 9 t e 0 }
(7) {3 6 9 e} T4I { 1 3 6 9 } { 5 7 t 1 }
(8) {1 2 4 6 8} T8I { 4 6 8 t e } { 0 2 4 6 7 }

NAME ___________________________________________________
Assignment 36.4
I. Tn/TnI relationships
Most pcsets identified in the following excerpts are related by Tn or TnI. In the blanks provided, write the
pcs of each set in normal order, then calculate the relationship requested between specific segments. (For
example: B = T7A means that if you transpose set A by 7, the result is set B.)
A. Bartók, Bagatelle, mm. 10–11
Right-hand part
Segment A pcs: {4 6 8 t e} Segment B pcs: { 9 e 1 3 4 } Segment C pcs: { 2 4 6 8 9 }
B= T5 of A C= T5 of
Left-hand part
Segment D pcs: { 5 8 t } Segment E pcs: { t 1 3 6 }
Which pc in Segment E does not match an exact transposition between D and E? Which note would need
to be changed in Segment E to create an exact transposition of D?
The last pc of E would be 3 instead of 6 if this were an exact transposition.
B. Stravinsky, Three Pieces for String Quartet, mvt. 3, mm. 10–11
Segment F pcs: { 7 9 0 1 } Segment G pcs: { 8 9 0 2 } G = T9I of F

C. Stravinsky, Three Pieces for String Quartet, mvt. 3, mm. 15–18
(Accidentals continue to bar line.)
Segment H pcs: { 2 5 8 9 } Segment J pcs: { 7 8 e 2 } Segment K pcs: { 3 6 9 t }

J= T4I of H K = T5I of J K = T1 of H
II. Melody writing

Write a phrase in meter, in a dance-like folk style, using the unordered pcset {0 1 3 4 6 7 }. Then write
a second phrase whose unordered pcset content is related by T5I. As always when composing, include
expressive and tempo markings, dynamic markings, and so on. The second pc set will be {t e 1 2 4 5}.

NAME ___________________________________________________
Assignment 36.5
I. Transposing pcsets with mod12 arithmetic
For each given pcset, provide integer notation in normal order. Then transpose and invert the pcset as
requested and write the result.
œœ For transpositions (Tn), add n (mod12) to each pc.
œœ For inversions (TnI), take the inverse of each pc in the original pcset, then add n to each pc and write
in normal order.
œœ Shortcut for inversion: subtract each pc from the index number, n, and write in normal order.
A. Stravinsky, “Chez Petrouchka,” m. 16
Normal order: { 6, 8, 9, 0, 3 } T7: { 5 6 e } T5I: { 5 6 e }
B. Ravel, Pavane pour une infante défunte, m. 13
Normal order: { 5 6 e } T3: { 5 6 e } T4I: { 5 6 e }
C. Ives, “The Cage,” m. 2
Normal order: { 5 6 e } T8: { 5 6 e } T6I: { 5 6 e }
D. Schoenberg, Klavierstuck, Op. 19, No. 2, m. 4
Normal order: { 5 6 e } Tt: { 5 6 e } T1I: { 5 6 e }
II. Trichordal Analysis: Schoenberg, Drei Klavierstücke, Op. 11, No. 1

Listen to these passages from the beginning and middle of the piece. Identify the circled trichords by
writing their normal order in the corresponding blank. Finally, answer the questions that follow.

A. Measures 1–3 Trichords
(1) { 7 8 e }
(1) (2)
(2) { 4 5 9 }
(4) (3) { 5 6 e }
(3) (4) { 9 t 1 }
B. Measures 9–11
(6) (5) { 0 2 6 }
(5)
(6) { 8 9 t }
(7) { 4 6 8 }
(8) { 0 3 7 }
(7) (8)
C. Measures 34–35 (9) { 1 4 5 }
(10) (11)
(10) { t 1 2 }
(9) (11) { 9 0 1 }
D. Passages A and B seem, on first hearing, to be quite similar, yet their trichordal structures differ.
Explain both the similarities and differences. Include rhythm, contour, set types, and intervallic structure.
These passages share identical contour and rhythm—one seems to answer the other (like parallel
phrases might). The melody of the second phrase widens the contour to intervals such as intervals 8
and e, whereas the largest intervals of the first were 3 and 4. The sets are entirely different, however.
All the sets of the first phrase have normal orders that begin with a semitone: {7 8 e}, {4 5 9}, {5 6 e},
and {9 t 1}. ifferences.
E. Passages A and C seem, on first hearing, to be quite different, yet their trichordal structures are similar.
Explain both the similarities and differences. Include rhythm, contour, set types, and intervallic structure.
These passages have highly contrasting contours and rhythms—the second has quick dotted rhythms
and widely angular contour, and features a right-hand solo melody without chordal accompaniment. In
contrast, the first phrase had a more lyrical melody accompanied by half-note chords. The trichords
are of the same type as the opening, however: the adjacent intervals of the normal form all include a
semitone and minor third.
F. In passages A and C, what are the Tn and TnI relationships between the trichords specified below?
Trichord (9) is T0I of trichord (1).
Trichord (10) is T9I of trichord (1).
Trichord (11) is Te of trichord (10).

NAME ___________________________________________________
Assignment 36.6
Analysis: Alban Berg, “Sahst du nach dem Gewitterregen” (“Did You
See, After the Summer Rain”), from Altenberg-Lieder (Five Orchestral
Songs), Op. 4 (reduction)
We discussed the opening of this song in Chapter 36; now look at the entire movement. Listen to this song
with piano accompaniment in the recording provided, or locate an orchestral performance online or in your
library. Listen to the recording or play through the vocal line at the piano while thinking about the text.
Where possible, play portions of the accompaniment as well.
Translation: Did you see, after the summer rain, the forest?
All is quiet, sparkling, and more beautiful than before.
See, woman, you too need summer rainstorms!

Write an extended essay that analyzes this song, using the following questions as springboards. Organize
the essay as you see fit (don’t simply answer the questions in a list). Support your ideas with specific
examples, citing measure numbers. Turn in an annotated copy of the score with your essay.
A. As always when dealing with text, consider the poetry and the relationship of its form and content to
the music. Does the song draw on elements of any standard formal schemes, or is it through-composed?
Support your answer by discussing pcsets used as melodies and harmonies. If appropriate, give instances of
imitation or other contrapuntal procedures.
B. Several of the important pcsets are presented in the opening vocal phrase (the first two and a half
measures). Divide the phrase into distinct motives, and identify the pcsets for each motive. How do these
motives return later in the song? How are they developed? If the pcsets return transposed or inverted, label
them with letters and give the Tn and TnI relationships.
C. This song is filled with thirds, which often occur in the context of the split-third chord: a major-minor
triad, such as {0 3 4 7}. It also features transpositions and inversions of {0 1 4}. Find as many examples of
these sonorities as possible, including transposed or inverted forms.
D. Is this music centric? Is there a focal pitch class? Support your answer, pro or con, with examples from
the music.
The song has a rounded form, though it is hard to divide into distinct sections (like A B A). Mm. 9–10
are clearly derived from the opening, echoing in pitches the repeated text “Gewitterregen.” Mm. 8–11
are canonic between the voice and the piano’s left hand.
Recurring motives include the {0 1 4} (and its transformations) with which the melody begins and the
“fourth chord” motive of “Gewitterregen,” made of interlocking forms of {0 1 6}. The fourth-chord
motive appears in mm. 2, 6, and 8–10. Interlocking {0 1 4} statements create the split-third chord;
these are especially prominent in the accompaniment in mm. 4–5 and 9–10.
Students may differ in their opinions on the centric question. There is some emphasis in the bass line
on F, as the first low pitch (m. 2), which returns as the last pitch of the song. There is some struggle
between E and F for prominence, since the “Gewitterregen” motive ends with a descending fourth to
E, lending E some stability. Students might also give the middle section’s pedal point D b some weight
as a focal pitch.

Optional: Clock-face “scratch” paper


37 Sets and Set Classes
NAME ___________________________________________________
Assignment 37.1
I. Finding prime form
For each given pcset, find the normal order and prime form by one of the methods described in the chapter.
Clock faces are provided if you choose to use them. Fill in the SC or Forte number (found in Appendix 6).

A. G b E b D G A b B. E G D F # C. F # E b A b C # C
N.O.: {2 3 6 7 8} {
2 4 6 7 }
{ 0 1 3 6 8 }
Prime
form: [0 1 2 5 6] [
0 1 3 5 ]
[ 0 1 3 6 8 ]
SC: 5-6 4-11 5-29

D. B b E b B n E n E. D b F A D F # G F. FBD
N.O.: { t e 3 4 }
{ 1 2 5 6 7 9 }
{ e 2 5 }
Prime
form: [ 0 1 5 6 ]
[ 0 1 4 5 6 8 ]
[ 0 3 6 ]
SC: 4-8 6-16 3-10
461

II. Melodic analysis
Here are the six pentachords analyzed in Assignment 36.2. Calculate the prime form and SC (Forte)
number for each.
A. Béla Bartók, Music for Strings, Percussion, and Celesta, mvt. 1, m. 1
Prime form: [ 0 1 2 3 4 ]
SC: 5-1
B. Webern, “Dies ist ein Lied,” m. 4 (vocal part)
Prime form: [ 0 1 3 4 6 ]
5-10
SC:
C. Messiaen, Méditations sur le mystère de la Sainte Trinité, for organ, mvt. 4, m. 76
Prime form: [ 0 1 3 5 6 ]
5-10
SC:
D. Webern, String Quartet, Op. 5, mvt. 3, mm. 18–19
Prime form: [ 0 1 2 3 4 ]
SC: 5-1
E. Bartók, Mikrokosmos, No. 137, mm. 1–3
Prime form: [ 0 2 4 6 8 ]
5-33
SC:
F. Steve Reich, Piano Phase, pattern 1
Prime form: [ 0 2 3 5 7 ]
5-23
SC:

NAME ___________________________________________________
Assignment 37.2
I. Trichord identification
In each of the following excerpts, identify the two specified trichords. Circle the first specified trichord with a
solid line; circle the second with a dotted line (or different color). Circles may overlap by one or two pcs. Hints:
Look for different transpositions or inversions of the trichords—not just the prime form. It may be helpful to
identify the potential pitch interval successions for that trichord, and scan the excerpts for those intervals.
A. Messiaen, Méditations sur le mystère de la Sainte Trinité, mvt. 4, mm. 72–76
Find at least three SC 3-4s [0 1 5] and six SC 3-5s [0 1 6].
B. Berg, “Sahst du nach dem Gewitterregen,” mm. 1–4

Find at least five SC 3-3s [0 1 4] and four SC 3-5s [0 1 6].
Translation: Did you see, after the summer rain, the forest?
All is quiet, sparkling, and is [more beautiful than before].
Chapter 37 Sets and Set Classes 463

II. Trichord analysis: Webern, String Quartet, Op. 5, mvt. 3, mm. 1–8
Listen to this passage, then analyze the set classes of its melodies and chords.
Each consecutive group

of 3 notes = 3-4 [0 1 5]
A. Find at least eight SC 3-3s [0 1 4] and eight SC 3-4s [0 1 5]. Circle 3-3 with a solid line and 3-4 with a
dotted line (or different color).
B. Which trichord appears primarily as staccato chords? 3-3

Which as melodies? 3-4
Where does the “chord” motive appear instead as a melody?

C. In measure 6, how are the melodic lines (violin 1, 2, viola) related to the staccato pizzicato trichords?

D. In measure 7, how are the violin and cello related? by inversion

Examine each trichord within these melodies (overlapping). How are these trichords related?


NAME ___________________________________________________
Assignment 37.3
Analysis
A. Stravinsky, Kyrie, from Mass, mm. 1–5
With your class, sing through the opening measures of Stravinsky’s Mass, then answer the following questions.
Translation: Lord have mercy upon us.
(1) The movement opens with three statements of the same set class.
Identify them here. What is their SC label and prime form? 3-11 [0 3 7]
(a) piano accompaniment, normal order: { 8 0 3 }
(b) bass melody, measures 2–3, normal order: { 8 0 3 }
(c) bass melody, measure 4, normal order: { e 3 6 }; T 3 of the previous statement.
(2) The SC sung by the tenors in their initial “Kyrie eleison” is repeated by the sopranos in their second
“Kyrie eleison.” What is the relationship between the two?
(a) SC label and prime form: 3-5 [0 1 6]
(b) tenor melody, measures 2–3, normal order: { e 0 5 }
(c) soprano melody, measures 4–5, normal order: { 0 5 6 }; T 5 I of tenor statement.
(3) The altos’ two statements of “Kyrie eleison” belong to the same set class.
(a) SC label and prime form: 3-2 [0 1 3]
(b) alto melody, measures 2–3, normal order: { 2 3 5 }
(c) alto melody, measures 4–5, normal order: { 0 2 3 }; T 5 I of previous statement.
(4) If we consider the single B b in measure 5 (tenors) to function as a chromatic passing tone (and
therefore eliminate it from our set), to what set class would the pitches of the entire excerpt (voices and
piano reduction) belong? What scale or mode is this?
Normal order: { 2 3 5 6 8 9 e 0 } SC and prime form: 8-28 [0 1 3 4 6 7 9 t]
Mode or scale: octatonic

B. Bartók, Bagatelle, Op. 6, No. 2, mm. 7–8 and 14–16
Listen to this piece in the anthology, then consider the melodic motives x (first three notes) and y (last three
notes) from measures 7–8. Calculate the ic vector, and listen for the difference in sound between the two
trichords.
Mm. 7–8
x
y
Trichord x pcs: { 1 5 9 } Trichord y pcs: { t 2 3 }

Trichord x ic vector: [ 0 0 0 3 0 0 ] Trichord y ic vector: [ 1 0 0 1 1 0 ]
In a few words, describe how the trichords differ in intervallic content, based on examining their ic vectors.
Trichord x has no semitones and maximizes M3s (it’s an augmented triad). Y has a semitone, M3, P4.
For the following labeled segments, compare the first three pcs with trichord x and the last three pcs
with trichord y. Specify the precise relationships using Tn and/or TnI notation. Because trichord x has
symmetrical properties, it will always have multiple correct answers, including both Tn and TnI relations;
you need give only one of each. (For unrelated trichords, write NE for “not equivalent.”)
Mm. 15–16
a
c
a1 a2 c1 c2
b1 b2
b
(1) Measures 14–15 right hand (set a)
pcs in a1: { 1 5 9 }
Relationship between set a1 and x trichord: a1 = T 0 x or T4x or T8x
a1 = T t I x o T6Ix or T2Ix
pcs in a2: { 1 5 6 }
Relationship between set a2 and y trichord: a2 = T 3 y
(2) Measures 15–16 left hand (set b)
pcs in b1: { 8 e 3 }
Relationship between set b1 and x trichord: b1 = T NE x
pcs in b2: { 9 1 2 }
Relationship between set b2 and y trichord: b2 = T e y
(3) Measures 15–16 right hand (set c)
pcs in c1: { 9 0 4 }
Relationship between set c1 and x trichord: c1 = T NE x
pcs in c2: { t 2 3 }
Relationship between set c2 and y trichord: c2 = T 0 y

NAME ___________________________________________________
Assignment 37.4
Analysis: Benjamin Britten, “That yongë child,” from Ceremony of Carols,
mm. 1–8
Listen to this passage. Britten features sonorities made of a triad plus a half step, which create several
different types of tetrachords. Identify the tetrachords circled in the score, copy your answers onto the chart
that follows the score, then answer the questions that follow.
D
E
I J
G

(1) Set-class identification
Normal order Prime form SC (Forte) number
(a) Segment A: { 0 1 4 7 } [ 0 1 4 7 ] 4-18
(b) Segment B: { 4 7 8 0 } [ 0 1 4 8 ] 4-19
(c) Segment C: { 0 1 5 8 } [ 0 1 5 8 ] 4-20
(d) Segment D: { 0 1 4 7 } [ 0 1 4 7 ] 4-18
(e) Segment E: { e 0 4 7 } [ 0 1 5 8 ] 4-20
(f ) Segment F: { 0 1 3 7 } [ 0 1 3 7 ] 4-Z29
(g) Segment G: { 0 1 4 7 } [ 0 1 4 7 ] 4-18
(h) Segment H: { 0 1 5 8 } [ 0 1 5 8 ] 4-20
(i) Segment I: { 1 5 7 8 } [ 0 1 3 7 ] 4-Z29
(j) Segment J: { 1 5 7 8 } [ 0 1 3 7 ] 4-Z29
(2) How many different set classes did you find that result from a triad plus a half step? What can you
discover about their location in Forte’s table of sets? How does this location reflect their intervallic
structure? (Hint: Check the ic vector.)
There are four different SCs in this excerpt that result from a triad plus a half step. Three of them are
consecutive on Forte’s list, which means that their intervallic content is similar (Forte’s list is ordered
by ic vector).
(3) Identify the Tn and TnI relations between the sets in the given chart. Use the normal order of each set
(the pcs that appear in the score) to determine these relationships.
D = T0A H=T 0 IE
E = T e C J=T 8 IF
E = T 0 I C G=T 0 D
H=T 1 E
(4) What can you say about the “progression” from SC A to D to G? From C to E to H? Comment on the pcs
held as common tones from one transposition to another.
SCs A, D, and G all appear in the same transposition—there is no “progression.” Interestingly, G
gets a different voicing that accentuates the nontriadic pitch by skipping to it in the vocal part. From
C to E to H: the transpositions by 11 semitones, then by 1 semitone, return the SC to its original
transposition. Therefore SCs C and H contain the same pcs, while SC E does not. The common tone
between the two transpositions is pc 0, which functions as the centric pitch for this movement.

NAME ___________________________________________________
Assignment 37.5
I. Analysis
A. Schoenberg, Drei Klavierstücke, Op. 11, No. 1, mm. 1–5
Listen to this passage, then complete the exercises that follow.
A
B C
(1) Identify the prime form, ic vector, and SC (Forte) label for each of the three hexachords circled in the
example.
A: Prime form: [ 0 1 3 4 5 7 ] ic vector: [ 333321 ] SC: 6-Z10
B: Prime form: [ 0 1 4 5 6 8 ] ic vector: [ 322431 ] SC: 6-16
C: Prime form: [ 0 2 3 4 5 8 ] ic vector: [ 333321 ] SC: 6-Z39
(2) What can you say about two of the ic vectors? How do the set-class labels reflect this relationship?
Sets A and C have the same ic vector, yet do not belong to the same set class.
Sets A and C are Z-related, as shown by the Z in their SC label.
B. Webern, String Quartet, Op. 5, mvt. 4, mm. 3–5

Begin by listening to this excerpt. Find the normal order for each circled segment, then write the prime
form and Tn/TnI relations requested.
A
(1) Normal order Segment A: { 5 6 e 0 } Segment B: { 4 5 t e } Segment C: { 5 6 e 0 }

(2) Prime form: [ 0 1 6 7 ]

(3) Because this set is symmetrical, more than one operation transforms one member of the set class into
another. For each relation, provide two possible Tn and TnI values in the blanks.
Comparing A and B (by Tn): Comparing B and C:
B = T 5 A B = T e A C = T 1 B C=T 7 B
Comparing A and B (by TnI): Comparing B and C (by TnI):
B = T 4 I A B = T t I A C = T 4 I B C=T t IB
II. Analytical writing: Webern, String Quartet, Op. 5, mvt. 3

Write an extended essay analyzing this movement, taking the following questions as guidelines. Organize
the essay as you see fit (don’t simply answer the questions in a list). Support your ideas with specific
examples, citing measure numbers. Turn in an annotated copy of the score with your essay.
A. Listen to the movement a few times without a score. What makes the work “hang together,” and what
elements help you divide it into formal sections? What type of mood does this music convey? What musical
elements contribute to the mood?
B. If the presence of ostinatos in the bass divides the composition into sections, there are three parts:
measures 1–6 (C # ostinato), 9–14, and 15–21 (B–G–A # ostinato). How would you characterize these sections?
What elements are different (or the same) between sections? How would you characterize measures 7–8
and 22–23?
C. You have already identified SCs 3-3 and 3-4 in the opening section (Assignment 37.3). Do these set
classes continue to play a prominent role in the remainder of the movement? Discuss.
D. There are a few places in the movement where whole-tone subsets may be found. Identify these by
measure number and set-class type.
E. Find at least three canonic passages (including canon by inversion). Give measure numbers and
instruments.
This work falls into a ternary structure, but not a clear-cut A B A, since the third section includes
elements of both A and B. This final section has the texture of the opening, with a cello ostinato and
pizzicato chords, but violin 1 features a return of the B section melody. Although the rasch melody
with which the movement closes comes from m. 9 (the B section), it is followed by a pizzicato C # that
recalls the A section’s pizzicato C # ostinato. These ostinatos help the work hang together. Its mood is
mostly frenetic—the ostinatos contribute to this, as does the accelerando at the end to the sehr rasch
conclusion.
SCs 3-3 and 3-4 permeate almost the entire movement. The exceptions are mm. 4 (which includes
mostly pcs from the even whole-tone scale), 12–14, and 18 to the end. The violin 1 and viola of m. 13
feature mostly pcs from the odd whole-tone collection.
There are a number of short canons: mm. 4 (violin 1 and viola), 5–6 (violin 1, 2, and viola), 7 (violin
and cello, in inversion), 10–11 (cello, violin 2, then viola, violin 1), 12–14 (lower three instruments),
18–21 (violin 2 and viola).

NAME ___________________________________________________
Assignment 37.6
Analysis: Stravinsky, “Bransle gay,” from Agon
Find a recording of this piece in your library, online, or listen in class, while following the score on
pages 473–474. Complete the form chart, using the following instructions.
(1) Column 3: For each group of measures shown in the chart, write the complete pitch-classes and
content in normal order with pc integers (leave the Phrase Letter column blank for now). If there are no
pitches in a measure, write “none.”
(2) For each normal order you have written, calculate the prime form and look up the Forte number in
Appendix 5. Write this number in the Set Class column.
(3) Now study the rhythmic and metrical aspects of each section identified on the chart. In the Meter
column, write the meter if it is consistent (in instruments other than the castanet), or write “changing” if it
is not consistent. In the Comments column, note where rhythmic patterns from one section recur (exactly
or varied) in another.
MEASURES PHRASE PITCH SET CLASS METER OR OPTIONAL COMMENTS (REPEATED

LETTER CLASSES (FORTE MARK AS PATTERNS, TEXTURE CHANGE,
NUMBER) CHANGING AGGREGATE COMPLETION)
1–8 none castanet only
2–5 a {t e 0 2 3 5} 6-Z11 changing
6 none castanet only
7–10 a {t e 0 2 3 5} 6-Z11 changing rhythms similar to mm. 2–5
12–20 b chromatic 12-1 Complete aggregate
21–22 c {1 4 6 7 8 9} 6-Z40 Completes an aggregate when combined

with the hexachord of mm. 2–10 or 23–25.
23–25 a {t e 0 2 3 5} 6-Z11 changing rhythms and pitch material similar to

mm. 2–5 and 7–10
(4) How do rhythmic motives help define the groupings?

Mm. 2–5, 7–10, and 23–25 feature changing meter and similar rhythmic motives. Mm. 12–20 are
consistently in (except for the castanet).

(5) What musical aspect partitions off measures 2–5, 7–10, and 12–20 from the other parts of the piece?
Refer to the score and your chart to decide.
Mm. 2–5, 7–10, and 12–20 are set off by a measure of rests (except for the castanet) in mm. 1, 6,
and 11.
(6) What musical aspects help establish a new phrase in measure 21? What aspects divide up measures
21–25 into the groupings shown in the chart (mm. 21–22 and 23–25)?
The new phrase in m. 21 is created by a change in timbre and texture (melodic fragments are replaced
by chords). The grouping of mm. 21–22 is likewise articulated by a timbre and texture change. The return
of the music from mm. 2–4 in mm. 23–25 also marks the beginning of a new group at m. 23. The pitch-
class content and rhythmic elements considered in the previous questions also support these divisions.
(7) Comment on the rhythmic/metric role of the castanet in this movement.

The castanet plays in meter and stays in that meter throughout, creating a polymetric texture. The
downbeat of the castanet’s measures are often out of sync with the rest of the instruments (alignment
is shown by dotted lines in the score).
(8) Look back at the aspects of the music you have examined, and provide phrase letters (a, a, b, etc.) for
measures 2–5, 7–10, 12–20, 21–22, and 23–25 in the second column of the chart.
(9) Examine the pitch-class content of measures 21–22. How does this pc set relate to the sets in other
sections? How do the Forte numbers reflect this relationship?
This 6-Z40 completes the aggregate in comparison with sets in the a sections. It pairs with 6-Z11 as
Z-related pairs. The two sets are both literal complements and Z-related.
(10) What is the formal design of this movement—binary? ternary? quaternary? Which aspects of the
music contribute to the perception of form? Write several sentences that defend your choice of form with
analytical evidence.
The movement may be considered in a two-part form. Mm. 1–11 form the A section, or first half, and
12–22 the B section, or contrasting second half. The final four measures may be considered a coda or
a brief return of A material. If a coda, the listener must be hearing the repeated chords in mm. 21–22
as cadential—the last main cadence of the piece; and the A and B sections are the same length. If
thre is a return of A, the final measures are labeled A. This makes the binary design rounded. Ternary
form is less easy to defend because the sections would not be of comparable length; the last A
section would be too short to balance a ternary design.
Another possible reading is A (mm. 1–5) A (6–10) B (11–22) A (23–26)—a quaternary form. Whether
the measures of rests and castanet go with the previous section or the following one is ambiguous; there
are reasons to defend either reading, or to consider them transitional and part of both the preceding and
following sections. In this formal design, the A and B sections are not similar in length.
The form is articulated by the pc materials used in each portion of the piece, by texture, by the
characteristic rhythmic motives in each section, and by instrumentation.

Score: Stravinsky, “Bransle Gay” from Agon


Optional: Clock-face “scratch” paper


38 Ordered Segments
and Serialism
NAME ___________________________________________________
Assignment 38.1
I. Identifying serial operations on ordered pitch segments
For each of the given ordered pitch segments A and B, the segments (1), (2), and (3) are transpositions of
the prime (P), inversion (I), retrograde (R), or retrograde inversion (RI).
œœ First write the ordered pitch intervals below each segment (using + and – signs).
œœ Then use the information from the interval succession to label the segments as P, I, R, or RI.
A. Based on Stravinsky’s “Full Fadom Five,” from Three Songs from William Shakespeare
Prime segment:
+5
–7
____ ____ +10 –5
____ ____ –7 +10
____ ____
(1) Relation: P

+5
____ –7
____ +10 –5
____ ____ –7 +10
____ ____
(2) Relation: I
–5
____ +7
____ –10 +5
____ ____ +7
____ –10
____
(3) Relation: R
–10
____ +7 +5
____ –10
____ ____ +7
____ –5
____
477
CH38_MGTA3_SWB_26462_477_504 page 477 9 February 2016 1:47 PM Third Pages

B.
Prime segment:
+10
____ –7
____ –1 +5
____ ____ +1
____ –3
____
(1) Relation: R
+3
____ –1
____ –5 +1
____ ____ +7
____ –10
____
(2) Relation: P
+10
____ –7
____ –1 +5
____ ____ +1
____ –3
____
(3) Relation: I

–10
____ +7 +1
____ –5
____ ____ –1 +3
____ ____
II. Writing serial operations on ordered pitch segments

Taking the following pitch segment as a starting point, transform the segment in the following ways.
(Reminder: You are working with pitches, not pitch classes, in this exercise. Use ordered pitch intervals to
complete the tasks.)
A. Transpose up ten semitones.
B. Invert with the same starting pitch as the original.
C. Retrograde the original series of pitches.
D. Transpose the original down three semitones and retrograde.

NAME ___________________________________________________
Assignment 38.2
I. Identifying serial operations on ordered pitch-class segments
For each of the ordered pitch-class segments A and B, segments (1), (2), and (3) are transpositions of the
prime (P), inversion (I), retrograde (R), or retrograde inversion (RI).
œœ Write the ordered pitch-class intervals (0 to 11, calculated clockwise around the clock face) under each
segment, then compare the segments.
œœ Use the information from the interval succession to label the segments as P, I, R, or RI.
For P or I segments, include the pc integer of the first note in the label (e.g., I6); for R or RI, include the pc
integer of the last note in the label.
A. From Stravinsky, “Full Fadom Five”
Prime segment: P3

10 5
____ 11 5 ____
____ ____ ____ 1 ____
9
(1) Relation: R3
3 11
____ 7 1 ____
____ ____ ____ 7 ____
2
(2) Relation: R3
3 11
____ 7 1 ____
____ ____ ____ 7 ____
2
(3) Relation: P3
10
____ 5 ____ ____
____ 11 5 ____ 1 ____
9
II. Analysis
A. Tavener, “The Lamb” (anthology)
Listen again to this piece while following the score in your anthology, and examine measures 13–16. Find
one example of the work’s prime segment in each of its four forms (P, I, R, and RI). On the staves provided
on page 480, write each form, and give its location (measure number and voice part) and its label (for
example, I7).
Chapter 38 Ordered Segments and Serialism 479

SEGMENT MEASURE NUMBER S, A, T, B LABEL
(MM. 13–16)

13 S or A P7
________ ________ ________
15 A I7
________ ________ ________

14 S or A R7
________ ________ ________

16 A RI7
________ ________ ________
There are other possible answers. P: m. 13 (T or B, an octave lower), m. 15 (S or T, octave lower). I: m. 15

(B, octave lower). R: m. 14 (T or B, octave lower), m. 16 (S or T, octave lower). RI: m. 16 (B, octave lower).
B. Stravinsky, “Four Duos,” from Agon, mm. 1–7 (score on p. 481)
(1) How are the pitches organized? The following questions will help you discover the answer.
(a) Consider the intervals between instruments. What is the relationship between the three parts?
(b) List the first twelve pcs that sound in this excerpt: < 0 9 8 e t 1 2 5 4 3 6 7 >
(c) List the second twelve pcs that sound in this excerpt: < 5 6 9 8 7 t e 2 1 4 3 0 >
(d) What is the relationship of the pitch classes in measures 1–3 to those of 4–7? Examine the ordered
pc intervals to answer this question.
The ordered pc intervals of the first row are: <9 e 3 e 3 1 3 e e 3 1>. Those of the second row
are: <1 3 e e 3 1 3 e 3 e 9>. The two rows are RI related.
(e) Is this row symmetrical?

While the row itself is not completely symmetrical, it does contain a long symmetrical segment, in
order numbers 4–9.
(f ) If the first twelve pcs are labeled P0, what is the label for the second 12 pcs? R10
(2) List two metrical practices that are illustrated in this example.
(a)
(b)
(3) The passage includes only quarter notes, and could have been notated in (or some other meter with a
quarter-note beat) throughout. What effect might Stravinsky’s metric choices make in performance?
While there is little durational variety in these measures, the changing meter creates downbeat
accents that add rhythmic interest.

NAME ___________________________________________________
Score: Stravinsky, “Four Duos” from Agon, mm. 1–7

NAME ___________________________________________________
Assignment 38.3
Analysis: Milton Babbitt, “Play on Notes,” mm. 1–16
This composition, written for a children’s music textbook, was intended for performance by children’s
voices and bells. Sing and play this piece in class or with a friend playing the other part. Consider the first
two measures of the voice part to be the segment P0. The remaining segments are also two measures each.
A. Label each segment on the score (e.g., P0, R6), then copy the row labels onto the table.
Part I mm. 1–2 3–4 5–6 7–8

Bells: R6 RI3 P6 I3
Voice: P0 I9 RI9 R0
Part II mm. 9–10 11–12 13–14 15–16

Bells: R6 RI9 P6 I9
Voice: P0 I3 RI9 R6

B. Compare the first hexachord in each part.
(1) List the pc collection for each part in measures 1–2 in normal order, then calculate the ordered pitch-
class interval sequence for each.
Bells: { 6 8 t e 1 3 } pci sequence: 22122
Voice: { 0 2 4 5 7 9 } pci sequence: 22122
(2) What property does the pci sequence display?

The pattern of intervals is symmetrical.
(3) If you consider each hexachord as a scale, played from its lowest pitch, to which keys do they belong?
Bells scale type: G major
Voice scale type: C major
C. Consider the pcs of measures 1–2 when both parts are combined.
(1) What type of collection results?
Chromatic collection or aggregate
(2) Compare this collection with that of measures 5–6.

They are the same (enharmonically).
(3) Where is this collection found elsewhere in the piece?

Each two-measure unit expresses an aggregate.
D. Babbitt divides the piece into two parts. What musical features support this division? Consider phrase
structure, rhythms, and patterns of repeated segments.
Each four-measure unit (or phrase) starts with consistent row pairs: R6 and P0 in mm. 1 and 9; P6
and RI9 in mm. 5 and 13. The first phrase of each part has the bells/voice in the same rhythm, mostly
quarter notes. In the second phrase of each part, the voice begins and bells follow after a beat,
introducing a new rhythmic pattern ( ).
E. List each word of the text with its particular pitch class (in measure 1 “hear” = pc 0, “play” = pc 4, and
so on).
(1) hear or here pcs: 0 and 6
(2) play pcs: 4 and t
(3) and pcs: 5 and e
(4) note pcs: 3 and 8
(5) the pcs: 7 and 1
(6) sound pcs: 9 and 3
(7) Use these pitch classes to describe the structure of the song’s lyrics.
Words are chosen so that they will make sense when re-ordered serially to correspond with pitch
segment transformations. Each word has two tritone-related pc associations.

NAME ___________________________________________________
Assignment 38.4
Analysis: Stravinsky, “Full Fadom Five”
A score to this song is given on pages 489–490 of this workbook. Find a recording online; listen to the
movement and then answer the following questions.
œœ Following the initial introductory measure, this passage is based on a seven-tone row and its serial
transformations. The row is first presented in the voice part in measures 2–3.
œœ Important to your analysis is the fact that Stravinsky was a self-taught serialist who did not follow
Schoenberg’s conventions for row transformations.
œœ Stravinsky used IR (inversion of the retrograde), rather than RI (retrograde of the inversion). To
analyze these row forms, write out the retrograde first, then invert it.
A. Analysis of measure 1
(1) The pitches of the vocal melody are drawn from what scale type? (Hint: On your own paper, write the
pitches of the melody as a scale, beginning with the last pitch class.)
Scale type: diatonic (G major)
(2) The pitches of the viola line are drawn from what scale type? Scale type: pentatonic
(3) How are the flute and clarinet lines related?

The flute and clarinet play the same pitches, except that the last pitch in the clarinet line is written
down an octave.
(4) By what serial operation do the flute/clarinet lines relate to the vocal line? What invariant pitches do
they share with the voice as a result of this operation?
The flute and clarinet parts are a transposition up T7 of the first seven pitches of the vocal line except
that the last pitch of the clarinet part is dropped an octave. The transposition allows these lines to end
on G b, just as the melody does, and it also results in an A b sounding at the same time that the voice
has an A .
(5) Write out the vocal melody of measure 1, without rhythm, on the staff provided. Then label the ordered
pitch intervals and interval classes between adjacent pitches, as shown. What observations can you make
about the construction of this melody? (Hint: Look for symmetries or repetitions of interval patterns.)
Pitch
intervals: +5 –7 +10 –5 –7 +10 –5
____ ____ ____ ____ ____ ____ ____
Interval
classes: 5 5 2 5 5 2 5
____ ____ ____ ____ ____ ____ ____
Observations about melodic construction:
Answers may vary. The pattern of pitch intervals between pitches 2 and 5 is repeated for pitches 5–8.
The pattern of interval classes includes two overlapping statements of 5-5-2-5. After the first interval
class, there is a repeated symmetrical pattern: 5-2-5, then 5-2-5.

B. Supply the following information for the seven-note row (voice part, mm. 2–3), which you will use to
complete the analysis. (Remember Stravinsky’s idiosyncratic “IR.”)
Row form Pitch classes Ordered pc intervals
(1) Prime row (P3) 3 1 6 5 t e 8 t 5 e 5 1 9
(2) Retrograde of prime (R3) 8 e t 5 6 1 3 3 e 7 1 7 2
(3) I3 (inversion of P, beginning with pc 3) 3 5 0 1 8 7 t 2717e3
(4) IR3 (inversion of R, beginning with its first pitch class) 8 5 6 e t 3 1 915e5t
(5) List the pitch classes of line (3) in retrograde order, and compare them with line (4).
R(I3)—line (3) retrograded: t781053
IR3—line (4): 856et31
(6) Is the inversion of the retrograde (IR3) the same as the retrograde inversion (RI3) of the prime row?
YES NO
C. Now write out the pitch classes of other row forms that will be helpful in this analysis. You may
transpose the basic forms above, or use the ordered pc intervals to generate the elements.
(1) P0 0t32785 (2) R8 143te68 (3) R1 69834e1
(4) P8 86et341 (5) Rt 365018t
D. Analyze the row forms for measures 2–15 by marking them in your score. Enter all the completed row
forms from your score into the chart on p. 487, in the order that the rows appear in the music. The first
three row labels are given.
Hints:
œœ Some rows may be completed in a different instrumental part from the one in which they began.
œœ The first two pitches of the flute part complete the clarinet row of measures 2–3.
œœ Throughout, pairs of row pitches may be repeated before going on.
œœ Some rows are elided. When a row is completed, check the next series of pitch classes to see if it
matches one of the rows listed above. If not, back up to check for row elision (that is, whether the last
pitch[es] of one row also serve as the first of the next).
œœ Finally, the rows break off (wherever they were in the series) as soon as the voice sings “knell” at the
end of measure 15.
œœ For this analysis, label both the R and IR forms with order numbers going forward. This is because
the IR is not the same as the retrograde of I.
In the Comments column, note any relationships among the voices. Indicate if a row form is completed in a
different part from the one in which it began, if notes are added or left out, or if there are serial connections
between rows in two different parts (e.g., same row form but different durations or contour).

NAME ___________________________________________________
MEASURES PART ROW FORM COMMENTS
2–3 voice P3
2–4 viola P3 Same row as voice down an octave
2–4 clarinet IR3 Order no. 6 in flute also; order no. 7 only in flute
4–6 voice R3 retrogrades pitches and durations
4–5 clarinet I3 Note held over from m. 3 (order no. 6) becomes first pc of new
row; m. 6 not part of a row.
4–5 viola P8 Last three notes of m. 5 are not in row; imitation of previous
motive up a step.
4–6 flute R1

6–8 flute P3 Same contour as initial voice part (mm. 2–3), up an octave;
durations are different.
7–9 voice I3 inversion of mm. 2–3, similar durations
7–8 viola P3 M. 9 imitates ending motive twice, each time down a step;
inversion of voice with similar durations.
7–9 clarinet I3 Same pitches as voice row; durations changed.
9–11 flute Rt

10–11 viola IR3 Row starts with tied note; same row as voice down an octave
and similar durations.
10–11 voice IR3 Last two order nos. elide with P3; same row as viola, up
an octave.
10–11 clarinet P0 Contrasts with rows used so far.
11–13 voice P3 First two order nos. elided with previous row.
11–15 viola R8 Contrasts with rows used so far; breaks off after voice sings
“knell.”
12–14 flute P3 same row as voice, different durations and contour
13–16 voice I3 Last note of vocal melody (second note of “knell”) is beyond
end of row.
13–15 clarinet R3

14–15 flute R3 Same row as clarinet, but different contour and durations; first
note elided with previous row.

For class discussion: Are measures 16 and 17 of the song serial? Discuss their pitch structure in comparison
with the previous portions of the song you have already analyzed. How do the pitch and rhythmic materials
here invoke the images of the text?
After the rows conclude in measures 15–16, there are no more appearances of complete rows. The
instrumental interlude in measures 16–17 features melodic and harmonic intervals that may be
intended to invoke discordant ringing of bells: i. The rhythmic alternation between repeated pitches
and use of larger intervals (P5 and m7) may also be a bell reference.

NAME ___________________________________________________
Score: Stravinsky, “Full Fadom Five,” mm. 1–17


NAME ___________________________________________________
Assignment 38.5
Making and reading a row matrix
Make a row matrix for each of the following twelve-tone rows on the grids provided, using integers to
represent the pitch classes.
œœ Begin by writing the pitch classes below the staff for each pitch.
œœ Transpose the row to begin with 0.
œœ Write the integer representation of the series beginning with 0 on the top row of the matrix, and the
inversion down the first column.
œœ Complete the rest of the matrix.
We suggest that you discuss this assignment in class, so that students can retain these matrices to use as they
analyze compositions in Assignments 38.6 and 38.7.
A. Webern, “Das dunkle Herz” (“The Dark Heart”), Op. 23, No. 1, mm. 2–6 (row)
Translation: The dark heart, which listens to itself, recognizes spring.
pcs:
5 7 ___
___ ___ 4 ___
3 e ___
___ 2 ___
t 6
___ 0 9 1
___ ___ ___ 8
___
P
0: 0 2 ___
___ ___ e ___
t 6 ___
___ 9 ___
5 1
___ 7 4 8 3
___ ___ ___
___
Using the matrix you have created for this row in part C, write out the following row forms:
(1) I5 < 5 3 6 7 e 8 0 4 t 1 9 2 >
(2) Re < 5 3 6 7 e 8 0 4 t 1 9 2 >
(3) P7 < 5 3 6 7 e 8 0 4 t 1 9 2 >
(4) RI6 < 5 3 6 7 e 8 0 4 t 1 9 2 >
B. Webern, Symphonie, Op. 21, mvt. 2, mm. 12–17 (cello)
pcs:
t ___ ___
___ 7 8 9 5
___ ___ 6 ___
___ 0 e
___ 3 ___
___ 2 1 4
___ ___
P
0: 0 9 t
___ ___ ___ e 7
___ ___ 8 ___
___ 2 1
___ 5 ___
___ 4 3 6
___ ___
As discussed in the chapter, this row has symmetric properties that make two row labels possible for each
row. Using the matrix in part D, provide two labels that correctly identify each of these rows.
(1) < 2 e 0 1 9 t 4 3 7 6 5 8 > Row form: P2 or R8
(2) < t 1 0 e 3 2 8 9 5 6 7 4 > Row form: It or RI4
(3) < t 7 8 9 5 6 0 e 3 2 1 4 > Row form: Pt or R4
(4) < 5 8 7 6 t 9 3 4 0 1 2 e > Row form: I5 or RIe

C. “Das dunkle Herz”
I
P I0 I2 Ie It I6 I9 I5 I1 I7 I4 I8 I3 R
P0 0 2 e t 6 9 5 1 7 4 8 3 R0
Pt t 0 9 8 4 7 3 e 5 2 6 1 Rt
P1 1 3 0 e 7 t 6 2 8 5 9 4 R1
P2 2 4 1 0 8 e 7 3 9 6 t 5 R2
P6 6 8 5 4 0 3 e 7 1 t 2 9 R6
P3 3 5 2 1 9 0 8 4 t 7 e 6 R3
P7 7 9 6 5 1 4 0 8 2 e 3 t R7
Pe e 1 t 9 5 8 4 0 6 3 7 2 Re
P5 5 7 4 3 e 2 t 6 0 9 1 8 R5
P8 8 t 7 6 2 5 1 9 3 0 4 e R8
P4 4 6 3 2 t 1 9 5 e 8 0 7 R4
P9 9 e 8 7 3 6 2 t 4 1 5 0 R9
RI0 RI2 RIe RIt RI6 RI9 RI5 RI1 RI7 RI4 RI8 RI3
RI
D. Symphonie, Op. 21, mvt. 2

I
P I0 I9 It Ie I7 I8 I2 I1 I5 I4 I3 I6 R
Po 0 9 t e 7 8 2 1 5 4 3 6 Ro
P3 3 0 1 2 t e 5 4 8 7 6 9 R3
P2 2 e 0 1 9 t 4 3 7 6 5 8 R2
P1 1 t e 0 8 9 3 2 6 5 4 7 R1
P5 5 2 3 4 0 1 7 6 t 9 8 e R5
P4 4 1 2 3 e 0 6 5 9 8 7 t R4
Pt t 7 8 9 5 6 0 e 3 2 1 4 Rt
Pe e 8 9 t 6 7 1 0 4 3 2 5 Re
P7 7 4 5 6 2 3 9 8 0 e t 1 R7
P8 8 5 6 7 3 4 t 9 1 0 e 2 R8
P9 9 6 7 8 4 5 e t 2 1 0 3 R9
P6 6 3 4 5 1 2 8 7 e t 9 0 R6
R0 RI9 RIt RIe RI7 RI8 RI2 RI1 RI5 RI4 RI3 RI6
RI

NAME ___________________________________________________
Assignment 38.6
Analysis: Webern “Das dunkle Herz,” Op. 23, No. 1, mm. 1–11
Listen to the passage twice: once while following the text and translation, and again while following
the score. Using the matrix you constructed in Assignment 38.5, label the row forms, then answer the
questions. Begin with the vocal line: write the row’s name (e.g., P6, RI4) at its beginning, then label row
members with order numbers (1 to 12 for P and I forms, and 12 to 1 for R and RI forms). Analysis of the
keyboard part takes some detective work because of its chords. As you identify row forms and trace them
through, write order numbers to show the correspondence of row ordering to chord pitches. There are
several row elisions, where the end of one row shares pitches with the beginning of the next.

Translation: The dark heart, which listens to itself,
recognizes spring not only by the breeze and scent
that bloom through its glow; it feels spring in the
dark realm of roots that reach down to the dead.
A. Consider the harmonic dimension. Which intervals or harmonies are featured as chords? Name them
with set-class or pitch-class interval names.
{0 3 6 7} in m. 1, {3 4 7 t} in mm. 2 and 7, and {9 t 1 4} in m. 9, all members of SC 4-18; and {9 e 0}
in mm. 3 and 11, SC 3-2. There are others, including possible arpeggiated chords.
B. Consider the singer’s strategies for finding and tuning pitches with the accompaniment. Cite at least
three places where the piano part provides a pitch in advance, doubles a pitch in the vocal line, or plays a
vocal pitch immediately after it is sung.
m. 1–2 : F4 in piano occurs immediately before first vocal entrance
m. 4 : G b4 in voice (“lauscht”) is immediately followed by G b4 in piano arpeggio
m. 5 : C5-A4 in voice is answered by A4-C5 in piano
Other possibilities include m. 7, F5 in voice (“Duft”); followed by F4 in piano, and m. 10; E4 in voice
(“dunklen”) is followed by E4 in piano.
C. Identify at least two examples of text painting in the vocal part. (It may help to write the translation
below the German text in your score.)
Measures German text English translation Describe setting
2–3 dunkle Herz dark heart low register; half steps
11 Toten dead very low register; A2 interval
11 du an die Töken rührt” reach down descending contour, wide leaps down

NAME ___________________________________________________
Assignment 38.7
I. Analysis: Webern, Symphonie, Op. 21, mvt. 2
A score with excerpts from this movement is given on pages 497–499 of this workbook. This is a C score:
transposing instruments sound as notated. Listen to the movement, and then answer the following
questions.
A. Theme, winds and harp, mm. 1–11
(1) Begin by labeling the row forms, referring to the row matrix you constructed in Assignment 38.5.
œœ Because of special properties of this row, each R is identical to a P form, and each RI is identical to an
I form. When labeling rows, use the P and I labels (rather than the retrograde labels).
The clarinet melody has one row form, the accompaniment has another. Identify these forms.
If students write the RI form, the answers are
Clarinet row: I5 Horn/Harp row: Ie
RIe and RI5, respectively.
(2) Label the row members on the score. Then take a close look at the ways the pcs are realized in terms of
pitch register. What registral technique discussed in the chapter is used here? Explain.
Technique used: registral invariance or “frozen” register
Explanation:
Many pcs of the row are associated with a particular pitch register. Registral invariance occurs with
B4, E4, E 5, A4, B 3, F4. (Note: Students may be unaware that harp harmonies sound an octave
higher: B4, not B3.)
(3) Look at the pitches, rhythm, and contour centered around measures 5–7 and extending in either
direction. What compositional technique characterizes the structure centered around these measures?
(Hint: The symmetry of the row is reflected in other types of symmetries.)
Pitch:
The pitches in 5–7 exchange places from the accompaniment to the melody—making a kind of
mirroring or palindrome around the middle of m. 6.
Rhythm:
The rhythmic structure carries the palindrome even further: the rhythms of mm. 7–11 are a retrograde
of mm. 1–5.
Contour:
The contour of mm. 7–11 is an inversion of mm. 1–5.
B. Variation I, string parts, mm. 11–23

Use the row matrix you constructed in Assignment 38.5 to label the row forms in measures 11–23 (using P
and I labels), then answer the following questions.
(1) In this passage, the instruments are paired. Look closely at the pitch intervals, rhythms, and
articulation to determine the pairing.
Which instruments are paired? violin 1 and cello are paired, violin 2 and viola are paired.
How are the paired instruments related to each other? The paired instruments are in canon by inversion.

(2) Beginning in measure 11, for each pair of instruments, one row is an I form and the other is a P form.
Write the two row labels for each instrument pair.
Pair 1: I0 and Pt
Pair 2: I6 and P4
(3) How are the paired rows related to each other (hint: how are the subscripts of their labels related)?
Both sum to 10; both pairs of rows are TtI-related.
(4) In which measure does the first set of rows end and the second set begin? m. 17
What happens in this passage when any part gets to the end of its row?
Each part retrogrades the pitches and rhythms when it reaches the end of its row, to create a
palindrome.
How do the rhythms, dynamics, and articulations relate to this change of rows (if at all)?
For the most part, the palindrome includes the dynamics and articulations as well. That is, Webern
set each retrograde with the same pitches and durations as the first presentation of the row, but in
reverse.
C. Coda, harp and strings, mm. 89–99

In this variation, two rows cross back and forth between instruments: as you label the rows in the score, it
might be helpful to circle the numbers of one of the rows to distinguish between them.
(1) The harp plays the first note of each row, before the rows begin crossing among instruments.
The two rows in this passage are: I5 and Ie
(2) Is there a palindrome here in pitch, contour, and rhythm—as in the previous sections you analyzed
from this movement? If so, where is the center of the mirror?
Yes. The center is the silent m. 94.
(3) Compare these measures with the opening of this movement (part A). List at least two differences and
two similarities.
Differences:
The row forms cross between instruments, instead of having one row in the melody and another row
in the accompaniment. The texture is thinner here—there is more space and more silence between
entrances. The rhythm is less “square” and predictable.
Similarities:
The two passages use the same rows. Both passages include two- and four-note groups of pitches, as
well as palindromes. Both palindromes include rhythms as well as pitches.
(4) Is there registral invariance in this passage?

Yes. Each pc appears in only one octave, and the placement is consistent each time the pc returns.

NAME ___________________________________________________
Score excerpts: Webern, Symphonie, Op. 21, mvt. 2
A. Theme, winds and harp, mm. 1–11 (C score: transposing instruments sound as notated.)

B. Variation I, string parts, mm. 11–23

NAME ___________________________________________________
C. Coda, harp and strings, mm. 89–99

NAME ___________________________________________________
Assignment 38.8
I. Finding combinatorial row pairs
A row matrix for Schoenberg’s Violin Concerto is given. Circle the appropriate hexachords in the matrix to
find combinatorial rows for: (1) P0, (2) R9, and (3) R7. Then write out the combinatorial pairs below the
matrix, with the same hexachords circled.
I0 I1 I6 I2 I7 I9 I3 I4 I t Ie I5 I8
P0 0 1 6 2 7 9 3 4 t e 5 8 R0
Pe e 0 5 1 6 8 2 3 9 t 4 7 Re
P6 6 7 0 8 1 3 9 t 4 5 e 2 R6
Pt t e 4 0 5 7 1 2 8 9 3 6 Rt
P5 5 6 e 7 0 2 8 9 3 4 t 1 R5
P3 3 4 9 5 t 0 6 7 1 2 8 e R3
P9 9 t 3 e 4 6 0 1 7 8 2 5 R9
P8 8 9 2 t 3 5 e 0 6 7 1 4 R8
P2 2 3 8 4 9 e 5 6 0 1 7 t R2
P1 1 2 7 3 8 t 4 5 e 0 6 9 R1
P7 7 8 1 9 2 4 t e 5 6 0 3 R7
P4 4 5 t 6 e 1 7 8 2 3 9 0 R4
RI0 RI1 RI6 RI2 RI7 RI9 RI3 RI4 RIt RIe RI5 RI8
(1) P0 is combinatorial with which I row? I5
P0: < 0 1 6 2 7 9 3 4 t e 5 8 >
I5 : < 5 4 e 3 t 8 2 1 7 6 0 9 >
(2) R9 is combinatorial with which RI row? RI2
R9: < 5 2 8 7 1 0 6 4 e 3 t 9 >
RI2: < 6 9 3 4 t e 5 7 0 8 1 2 >
(3) P7 is combinatorial with which R row? R7

P7: < 7 8 1 9 2 4 t e 5 6 0 3 >
R7 : < 3 0 6 5 e t 4 2 9 1 7 8 >

II. Integral (or total) serialism
In the following passage, start by identifying the duration of each pitch (counted in thirty-second notes)
combined with the rest that follows. Write the durations below each pitch in the score, then answer the
questions that follow.
Pierre Boulez, Structures Ia, mm. 73–81 (piano 2, left hand)
(1) Write out the pitch names, adding the durations (counted in thirty-seconds) above and the pc integers
below.
Durations: < 4 5 2 8 9 12 3 6 11 1 10 7 >
Note names: < F # C F G G # B C # D E b E A B b >
Pc integers: < 6 0 5 7 8 e 1 2 3 4 9 t >
(2) Name two rhythmic techniques seen here: additive rhythm, serial rhythm, ametric

NAME ___________________________________________________
Assignment 38.9
Style composition
On your own manuscript paper or music-notation program, write a serial composition in the style of
(1) Schoenberg or Webern (twelve-tone) or (2) Tavener, Babbitt, or Stravinsky (serial but not twelve-tone).
The goal of this project is to write a piece you will be proud to have performed in class and, in the process,
to learn more about twentieth-century styles.
œœ Style is conveyed through texture, scales or modes used, pitch materials, meter, rhythm and durations,
melodic design, range and register, sizes of intervals employed, and other features.
œœ Choose one of the following works as your model (from the chapter text or other homework
assignments): Schoenberg’s Op. 33a, Webern’s Piano Variations or “Das dunkle Herz,” Tavener’s “The
Lamb,” Babbitt’s “Play on Notes,” or Stravinsky’s “Full Fadom Five.” Closely observe the composition
you are modeling to create your own composition in that style.
œœ Score your composition as one of the following: a piano piece, an SATB choral piece (provide a piano
reduction or accompaniment), or a song for voice and piano.
œœ The length of your composition should be 12 to 16 measures.
œœ Include all expressive markings (tempo, dynamic levels, articulation, etc.) needed by the performers
to reflect the mood or attitude your piece is intended to convey.
Choose one of the following designs for your composition:
A. A twelve-tone composition that uses one or more of the following: a palindrome in pitch and rhythm,
hexachordal combinatoriality, a derived row, or registral invariance. Label the composition as to which
option(s) you have chosen.
B. A serial composition with a prime segment of 6-7 pitches, and at least four transformations of your row
(P, I, R, or RI). Use one or more of the following: pitch or pitch-class invariances between voices or hands
(or between piano and voice), row elision, row combinations that produce aggregates, or rows constructed
of primarily diatonic pc collections.
Instructions and getting started:
(1) Write a melody that features 12 different pcs (Choice A: a twelve-tone composition) or 6-7 pcs (Choice
B: a serial composition); this will be your ordered segment and the foundation of your serial composition.
Each pitch class will not be repeated (other than an immediate restatement of one or two of the pitch
classes in order) when the melody is presented in the composition.
(2) Explore the transformations of your melody: write out the retrograde, inversion, and retrograde
inversion, and see what happens when you transpose these transformations up or down to different pitch
levels. Construct a row matrix, if this is helpful.
(3) Look for transformations that can be used for row elisions, that have potential pc invariances to be
explored in your realization, or that may be used to create palindromes or other features you are planning.
(4) Consider your row transformations in pitch-class space, but also in pitch space, preserving contour
and/or the rhythmic character of the melody. The parts should work together in an interesting way in
regard to both pitch and rhythm.

(5) Prepare a composition for two to four performers based on the musical materials you have developed.
If you compose for singer or choir, write words or choose a preexisting text for your composition. If you
write for choir, prepare a piano reduction or accompaniment, to assist with performance in class (if class
performances are planned).
(6) Your assignment should include the score—analyzed with all rows and their transformations—and a
short paragraph with information about the row and how it was constructed, as well as the special features
you chose to realize in your composition.
If possible, rehearse your composition for performance in class. (Another option: prepare your composition
in a music-notation software program that will allow for playback possibilities, and prepare a recording.)
Sketch your ideas here:

39 Rhythm, Meter, and Form
after 1945
NAME ___________________________________________________
Assignment 39.1
Analysis: John Tavener, “The Lamb”
We analyzed portions of this choral piece in Chapter 38 in the chapter and homework; now we will look at
the piece as a whole. Begin by listening to this work while following the score in your anthology.
A. “The Lamb” has a sectional form. The end of each section is marked by a fermata followed by a tempo
indication. The large formal divisions are given in the following chart; fill out the remainder of the chart.
œœ For serial passages, include the voice part and segment labels—soprano (or S): P7, alto (or A): I7, and
so on. Use subsections to show where the seven-note row segments change. If no row is present, write
“none.”
œœ For modal passages, determine the pc center and mode or scale type. If no scale is present, write
“none.”
MEASURES COMPOSITIONAL MODE SUBSECTIONS ROWS (IF PRESENT)

TECHNIQUE (IF PRESENT) (FOR ROW BY VOICE PART, SATB:
CHANGES)
1–6 serial none 1–2 S: P7, then S: P7 and A: I7
none 3–4 S: P7, then R7
none 5–6 S: P7, then R7 and A: I7, then RI7
7–10 modal E Aeolian none
11–16 serial none 11–12 SATB: P7, then S/T: P7 and A/B: I7
none 13–14 SATB: P7, then R7
none 15–16 S/T: P7 R7 A/B: I7 RI7
17–20 modal E Aeolian none
B. Describe the pc structure of the opening:
(1) The opening measure suggests what key or mode and pc center? G Ionian (major)
(2) What is the total pc content of measure 2?

Letter names: GA ABE FF pcs: { 7 8 9 e 3 5 6 }
505

(3) Write out the ordered letter names of the seven-note row segment:
Letter names: GBAF E F A pcs: { 7 e 9 6 3 5 8 }
(4) How is the row’s pc content related to the pcs of measures 1–2?

(5) What is true about the (unordered) pc content of P7 as compared with I7?

C. Given the tonal implications of measure 1, what is surprising about the tonal structure of measures 5–6,
and of measures 7–10?
While the opening measure implies G Ionian (or major), it is followed by nontonal serial material with
all four forms of the row in mm. 5–6. When a passage with tonal implications begins in m. 7, it is not in
G Ionian but instead in E Aeolian (or minor, the relative key).
D. Measures 7–10 feature a pattern of pitch and rhythmic repetition that gives this passage a timeless
character.
(1) Write a few sentences to explain how the rhythm is structured, what is repeated, how each measure is
changed on its repetition, and how a sense of closure is attained.
M. 7’s pitch material is repeated 3 times after its initial statement. M. 8 is identical to m. 7
rhythmically. In m. 9, the final pitch is lengthened from quarter to dotted quarter, and then repeated
as a quarter note. In m. 10, all durations are doubled: what were previously eighth-note durations
are doubled to quarter notes, and the final two notes are a dotted half and half. This lengthening
helps create a sense of closure at the final cadence. (Tonally, the closure is supported by a minor v – i
cadence at the end of each phrase.)
(2) What strategy might you use to count measures 9–10? What term applies to this strategy (Chapter 35)?
To perform mm. 9–10 accurately, you should count in eighth notes. This is an example of additive
rhythm and ametric music.
E. How do the closing measures (mm. 17–20) relate to measures 7–10? What is the same and what is
different?
These passages are nearly identical except for a change in text.

NAME ___________________________________________________
Assignment 39.2
George Crumb, “Los muertos llevan alas de musgo” (“The dead wear
mossy wings”), from Madrigals, Book I, mm. 1–8
Find a recording of this work in your library, online, or listen to it as a class, while following the score on
the back of this page. Then answer the following questions.
A. There are examples of changing meter in measures 6–8 .

Will the notated changing meters be audible to the listener? YES NO
Why or why not?

There is no strong sense of meter of any sort in this passage, although some measures do have an
implied
pulse. With a passage whose overall effect is ametric, it is difficult to perceive changing meter.
B. Based on the tempo, notated rhythms, and performance instructions, will any sort of regular beat be
perceptible in a performance following those instructions?
YES NO
If so, where? What element creates the sense of a pulse?

In mm. 3 and 6, there are regular articulations on every other beat in the vibraphone part, which
produces a regular pulse. The spoken parts in m. 6 also conform to that beat. The other measures
have either tempo variations or not enough correspondence between attack points and the beats to
make a regular pulse, and attack points typically do not correspond to notated beats; the beat is thus
difficult to perceive.
C. The pitch intervals featured in the bass part are primarily tritones, P4, and sevenths .
D. Look back at the notation of pitch, durations, articulations, and timbres. List at least three elements
that indicate this work was composed after 1945.
(1) pizzicato tremolo in the bass
(2) vibraphone harmonics
(3) whispered text by both soprano and bass player
(4) bass rhythmic notation (m. 5) with built-in accelerando/ritardando within a “ten-tuplet”
Write a few sentences about how these elements contribute to the overall aural effect of the piece. Be
prepared to discuss in class.
Chapter 39 Rhythm, Meter, and Form after 1945 507


NAME ___________________________________________________
Assignment 39.3
Analysis
In each example given, identify the rhythmic or metric techniques shown. In the discussion section, write a
few sentences that answer the following questions:
œœ If the excerpt features metric modulation, how is the tempo change made?
œœ If it features time-line notation, what is the length of time in each unit of measurement?
œœ What other rhythmic techniques (review Chapter 35) can you find in each example?
A. Elliott Carter, “Canaries,” from Eight Pieces for Four Timpani, mm. 1–16 (mm. 9–16)
Techniques: metric modulation, changing meter, asymmetrical meter
Discussion:
The . beat units begin with a triple division consistent with , then move to a quadruplet division of
the beat—four dotted sixteenths. The . in the measure (m. 10) is made equivalent to the in the
following faster tempo. The meter signatures change from to to to ; is an asymmetrical meter.

B. Krzysztof Penderecki, Threnody for the Victims of Hiroshima, rehearsal numbers 64–66
12
violins
10
violas
10
cellos
4
basses
Techniques: time-line notation, ametric

Discussion:
Segment durations are 10 seconds, 6 seconds, and 10 seconds. This passage is also ametric because
there are no patterns to establish meter.

NAME ___________________________________________________

C. Carter, String Quartet No. 2, mvt. 1, mm. 54–60
Techniques: metric modulation, changing meter, asymmetrical meter
Discussion:
The shift in m. 57 to quintuplet divisions of the beat prepares the beat grouping of the measure.
In that measure, the cello part ends with a ., which prepares the beat unit of the following measure.
This example also features changing meter and unusual asymmetrical meter signatures ( and )—
though it is unlikely the asymmetrical meter would be audible.

D. Luciano Berio, Sequenza I, for solo flute, first two staves
Play through this excerpt at the keyboard or on your own instrument (or listen to a recording online), then
answer the questions that follow.
(1) The tempo is indicated as = 70. At that rate, this passage lasts about 16 seconds.
How did you compute the duration?
There are thirteen durations, followed by a pitch sustained for 5 seconds. In a tempo of = 70,
each lasts 1/70 of a minute. Since there are thirteen durations, we get the proportion, 13/70. To
convert to seconds, the denominator must be 60: 13/70 is comparable to 11/60—a duration of about
11 seconds. When you add the 5 seconds of the last note fermata, that means the whole excerpt lasts
about 16 seconds.
(2) Is there a strong sense of beat or meter in this passage?

This passage is ametric. Explanations should note that rhythms do not align with quarter-note
durations (or any other regular duration).
(3) Are there any repeated rhythmic patterns here? What effect does the lack of repetition of patterns have
on the sound of the passage?
The passage is remarkably devoid of repeated rhythmic patterns: other than the pair of triplet
sixteenth notes in the middle of the first staff and the pattern at the beginning, no rhythms are
repeated. Answers will vary regarding the effect this lack of repetition has.

NAME ___________________________________________________
Assignment 39.4
I. Analysis: Cathy Berberian, Stripsody, pages 10–11
Examine the score that follows. Its layout, in strips (like comic strips), may be the source of the composition’s
title. The spacing of the sounds on the strips shows how close in time they should be performed. Page 10 of
the score includes two scenes (we could informally call them “grunts, etc.” and “baby”). Page 11 includes one
continuous scene that begins with barnyard sounds and ends with a baby crying. After studying the score,
answer these questions.
A. Describe the rhythmic character of these pages. Is there a beat or meter? If so, where? How does the
performer know when to make the sounds illustrated?
There are rhythmic activities, but only a beat or sense of meter if the performer decides to imply one.
The spacing of the sounds shows how close in time they are to each other.
B. Where is the most rhythmically active portion of this passage? Where is the least rhythmically active
portion?
The last part of p. 11 features the most sounds per time span—it should be the most rhythmically
active portion. The bottom of p. 10, where the singer maintains silence, is the least rhythmically active
portion.
C. Examine the sound content of each scene. Describe the “story line” or “characters” in each scene. How
will the listener distinguish one scene from another?
Each scene includes particular types of sounds associated with it. The grunts and rumbles of the top
of p. 10 should sound quite distinct from the animal sounds on the top of 11. The second strip of 11
shows what looks like a cowboys-and-Indians shootout, followed by a baby crying. Get the students to
examine the sounds closely by creating each one in turn.
Extra challenge: Try to perform this piece—it is much harder than it looks!
II. Composition or Essay

Complete one of the following creative exercises (your choice): a composition or essay.
A. On the following page, write a “scene” of your own, using graphic notation like Berberian’s.
œœ Choose a scenario (like the “barnyard sounds” and “baby”).
œœ Prepare a performance, making the representation of the sounds as artistic as possible.
œœ Plan to display the score while you perform the scene in class.
B. On the following page, write a paragraph or two that answers the question What is music?
œœ Make sure your definition includes any sounds or activities that you associate with music and excludes
those that you don’t.
œœ Consider Maue’s In the Woods and Cage’s 433 in your essay. Are they or are they not music? Mention
at least one other composition of your choice from this chapter (or another recent work you know).
œœ Defend your ideas. Be prepared to discuss your essay in class.

Write your graphic score or essay in this space.

NAME ___________________________________________________
Score: Berberian, Stripsody, pages 10 and 11


NAME ___________________________________________________
Assignment 39.5
Analysis
A. La Monte Young, Composition 1960, No. 2
Read the following score, then write a paragraph in the space provided that discusses the form of this piece.
Like many pieces using text notation, this one may vary in the details from performance to performance,
but it will show consistent elements, too, if the score is followed precisely.
Build a fire in front of the audience. Preferably, use wood,

although other combustibles may be used as necessary for
starting the fire or controlling the smoke. The fire may be
of any size, but it should not be the kind which is associated
with another object, such as a candle or a cigarette lighter.
The lights may be turned out.
After the fire is burning, the builder(s) may sit by and
watch it for the duration of the composition; however, he
(they) should not sit between the fire and the audience
in order that its members will be able to see and enjoy
the fire.
The composition may be of any duration.
In the event that the performance is broadcast, the
microphone may be brought up close to the fire.
What is the form of this piece? In your answer, consider which elements are variable and which will be the
same in every performance. Also consider your aesthetic response to the piece—which aspects appeal to
you and which do not, and why?
As to its form, the basic sounds of a fire beginning, catching hold, consuming the combustible
materials, and slowly dying to embers are fairly consistent, no matter what the fire is made of or how
large it is. This piece does have a consistent form. The duration of the piece, the exact sonic content,
and other elements, however, are variable. Some students may remark on the pleasant sonic qualities
of listening to the lick of a fire’s flames (“a microphone may be brought up close!”) and the relaxing
nature of this performance event. Others may argue that this is not music at all (they should support
their answer).

B. John Cage, Two
This work is the first of a series of so-called “number” works that Cage wrote at the end of his life (from
1987 until his death in 1992) that are titled by the number of performers; Two is for flute and piano.
All of the “number” pieces employ time brackets, which are interpreted as follows: the time bracket at
the beginning of a staff line indicates the span of time within which the note must begin; the time bracket
at the end of the staff indicates the span of time within which the note must end.
Following are the instructions given the performers of Two, along with the first two time brackets:
Each part has ten time brackets, nine which are flexible with respect to beginning and ending, and
one, the eighth, which is fixed. No sound is to be repeated within a bracket. In the piano part each ictus
in a single staff is to be played in the order given, but can be played in any relation to the sounds in
the other staff. Some notes are held from one ictus to the next. A tone in parentheses is not to be played
if it is already sounding. One hand may assist the other.
Piano: Flute:
000 045 030 115 000 045 030 115
100 145 130 215 100 145 130 215
Write a paragraph answering the following questions or prepare these questions for class discussion, as
your teacher directs.
(1) Consider the score’s notation. What about the notation is traditional? What is unusual? Is the score
indeterminate? In what ways?
(2) In what ways would performances of this score be the same? In what ways might they differ?
(3) How would one analyze this work? What can be determined about it? What elements of the music
seem to be interesting for analysis?

NAME ___________________________________________________
Assignment 39.6
Analysis: Steve Reich, Piano Phase, patterns 1–32
A. Analytical graphing
Listen to this work while following the score in your anthology.
œœ In the alignment graphs on the following pages, the squares along the horizontal (or x) axis represent
sixteenth-note durations; the squares up the vertical (or y) axis represent semitones. The pattern
played by piano 1 is marked with Xs.
œœ Begin your study of the piece by graphing the pattern shifts played by piano 2, using Os, to contrast
with the Xs. (When pianos 1 and 2 play the same note simultaneously, place the X within the O.) For
alignment 1, piano 2 is tacet (silent); for alignment 2, it is playing in unison with piano 1.
œœ In each of the other alignments, piano 2’s part shifts forward one sixteenth note (represented here by
one square). Alignments 3 and 4 have been completed for you.
œœ Complete the graphs for alignments 5–13, then listen carefully to the piece. When you hear the parts
“click” into each alignment, circle (on the graphs) the rhythmic patterns that emerge—sometimes the
lower pitches stand out, sometimes the upper ones. When you hear the piano parts beginning to shift,
listen for the next alignment. When you have finished circling the emerging rhythmic patterns, below
each graph write in rhythmic notation (with the sixteenth note as the basic unit) the rhythmic pattern
you heard.
B. What scale is implied by the pitch content of this section (patterns 1–32)? Does it sound major or minor?
To most ears, this pitch pattern sounds minor—like E minor because of the E4-F 4-B combinations
(1̂, 2̂, 5̂) or B minor (4̂, 5̂, 1̂, 2̂, 3̂). But this pentachord is also a subset of D major (2̂, 3̂, 6̂, 7̂, 1̂) and
several modal scales.
C. Which melodic and harmonic intervals are formed as the patterns realign?
The harmonic intervals change as the piece progresses, with many seconds in alignments 3, 5, 9, and
11. Alignment 4, in contrast, features thirds and fifths, and alignment 6 includes unisons. The shifting
intervals create harmonic interest and variety.
D. The close of this section sounds like a cadence, but there are no traditional cadential elements—
harmonic or intervallic resolution, longer note values, falling melodic shape, and so on. How is the close
created?
Most listeners hear the patterns approaching realignment to the original pattern in unison as a closing
gesture. This realignment has none of the trappings of a traditional cadence, however. In many pattern
repetition minimalist pieces, the completion of a cycle of pattern shifts or the return to an initial idea
creates closure.

Alignments 1, 2, and 14 Alignment 3
D5 X X D5 O X O X
X X X O X O X O X
X X O X O X
A4 A4
X X X O X O X O X
E4 X X E4 X O X O
Alignment 4 Alignment 5
D5 O X O X D5 O X O X
O X O X O X O X O X O X
O X O X X O X O
A4 A4
X O X O X O X O X O X O
E4 X O X O E4 X O X O
D5 O X O X D5 X O X O
X X X O X O X O X
X O X O X O X O
A4 A4
X X X O X O X O X

NAME ___________________________________________________
D5 X X D5 O X O X
X X O X O X
A4 A4
E4 X X E4 X O X O
D5 O X O X D5 O X O X
X X X O X O X O X
O X O X X O X O
A4 A4
X X X O X O X O X
D5 O X O X D5 X O X O
X O X O X O X O
A4 A4

40 Recent Trends
NAME ___________________________________________________
Assignment 40.1
Analysis: Arvo Pärt, Magnificat, first four phrases
Listen to a recording or perform this passage with your class (use a keyboard to accompany, if necessary),
then answer the following questions. The circled rehearsal numbers mark the phrases.
523

Translation: My soul doth magnify the Lord, and my spirit hath rejoiced in God my Savior. For he hath regarded the lowliness of his
handmaiden. Behold, from henceforth all generations shall call me blessed.
A. Which voice in each phrase has the melody (that is, the moving part) and which has the accompaniment?
(Hint: for phrase 4, consider which part has notes outside of the accompanying harmony F-A b -C-E b.)
In phrase 1, soprano 2 has the melody; in phrase 2, the bass; in phrase 3, the tenor. In phrase 4,
the bass again has the moving part, though the upper parts are also more active in moving to new
members of the accompanying seventh chord.
B. How do the phrases correspond to the text? What marks the end of each phrase? Consider register,
durations, and the text.
members of the accompanying sevent
C. How is the ametric rhythm structured? What determines the placement of the dashed measure divisions?
D. What aspects of the excerpt evoke the musical traditions of church music? Consider the pitch collection
used, rhythm, and text setting.

NAME ___________________________________________________
Assignment 40.2
Analysis: Corigliano, “Come now, my darling,” mm. 1–61
Listen to this passage while following the score in your anthology.
A. Measures 1–37. This passage is divided into short units by change of key signature. Which key areas
are implied in measures 1–37? Using the key signatures of the accompaniment as your guide, complete
the following chart. Trace the presence of each key signature (columns 1 and 2), determine what key is
represented in those measures (column 3), and identify the character who is singing (4). In column 5,
indicate significant harmonic motion, important lines of text, changes of texture, and how the keys relate to
the emotional state of each character.
MEASURES KEY SIGNATURE KEY/MODE CHARACTER INTERPRETATION/COMMENTS

(PIANO PART) SINGING
1–3 one flat F major? Rosina The section starts ambiguously; “where are
D minor? you taking me?”
4–10 one sharp G major Cherubino Diatonic in G major except for tonicization of
ii in mm. 8–9; relative tonal stability
11–13 three sharps A major Rosina “I’m not acquainted with these parts”
14–17 three sharps F # minor Rosina “I’m lost in this land and frightened”
(minor mode).
18–19 one sharp G major Cherubino Continues in G major as before; “to the
north . . .”
20–21 two flats implies Rosina “My soul is closed to sweet pleasures”; deceptive
B b major resolution of V7 in m. 21 to Cherubino’s G major.
east . . .”
25–26 two flats implies Rosina “Rage, bitterness, and hate consume me.”
B b major
west . . .”
29–31 two flats implies Rosina “Take me home, I am unworthy of paradise”;

G minor moves at end to V/G.
32–37 one sharp G major Cherubino Stays throughout in G major (“And south . . .”)
—persisting to convince her to come along.
Chapter 40 Recent Trends 525

B. Measures 38–61. Use change of key signature as before to fill in the chart, but also indicate a division
when the character singing, or the relationship of the parts, changes.
MEASURES KEY SIGNATURE KEY/MODE CHARACTER INTERPRETATION/COMMENTS

(PIANO PART) SINGING
38–49 none C major Cherubino Sings uninterrupted in key that is IV of

Cherubino’s G major; more tuneful, like
an aria
50–60 one flat F major Cherubino Rosina sings Cherubino’s melody up a fourth;
and Rosina Cherubino follows in imitation. They sing n
harmony; key change in middle of m. 60;
metric modulation between 60 and 61.
61–71 five flats D b major Cherubino Continue harmony.

and Rosina
72 three sharps duet Cherubino Moving into key area for next section of the
cadences and Rosina opera.
in D b
C. List four characteristics of the music that are Mozartean, and specify measure numbers where that
characteristic appears.
(1) The duet texture, introduced by interaction between the characters (mm. 10–49) and concluding
with the two agreeing and singing together (50–61).
(2) The four-measure (or two-measure) phrase structure and melodic shaping in Cherubino’s parts
throughout.
(3) The accompaniment style in mm. 6–10. Also, recitative-like declamation of text on a single pitch.

(4) The broken-chord accompaniment (mm. 38–58).

D. Now list four characteristics, with measure numbers, that indicate that the music was not composed in
the eighteenth century.
(1) The melodic shape, intervals, and metrical shifts in Rosina’s lines throughout.

(2) The presence of two key signatures at the same time (mm. 11–33).

(3) The changing meter (18–33).

(4) The key changes throughout.


NAME ___________________________________________________
Assignment 40.3
Analysis: Kurtág, “Invocatio,” from 6 Moments musicaux, mvt. 1, mm. 17–23
A. Analytical graphing
Using the score from Example 40.6 in the textbook, complete the following pitch-time graph. Each square on
the pitch (x) axis equals an eighth note, and each square on the time (y) axis equals a semitone (as labeled).
For two-beat triplets and other divisions of time smaller than the eighth note, you can “round up” to the
nearest eighth note and fill any boxes where that pitch is present during that eighth note. If possible, use a
different color or type of shading for each instrument, to see how the individual parts contribute to the full
texture.
B. Using the graph you have created, examine the registral space filled by the sustained chords. Answer
each question with a few sentences.
(1) What is the overall registral shape created by the pitches in this excerpt? How does it compare to the
graphs we have examined previously, of works by Ligeti and Bartók (both also Hungarian composers) and
to Penderecki’s graphic score notation?
ANSWERS TK
(2) What types of simultaneities are created?

ANSWERS TK
(3) What span of registral space is occupied by each string part? How does this compare to the register
employed in other string quartets we have studied, such as Mozart’s K. 421?
ANSWERS TK
C. Now consider the “melody” that is created from the accented entries traced by the dotted lines using
the composer’s representation of the melody at the bottom of each system in Example 40.6.
(1) On the following staff write out the pitches in this melody as a scale, beginning with the lowest note.
What is the collection type (circle one): diatonic octatonic chromatic
(2) Now examine segments of the melody. How is it structured? Are there any motives that are repeated?
ANSWERS TK
(3) Listen to this work while following the melody line. Can you hear it within the string-quartet texture of
sustained tones? Based on your answer to that question, in what sense is this melody a part of the audible
texture of the work? Is it hidden, like some of Ligeti’s canonic lines? Or does it create some other effect?
ANSWERS TK


NAME ___________________________________________________
Assignment 40.4
I. Analysis: György Ligeti, “Désordre,” from Piano Etudes, Book I, mm. 1–9
Using the score from Example 40.8 in the textbook, answer the questions that follow.
A. What changing meters are implied by the accents and groupings in measures 1–3?
plus , repeat, plus .
B. Composite rhythm: In the following grid, consider the top row as the right-hand part and the bottom
row as the left-hand part; one box equals an eighth note. Shade in the box for each accented eighth note, to
show the placement of the accents in the composite rhythm (as in m. 1).
1 2 3 4 5 6 7 8 9
C. What does the grid illustrate about the rhythmic structure of this excerpt?
The accents are shifted to the right in the left hand after the initial patterns, indicating that the left-
hand patterns are slightly delayed. After measure 5, this shift stabilizes (it stays the same in the latter
part of the excerpt).
D. Describe what changes in the audible rhythm and meter as indicated by the accent patterns in
measures 4–9. What feature of the left-hand part sets this change in motion?
These measures create a polymeter by displacement of the downbeats. The polymeter is set into
action in m. 4, when the LH has one additional eighth note prior to the accent. The polymeter is stable
through the end of this excerpt.
E. Collections
(1) Describe the collection (mode or scale) that appears in the right-hand part. Give the SC label, and list
the pcs in normal order.
Collection: white-key diatonic collection
SC and normal order: SC 7-35: {e 0 2 4 5 7 9}
(2) Describe the collection (mode or scale) that appears in the left-hand part. Give the SC label, and list the
pcs in normal order.
Collection: black-key pentatonic collection
SC and normal order: SC 5-35: {6 8 t 1 3}
(3) Which collection is formed when the left- and right-hand parts are combined?
Collection: chromatic (or aggregate)

II. Composition
Carefully inspect the first four measures to Pärt’s Magnificat in Example 40.2 and Assignment 40.1. Using
the D Dorian scale, set syllabically (one pitch to each syllable) the text “Gloria in excelsis Deo, et in terra
pax hominibus bonae voluntatis” (Glory to God in the highest, and on earth peace to men of good will) or a
brief text of your choosing, after the style of Pärt. Choose longer durations for important words or syllables
of the text. Then write a counterpoint above the melody with the closest chord members of the D minor
triad. Your composition should be set for choir in 2–3 voice parts. Perform your composition in class.

NAME ___________________________________________________
Assignment 40.5
Analysis: Toru Takemitsu, “Rain Tree Sketch,” mm. 1–13 (for piano)

A. Pitch and interval analysis
(1) In measure 1, examine the pcs and intervals used.

(a) How many pcs of the aggregate are present? 9 Which are missing? G, B, D
(b) Which intervals are the most prominent?
Tritones, perfect fifths, seconds, sevenths, and ninths are most prominent. There are also some
thirds and sixths.
B. Compare measures 1 and 3, and measures 2 and 4. Which motives and intervals reappear? How are
they changed?
The LH C4-D4-A4-C4 of m. 1 appears in m. 3 (LH) as well; the chords on beat 1 of mm. 1 and 3
are identical. The RH parts in 1 and 3 are identical; and the RH A5-G #6-E6 of m. 1 appears down an
octave in m. 2 (LH) as A4-G 5-E5, and returns in m. 4 (RH) as in m. 2.
C. What meters are implied in measures 1–6? Count the sixteenth notes and observe the groupings to
decide. For each measure, indicate the implied meter. For any asymmetrical meters, also indicate the
grouping (e.g., 2 + 3 + 2) within the meter.
measure 1: measure 2: (2 + 3) measure 3: (2 + 3)
measure 4: measure 5: measure 6: (3 + 2)
D. Which previous measure(s) do 8 and 10 resemble?

Mm. 8 and 10 are exact transpositions of m. 5: m. 8 is T–2 is of m. 5 and m. 10 is T–2 of m. 8.
E. What meters are implied in measures 7–13? Count the sixteenth notes and observe the groupings
to decide. For each measure, indicate the implied meter. For any asymmetrical meters, also indicate the
grouping within the meter.
measure 7: measure 8: (3 + 2 + 2) measure 9:
measure 10: measure 11: measure 12: (3 + 4)
measure 13: (3 + 2)
F. Measure 13 is the close of a section. What elements in measures 12–13 indicate a close?
Mm. 5, 8, and 9 are similar in their approach to the silence that follows them in 6, 10, and 11: each is
cadential, but not as strongly as mm. 12–13. M. 12 provides a stronger close by reaching into a higher
register and introducing triplets, and by the longer duration on the accented B b 5 (notated B b6) before
attaining the highest point, C 6 (notated C 7).

NAME ___________________________________________________
Assignment 40.6
Exploring contemporary counterpoint
A. Write a modal melody on these staves, leaving space beneath it to write a counterpoint. Keep it simple,
with no more than three different durations and a range of an octave or less. Then set your melody against
itself to make counterpoint, like that of Steve Reich’s Proverb (Example 40.1 in the text). Begin by trying
several alignments, then select the one you like best. Label the intervals between the voices. For class,
prepare a performance with a friend.

B. Many of the melodic motives from Reich’s City Life were drawn from spoken phrases. With your
smartphone, tablet, or other digital recorder, record several brief segments of spoken language that you
think have musical characteristics. Then transcribe these into musical notation, making melodic motives
that mimic your recorded samples. Copy both the contour or pitch content and the rhythm of speech.
Combine the motives you have composed and, if desired, the recorded segments to make a short passage
of counterpoint. You can incorporate transposition, imitation, inversion, canon, other contrapuntal
techniques, or phasing (as in Piano Phase, from Chapter 39). Arrange for a performance of your work in
class.

Credits
Milton Babbitt, “Play on Notes.” Used by permission of Elliott Carter, “Canaries,” from Eight Pieces for Four
Milton Babbitt. Timpani. Music by Elliott Carter. Copyright © 1968
(renewed) by Associated Music Publishers, Inc. (BMI).
Béla Bartók, “Bagatelle No. 2 (from Fourteen Bagatelles,
International copyright secured. All rights reserved. Used
Op. 6).” © Copyright 1998 by Editio Musica Budapest.
by permission.
Reprinted by permission of Boosey & Hawkes, Inc. and
Editio Musica Budapest for the territory of Hungary, John Deacon, “You’re My Best Friend.” Words and music
Austria & Germany. by John Deacon. © 1975 (renewed 2003) Queen Music
Cathy Berberian, “Stripsody.” Copyright © 1966 by C. F. Ltd. All rights for the U.S. and Canada controlled and
Peters Corporation. Used by permission. administered by Glenwood Music Corp. This arrangement
© 2015 Queen Music Ltd. All rights for the world excluding
Alban Berg, “5 Orchesterlieder nach Ansichtskarten the U.S. and Canada controlled and administered by EMI
von Peter Altenberg,” Op. 4 © Copyright 1953, 1997 by Music Publishing Ltd. All rights reserved. International
Universal Edition A.G., Wien/UE 34123. Reprinted by copyright secured. Used by permission. Reprinted by
permission. permission of Hal Leonard Corporation.
Leonard Bernstein and Stephen Sondheim, “One Hand,
Earl Edwards, Eugene Dixon, and Bernice Williams, “Duke
One Heart.” Music by Leonard Bernstein, words by
Of Earl.” Words and music by Earl Edwards, Eugene Dixon,
Stephen Sondheim. © Copyright 1956, 1957, 1958, 1959
and Bernice Williams. Copyright © 1961 (renewed) Conrad
by Amberson Holdings and Stephen Sondheim. Copyright
Music. This arrangement copyright © 2015 Conrad Music.
renewed. Leonard Bernstein Music Publishing Company
All rights administered by BMG Rights Management (US)
LLC, publisher. Boosey & Hawkes Inc., sale agent.
LLC. All rights reserved. Used by permission. Reprinted by
International copyright secured. Reprinted by permission.
permission of Hal Leonard Corporation.
Bono and U2, “Miracle Drug.” Music by U2. Lyrics by
Bono. Copyright © 2004 Universal Music Publishing Jerry Gray and Eddie de Lange, “A String Of Pearls.” Words
International B.V. This arrangement copyright © 2015 by Eddie de Lange. Music by Jerry Gray. Copyright © 1941,
Universal Music Publishing International B.V. All rights 1942 by Mutual Music Society, Inc. Copyright renewed,
in the U.S. and Canada controlled and administered by assigned to Chappell & Co. and Scarsdale Music Corp.
Universal - Polygram International Publishing, Inc. All This arrangement copyright © 2015 Chappell & Co. and
rights reserved. Used by permission. Reprinted by permis- Scarsdale Music Corp. International copyright secured. All
sion of Hal Leonard Corporation. rights reserved. Used by permission. Reprinted by permis-
sion of Hal Leonard Corporation.
Bono, The Edge, and U2, “Stuck in a Moment You Can’t
Get Out Of.” Words by Bono and The Edge. Music by U2. Carole King, “You’ve Got A Friend.” Words and music by
Copyright © 2000 Universal - Polygram International Carole King. © 1971 (renewed 1999) Colgems-EMI Music
Music Publishing B.V. This arrangement Copyright © Inc. This arrangement © 2015 Colgems-EMI Music Inc.
2015 Universal - Polygram International Music Publishing All rights reserved. International copyright secured. Used
B.V. All rights in the United States and Canada controlled by permission. Reprinted by permission of Hal Leonard
and administered by Universal - Polygram International Corporation.
Publishing, Inc. All rights reserved. Used by permission.
Reprinted by permission of Hal Leonard Corporation. Jonathan Larson, “Seasons of Love” from Rent. Words and
music by Jonathan Larson. Copyright © 1996 Finster &
Pierre Boulez, “Structures I Deuxième Livre I für 2
Lucy Music Ltd. Co. This arrangement copyright © 2015
Klaviere.” © Copyright 1967 by Universal Edition (London)
Finster & Lucy Music Ltd. Co. All rights controlled and
Ltd., London/UE 13833. Reprinted by permission.
administered by Universal Music Corp. All rights reserved.
John Cage, “Two.” Copyright © 1987 by Henmar Press, Inc. Used by permission. Reprinted by permission of Hal
All rights reserved. Used by permission. Leonard Corporation.
535
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536 Credits
John Lennon and Paul McCartney, “You Never Give Me Music by Nino Oliviero and Riz Ortolani. Italian lyrics by
Your Money.” Words and music by John Lennon and Paul Marcello Ciorciolini. English lyrics by Norman Newell.
McCartney. Copyright © 1969 Sony/ATV Music Publishing Copyright © 1962 Creazioni Artistiche Musicali C.A.M.
LLC. Copyright renewed. This arrangement copyright © S.r.l. and Creative Team Inc. Copyright renewed. This
2015 Sony/ATV Music Publishing LLC. All rights admin- arrangement copyright © 2015 Creazioni Artistiche
istered by Sony/ATV Music Publishing LLC, 424 Church Musicali C.A.M. S.r.l. and Creative Team Inc. All rights
Street, Suite 1200, Nashville, TN 37219. International for Creazioni Artistiche Musicali C.A.M. S.r.l. in the U.S.
copyright secured. All rights reserved. Reprinted by per- and Canada controlled and administered by Sugar Song
mission of Hal Leonard Corporation. Publications Inc. International copyright secured. All
rights reserved. Reprinted by permission of Hal Leonard
Mel Leven, “Cruella De Vil,” from Walt Disney’s 101
Corporation.
Dalmatians. Words and music by Mel Leven. © 1959 Walt
Disney Music Company. Copyright renewed. This arrange- Arvo Pärt, “Magnificat.” © 1989 by Universal Edition AG,
ment © 2015 Walt Disney Music Company. All rights Vienna/UE19350. Used by permission.
reserved. Used by permission. Reprinted by permission of
Lionel Richie, “Three Times A Lady.” Words and music by
Hal Leonard Corporation.
Lionel Richie. © 1978 Jobete Music Co., Inc. and Libren
Barry Mann, James Horner, and Cynthia Weil, “Somewhere Music. This arrangement © 2015 Jobete Music Co., Inc.
Out There” from An American Tail. Music by Barry Mann and Libren Music. All rights controlled and administered
and James Horner. Lyrics by Cynthia Weil. Copyright by EMI April Music Inc. All rights reserved. International
© 1986 USI A Music Publishing and USI B Music copyright secured. Used by permission. Reprinted by per-
Publishing. This arrangement copyright © 2015 USI A mission of Hal Leonard Corporation.
Music Publishing and USI B Music Publishing. All rights
Richard Rodgers and Oscar Hammerstein II, “My Favorite
controlled and administered by Universal Music Corp.
Things,” from The Sound of Music. Lyrics by Oscar
and Songs Of Universal, Inc. All rights reserved. Used
Hammerstein II. Music by Richard Rodgers. Copyright
by permission. Reprinted by permission of Hal Leonard
© 1959 by Richard Rodgers and Oscar Hammerstein II.
Corporation.
Copyright renewed. This arrangement copyright © 2015
Don McLean, “American Pie.” Words and music by Don by Williamson Music. Williamson Music, a division of
McLean. Copyright © 1971, 1972 Benny Bird Co., Inc. Rodgers & Hammerstein: an Imagem Company, owner
Copyright renewed. This arrangement copyright © 2015 of publication and allied rights throughout the world.
Benny Bird Co., Inc. All rights controlled and adminis- International copyright secured. All rights reserved.
tered by Songs Of Universal, Inc. All rights reserved. Used Reprinted by permission of Hal Leonard Corporation.
by permission. Reprinted by permission of Hal Leonard
Richard Rodgers and Oscar Hammerstein II, “The Sound
Corporation.
Of Music,” from The Sound of Music. Lyrics by Oscar
Alan Menken and Tim Rice, “A Whole New World,” from Hammerstein II. Music by Richard Rodgers. Copyright
Walt Disney’s Aladdin. Music by Alan Menken. Lyrics © 1959 by Richard Rodgers and Oscar Hammerstein II.
by Tim Rice. © 1992 Wonderland Music Company, Inc. Copyright renewed. This arrangement copyright © 2015
and Walt Disney Music Company. This arrangement © by Williamson Music. Williamson Music, a division of
2015 Wonderland Music Company, Inc. and Walt Disney Rodgers & Hammerstein: an Imagem Company, owner
Music Company. All rights reserved. Used by permission. of publication and allied rights throughout the world.
Reprinted by permission of Hal Leonard Corporation. International copyright secured. All rights reserved.
Reprinted by permission of Hal Leonard Corporation.
Freddie Mercury, “Killer Queen.” Words and music by
Freddie Mercury. Copyright © 1974 Queen Music Ltd. Richard Rodgers and Lorenz Hart, “My Funny Valentine,”
Copyright renewed. This arrangement copyright © 2015 from Babes in Arms. Words by Lorenz Hart. Music by
Queen Music Ltd. All rights administered by Sony/ATV Richard Rodgers. Copyright © 1937 by Chappell & Co.,
Music Publishing LLC, 424 Church Street, Suite 1200, Inc. Copyright renewed. Copyright © 2015 by Chappell &
Nashville, TN 37219. International copyright secured. All Co., Inc. This arrangement copyright © 2015 by Chappell
rights reserved. Reprinted by permission of Hal Leonard & Co., Inc. Copyright assigned to Williamson Music, a divi-
Corporation. sion of Rodgers & Hammerstein: an Imagem Company
and WB Music Corp. for the extended renewal period of
Willie Nelson, “On The Road Again.” Words and music
copyright in the USA. International copyright secured. All
by Willie Nelson. © 1980 Full Nelson Music, Inc. This
rights reserved. Reprinted by permission of Hal Leonard
arrangement © 2015 Full Nelson Music, Inc. All rights
Corporation.
controlled and administered by EMI Longitude Music.
All rights reserved. International copyright secured. Used Arnold Schoenberg, “Drei Klavierstücke,” Op. 11, No. 1. Used
by permission. Reprinted by permission of Hal Leonard by permission of Belmont Music Publishers, Los Angeles.
Corporation.
Arnold Schoenberg, “Drei Klavierstüke,” Op. 11, No. 1 (left
Nino Oliviero, Riz Ortolani, and Norman Newell, “More hand). Used by permission of Belmont Music Publishers,
(Ti Guarderò Nel Cuore),” from the film Mondo Cane. Los Angeles.

Credits 537
Arnold Schoenberg, Eight Lieder, Op. 6, No. 1, Ltd. Copyright renewed. This arrangement copyright ©
“Traumleben.” Used by permission of Belmont Music 2015 Evita Music Ltd. All rights for the United States and
Publishers, Los Angeles. Canada controlled and administered by Universal Music
Corp. All rights reserved. Used by permission. Reprinted
Igor Stravinsky, “Bransle Gay (from Agon).” © 1957 by by permission of Hal Leonard Corporation.
Hawkes & Son (London) Ltd. Reprinted by permission of
Boosey & Hawkes, Inc. Anton Webern, “Dies ist ein Lied,” from Funf Lieder aus
Der siebente Ring, Op. 3, No. 1, 5 Lieder|für mittlere
Igor Stravinsky, “Full Fadom Five (from Three Songs Stimme und Klavier|op. 3. © Copyright 1921, 1949 by
from William Shakespeare).” © 1954 by Hawkes & Son Universal Edition A.G., Wien/UE 6645. Reprinted with
(London) Ltd. U.S. copyright renewed. Reprinted by per- permission.
mission of Boosey & Hawkes, Inc.
Anton Webern, “In Windesweben,” from Funf Lieder
Taylor Swift, “Back to December.” Words and music aus Der siebente Ring, Op. 3, No. 2, 5 Lieder|für mittlere
by Taylor Swift. Copyright © 2010 Sony/ATV Music Stimme und Klavier|op. 3. © Copyright 1921, 1949 by
Publishing LLC and Taylor Swift Music. This arrangement Universal Edition A.G., Wien/UE 6645. Reprinted with
copyright © 2015 Sony/ATV Music Publishing LLC and permission.
Taylor Swift Music. All rights administered by Sony/ATV
Music Publishing LLC, 424 Church Street, Suite 1200, Anton Webern, String Quartet, Op. 5, third and fourth
Nashville, TN 37219. International copyright secured. All movements, 5 Sätze|für Streichquartett|op. 5 © Copyright
rights reserved. Reprinted by permission of Hal Leonard 1922, 1949 by Universal Edition A.G., Wien/PH358.
Corporation. Reprinted with permission.
Toru Takemitsu, “Rain Tree Sketch.” Copyright © 1983 Anton Webern, “Das dunkle Herz” from 3 Gesange
by Schott Music Co. Ltd., Tokyo. All rights reserved. Used aus “Viae inviae” von Hildegard Jone fur Gesang und
by permission of European American Music Distributors Klavier, Op. 23. © 1936 by Universal Edition AG, Vienna/
Company, sole U.S. and Canadian agent for Schott Music UE10255. Reprinted with permission.
Co. Ltd., Tokyo. Anton Webern, Symphonie für Kammerensemble, Op.
21. © 1929 by Universal Edition AG, Vienna/PH368.
Shania Twain, “You’re Still the One.” Words and music by
Reprinted with permission.
Shania Twain and R.J. Lange. Copyright © 1997 Loon
Echo, Inc. and Out of Pocket Productions, Ltd. All rights LaMonte Young, Composition 1950, #5, June 1960.
for Loon Echo, Inc. controlled and administered by Songs Reproduced with permission from An Anthology (1963).
of Universal, Inc. This arrangement copyright © 2015 Loon Copyright © La Monte Young 1963, 1970.
Echo, Inc. and Out of Pocket Productions, Ltd. All rights
Hy Zaret and Alex North, “Unchained Melody.” Lyric by
for Out of Pocket Productions, Ltd. in the U.S. and Canada
Hy Zaret. Music by Alex North. © 1955 (renewed) North
administered by Universal - Polygram International
Melody Publishing (SESAC) and HZUM Publishing
Publishing, Inc. All rights reserved. Used by permission.
(SESAC) c/o Unchained Melody Publishing, LLC. This
Reprinted by permission of Hal Leonard Corporation.
arrangement © 2015 North Melody Publishing (SESAC)
Andrew Lloyd Webber and Tim Rice, “Don’t Cry for Me and HZUM Publishing (SESAC) c/o Unchained Melody
Argentina,” from Evita. Words by Tim Rice. Music by Publishing, LLC. All rights reserved. Used by permission.
Andrew Lloyd Webber. Copyright © 1976, 1977 Evita Music Reprinted by permission of Hal Leonard Corporation.

Index of Music Examples
“Agincourt Song,” 41 “O Haupt voll Blut und Wunden” Barber, Samuel

Anonymous (No. 74), 141, 163, 170, 202 “Sea-Snatch,” from Hermit Songs,
Minuet in D Minor, from the Anna “O Mensch, schau Jesum 432, 443
Magdalena Bach Notebook, Christum an” (No. 203), 178 Barbera, Joseph, Hoyt Curtin, and
60, 176 “O Welt, sieh hier dein Leben” William Hanna
Apelles von Löwenstern, Matthäus (No. 50), 129 “Meet the Flintstones,” 348
“Heut ist, O Mensch, ein grosser “O Welt ich muß dich lassen” Bartók, Béla
Trauentag,” 140 (No. 275), 129 Bagatelle, Op. 6, No. 2, 432,
“Wie bist du, Seele, in mir so gar 444–46, 453, 466
Babbitt, Milton betrübt?,” 242 Mikrokosmos
“Play on Notes,” 483–84 Fugue in E b Major (St. Anne), No. 37, 421–22
Bach, Johann Sebastian 291–92 No. 41, 422
Cantata No. 140, mvt. 1, “Wachet Invention No. 2, 56 No. 59, 422
auf,” 205 Invention No. 7, 56 No. 109, 429
Cantata No. 140, mvt. 2, Invention No. 8, 222, 286 No. 136, 427–28, 450
“Er kommt,” 254 Invention No. 11, 56 No. 137, 462
Cello Suite No. 1 in G Major, Invention No. 13, 56 No. 141, 439–40
Minuet II, 13 Invention No. 14, 228 Music for Strings, Percussion, and
Cello Suite No. 2 in D Minor, Passacaglia in C Minor, 23 Celesta, mvt. 1, 449, 462
Prelude, 229, 281–82 Recitative-aria “Soll denn der String Quartet No. 2, mvt. 1, 39
Chorales Pales Opfer” and “Schafe Beethoven, Ludwig van
“Aus meines Herzens Grunde” können sicher weiden,” Bagatelle, Op. 119, No. 1, 220
(No. 1), 68, 142, 199 335–36 Für Elise, 210, 224, 403–6
“Christus, der ist meine Leben” Violin Partita No. 2 in D Minor, Piano Sonata in C Major, Op. 2,
(No. 6), 164 Chaconne, 66, 224, 251, No. 1, mvt. 1, 385–86
“Erhalt uns, Herr, bei deinem 293–96 Piano Sonata in C Major, Op. 2,
Wort” (No. 72), 265 Well-Tempered Clavier, Book I No. 3, mvt. 1, 160
“Herz liebster Jesu, was hast du Fugue in A b Major, 283 Piano Sonata in C Major, Op. 53
verbrochen” (No. 111), 164 Fugue in B b Minor, 283 (Waldstein), mvt. 1, 317–18,
“Heut ist, o Mensch, ein grosser Fugue in D Minor, 289–90 377–78
Trauertag” (No. 168), 140 Fugue in E Minor, 285 Piano Sonata in C Minor, Op. 13
“In allen meine Taten” (No. 355), Fugue in F # Major, 285 (Pathétique), mvt. 2, 66
129 Fugue in F # Minor, 284 Piano Sonata in C Minor, Op. 13
“Jesu, meine Freude” (No. 138), Fugue in G Major, 284 (Pathétique), mvt. 3, 204, 254,
194, 253 Fugue in G Minor, 287–88 333, 411–14
“Lass, o Herr, dein Ohr sich Prelude in A Minor, 35 Piano Sonata in E b Major, Op. 7,
neigen” (No. 218), 163 Prelude in A b Major, 35 mvt. 2, 368, 369–70
“Liebster Jesu” (No. 131), 164 Prelude in C Major, 248 Sonata for Violin and Piano in C
“Lobt Gott, ihr Christen allzugle- Prelude in C # Major, 36 Minor, Op. 30, No. 2, mvt. 1,
ich” (No. 342), 163 Prelude in C # Minor, 36 217–18
“Nun danket alle Gott” (No. 32), Prelude in E Major, 36 Sonatina in F Major, Op. Posth.,
137 Prelude in E b Minor, 36 mvt. 2, 192, 409–10
“Nun danket alle Gott” Prelude in F Major, 36 String Quartet in F Major, Op. 18,
(No. 330), 137 Prelude in G # Minor, 36 No. 1, mvt. 2, 39
“Nun ruhen alle Wälder” Well-Tempered Clavier, Book II Variations on “God Save the King,”
(No. 289), 129 Prelude in E b Minor, 262 Variation V, 323–24
539
BM01_MGTA3_WBINDEX_539_548 page 539 2 February 2016 1:55 PM Second Pages

540 Index of Music Examples
Berberian, Cathy Sonatina in G Major, Op. 36, No. 5, Hammerstein, Oscar, and Richard
Stripsody, 513–16 mvt. 3, 200 Rodgers
Berg, Alban Clendinning and Marvin The Sound of Music
“Sahst du nach dem Gewitterregen,” Chorale harmonization “Nun “My Favorite Things,” 181
from Altenberg-Lieder, Op. 4, danket alle Gott,” 137 “The Sound of Music,” 28
457–58, 463 “Come, Follow Me,” 28 Handel, George Frideric
Berio, Luciano Corelli, Arcangelo Chaconne in G Major, 30, 52, 168,
Sequenza I, 512 Sonata in E Minor for Violin and 202, 229, 299–302, 365–66
Bernstein, Leonard, and Stephen Continuo, Op. 5, No. 8, Messiah
Sondheim Sarabanda, 52, 180, 271–72 “How beautiful are the feet of
“One Hand, One Heart,” from West Trio Sonata in A Minor, Op. 4, No. them,” 40
Side Story, 313–14 5, Allemande, 179–80, 229 “Rejoice greatly,” 45, 136, 205,
Billings, William Trio Sonata in D Major, Op. 4, No. 242, 282
“Chester,” 146 4, Preludio, 238 “Thy rebuke hath broken his
Bono, The Edge, and U2 Trio Sonata in D Minor, Op. 4, No. heart,” 336
“Stuck in a Moment You Can’t Get 8, Preludio, 19, 244 Hanna, William, Hoyt Cutin, and
Out Of,” 195 Corigliano, John Joseph Barbera
Bono and U2 “Come now, my darling,” from The “Meet the Flintstones,” 348
“Miracle Drug,” 14 Ghosts of Versailles, 441, 525–26 Hart, Lorenz, and Richard Rodgers
Boulez, Pierre Crüger, Johann “My Funny Valentine,” from Babes
Structures Ia, 502 “Nun danket alle Gott,” 78, 137, 139 in Arms, 266
Brahms, Johannes Crumb, George Haydn, Joseph
Ballade in G Minor, Op. 118, No. 3, 84 “Los muertos llevan alas de musgo,” Concerto in D Major for Corno di
Intermezzo in A Major, Op. 118, from Madrigals, Book I, 507–8 caccia and Orchestra, mvt. 1,
No. 2, 415–18 Curtin, Hoyt, Joseph Barbera, and 397–400
“Lullaby,” 172 William Hanna Piano Sonata No. 9 in F Major,
“Die Mainacht,” 254, 339–40 “Meet the Flintstones,” 348 Scherzo, 23, 270
Neue Liebeslieder, Op. 65, No. 6, Piano Sonata No. 13 in E Major,
379–80 de Lange, Eddie, and Jerry Gray mvt. 2, 215, 219–20
“Tageweis von einer schönen “A String of Pearls,” 196 String Quartet in D Minor, Op. 76,
Frauen,” from 28 deutsche Deacon, John No. 2 (Quinten), mvt. 1, 332
Volkslieder, 90 “You’re My Best Friend,” 195 String Quartet in D Minor, Op. 76,
Variations on a Theme by Haydn, Debussy, Claude No. 2 (Quinten), mvt. 3, 10
Opp. 56a and 56b, 242, 252, 310 La cathédrale engloutie, 435–36 String Quartet in F Minor, Op. 20,
Britten, Benjamin “Fantoches,” from Fêtes galantes, 427 No. 5, mvt. 1, 160
Ceremony of Carols Dixon, Eugene, Earl Edwards, and Hensel, Fanny Mendelssohn
“In Freezing Winter Night,” Bernie Williams “Bitte,” 341–42
423–24 “Duke of Earl,” 181 “Nachtwanderer,” 312
“That yongë child,” 467–68 “Neue Liebe, neues Leben,” 166,
Edge, The, Bono, and U2 209, 320, 346
Cage, John “Stuck in a Moment You Can’t Get “Schwanenlied,” 39
Two, 518 Out Of,” 195 “Heut ist, o mensch, ein grosser
Carter, Elliott Edwards, Earl, Eugene Dixon, and Trauentag,” 134, 139
“Canaries,” from Eight Pieces for Bernie Williams “Hey, Ho, Nobody Home,” 184
Four Timpani, 509 “Duke of Earl,” 181 Holst, Gustav
String Quartet No. 2, mvt. 1, 511 Second Suite in F Major, mvt. 4,
“Chartres,” 80 Fauré, Gabriel “Fantasia on the ‘Dargason,’”
Chopin, Frédéric “Après un rêve,” 345 92, 305–8
Étude, Op. 10, No. 1, 91 Foster, Stephen Hopkins, John Henry, Jr.
Mazurka in D Major, Op. 33, No. 2, “Jeanie with the Light Brown Hair,” “We Three Kings,” 178
162 11, 234, 347 Horner, James, Barry Mann, and
Mazurka in F Minor, Op. 68, No. 4, Cynthia Weil
381–84 Gibbons, Orlando “Somewhere Out There,” 18
Clarke, Jeremiah Song 46, 19 Hovhaness, Alan
Trumpet Voluntary, 144 Gray, Jerry, and Eddie de Lange “Sicut locutus est,” from
Clementi, Muzio “A String of Pearls,” 196 Magnificat, 437–38
Sonatina in C Major, Op. 36, No. 1, Green Day (Billie Joe Armstrong, “Hush, Little Baby,” 34, 151
mvt. 1, 393–94 Mike Dirnt, and Tré Cool)
Sonatina in F Major, Op. 36, No. 4, “Wake Me Up When September “Ich muss meine Abendswerk tun,” 134
mvt. 1, 210 Ends,” 358 “In allen meinen Taten,” 134, 139

Index of Music Examples 541
Ives, Charles “You Never Give Me Your Money,” 90 String Quartet in D Minor, K. 421,
“The Cage,” 426, 455 McLean, Don mvt. 3, 168, 215–16, 238,
“American Pie,” 23 277–78, 331, 363–64
Joel, Billy Mendelssohn, Felix String Quartet in D Minor, K. 421,
“Piano Man,” 234 “Aber der Herr sieht es nicht,” from mvt. 4, 190
Joplin, Scott Elijah, 84 Symphony No. 41 in C Major,
“Pine Apple Rag,” 8, 193, 260, Chorale harmonization “Nun mvt. 4, 11
279–80, 316 danket alle Gott” from Variations on “Ah, vous dirai-je,
“The Ragtime Dance,” 30 Episcopal Hymnal, 137 Maman,” 8, 198
“Solace,” 252 Menken, Alan, and Tim Rice Mussorgsky, Modest
“A Whole New World,” from “Promenade,” from Pictures at an
Kern, Jerome Aladdin, 52 Exhibition, 434
“Look for the Silver Lining,” 348 Messiaen, Olivier
King, Carole Méditations sur le mystère de la Nelson, Willie
“You’ve Got a Friend,” 18 Sainte Trinité, mvt. 4, 449, “On the Road Again,” 8
Kirnberger, Johann Phillip 462, 463 Newell, Norman, Nino Oliviero, and
“La Lutine,” 267 “More We Get Together, The,” 151 Riz Ortolani
Kuhlau, Friedrich (SE), 152 (TE) “More,” 181
Sonatina, Op. 55, No. 1, mvt. 1, 144 Mozart, Wolfgang Amadeus North, Alex, and Hy Zaret
Kuhnau, Johann The Marriage of Figaro “Unchained Melody,” 174
Biblical Sonata No. 1, “The Fight “In quegli anni,” 154
between David and Goliath,” “Voi, che sapete,” 249 “Old Hundredth,” 78, 206
mvt. 2, 144 Minuet in F Major, K. 2, 269 Oliviero, Nino, Riz Ortolani, and
Kurtág, György Piano Concerto in A Major, K. 488, Norman Newell
“Invocatio,” from 6 Moments mvt. 2, 328 “More,” 181
musicaux, mvt. 1, 527–28 Piano Sonata in B b Major, K. 281, Ortolani, Riz, Nino Oliviero, and
mvt. 3, 213 Norman Newell
Larson, Jonathan Piano Sonata in B b Major, K. 333, “More,” 181
“Seasons of Love,” from Rent, 18 mvt. 1, 30
Lennon, John, and Paul McCartney Piano Sonata in B b Major, K. 333, Pachelbel, Johann
“Can’t Buy Me Love,” 355 mvt. 3, 212 Canon in D Major, 78
“Eight Days a Week,” 356 Piano Sonata in B b Major, K. 570, “Pange Lingua” (Sarum plainchant), 58
“You Never Give Me Your Money,” 90 mvt. 3, 166 Pärt, Arvo
Leven, Mel Piano Sonata in C Major, K. 545, Magnificat, 523–24
“Cruella de Vil,” from 101 mvt. 1, 59, 61, 186, 227–28, Penderecki, Krzysztof
Dalmatians, 351–52 387–88 Threnody for the Victims of
Ligeti, György Piano Sonata in C Major, K. 545, Hiroshima, 510
“Désordre,” from Piano Etudes, mvt. 3, 184, 211, 236, 322, “Peter Gray,” 151
Book I, 432, 529–30 401–2 Phillips, Joel
Lloyd Webber, Andrew, and Tim Rice Piano Sonata in C Minor, K. 457, “Blues for Norton,” 8, 350
“Don’t Cry for Me Argentina,” from mvt. 2, 170 “Rich and Rare” (arr.), 87
Evita, 46 Piano Sonata in D Major, K. 284, Praetorius, Michael
Loeillet, Jean Baptiste mvt. 3, 197, 213, 236, 303–4, “Rosa Mystica,” 178
Sonata in B Minor, Op. 3, No. 10, 334 “Pretty Girl Milking Her Cow, The,” 41
mvt. 3, 268 Piano Sonata in D Major, K. 311, Purcell, Henry
Sonata in B Minor, Op. 3, No. 10, mvt. 3, 214 Dido and Aeneas
mvt. 4, 52 Piano Sonata in F Major, K. 332, “Ah Belinda, I am prest,” 297–98
Sonata in F Major for Flute, Oboe mvt. 1, 395–96 “Dido’s Lament,” 191
or Violin, and Continuo, Op. 1, Piano Sonata in G Major, K. 283, “When I am laid in earth,” 310
No. 2, mvt. 4 (Giga), 325–26 mvt. 1, 185 “Music for a While,” 6, 11
Loomis, H. Worthington Requiem
“The Frog in the Bog,” 34 Kyrie eleison, 34 Queen
Lacrimosa, 40 “Killer Queen,” 248
Mann, Barry, James Horner, and Rondo, K. 494, 222
Cynthia Weil Sonata for Piano and Violin, K. 6, Raleigh, Ben
“Somewhere Out There,” 18 Menuetto I, 263–64 Scooby-Doo Theme Song, 348
“Masters in the Hall,” 34 Sonata for Violin and Piano, Ravel, Maurice
McCartney, Paul, and John Lennon K. 296, mvt. 3, 176 “Aoua!,” from Chansons madé-
“Can’t Buy Me Love,” 355 String Quartet in D Minor, K. 421, casses, 438
“Eight Days a Week,” 356 mvt. 1, 52, 389–92 Pavane pour une infante défunte, 455

542 Index of Music Examples
Reich, Steve Schumann, Clara U2 and Bono

City Life, 534 Drei Romanzen, Op. 21, No. 1, 10 “Miracle Drug,” 14
Piano Phase, 450, 462, 519–21, 534 “Liebst du um Schönheit,” 13
Proverb, 533 Schumann, Robert Varèse, Edgard
Rice, Tim, and Alan Menken Dichterliebe Density 21.5, 425
“A Whole New World,” from “Ich grolle nicht,” 192 Vaughan Williams, Ralph
Aladdin, 52 “Ich hab’ im Traum geweinet,” 40 “The Call,” 41
Rice, Tim, and Andrew Lloyd Webber “Im wunderschönen Monat Mai,” Victoria, Tomás Luis de
“Don’t Cry for Me Argentina,” from 16 “O magnum mysterium,” 58
Evita, 46 “Kuriose Geschichte” from Vivaldi, Antonio
“Rich and Rare” (traditional Irish Kinderszenen, Op. 15, No. 2, 276 Gloria, mvt. 1, 225, 250
melody), 87 Papillon, 407–8 Gloria, mvt. 6, 156
Richie, Lionel “Widmung,” 21, 371–72 Gloria, mvt. 7, 226
“Three Times a Lady,” 14 “Wilder Reiter,” 80, 168, 275–76 Gloria, mvt. 8, “Qui tollis,” 251
Rodgers, Richard, and Lorenz Hart Shaiman, Marc, and Scott Wittman Violin Concerto Op. 8, No. 4, from
“My Funny Valentine,” from Babes “Good Morning Baltimore,” from Le quattro stagioni, mvt. 2, 226
in Arms, 266 Hairspray, 91
Rodgers, Richard, and Oscar Sondheim, Stephen, and Leonard Waltz tune, 152
Hammerstein Bernstein “Wayfaring Stranger,” 23
The Sound of Music “One Hand, One Heart,” from West Webern, Anton
“My Favorite Things,” 181 Side Story, 313–14 “Das dunkle Herz,” Op. 23, No. 1,
“The Sound of Music,” 28 Sousa, John Philipp 491–92, 493–94
“The Washington Post,” 280 Fünf Lieder aus “Der siebente Ring,
“St. Anne,” 174 Stravinsky, Igor Op. 3, No. 1
“St. George’s Windsor,” 74 “Bransle gay,” from Agon, 471–74 “Dies ist ein Lied,” 62, 425,
“St. Prisca,” 72 “Chez Petrouchka,” 455 441–42, 449, 462
“Scarborough Fair,” 58 “Four Duos,” from Agon, 480–81 “In Windesweben,” 70
Scarlatti, Domenico “Full Fadom Five,” from Three String Quartet, Op. 5, mvt. 3, 450,
Sonata in G Major, L. 388, 19, 224 Songs from William 451, 462, 464, 470
Schoenberg, Arnold Shakespeare, 477–78, 479, String Quartet, Op. 5, mvt. 4, 448,
Drei Klavierstücke, Op. 11, No. 1, 485–90 469–70
448, 455–56, 469 Kyrie, from Mass, 465 Symphonie, Op. 21, mvt. 2, 491–92,
Klavierstück, Op. 19, No. 2, 455 The Rite of Spring, 434 495–99
“Traumleben,” from Acht Lieder, Three Movements from Petrouchka, Weil, Cynthia, James Horner, and
Op. 6, No. 1, 68 424, 431 Barry Mann
Violin Concerto, 501 Three Pieces for String Quartet, “Somewhere Out There,” 18
Schubert, Franz mvt. 3, 453–54 “When Johnny Comes Marching
Dance, Op. 9, No. 23, 154 “Triumphant March of the Devil,” Home,” 41
“Du bist die Ruh,” 174 from L’histoire du soldat, 433 Williams, Bernie, Earl Edwards, and
“Erlkönig,” 45–46, 246, 327 “Swallowtail Jig,” 58 Eugene Dixon
Moment Musical No. 6 in A b Swift, Taylor “Duke of Earl,” 181
Major, Op. 94, 368 “Back to December,” 195 Williams, Pharrell
Die schöne Müllerin “Happy” from Despicable Me 2,
“Morgengruß,” 158 Takemitsu, Toru 357–58
“Der Neugierige,” 343–44 “Rain Tree Sketch,” 531–32 Wittman, Scott, and Marc Shaiman
Sonata for Violin and Piano, Tavener, John “Good Morning Baltimore,” from
Op. 137, No. 3, mvt. 2, 166 “The Lamb,” 425, 479, 505–6 Hairspray, 91
Waltz in B Minor, Op. 18, No. 6, 14, Twain, Shania
158 “You’re Still the One,” 18 Young, La Monte
Winterreise Composition 1960, No. 2, 517
“Die Krähe,” 326 U2, Bono, and The Edge
“Der Lindenbaum,” 34, 141, 209, “Stuck in a Moment You Can’t Get Zaret, Hy, and Alex North
337–38 Out Of,” 195 “Unchained Melody,” 174

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WOR K B O OK F OR

The Musician’s Guide to

CH00_MGTA3_SWB_FM_26462 page i 3 February 2016 12:40 PM Fifth Pages

The Musician’s Guide to

Jane Piper Clendinning

Elizabeth West Marvin

CH00_MGTA3_SWB_FM_26462 page iii 3 February 2016 12:40 PM Fifth Pages

Copyright © 2016, 2011, 2005 by W. W. Norton & Company, Inc.

All rights reserved

ISBN 978-0-393-26462-3 (pbk.)

CH00_MGTA3_SWB_FM_26462 page iv 3 February 2016 12:40 PM Fifth Pages

Part I Elements of Music

Part II Diatonic Harmony and Tonicization

18. Phrase Structure and Motivic Analysis 209

Part III Chromatic Harmony and Form

CH00_MGTA3_SWB_FM_26462 page v 3 February 2016 12:40 PM Fifth Pages

0. Chromatic Harmony and Voice-Leading 359

Part IV The Twentieth Century and Beyond

CH00_MGTA3_SWB_FM_26462 page vi 3 February 2016 12:40 PM Fifth Pages

CH00_MGTA3_SWB_FM_26462 page vii 3 February 2016 12:40 PM Fifth Pages

Jane Piper Clendinning

CH00_MGTA3_SWB_FM_26462 page viii 3 February 2016 12:40 PM Fifth Pages

The Musician’s Guide to

CH00_MGTA3_SWB_FM_26462 page ix 3 February 2016 12:40 PM Fifth Pages

CH01_MGTA3_SWB_26462_001_012 page 1 30 December 2015 7:19 PM Third Pages

I. Identifying letter names from the keyboard

(1) 3 above C E (2) 4 above A D (3) 4 below F C

(4) 6 above G E (5) 3 above D F (6) 3 below B G

(1) E or D (2) E (3) G or A (4) D (5) F or G (6) G

(7) B (8) C or D (9) E (10) F (11) A or G (12) B or A

CH01_MGTA3_SWB_26462_001_012 page 3 30 December 2015 7:19 PM Third Pages

(a) A #–B H (b) F–E H (c) G b –A N

(d) B b –C W (e) G #–G n H (f ) D b –C b W

(g) F #–G # W (h) E–F b N (i) G b –G n H

(j) B–C H (k) G–A # N (l) C #–D # W

(m) E b –E n H (n) A–B W (o) A b –G b W

(p) B b –C # N (q) E b –F W (r) A b –A n H

III. Enharmonic pitches

(a) F #–G b (b) B ‹ –C (c) A #–B b (d) C b –B (e) G bb –F (f ) D–E bb

4 Part I Elements of Music

CH01_MGTA3_SWB_26462_001_012 page 4 30 December 2015 7:19 PM Third Pages

(a) Begin on C: down W, down H, down W, up H, up H = A

(b) Begin on E: up W, up H, up W, down H, up W, up W = C

(c) Begin on F #: down W, down W, up H, down W, down H, up W = D

(d) Begin on A b: up W, up W, up W, down H, up W, up W = F

(e) Begin on C #: down W, up H, up W, up W, up H, up H = F

(f ) Begin on B: up H, up H, down W, down H, down W, down W = F

(g) Begin on D: up H, down W, down W, down H, down H, up W = B

(h) Begin on E b: down W, down W, down H, down W, up H, up H = B

II. Staff notation

A. Treble and bass clefs

Chapter 1 Pitch and Pitch Class 5

CH01_MGTA3_SWB_26462_001_012 page 5 30 December 2015 7:19 PM Third Pages

III. Half and whole steps from staff notation

6 Part I Elements of Music

CH01_MGTA3_SWB_26462_001_012 page 6 30 December 2015 7:19 PM Third Pages

II. Identifying pitches with and without ledger lines

Chapter 1 Pitch and Pitch Class 7

CH01_MGTA3_SWB_26462_001_012 page 7 30 December 2015 7:19 PM Third Pages

A. Joel Phillips, “Blues for Norton,” mm. 20–24 (bass line)

C. Joplin, “Pine Apple Rag,” mm. 1–4 (right hand)

D. Willie Nelson, “On the Road Again,” mm. 11–14

8 Part I Elements of Music

E2 D5 F4

F3 D2 D3