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e-Workbook for
TECHNIQUES AND MATERIALS OF
MUSIC From the Common Practice Period Through the
Twentieth Century
ENHANCED SEVENTH EDITION
Part III: Chromatic Materials
Assignments in worksheet format by
Thomas Benjamin Michael Horvit Timothy Koozin Robert Nelson
Part III: Chromatic Materials
1 Secondary (Applied, Borrowed) Dominants 3
2 Modulation 10
3 Linear (Embellishing) Diminished Seventh Chords 16
4 The Neapolitan Triad 21
5 Augmented Sixth Chords 26
6 Modulation by Other Means 32
7 Ninth Chords 38 Blank Score Paper 43
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#
c
c
b
b
a.
G:
œ
œ
œœ œ
˙
kk& Lç√&/L L
w
K
b.
F:
œ
œ
œ
œ
e:
œ
œ
œ
lk& L√&/kk kk L&
w
K
&
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b
b
b
b
b
b
#
#
c.
Eb:
œ
œ
œ
œ œ
œœ
K LX&/KL KL L&
F:
w
K
d.
f:
œœ
œ#
œ# œ˙
Lfl«£%/L lkko√&/L L√&
w
k
&
?
b
b
b
b
b
b
C
C
#
#
#
#
b
b
b
b
n
n
n
n
a.
Eb:
f#:
˙#˙
2. Harmonize the following soprano lines employing secondary dominant and secondary leading tone
chords. Use a variety of voicings and spacings.
b.
D:
˙n˙
c.
g:
˙n˙
d.
C:
˙#˙
&
?
#
#
#
#
#
#
#
#
b
b
b
b
b
b
b
b
b
b
e.
e:
˙#˙
f.
˙#˙
g.
˙b˙
h.˙b
˙
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 1: Secondary (Applied, Borrowed) Dominants
1. Complete the examples following the given analysis.
3
&
?
b
b
#
#
#
#
b
b
b
b
b
b
b
b
#
#
a.
F:
A:
3. Harmonize the bass lines following the given figures. Analyze completely.
˙
˙
√&
b.
b:
˙#˙
∞^
c.
Ab:
˙˙
ç&
d.
e:
˙#˙
√& v
&
?
#
#
#
#
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
#
#
e.
˙n˙
™$ ^
f.
Bb:
˙n˙
X&
g.
eb:
˙˙n
»fl|r ^
h.
G:
˙
˙
√& √&
&
?
2
4
2
4
a.
˙˙b
x
˙˙
x
˙ ˙#˙
˙
˙
˙b
x
˙ ˙
x
˙ ˙#˙ ˙#
˙˙
x
˙˙
˙˙#
˙
˙
W
W
&
?
2
3
2
3
b.
˙˙
˙
x
˙˙ ˙b
˙˙b
x
˙
˙˙#
˙
˙b
x
˙˙
x
˙˙
˙#
˙#
x
˙n˙
˙
˙
˙
.w
.w
Secondary (Applied, Borrowed) Dominants Name _______________________
4. Add alto and tenor lines, using secondary dominants as indicated. Analyze.
4
&
?
C
C
˙ ˙#
˙˙
˙ ˙#
˙˙
˙˙N
˙˙#
˙˙b
˙˙#
˙ ˙b
˙˙
&
?
˙˙b
˙
˙
˙ ˙b
˙˙
˙˙
˙
˙
w
w
&
?
b
b
b
b
4
3
4
3
Con moto
œœ
œ
6. Harmonize in four voices, using the harmonic vocabulary discussed thus far. Analyze.
˙nœ
œœn
œ ˙#œn
&
?
b
b
b
b
œœ
œbœ
œœ .œ
j
œœ .˙
Secondary (Applied, Borrowed) Dominants Name _______________________
5. Add alto and tenor lines using the harmonic vocabulary discussed thus far. Analyze.
5
&
?
#
#
C
C
a.
7. Add three upper parts according to the given figures.
˙ ˙#
C&
˙˙n
|t
˙˙
^ &
˙˙n
t
&
?
#
#˙ ˙
v √&
˙
˙#
X&
˙ ˙
w £&
w
&
?
#
#
4
4
4
4
b.
œœ#
œœn
^ |t
œœ#
˙
^ √& w √&
œœ
œœ
&
œ#œ
œœn
√& √&
œœ#
œ
œ
fl«£% w √&
w
&
?
b
b
4
3
4
3
8. Harmonize this unfigured bass. Analyze fully, including scale degrees in the bass.
œœ œb
œœ
œ œnœ œ#
œœ
œ œ#œ
œ.
˙
Secondary (Applied, Borrowed) Dominants Name _______________________
6
&
?
b
b
4
3
4
3
a. Tempo di valse
.œ
j
œœ
œ
9. Harmonize in piano waltz style, using secondary dominants where implied.
œ#œ .œ
j
œnœn
œ.œ
j
œbœ
œœ
œ
œœ
&
?
b
b
œ
.œb
j
œ œ#œ
œ
œœ
œ
œnœ
œœb
œœ
.˙
&
?
b
b
b
b
4
3
4
3
b. Walzer
œœ
œ .œn
j
œ
œ œ#œ
œ .œn
j
œN
œœ
.œ
j
œœ
œœ
&
?
b
b
b
b
˙bœ ˙b
œ˙
œœ#
œœ œ#
œœ œn
œœ
.˙
Secondary (Applied, Borrowed) Dominants Name _______________________
7
&
?
b
b
4
3
4
3
Allegro ma non troppo
P
‰
J
œ
œœ
œ
œ
10. Complete an upper part to complement the given bass. Analyze completely.
.˙
‰
J
œœ
œ
œœ
.˙#
‰
J
œœ
œ
œœ
.˙
‰
j
œ
.˙n.˙
&
?
b
b
.˙# .˙
.˙ .˙#.˙
&
?
b
b
.˙
.˙
.˙
.˙
.˙
.˙
&
?
#
#
4
4
4
4
Swing the eighths
3
œœ œ#
11. Complete the left hand. First, analyze the implied chords and non-harmonic tones in the melody.
Œ
œœ
œœ#
œnœ
œ
œ
œœœ
œ
œœœ#
œ#œb
œœ
œ
œbœ
œnœ
œbœ
œnœ
œœ œ#
œ œbœ
œ ˙
Secondary (Applied, Borrowed) Dominants Name _______________________
8
&
?
4
2
4
2
F
.œ œ
œ
œ
.
.
œœ
œœ œ
œ
œœ
12. Complete the following in the texture given. Extend to from eight to sixteen measures. Employ several
secondary dominants. Analyze.
œ œ œ
œœ
œœ
œœ
œ
œ
œœ œ
œ
œ œ œœ
&
?
&
?
&
?
Secondary (Applied, Borrowed) Dominants Name _______________________
9
&
?
C
C˙
˙
e
˙˙
a.
˙
˙
w v
w
&
?
#
#
b.
˙˙
|t
˙˙
^
˙ ˙
w £&
w
&
?
b
b
b
b
b
b
c.
˙ ˙n
≈&
˙
˙
^
˙˙n
c e
w
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 2: Modulation
1. List the five keys that are closely related to each of the following keys:
a. G major: _________ _________ _________ _________ _________
b. Bb major: _________ _________ _________ _________ _________
c. C minor: _________ _________ _________ _________ _________
d. G# minor: _________ _________ _________ _________ _________
2. Realize the following figured basses.
10
&
?
#
#
#
#
d.
˙˙
|^
˙ ˙#
^ C&
˙ ˙
v √&
w
&
?
#
#
#
#
#
#
e.
˙
˙
t
˙
˙
^
˙
˙
w ‡√|%
w
&
?
4
4
4
4
f.
œœ
œœ
& r
œœ
˙
^ e w q
œœ
œœ
^ &
˙œ#
œ#
^ ew √%
œœ
˙
^ w √&
w
v
&
?
#
#
2
4
2
4
˙˙
˙˙b
˙˙n
˙˙#
˙
˙n˙
˙
˙˙
˙
˙#
˙
˙˙ ˙
˙ ˙#˙ ˙
W
W
Modulation Name _______________________
3. Harmonize, using secondary dominants. Modulate. Analyze.
11
&
?
b
b
b
b
b
b
8
3
8
3
œœ
œœ
œnœ
œœ œn
œ œ#œ
&
?
b
b
b
b
b
b
œ œnœ œn
œœ
œ
J
œ
.œ
&
?
#
#
#
#
#
#
#
#
C
C
a. Andante
œœ
œ#œ
œ
5. Harmonize the following modulating melodies. Analyze fully.
œœ
œœ
œœ
œœ#
.œ#
j
œœ
œœ
œ˙#
&
?
#
#
#
#
#
#
#
#
œœ
œ#œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
˙
Modulation Name _______________________
4. Harmonize this unfigured bass. Analyze fully, including scale degrees in the bass.
12
&
?
8
6
8
6
b. Moderato
.œœ
œœ
j
œ .œœ#
œ
œ
j
œ.œ
œ#œ#
œ
œœ
.œœ
œ.œ
&
?
#
#
#
#
4
2
4
2
Andantec.
‰
j
œ
œ
œœ
œœ
œ#œ
œœ
œNœ#
œœ
œœ#
œ
œ
œœ#
œ
&
?
b
b
b
b
b
b
4
3
4
3
Tempo di valse
.œ
j
œœ
6. Harmonize in piano waltz style, using secondary dominants where implied.
œnœ
œnœ
œœb
œ#œ
œ
&
?
b
b
b
b
b
b
.œ
F
j
œœ
œ œ#œ
œ#
œ .œ j
œ#.˙
Modulation Name _______________________
13
&
?
b
b
b
b
b
b
b
b
4
4
4
4
a.
œœ
œœ
œ œnœœ œ
œ
œœb
œœn
œœb
œ
œ
œœ
œ
œnœ œn
œœb
œœ
œœ
˙˙
w
&
?
b
b
4
3
4
3
Innocenteb.
p
.
.
œ
œ
J
œ
œ
œ
œ
7. Complete in the same style. Analyze.
œ
œ
œ
œœ
œœ
œœ
˙ œ œ
œ
œ
&
?
b
b
œ
œ
œ œ
˙ .˙ .œ
J
œœ œ
œœ
&
?
b
b
œœ
œ#˙ œ œ
œ
œ œ
œnœ
œœ
œœ
œœ
.˙
Modulation Name _______________________
14
&
?
#
#
8
3
8
3
c.
œ
œ
œœ
œœ
œœ
œœ
œ#œ
œœ
œ
œ
œœ
œ#œ
œ
œ
œœ
œœ
J
œ
œ#œ#
œœ
&
?
#
#
œ#
œ
œœ#
œœ
œœ#
œœ
œœ
œœn
œ
œœ
œ .œ
Modulation Name _______________________
15
&
?
#
#
#
#
#
#
C
C
b
b
b
b
a.
aux
A:
˙˙#
K [ff7]
D:
w
K
b.
aux
Bb:
˙˙
L& [ff7]
w
L&
&
?
b
b
b
b
b
b
#
#
c.
aux
Eb:
f:
˙˙
K [ff7] G:
w
K
d.
pc
˙˙
K [ff7]
pc
˙#˙
[ff7] K^
&
?
b
b
b
b
b
b
b
b
#
#
#
#
e.
aux
˙˙n
k [ff7]
w
k
f.
pc pc
˙œ œ#
K [m7] [ff7]
w
L
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 3: Linear (Embellishing) Diminished Seventh Chords
1. Harmonize, using linear diminished-seventh chords where indicated. Analyze.
16
&
?
#
#
2
3
2
3
˙˙#
x
˙
˙˙#
˙
˙˙
x
˙
˙˙#
˙
˙˙#
x
˙
.w
˙˙#
x
˙
˙˙#
˙
&
?
#
#
˙˙#
x
˙
˙
˙#˙
˙#
x
˙ ˙#
x
˙#˙
˙#
˙˙
˙
w
˙
.w
.w
&
?
#
#
#
#
#
#
4
3
4
3
b
b
a.
œ
œ
3. Add passing chords of any appropriate type where indicated.
œœ œn
x
œ
x
.˙
.˙
.˙
.˙
b.
œœ
œ
œœ
x
œ#
x
.˙
.˙
&
?
b
b
4
2
4
2
œœ
x
4. Harmonize using consecutive diminished seventh chords where indicated. Spelling will be dictated by
the line. Analyze completely.
œ
œn
x
œb
x
œ
x
œb
x
œœ
œ
Linear (Embellishing) Diminished Seventh Chords Name _______________________
2. Harmonize, using linear diminished seventh chords where indicated. Analyze.
17
&
?
b
b
4
4
4
4
Adagio
œœn
x
œœ
œbœ
x
œœ
œœ#
x
œœ
œ#
x
œn
œ#
x
œœ
œœn
x
œ œ#
x
œœ
x
œœ#
x
œ
œ
œ˙
&
?
b
b
b
b
c
c
Con troppo sentimento
.œ
j
œ#œ
œ
6. Harmonize this melody using linear diminished seventh chords. Analyze.
.œ
j
œn˙ .œ
j
œnœ œ#
œ
.œ
j
œ˙
&
?
b
b
b
b
.œ
j
œ#œ
œœ
œ.œn
j
œœ
œ œn.œ
j
œ.œ
œnœ
œœ œ ˙
&
?
#
#
#
#
2
4
2
4
x
7. Harmonize this unfigured bass using linear diminished seventh chords where indicated. Analyze.
˙˙ ˙#
˙˙
˙ ˙#
x
˙˙ ˙#
˙
˙
W
Linear (Embellishing) Diminished Seventh Chords Name _______________________
5. Harmonize, using linear diminished seventh chords where indicated. Analyze completely.
18
&
?
#
#
#
#
#
#
c
c
8. Harmonize this unfigured bass using linear diminished seventh chords. Analyze.
˙œ œ#
œœ
œ œn˙ ˙n
w
&
?
#
#
#
#
#
#
˙œ œ#
œ
œœ# œn
.œ
J
œœ œ
w
&
?
#
#
#
#
c
c
Andante assai
P
œ
œœ
D:
œ œ
œœ
#
#
œœ
œ
œ#œ
œœ
9. Continue in the same style and texture, using the indicated harmony and linear diminished seventh chords.
œ
œ
œ
œ
œœ
œ#œ
œœ
œœ
KL
œœ
œ#œ
œ#œ
œœ
L&
œ#œ
œ#œ
˙
K
Linear (Embellishing) Diminished Seventh Chords Name _______________________
19
?
?
b
b
b
b
b
b
c
c
Solennea.
P
˙ œ œ˙ œ œ
10. Complete the settings for the given melodies. First, analyze the implied chords and non-harmonic tones.
˙ œ œ
˙ œ œ
˙œ œ
œœn
œœ
œ˙n
œ œ#
?
?
b
b
b
b
b
b
˙ œ œ
œ
œœ
œ œn˙ .œ
j
œ w
&
?
b
b
8
6
8
6
b. Dolce
.
.
œ
œ
œ
œ
#
n
œ
œ
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
.
.
œ
œ
œ
œ
j
œ
œ
b
b
œœ
œ
œ
œ
œ
œ
.œœ#
œ .œœ
œ
.œ œœn œb
.œœ#
œ œœ
œ
&
?
b
b
œ
P
œ#œ
œœ
œœ
œnœ œ
œ œb.œ
œ#œ
œ
j
œ .œœ#
œœ œb
œ.˙ .˙
Linear (Embellishing) Diminished Seventh Chords Name _______________________
20
&
?
#
#
#
#
C
C
b
b
b
b
b
b
D:
˙
a.
˙b
x
˙w
b.
c:
˙˙b
x
˙˙n
w
&
?
b
b
b
b
b
b
b
b
#
#
c.
Ab:
˙˙
x
˙˙
w
d.
e:
x
˙n
x
˙w
&
?
b
b
b
b
b
b
#
#
#
#
a.
c:
2. Harmonize the bass lines following the given figures. Analyze.
˙˙
^ X^
˙
˙
c
b.
b:
G:
˙
˙˙
C^ √&
w
&
?
b
b
b
b
#
#
c.
Bb:
˙
^
˙˙
X^
w
d.
˙ ˙
˛≈Xfl£%
˙b˙
X% ≈X£^
w
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 4: The Neapolitan Triad
1. Harmonize, using Neapolitan triads where indicated. Analyze.
21
&
?
b
b
b
b
b
b
2
4
2
4
˙˙
˙b
x
˙
˙˙
˙˙
˙n˙
˙n˙
˙˙
˙˙
˙˙
x
˙˙
˙˙
˙
˙
w∑
w∑
&
?
#
#
#
#
4
3
4
3
a. Con moto
.œ
j
œœ
4. Harmonize, using Neapolitan triads where implied. Analyze.
œœ
œ .œj
œœ
œnœ
œ
.œ
j
œ#œ
˙œ .˙
&
?
#
#
#
#
#
#
8
3
8
3
b. Moderato
œ
j
œ.œ
œœ
œ
j
œ.œ
œœ
œ
j
œ.œn
œœ#
œ
j
œ .œ
&
?
b
b
b
b
b
b
b
b
c
c
c. Grazioso
œœn
œ
œœ
œn .œ
j
œbœ
œœ
œ˙b
œœn
w
The Neapolitan Triad Name _______________________
3. Harmonize, using Neapolitan triads where indicated. Analyze.
22
&
?
#
#
#
#
C
C
a.
˙
˙˙
e v
˙˙
^ C^
˙#˙
√& v
w
&
?
b
b
b
b
b
b
b
b
b
b
8
6
8
6
b.
œ
J
œœ
J
œ
|^ ^ _
œ
J
œœ
J
œ
^ _ c ç&
œ
J
œœ
J
œn
|^ ^ ^
œ
J
œ
.œ
X^ ç&
&
?
#
#
C
C
c.
˙˙
e
˙
˙˙
˙
^ ≈X£^
w
w &
&
?
#
#˙
˙˙
˙
^
w
≈X£^
w
w √&
w
The Neapolitan Triad Name _______________________
5. Harmonize the bass lines following the given figures. Analyze completely.
23
&
?
b
b
b
b
b
b
b
b
2
4
2
4
6. Harmonize this unfigured bass, using N6 where indicated. Analyze fully.
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
w
x
w
W
&
?
b
b
b
b
b
b
b
b
2
3
2
3
7. Harmonize, using a Neapolitan sixth-common chord to modulate. Analyze.
˙
˙˙
˙˙
˙˙
˙˙
x
w
x
˙n
.w
&
?
b
b
4
3
4
3
Grazioso
F
œœ
8. Continue the accompaniment in the same style and texture. Analyze fully.
Œ
œœ
œœ
œœ
.˙
Œœœœ
œœœ
œ
œ
œ
.˙
Œœœœ
œœœ
œ
œ
œ œœ
œœ
&
?
b
b
œbœ
œœ
œœ
œb
œ
œœb
œbœ
œb
œ œœ
œNœ œ
œNœ
œ
The Neapolitan Triad Name _______________________
24
&
?
#
#
#
#
8
3
8
3
a. Leggiero
œ
œ
œœ
œœ
9. Complete in the same style, using the given motivic patterns. Analyze.
œœ
œœ#
œœ
œœ
œœ
J
œ
&
?
#
#
#
#œ#
œœ
œœ
œœ
œ
œ
.œ
&
?
b
b
4
4
4
4
Andante con moto
b.
Œ
œ œœ#
˙œ
œœ
œ
(Modulate, using VI6 = N6.)
œœ
œœ
œœ
œœ
œœ
œœ
œœ#
œœ
œœ
œœ
œœ
œœ
&
?
b
b
œbœ
œœ
œ œ
^
œnœ
œœ œ
w
The Neapolitan Triad Name _______________________
25
&
?
b
b
C
C
#
#
#
#
b
b
b
b
b
b
b
b
a.
F:
w
wn
wwb
It.|^
w
L
b.
b:
F:
w#w
ww
Fr.»flr
w
Lv
c.
f:
w
w
n
w
w
Ger.|e
˙ ˙
kw Lc
&
?
b
b
b
b
b
b
#
#
#
#
#
#
a. x
g:
˙ ˙#
2. Harmonize, using augmented sixth chords where indicated. Analyze.
w
b. x
˙ ˙nw
c. x
A:
˙ ˙ ˙˙
&
?
b
b
b
b
n
n
n
n
#
#
a.
3. Harmonize the figured bass lines. Analyze.
˙ ˙b
^ x|e
w
b.
˙ ˙
|e
w
w √%
c.
˙ ˙b
^ »flr
w
&
?
b
b
b
b
b
b
2
4
2
4
˙ ˙n˙ ˙#
4. Write the inner voices and analyze fully, including scale degree in both outer voices. Use two augmented
sixth chords.
˙˙
˙ ˙
˙˙
˙˙
˙˙
˙˙
˙˙ ˙
˙#
˙˙
w
W
W
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 5: Augmented Sixth Chords
1. Complete the examples according to the given analysis.
26
&
?
b
b
8
3
8
3
a. Ländler
œ
œœ
x
œn
j
œ
x
œ#
j
œ
&
?
b
b
œ
œœ
œ
œœ
x
.œ#œ
œ .œ
&
?
b
b
b
b
4
3
4
3
b.x
En allant
œœ
œ
x
œ
œœn
œœA
œ˙
œœ
œ
œ
&
?
b
b
b
b
x
œœb
œn˙
œA œœ
œ
x
œœ
œ.˙
Augmented Sixth Chords Name _______________________
5. Harmonize, using augmented sixth chords where indicated. Analyze.
27
&
?
b
b
b
b
c
c
With determination
˙œ
œ .˙n œ˙
œnœ .˙# œ
&
?
b
b
b
b
˙œ
œœ
œœ#
œ ˙# œ œ .˙
œ#w
&
?
#
#
c
c
a.
7. Realize the figured bass lines. Analyze completely.
œœ
œ
œ
^ ^
œ œb˙
«¢|^ w q
œœ
œ œ#
^ X≈&
˙
˙
C¢^ £%
&
?
4
4
4
4
b.
˙ œ
œœ
œ
X& ^
˙# œ˙
œn
^ e @
˙ œ
œœ#
œ
√& &
˙bœ
.˙
«¢|^
Augmented Sixth Chords Name _______________________
6. Harmonize, using augmented sixth chords where appropriate. Analyze.
28
&
?
b
b
b
b
b
b
2
4
2
4
#
#
#
#
8. Harmonize; modulate, using V7 = German, where indicated. Analyze.
˙˙
˙ ˙n
x x
˙ ˙#˙ ˙
˙˙
˙
˙
w∑
&
?
b
b
c
c
Sehr gesangvoll
F
˙˙
‰œœ
J
œœ
‰œ
œ
J
œœ
9. Complete the setting for the given melody, using augmented sixth chords where indicated. Analyze.
˙˙
x
œœ
œœ
‰œœ
‰
œ
œ
œ
œ
œœ
œœ
x
œ
œ#œ
œn
&
?
b
b
˙˙
x
œœ
œ œbœ
œœ
œ
x
˙œ
œw
Augmented Sixth Chords Name _______________________
29
&
?
#
#
4
2
4
2
Tempo di Rag
F
Ó
10. Complete in the same style and analyze fully.
‰
j
œ
œ
œ
œ
œ
œ
œœ
œœ
##
œœ
œœ
œœ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œœ
œ
œœ
œ
œ
œœ
œ
&
?
#
#œ
œ
œœ
œ
œ
œ
œœ
n
œ
œ
œœ
œ
œ
œ#
#
œ
œœ
œ
œ
œœœ
œb
œœ
œ
##
œ
œ
œœœ
œ
œœ
œœ
œ
œ
&
?
b
b
b
b
b
b
4
3
4
3
Solennea.
.
.
.
˙
˙˙
11. Realize the following figured bass. Then write a set of variations based on the given progression. Analyze.
.˙ .˙n
^
.˙
|t
.˙n
^
.˙
|e
.˙
w
.˙
ç&
.˙
&
?
b
b
b
b
b
b
Augmented Sixth Chords Name _______________________
30
&
?
b
b
b
b
b
b
&
?
b
b
b
b
b
b
&
?
b
b
b
b
b
b
&
?
b
b
b
b
b
b
Augmented Sixth Chords Name _______________________
31
&
?
b
b
b
b
b
b
b
b
c
c
#
#
#
#
a.
f:
œœn
œœ
b:
k lkko& k lkko&
œn
lkko»fl|r k|«£|^
œ#
L»fl|r
˙n
k«£|%
b.
b:
œœ
œ œ
k Ger.|e kw L
C:
œœ
LC&
˙n
K
k Ger.|e
&
?
C
C
a.
C:
˙b
˙#
2. Resolve the given chords as spelled. Then respell enharmonically and resolve. Analyze completely.
˙˙
b.
˙N
˙
˙
˙b
a:
&
?
#
#
b
b
b
b
b
b
c.
G:
˙#
˙
˙b
˙b
d.
Eb:
˙˙
˙b
˙
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 6: Modulation by Other Means
1. Create three upper parts based on the given analysis.
32
&
?
2
4
2
4
b
b
b
b
b
b
b
b
b
b
xenharmonic dd7
˙˙
˙˙b
˙˙
˙˙#
x
˙˙
˙b˙
˙ ˙b˙
˙b
x x
V7 = German
˙˙
˙˙#
˙
˙˙ ˙
&
?
n
n
n
n
n
n
n
n
n
n
b
b
b
b
b
b
b
b
n
n
n
n
n
n
n
n
x xcommon-tone
˙
˙ ˙˙b
˙˙ ˙b
˙b
x xV7 = German
˙˙b
˙#˙n
˙
˙
˙˙
w∑
w∑
&
?
#
#
#
#
4
3
4
3
b
b
b
b
b
b
b
b
b
b
a. Andante lunatico
œœ
.œ
j
œ
4. Harmonize, modulating as indicated. Analyze fully.
V7 = German
œœ
œœ
œ
L&
œnœ
œ
w
V7 = German
œœ
œœ
œ
L&
&
?
n
n
n
n
n
n
n
n
n
n
b
b
b
b
b
b
b
b
œ#œ
œ
w
common-tone
˙ œ œœ
œ
w
.˙
Modulation by Other Means Name _______________________
3. Fill in the inner voices and analyze fully. Modulations are marked as to type.
33
&
?
b
b
b
b
b
b
b
b
b
b
C
C
b. Con brio
.œ
j
œœ
œ
V7 = German
.œ
j
œœ œ#
œnœn
œœ
œnœ
w
&
?
#
#
#
#
4
3
4
3
c. Allegretto
œœ
˙œ
œ˙
œœ
œœn
Ger.ç |e Fr.»flr Ger.ç |e
˙#œ
Kw
&
?
#
#
#
#
˙ œœ
˙œ
œœ
œ#œ
Ger.|e Fr.»fl£|$ Ger.|e
˙#œ#
K¢|^
.˙ ˙
Modulation by Other Means Name _______________________
34
&
?
#
#
#
#
c
c
a.
5. Harmonize the figured bass lines. Analyze.
œœ
œœ
e √&
œ œœ
œ
& e w &
œœ
œ œ
& & √&
œn
œn
˙b
≈≈≈ ¢^ çX∞& C%
&
?
c
c
b.
˙œ
œ
e
˙œ
œ
xe ^ |^
˙ œ œ
w √&
w
v
&
?
b
b
b
b
b
b
C
C
c.
˙˙
∞|^
˙ ˙n
^ X&
˙
˙
w ç&
w
Modulation by Other Means Name _______________________
35
&
?
4
3
4
3
Tempo di valse
F
a.
œœ#
œœ
j
œœ
œ
6. Complete the settings for the given melodies. First, analyze the implied chords and non-harmonic tones.
œ
œœ
œ
œ
.œ#œ‹
.œ
J
œ œnœ#
œœn
j
œœ
œ.˙#
&
?
p
œnœ
œœb
œœ .œn
œn.œ#
J
œ œ#œ#
œœ
œ#œ# .˙
&
?
b
b
8
6
8
6
Poco andanteb.
.
.
.
œ
œœ
.
.
.
œœ
œ
œ
œ
œ
œ
œ
œ
.
.
.
œ
œœ
.œ
œ
œ
œ
.œœ
J
œ
.œ.œ
&
?
b
b
.œ .œ.œb
.œ#.œn
œ
J
œ.œ .œ#
Modulation by Other Means Name _______________________
36
&
?
?
4
2
4
2
4
2
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
b
b
b
b
b
b
Mit zuviel Ausdruck
cresc.P
‰
j
œ
œœ
œœ
7. Complete this in the same style, deriving the harmony from the sketch provided in the lowest staff.
Analyze the given music first, with care. Be very careful of spellings in each key.
œ#œ
˙
˙
(this is only a sketch of the harmony)
F
œ#œ
œœ
œbœ
œ
œ#œ
˙˙
sub. p
œ#œ œ
œ
˙˙˙
˙
˙˙˙˙
˙˙˙
˙N
NN
&
?
?
b
b
b
b
b
b
n
n
n
n
n
n
˙˙
˙
˙˙˙
˙N
N˙˙
˙
˙˙
˙
˙
˙˙
˙
˙
Modulation by Other Means Name _______________________
37
&
?
#
#
b
b
b
b
b
b
b
b
b
b
n
n
n
n
n
n
b
b
a.
ww
w
w
w
G: L( K
b.
ww
w#
w
w
g: L√( K
c.ww
w
w
w
Eb: kk( L(
d.
www
w
w
a: k( kl&
e.
(C9/E)
ww
w
w
F: L( K
&
?
b
b
b
b
C
C
#
#
#
#
#
#
#
#
b
b
b
b
b
b
n
n
n
n
n
n
a.
Bb:
˙
x
˙
2. Harmonize using dominant ninth chords where indicated. Analyze completely.
b.
e:
˙
x
˙
c.
A:
˙n
x
˙
d.
Eb:
˙
x
˙
a:
e.
˙
x
˙
&
?
#
#
#
#
4
3
4
3
b
b
b
b
b
b
4
2
4
2
a.
D:
3. Create upper voices based on the given analysis.
œ
œ
œ
lk( kk& L(
.˙
K
b.
c:
œœ
kl( L√(
˙
k
e-Workbook for Techniques & Materials of Music Name _______________________
Part III, Unit 7: Ninth Chords
1. Resolve the following ninth chords as indicated.
38
&
?
b
b
b
b
b
b
4
4
4
4
a. Andante amoroso
.œ
j
œœ
œ˙
œ
œ
L(
˙bœ
œ
L(/kl
œœ
œœ
&
?
b
b
b
b
b
b
.˙œ
4. Harmonize, using ninth chords as indicated. Analyze completely.
L(/L
˙
œ#œ .˙
œ
L(
w
k
&
?
#
#
#
#
#
#
4
3
4
3
b. Sentimentale
œœ
œ˙
œ
kk( L&
˙œ
L( K&
œœ
œœ
KL&
&
?
#
#
#
#
#
#
˙œ
lk( kk(
œ
œ
œ
L(
˙œ
K
Ninth Chords Name _______________________
39
&
?
b
b
b
b
b
b
C
C˙
˙
&
˙˙
( &
˙
˙
ç( &
&
?
b
b
b
b
b
b
˙
˙
( &
˙
˙
( &
˙˙
& ç(
w
&
?
b
b
2
3
2
3
6. Harmonize, using root position ninth chords where indicated. Experiment with both dominant and
non-dominant ninths, and seventh chords. Analyze.
˙˙
˙
x x
˙
˙
˙
x
˙
˙˙
&
?
b
b
x
˙˙
˙
x
w ˙
x
w
˙
.w
Ninth Chords Name _______________________
5. Realize this figured bass line. Analyze.
40
&
?
b
b
4
3
4
3
p
Zart
Œ Œ
.œœ
7. Complete the accompaniment, using ninth chords where indicated. Analyze.
œ
œ
œœ
œ
œœ
œ
˙œ
œ
œ
œœ
œ
œœ
œ
˙
œ
x
œœ
œ œ˙
&
?
b
b
~~~
x
œœ
œ
x
˙œ
œ
œœ
Ÿ
.˙ .˙
&
?
#
#
#
#
c
c
Avec poire
P
Œœ
œ
œ
œ
œ
œ
8. Complete the texture in the same style and analyze fully. Be careful with accidentals.
Π...
˙˙˙
.˙
œ
Œ
œ
œ
nœ
œ
œ
œœn
Π...
˙˙˙
.˙ œ
Œ
.
.
.
.
˙˙
˙˙
n
.˙n
œn
Π...
˙˙˙
#n
.˙ œ
&
?
#
#
#
#
Œ
.
.
.
.
˙˙˙˙#
.˙ œ
Œ
.
.
.
.
˙˙
˙˙
.˙ œ
Œ
œœ
œœ
Œ
œœ
œœ
˙
˙
Œ
.
.
.
.
˙˙˙˙
U
w
u
Ninth Chords Name _______________________
41
&
?
b
b
b
b
4
3
4
3
Tempo di Ländler
F
œœ œ
œ
.œœœ
9. Complete the following in the texture given. Extend to from eight to sixteen measures, employing ninth
chords. Analyze completely.
œ
œœ
œ
œœ
œ
œœ
œœ
œœ
.
.œœ
œœ
œ
œœœ
œœœ
&
?
b
b
b
b
&
?
b
b
b
b
&
?
b
b
b
b
Ninth Chords Name _______________________
42
43
44
45