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e-Workbook

for

Techniques & Materials of Music

From the Common Practice Period Through the

Twentieth Century

Seventh Edition

Part III: Chromatic Materials

Assignments in worksheet format by

Thomas BenjaminMichael Horvit

Timothy Koozin

Robert Nelson

Edited for electronic publication by

Timothy Koozin

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Part III: Chromatic Materials

1 Secondary (Applied, Borrowed) Dominants 3

2 Modulation 103 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:

kk& L&/L L

w

K

b.

F:

e:

lk& L&/kk kk L&

wK

&?

bbb

bbb

#

#

c.

Eb:

K LX&/KL KL L&

F:

wK

d.

f:

##

Lfl%/L lkko&/L L&

wk

&

?

bbb

bbb

C

C

##

##

bb

bb

nn

nn

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

bbbb

bbbb

e.

e:

# f. # g.

b h. b

e-Workbook forTechniques & Materials of Music Name ______________________

Part III, Unit 1: Secondary (Applied, Borrowed) Dominants

1. Complete the examples following the given analysis.

3

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&

?

b

b

##

##

bbbb

bbbb

#

#

a.

F:

A:

3. Harmonize the bass lines following the given figures. Analyze completely.

&

b.

b:

#

c.

Ab:

&

d.

e:

# & v

&?

###

###

bb

bb

bbbbbb

bbbbbb

#

#

e.

n $ ^

f.

Bb:

n X&

g.

eb:

nfl|r ^

h.

G:

& &

&

?

24

24

a. bx

x

#

bx

x

# #

x

#

W

W

&

?

23

23

b. x

b

bx

#

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

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&

?

C

C

#

#

N

#

b

#

b

&

?

b

b

w

w

&?

bb

bb

43

43

Con moto

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

n n # n

&

?

bb

bb

b . j .


5. Add alto and tenor lines using the harmonic vocabulary discussed thus far. Analyze.

5

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&

?

#

#

C

C

a.

7. Add three upper parts according to the given figures.

#

C&

n

|t

^ &

nt

&

?

#

# v &

#X&

w &

w

&?

#

#44

44

b.

# n^ |t

# ^ & w &

&

# n

& &

# fl% w &

w

&

?

b

b

43

43

8. Harmonize this unfigured bass. Analyze fully, including scale degrees in the bass.

b n # # .


6

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&

?

b

b

43

43

a. Tempo di valse

. j 9. Harmonize in piano waltz style, using secondary dominants where implied.

# . jn n . jb

&

?

b

b

.bj # n b .

&?

bbbb

4343

b. Walzer

.n j # .njN

.j

&?

bb

bbb b # # n .


7

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&

?

b

b

43

43

Allegro ma non troppo

P

J

10. Complete an upper part to complement the given bass. Analyze completely.

.

J

.#

J

.

j

.n .

&

?

b

b .# . . .# .

&

?

b

b . . . . . .

&?

##44

44

Swing the eighths

3 #

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

# n

#

# b b n bn # b


8

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&

?

42

42F

. .

.

12. Complete the following in the texture given. Extend to from eight to sixteen measures. Employ several

secondary dominants. Analyze.

&

?

&

?

&

?


9

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&

?

C

C e

a.

w v

w

&?

#

#

b.

|t

^

w &

w

&?

bbbbbb

c.

n&

^

nc e

w


Part III, Unit 2: Modulation

1. List the five keys that are closely relatedto each of the following keys:

a. G major: _________ _________ _________ _________ _________

b. Bb major: _________ _________ _________ _________ _________c. C minor: _________ _________ _________ _________ _________

d. G# minor: _________ _________ _________ _________ _________

2. Realize the following figured basses.

10

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&

?

##

##

d.

|

#^ C&

v &

w

&

?

###

###

e.

t

^

w |%

w

&

?

44

44

f.

& r

^ e w q

^ &

# #

^ ew %

^ w &

wv

&

?

#

#

24

24

b

n #

n

#

#

W

W

Modulation Name _______________________

3. Harmonize, using secondary dominants. Modulate. Analyze.

11

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&

?

bbb

bbb

83

83 n n #

&

?

bbb

bbb n n J .

&?

########

CC

a. Andante

#

5. Harmonize the following modulating melodies. Analyze fully.

# .# j #

&?

####

#### #

Modulation Name _______________________

4. Harmonize this unfigured bass. Analyze fully, including scale degrees in the bass.

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&

?

86

86

b. Moderato

. j . #

j . # # . .

&

?

##

##

42

42

Andantec.

j # N # # #

&?

bbb

bbb

43

43

Tempo di valse

. j

6. Harmonize in piano waltz style, using secondary dominants where implied.

n n b #

&?

bbb

bbb

.

F

j # # . j# .

Modulation Name _______________________

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&

?

bbbb

bbbb

44

44

a.

n b

n b

n n b w

&?

bb4343

Innocenteb.

p

.

. J

7. Complete in the same style. Analyze.

&?

bb

. .J

&?

b

b

# n .

Modulation Name _______________________

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&

?

#

#

83

83

c.

#

#

J

# #

&

?

#

#

# # # n .

Modulation Name _______________________

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&?

###

###

C

C

bb

bb

a.

aux

A:

#

K [ff7]

D:

w

K

b.

aux

Bb:

L& [ff7]

w

L&

&

?

bbb

bbb

#

#

c.

aux

Eb:

f:

K [ff7] G:

w

K

d.

pc

K [ff7]pc

#

[ff7] K^

&

?

bbbb

bbbb

##

##

e.

aux

n

k [ff7]

w

k

f.

pc pc

#

K [m7] [ff7]

w

L


Part III, Unit 3: Linear (Embellishing) Diminished Seventh Chords

1. Harmonize, using linear diminished-seventh chords where indicated. Analyze.

16

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&

?

#

#

23

23

# x

#

x

#

#x

.w

#x

#

&

?

#

#

#x

#

#x

#x

# #

w

.w

.w

&?

###

###4343

bb

a.

3. Add passing chords of any appropriate type where indicated.

n

x

x

. . . .

b.

x

#

x

.

.

&

?

b

b

42

42

x

4. Harmonize using consecutive diminished seventh chords where indicated. Spelling will be dictated by

the line. Analyze completely.

nx

bx

x

bx

Linear (Embellishing) Diminished Seventh Chords Name _______________________

2. Harmonize, using linear diminished seventh chords where indicated. Analyze.

17

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&?

b

b44

44

Adagio

nx

b x

#

x

#

x

n #

x

n

x

#x

x

#x

&

?

bb

bb

c

c

Con troppo sentimento

. j#

6. Harmonize this melody using linear diminished seventh chords. Analyze.

. jn . jn # . j

&?

bb

bb. j# .n j n . j . n

&

?

##

##

24

24

x

7. Harmonize this unfigured bass using linear diminished seventh chords where indicated. Analyze.

# #

x

# W


5. Harmonize, using linear diminished seventh chords where indicated. Analyze completely.

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&

?

###

###

c

c

8. Harmonize this unfigured bass using linear diminished seventh chords. Analyze.

# n n w

&

?

###

### # # n . J w

&

?

##

##

c

c

Andante assai

P

D:

## #

9. Continue in the same style and texture, using the indicated harmony and linear diminished seventh chord

#

KL

# #

L&

# #

K


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?

?

bbb

bbb

c

c

Solennea.

P

10. Complete the settings for the given melodies. First, analyze the implied chords and non-harmonic tones

n n #

?

?

bbb

bbb

n .j w

&?

bb8686

b. Dolce

.. #n ..

.. jbb

. # . . n b . #

&?

b

b

P

# n b . # j . # b . .


20

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&?

##

##

C

C

bb

bbbb

D:

a. bx

wb.

c:

bx

n w

&?

bbbb

bbbb

#

#

c.

Ab:

x

w

d.

e:

xn x

w

&

?

bbb

bbb

##

##

a.

c:

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

^ X^

c

b.

b:

G:

C^ &

w

&

?

bb

bb

#

#

c.

Bb:^

X^

w

d.

Xfl%

b X% X

w


Part III, Unit 4: The Neapolitan Triad

1. Harmonize, using Neapolitan triads where indicated. Analyze.

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&

?

bbb

bbb

24

24

bx

n n

x

w

w

&?

####

43

43

a. Con moto

.j

4. Harmonize, using Neapolitan triads where implied. Analyze.

.j n . j# .

&

?

###

###

83

83

b. Moderato

j . j . j .n # j .

&

?

bbbb

bbbb

c

c

c. Grazioso n n . jb b n w

The Neapolitan Triad Name _______________________

3. Harmonize, using Neapolitan triads where indicated. Analyze.

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&

?

##

##

C

C

a.

e v

^ C^

#

& v

w

&?

bbbbb

bbbbb8686

b.

J J| ^ _

J J^ _ c &

J Jn| ^ ^

J .X^ &

&?

##C

C

c.

e

^ X

ww &

&?

##

^

wX

ww &

w


5. Harmonize the bass lines following the given figures. Analyze completely.

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&

?

bbbb

bbbb

24

24

6. Harmonize this unfigured bass, using N6 where indicated. Analyze fully.

wx w W

&?

bbbb

bbbb23

23

7. Harmonize, using a Neapolitan sixth-common chord to modulate. Analyze.

x

wx

n .w

&

?

b

b

43

43

Grazioso

F

8. Continue the accompaniment in the same style and texture. Analyze fully.

.

.

&

?

b

b

b b b b b N N


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&

?

##

##

83

83

a. Leggiero

9. Complete in the same style, using the given motivic patterns. Analyze.

# J

&

?

##

## # .

&

?

b

b

44

44

Andante con moto

b.

#

(Modulate, using VI6 = N6.)

#

&

?

b

b b ^

n w


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&

?

b

b

C

C

##

##

bbbb

bbbb

a.

F:

wwnwwbIt.|

wL

b.

b:

F:

w#www

Fr.flr

wLv

c.

f:

wwn

wwGer.|e

kw Lc

&?

bbbb

bb

###

###

a. x

g:

#

2. Harmonize, using augmented sixth chords where indicated. Analyze.

wb. x

n wc. x

A:

&

?

bb

bb

nn

nn

#

#

a.

3. Harmonize the figured bass lines. Analyze.

b^ x|e

w

b.

|e

ww %

c.

b^ flr

w

&

?

bbb

bbb

24

24

n #4. Write the inner voices and analyze fully, including scale degree in both outer voices. Use two augmented

sixth chords.

#

w

W

W


Part III, Unit 5: Augmented Sixth Chords

1. Complete the examples according to the given analysis.

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&

?

b

b

83

83

a. Lndler

x

n jx

# j

&?

b

b

x

.#

.

&

?

bb

bb

43

43

b.

x

En allant

x n A

&

?

bb

bb

x

b n A x .

Augmented Sixth Chords Name _______________________

5. Harmonize, using augmented sixth chords where indicated. Analyze.

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&

?

bb

bb

c

c

With determination

.n n .#

&

?

bb

bb

# # . # w

&?

#

#cc

a.

7. Realize the figured bass lines. Analyze completely.

^ ^

b | w q

#^ X&

C %

&

?

44

44

b.

X& ^

# n^ e @

# & &

b .|


6. Harmonize, using augmented sixth chords where appropriate. Analyze.

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&

?

bbb

bbb

24

24

##

##

8. Harmonize; modulate, using V7 = German, where indicated. Analyze.

nx x

# w

&

?

b

b

c

c

Sehr gesangvoll

F J J

9. Complete the setting for the given melody, using augmented sixth chords where indicated. Analyze.

x

x # n

&

?

b

b

x b x w


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&

?

#

#

42

42

Tempo di Rag

F

10. Complete in the same style and analyze fully.

j

##

&

?

#

# n

##

b

##

&

?

bbb

bbb

43

43

Solennea.

...

11. Realize the following figured bass. Then write a set of variations based on the given progression. Analy

. .n^

.|t

.n^

.|e

.w

.&

.

&

?

bbb

bbb


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&

?

bbb

bbb

&

?

bbb

bbb

&?bbbbbb

&?bbb

bbb


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&

?

bbbb

bbbb

c

c

##

##

a.

f:

n

b:

k lkko& k lkko&

n

lkkofl|r k||

#

Lfl|r

n

k|%

b.

b:

k Ger.|e kw L

C:

LC&

n

Kk Ger.|e

&

?

C

C

a.

C:

b#2. Resolve the given chords as spelled. Then respell enharmonically and resolve. Analyze completely

.

b.

Nb

a:

&

?

#

#

bbb

bbb

c.

G:

#

bb

d.

Eb:

b


Part III, Unit 6: Modulation by Other Means

1. Create three upper parts based on the given analysis.

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&

?

24

24

bbbbb

bbbbb

xenharmonic dd7

b

#

x b

b b

x x

V7 = German

#

&

?

nnnnn

nnnnn

bbbb

bbbb

nnnn

nnnn

x xcommon-tone b

b b

x xV7 = German

b # n

w

w

&

?

##

##

43

43

bbbbb

bbbbb

a. Andante lunatico

. j

4. Harmonize, modulating as indicated. Analyze fully.

V7 = German

L&

n

w

V7 = Germ

L&

&

?

nnnnn

nnnnn

bbbb

bbbb

#

w

common-tone

w

.

Modulation by Other Means Name ______________________

3. Fill in the inner voices and analyze fully. Modulations are marked as to type.

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&?

bbbbb

bbbbb

C

C

b. Con brio

. j V7 = German. j # n n n w

&

?

##

##

43

43

c. Allegretto

n

Ger.|e Fr.flr Ger.|e

#

Kw

&

?

##

##

#

Ger.|e Fr.fl|$ Ger.|e

# #

K|

.


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&

?

##

##

c

c

a.

5. Harmonize the figured bass lines. Analyze.

e &

& e w &

& & &

n n b X& C%

&?

cc

b.

e

xe ^ |

w &

wv

&

?

bbb

bbb

C

C

c.

|

n^ X&

w &

w


35

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&

?

43

43

Tempo di valse

F

a.

# j

6. Complete the settings for the given melodies. First, analyze the implied chords and non-harmonic tones.

.# .

J

n # n j .#

&

?

p

n b .n n .# J # # # # .

&

?

b

b

86

86

Poco andanteb.

... ...

... .

. J . .

&

?

b

b

. . .b .# .n J . .#


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&

?

?

42

42

42

#####

#####

#####

bb

bb

bb

Mit zuviel Ausdruck

cresc.Pj

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.

#

(this is only a sketch of the harmony)

F# b # sub.p#

N

NN

&

?

?

bb

bb

bb

nn

nn

nn NN


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&?

#

#

bb

bb

bbb

bbb

nnn

nnn

b

b

a. wwwww

G: L( K

b. www#ww

g: L( K

c. www

wwEb: kk( L(

d.

wwwww

a: k( kl&

e.

(C9/E)

ww

wwF: L( K

&

?

bb

bb

C

C

#

#

###

###

bbb

bbb

nnn

nnn

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

&

?

##

##

43

43

bbb

bbb

42

42

a.

D:

3. Create upper voices based on the given analysis.

lk( kk& L(

.K

b.

c:

kl( L(

k


Part III, Unit 7: Ninth Chords

1. Resolve the following ninth chords as indicated.

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&

?

bbb

bbb

44

44

a. Andante amoroso

. j

L(

b

L(/kl

&

?

bbb

bbb

.

4. Harmonize, using ninth chords as indicated. Analyze completely.

L(/L

# .

L(

w

k

&

?

###

###43

43

b. Sentimentale

kk( L&

L( K&

KL&

&

?

###

###

lk( kk(

L(

K

Ninth Chords Name _______

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&

?

bbb

bbb

C

C &

( &

( &

&

?

bbb

bbb ( &

( &

& (

w

&

?

b

b

23

23

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

bx

x

w x

w .w


5. Realize this figured bass line. Analyze.

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&

?

b

b

43

43p

Zart

. 7. Complete the accompaniment, using ninth chords where indicated. Analyze.

x

&?

bb

~~~x x

. .

&

?

##

##

c

c

Avec poire

P

8. Complete the texture in the same style and analyze fully. Be careful with accidentals.

....

n n ....

....n.n

n ...#n.

&

?

##

## ....#.

.....

....

U

wu


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&?

bb

bb43

43

Tempo di Lndler

F .

9. Complete the following in the texture given. Extend to from eight to sixteen measures, employing ninth

chords. Analyze completely.

..

&?

bb

bb

&

?

bb

bb

&

?

bb

bb


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music wb3

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