UNIVERSIDAD

DE ANTIOQUIA

ESTRUCTURAS DE LA MÚSICA II

PROFESOR: MG JHONNIER OCHOA




LIBRO DE TRABAJO















Figuración melódica



















 66 PART 1 Diatonic Harmony

(Based on Bach, Chorale 27) (.'\,

7-6 4-3 4-3

2-3 9-8 4-3 V 9-8 4-3

EXERCISE 3 Harmonize the given two-voice framework with i, iv, V, and their first inversions. First add inner
voices. Then embellish the texture with NCTs.

..." Lll

"'@) '
'-
V
1

"
1
'' .... ••
V

.....
¿;_
L ...
1

- 1111
lllfl
...
- -....
1

1
111111 - 1
....
-
1

... 1
1
u
1

<

,_ ....... •• -
-
,...
...- .,,. ""'
-
k
.... ,,
-. L..
,.
/ V
..... ""
r
V 1 1 1 //ID r-

i 1
1 1 1
1 1
1 1

Fm:

EXERCISE 4 Realize the following progression in four voices, including the suspensions indicated by the fig-
ures in the required voices.

-
1
" J.\,. ,,
1
=
-
1

j
. .. - - ', - ..
1 "
1 1 --
1
,,
1
'
1
1 1
-
1 ' ' 1

iv9_3 V4-p-- i 9-8 Vs -6 I

Em: iv7-6 V4-t13 V6 2 -3
(sop) (alt) (ten) (alt) (sop) (bass)
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El acorde cadencial, bordadura y acorde en segunda
inversión de paso



















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Acorde de dominante con séptima y sus inversiones




















Chapter 8
The Dominant Seventh
and Its Inversions

EXERCISE 1 Analysis. Refer to anthology, no. 20, Haydn, Sonata in DM.

l. Analyze mm. 9-15 with RNs (Rornan nurnerals).
2. Measures 9-15 can be explained as a harrnonic prolongation of 1 in FM. Explain the linear function of each
chord and how it contributes to this extended prolongation.

3. Provide RNs for the chords in rnrn. 17-19. Explain their voice leading, noticing the resolution of any possible
chordal dissonance.

EXERCISE 2 Write the following root position and inverted V 7 chords in four voices, and resolve each of thern
to the appropriate tonic chord. Write the key signature for each.

",..,
11
1
'"'''
@)
)
)
1
....
,,

EbM: V 7 AM:V7 Gm: V7 Em: vg Dm:V1 FM:V1 Am: v1

77
 Chapter 9 The Leading-Tone Triad 85

EXERCISE 2 Analyze the following figured bass with RNs, and realize it in four voices. End the phrase with a
S-#6-#7-1 melodic fragment in the soprano. Remember to double-check your outer-voice frame for good first-
species counterpoint.

/\
,,
-•
1

, ..... ..
11

,
#.

"'-'' ..... 1
t) 1

J J
- - - -- -
-

1
&.

/
.........
-·

.....
,,,

1
r-
1
- 1
-
r-

1
1

1
-
r-

1
--
1
1
-
r-
-
r-

1
1

1
1

1
1
•
1
- -
r-

1
r-
1
••
6 6 6 6 6 6 6
Am: 4 4

EXERCISE 3 Harmonize each of the following short melodic fragments in four voices. Write the bass and RNs
first, then fill in the inner voices. Use leading-tone triads for the notes marked with an asterisk.

a. b. c. d.
* * * *
....
/\ 1 1
.. - - -- ...
1 1 1

..,, 1 1

-
1 1 1 1
•
1

- 1 1

- .. -
1 .• 1 11 1
-J.
..... - -
1
•'-
,,1

I
.....
V
I L..
V
.....
.....'·
1
...J
1

....
/¡// 1.1.
,,
ll
•JI 1
...J
1 1
-
...J •
.....
V
I

-
...J 1
-
_.¡ • 111 L 11 1 111...1 n•

t)
<

- ..
...... ....,,,.,, ..,, 1l

-
1 1
I .... "'
"'" ....
I "' H
. . IL '11

1 / .....
V I
V
.... IL
'11 V
IL
,,

AbM: DM: Gm: F#m:

EXERCISE 4 Harmonize the following melody in four voices, with a correct chordal progression and good
voice leading. Harmonize all the soprano pitches as chord tones. Three of the pitches may be harmonized with
viiº 6, and for the rest you may use 1, IV, ii, or V7 in root position or inversion. Remember to double-check your
outer-voice frame for good first-species counterpoint.

,, ..,,
.. 1
I
1

- - --
1 1 1 1

--
1 1

- - - ...J •
-
L.. .-\ ...J 1 1 1 ...J

1 '\.'-.

t)
I
V
"-"" n
...J
.... u
- • -
...1 1 ...J
- -'

-
...J
r,
•
...J

) 1

)
..,, _J
-
L •0

1
-
/ ·· .....
1 [JI

V
\ ......
1

BbM:












Séptimo disminuido y semidisminuido en primera
inversión




















Chapter 9
The Leading-Tone Triad

EXERCISE 1 Analysis.
1. a) ldentify a leading-tone triad in each of the following examples: anthology, no. 20 (Haydn, Piano Sonata in
DM), mm. 1-4; and anthology, no. 32 (Beethoven, Piano Sonata in Fm, op. 2, no. 1), mm. 1-8. Explain
how each of these triads functions linearly, and comment on the voice leading used in their resolution.

b) Analyze mm. 1-8 ofthe Beethoven example (anthology, no. 32) with RNs (Roman numerals), and explain
how the initial tonic is prolonged through m. 7 by linear means.

2. Analyze example 9.1 with RNs. Two areas extend 1: mm. 21-23 prolong 1 and lead to the half cadence at
m. 24. Then, mm. 25-30 again prolong 1, leading to the final pre-dominant/dominant/tonic cadential pattem.
On the score, indicate linear chords in these areas, showing their passing or neighbor function by means of a
P oran N, respectively.

83
 Chapter 9 The Leading-Tone Triad 85

EXERCISE 2 Analyze the following figured bass with RNs, and realize it in four voices. End the phrase with a
S-#6-#7-1 melodic fragment in the soprano. Remember to double-check your outer-voice frame for good first-
species counterpoint.

/\
,,
-•
1

, ..... ..
11

,
#.

"'-'' ..... 1
t) 1

J J
- - - -- -
-

1
&.

/
.........
-·

.....
,,,

1
r-
1
- 1
-
r-

1
1

1
-
r-

1
--
1
1
-
r-
-
r-

1
1

1
1

1
1
•
1
- -
r-

1
r-
1
••
6 6 6 6 6 6 6
Am: 4 4

EXERCISE 3 Harmonize each of the following short melodic fragments in four voices. Write the bass and RNs
first, then fill in the inner voices. Use leading-tone triads for the notes marked with an asterisk.

a. b. c. d.
* * * *
....
/\ 1 1
.. - - -- ...
1 1 1

..,, 1 1

-
1 1 1 1
•
1

- 1 1

- .. -
1 .• 1 11 1
-J.
..... - -
1
•'-
,,1

I
.....
V
I L..
V
.....
.....'·
1
...J
1

....
/¡// 1.1.
,,
ll
•JI 1
...J
1 1
-
...J •
.....
V
I

-
...J 1
-
_.¡ • 111 L 11 1 111...1 n•

t)
<

- ..
...... ....,,,.,, ..,, 1l

-
1 1
I .... "'
"'" ....
I "' H
. . IL '11

1 / .....
V I
V
.... IL
'11 V
IL
,,

AbM: DM: Gm: F#m:

EXERCISE 4 Harmonize the following melody in four voices, with a correct chordal progression and good
voice leading. Harmonize all the soprano pitches as chord tones. Three of the pitches may be harmonized with
viiº 6, and for the rest you may use 1, IV, ii, or V7 in root position or inversion. Remember to double-check your
outer-voice frame for good first-species counterpoint.

,, ..,,
.. 1
I
1

- - --
1 1 1 1

--
1 1

- - - ...J •
-
L.. .-\ ...J 1 1 1 ...J

1 '\.'-.

t)
I
V
"-"" n
...J
.... u
- • -
...1 1 ...J
- -'

-
...J
r,
•
...J

) 1

)
..,, _J
-
L •0

1
-
/ ·· .....
1 [JI

V
\ ......
1

BbM:
 Chapter9 The Leading-Tone Triad 87

KEYBOARD HARMONY
l. Play and leam the progressions in example 9.8 of the textbook.

2. Play the keyboard progressions in example 9.3 in a variety of keys as assigned by your instructor. Notice that
example 9.3c can be played only in M if you want to avoid the augmented 2nd. Example 9.3d provides
a version of the same progression with 6 and 7in different voices, suitable to be played in both M and m .

.· ;, Example 9.3

--,.. - ...- - .....-- ....... ·--

a. b. C. (Monly) d. (Mand m)
,..- ,..-
- . -""- -- •- ..- - -
/\ 1 1 1 1 1 1 1

-- - -
y ..,¡ ..,¡

<
@)
..J

-•
_,
.. • -ü-
,_
1
"' .
:
•
.,..
-
,..
1 1 - -.
1

..
•• 1•
1

- -- - .. - -
1

- - .. .... - 1
- 1

-
1
,..- -
1

1 1 1 1 1
- 1 1

I I IV viiº6 I I IV vii°<; I

3. Soprano-bass patterns. Refer to example 9.7 in the textbook. Play the soprano-bass pattems in those examples
at the piano, adding inner voices in keyboard texture in the keys assigned by your instructor.
4. Roman-numeral and figured-bass realization. To practice realization of Roman-numeral and figured-bass pro-
gressions, realize the following exercises at the piano, using keyboard texture: textbook, worksheet 9, exer-
cises 2 and 3; and workbook, chapter 9, exercise 2.
5. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using
keyboard texture: textbook, worksheet 9, exercise 4; and workbook, chapter 9, exercises 3 and 4.















Las triadas de mediante (III), submediante (VI) y subtónica
(bVII)

















Chapter 14
The Mediant, Submediant, and Subtonic Triads

EXERCISE 1 Analysis.
l. The cadence marked with a bracket in example 14.l appears to be a PAC (perfect authentic cadence) in Bm.
Examine it closely, and comment on the exact type of cadence this is and on the chords involved in it.

.> Example 14. l J. S. Bach, Air, from Orchestral Suite no. 3, BWV.1068, m. 10

Bm:

2. a) How is 1 in CM prolonged in mm. 41-43 of Example 14.2? Explain exactly what chords are used by
Brahms in these measures, and how they function.

b) In m. 44 the bass seems to indicate a dominant harmony. Is the chord throughout the measure a plain V, or
is the dominant harmony elaborated in any way?

113
114 PARTl Diatonic Harmony

e) Tlüs passage is in How does Brahms alter your perception of this meter? What metric ambiguities can
you identify, considering phrasing, rhythmic accents, and grouping?

.. Example 14.2

3. a) Analyze mm. 1-4 of anthology, no. 24 (Mozart, DM Sonata) with RNs (Roman numerals). What is the
function of vi in this phrase?

b) Analyze mm. 9-12 of anthology, no. 28 (Mozart, BbM Sonata) with RNs. What is the function of vi in this
phrase? How does the harmonization of this phrase compare with the one you just analyzed in the DM
Sonata? What kind of NCTs (nonchord tones) are featured in m. 11?

e) Refer to anthology, no. 19 (Haydn, Divertimento in CM, Trio), and explain the resolution of the donünant
ofBM in mm. 31-32.

4. a) Analyze mm. 1-10 in example 14.3 with RNs.

Questions b to h refer to mm. 1-1 O.
 Chapter 14 The Mediant, Submediant, and Subtonic Triads 115

b) vi is used to prolong the tonic twice in this passage. In what measures?

e) How is the dominant prolonged linearly in m. 7? How is it resolved to m. 8 and why?

d) This passage is mainly harmonized using descending 5th root motions. Mark every root progression of 5th
in the example with brackets. (Notice that sorne of these root progressions appear in first inversion. Mark
them anyway.)

e) This passage is based on two melodic motives. Circle all appearances of both motives and label them with
a 1 ora 2. How is each of these motives characteristic (and immediately recognizable), and how do they
contrast from one another?

f) Do the motives appear in literal transpositions every time they are repeated, or are they varied somehow?
How?

g) Are mm. 8-9 related to any of the two motives? How?

h) Describe the texture in mm. 1-10. What is the role of each line?

i) How do the texture and the roles of instruments change in mm. 11-25?

j) How is motive 2 treated in mm. 15-17? Be very specific, and circle in these measures the pitches from the
original motives in mm. 5-7.

k) On what kind of cadence does the passage close?













Cadencias





















Chapter 10
Cadences

EXERCISE 1 Analysis. Study and label each of the following cadences. Name the cadence type, and list spe-
cific RNs (Roman numerals) and other characteristics to justify your choice.
l. Anthology, no. 52, Verdi, La traviata:
Measures 31-32:

Measures 41-42:

2. Anthology, no. 19, Haydn, Minuet, m. 8.

3. Anthology, no. 31, Paradis, Sicilienne:

Measures 3-4:

Measures 27-28:

4. Anthology, no. 28, Mozart, Piano Sonata in mM, III, m. 76.

5. Example 10.1.

6. Example 10.2.

'J. Example 10.3.

Measures 19-20:

Measures 20-22:

8. Example 10.4.

89
 Chapter 10 Cadences 91

" .," Example 10.3 Robert Schumann, "Ich will meine Seele tauchen," from Dichterliebe, op. 48,
no.5

CAD: CAD:

. .," Example 10.4 J. S. Bach, Invention no. 4 in Dm, mm. 46-52

50 52
46 48
tr ...... (.'\

. ..
/\ 1 l 1

- -
. . .-
1 1 1 1 1 1 J 1 1 71.
V

CAD: CAD:

EXERCISE 2 Realize the following cadences in four voices as required. Sorne soprano rnelodic pattems are
provided, and so are sorne Rornan nurnerals. Provide RNs where rnissing.

b.PAC c. PAC d.PAC

A A A A A A
a.PAC A
4
A

2
A
4 3 2
A
1 4 3 2
A

1
A
1
A
7
A

1
1
.
ll
-
j 1

:;- :;- :;-

@.)

1
.. :;- .
.
"

Fm: CM: ¡¡6 V 6-5 Dm: iv V 6-5

4 _3 Em:
4-3
272 PART 1 Diatonic Harmony

9. Anthology, no. 32, Beethoven, Sonata in Frn, op. 2, no. 1, rn. 8.

EXERCISE 2 Realize the following cadences in four voices as required. Sorne so-
prano rnelodic patterns are provided, and so are sorne Roman numerals. Provide RNs
where missing.

PAC PAC PAC PAC

a. /\
I
/\

7
/\
1
b.
4
/\ /\

2
/\
1 e. 4
"
3
/\ /\

2
/\

I d.JJ, 4 /\
3 2
/\ /\

1
...
V

,,.,.
....

DM: FM: Am: iv v6 - s GM: ¡¡6 v6 - s

4-3 4- 3

IAC
e. IAC f. IAC" /\ /\
g. IAC" /\ /\
h.
/\ 1\ 1\

4 2 3 6 5 3 l 2 3
l'I J.!, J.!, 1 1
-u.11f1'f , ,
1

"11 .. L.. .... ....

11
" 11

: IL .. ----_-_:::_:¡-.::::::===-=--=,-i;t..:::.,t:..-=..r::--_-::..-::..-::..-::..-=.-=..-.,_-._t---_-___- __ ---H
IL ..
'!l ,.

Bm: iv V C#m: I

. HC /\ /\ . HC /\ A HC /\ /\ /\ PhC /\ /\ A

l. 3 2 J. 1 7 k. 3 3 2 1. 3 4 2
... ..
: •• V V
·----l+'--- -4.___1-----+------H

L. . . . ,,,,
- •o
/
"11
....... L..
'I n
....

Em: V6 CM: l IV Dm: v6 y6 - 5 Fm:

4 - 3

DC PC 1\ /\ /\
m. n. 3 2 1
J.!,
"'"'"
•·u
11

.. 11
- IL

"'""
" TI

Gm: V AM: V
 92 PART 1 Diatonic Harmony

e. IAC f. IAC g.IAC h.HC

A A A A A A A A
4 2 3 6 5 3 3 2
¡ 11 # 1 1 1 11 #
"
V
<

u
....
•
•
ll
"
U.11
"
::; '
"

AM: Gm: AbM: IV V 16 qm: V6

i.HC j.Ph. C. k. Deceptive C. LPC

A A A A A A A A A

l l 7 3 4 2 l 7 l
" 11
11
::;
..>
<

... "

EXERCISE 3 Complete the following figured bass progressions in four voices, after analyzing each of them
with RNs. Na.ue the cadence type in each case.

a. CAD: b. CAD: c. CAD:

I'\ ¡,¡,
..
¡,,I
....,, -J
- --
1
,,
"'" ,.,,,.
,,s
,_ ......
11 0 ' ll
,,
1 Wl'T"
"'-
TI
..... ...." - ...! V

í
1
1

-
<
_J
j
4.. '&.Cl
-
/'
lfl®
fJ/f
.1111 IL
H
n
,,
¿,,,_

......
J
- ,..-
-
r-
11!11!
.--
.. 111/
.....,,
Y•

......
-
.... 1111

-
1
M 1'

h
V
,.
.....,. ....-
......
-
r-
1
- 111;
1 -
1 1 1
1 1

DM: 6 GM: 6
Dm: 6 6

d. CAD: e. CAD:

Am: 6 Bm: 6 6 6
 Chapter 10 Cadences 95

KEYBOARD HARMONY
l. Play the following progressions, in the following keys: CM, Am, GM, Em, DM, Bm, FM, Dm, and Gm.
Learn to recognize the various cadential formulas aurally as you play them, and do aural recognition drills
with a friend .

. ", Example 10.5

a.
PAC c.
-
PACI b. PAC

-
11 1 1 1 1

."
- ""
T.. ..J
""'
•
.,.,. ,..
1
1
""
r-
1
'$!• r-
1 1
r-
1 1

L '111.e ,_,,.

1
- 1
1

- 1 1

-
""
1 1 1 IV V 1 1 IV V 6-5 1
4-3

e.

--
d. f.

-- .. -
IAC IAC
" ..•" - 1 1 1 1 1
IAC
•i
,..
... ...
"" ""
.
lf U•

"
t) 1 1 1 1 1 1 1
<

/
..... T.. -
1 1

U•
'
1 1 1 1 1
1
1 ¡¡6 V 1 1-- V 1 1 IV 1 v6 1

g. h. i.
HC HC
.
IAC
.... -- • -
- - --·
j 1 1 1

..... --"" ..- -

-:= -- -""
-
.....
'J

: - _, ,_

•"' .. ..
1 ,...
r-
""' v•
4!l i 1 1
1 1

-
<

j
L

, .. - - --
'•
.. ..
n

-.. - - -- U•

- - --
1

1 1 1 1 1
1- IV V 1-- V 1-- IV V 6-5
4-3
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Acordes con sétima sin función dominante y séptimo

disminuido y semidisminuido con séptima

Chapter 15
Other Diatonic Seventh Chords

EXERCISE 1 Analysis.
l. Study mm. 1-12 of anthology, no. 47, Schumann, "lch grolle nicht."
a) Provide RNs (Roman numerals) for mm. 1-9. Notice that the first chord in m. 3, which we studied in this
chapter, actually belongs to Cm because of the Assign it the same RN you would in Cm, and think
of it as a chord "borrowed" from the minor mode. Do not assign a RN to the second chord in m. 4, but
rather explain how it functions linearly.

b) What is the underlying progression (think of downbeat chords for each measure) in mm. 4--9? Think of
both root progression and chordal progression. Then, how do the "upbeat" chords in each measure
function?

e) Think of mm. 9-12 asan extended V 7 -I progression. How are the V 7 at m. 9 and the 1 at m. 12 connected
linearly? Think first of the bass motion from .5 to l. Then look also at the piano's top voice, moving down
from 2 to 3. How would the term "wedge" apply to this contrapunta! gesture?

d) 1) In which ways is the melody unified-motivically? rhythmically? other?

123
124 PART l Diatonic Harmony

2) The words mean: "I hold no resentment, a.11d even if my heart breaks, O love forever lost, I hold no re-
sentment." How is the heartbreak ("Herz") expressed and intensified musically?

How is the concept of love lost (and the subsequent feeling of grief) expressed (think, for instance, of
the bass line on the words "ewig verlornes Lieb," but also of how the singer expresses the loss: Where
is the climactic high point of the fragment?)?

What bass motion accompanies the final two statements of "ich grolle nicht"? If this contour, as op-
posed to the bass line in mm. 4-9, shows sorne hope, is the feeling confirmed by the lines in both the
voice and the piano's right hand in mm. 9-12?

2. How does Paradis prolong the tonic in mm. 6-8 of example 15.1? What standard cadential formula (including
the predominant chord-do not overlook the vocal line) does she use?

Maria Theresia von Paradis, "Morgenlied ein.es armen Mannes," mm. 6-10

Kam - mer Weib und

sch!ief?
 Chapter 15 Other Diatonic Seventh Chords 125

3. Study mm. 1-4 of anthology, no. 27 (Mozart, AM Sonata). What is the chord at m. 2? Where does this chord
really resolve? What is the function of the "provisional" resolution in m. 3, beat 1? What chord is this exactly
(m. 3, beat l)?

4. Analyze examples 15.2a and b with Roman numerals.

,;' Example 15 .2a J. S. Bach, Prelude no. 1 in CM, from The Well-Tempered Clavier, 1

,," Example l 5.2b J. S. Bach, Fugue no. 16 in Gm, from The Well-Tempered Clavier, 11
 126 PART 1 Diatonic Harmony

EXERCISE 2 Realize the following short progressions in four voices.

a. b.

.
,1\
""-
r
. ...JJ, "" .......
I'..
--
""'
1
1 fl
....
V
1

11
1
....
V

-
.,,,
1

v 1
1
<

.. .,.e
.. .1111
,., •» ....J ....
J,_
1 / r. h "1 V 1
""--
1
V
"
•• fo'f6 •• flf
Em: ll 5 V VI I Vil 7 I

c. d.
"1.1 JJ, #
....,,
1
*""" - 1

-
,wo 11,, JJ,

-
/T. ,wo lL 111 ...¡
,.
1 .• . TI
.... • l
,, u

) v 1 1

..,,, J...-
) .. ..J
1
..
,,,
-·......- ll
lL
'11 L.11-

,_., 1
"'"'
1!
..
.. !J.
,..=
' ll
TI 1

BM: I IV 7 viiº I

EXERCISE 3 Provide RNs and realize in four voices.

-" - ¡+
1\
...... -
,,. JJ,
""
ll
'fl
1

'"'-' " -
)v r
) ll
...,.......-J
A•
- - ... - ,...- - .. _
- -
-
d!ll 11
-
k .....
.a - ,-
-
-1110
-
TO
;
- ""' r-
"" ,...
,,,, "".
-
I"'\ ;
1 ___,,,¡ r
1 1 1
V 1
1
1

AM: 7 7 6 7 7 7 7 7
5
3
 Chapter 15 Other Diatonic Seventh Chords 127

EXERCISE 4 Harrnonize the following melody with a keyboard texture. Include two leading-tone seventh
chords, a deceptive progression, and a cadential 4-3 suspension.

FM:
HR:
r· r· r
EXERCISES
l. Harrnonize the following melody and realize the harmonization for keyboard. A harmonic rhythm is
suggested. You may want to take advantage of the possibility to use neighbor chords in mm. 1-2, and a V7 in
m.3.
2. After you write your harrnonization, circle and label all NCTs (nonchord tones) in the melody. Also, identify
all the sequences in the melody and mark each sequence segment with a bracket.

¡,,,---
.. r--i
-
-- -
/\ J.I,
....,,,,
- -- - - - -- • - -
1 1 1 1 1 1
.....
.. -
11

1
lf

', ....
1 1
.....
1 ...1 1
n • -
....¡ 1
.....
1
.....
1
---------
1

-' rJ.
1 1

t)

<

1 /
....
L.., • .,, ,.
.....,,
.....
DM:
HR: o
í í r í í
Italy

í r í í
 Chapter 15 Other Diatonic Seventh Chords 129

KEYBOARD HARMONY
l. Play and leam the progressions in examples 15.19 and 15.20 of the textbook. Listen to the role of seventh
chords in these elaborations of the I-V-I progression.
2. Play the keyboard progressions in example 15.3 in a variety of M and m keys, as assigned by your instructor.
(Suggested keys: CM, GM, DM, AM, EM, FM, füM, BM, and their relative minor keys.)

. ,,." Example 15.3

a.

.....•. -
b.
f\
#.
1

.,..-- -- ---
,,_
-i
1 1 1
,_
--- - ""'--· -.,.,-- •-
1 1
,_
1

•
1 1

_,
=
1 1

-
.;.
1

-
- -
,_
1 1

• • - 1 -

L_
....... 1

- - -
1
-
- -
1

-
1
,= - fr .,
- 1

1
.. 04 1
VII J
1

6
1 .. 06
VII S 1 1 V 1 .. o4
Vll 2
V 8
6-5
-7
1
4 - 3

c. d.

-' . - - -
1 1 1 1

.. 1

--
1
- _,,_
1 1

- .,-·
1 1

..
. - -- -• -•- - - - •- -
1 -
e. - -
"" .e
<

..
.... - - -
1 1 1 1

1 /
-

1
.. - -
.. 4 y6
r

- -...
..
1 1 11 2 1 1
5

3. Soprano-bass patterns. Refer to examples 15.17 and 15.18 in the textbook. Play the soprano-bass patterns in
that example at the piano, adding inner voices in keyboard texture, in the same major and minor keys sug-
gested in exercise 2.
4. Roman-numeral realization. To practice realization ofRoman-numeral progressions, realize the following ex-
ercises at the piano, using keyboard texture: textbook, worksheet 15, exercises 3 and 4; and workbook, chap-
ter 15, exercise 2.
5. Figured-bass realization. To practice realization of figured-bass progressions, realize the following exercise at
the piano, using keyboard texture: workbook, chapter 15, exercise 3.
6. Melody harmonization. To practice melody harmonization, realize the following exercises at the piano, using
keyboard texture: textbook, worksheet 15, exercise 5; and workbook, chapter 15, exercises 4 and 5.














Secuencias armónicas diatónicas



















134 PART 1 Diatonic Harmony

" - ., - "
ContinUed

c. Var. 14.

3. Play and analyze the progressions in the keyboard part of example 16.3. Notice the basic two-measure har-
monic rhythm, although you should pay attention for possible chordal alterations in the second measure of
each harmony. What is the underlying root progression? Are any seventh chords used, and how? What is the
structure of the melody this.progression harmonizes?

• -.·,.· :-- .»:'_. _,

.,' Example 16.3 ··Frltz Kreisler,Liebesleid,·mm.1-16

Tempo di Landler

-)¡/--
A 1

- - ,.-------...
-·· - - --
ffj ,.-----. . ::::-. 5
-
@) -
P con sentimento

- -.. ,- ,-
A

-"'
1

¿
' - - -"'
'
@.)
t t: * 4

..
p J .
,
- -
1

= =
d
1

:::
g d
1
n
. :::
,

r <t <(" 1i .V

10
:;t
A
.. ""'.
-'
:>-
i::'I -----.

"'
-··
v r 1 1 1

-,,A
::: N a
= -
1

.
¿
-
1

' '
@) .lJI-
t *
1 1

. - •
.
:J: \"

15
 Chapter 16 Harmonic Sequences 135

4. a) Examine mm. 25-27 of example 16.4. What is the type of progression? What kind of voice-leading para-
digm do you recognize (refer to the paradigms studied in chapter 16)?

b) Compare mm. 25-27 with 30-32. How is the latter progression different from the former? Analyze the
chords and voice leading in mm. 30-32 carefully.

e) The passage closes with a cadential pedal on i prolonging a 1 chord (mm. 32-36). Assume for now that all
of m. 32 is a 1 chord, with a prolonging passing-tone F on beat 2. What are the other two chords used on
the pedal (mm. 33 and 35)?

". "', Exarnple 16.4 J. Brahms, Ballade op. 118, no. 3, mm. 23-36.

Allegro energico













Introducción al análisis de la forma y desarrollo temático




















Chapter 11
Melodic Organization I:
Phrase Structure

EXERCISE 1 Analysis. Study the phrase/period structure of the following examples. For each of the examples,
provide a brief discussion of structure, including at least the following information:
l. Is the fragment based on a motive?
2. How many phrases are there? Provide measure numbers and phrase numbers for each. Are any phrases con-
nected by elision?
3. Identify the cadences at the end of each phrase. In cases where only a melody is given, you can identify ca-
dences on the basis of the given Roman numerals and the cadential melodic gestures.
4. Is there any antecedent-consequent phrase structure?
5. What kind of a period is this? One or several of the following may apply to each example: parallel, contrasting,
symmetrical, asymmetrical, three-phrase (or four-phrase), double, modulating, phrase group (nota period).
6. Provide a line (bubble) diagram for each of the examples, indicating the following items: phrases/measure
numbers; phrase relationship with letters; cadences at the end of each phrase (with a cadence-type abbrevia-
tion); and long-range harmonic motion from beginning to end of each phrase.

Examples for analysis:

1. Anthology, no. 22, Chevalier de Saint-Georges, Violin Concerto.

Discussion:

Form diagram:

97
98 PART 1 Diatonic Harmony

2. Anthology, no. 6, Minuet from IVotebookfor Anna Magdalena Bach, mm. 1-16.

Discussion:

Form diagram:

3. Example 11.1.

Discussion:

Form diagram:

.J' Example 11.1 AmyBeach,Sweetheart, SighNo!vfore, op. 14,no. 3, mm. 3.,..¡3

mf
1'"""' ' J
It was with doubt and trem-bling whis -pered in her ear. Go, take her an - swer,
I V7 I

8 f dim. 10 p pp 13

J 1
j j 1
?

f:
J ll J
bird - on-bough, That ali the world may hear Sweet - heart, sigh no more!
V7 (I) V7 V7 I

4. Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, III, Menuetto, mm. 1-14.

Discussüm:

Form diagram:
 Chapter 11 Melodic Organization I: Phrase Structure 99

5. Anthology, no. 32, Beethoven, Piano Sonata in Fm, op. 2, no. 1, III, Trio, mm. 41-50

Discussion:

Form diagram:

6. Notate (rhythm only) the most characteristic melodic rhythmic motive in:
a) Anthology, no. 6, Minuet from Notebookfor A.M. Bach.

b) Anthology, no. 19, Haydn, Minuet.

e) Anthology, no. 26, Mozart, Piano Sonata in CM, III.

7. In anthology, no. 19 (Haydn, Minuet), the combination of rhythmic motive, phrasing, and harmonic resolu-
tion create a series of elisions in mm. 1-4. Given the rhythm of these measures in example 11.2, show the
phrasing of the motives with brackets (there will be three of them), indicating clearly where the elisions occur
(see example 11.3 in the book for a model).

_ ,,' Example 11.2

f f f f f f lf fffffflf ffffffl[ f lf
3 3 3 3 3 3

EXERCISE 2 Write a melody in antecedent-consequent form (a parallel period). The beginning is given. Be
ready to sing or play your melody if asked to by your instructor.

Vivace

GM:

11
Chapter 12
Melodic Organization 11: Thematic
Development; Phrase Extension

EXERCISE 1 Analysis. ldentifYand name the technique(s) of thematic development in the following examples.
In the case of sequences, identify the exact type.
l. Anthology, no. 26, Mozart, Piano Sonata in CM, III, mm. 16-17.

2. Example 12.1.
a) Explain the relationship between m. 8 and 9.

b) Between mm. 11-12 and 13-14.

e) Between mm. 7 and 19,

d) How is the three-note motive transformed in mm. 15-18?

e) How do we call the rhythmic relationship created by the three-note motive against the ¡meter?

101
102 PART 1 Diatonic Harmony

Edvard Dance",Jrom Peer Gynt, Suite I,op. 46, mmm. 7-22

ir

iu r f TJ
ir ir 10

F 1r;r7J j
p cresc.
12

j
dim. pp
18

J J u J,J
.
3u¡JJ ,J a J 1 J J,J 1 na J o r r f
1
j

3. Example 12.2. How is fragment b related to fragmenta?

,.· Exarnple 12.2 L S. Bacfr, Fugue no. 9 in EM, from The Well-Tempered Clavier, H

r r Er r r
a. b.

rr ir rr 1

4. Example 12.3. How is fragment b related to fragmenta?

. ' .
. ,,' ,Example 12.3 ,
J. S. Bach, Fugue no. 8in D#m, from The Well-Tempered Clavier, II

t
a. b.

e n
'J Jt!J J1 J. ;nt:J 1 9: ' Er Fjf[f F Cf F1CJ'tr p
 Chapter 12 Melodic Organization II: Thematic Develo-11ment; Phrase Extension 103

5. Example 12.4. How is fragment b related to fragmenta?

"',,' Example 12.4 GuillaumeDufay, Missa L'Homme armé, "Agnus Dei"

a.

b.

w. o· rrr
1 o· 1j o o r 1r r w J r r 1- o__,o· 1° rr o 1o·__,o·

6. Example 12.5. How is fragment b related to fragmenta?

" ,,'- Exarnple 12.5, Ludwig van Beethoven, Sonata op. 26,I

a.

b.

p J
104 PART 1 Diatonic Harmony

7. Anthology, no. 28, Mozart, Piano Sonata in füM, III, mm. 16-20.

8. Refer to anthology, no. 33, Beethoven, Piano Sonata in Cm, op. 10, no. 1, II. Explain the techniques of formal
growth in mm. 1-8.

9. Refer to anthology, no. 27, Mozart, Sonata in AM, Theme. In previous chapters we discussed various aspects
of this piece's formal organization. As a summary and further study of the piece, provide a complete formal
analysis (of the complete theme, that is, mm. 1-18) in the form of a brief, but clear and well-organized, ana-
lytical paper. Tum in an annotated copy of the score, on which you will mark the following information,
which you should also cover in your paper:
a) Circle the main motive of the piece.
b) Are there any prominent rhythmic motives in this fragment? What are they?
c) Mark with brackets (one per segment) all the sequences in the piece.
d) Label and number the phrases (phrase 1, phrase 2, etc.).
e) Are the two phrase members of phrase 1 (mm. 1-4) similar or contrasting?
f) How many periods are there?
_g) Mark and label all the cadences in the piece.
h) Could the piece have ended in m. 16?
i) What is the formal function of mm. 17-18?
j) Provide a line diagram of the complete piece, indicating phrases, periods, cadences (with abbreviations
and RNs), measure numbers, and letters to indicate form.
 Chapter 12 Melodic Organization II: Thematic Development; Phrase Extension 105

10. Discuss the techniques of thematic (melodic) development in anthology, no. 32, Beethoven, op. 2, no. 1, I,
mm. 1-20. Notice specifically the following relationships, and provide exact terms:
a) Measures 1-2 with 3-4:

b) Measures 5-6 with 1-2:

c) Measure 6 with m. 5:

d) Measures 11-14 with 1-2:

e) Measures 15-16 and following (to m. 20):

EXERCISE 2 Write extended or varied versions of the following melody using the devices specified in each
case. Be austere in your versions (do not try to vary or add too much; only what is necessary to make good musi-
cal sense). Make sure that your versions are musical, and that you are satisfied with them.

lu JJ HlfJ LJ lu t]J JlfJ 11

a. Repetition

b. Variation (rhythmic, or pitch and rhythm)

c. Sequence
 106 PART 1 Diatonic Harmony

d. Change of mode

e. Interpolation by fragmentation

I .

,...\,

f. Intervallic expansion or contraction

g. Cadential extension

h. Augmentation

i. Inversion (begin on pitch B)

j. Retrograde


Progresiones armónicas en otros estilos




Escuche cada una de las canciones y complete el análisis según los siguientes
parámetros

- ¿Cuantas frases, periodos y secciones tiene cada uno de los ejemplos?
- ¿Que forma deduce que tiene cada ejemplo?
- Mencione las cadencias
- Mencione los enlaces armónicos atípicos
- Mencione aspectos relevantes en la conducción de las voces, en la conducción
de las disonancias y en las extensiones de los acordes
- Que tipo de contrastes existe entre las secciones en cada ejemplo
- Realice un análisis armónico con cifrado americano a Doña Ubenza de Checho
Echenique y a Te amo de Jorge Añez
- Haga un recuento de cómo se comporta el ritmo armónico en todos los
ejemplos, cite lugares específicos



Scanned by CamScanner
(Ballad) Prelude to a Kiss Duke Ellington
A

D7 G7 5 C7 FMaj7 B7 9 E7

A7 9 Dm7 Dm7 G7 5 Am7 D7( 11)

1. 2.

Dm7 G7 5 CMaj7 A7 5 Dm7 G7 5 C6 B7 9

B

EMaj7 C m7 F m7 5 B7 G m7 G 7 F m7 F7 5

EMaj7 C m7 F m7 5 B7 EMaj7 A7 9 Dm7 E m7 Em7 E 7

D7 G7 5 C7 FMaj7 B7 9 E7 A7 9 Dm7

Dm7 G7 5 Am7 D7( 11) Dm7 G7 5 C6

 Doña Ubenza
Nestor Chacho Echenique
Versión: Jhonnier Ochoa
q = 70

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 Doña Ubenza 3

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 Te amo
Danza Jorge Añez
Versión: Jhonnier Ochoa

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