r

nt~ed
C::_!h~a_!::pt~er~2~4~ T~he~A~u1g~m~e~ ~h~o~rd~ _ _ _ __:44~7
~ S1~·x~th~C
~ - - - - -- - - - - - - -- - -~

_2 · Ef E_~ _C I S_E 2 4 .4
0 :::.:u:.::~~ ::~
1

Label augmented sixth chords fully

Liste n to and analy ze the ~f~Ilowing two examples.
(Itg, Gerg, or Frj).

t Waltz in F majo r, 36 Originaltiinze, no. 34, D. 365 , -,?

h ber,
A.s,u
. ~ n /- f-h;s p(,l,,rl- of 'rt ·
-r:c, . .
n to the V 7 in m. 5. Does this nmth
1. One can view the B~/D as an anticipatio
resolve? '+-
L I J'M '>ee c.t O ;n V"l S
binar y form or merely a period?
2. Wha t is the form of this piece? Hint: Is this a
O'it! re-J5 "0Vl
f OVz/1 lie
I cOv ltdiv 'Ovs p Qr:DJ . ~e.: ,.~e ~o 1

~ - -- ~ . in 2..nd pq_ rf-

F:1 -
---

C r Gei
,.----:;
-------)
Jl
- =- JD ----- J-----

fo
I fo
 448 THE COMPLETE MUSICIAN

B. Mozart, Sering Quartet no. 15 in D minor, K. 421, Allegro

I. What type of bass line occurs twice in chis example? What is the basic differ-
ence between the two appearances? j lhf- I, overl ~<h\4 L IM<>v"e- Vesc~n.)hJ
2. How would you explain the dissonant B~ in violin 1 of m. 3? - vppe-~ h.e'ff lvb<P('"
3. How does Mozart prepare in the first phrase for the augmented sixth chord that
appears in the second phrase?
ilf .ree ho 1-1r,,.,. of P.<je.,
~ ..
.
- 'Ir

~· -. .. --- - ~
-- - - - - ~
r,p.1)

----
-
Violin 1
tJ ... ., .,. - r - " -
II

---~
Violin 2 ~ ., ~

- - -
~

~ ~

~~~
tJ
-rt -rt~ .
---- ---- ~~~ ~
~ 4f 4f 4f
sotto voce
---
- - -- - . -
Viola ., ., .,
-
~

- ~

---- ----
~ ~
~ ~

-: -: -: -: "!" "!" "!"

sotto voce

Cello ... . ~

_;
..... l -
sotto voce
d:; - "6
/4 -
. 7
I\} -
~
)J_
7 2_ ----(

5
(
..,; II e ~. 'Ir .,. ~ ~~t:~~~~ ...~
- ~
-
tJ
f - p
-
II - .:. =" ~ ,.----._ -
•
-- - - ---- -.._,,- -
~

tJ "!" "!" "!"

'-'
f p
.. .~ .:. .:. .:. .... ;-:-: u.
- - -

.-

.....
I ~
f
~
;,.4
.,
- -.. ..
........ J...:. L..:.~
p -
~

.f 4 6 b '6
I~
6 . -l f
-

(
452 THE COMPLETE MUSICIAN

EXERCISE 24.9

Each of the following three operatic excerpts contains tonicizations of two or more keys,
0 STREAMING AUDIO
www.oup.com/us/laicz

and each tonicization is signaled by an augmented sixth chord. Label each key, then an-
alyze the pre-dominant to dominant motion.

A. Verdi, "Qua\ voce come tu donna?" from IL Trovatore, part 4, no. 18

Allegro brillante M.M. J = 132
-.. .
>
~
'.. ~
• -
-. - -· - - - -' - --
J -
' _.,

--.._- --·
~
., .,. ~

~ ~

~
~

". ,_
.
~
..
-
~

1111 V 1' I
IP =, __
I -=::::t

... ~- - -

---
I -1

--- ---- --- ----

I I

--- -
I I I I I I I I I
... - I 7
\ ~
- • -•
~

• •
..- - ~- -- . - -
~- ---:r-
• • • • • • - . -

.••..• •. . ••. . .. ....••..•. .. . . . 1

l="r g:
B. Ponchielli, ''Ombre di mia prosopia," from La Gioconda

animando estring.

dem pia __ al lar go in - vi to, Qui vi ii fe-ral ma-

spond to _ _ the high _ __ in- vi - ta
tion, Here man-Ly in - dig-
 -~ 4~5~3
r ~24~~T~h~e.!_A~u~g~m~e~n~te~d~S~ix~c~h~C~h~o~rd~- - -

------
- - - - - - -- --- -~ C~ ::e:.
h~aprt
------ -

poco allarg.

-· ,... ~
!.'
-- ,_
.-
, -.
,
• L /& t.-

~
~
,
,
~ to, qui- vi ii fe - ral ma - ri - to Prov -
-
.- .-
ri here man -Ly in - dig - na - tion A -
na - tion,
,- ~ ~,, !: ~ ~
,_
...
-
•
.
I

... ...
~
~

~ ...-- ...-- ...--

cres c.
...- .... -
• r
~

. ..
- ,_

- ..- .. - -- -
"I I I
-
allarg. e f
-

- - - - - - -- - - - - I
-
I I I

. - D- ,_

.. .. .. - -
~

- -- - -

. •
• .
~
>
--
-- >
. ~- -
,
-·
I I
I
- re, al pro - prio o-no r!
ve - da _ al pro - prio 0 - no
his hon - or's smar t.
ing _ his hon - - or's smart,
veng -

,,... - - -- ~-- -- I. .
·- -- -- ,, -:=-
~

-
~

~
I
,_ "

J
~

r
•••• •
I)
I I fPP

.. a. b"-- •- - - - - -
--- --
~ 1.4 • i..J j 1.J. -

p
r·
~ ~
~

[ ~

+t• 1- f
- Fv---s
4
J. T

Lohengrin
C. Wag ner, "Me in Her r und Got t," from

- -
Hel - den - kraft , des Fal - sche n
gib _ ven
Rei - nen Arm and migh t, with era -
Des give _ strength
To stain - less knig ht
I
__,-----,
I I
'

_,
I -
r- r·· J 77. -
p
I
I -
I I I -, I
454 THE. COM PLE. TE. M U "CIA N

star - kc ~i er - \Chla fft: _ _ __ so hilf um. Gott .

heart the false one &mUe : _ _ _ __ do Tlw11 . 0 l,.ord.

r
> r·
>