rr P Ope || WORKBOOK 4 -]) HARMONY ‘| |)7AND VOICE ||) BEADING EDWARD ALDWELL “The Curtis~) PREFACE This workbook, together with the exercises in the text, should provide more than enough material for homework assignments, classroom demonstrations, and periodic reviews. It also provides a generous assortment of excerpts from ! the literature for assignments in analysis. Naturally, the number and type of ex- i ercises vary somewhat from unit to unit, depending on the material covered ‘Thus the exercises for the opening units are intended mainly as a review of the fundamental materials of tonal music. Their purpose is to give the student, as i rapidly as possible, a secure grasp of scales, key signatures, intervals, and chords. Although Harmony and Voice Leading is not intended as an introduction to fun- damentals, thereis probably enough material in the workbook for a one-semester ‘course in basic musicianship, if the instructor wishes to use it for that purpose. Starting with Unit 6, the exercises in both the text and the workbook begin with a series of short drills, called Preliminaries. These form a concentrated re- view of the most important topics discussed in the unit. The drills are not al- ways easy, but doing them well will give the student the necessary technical foundation for the longer and musically more interesting exercises that follow. I fa class falls behind schedule, the instructor could save time by once in a while \ assigning only the preliminary drills and going on to the next unit, But a steady 5 regimen of these exercises alone is not recommended. : ‘The longer exercises are of various types, but most of them are melodies and 4 basses (both figured and unfigured). It is now almost seventy years since Arnold a ' Schoenberg decried the use of such exercises, but most harmony texts continue i to include them, and most instructors continue to assign them. And with very good reason, There is no better way for the student co become aware of the ‘ ; interdependence of the elements of music—how a bass and a soprano combine | i i to form good counterpoint, and how this counterpoint relates to harmonic Progression A typical homework assignment might well consist of a melody and a bass; for this reason we have interspersed the two rather than separating them. For most units there are two groups of melodies and basses; those in the second group tend to be more difficult than those in the first, We might mention that, ‘once past the beginning stages, students can benefit greatly from occasionally ; working out—end writing out-many solutions to an exercise, trying to deter- mine the good and bad points of each, and deciding which is the best. The excerpts from the literature, which begin with Unit 7, are suitable for f analysis at sight during the classtoom hour as well as for homework. As much as possible, students should do more than merely label the chords; they should concentrate on how the chords function, and they should be able to specify the techniques discussed in the unit that are exemplified in each of these excerpts. : 7 ' | | cS.CONTENTS Preface v | THE PRIMARY MATERIALS Unit1 Key, Scales, and Modes 1 Unit2 Intervals 9 Unit3 Rhythm and Meter 1s Unit4 Triads and Seventh Chords 25 I I-'V-1 AND ITS ELABORATIONS Unit Procedures of FourPart Writing 35 Unité 1, V, and V7 41 Unit? 16, V6, and VIS 47 Unit 8 Inversions of V? 33 Unit Leading to V: IV, 11, and 116 59 Unit 10 The Cadential § 65 Unit 11 Vand IVv6 3 Unit 12 Supertonic and Subdominant Seventh Chords a1 Unit 13 Other Uses of IV, IVS, and VI 1 Unit 14 Vasa Key Area 103 Unit 15 Mand VII 19 m § § AND § TECHNIQUES Unit 16 §-Chord Techniques 129 Unit 17 Diatonic Sequences 137 Unit 18 §-Chord Techniques 137 Unit 19 $-Chord Techniques 169senies j ONE Tarp” MODES MAJOR SCALES 2, Givens pitch and sale dere, Write the complete mor scale[MAJOR KRY SIGNATURES 3 D | @ _%iven: sje ey signature and note in the Key. Pode hey snd name of given vce degree, 2. Given: major key and sale degree, Wie the correct pitch2.Given: note and name of msjorsale degree. ite comet ky sigma in ‘the space to the right of the note, ae MINOR SCALES 4. Given: pitch and minor eal degree. Write the complete minor scale specified by there abbreviations. N~narual, l-harmonie, MA~melodic ascending, Jas bon oo Sn ica iowMINOR KEY SIGNATURES. @ iver: minor key signature and note inthe key, Provide Key and name of given teal depree == fisspenonie iow son 2. Given: minoe key ad scale degre. Write the corec pitch8 2. Given: note and name of minoracale degre, Write correct key sigasure in the space to the right ofthe note, e TWO| INTERVALS sedan (A) speric aabmedine() mean ‘eetiane dominant ‘CONSTRUCTION AND IDENTIFICATION 1 1. Write internals above the given notes. Then name the inversions of these intervals sperorie reading tone bore pumesint 0) sepa speronie moene——bmedit) adn Moninantoo } { e TWO | INTERVALS D8 2, Given: note and name of minorscale degree, Write correct key signature ia ‘the space tothe right ofthe nowt. ” betas MA) fuperonit—" submedane(N) means, ‘methine enna CONSTRUCTION AND IDENTIFICATION 1 4. Write internals above che given notes. Then name the inversions of these interval “menue Teng tone ‘mborie— wtmatint 0) eapeonle ‘abdominne leading one ‘neta ‘ubtominast dominant | i { | 5 } } ‘pominat —sabmesianr (MA) seperonis leading one edit 2. Wentity these interval,10 3. Weiteincervals down ftom the given notes. Then name the inversons of these (CONSTRUCTION AND IDENTIFICATION 2 n neal © Wie iterate above he gen oes inven 4 Mentty these interval. 2. Wie intervals down from the given notes, eM Mow as mo ow MB |e 3. Menfy ches intervals, 4 Wensity hese itera2 "TRANSPOSITION “These exercises in wanspostion wil rest your knowledge both of seale degrees and intervals. Teanspose either by scale degree (For example, the fifth note jn the Mozart example is raised 4; in FY minor it would be BF) oF by melodie fnteral (for example, the is incrval in the Mozart is «minor ch sartng 90 Ff, the socond tone would be A). Try working out each extese in one way and checking your rents by the other “Transpose these melodies into the Leys specified for ech, ann SE) C ee eat REVTHM sot © THREE | AND METER 2 Virte six different consonant intervals above the note Ab, dently each interval PHRASE GROUPS Use brackets to indicate the division into phrases in the fllowing excerpes snd specify the number of bars in cach phase a in he simple provided. Many of the phrases are not in normal four- or eght‘bar lenge, and fn Some of the ex: cepts the groupings change. In tying to deteemine where phrases end Lok for fepeated patterns a8 well as points of rest. Warning: The composes’ sls ace ‘signs of articulation and do noe neste indiate phase groupings oar. Symphony in 543, 1 (Alogs) stu whe Stan ip cee EP ease PCE PPE 4.Name the major Keys co which these augmented 4s and diminished Shs belong. {tly Seon Ho. 1041 Aes 5.Name the minor keys 10 which these augmented 2nds and diminished 7ths belong.“ ‘CONSONANCE AND DISSONANCE ide hs nerd nde wheter heya comune ordi ‘ooo oe 2. Write six different consonant ineeals above the note Ab. Identify exch itera 4.Name the msjor Keys to which these augmented 4ths and diminished Sthe belong RHYTHM THREE | AND METER PHRASE GROUPS Use brackets to indicate the division into phrases inthe fllowing excerps snd specify the number of bats in each phase, as in the simple proved. Many of the phrases ate notin normal four or eightbar length, and in some of the ex: cepts the groupings change, In trying to determine where phrases end, look for repeated puters as wel as points of rst Warning: The compose’ slurs a signs of articulation an do noe necessarily indicate phrase ovings, sar Symgheny nb, KB, 1 catego) Sta stan, fas EEE CeCe cee 1. Hyd, Symphony Ho 10612h, Variations on Thane by Haydn, Op-664 8. Beethoven, lana Sone, O23, ee ba PP CF e_T 4, Borthowen, Pano Sone 0p. 16,11 t= raed 5. Menlo, Sang Without Wert Op. 62/1 Andante pening8 6 hopin, ca Op. 9/2 Atego RNYTHMIC-METRIC CONFLICTS 19 All ofthe following excepts contain devees such as syncopation,hemiola, or Fe ©) @ sree sites noe iia by the ne spn, In order co undeseand the ythmic sruerure of these excerpss, you must hea chem. Pay or sing each ‘ne several times, maintaining a steady beat If possble listen toa recording ‘The simples below demoastate ways of indicating the devices used (@) Seman, Ambit, 09.99 prcopation a syreopabn (2) Be, rte (tam Eng Sut Ho, 3, 8 80) (0S, Ti Eleni, Op- 28 thos oft a se 4s eft tee see Genie2 1.20, Brncanbeg Concerto No. ele 8. Morar, “Soper Symphony, Ke 581 CO rrcoremity, d ; 2. Bee, Mal.Tepered Chie Fuge 12 ‘4 Bemtoven, Pano Son, 09.31/,1 Atego vce s : ole 7. Brann, Symphony 09.60,1 ‘Un poo romeaute ‘5. Schumaan, Plane Sorta, Oo 22,1 (Sormeh we magi) 2 —— > SSeS rhs, Vin ons, Op. 7,1 6 Schamsan Srmphony, Op 971ROOT-POSITION TRIADS 4. Given: root and quality. Build wade up fom the given note es iid 1620: supented 2. Given: Sth and quality. Build wads down from the given not.‘TRIADS IN A KEY ar 1. Name the hey defined by each sec of rads. Assume major unles something - : Ca 15; dni 1620, peated 4. Given: 3rd and quality. Build indicated wads, & same v 11S imi 1620: aepmenes 2, Add one triad (noe the tonic) that will ensure chat each set of chars belongs te the indiested key,TTRIADS IN INVERSION 2» 1. Given: bas, Bild sia wp. 2. Given: top voice, Bull rads down, S.eom which major and natural minor seals could each ofthese triads be derived? 4. From which hrmonic minor sales could each of thee triads be dxved? 3. With Fas ce roo, build indicated winds, a= Pr 4 5. From which msiode thinor scales could each of these triads be desived?4, Givens key, roman numeral, and figured bass. Build indicated ads. wm ct ag 5. Ieencty these trad, giving rot, quality, and inversion, [ROOTPOSITION SEVENTH CHORDS 1. Build seventh chords according to the quality indicated (M-aojorsm-minors CE] @ tories omit Fate Sninthed,A-svgmeate. woo op 2 Kdentiy these seventh chords, ving the quality of exch 3. Wc seventh chords acceding to che major Key and roman numer given. ‘Name the quality ofeach chor. AAP PRIN? BV BA Dba Bal? hv? AW? chi? piviTSEVENTH CHORDS IN INVERSION 4. Write diminished seventh chords onthe gen notes. Then indicate the har- 1. Identify, giving root, quality, and fgured-bass symbol ‘monic minor ele from whieh each chord would be derived 2. Given: roo, quality, and inversion. Write indicated chords —Se5 ang 5.Writ te indicated chords, then name the quality of each bet guage sen EM Bx’ rad chef cho chat Da? had abo Abie Geith Bev Avi rout Diva efi abv 3. Write dominant seventh chords on the notes given. Thea indicate the major key in which each chord occurs,le PROCEDURES OF FIVE | FOUR-PART UJRITING (CHORD IDENTIFICATION ‘Triads 2. ldentfy the following winds, giving rooe, qualicy (Mm, A. or 4), and mera and figured bas.Seventh Chords 3. entity the following seventh chords ‘ormi), sad inversion, givingroot, quality (M, 0, 9A, ‘CHORD CONSTRUCTION 1 Given: key and roman numeral chord. spacing (open or close or keyboard serle: doubling. Construct fourvoice chords as indicated, adding the pyro pate key signature. A chords shoud be complete unless an iacreplese cheva E specifi eyand chords cB. Soa Sle roor Incomplete chev Sn Ireopise‘CHORD CONSTRUCTION 2 VOICE LEADING Indicate mistakes of spacing, doubling, vocal range, and soon, inthe chords. (3) (Not all of them are wrong) Write corected versions of the same chords she Space next ta each Indicate the mistakes of voce leading and chord constuction in the following ‘exercise, Using the same procedure atin the text examples,LV. ® six | AND yi PRELIMINARIES Melodic Fragments (Land V Only) 1. The following meodie fragments are given in Cie On the stave provide, ‘anspose each inte 2 cfferent malor key and se forfour voices, sing 00%. position {and V only, 2, Do the same, using a different mines key foreach, (Don's forge to eite 71) © » © « ©[Melodie Fagments (lV, and V7) ‘amonze the melodic fragments below sng LV, and, whereve posible, V7 Some should be barmonizel ewice-oncrinmaor and once inthe retire inot ‘ame notes but different scale degra) & ° — 7 ® ®LONGER ASSIGNMENTS Melodie and Basses “Lamevoov. Set forfour voices, using I, V, and V7 only. Harmonize each note of the melody 2. #1GURED BASS. Complete the soprano and add inner voices, 9 SL MELODY. Set in keyboard style, adding accidentals where needed.16, v6 anD ° seven vie PRELIMINARIES i [Melodie Fragments (including 16 and V6) ‘Set the following for four voies, using I, V, V7, 18, and VS only. No ViIS1 © a) © ae iter emfFigured ass Fragments (Including VI) Donors pan enraged Melodie Fragments (Lacleding VIS) @ Z Cy (sc citcenty from50 LONGER ASSIGNMENTS. Melodies and Bases € {OUTER VOICES (wth untied ba S.CHORALE MELODY 2. FIGURED BASS. Measure 1 should contin ¢ voice exchange Denween soprano and base, A. MELODY AND FIGURED BASS L52 STUDY AND ANALYSIS INVERSIONS » Eich | OVER: eae oe ‘PRELIMINARIES Melodie Feagments Review Examples 8-10 through 6-12 fr diferent baseline posites. Cfowditees OY eMoatene (Ome ering Ce dierent (tree iferet i tens ame See eeeINVERSIONS PRELIMINARIES Melodic Fragments Review Examples 8-10 through £12 for dif (6) for tert bam Ogzsiom (eneneing xe deen (eaeLONGER ASSIGNMENTS oe an Base 2 dh teers preemie, you wl snes ind impose to Moll be eaten fn ae ena oe Dot nny ho ojcamanneinelton eng span or ane 1. uurigunen Bass 2.meLooy Melodies and Basses 2 1. FlaURED Bass 3. unricuaee pass Vf bmetooy56 STUDY AND ANALYSIS: 1. Beethoven, Sata, Op. 28,1 2.tendtohe, Symphony No.8, Op. 80 (skon") 1B Beton rio some, on 271° AINE PRELIMINARIES Simple Melodies and Bates ie 5 g a LEADING TOV: WV. HL, AND 116oo LONGER ASSIGNMENTS a gy Meet at {FIGURED BASS 2 meLooy oO ‘3 UNFIGURED BASS. Set in Keyboard style and add appropiate Figures forthe bas. 4. UNFIGURED BASS AND MELOYe (Melodies and tases 2 A.mELOoY 1. Giren: outer voces. Flin inner pares and provide figues fo the bass. 2. UNFIGURED BASS imo)ce oa STUDY AND ANALYSIS | —65 >. | THE TEN | CADENTIAL 4 q 1. Beeroen Paro Conca No, 1.09. 38,1 e PRELIMINARIES Melodie Fragments 1. Set fa fous voices, using the cadental § wherever appropsiate In some cases {fis noe appropriate Tel why. 2. Masa, Viola Sonia, 377 1 © ® © 2. Moran, Van Sonata, X. 296, tse —— |oO et STUDY AND ANALYSIS eae |... | THE _° | TEN] CADENTIAL 1. teathorn, ane Conca Ho 1,.09.15.1 PRELIMINARIES Melodie Fragments 1 Set for fou oes ang the adel wheres apropiste,In some cases 2 Moca Vila Sonat, K-37, 1 {fis not appeopeiate. Tell why. © 2. ara, Vin Sot, K. 28616 2. Transpose the melodic fragments on page 65 to Cf minor and set for four LONGER ASSIGNMENTS eS © fp) ersten tae ‘LrtGuRED Bassne 6 a.Mevooy ‘5: MELODY fda rom Kade, Write an accompaniment in four parts, the up © er three parts of which may feely duplicate tones ofthe melody. Ths Apparent parallel octaves and nitane may ocean A.uveicuRED massSTUDY AND ANALYSIS 1Ltorart Vion Sonat, 360, 2 Hoy, Symphony Ho 85 ("La Poul | n DagensLONGER ASSIGNMENTS D |) Melodies snd tase ‘FIGURED BassMelodie and asset 2 7 S. UNFIGURED Bass {OUTER VOICES (unre bs* STUDY AND ANALYSIS {Ltr Symphony No. 2,1 5. eesoven, Fane Sone, Op 701,11 .| alee” | Po al TWELVE | ceVEnTH CHORDS PRELIMINARIESLONGER ASSIGNMENTS a3 >), Meer and Bases +L uvFiguneD Bass. Use 7, If, of for the starred chords "ear 3. FIGURED bass‘2. MELODY. Fermatss indicate cadental points oy Melodies and Basses 2 qe 1. MELODY. Se in fourpart keyboard syleSTUDY AND ANALYSIS Lenton, Kile 2. Moz, Sng Guar, K. 428 trom ne sotmns.co.120 @ 4 8. Moz Sting unr, K 458 | Ata etcy ‘eh Lite Prods No.5, BUT 928 “1h ol 72 Beh, Well-Tempered Cave, Fem 16 cb. nti thn bah wen ig omen 40) 89saad OTHER i > USES AND VI PRELIMINARIES [Melodic Fagments and Unfigared Basses wwLONGER ASSIGNMENTS Melodies and Basses 1 a.ateLoo¥ toe? r 2. MELODY. Adi aeldepils where needed. |S. MELODY AND UNFIGURED BASS 4. FIGURED aasson Melos and Bases 2 a.NELoDY 98 ‘MELODY 2. UNFIGURED BASSee lean : ere pepe ieee tr SE EME HuELIA eHub) i ‘companiment snd the salo line are permissible. © @ Fribbens inher 30 0 hath fineness realySTUDY AND ANALYSIS 1. Sohumann,Sedatenmareh ‘om Alm forth Young, Op.) ‘iscus the relationship between the outee voices 2. Mou Vila Sonat, K 377 1 4. Mane, Conarte Gro, Op.67, 1 Codi | | . Vv AS (© FOURTEEN | A KEY AREA PRELIMINARIES3. TURK MARCH adept. Set in fee keyboard syle, asin bas 1-2. The num ber of voies may change, and octaves may be added to the bass occasionally for emphasis4.FoR STRING QUARTETSTUDY AND ANALYSIS rela to the frm ofthe piece. {Morar “Oi Klan Spine” K-51 este ber ia ans sr SpAI™Har a eh el ten ih aan wen oe In eradying these examples, comer how the modulations or tonieizations ‘ewainge be seth ts" REE je wir dei ap an wor os dls ch = them = m Ot I ren pets a ae ong aon aher een Sate nen: out nig woe nthe gh eleheesee and att Canoeing pay wsod PROJECT: Handel, “Va godendo”™ (rom Sese) “This excerpt from Handel's opera Sers san asignment that combines analysis and weting. fis presented here asin the orginal score: voice accompanied by ‘ontimo (unfigured bas), and orchestral interludes (violin and fate). Com- plete the accompaniment by adding three voices above the bat and by adding ‘ne voice Berwen the violin and fue. In Your analysis, note how the roniized ‘relates tothe form of the excerpt.2 i "/@ FIFTEEN | AND Vil PRELIMINARIES BassLine Fragments wich I Use following exercises. Wite a different soprano for cach _i ie itt ole FIFTEEN | AND Vil PRELIMINARIES—! am 2°) Bigued'Bass Progmencs with I aed VIL ‘Use both II and VIL inthis group of excreises. Aga, donot repeat a soprano af cvs reesid bas * sopra in paral 10 cy22 LONGER ASSIGNMENTS 4 FOLKSoNG. Set for four voces. (A plano accompaniments also posible) wes : Melodies and Bases with It Use I, but no VI, in the folowing sertngs 1. FIGURED Bass, s.Fouksone (engi &Melodie and Basse with I and VIL ©] @ s-uweicunen ass (hae notin 2. MELODY (adopted trom Chopin). Bither a foursoice or «piano sting i posible ‘Use two diferent chords per easue,2. MELODY. Don’t aemonize the stared notes, STUDY AND ANALYSIS +. Schumann, Syphon Ede, Op 18, Etude 2.01, Gee Lider No. 48 3. buch Chel 62 dated)18 4. trry “Porglamer” (trom Marine of Fo, K 482) 5 , -CHORD "© SIXTEEN ee Because exercises using root postion chords lone are necessary artical, the ‘wting estignmente for this Uae const only of shore dels and one longer ex ‘reve using V in minor asa minor tiad. But, nedles to sy, the techniques you will practice in this unit are important for your writen wore in all subse ‘guent units PRELIMINARIES {LOassLine FaacmenTsose LONGER ASSIGNMENT 133, suai é Set in free keyboard syle, using V at + minor wiad where sppropsite. The -number of voizes may change ss necesty Nottoo dowSTUDY AND ANALYSIS 4. Sehr Pine Sot, 66, Ini te fn of heared chad inthe i ie xcept € 1. tac, Chote 298 2. antowan Someta, Op. 97,1 chop, Prete, 0,240 wy dg a 138‘ DIATOMIC “mente ene cat © | @ SEVENTEEN SEQUENCES i f } previnaraes Melody and BasLine Resgments !SaaS neeemeeeneeenes__] - DIATONIC f° SEVENTEEN | cE QUENCES PRELIMINARIES [Melody and BasoLine FragmentsLONGER ASSIGNMENTS 139 @ Mics end nae LMELODY. Use j chords only (with the indented exception). eat iret bsuo a. iguneD gas Pretude Complete the twosice kepbosrd setting. In two voices, you should generally avoid pefect intervals on strong beats, except at cadences of other polats of AndanteSTUDY AND ANALYSIS. 145 tn addon telng ech ca and nigh pe of een © D Veco thc sauencfacion ns agercancn 1. Con THe Sona, 09.172, Ate amy ive fo tds gar dh = ot aun wits by es fl etm penn pn flours Ms ae occa @ie pee peitisrsess 3. Haran, ree 8 £8. Hay, Symphony Ho 1031 ar 5058) 19 wekegrees wee peter es yom mei (om Bon Gievnn- K-27 (tom Mages, 1786)“1 Boxter, ano Sorts, 09. 28,1 12. sehubert, Two Dae B:90814. bons Romane, Op. 11815 18, Becton, Syshony Ne 6, Op. 67, ar 49-489) une hod aeolian ite min mendationsSeer eae essere eeeeeeeeonaasaaeeeeaaAMI $-CHORD 9 EIGHTEEN | teCHiniQuES a PRELIMINARIES epee fo ps ge the bs oad rodeduunlgeed naldc aero § chords wherever appropria | €)9LONGER ASSIGNMENTS Motes and Bases 9 ‘.uevooy 9 2 FIGURED BASS (adptd fom Hana In this exersie vocal sanges need not be strictly obsewed and ocssional overlaps are permisible, The soprano tones sven ae Hanes,ar? 162 STUDY AND ANALYSIS ; 2.Mona, He (ter oan ete, K-80 168 1. Hop Fir San Ne 8 Hos X26 e\9ese een 8. Morr Prt Meh (om Phe ps Fue 820) 165 eso Apa adap wth ethel thoet6 a-CHORD @} 9 NINETEEN TECHAIQUES PRELIMINARIES ‘Strong and Weak Beats le Putin correct bar lines, vsing ¥ and 3 only. tn some esses two versions a post —_Melody and Base Line Fagments LONGER ASSIGNMENTS 20) Mosier and Bans an 1ourer voices t 7 2.0UTER voreesastopy Melodies and Basses 2 © snunso sassvm 2. MELODY. Use chords atthe sated points, STUDY AND ANALYSIS. ol . ©) Often (om de, meine Freee WY 22,1) tem e ° i For elnino Ci Jo.3. Bac, Hagichord Concerta No.5, BHV 156, 1oO ate —- | mann, ote ht trom rarege rie xc QD) ‘Wa isununl about the westment of the ste cho? se we bao11 Seber, “each and Ste” (ron Dieshine Mtr, 0.798) 184 ‘amc: Gn bk and ie or lee hr au ae py md a 12 Souter, Pano Sonat, 0 880, 1 Alege 2. Betoren, Syphon Na 6,09. 68 (Paserale, 1 10. Buathovn, en Sout Op. 78,11 tages)We eee 1 Pere : i 6 in" Wl, Op. 728 182 $i. suman Sting Gum OP- 417% Discus the unueual ereatment off | | | LI) 16 osm sti oop 8 ete np 1 Sehunann, “Du Ringan meinem Fegee” (rom Frauen und Lede, Op £2) ’ saan Al weld pknaonhe rk enon