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1Chapter 7: Website ExercisesWebsite Exercises

Chapter 7 – Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords

Exercise 1: The exercises below require you to use six-three chords in their most common contexts. These chords are limited to I6, V6, viio6, and IV6. Realize the figured basses in the first four exercises. Then, harmonize the melodies in the final three exercises.

Exercise 2: Writing Complete Progressions. On a separate of manuscript paper, complete the following tasks in four-voice chorale style. Amalyze everything using first- and second-level analysis.

A. Harmonize the following soprano fragments and include viio6 chords where appropriate.

1. In b minor, @ time: 3 2 1 7 1 (Remember to raise 7 4 to create the leading tone in minor).

2. In F major, P time: 7 1 2 3 5 4 3.

B. In G major, set the following progression in P time: i V6 I IV6 I6 V8-7 I.

C. In the key of G major and a meter of $, write a four-measure progression using a mixture of half notes and quarter notes in the soprano, each of which is harmonized. Remember, contrapuntal chords usuall occur in unaccented metric positions. Include the following:

1. an expansion of the thonic with a passing chord; 2. a voice exchange; 3. an expansion of the tonic by a neighboring harmony in the bass; and 4. a PAC at the end.

2 Chapter 7: Website Exercises

Exercise 3: Analysis. Analyze each of the following excerpts using Roman numerals and figured bass.


Exercise 1: Analysis. Using first and second levels, analyze the following examples. For Example A consider the har-monic rhythm to be one chord per measure.

A. Haydn, String Quartet in Bb Major, Op. 33, no. 4, Hob. III: 40, Allegretto B. Beethoven, “Der Abschied” (“The Farewell”), WoO 124 C. Mozart, Symphony in F major, K. 75

Chapter 8 – More Contrapuntal Expansions: Inversions of V7, Introduction to Leading-Tone Seventh Chords, and Reduction and Elaboration


Exercise 1: Analysis. Cont’d

3Chapter 8: Website Exercises

Exercise 2: Writing inversions of V7 and viio7. Complete the following exercises, all of which include significant ex-pansions of the tonic.

• Determine the key for each example. • For figured basses, determine the harmony (first and second levels), add a soprano and Roman numerals, then inner voices. • For melody harmonization, find cadences and add bass lines. Return to the first measure and look for harmonic paradigms. Each soprano pitch must be harmonized. Add first- and second-level analysis. • For unfigured bass, study the outer-voice counterpoint, determining an appropriate harmonic setting and adding Roman numerals. Then, fill in the inner voices. Add a second-level analysis.


Exercise 3: Writing. Write the outer voices (soprano and bass). • Use any meter, remembering to place contrapuntal harmonies on weak beats. • You may use a variety of rhythmic values. • Your solution should be four meters long. • Provide a second-level analysis.

A. Write in D major:

Soprano note: 3 4 5 4 3 2 1 Roman numeral: I V4

3 I6 V65 I V7 I

A. Write in G minor:

Soprano note: 1 7 1 2 4 3 2 1 2 7 1 Roman numeral: i V4

3 i6 V6 V65 i V4

2 i6 viio6 i


Exercise 1: Using two levels, analyze the following examples that incorporate the pre-dominant function. A. Mozart, Symphony in Major, K. 128 B–G. Schubert, waltzes

Chapter 9 – The Pre-Dominant Function and the Phrase Model


Exercise 1: Analysis. Cont’d


Exercise 2: Writing. Below are various writing tasks, including figured basses, soprano harmonization, unfigured basses (with soprano given), etc. Complete each task in four voices (SATB) and supply a two-level harmonic analysis.


Exercise 1: Analysis. Add a first-level Roman numeral analysis, then circle and label each embellishing tone (most of which are accented).

Exercise 2: Analysis of Schubert Waltzes and Ecossaises. Add a first-level Roman numeral analysis, then circle and label accented and chromatic embellishing tones.

Chapter 10 – Accented and Chromatic Embellishing Tones


Exercise 2: Analysis Cont’d.


Exercise 2: Analysis Cont’d.

Exercise 3: Given is a homophonic (SATB) progression. Add unaccented and accented neighbor notes, passing tones, and chordal leaps. Add Roman numerals and label each embellishing tone.

Exercise 4: Analyze the following progressions, then add examples of suspensions and accented passing tones.

Exercise 5: Analyze the following progressions, and then add to each one or two suspensions.


Exercise 6: Writing Tones of Figuration. On a sheet of manuscript paper, complete the following tasks; include Ro-man numeral and figured bass analysis, and label each tone of figuration.

A. Set the following melody in four voices in G minor: 3–2– 7–1. Add two suspensions.

B. In F major, write a progression that: 1. expands tonic with a voice exchange; 2. includes a bass suspension; 3. ends with a PAC and a suspension.

C. In G minor, write a progression that includes at least: 1. one accented passing tone; 2. one appoggiatura; 3. one 7-6 suspension.

D. In D minor, write a progression that includes at least: 1. one diminished seventh chord that expands the tonic; 2. two different suspension types; 3. one chordal leap and one passing tone.

Exercise 7: On a sheet of manuscript paper, write three different logical bass lines for the two soprano fragments. Analyze. Extra credit: Add inner voices.


Exercise 1: Writing six-four chords. Each exercise below requires the use of six-four chords as follows: A. Include a different type of six-four chord in mm. 1, 3, 4, and 5 (i.e., four different types of six-four chords) B. Figured bass (be aware of the numerous six-fours) C-D. Melody harmonization: use two different six-four chords in each of the two exercises

Exercise 2: Realize the following figured bass in four voices. Analyze.

Chapter 11 – Six-Four Chords, the Subdominant, and Summary of Contrapuntal Expansions


Exercise 3: Composition. The phrase below closes with a half cadence. Analyze the remaining harmonies, and then write a second phrase (“consequent phrase”) that closes on the tonic. The added phrase should continue the basic texture and harmonic rhythm set up in the first phrase.

Exercise 4: Multiple settings of soprano fragments. On a sheet of manuscript paper, write three different logical bass lines for the two soprano fragments. Include at least two six-four chords in each fragment.


Exercise 5: Analysis. Use first- and second-level analysis in the following examples from the literature.


Exercise 5: Analysis. Cont’d.


Exercise 1: Writing pre-dominant seventh chords. Complete the varied tasks below, which include figured bass, mel-ody harmonization, and melody with given figures. Asterisks require use of a seventh chord.

Exercise 2: Analysis. Analyze the examples that incorporate EPMs.

Chapter 12 – The Pre-Dominant Refines the Phrase Model


Exercise 2: Analysis. Analyze the examples that incorporate EPMs. Cont’d


Exercise 2: Analysis. Analyze the examples that incorporate EPMs. Cont’d

Exercise 3: Embedded Phrase Models (EPMs) and Contrapuntal Cadences. Complete these tasks on a separate sheet of manuscript paper and analyze using two levels. A. In D minor, write a short progression that contains two tonic expansions, each of which uses a different EPM. B. Set the following soprano melody in B minor: . Include ii4

2 and ii65 .

Exercise 4: Complete the following tasks in four voices; provide a two-level analysis.

A. In D major, write a four-measure progression that: 1. expands the tonic with an EPM; closes with an IAC; 2. expands the PD at the cadence through voice exchange; 3. includes at least one suspension.

B. In C minor, write a four-measure progression that: 1. includes a bass suspension; 2. includes a tonic expansion with a bass that descends a sixth from 1 to 3; 3. expands the PD with a six-four chord; 4. concludes with an IAC.

Exercise 5: Below are two models, each of which can be fleshed out into a two-phrase musical unit. Such a musical unit is called a period. We will explore periods in detail in Chapter 15.

A. Choose one of the models. Begin with good outer voices in a major key of your choice and label the implied harmonies. Label tonic, pre-dominant, and dominant expansions. B. Flesh out the texture in four voices and, if you decsire, figurate your texture. C. Elaborate your melody with suspensions, arpeggios, passing notes, and embellishing skips. D. Along the same lines, elaborate the inner voices appropriately.

Model 1: mm: 1 2 3 4 5 6 7 8 I I PD-D IAC I I PD-D(7) PAC

Model 2: mm: 1 2 3 4 5 6 7 8 I I I PD-D (HC) I I PD-D(7) PAC

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