ONES Tele 4 Anna Butterworth The Associated Board of the Royal Schools of MusicHARMONY IN PRACTICE ANSWER BOOK Anna Butterworth The Associated Boai oy the Royal Scho ols of MusiFist published in 1999 by The Associated Board ofthe Royal Schools of Music (Publishing) Limited 14 Bedford Square, London WCIB 336, United Kingdom Reprinted in 1999 (© 1999 by The Assocated Board of the Royal Schools of Music ISBN 1 85472 9926 ‘AB 2621 All rights reserved. No art ofthis publication may be reproduce, Stored ina retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying. recording, or otherwise, without the prior permission of the copyright owner. ACIP catalogue for this book is available from The British Library. Extracts from the following copyright works are reproduced with permission Bach: 571 Harmonised Chorale and 69 Chorale Melodies with figured bas corrected, edited, and annotated by Albert Riemenschnelder (© 1941 by G. Schirmer Inc Reproduced by permission of G, Schirmer Ltd Elgar: Enigma vritons (© 1899 Novello & Co, Lid Reproduced by permission. Faure: Apres un rive Reproduced by permission of Etions Hamel .ParisUnited Music Publishers Lid. ‘Rave: Avan pour une infant dfunte Reproduced by permission of Editions Max Eschig,ParisUnited Musi Publishers Li ‘Shostakovich: Plano Concerto No.2, Op. 102 (© 1957 by Anglo-Soviet Music Press Lid (for Great Britain & British Commonwealth exclding Canada) Reproduced by permission of Bosey & Hawkes Musi Publishers Li, Walton: ‘Touch her soft ips and par’ from Henry ¥ (© Oxford University Press 1947 Reproduced by perm Printed inthe United Kingdom by Halstan & Co.Ltd, Amersham, BucksExercise 1 = gl fig ag og de a Dg 1 ow vit wi ii Vv fi oF vie Vow ii Ge Se B 5 : dV AVM VE Vo vii??? oa a VO fie iv og ti ii vii? iv Vb. i vie vie ‘ic $V IV ovHARMONY IN PRACTICE oa 88 ag a aig a [84g 8 re +8 5 v8 an 8 Ge ag 8 Ag 1 Bg ae ong 8 ey bxercee 5 sa peg Eitlatg ge tates 9 ge [gl fo gt a baie vovie mt bb: Wo ov oT Wii? ¢: voi VE iv bx B48 jg DB bg 88 aa Ge ig Bg! voi ew We Voi BO OW # Vow 6% fog BD 8 i ow Vv vie Gli 8 i6 88 28 #8 WoV E WV wie ii 38 2g 584g be Soe tad @ i Voovo w BB © Ww ov re ff ittExercise 7HARMONY IN PRACTICE rercse9 sy: £ é 8 8 7? sanction’ median superoie 2 subdominant 3 8 8 bes g Ds submediant supertonic dominant 5: tonic ee ; z —_—— = A. mediant dominant leading note dominant be ey i z ov a b: dominant — supertonic subdominant Ab: dominant Exercise 10 #8 dominant 8 subdominant leading note § supertonic leading note & supertonic Gg Bb g BP g ee Bide vVowe i wv 2H Big ot gy hg iow VOB FT OW vi y 8 og 8 68 o8 PED og VE PED Og i vii i iv Db Vo e i vl wood ii vi mt vii? Ab 8 68 8 og 648 : Gus *8 38 WI 8 8 supertonic q B 8 tonic 2g 8 Vv pg OB PB v £8 #8 8 v 8 voy 8 pe ag A Vb 6 Exercise 16 — a> iS i ; $ rn 3 Exercie 17 CS age eco = HARMONY IN PRACTICE os [Be ecm o 3° . 8 é 7—9—8 Wb A tb . . Seg 8 vw G ity : ° = : 8 ib tb ° e ° ot 8B 8 g & le Ive é ‘ $ § 8 Sere le Web ‘ } $ i 8B ° > g 6 we te Wwe é ‘ $ 4 28 £ 928g ve ke vie & |e mp >ah A 2g 8 3g We Ve $ ‘ $ b @g bg vs 3 © eB FB bg og 8 og ° gg of Gg c ic ive ve ie ive ve $ $ ” : 3 ” Exercise 18 Allegro Mozart: The Magic Fate, Act 2(1791) we « i * * * ee SS es s 3 3? t G1 vb vi a its wv $ r= . « = 6 pp te ee aes * Ib it ~ v I Geta t_t £ Go i iii IV wai Mozart: Th Andante * * ~ ~ = 5 fhe Sy hy Bt eee = é a a a ae . ¥ (¢my HARMONY IN PRACTICE Exercise 18 continued Andante con moto Mendelssohn: Elfiah (1846) 62 =. . SS a— ere Dot tb [Allegretto] Bach: Motet ‘Jesu meine Freude’ (1723) *Exercise 19 G ANSWER BOOK ° oO ey o ge Be 6% tg 6-8 C8 8 2 |e olelo|= elo 8 De op 8 SoS rorovow i ovw Wa VoI wa : ——————— ag ptt Se Saag gaguaee Li ai aV Vwi wil ie Mv V Vii? A:T ii ii IV Vwi vi SSeS SSS 2 too _ lelale oo ee ee ee ee boy wow we Wo vom Ro @ Wov 4 4 2 8 Bp ee eeee! fats Qqgeagee ioe mr iv V Vivier iw Mav V VE vi? FT it IV V Wi ir = SaaS. ° ° " 2. a= — pane go eee io ovo w wovVoiwe vwuw i eq g gg aee gr gaan ta gigamnaes 1 ii ii IV V viii? i iP mItiv V Vivi i ie iy VV vii®Exercise 20 “Old Hundredth’ French Psalter (1551) * * kk RK * +e German, 15th century “Es ist ein’ Ros” arranged Praetorius (¢.1571-1621) ‘Traditional * * * BS =eoN Exercise 21 ~ no answer requiredExercise 22 x $f — ipo + G3 es TGP ge g G $38 Pe aH —— A A Paes a a | SE go ree FE oe los oe eS 3, : = rr ee ee ee eee ope etl Gg peat eG pga a iii? WM iv V VE vie A:T ae ° o V vi wilt i ii? Mtiv V VI wii? 20 “RS 20 oo 2° “BS oo Wy So oo o | ° 2 e ee ° @peeen ta fo ppettl 6 py aed (6 rs == 8 ete 8 Le loxet-—= Ls gus bt gegg geen’ a8 a a ee gee oa 8 I ii ii IV V vi vie G1 ii ii IV V vi vi? bi ii? mtiv Vv VI vii? Exercise 23 ~ no answer requiredExercise 24 Scottish Psalter (1635) Handel: Legort no. 1 in Bb (c.1720) zi = =e ee ee ee a +t This is the theme used by Brahms in his Variations on a theme by Handet Op. 24 for piano.Exercise 26 Corelli: Trio Sonata, Op. 2 No. 10 (1685) Adagio ok pet i RS Vey ee tte tae Comino [FEB te = oft VE vii ee) ‘Mozart: Piano Sonata in A minor, K310 (1778)16 HARMONY IN PRACTICE Exercise 27 oe a ° © © Jo o ° =I == ° oe Fook ve We be ive We Ve Exercise 28 - no answer required Exercise 29 “Old Hundredth’ Adapted from Dowland (1592) | BB S03 eye ike ian Adapted from Day's Psalter (1563) =e a 5Exercise 31 bib OVE: Voy e ib Vo Db vb Vv °FExercise 31 continued ors = z 8 Exercise 32 O little town of Bethlehem’ J | SSS Ab WV English traditional melody be | tt at = : : 2) gy | © chords: vi V chords: VT cadence: imperfect Hark! the herald angels sing” | [> Ghia n ptt I came upon the midnight clear’ chords: Ib V cadence: imperfect cadence: perfect adapted from Mendelssohn (1809-47) chords: VOT cadence: perfect English traditional melody adapted by Sullivan (1842-1900) chords: VT cadence: perfectANSWER BOOK Exercise 33 imperfect: Exercises 34 and 35 Ib Vb 1 IVb I Vb I Iviwi ivi ¢Exercise 36 ~ no answer requiredExercises 37 and 38 Jumping Joan’ (ere beaggee feast atp ty le te F 1 ib vo woo rv imperfect perfect pe mas = 4 (6 Coes je etiee a nen ee - loeee £ e °c Pvtw prvi 1 v 1 = peter eraer Se * j | lI : = c libWhm T WV ot 1 Tb ib Vv 1Exercise 40 ge fo a Vvov + interrupted «e vow Be IVT DOV wi f wooo ' 4 interrupted plagal interrupted plagal + Plagal cadences in a minor key normally feature a tere de PicardExercise 41 HARMONY IN PRACTICE (Adagio) (dea ae 8 = ie ip f a — ee — hye S$ieer err seer ese es Bere ic VoOVE ic VIVE interrupted interrupted = eS =i & oer t i —— ———— perfect perfectExercise 41 continued Presto ee interrupted perfect Beethoven: Piano Sonata in D minor, Op. 31 No. 2 (1802) imperfect perfectEa HARMONY IN PRACTICE Exercise 41 continued Beethoven: Piano Sonata in Eb, Op. 7 (1797-8) Allegro (erty loss t dolee ai iv OV f vb vb V Eb 1 vb 768 6 764 7 6Exercise 42 continued Bach: Chorales from “69 Chorale Melodies with Figured Bass RAs ' a ark a = a { 2 Pr Pop I> si pope 4 9 by = alin ue . oe ‘ ae at en ee ee eee 1 oe | see Neen -| + = © mLExercise 43 continued Bonny Charlie’ (“Will ye no come back again?’) Scottish Traditional Song (Andante) James Hook: ‘Dilly Dally, Shilly Shally’ (c.1800) (Allegro) gyEN 1) Harmony In PRACTICE Exercise 43 continued (Andante) ‘Margaret Casson: ‘The cuckoo’ (¢.1795) a + = f Phe ne f Se — = = = = Exercise 44 6 f ae a i vb Vb E: ib VW? Gi? iti? i? 7 ¢ ¢ $ 7 7 7 7 6 Exercise 45 IPS Bb: Vb V ie Cb ii? tt Vb iv? oa it Vv 7 6 7 6 7 7 1 q 5 5 8 iExercise 46 ‘> of : e Wu ae i a iF 9 BMS . ee aear vb a: vib Wa f# vie vid vid vb f vid ‘ 6 sa e $ $4 of ye Bt 8 3p v’b vod ©: vib vie 6 ya ja $ i 4 sf = r vl vie vb 6 7 4 3 Exercise 47 ert oExercise 48 © Vie Eb: Vid Ab: ve E: Vb c vib ot 4 4 6 6 s 2 3 5 5 3 Exercise 49 i »ANSWER BOOK Exercise 49 continuedExercise 50 continued gee 0 See As oc OO i { SRS 6g oa -= bb ib 6ANSWER BOOK Exercise 51 Schubert: ‘Wanderer’ Fantasy, Op. 15 (1822) Adagio rie s am, om vm jan on Be at om who. of vb Schubert: Moments musicaux, Op. 94 No. 2 (1828) Eb: Ve < Tchaikovsky: Symphony No. 6 in B minor, Op. 74, ‘Pathétique’ (1893) Adagio lamentoso *Ve, e et tet ee tego ted (ee Ce tHHE SE 2 Se FARE EE bootdds Sedalozs long Ad psedet —— ft \O leer cE eae (Ode se ita te ee MALO lose deg ddl saddle ‘eb Vuh VbIV? 1 e i Vb i Veibiv VUibVbi ie V oa 4 es F oi Ww V roy39 ANSWER BOOK gay 5 ii) zom wl . val -w . wd) a Bl fh EMP ML —vi||/ 4 - (s 5 tl ws Mov ae . tin. es ied _ 8 i Exercise 56 sao As seek out ot NG GN wom Es el = Nee A Ne A aia wlll > . secede || € wee vous aS A Ne Rs wae nel eae see (6 ) i 2 AN daall| 2. A lll] 2 - ne A jae > -40 WY) warmony in practice Exercise 57 “sian Buxtehuide: Camtata Das meus (72.680 s << ele A al a 7 * be ie - ss 8 $ 1 hay = nb == 2 onc “ © 6647 $ i (@): vb vib vib ib ic ivh Vo Wi Gigue Handel: Suite No.9 in G minor (pub. 1733) (o8 jib Ib vii?b Beethoven: Piano Concerto No. 4 in G, Op. 58 (1805-6) ew Hb hw mw ww Exercise 58. Ss << e 3 vii vit? ob: vie:Exercise 59 & uz rot rs ibe 6 8 7 #8 pb & 8 jg vii” & vie © vii® b: vii? f vii Exercise 60, Abo BEB [D2 apg 9) A8 vii” ib: vii ib eve ib vim ia HARMONY IN PRACTICE Exercise 62 Beethoven: Piano Sonata in € minor, Op. 13 “Pathétique’, Ist movt (1799) 9 FF 8 oie 7 f Exercise 63 Bach: Chorales R321 . . R53 . (ete PAtatt loge tities Ss loxicdle 3-0-9 rasExercise 63 continued (ees ; iad 2 Fadi! e Bett, fs = a: — v “ a: tive” Exercise 64 Dowland: ‘In darkness let me dwell” (1610) Shall woop sa stall weep 1s bh a =e - == g mb H. Lawes (1638) bey = —— = i SSS SS SS a ee) A: iii Purcell: ‘If love's a sweet passion’, from The Fain bu > ducer (1692) te (Adagio)Exercise 64 continued Bach: Chorale R110 PSS loses pay - ce Ub uh! & Exercise 65 yt Bo 8 wees = 8 ee Fe [Rowe > Gom - 9 ee = w/e ale.Exercise 66\@r2258 Ep enti 8 ne ee HARMONY IN PRACTICE (dee t ag: z low: Z pias = = (Ses a EF lous ae | vide : mieleExercise 68 Handel: Suite No. 3 (pub. 1720) (Allegro) oe a7 iie™ie Vi perfect Bach: French Suite No.6 in (c.1725) Menuet ious (¢ : ees= | ete vr = + = 5 E vot perfect Handel: Chaconne with Sixty-two Variations (Variation 4) se kok Re Oise 2 pth t-d—drd 4 do ( oe 2 Se aS gs Ss e¢e q peg tf % = 288 e-t — [524 A= Decree PEERS 5 = c Wev im eV "4 imperfect perfect Exercise 69 Bach: Chorales R104 - R252 . : s_ 2 g: = ce ee fe ta. ee | 86 4 82 t 2 C Ib v 1 IVb Ic ii’b V 1Exercise 70 Mozart: Piano Sonata in Bb, K333 (1778) Allegretto grazioso (Allegro con spirito) * imperfect perfectANSWER BOOK Exercise 70 continued Mozart: Piano Sonata in C, K309 (1777) Allegro con spirito y (¢e2F ort [> Bach: Chorale Haydn: The Creation (1798) (atlegro) nee] Coes s — “Fons te + From ‘69 Chorale Melodies with Figured Bass’ from G. C. Schemelli's Gesangbuck (published 1736).HARMONY IN PRACTICE 50. Exercise 72 me | eee jw el eo ae ea a - sa gee ved eee ML wee a ei ges “oe Se 8 ’ va ee & Wel ge ASH wee = st Se asl —eall eo TGP GN) « Exercise 73 ee ——— [= ve 1Exercise 74 or op ee tee 1 f ly 2g SS : Bach: Suite in E>, BWV 81973 (¢.1722 * 5 >, eee ee po eeereetl et — ED 1 We 1 ky, auxiliary § cademtial § (inverted plagal cadence) (imperfect cadence) Mozart: Piano Sonata in D, K311 (1777) Andante con espressione * xe ae eff tees iss = f > — =F kev IVb Ie V cadential § passing § 6 cadential $Exercise 74 continued HARMONY IN PRACTICE ‘Movart: Piano Sonata in D, K576 (1789) D: : . pis Ts — (¢ p ie 1? 7 | ! = I Te 1 1 IVe auxiliary § auxiliary § ue it)Exercise 75 We (Otretip agp a vetted yl tip iadExercise 77 HARMONY IN PRACTICE Beethoven: Symphony No. 9 int D minor, ‘Choral’ (1822-4) Allegro, ma non troppo, AS Molto allegro { Ye . i 2 los : = soa Exercise 78 Gayenent SS (eee - . = a =S=5 ‘a> (6 SS 2 2 = ly - 4 pote j v Vib(orvii?) IVb Ww vExercise 78 continued Ame (¢.1756) Gavotta Exercise 79 Rigaudon te | a bes 1 & 7 oa {oo (ib) os re . s #: (ge 2 : SS — | Fhe = SSS a tater “ Novae saaa dae 2 a4 ee ee ee fé:ivb iv? V d ib Niebvii°bibiie ie -V 5 4 a s 4 666 6 74 (Grave) Corelli: Trio Sonata, Op. 1 No.7 (1683) vii $3 -g et oe — f ° SS M12 " fo» Fe oo « c 1 Vb IVb iiib ib) = Tb ii? ~V" 1 5666 6 617 (Largo) _ s <= Fire b: ‘Vib vb ivb IIIb N° ib Pb i iib ic V i —..Cst rc ccc |. + Ne = the Neapolitan 6th, the chord built on the flattened supertonic (see Chapter 15, page 238 in the workbook).HARMONY IN PRACTICE Exercise 113 Bach: ‘Sanctus’, from Mass in B minor (1747-9) Elgar: Theme from Variations on an Original Theme (Enigma), Op. 36 (1899) Andante PEt els poe Pe et ¢ ry eae ome (enti eae see P _ molto express. — simile — — d | | Ld i Foes t 1 , SSS & i ib iv? ic ir Exercise 114 Henry Lawes: Hymn (1638) Handel: HymnExercise 114 continued Bach: Chorales Exercise 115, Allegro Exercise 116 aecthoven: Symphony No 5 nC minor Op. 67 (1808) CAttegr con bio : fl oe . * ig = ¢ ig 6 g ¢ a Pp boop ok, @ cd oo elec ls pe = = =a ¢ v TM ye iy v i + From ‘69 Chorale Melodies with Figured Bass’ from G, C. Schemelli's Gesanyéuch (published 1736) ‘The small notes represent a suggested realization,Exercise 117 Beethoven: Piano Sonata in Ab, Op. 26 (1800-01) Marci (geese aS fundbre Pp logee we Pay t ab oi Exercise 118 1) [ore | fie | [ese] [ere oD vy [orb Bigt| [abe fA wiv) | cra Arft | abet 6 Ts Ab c:Bb be : Db 450 Exercise 119 Schubert: ‘Des Millers Blumen’, from Die schiine Milllri (Moderat O89 ; 7 ee — —_— Am Bach viel Kleine Blu - menstehn, aus hel - en, baw en AW = sgensehn: der Bach der des Mal Jers Freund und bau Lieb ne ve By the brook many little flowers grow, gazing with clear blue eyes: The brook is the miller’s friend and my darling’s eyes are bright blue,ANSWER BOOK Exercise 120 Bach: Chorales eer loves Exercise 121 1 Cra V Gre W F:d Bach: Chorale R140 . 7CREE exon my practice (He peep apts Fetes loge dtee toga at ot did dus Vv Ib vi ib Vo I vi iti vib no - | (Ot Seep Erte (peng ted gl pesExercise 123 1 det V tsk es Schubert: ‘Wanderer’ Fantasy, Op. 15 (1822) Adasio : thy =: z == = =e: eg fe - ¢ rinse PEE ee § ee, = - = Is irae = : % 2 +e. — $883 og [eee E:(iib Ie Woo) Exercise 124 1 Cia V Gre W Fd Schumann: Arabeske, Op. 18 (1839) ~~ = Exercise 125, 1 arc Vv e:G ed Beethoven: Symphony No. 7 in A, Op, 92 (1812) Allegretto (at 33S Sees ft 5 ~ - @ & 1 a — (St Saas = = Cc: (vi We a (4S sail oete eS (Caer ere eee eer ma (ib 1 ii__viith Pi) ..90 HP) narmony rw practice Exercise 126 1 Cra V Gre W F:d c Ib 1 IVVdlb G: IVb Vb 7 1 (OtF Freer Fe log titty seedy t ¥ia : rele gee) > mn eR) “ey Vv 3 25 iid eek wooo to Bach: Chorales -@9 ee ay eye Deo IVb Ic iibV ye 8 > =¢Exercise 126 continued 1 Eck V Bist Wasi Exercise 127 I d:F Bach: Orchestral Suite No, 2 in B minor (¢.1738) arranged for keyboard by Bach vi ‘There are no real sequences but several varied repetitions of the ideas in bar 1 The opening and closing bars of each section use the same materialExercise 127 continued HARMONY IN PRACTICE 1 Bb:g vo oFd W Ebic Purcell: Faitest Isle, from King Arthur (1691) : ’ £_\¢ fa tet ‘a FIV vith 1 f—-——i¢ i? Vv I Bb: Vb I cc: vid tb Ww & ad i Toe eer = = we Sie SDS joao 3 Wb Vv ee I Although there are no real sequences in this song, Purcell repeats thythmic patterns. Notice how effective this isin the last line.Exercise 127 continued 1g: Var IV ¢:Bb bpd fp sequenceHARMONY IN PRACTICE Exercise 127 continued eg ee es 2 7s 1B — ==3 fer: Sa i weve This is a tightly knit piece. The opening and closing bars of each section use the same material, The [B] section features music already heard in [A Surprisingly, the return of G minor is delayed for two bars by the quaver figure (ii), marked x. Exercise 128 Morart: Piano Sonata in A minor, K310 (1778) weExercise 129 Beethoven: Piano Concerto No, 3 in C minor, Op. 37 (¢.1800) e i v vi E:aug. 6) VExercise 130 I Cra V Ge W F:d Andante con moto (« = 69) reson met —_ (a a s# loge pssExercise 131 continued Chopin: Nocturne in Db, Op. 27 No. 2 (1836) lousa Cote ot tte ie Exercise 132 Bach: Two-Part Invention No. 4 in D minor (1723) (ge let Fr eSaiiioe log = : = att = Exercise 133 Bach: Prelude in D, from The Well-Tempered Clavier, Bk 1 No. 5 (1722) fr Of— eOP—t Owe sas oe 5 SS p D: I ry I ii vib vi vbEe HARMONY IN PRACTICE Exercise 134 Bach: Two-Part Invention No. 8 in F (1723) ace, aux, ace.aux. ace, aux. Purcell: Thus, the ever-grateful Spring’, from Tite Fairy Queen (1692) —_—__ -o. 6 ot er Spring. Does her year = ly tri - bute bring, does. her, year = ly tiExercise 136 Mozart: Symphony No. 39 in Eb, K543 (1788) Andante con moto (et re thos : ls >t t t — 2 Ab: = 7 Exercise 137 Mozart: Piano Sonata in Bb, K333, 2nd movt (1778) (Andante cantabile)ro HARMONY IN PRACTICE Exercise 138 Mozart: Piano Sonata in G, K283, 2nd movt (1774) bib ed Mozart: Piano Sonata in F, K332, 3rd movt (1778) te (Allegro assai (oa se ae ee 1 | ) - | | lg « Exercise 139 Schumann: ‘Im wunderschénen Monat Mai’, from Dichterliebe, Op. 48 (1840) (o4 ee (oepsExercise 139 continuedExercise 140 Brahms: Symphony No. 1 (1876) (Animate) (ge leet 4 G = Exercise 141 ©. P. E, Bach: Sonata in B minor, 2nd movt (1779) Cantabile apn changing notes susp.Exercise 141 continued Mozart: Piano Sonata in Bb, K282 (1 apn apn, SUSp. (Adagio) ee (e = P - Pe es oe Se ee ee a.p.n. _ appogg. cor saa) t\N pads Sih Mozart: ‘Lacrymosa’, from Requiem (1791) Larghetto appogs: __aPPOBE. oe a > Exercise 142 Adagio = io = —— aan les a4 (ters ss | aes P Ney tata | et le 92 yo ——=— iF rot 6 7 3 7 ; ; fae i £ = ee 9 sire ? [9s = = Ss = £ F 7 7 5 ° 7 oo 7 a 3 : 54 3 §oR ee i 2), : ry, 3 ( z Kl GN ; «thle a o 2 al i sos § 2am CTR PN 8 bh IV avy 7 Vivo VvExercise 145, Bach: Chorales R136 ~ \ —— — ; Cy a, ry —_ a ae * aS avi? i ib HOTDAPPV i oe Exercise 146 Bach: Chorale ve Exercise 147 ered Clavier, BK 2 No, 2 (1744) ‘changing note susp. 7 pN ee Bach: Fugue in C minor, from The Well-TerExercise 147 continued changing note aux. susp susp. susp. / susp. moES -_ —=i-h Exercise 148 Bach: Fugue, from Toccata and Fugue in D minor (¢.1708) sequence phrase sree ee (o oe ee eee £ P s = vg : ‘vr ‘vit Exercise 149 Bach: Prelude in F minor, from The Well-Tempered Cl fer, Bk 2 No. 12 (1744) . : a ae — e fe { * ° \¢ Os ' Os ars (oaeee SsExercise 150 Mozart: Piano Sor 1 in C, K330 (1778) (Andante cantabile) Exercise 151 Bach: Prelude in F minor, from The Well-Tempered Clavier, Bk 2 No. 12 (1744)Exercise 152 Corelli: Concerto Grosso, Op. 6 No, 8, ‘Christmas Concerto” (¢,1680) Allegro ee 7 67 4 Exercise 153 Mozart: Symphony No. 40 in G minor, K550 (1788) (Menuetto) To 24 pant Ose oe ee ee is | Pa ° a2 J 2 - - +f¢¢ , AhExercise 153 continued Chopin: Waltz in Ab, Op. 69 No. 1 (c.1849) Lento ers eer Ab: eee losect ] ? ? P ; 7m bxereise 154 ee igo SP c oF : (¢* ¢ SS aS — a f | J | V . 2 . } _||Exercise 154 continuedExercise 156 Purcell: A New Ground (1683) (Stow) Exercise 157 ~ no answer requiredExercise 158 6 8 4 @ he G vie "VN VO Wi OVE 2 ee Ib m bee 8 % = 5 es Ab: vii? vi ate Vv >IIb a — — x§ tr ee SS SS E iv vii v &: Five? iii v on Tora , POV! of IV) aad 4i(viie” of ii) aR PRS = === eg ’ UV’ of V) ti” (vit oF it) OTT SMD or N° poe 8 Ci TV of VID ii?” c mm Tb SSS Cc: vm ive? ive? (vii of V) wv Se ee oe = c ya vo ve #9" (vii? of vi) 68 Ro Cc: vil VITO of ii) OVE SVP? (V7 of 1) ée { % | os vie vile VET (VP of ity SVEExercise 160 Beethoven: String Quartet in D, Op. 18 No. 3 (1798-1800) Andante con moto bat bg ig 7 Feb) Bb: iT Hi” Bach: Chorale R217 (ett | | loprad ieee = c Wb = Berlioz: Chorus, Thou didst from The CI thy lowly dwelling’, ‘hood of Christ (1850-54) (Allegretto) sea SD Me E «i ied n Exercise 161 ; ats 4 Py a ii ‘ny |b: Nob] Vo:Exercise 162 i Sl V'%d ib “gaaals ‘i Vid ib HI Ol] | EE =Exercise 163 f vii Vb ANSWER BOOK Beethoven: ‘Marcia funebre’, from Symphony No. 3 in Eb, “Erofca’ (1803) Exercise 164 ap a fe: aug. 6 (Ger) V 5 ° ge an aug. 6K.) V at 7 ° 8 $8. bag. 6chty V 6H ‘ v ce vaug.6 V ay 8b ee fan 48 Oe 3 ap @ a GR A ‘ ot oe g.64Ger) Ie V ¢ aug. 6 (Fr) V ot ste a ee = wv 15Exercise 165 Exercise 166ANSWER BOOK Exercise 167 Mozart: Piano Sonata in F, K494 (1786) (Allegretto) pond aug.6 6 V Ger.) 3 Mozart: Piano Concerto No. 20 in D minor, K466 (1785) ener iccce ce == r ‘ Pes es F mg.6 4 (ey) 3 Beethoven: Piano Sonata in F#, Op. 78 (1805) Allegro vivace — ceeExercise 168 Exercise 169 be (g" 8 loa, a vi © o (o oo | lo, [Exercise 170 ny Schubert: Symphony No. 8 in B minor (1822) * * * from Dido (Stow) (Woice) 2+ f 6 ry = | The movement of the part-writing, the 4-3 re “ e e suspension in the violin part, creates the (se) sound which we associate with the minor ¥5 4 i sg th Pel se imines hasan . | expressive dissonance.Exercise 170 continued Tchaikovsky: Symphony No. 6 in B minor, Op. 74, “Pathétique’ (1893) (Andante) [g%e a c et #2: D: vs Notice the powerful effect of the D# appoggiatura in this famous passage. Mahler: Symphony No. 2, ‘Resurrection’, 5th movt (rev. 1893-5) Langsamer FE = f 4 | | Be | rei we | dich | wf | dim p= | 2 id 2 be et ——| f o 2 ve Prepare ourself to live!” Walton: ‘Touch her soft lips and part’, from the film music for Henry V (1944) Siow yp ae 68 7 i [re : Exercise 171 AllegroExercise 171 continued d £ 1 Exercise 172 Andaning : t —— SS em Pitts t teri ee Pei ier losy = = a i «aire 2 Ww 7 vier apn . s@ + ‘vir ‘vim my ve ‘ * oe = — \— ‘cross-relation Set err ttereete tT ¥ vin slumber enchanted by your image 1g of happiness, that radiant mirage * This chord might also be heard as an auxiliary ii°7b between two V’ chords.Exercise 173 © i vb vb IVb ivb v Exercise 174 Handel: ‘Since by man came death’, from Messiah (1742) Grave s ed SSS ee A oh at ran eee as Since by man came death, Since by 12 = B aad ® i ivb iii tiie” IVb aug. 6 ty x) go 3 a 4 i Hie 2 Bb eg teANSWER BOOK | Exercise 175 Purcell: ‘Winter’, from The Fairy Queen (1692) + = z= = = Continuo 2 vie 7 sc ao } Exercise 176 Largo + = (¢ Ce gas ff lose a « ub vif eV P iv i Aber IV vB Gi vel ve e i Vib vii? vb tvi7aug6.V0 Vd . Pp (Fr) ¢ 4 3 rr)124 HARMONY IN PRACTICE Exercise 177 Mozart: String Quintet in G minor, K516 ( Allegro — aan SN om —+-— —— aoe = \ = b — (@ CN Ss88isss : tis —_ CLES frst — 2 7 6 ‘The following ‘ingredients’ all combine to convey agitation and a sense of profound anxiety to the listener: ‘© the descending chromatic melody line, in broken-up phrases (following an initial bar which affirms the minor key); ‘© the restless quaver accompaniment also involving semitone movements ‘© the suspension (7-6) at the highest melodic point; ‘© the prevalence of the diminished 7th in bars 34 Brahms: Intermezzo, Op. 116 No. 6 (1882) ¥ P dolce e ben a | Chrom. passing notes —_+PPBE: chrom. aux. note FAY =: = t S os 2 4 - a 237% § = le 2 5 . : 9 9 3 i In his Intermezzo, Brahms’ own instructions, ‘Andantino teneramente; p dolce ¢ ben legato’, reveal the ‘composer's intentions from the start, if that were necessary. The music conveys the mood through: ‘the serene key of E major and even tempo; ‘© the stable harmonic progression; ‘© the long, smooth melodic phrases, incorporating two contrasting yet complementary lines in the right hand; the rising chromatic inner partis particularly eloquent, answered by the upper part in bars 3 and 4; © the expressive effect of the double dissonances on the first beats of the bar and the cross-relation ‘on the second chord.Exercise 178 Schumann: "Traumerei’, from Kintderszenen, Op. 15 (1838) C: ive tiv v7 Ira HARMONY IN PRACTICE Exercise 178 continued ai xExercise 179 Chopin: Nocturne, Op. 48 No. 1 (1837) (gees ee inn. at we we wt loneHARMONY IN PRACTICE Exercise 180 Brahins: Intermezzo, Op. 118 No. 2 (1893) AL| Andante teneramente Aa = (e* bass * > | extended dominant chord C# = 9th: G# = 13th (eee Ug === 78