246 ‘THE COMPLETE MUSICIAN CC. Corelli, Tio Sonata in D major, op. 4, no. 4 Allegro 5 EXERCISE 17.2 Composition: Continuing Sequences ‘The following sequences begin on tonic, The model and the outer-voice counterpoint of the frst chord of the copy are given, 1. Label the sequence type. 2. Continue and lead each sequence to a pre-dominant, 3. Close with an authentic cadence. 4. Write bass and soprano firs, filling in the tenor and alto only after you are sure that the repetitions replicate the model exactly. Use no accidentals, within the sequence; these are entirely diatonic sequences.CHAPTER 17 HARMONIC SEQUENCES a7CHAPTER 17 HARMONIC SEQUENCES 251 Exercises for Triadic Sequences ASSIGNMENT 173 ANALYSIS, EXERCISE 17.6 Comparison of Sequential Passages from the Literature ‘The following three examples from Mozart's Die Zauberflte (The Magic Flute), K. 620, contain a sequence. Listen to each and then, in a short parageaph, compare and contrast their content. Include in your discussion not only specific types of sequences but also their functions within the larger musical context. (AP Knabchen’ ("Three Little Boys"), act 1, scene 9 (The Tie Ladies return.) stand 2nd Ladies Drei Knib-chen, jung,schin, hold und wei-seum-schwe-ben auch auf eu - rer Rei - 5 Srd Lady rei Knib-chen, jung,schin, hold und wei-seum-schwe-ben auch auf eu - rer Rei - se (2 Mote Roche” (Hels Revenge), act2 sane rE Pey: