LIBRO DE TRABAJO ESTRUCTURAS MUSICALES I

PROFESOR JHONNIER OCHOA

UNIVERSIDAD DE ANTIOQUIA
FACULTAD DE ARTES
ESCRITURA A CUATRO PARTES Y ESTILO DE TECLADO
Sección Auditiva
Sección Auditiva
Sección Auditiva
Sección Auditiva
Chapter 3
Harmonic Function; The Subdominant
Triad in Root Position

EXERCISE 1 Analysis.
l. Example 3.1.
a) Analyze the passage with RNs (Roman numerals).
b) What is the function of the chord in m. 100? Explain its voice leading and how it relates to the previous
and following chord.

e) Study the voice leading for the whole passage, focusing especially on the right hand. Does it conform with
the voice-leading guidelines we studied in chapters 2 and 3?

2. Example 3.2. Study the progression in this excerpt. Analyze it with RNs. Compare its voice leading with the
voice leading for this progression studied in this chapter and comment on your comparison.

3. Anthology, no. 56 (Clara Schumann, Trio). On what type of cadence does Clara Schumann end this piece?
Can you identify any specific voice-leading licenses taken in the left hand of the piano (mm. 284-285)? This
type of open voicing is characteristic for the lower register of the piano, and open fifths provide a very strong
harrnonic support for such broad instrumental sonorities. The deliberate parallel voicing used here by C.
Schumann may be found in instrumental writing and should not be considered a voice-leading "rnistake."

47
48 PART 1 Diatonic Harmony

W. A. Mozart, Piano Sonata in AM, K. 331, UI, mm. 97-109

Allegretto

103

Giuseppe Verdi, La, forza del destino, act IV, scene 4

Jl•
p-µ 1n=- J1
'
µ 1J ---
:b 19 1p
cie.,:} fie ri ac - cen ti, por-tin se - cqjn pre - ven ti, per-do -

5
8

te - mi pie ta, O fra - tel, pie - ta, pie ta.

ESCRITURA DE MELODÍAS
56 INTRODUCTION The Fundamentals of Music
Chapter C  Tonality: Scales and Keys 57
INTRODUCCIÓN AL CONTRAPUNTO A DOS VOCES
Scanned by CamScanner
 Vino Tinto

Fulgencio García

Fragmento

§!
!
.
.
.
!i.i.T.i.fi
mi !

µ
¥! ¥! "
d.li#i.T..I.l
¡
i.

§
si
.
.
ii.!i.i.I.1.li !

ftp.t#.Tr.lr.ir+I.i1.i.l
Adicione, en contrapunto de segunda especie, la voz inferior.
Scanned by CamScanner
Scanned by CamScanner
Scanned by CamScanner
Scanned by CamScanner