AS 90530 (V2) Worksheets

You are advised to spend half an hour answering each worksheet.

[1] Refer to Haydn String Quartet Op.76, No.3 on page 3.

a) This piece begins in C Major, but passes through several keys.

Study the cadences marked A - E.
For each cadence, analyse and explain:
• the key of the cadence (e.g. G minor)
• chords used at the cadence (e.g. IV-i)
• what cadence these chords make (e.g. plagal)
• how the key relates to the tonic key of C Major using the
technical name (e.g. dominant)

Write your answers in the table below:

Key Chords Cadence Rel. to tonic

A -

B -

C -

D -

E -

b) Clearly label on the score, using the appropriate circled numbers

below, ONE example of each of the following harmonic and tonal
procedures.

1 an arpeggio 2 a diminished 7th chord

3 an appoggiatura 4 a motivic sequence

5 a suspension 6 a pedal note

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c) Analyse the chords numbered (i) – (v) above the treble stave. Use
Roman numerals and give the key (e.g. IVb in E Major).
Write your answers in the space provided below.

(i) (ii)

(iii) (iv)

(v)

d) Add a cello part from bar 44 to bar 47. The chord indications outlining
the harmony are given for you below the bass stave.
Write your answer on the score.

e) Complete the violin 2 part from bar 44 to bar 47 in the style of the
preceeding bars.
Write your answer on the score.

f) Complete bar 54 to bar 56 of the music in the same style as the

preceeding bars.
You may use the following chords: I, iib, IV, V, V7
Write your answer on the score.
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[2] Refer to BALI HA’I by Rodgers & Hammerstein on pages 6 & 7

a) Analyse the chords numbered i –x above the vocal part. Use

jazz/rock chord indications, eg C, D7, Am.

i vi

ii vii

iii viii

iv ix

v x

b) The melody and chord indications are given from bar 37 to bar
40. Write a bass line (left hand of the piano part) on the score
using this information.

c) Complete the piano accompaniment harmony from bar 37 to bar

40, according to the chord indications, continuing in the style of
the previous bars. Write your answer on the score.

d) The music uses a variety of chromatically altered notes. Some of

these indicate a modulation to a new key. Others are for
harmonic decoration only (i.e. no modulation takes place). Look
at bars 1 - 20. Identify the FIRST example of a modulation to the
dominant key, and answer the following questions.

(i) Indicate the bar number(s) involved:

(ii) Name the new key:
(iii) Explain how the phrase structure of the vocal line and the
chord progressions involved in the bars that you identified at (i)
reinforce the dominant modulation.
Phrase structure:

Chord progressions:

e) Complete from bar 49 to bar 52 for both vocal and piano parts on
the score. Continue in the given style, using any tonal or
harmonic features that are appropriate. The rhythm and lyrics of
the vocal part are given to you. Write below the bass stave the
jazz/rock chords indications that you use.
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[3] Refer to Purcell’s Groves’ Dance from Dido & Aeneas on page 9.

a) Analyse the chords numbered [i – x] above the bass stave.

Use Figured Bass notation.

i vi

ii vii

iii viii

iv ix

v x

b) Add a suitable Violin I melody at bars 6-7. Write your answer on the
score.

c) Add a suitable Viola part to the same bars (6-7) to go with the Violin I
melody. Write your answer on the score.

d) Indicate the key structure for the whole extract. Write the keys clearly
on the score above the keyboard continuo part in the appropriate
places.

e) Study the main cadence points in this extract. They are:

• Bar 4
• Bar 8
• Bar 12

What similarities and differences can you find with the cadential chord
progressions in these bars? Refer to the chords used in the cadence
points, using figured bass and/or roman numerals in your explanation.

f) Indicate the keyboard continuo figures under the bass stave for bars
10-11 using the instrumental parts as a guide. Then complete the
Harpsichord continuo part/realisation. Retain the stylistic features of the
previous bars. Write your answer on the score.
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