Analysis

Analyze the examples in Unit 6 of Music for Analysis. In this and all subsequent music discussed in class,
consider the following, and refer to Part V, Unit 19, for a discussion of counterpoint.

1. What is the contrapuntal relationship between the outer voices?

2. Is the bass primarily functional or linear?

3. Does imitation occur within the texture?

Exercises
1. Realize the following figured basses, employing triads in first inversion as indicated:

2. In the following progressions, introduce escape tones where indicated by an asterisk:

78 DIATONIC MATERIALS
3. In the following progressions, introduce free neighbors where indicated by an asterisk:

4. In the following progressions, introduce anticipations where indicated by an asterisk:

5. Harmonize the following melodies, employing triads in first inversion where appropriate. Employ non-
harmonic tones. Strive for a musical bass line, being attentive to the counterpoint between the outer
voices. Analyze all work completely.
a.

TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN FIRST INVERSION 79

 b.

c.

d.

6. Realize the following figured basses. Employ nonharmonic tones. Work for a musical soprano melody,
being attentive to the counterpoint between the outer voices. Analyze all work completely. For an expla-
nation of figured-bass symbols, refer to Part V, Unit 9; refer to Part V, Unit 10, for the procedure in har-
monizing a figured bass. Some of these basses may be worked out in two- or three-voice contrapuntal
texture, as indicated by the instructor; no imitation is required. See Part V, Unit 19, for a discussion of
counterpoint.

a.

b.

c.

d.

80 DIATONIC MATERIALS
7. Study examples of ground bass (basso ostinato) from the literature, and compose a passacaglia using the
following ground bass. Refer to Part V, Unit 19, for a discussion of counterpoint.

8. Complete the following two-voice contrapuntal exercises:

a.

b.

9. Harmonize the following unfigured basses. Employ triads in first inversion where appropriate, supplying
figures and analyzing completely. Work for a musical soprano melody, being attentive to the counterpoint
between the outer voices.

a.

b.

TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN FIRST INVERSION 81

10 The Supertonic Triad

I. The supertonic triad is a minor triad in the major mode and a diminished triad (indicated by the symbol •) in
the minor mode. It is found more often in first inversion than in root position, especially in the minor mode.

II. Function. The supertonic triad will generally function as a dominant preparation, a progression analogous to
IV–V. The supertonic triad may be understood as a quasi dominant to the dominant, the descending fifth rela-
tionship corresponding to that from dominant to tonic. See the circle of fifths, Part I, Unit 5.

III. Doubling.

A. ii in root position: Doubled root is preferable, and third or fifth is next.

B. ii in first inversion: Doubled third is preferable, and root or fifth is next.

C. ii• and ii•6: Doubled third is preferable; the root is doubled occasionally, but never the fifth.

IV. The supertonic triad may be preceded by tonic or subdominant chords.

A. When moving from tonic to supertonic, both in root position, upper voices generally move contrary to the
bass, but the third of the I may move to the third of the ii.

B. When moving from subdominant to supertonic, both in root position, hold the common tones.

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