2.

Harmonize the following melodies, employing mediant and submediant triads where appropriate:

a.

b.

c.

d.

e.

3. Study examples of nonimitative two-voice counterpoint in Music for Analysis. Then, complete the follow-
ing exercises and analyze fully, being attentive to the rhythmic and intervallic relationships between the
voices and to the clarity of the harmonic implications. Refer to Part V, Unit 19, on counterpoint.

a.

SUBMEDIANT AND MEDIANT TRIADS IN ROOT POSITION AND FIRST INVERSION 103
 b.

4. Add a bass voice to the given melody. The added voice should be as melodically independent as possible.

5. Compose a period for an instrumental combination available in class, employing the phrase and cadence
structure outlined here. (Refer to Part V, Unit 23, for information on instrumental ranges and transpositions.)

6. The following patterns may be used for composition or improvisation:

a. D major:

104 DIATONIC MATERIALS

 b. E minor:

7. Compose a double period for an instrumental combination available in class, employing the period,
phrase, and cadence structure outlined here. (Refer to Part V, Unit 23, for information on instrumental
ranges and transposition.)

SUBMEDIANT AND MEDIANT TRIADS IN ROOT POSITION AND FIRST INVERSION 105
14 The Leading Tone Triad

I. The leading tone triad is a diminished triad; it occurs in both major and minor modes.

II. The chord is used with dominant function except to replace V at a half cadence. It may also be used as a lin-
ear (embellishing) chord (still associated with tonic harmony). The triad is almost always in first inversion;
root position is very rare, and second inversion is virtually never used.

III. The third is usually doubled, as the root and fifth are tendency tones.

IV. Voice leading.

A. The root of the chord (the leading tone) always resolves stepwise upward.

B. One third of the chord generally moves stepwise downward, whereas the other third moves stepwise
upward in contrary motion.

C. The fifth of the chord, though a tendency tone, typically is freely resolved, moving stepwise up to the fifth
of the tonic chord. However, see the third example that follows, in which the tritone in the outer voices
resolves.

V. A complete summary of part-writing and doubling procedures will be found in Part V, Units 5, 6, and 7.

106
Analysis
Analyze music assigned by the instructor, keeping in mind all the elements previously considered.

Exercises

1. Realize the following figured and unfigured basses, using nonharmonic tones where appropriate:

a.

b.

c.

d.

2. Harmonize the following melodies. Three- or four-voice instrumental or keyboard textures may be
employed. Analyze all work completely.

a.

b.

THE LEADING TONE TRIAD 107