NAME

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ASSIGNMENT 2 2 . 6

I. C o m m o n - t o n e o r p i v o t - t o n e m o d u l a t i o n s
Given a t o n i c t r i a d i n D major, h o w m a n y keys can be reached by using D, F#, o r A as a p i v o t tone? W r i t e
each chord as indicated. For some, there are t w o possibilities (e.g., D as the third). U n d e r t h e chord, i n d i c a t e
(1) the m a j o r o r m i n o r key f o r w h i c h i t w o u l d be t h e t o n i c and (2) the R o m a n n u m e r a l r e l a t i o n s h i p t o
D major (e.g., Bb major would be bVI). Remember: an accidental before a Roman numeral applies to the root,
and the upper- or lowercase Roman numeral denotes the quality: bVI in D major is B)-D-Fi. For the last
chord, in which the common tone represents the seventh of a V?, indicate to which key the V7 would resolve.

A . Keep D as a c o m m o n tone.
Da s r o o t Das 3rd Das 5th D a s7 t h o f V 7

Triad: D
Roman numeral: i WI vi Ww
iv T Z

?. Keep F# as acommon tone.

F# as root F# as 3rd F# as 5th F# as 7th o f V7

Triad: ? cs fe 2% ?
Roman numeral: ?/? i fF vi
??. vi ???

C. Keep A as acommon tone.

Triad: ? A ? ? fe ? ?7
Roman numeral: ? ? w / v i i

I . E n h a r m o n i c respelling o f fully d i m i n i s h e d seventh chords

Resolve each given diminished seventh chord i n (1). Then invert the chord and respell i t enharmonically
in (2)-(4) so that each note is the root. Resolve each v i i ? chord to its tonic, based on the given Roman
numeral (i or I). In the blanks provided, indicate the key of the tonic to which each chord resolves.

(1) given r e s o l u t i o n (2) respelled r e s o l u t i o n (3) respelled r e s o l u t i o n (4) respelled resolution

C h a p t e r 22 Modulation
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(1) given resolution (2) respelled resolution (3) respelled resolution (4) respelled resolution

a ?
4
oy
o e ? ? ?? ? ?
? ?? ? ? |
? A L
M e

ITI. A n a l y s i s : R o b e r t S c h u m a n n , ? W i d m u n g , ? f r o m M y r t h e n , ? ? . 2 6 - 3 0

? ? a R o m a n n u m e r a l analysis, one chord p e r measure, t h r o u g h measure 29. T h e excerpt begins i n

m a j o r . M a r k any cadences and modulations, t h e n answer the questions t h a t follow. T h e h a r m o n y o f
m e a s u r e 2 7 is b l u r r e d by a 4 - 3 suspension and a pedal point; label t h e w h o l e measure w i t h t h e h a r m o n y
t h a t s o u n d s after the suspension resolves, o n beat 3.

F e
? ? ? ? ?

(new phrase)
?Translation: You lift me lovingly above myself, my good spirit, my better self!

(1) The bass line in 26-29 isa (circle one) tonic pedal dominant pe pedal
) ( 2 ) W h a t type of modulation is used in this passage?

? : Haag

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? ??? ? Chromatic Harmony and Form