1UDICIÓN

UNIVERSIDAD LOS ANDES

3
DE
TEORÍA y
ANÁLISIS
Prof. Diego . Claros L,A

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Chromatidsm
MUSICAL16
Chapter

SEC,ONDARY FUNCTIONS 1
*Asignación 2
Dominantes Secundarias (I)
Ejercicios tomados del libro “Tonal Harmony - Workbook” de Stefan Kotska.
Con fines exclusivamente académicos.
=
EXERCISE 16-1

&.A. Review the material on spelling secondary dominants (p. 248). Then notate these sec-
ondary dominants in the specified inversions. Include key signatures.

1 2 3 4 5

& 11:2=
11& 11:2= IIIIB 11
d: y7¡¡y Al,: y6¡y e: Vj/VT e: v61m F: v 42r11

6 7 8 9 10

:>= 11& IIIIB 11& 11:2= 11

D: y6¡y¡ b: y7¡y A: V~/iii g: V/iv a: V~/V

11 12 13 14 15

& 11:2=
11& 11:2= 11& 11
E\,: V~/TV ftt: v6¡yrr C: y7¡¡¡ BI,: V~/IV G: vj¡y

135
136 Tonal Harmony

&
B. Label any chord that might be a secondary dominant according to the st~ps outlined
on page 248-249. Label all others with an x.
Se
1 2 3 4 5

IIBl,~&1' qq'TI llf2=luU1 11 11@ ns 11:2= 1

#ll
11@~ U¡¡, 11
f: E: C: e: g:

6 7 8 9 10

qn 11@ü## 8a llfJ=ln ilJI 11@~

:>=&''1, 11118 1,~& ''U 11
Ek f#: D: F: e:

11 12 13 14 15

@titt# 9$ 11:2=~n #1 11@~ Hit 11:2=&1' q§¿ 11@ü fflr 11

A: b: d: Bk G:
 Student Workbook Chapter 16 137

EXERCISE 16-2

A. Analysis.
1. Label chords and NCTs. Identify any six-four chords by type. This excerpt contains a set
of parallel Sths in a context that Bach must have found acceptable because he used them
so often in this situation. See if you can find them.

Bach, "Freuet euch, ihr Christen alle"

f:

2. Label chords and NCTs. Notice that the right hand is in bass clef throughout. Discuss
the sequence implied by mm. 5 to 8. Is the excerpt an example of a period? If so, is ita
parallel period ora contrasting period?

Beethoven, Sonata Op. 13, II

 Student Workbook Chapter 16 139

4. Label chords and NCTs. Ignore the grace notes in your harmonic and NCT analysis; for
example, the Eb5 in m. 1 is an upper neighbor ornamented by the appoggiatura grace note.
Comment on Chopin's use of F# and F9 in this excerpt. Where do they occur? Are they
ever in conflict? The form of the excerpt is a (parallel/contrasting) (petiod/double period).

Chopin, Mazurka Op. 67, No. 2

140 Tonal Harmony

5. Label chords and NCTs. What is the form of this excerpt? (Note: Mt;asures 1-2 are
introductory.)

Beethoven, Quartet Op. 135, III

--~--- --~---
Lento assai, cantante e tranquillo
) 11
. - ~·••
5
1
-
. - - -~-
"· ...
1
.I 1•

-·
I<. V

y
J

•v•· .______/
p cresc.
sotto voce

.
11
,I
. "· ...- ~·,.••
1 1

~- ~- ~-
V A O

-------
I<.

LJ

~-
y
' '
-:J·.._ ./ ......__,,,
p
..,.,.._, cresc.
..,.
~- - -· ~- ~- -·
1
•. l-1r.

--· -·
"·
, _,. _,.
-
¡...-,,. ,, l,,o.

LY
" -----7 -.______/
p cresc.

.... ... - ..,. - .' . -- .

.
,.
-
,
y
"
y

...
V
L.I
L:,,
' r ,J
.
• r ,J
.
•

- . r ,J
.
•
.
I
11 •
p cresc.Í---._/
 Student Workbook Chapter 16 141

6. Label the chords with roman numerals. Label NCTs in the solo bassoon part only. The
note under the fermata in m. 49 represents a V chord. It was at this point that the soloist
improvised a cadenza. The conductor waited until he heard the soloist arrive at the G3
(often trilled), at which point he would signal the orchestra to be ready for their entrance
in m. 50.

Mozart, Bassoon Concerto K. 191, II

Ob.

Hn.
inF

Bsn.

VI. I

Vla.

Ve.
D.B.
142 Tonal Hannony

45

Ob.

Bsn.

Vl.I

Vla.

Ve.
D.B.
 Student Workbook Chapter 16 143

B. For each of the following problems, first analyze the given chord. Next, find a smooth
way to lead into the chord. Although there are many possibilities, it will often work to
use a chord whose root is a P5 above the root of the secondary dominant. Experiment
with other relationships also. Then resolve each chord properly, taking special care
with the leading tone and 7th resolutions. Analyze all chords.

2 3 4 5

g: _ _ _ _ _ _ C: _ _ _ _ _ _ G: _ _ _ _ 'VÍl'V E: Ak

6 7 8 9 10

D: Bb: e: a:

c. List below each note the secondary V and V 7 chords that could harmonize that note.
You might find it helpful to refer to the charts on page 247.

1 2 3 4 5

Uu
& ii &o
11
11
11 11 11 ff o 11 11

ftt: e: D: A: Ek

6 7 8 9 10

o
&
b:
11

Bk
11
11

d:
o 11

F:
11
11

Ak
&o 11
144 Tonal Harmony

D. Provide roman numerals to show how the first note could be harmonized ~s a second-
ary dominant. The second note should be harmonized by the tonicized chord.

1 2 3 4 5

e e e
'&b
11
11 11 11 11
11ün 11&''1,~ llüff#•
11&
•• 11 11

g: F: b: f: E:

'vt
6 7 8 9 10
1
11& ' 11 e 11# 11 e 11üu# e e
e e 11 e u 11

e: C: Bb: e: A:

E. Analyze the chords specified by each figured bass, then make an arrangement for
SATB chorus. Strive for smooth voice leading, even if this results in a dull soprano
line.

1
,.
11 1
... " ..' -
1

-
I\
•,, ,,
1

..... .- .J L_
"
V,-
- .-...
,.,_
,., .... - - ..........-
1
-
4 6 7 6 6
2 5

2
 146 Tonal Harmony

G. Analyze the harmonies implied by the following soprano/bass framework. Then make
a more interesting version for piano, beginning with the two measures given below.

ti
. '·~ ••.... -· n • ~- -P-· -(9-º
-·
,I{
,I

-
,_
-·
,_
r,J •
,_

,... ...--,,
. " .... . _,.
1

--· ,~. 1

-
-
_,. ...- "',_
.
, r~ • -·
,-

-
I r,J • 1
V

tt V• 1

====-
.'-., -'" ....••.
ti
,I
.. > ,r

,~
-~!_,
- -. _,
- --
_,
c.,
0-. ••

..-...- ~
p
L
- I
.. " ..•• -.J -
'l,O

,_ ,.
_,
1 IJ-
- .-
_,
1
_,
-
-
-... -
"-.__l't. / íl
--
1 1

.'
#(
ti
\I

,
. '"
1
1
\ ,-
I
... .
,

V
"
 Student Workbook Chapter 16 147

H. Continue the example below to make a total of at least eight measures. Include one or
ŒïÑÎï#
more secondary dominants and end with a PAC. Then score it for four instruments
En
found in your class. Analyze all chords and NCTs.

f\
I \I ••

-
., _, - 11-t

.... -
I< ••

jt
'
._¡ - ..... - ""
í Í'--~~ I

t
1

\
.. -- - -- -•
-, .. .,..
... .--w

....
1 j--: l ., }.,.
.
'
-
1 }
.,.
•
' 1 1