MusicTheory Aug 2020

Music Theory for the
21st-Century Classroom
Music Theory for the
21st-Century Classroom
Robert Hutchinson
University of Puget Sound
August 17, 2020

Website: musictheory.pugetsound.edu
©2017 Robert Hutchinson
Permission is granted to copy, distribute and/or modify this document under
the terms of the GNU Free Documentation License, Version 1.2 or any later
version published by the Free Software Foundation; with no Invariant Sections,
no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is
included in the appendix entitled “GNU Free Documentation License.”
Acknowledgements
I owe a huge thanks to Robert Beezer for recommending PreTeXt (formerly

“MathBook XML”) as a means to author Music Theory for the 21st–Century
Classroom. His work creating the “world” of PreTeXt made it easier than
I could have imagined to create this text in all its forms (online, PDF, and
print).
Also of incredible value, and without whom this text would not exist, is
Jahrme Risner, who helped me wrap my head around the nitty gritty of Pre-
TeXt and patiently coached me through entering commands in the terminal.
I wish to thank my colleague, Gwynne Kuhner Brown, for co–piloting the
use of this text at the University of Puget Sound and for suggesting extremely
helpful clarifications and corrections.
Finally, I must thank my wife, Dawn Padula, Director of Vocal Studies at
the University of Puget Sound and musician extraordinaire, for entertaining
my endless questions about my choices for musical examples and the clarity of
explanations and diagrams.
v
Preface
Music Theory for the 21st–Century Classroom is an openly–licensed online

four–semester college music theory textbook. This text differs from other music
theory textbooks by focusing less on four–part (SATB) voiceleading and more
on relating harmony to the phrase. Also, in traditional music theory textbooks,
there is little emphasis on motivic analysis and analysis of melodic units smaller
than the phrase. In my opinion, this led to students having difficulty with
creating melodies, since the training they are given is typically to write a
“melody” in quarter notes in the soprano voice of part writing exercises. When
the assignments in those texts ask students to do more than this, the majority of
the students struggle to create a melody with continuity and with appropriate
placement of harmonies within a phrase because the text had not prepared
them to do so.
In Music Theory for the 21st–Century Classroom, students learn about
motive, fragment, phrase, and subphrase, as well as types of melodic alter-
ation like inversion, intervallic change, augmentation, diminution, rhythmic
change, ornamentation, extension, and retrograde. By understanding motive
and subphrase (also known as “phrase segment” or “phrase member”), I believe
students will better understand the logic and construction of melodies, which
will aid them in creating their own music.
This text is meant to take the student from the basics of reading and writing
pitches and rhythms through twelve–tone technique and minimalism over the
course of four semesters. Whenever possible, examples from popular music
and music from film and musical theater are included to illustrate melodic and
harmonic concepts, usually within the context of the phrase.
Performances of notated examples are linked to legal, copyrighted YouTube
videos with the start and stop time embedded to prevent the instructor the
need to search for the passage. The online nature of the text allows links
between related concepts (including the index) as well as to relevant pages on
the internet.
While I have considered creating a unique curriculum for the theory pro-
gram at my university since 2001, the impetus to create an online music theory
textbook that could be of use not only to my students but to students at other
colleges came from reading “Transforming Music Study from its Foundations:
A Manifesto for Progressive Change in the Undergraduate Preparation of Mu-
sic Majors” by the College Music Society’s Task Force on the Undergraduate
Music Major.
The ideas in “the Manifesto,” as it is often called—that colleges need
to train students to be composer–performer–improvisers (and I would add
“arrangers”) like Bach and Beethoven as well as Charlie Parker and Jimmy
Page—resonated with my musical experience growing up, which included writ-
ing, arranging, and playing popular music on electric guitar, electric bass,
vi
vii
keyboards, and drumset in high school—both in my uncle’s home recording

studio and with a garage band I formed. It also resonated with my experiences
playing jazz and fusion as a professional bassist ever since I was in college,
a situation where the majority of the basslines I play are improvised from
lead-sheet symbols.
My Ph.D. is in composition with a supporting area in music theory. I teach
students to write motets and fugues in the upper–division counterpoint class.
I believe in compositional craft. I also acknowledge that there are many things
one can value in music, including lyrics, groove, production, texture, emotion,
harmony, virtuosity, and intellect, to name a few. In this textbook I try to
cover as many as possible of these items that relate to how music is made and
how understanding can enrich one’s experience.
Robert Hutchinson
Tacoma, Washington 2017
Contents
Acknowledgements v
Preface vi
1 Basic Concepts 1
1.1 Pitch . . . . . . . . . . . . . . . . . . . . . . 1
1.2 Notation . . . . . . . . . . . . . . . . . . . . . 1
1.3 Octave Registers . . . . . . . . . . . . . . . . . . 1
1.4 Accidentals . . . . . . . . . . . . . . . . . . . . 3
1.5 Enharmonic Notes . . . . . . . . . . . . . . . . . 3
1.6 Practice Exercises. . . . . . . . . . . . . . . . . . 4
2 Major Scales and Key Signatures 5

2.1 Half Steps and Whole Steps . . . . . . . . . . . . . . 5
2.2 The Major Scale . . . . . . . . . . . . . . . . . . 5
2.3 Major Key Signatures . . . . . . . . . . . . . . . . 6
3 Minor Scales and Key Signatures 10

3.1 Minor Scales . . . . . . . . . . . . . . . . . . . 10
3.2 Minor Key Signatures . . . . . . . . . . . . . . . . 10
3.3 Scale Degree Names . . . . . . . . . . . . . . . . . 14
4 Basics of Rhythm 17
4.1 Time Signature . . . . . . . . . . . . . . . . . . 17
4.2 Durational Symbols . . . . . . . . . . . . . . . . . 17
4.3 Dots and Ties . . . . . . . . . . . . . . . . . . . 19
4.4 Meter . . . . . . . . . . . . . . . . . . . . . . 20
4.5 Tuplets . . . . . . . . . . . . . . . . . . . . . 21
4.6 Common Rhythmic Notation Errors . . . . . . . . . . . 21
viii
CONTENTS ix
5 Intervals 26
5.1 Introduction to Intervals . . . . . . . . . . . . . . . 26
5.2 How to Identify Perfect, Major, and Minor Intervals . . . . . 27
5.3 How to Write Perfect, Major, and Minor Intervals . . . . . . 29
5.4 Inversion of Intervals Explained. . . . . . . . . . . . . 29
5.5 Augmented and Diminished Intervals. . . . . . . . . . . 30
6 Triads 32
6.1 Introduction to Triads . . . . . . . . . . . . . . . . 32
6.2 Lead-Sheet Symbols . . . . . . . . . . . . . . . . . 32
6.3 Inverted Triads. . . . . . . . . . . . . . . . . . . 34
6.4 Analyzing Chords. . . . . . . . . . . . . . . . . . 35
6.5 Simple “Sus” Chords . . . . . . . . . . . . . . . . 36
6.6 Summary . . . . . . . . . . . . . . . . . . . . . 37
7 Roman Numerals and Cadences 39

7.1 Roman Numeral Chord Symbols . . . . . . . . . . . . 39
7.2 Diatonic Chords in Major . . . . . . . . . . . . . . . 40
7.3 Diatonic Chords in Minor . . . . . . . . . . . . . . . 40
7.4 Cadences . . . . . . . . . . . . . . . . . . . . . 42
8 Seventh Chords 51
8.1 Introduction to Seventh Chords. . . . . . . . . . . . . 51
8.2 The IV/5 “sus” chord . . . . . . . . . . . . . . . . 52
8.3 Roman Numerals of Diatonic Seventh Chords . . . . . . . 53
9 Harmonic Progression and Harmonic Function 55

9.1 The Circle of Fifths Progression . . . . . . . . . . . . 55
9.2 Harmonic Rhythm . . . . . . . . . . . . . . . . . 60
9.3 Shorter Progressions from the Circle of Fifths . . . . . . . 61
9.4 Harmonic Function . . . . . . . . . . . . . . . . . 67
9.5 Exceptions Created by Harmonic Sequences . . . . . . . . 76
9.6 The Subtonic VII Chord in Popular Music. . . . . . . . . 78
9.7 The Best-Seller Progression . . . . . . . . . . . . . . 80
9.8 The i–VII–VI–VII Progression . . . . . . . . . . . . . 82
10 Non-Chord Tones 87
10.1 Introduction to Non-Chord Tones . . . . . . . . . . . . 87
10.2 Passing Tones . . . . . . . . . . . . . . . . . . . 87
10.3 Neighbor Tones . . . . . . . . . . . . . . . . . . 88
10.4 Appoggiatura . . . . . . . . . . . . . . . . . . . 89
10.5 Escape Tone. . . . . . . . . . . . . . . . . . . . 90
10.6 Double Neighbor . . . . . . . . . . . . . . . . . . 91
10.7 Anticipation. . . . . . . . . . . . . . . . . . . . 92
CONTENTS x
10.8 Pedal Point . . . . . . . . . . . . . . . . . . . . 93

10.9 Suspension . . . . . . . . . . . . . . . . . . . . 95
10.10Retardation . . . . . . . . . . . . . . . . . . . . 98
10.11Incomplete Neighbor. . . . . . . . . . . . . . . . . 98
10.12Adding Non-Chord Tones to a Chord Progression . . . . . . 99
10.13Practice Exercises. . . . . . . . . . . . . . . . . . 100
11 Melodic Analysis 103

11.1 Motive. . . . . . . . . . . . . . . . . . . . . . 103
11.2 Melodic Alteration . . . . . . . . . . . . . . . . . 106
11.3 Fragment . . . . . . . . . . . . . . . . . . . . . 110
11.4 Phrase . . . . . . . . . . . . . . . . . . . . . . 111
11.5 Subphrase . . . . . . . . . . . . . . . . . . . . 114
12 Form in Popular Music 118

12.1 Verse-Chorus Form . . . . . . . . . . . . . . . . . 118
12.2 AABA Form . . . . . . . . . . . . . . . . . . . 119
12.3 ABAC Form . . . . . . . . . . . . . . . . . . . 120
12.4 The 12-Bar Blues . . . . . . . . . . . . . . . . . . 121
12.5 Harmonically Closed and Open Sections . . . . . . . . . 121
13 Phrases in Combination 123

13.1 The Perfect Authentic Cadence . . . . . . . . . . . . . 123
13.2 The Sentence . . . . . . . . . . . . . . . . . . . 123
13.3 The Period . . . . . . . . . . . . . . . . . . . . 125
13.4 The Asymmetrical Period . . . . . . . . . . . . . . . 131
13.5 The Double Period . . . . . . . . . . . . . . . . . 132
13.6 Phrase Groups and Phrase Chains. . . . . . . . . . . . 136
13.7 The Elision . . . . . . . . . . . . . . . . . . . . 138
13.8 Summary of Phrases in Combination . . . . . . . . . . . 140
14 Accompanimental Textures 143

14.1 Texture . . . . . . . . . . . . . . . . . . . . . 143
14.2 Chorale Texture . . . . . . . . . . . . . . . . . . 144
14.3 Arpeggiated Accompaniments . . . . . . . . . . . . . 146
14.4 Block Chord Accompaniments . . . . . . . . . . . . . 149
14.5 Afterbeats and Offbeats . . . . . . . . . . . . . . . 160
14.6 The 3–2 Son Clave . . . . . . . . . . . . . . . . . 164
14.7 Distinctive Bass Lines . . . . . . . . . . . . . . . . 172
15 Creating Contrast Between Sections 175

15.1 The Elements of Music . . . . . . . . . . . . . . . . 175
15.2 Mozart, Eine kleine Nachtmusik, K. 525, II. . . . . . . . . 176
15.3 “Rude” by MAGIC! . . . . . . . . . . . . . . . . . 178
CONTENTS xi
16 Figured Bass 181

16.1 Historical Context . . . . . . . . . . . . . . . . . 181
16.2 Figured Bass Inversion Symbols . . . . . . . . . . . . 182
16.3 The Cadential Six-Four Chord . . . . . . . . . . . . . 184
16.4 Other Occurrences of Six-Four Chords . . . . . . . . . . 185
16.5 Additional Information . . . . . . . . . . . . . . . . 186
17 Secondary Dominant Chords 189

17.1 Examples with Secondary Dominants . . . . . . . . . . 189
17.2 Tonicization . . . . . . . . . . . . . . . . . . . . 191
17.3 Secondary Dominants in Major and Minor . . . . . . . . . 193
17.4 Analyzing Secondary Dominants . . . . . . . . . . . . 194
17.5 Writing Secondary Dominants . . . . . . . . . . . . . 194
17.6 Irregular Resolutions of Secondary Chords . . . . . . . . . 195
18 Secondary Diminished Chords 201

18.1 Secondary Diminished Chords . . . . . . . . . . . . . 201
18.2 Secondary Diminished Chords in Major and Minor. . . . . . 203
18.3 Analyzing Secondary Diminished Chords . . . . . . . . . 204
18.4 Writing Secondary Diminished Chords . . . . . . . . . . 204
19 Mode Mixture 207

19.1 Mode Mixture . . . . . . . . . . . . . . . . . . . 207
19.2 Harmonization of Borrowed Scale Degrees . . . . . . . . . 215
19.3 Analyzing and Writing Borrowed Chords . . . . . . . . . 215
19.4 The Deceptive Cadence with 2 VI . . . . . . . . . . . . 216
19.5 The Picardy 3rd . . . . . . . . . . . . . . . . . . 218
20 The Neapolitan Chord 220

20.1 The Neapolitan Chord . . . . . . . . . . . . . . . . 220
20.2 Examples of the Neapolitan Chord . . . . . . . . . . . 221
21 Augmented Sixth Chords 224

21.1 Augmented Sixth Chords . . . . . . . . . . . . . . . 224
21.2 Types of Augmented Sixth Chords . . . . . . . . . . . 224
21.3 Analyzing Augmented Sixth Chords . . . . . . . . . . . 225
21.4 Lead-Sheet Analysis of Augmented Sixth Chords . . . . . . 225
21.5 Examples with Augmented Sixth Chords . . . . . . . . . 226
21.6 Distingushing Between Chromatic Harmonies. . . . . . . . 231
21.7 Descending Chromatic Bass Lines . . . . . . . . . . . . 231
21.8 Chromatic Pre-Dominant Chords . . . . . . . . . . . . 235
CONTENTS xii
22 Modulation 237
22.1 Modulation . . . . . . . . . . . . . . . . . . . . 237
22.2 Tonicization versus Modulation . . . . . . . . . . . . . 237
22.3 Key Relationships . . . . . . . . . . . . . . . . . 241
22.4 Modulations with Diatonic Pivot Chords . . . . . . . . . 241
22.5 How to Recognize a Key After a Modulation . . . . . . . . 244
22.6 Modulations with Chromatic Pivot Chords . . . . . . . . 245
22.7 Modulations Without Pivot Chords . . . . . . . . . . . 248
23 Enharmonic Modulation 262

23.1 Enharmonic Modulation . . . . . . . . . . . . . . . 262
23.2 The V7 and Ger+6 as Pivot Chords . . . . . . . . . . . 263
23.3 The Fully Diminished Seventh as Pivot Chord . . . . . . . 267
24 Binary and Ternary Forms 274

24.1 Binary and Ternary Form . . . . . . . . . . . . . . . 274
24.2 Sectional versus Continuous . . . . . . . . . . . . . . 274
24.3 Balanced Binary . . . . . . . . . . . . . . . . . . 276
24.4 Rounded Binary . . . . . . . . . . . . . . . . . . 278
24.5 Simple Binary . . . . . . . . . . . . . . . . . . . 281
24.6 Binary Principle . . . . . . . . . . . . . . . . . . 282
24.7 Ternary Form . . . . . . . . . . . . . . . . . . . 283
24.8 Distinguishing between Rounded Binary and Ternary . . . . . 286
25 Sonata and Rondo Forms 294

25.1 Sonata Form . . . . . . . . . . . . . . . . . . . 294
25.2 The Four Structural Functions in Music. . . . . . . . . . 296
25.3 Rondo Form. . . . . . . . . . . . . . . . . . . . 301
25.4 Rondo Character . . . . . . . . . . . . . . . . . .304
25.5 Standard Forms in a Multimovement Classical Piece . . . . . 305
26 Voice Leading Triads 310

26.1 Voice Leading . . . . . . . . . . . . . . . . . . . 310
26.2 Types of Motion . . . . . . . . . . . . . . . . . . 310
26.3 Objectionable Parallels . . . . . . . . . . . . . . . . 311
26.4 Voice Ranges . . . . . . . . . . . . . . . . . . . 311
26.5 Rules of Melody . . . . . . . . . . . . . . . . . . 312
26.6 Rules of Spacing . . . . . . . . . . . . . . . . . . 312
26.7 Voice Leading Root Position Triads in Four Parts . . . . . . 313
26.8 Voice Leading First-Inversion Triads . . . . . . . . . . . 315
26.9 Voice Leading Second Inversion Triads . . . . . . . . . . 318
26.10Special Situations . . . . . . . . . . . . . . . . . . 318
26.11Types of Six-Four Chords . . . . . . . . . . . . . . . 319
26.12Summary of Doubling Rules for Triads . . . . . . . . . . 319
CONTENTS xiii
27 Voice Leading Seventh Chords 323

27.1 Voice Leading Seventh Chords . . . . . . . . . . . . . 323
27.2 Voice Leading Successive Seventh Chords . . . . . . . . . 325
27.3 Voice Leading the V7 to I Progression . . . . . . . . . . 326
27.4 The Special Resolution of vii ◦7 (and vii ø7 ) . . . . . . . . 328
27.5 When to Use Seventh Chords . . . . . . . . . . . . . 328
28 Voice Leading With Non-Chord Tones 330

28.1 Voice Leading With Non-Chord Tones . . . . . . . . . . 330
28.2 Avoiding Objectionable Parallels . . . . . . . . . . . . 331
28.3 Adding Non-Chord Tones to a Chord Progression . . . . . . 331
29 Voice Leading Chromatic Harmonies 337

29.1 Voice Leading Secondary Chords . . . . . . . . . . . . 337
29.2 Voice Leading Borrowed Chords . . . . . . . . . . . . 338
29.3 Voice Leading the Neapolitan Chord . . . . . . . . . . . 339
29.4 Voice Leading Augmented Sixth Chords. . . . . . . . . . 339
30 Introduction to Counterpoint 343

30.1 Species Counterpoint . . . . . . . . . . . . . . . . 343
30.2 First Species Counterpoint . . . . . . . . . . . . . . 343
30.3 Second Species Counterpoint. . . . . . . . . . . . . . 345
30.4 Third Species Counterpoint . . . . . . . . . . . . . . 347
30.5 Fourth Species Counterpoint . . . . . . . . . . . . . . 348
30.6 Fifth Species Counterpoint . . . . . . . . . . . . . . 349
30.7 Invention Expositions . . . . . . . . . . . . . . . . 349
30.8 Fugue Analysis. . . . . . . . . . . . . . . . . . . 353
31 Introduction to Jazz Theory 364

31.1 Jazz Chord Basics . . . . . . . . . . . . . . . . . 364
31.2 Chord Symbol Specifics . . . . . . . . . . . . . . . 366
31.3 Altered Dominant Seventh Chords . . . . . . . . . . . 366
31.4 Chord Labels . . . . . . . . . . . . . . . . . . . 367
31.5 How to Write Jazz Chords . . . . . . . . . . . . . . 368
31.6 How to Analyze Jazz Chords. . . . . . . . . . . . . . 369
31.7 Jazz Chord Voicings . . . . . . . . . . . . . . . . . 371
31.8 Standard Chord Progressions . . . . . . . . . . . . . 372
31.9 Scales . . . . . . . . . . . . . . . . . . . . . . 374
31.10How to Determine Chord-Scale Relationships. . . . . . . . 377
31.11Harmonizing the Bebop Scale . . . . . . . . . . . . . 378
CONTENTS xiv
32 Impressionism and Extended Tonality 382

32.1 Impressionism . . . . . . . . . . . . . . . . . . . 382
32.2 Pandiatonicism. . . . . . . . . . . . . . . . . . . 386
32.3 Quartal, Quintal, and Secundal Harmony . . . . . . . . . 387
32.4 Polychords . . . . . . . . . . . . . . . . . . . . 388
33 Set Theory 392

33.1 Set Theory . . . . . . . . . . . . . . . . . . . . 392
33.2 Normal Form . . . . . . . . . . . . . . . . . . .395
33.3 Prime Form . . . . . . . . . . . . . . . . . . . . 396
33.4 Interval Vector . . . . . . . . . . . . . . . . . . . 399
33.5 Forte Numbers . . . . . . . . . . . . . . . . . . . 401
33.6 Lists of Set Classes . . . . . . . . . . . . . . . . . 401
33.7 Transposition (Tn ) . . . . . . . . . . . . . . . . .404
33.8 Inversion (Tn I). . . . . . . . . . . . . . . . . . . 405
34 Serialism 408
34.1 Twelve-Tone Technique . . . . . . . . . . . . . . . . 408
34.2 Determining Row Forms . . . . . . . . . . . . . . . 410
34.3 Writing Row Forms . . . . . . . . . . . . . . . . . 411
34.4 Twelve-Tone Matrix . . . . . . . . . . . . . . . . . 411
34.5 Row Form Presentation in Music . . . . . . . . . . . . 412
34.6 Non-Twelve-Tone Serialism . . . . . . . . . . . . . . 413
35 Minimalism 417
35.1 Additive Minimalism . . . . . . . . . . . . . . . . 417
35.2 Phase Shifting . . . . . . . . . . . . . . . . . . . 418
35.3 Homework Assignments . . . . . . . . . . . . . . . 420
A Answers to Practice Exercises 421
B GNU Free Documentation License 452
Index 459
Chapter 1
Basic Concepts
1.1 Pitch
& 51
Pitch has to do with notes. On the piano there are 88 notes. As you move to
the right on a piano, the notes sound higher. Notes sound lower as you move
to the left. Try it on a piano with a smaller range at the following website.
lower higher
1.2
1 Notation
2 3 4 5 6 7 8 9 10
Notes are written on a five-line staff . A clef orients the lines to a reference
point. For example, the G clef, when placed on a five-line staff, becomes the
2 treble clef , the most well known clef. In treble clef, the notes on the lines are
&
E–G–B–D–F from lowest to highest, often remembered through the traditional
mnenomic “Every Good Boy Does Fine.” The spaces are F–A–C–E from lowest
to highest. Staves (the plural of “staff” in musical terminology is “staves”) are
œ
extended by the ledger lines.
?
& œ
HW F Fine E
œ ledger lines
D Does C
B Boy
?
A
&
G Good F
E F Every Fine E
œsurrounding
D Does C
B Boy A
G Good F
E Every
1 The2 F clef,
3 when 4placed on
5 a five-line
6 staff with7 the dots
8 the
9 lines
ledger 10
? w
2 second line from the top, creates the bass clef . See the example for the names
w Do wFine? w wE G
wG B D F B w
of lines and spaces,
A and for mnemonics toAlways
remember them.
B w &
3 Grass
?
& w Eat Grass
2 Eat
F w
A Goodw Always w
Boys C Cows
A All
&
Fine G
D Do E
B C
Boys Cows
G Good A All
1 2 3 4 5 6 7 8 9 10 11 12
3
1.3 Octave Registers ?
& œ
w names used inwmusic are ABCDEFG (knownw as thew“musical alpha-
3
?
& After G, the ?ABCDEFG
w occursB again and again.
w w
note A returnswand
7 The note
& œ w w B w w
bet”).
œ
HW
? 1 2 3 4 5 6 1 7 8 9 10 11 12
4
œ
?Example
4
bw
1
& w bœ ‹œ w
2 3 4
w
11
#w
&
ledger lines
F
D Boy
G B Good
?
2
CHAPTER 1. BASIC CONCEPTS
A Always E 2 Every
Grass
F Fine E G Eat
B D Boys Do A
C Cows
All octave (which means the
G Good
The distance from the first A to the second A is an
?
notes are eight steps apart.)
?
A 2B C D E F G A
&
?
3
1 2 3 4 5 6 7 8 (octave)
F Fine
D of the same name in the next Boy A Does
A FC
The distance from any note to a note register
G B (abbreviated
above or below is called an octave “8ve”). Good F Do
half step E
How can the piano keyboard have 88 notes Every
whole stepwhen there areBonlyDseven note BoysF
G
names? The musical alphabet repeats 7 times (with an extra ABC at the Good
?
4
top), which means we have at least seven octave registers. (There are also five
chromatic notes in each register, which we will learn about when we discuss
Accidentals.) When learning about octave registers, we will focus on the note
?
2 C for reasons that will soon become clear when we learn about the major scale.
We use octave registers (C4 , D5 , etc.) to specify the exact register of
a note. The note C4 is known as “middleAC” and is an important reference Always
F below.
point. See the keyboard 3in the example Fine E
half step whole step D Boys Do A C
G B
& œ
Good
B0 C1 C2 C3 C4 B4C5 C6 C7 C8
Note that the register number changes after the noteB each time (B4 is
followed by C5 ).
œ
In treble clef, middle C is notated on the ledger line below the staff. In
?
bass clef, middle C is notated on the ledger line above the staff.
3 4
& œ
7
B œ
œ
Figure 1.3.1 Middle C (C4) in treble clef and bass clef
?
4 The other two commonly used clefs are alto clef and tenor clef . Each
7
B œ
use a C clef that, when 8placed on a staff, designate the placement of middle C.
B œ
B0 C1 C2 C
Figure 1.3.2 Middle C in alto clef and tenor clef
The grand staff , which is a treble and bass clef joined together by a
B œœ
8 bracket, is how piano music is written.
œ œ œ œ œ œ ˙
& 44 œ œ œ œ œ œ œ
Middle C
? 44 œ œ œ œ œ œ C2œ œ ˙ C3
œ œ
œ œ œ œ
B0 C1 C4 B4C5
Middle C
Note that middle C is always clearly notated in either the upper or lower
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
5
&
staff and never floats between the two staves.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
to A Major key signature
w w
& w w ww w w
CHAPTER 1. BASIC CONCEPTS 3
1.4 Accidentals
m6 A is below F M3 A is above F
b w w b ww w ww w ww w # ww w
There are five types of accidentals; accidentals are characters that can be
w w w w
195
& b w a pitchwa half step. w #w

placed before notes to raise or lower them.
b w• The sharpwsymbol—4—raises
m2 M7 M2flat symbol—
• The m7 m32—lowers
M6 aM3 half P4
pitch am6 step. P5 °4 +5
• The double sharp symbol—5—raises a pitch two half steps, or a whole
step.
How Intervals Invert
• The double flat symbol—3—lowers a pitch two half steps, or a whole
step. 1 8 M m
2 7 P P
• The natural symbol—3 66—cancels
+ out° any other accidentals that may have
occurred earlier in4a measure
5 or in Major Key Signatures or Minor Key
Signatures.
201
&w bw nw #w nw
Figure 1.4.1
1.5 Enharmonic Notes

4 2
Observe that C and D are the same note on the piano but are written as
different notes on the staff.
&
#œ bœ
Figure 1.5.1
4 2 4 2 4 2
This occurs with all the black keys on the piano (C =D , D =E , F =G ,
4 2 4 2
G =A , A =B ). When two notes sound the same but are written as two
2 CHAPTER 1. BASIC CONCEPTS 4
&
different notes on the staff, the written notes are said to be enharmonic.
Notes on the white keys of the piano can be written enharmonically as well
4 2 5
(C=B , E=F , D=C , etc.).
HW
5
& 1.6
1 Practice Exercises
& 51 1 2 3 5 6 7
1. 4
For each note on the piano keyboard, specify the 8
note name and9octave
10
register.
w w w
w w ?w Bw w
3
& w Bw w w
1 2 3 4 5 6 7 8 9 10
1 2 3 4 5 6 7 8 9 10 11 12
1 2 3 4 5 6 7 8 9 10
w w w
2. For each note on the staff, specify the note name and octave register.
w w w ?w w Bw w w
2
& Bw
ww B w? w B
w w
7
&
2
& HW
w w w
1 2 3 4 5 6 7 8 9 10 11 12
6 1 two2 3 4 5 6 7 for8 each9 given10note.11 12
&
3. Provide enharmically equivalent notes
bw
Example 1
& w bœ ‹œ w
2 3 4
w
11
#w
b œ ‹ w
Example
? # œ
1 2 3 4
‹ w w
16
PDF versions of the textbook, homework exercises, and practice exercises can
be found at
HW bw ∫ w
musictheory.pugetsound.edu
Chapter 2
Major Scales and Key Sig-

natures
2.1 Half Steps and Whole Steps

?
5
A half step on a piano keyboard is the distance from one note to the next
nearest note. A whole step is made of two half steps.
half step whole step
2.2 The Major Scale

A major scale contains a specific succession of whole and half steps. It is helpful
to think of the pattern as consisting of two tetrachords. (A tetrachord is a
four-note scale segment.) The lower tetrachord consists of the pattern whole
step, whole step, half step. A whole step joins the lower tetrachord to the
upper tetrachord. The upper tetrachord duplicates the pattern in the lower
one: whole step, whole step, half step. If we use W for whole step and H for half
step, the major scale pattern is W–W–H, Whole–step connection, W–W–H.
5
B
9
CHAPTER 2. MAJOR SCALES AND KEY SIGNATURES 6
&
tetrachord tetrachord
#œ bœ
W W HW W W H
12
Figure 2.2.1 The D major scale on a keyboard
B
10
tetrachord
tetrachord
œ
W W H
&œ œ œ œ #œ
œ #œ
W W H W
Figure 2.2.2 The D major scale in treble clef

All major scales use the notes of the musical alphabet in order; no notes are
skipped and no notes occur twice. In the example above, the first four notes
4 2 2
are D–E–F –G, not D–E–G –G. In D–E–G –G, G erroneously occurs twice
4
and the F between E and G is skipped.
2.3 Major Key Signatures

A key signature is placed at the beginning of a piece (or the beginning of a
section) and is written with the clef on the beginning of each line of music.
The key signature reminds the performer which sharps or flats are in the
scale (or key) of the piece and prevents the composer or arranger from writing
every sharp or flat from the scale every time it occurs.
& œH œ # œ œ œ
W W W
13
W W H W
## 2 ## 2
& 4 œ œ œ œ œ œ 4˙ œ œ œ œ œ œ œœ œœ œ˙œ œ œœ œ˙ œ œ œ œœ œœ œ ˙˙
& œœ œœ ˙ œœ
25
#
& # œœ œœ œœ ˙ œœ œœ
œœ ˙ œœ œœ
## œ œLittle˙ Star"œin Dœ major
œœ ˙
& œ œ œ œ œ Figure œ œTwinkle,
œ ˙ 2.3.1œ "Twinkle,
œ œœ œœ ˙
#
& #
37
There are 15 major key signatures. The key of C major has no sharps or
flats in the key signature. The other key signatures can have between 1 to 7
sharps and 1 to 7 flats, giving us the other 14 key signatures.
# # # # ## # ## # # # # # # # # # # # # # # # #
## & # # #
50
&
G
G D
D A
A E
E B
B F#
F C#
C
##
##
62 Figure 2.3.2 Major Key Signatures using Sharps
bb bbb bbbb bbbbb bbbbbb bbbbbbb

&
&b
F Bb Eb Ab Db Gb Cb
##
Figure 2.3.3 Major Key Signatures using Flats
b
It is important to memorize the order of sharps and flats, since you will be
writing key signatures regularly.
The order of sharps is F–C–G–D–A–E–B, often remembered by a mnemonic.
One common mnemonic for the order of sharps is “Fast Cars Go Dangerously
Around Every Bend.”
The order of flats is B–E–A–D–G–C–F. It is the reverse of the order of
sharps. It is easy to remember since the first four letters make the word BEAD,
and GCF is something most students learn as “Greatest Common Factor” when
studying math in elementary school.
A mnemonic that works forward and backward is “Father Charles Goes
Down And Ends Battle,” which reversed is “Battle Ends And Down Goes
Charles’ Father.”
A helpful learning device to remember the order of keys in relation to
the order of sharps and flats is the circle of fifths. As you ascend in fifths
(clockwise), key signatures get one degree “sharper.” (C to G is a fifth because
C=1, D=2, E=3, F=4, and G=5.) As you descend in fifths (counterclockwise),
key signatures get one degree “flatter.”
B bbbbbbb
52
0b
1b C
F 0# G
2b 1#
Bb # D
2
3b E
b 3# A
b 4#
7# 5#
4b 6#
A E
C#
F# Cb
B
Db
5b Gb 7b
6b
Figure 2.3.4 Circle of Fifths for Major Keys
Note the overlapping keys at the bottom of the circle. B major is enhar-
2 4 2
monically the same as C major, F major is enharmonically the same as G
4 2
major, and C major is enharmonically the same as D major.
B bbbbbbb
2.3.1 Identifying Key Signatures
While it is preferable to memorize key signatures, use the following method
to determine major key signatures based on the sharps or flats in the key
signature.
1. For key signatures withs sharps: Go up a half step from the last sharp
to find the key.
2. For key signatures with flats: The second-to-last flat is the key.
& ?
E major scale B¯≤ major scale
?
&
23
2.4 Practice Exercises
HW
1. Using the WWHWWWH pattern, write the specified major scales without
C˜ major
using key scale
signatures. A¯≤ major scale
?major scale
25
2
D¯≤ major scale
&
A
?
21
&
DOuble bars? new clefs?
E? b scale # # # #
b B¯≤ major scale #### #
2. Given the key signature, specify the major key.
b bb
27
# bb ? b # ##
major
&
23
HW ____ ____ ____ ____ ____ ____ ____

1 2 3 4 5 6 7
# scale
## #
C˜ major
# # # # # A¯≤ #major
# # scaleb b
bb bbbb # ? # b b bbb
# bbbbbb
25 34
&
& b
____ ____ ____ ____ ____ ____ ____
8 9 10 11 12 13 14
? b b order
b b for #sharps # # # #flats. b b #
41 3
# bb b bb b
3. Write the major key signature for each key given. Be sure to use the
bb b bb
27
& 55 ?
HW correct and
____ ____ ____ ____ ____ ____ ____

1 2 3 4 5 6 7
### #### ## #### #### #

2. B¯≤ major 3. F˜ major 4. D¯≤ major
bbbbbbb bbb
1. A major 5. D major
b
48
& # # #
53 60
&
____ ____ ____ ____ ____ ____ ____
6. C¯≤ major 9 7. E¯≤ major 10 8. B major 9. F major 10. C˜ major
8 11 12 13 14
# # # # #Click here
? to download the homework.
65
# PDF versions of the textbook, homework exercises, and practice exercises

55
&
61
& can be found at musictheory.pugetsound.edu
#### # ?
69
#
63
&
69
&
74
&
77
&
?
79
85
&
?
83
?
107
3b E
b 3# A
b 4#
bA 7# 5#
6#
E
C#
4
F# Cb
B
Db
5b Gb 7b
6b
Chapter
Major scale
3
w
53
& w w w w
1̂ 2̂ 3̂ 4̂ 5̂ 6̂ 7̂ 8̂
w w
w Scales
Minor and Key Sig-
b b b
54
natures
Natural Minor scale
bw w
3ˆ 6ˆ 7ˆ
& w bw
1̂ 2̂ 4̂ 5̂ 8̂
w w bw w
b 3ˆ b 6ˆ
55 Harmonic Minor scale
& Minor Scales w bw w w

1̂ 2̂ 4̂ 5̂ 7̂ 8̂
3.1
w w bw w
There are three minor scales: the natural minor scale, the harmonic minor
b 3ˆ
Melodic
scale, Minor
and scale (ascending
the melodic minorversion)
scale. Play or sing through each one and notice
w w w
56
& w w
1̂ 2̂ 4̂ 5̂ 6̂ 7̂ 8̂
bw w
the differences.
w
The melodic minor scale has an ascending version, shown above, and a
descending version that is the same as the natural minor scale.
Melodic Minor scale

2̂ b 3ˆ b 7ˆ b 6ˆ b 3ˆ
& w w bw w w w w w bw bw w w bw w w
57
1̂ 4̂ 5̂ 6̂ 7̂ 8̂ 5̂ 4̂ 2̂ 1̂
ascending descending
So far, we have looked at minor scales in relation to the major scale. However,
we will typically encounter minor scales in music using minor key signatures.
3.2 Minor Key Signatures

Minor key signatures agree with the notes of the natural minor scale. Since
2 2 2
the C natural minor scale had E , A , and B , the key signature of C minor
2 2 2
has three flats, written in the order of flats—B , E , A .
10
b 4 œ œ œœœ
& b b 4 ‰ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ nœ nœ œ œ œ œ
œ
7̂
CHAPTER 3. MINOR bSCALES
6ˆ 7̂
AND KEY b 6ˆ
SIGNATURES 7̂ 6̂ 11
Natural Minor scale written with major key signature

b 3ˆ b 6ˆ b 7ˆ
72
& w bw bw w
1̂ 2̂ 4̂ 5̂ 8̂
73 w w bw w
b
&bb
Natural Minor scale written with minor key signature
b 3ˆ b 6ˆ b 7ˆ
b
74
&bb w w w w
1̂ 2̂ 4̂ 5̂ 8̂
w w w w
Therefore, a minor key signature will have three lowered notes—the 3rd, 7
b b major when referring to a minor scale that has the same

& b b 44
6th, and 7th—in relation to the corresponding major key signature. We use
b
75
94 term parallel Eminor
& b b w œ bœ
the C minor
1st scale degree (in this case C) as the major. We say, “The parallel minor of
E major is E minor,” and w
( ) (“The
) parallel major of F minor is F major.” One
method of half
figuring out a minor
steps between: 1 2 key
3 signature is to add three flats to the parallel
major key signature. This is the same as subtracting three sharps.
b #### # ### #
&b bbbbb # bb
95
Bb bb F# f#
subtract 1 sharp
add 3 flats subtract 3 sharps and add 2 flats
G g
b
Note on uppercase versus lowercase: When writing below the five-line staff
&b
101
to designate keys, we will use the shorthand of upper case for major ( C ) and
lowercase for minor ( c ). When writing prose, we will use uppercase: C major
and C minor.
We use the term relative minor when referring to a minor key that has the
2
same key signature as a major key. For example, the relative minor of E major
is C minor because both have three flats in the key signature. Conversely, one
2
could say the relative major of C minor is E major. The relative major is
three half steps above the relative minor. 7
E b major
bbb
94 C minor
& w (œ) ( b œ ) w
half steps between: 1 2 3
6
b
Below are the minor key signatures.
& b&b # ## ### #### #### #### # #### #

95
##
75
# #
a e b f# c# g# d# a#
bb bbb bbbb bbbbb bbbbbb bbbbbbb

83
& b
a d g c f bb eb ab
Here are circle of fifths diagrams for both major and minor, for comparison.
b
& b bbbbb
91
bb
& b b bbb
99
B bbb
93
CHAPTER 3. MINOR SCALES AND KEY SIGNATURES 12
0b
1b a
0#
d e
2b 1#
#
g b
2
3b c 3# f
#
4#
7# 5# c#
4b 6#
f
a# g#
bb d#
ab
5b eb 7b
6b
Figure 3.2.1
B bbbbbbb
52
0b
1b C
F 0# G
2b 1#
Bb # D
2
3b E
b 3# A
b 4#
7# 5#
4b 6#
A E
C#
F# b
B
D b# #
6
C
# ## #### b #### #
## # # #### ##
# b
5bb
75
& G # #7 #
6b
a e f# c# g# d# a#
b b minorb b band melodic

b b b b minor
b b b bscales b b b b busing b b b b b bkey
83
&Writingb harmonic b when b minor

b
signatures requires you to raise scale degrees.
a d g c f bb eb ab
Harmonic Minor scale: raise 7̂ in minor
b 3ˆ b 6ˆ
b w
&bb w w nw
1̂ 2̂ 4̂ 5̂ 7̂ 8̂
w w w w
B bbbbbbb
91
Melodic Minor scale (ascending version): raise 6̂ and 7̂ in minor

b 3ˆ
b w
&bb nw nw
4̂
w
1̂ 2̂ 5̂ 6̂ 7̂ 8̂
w
92
w w w
Compositions in minor typically do not strictly use only one of the three
b
minor scales, however. The three minor scales are distillations of composers’
&bb
93
actual practice.
b
&bb
115
b
&bb
123
5
bb 4 ‰ œ n œ œ œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
harmonic minor harmonic minor
58 natural minor
b
& 4 œ œ
b 6ˆ b 7ˆ 7̂ b 6ˆ
5
7̂ 7̂
bb 4 ‰ œ n œ œ œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
harmonic minor harmonic minor
natural minor
b
58
bb
10 b
& 4 œ œ
60
&
b 6ˆ b 7ˆ 7̂ b 6ˆ
YT: HFeLqgVLxBM
7̂ 7̂ 5
# 4 œ
Figure 3.2.2 J.S. Bach, C Minor Invention
œ œnatural
# œ œ
œ œ œ n œ œ œœ œœ œ wœ œ œ
minor œ
& b 44 œ œ œ œœ œœ œœ œ œ œ minor œ œ œ
harmonic minor
œ œ œ œ
148
harmonic minor
b ‰ œ n œ b œ
58
& 4 b œ œ œ œ œœ œherœwedœ œ- dingœ has

natural
60
b b C El -Óean - orŒRigœ-œby, œ picks

œ œupœtheœriceœ œin the church
Œ œ been,
œ œ Œ œœ
&
where
b 6ˆ b 7ˆ 7̂ b 6ˆ
# 4 p
7̂
œ # œ œ # œ œ œb 7ˆ œb 6ˆ œ
7̂
without syncopation
œ œ
152
& 4 œ œ œ œ œ œ œ w
bb b œ œ œ œ œ œœ œœ œ œ œ œœ œ Œ œ œ œ œ #œœ œœ œœœ œ œ œœ œœ œ œœ œ
65
natural minor harmonic minor
El - ea - nor Rig - by picks up the rice in the
church where her wed - ding has been,
& b C Ó Œ156 incorrect rhythmic notation Œ Œ

60
&
p & 68 œ œ œ œ œ œ œ7̂œ œ œbb6ˆ7ˆ œb 6ˆœ œ œ œ . œ œ
J
œ œ œ
harmonic minor
bb œ œ correct rhythmic notation # œ œ œ œ œ œ œ œ

& bb œ44 œ 158œ œ œ YT:
65
Œ
69
& 1 O0PChj-uQPo
2 1 2
& 68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ
Figure 3.2.3 Mozart, Symphony 7̂
No. 40 in G Minor, b
K.ˆ
6 550, 1st movement
harmonic minor melodic minor
b b b 44horizontally œ œ œ œ interval
‰ œ n œ œ œ=œ"melodic" œ œ nœ œ œ œ œ œ œ nœ nœ œ œ œœœ
69
& œœ œ œœ œ
œ b ˆ# œ œ .
measured
? 44 œ #6 œ œ . 7̂ # # œœ b 6ˆ œœ œ . 7̂ 6̂ ˙
œ. ˙
160
J J
7̂
J J
b
&bb
72
measured vertically = "harmonic" interval
YT: xp3zPzDnTEk
Figure 3.2.4 J.S. Bach, Well-Tempered Clavier, Book One, Fugue 2 in C
w w w w
?w w w
Minor
w
162
w
3.3 Scale Degree
perfect major Names
major perfect perfect major major perfect
unison second third fourth fifth sixth seventh octave
though(M2)
Scale degrees,(P1) (M3)
often referred (P4)
to (P5)
by numbers, (M6)have(M7)
also names.(P8)
subdominant dominant submediant leading tone

mediant
w7̂
tonic supertonic
? w1̂ w w w w6̂
w
163
2̂ 3̂ 4̂ 5̂
These names will be used throughout this text to refer to scale degrees,
chords built on these scale degrees, and keys associated with these scale degrees.
?
164 Another way to understand why some scale degrees have “sub-” in their
names is through the following example.
mediant subdominant
B¯≤ major scale
w7̂
E majorsupertonic
tonic
w6̂
scale
HW? & w w w? w
163 23 4̂ 5̂
w
1̂ 2̂ 3̂
3
C˜ major scale A¯≤ major scale
?mediant
25
?&
55
supertonic dominant
?1. Awmajor ww 4. D¯≤ major w

tonic
b ww
164
w
2. B¯≤ major 3. F˜ major 5. D major
DOuble bars? new clefs?
&
60
? bb ### # ## #### #
bbb
27
bb subtonic b
submediant ##
subdominant
6. C¯≤ major 7. E¯≤ major 8. B major 9. F major 10. C˜ major
____ ____ ____ ____ ____ ____ ____
?
65
1
Notice that
the 2
subtonic is a3 whole step
4 below 6
5 the tonic, 7
while the leading
#### #### # ####
bb bbbbb bbbbbbb bbbbbb
tone
34 is only a half step below the tonic.
& # #
? 8
69 ____ ____ ____ ____ ____ ____ ____
9 10 11 12 13 14
#2.# C˜ major# # # # 3. G¯≤ major

HW
? bb b b #
411. Specify the minor key for each key signature given.
HW bb
1. E¯≤ major bb b b4.b bD major bbbbb
5. F major
74
&
____ ____ ____ ____ ____ ____ ____
1 2 3 4 5 6 7
48
### bbbbbbb
7. D¯≤ major# # # # # #8. F˜ major
b # #9.# #A¯≤ major b b #### #
& # # b #
6. B major 10. G major
?
79
____ ____ ____ ____ ____ ____ ____

11. C¯≤ major
8 9 12. A major 10 13. B¯≤ major
11 12 E major 13
14. 14
# # # # #2.
& #
55 Write the minor key signature and specified minor scale in each example.
?
83
&
B melodic minor scale F harmonic minor scale
# # #3.
4 (include key signature) (include key signature)
&8589 # # #
63
?
&
Write the minor key signature for the given key in each example.
?
HW
A¯≤ harmonic minor2.scale
1. D minor F˜ minor 3. F minor C˜ melodic
4. D˜ minor
minor scale 5. A¯≤ minor
(include key signature) (include key signature)
&
94
?
87
6.&
B minor 7. C minor 8. G˜ minor 9. B¯≤ minor 10. E minor
4. Specify the minor
G natural key from F˜ melodic minor scale
scale the scale degree name.
?
99 (include key signature) 2 (include key signature)
(a) minor: A is the mediant
?
89 HW
2
1.(b)
F minor minor:
2. EDminor 3. A˜ minor
is the subtonic 4. G minor 5. B¯≤ minor
104
&
(c) major: B is the dominant
(d) major: C is the submediant

6. F˜ minor 9. G˜ minor 10. A¯≤ minor
?
109 7. A minor 8. B minor
4
(e) minor: D is the subdominant
2
E¯≤ minor
11.(f) major: B˜ minor
12. C is the leading tone
13. C minor 14. D˜ minor
4
(g) minor: E is the supertonic
Click here to download the homework.

PDF versions of the textbook, homework exercises, and practice exercises

can be found at musictheory.pugetsound.edu
Chapter 4
Basics of Rhythm 7
E b major
bb
b w inœ music,
94 C minor
In relation &
( ) (b œ ) w
to rhythm we will discuss time signatures, durational
symbols, meter, beat, pulse, tempo.
half steps between: 1 2 3
#### #
4.1b bTime bSignature
bbb ### #
# bb
95
& b
the topF #number
Bb bb the# time
subtract 1 sharp
add signature,
In a time 3 flats subtract 3 of
sharps and add
signature tells2 flats
you “how
f G g
many” and the bottom number tells you “of what.”
3 ## 4 b b b b 85 ### 6
"How many?" 3 4 5 6
&b 2
101
4 16
"Of what?" 1/2 notes 1/4 notes 1/8 notes 1/16 notes
(half notes) (quarter notes) (eighth notes) (sixteenth notes)
4
4 w
4.2&Durational
whole note
105
Symbols
& 44 ˙ ˙
106 half notes (equal
In the present day, the1/2most
of a whole note)
common time signature is 44 (also known as
“common time”). It makes sense to introduce durational symbols in the context
of 44 because a whole note takes up a whole measure in 44 , a half note takes up
& 44 œ œ œ œ
107 half a measure 4 , a quarter note takes up 1 of a measure, and so on.
ofnotes
quarter 4 (equal 1/4 of a whole note) 4
& 44 œ œ œ œ œ œ œ œ
108 eighth notes (equal 1/8 of a whole note) (can be beamed or flagged)
J J J J
4
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œR œR œR œR
sixteenth notes (equal 1/16 of a whole note) (can be beamed or flagged)
109
4
110
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œR œR œR œR œR œR œR œR
thirty-second (32nd) notes (equal 1/32 of a whole note) (can be beamed or flagged)
ÔÔÔÔÔÔÔÔ
quarter eighth sixteenth 32nd
whole rest half rest
∑ Ó Œ ‰ ≈ ®
111 rest rest rest rest
& 17
b 3note) ## 4 b b b b 85 # # # 6 the measure
˙ ˙
101
& 2 4 16
the measure the measure the measure
half notes (equal 1/2 of a whole
CHAPTER
1/2 note is4. BASICS 1/4
OFnote
RHYTHM
is 1/8 note is 1/16 note is 18
beat value beat value beat value beat value
4 whole &4 w
œ œ œ œ
note
quarter notes (equal
105 1/4 of a whole note)
4 half
˙ ˙
106
&4
notes (equal 1/2 of a whole note)
œ œ œ & 44 œœ œœ œ œ œ
eighth notes (equal 1/8 of a whole note) (can be beamed or flagged)
œ œ
107 quarter notes (equal 1/4 of a whole note)
J J J J
4 œ
4 note)œ (can be
œ œ œ œ œ œ
108 eighth notes (equal 1/8 of a whole note) (can be beamed or flagged)
sixteenth notes (equal 1/16 of&a whole J J J J

œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ œ œ
beamed or flagged)
& 4 œ œ œ œ œ œ œ œ œ œ Rœ œR œR RœR œRR œR

109 sixteenth notes (equal 1/16 of a whole note) (can be beamed or flagged)
4
œ œ œ œ œ œ œ œ œ œ &œ 4œ œœœ œœ œœœ œœ œœœ œœœœœ œœœ œœ œœœ œœ œœœ œœœ œœ œœœ œœRÔ œRÔœœRÔ œœRÔ œRÔœœRÔ œRÔœœRÔ
110
thirty-second (32nd) notes (equal 1/32 of a whole
thirty-second note)
(32nd) notes (equal (can
1/32 of be beamed
a whole note) (canor
be flagged)
beamed or flagged)
Figure 4.2.1
RÔ RÔ RÔ RÔ RÔ RÔ RÔ RÔ
111
&
Here are durational symbols for rests.
quarter eighth sixteenth 32nd

whole rest half rest
∑ Ó Œ ‰ ≈ ®
111 rest rest rest rest
&
To put this information into practice, listen to the durational values double
in speed in each measure of the following example.
œ œ ˙
? 44
œ œ œ œ œ œ œ œ 44
œ œ œ œ Middle C
CHAPTER 4. BASICS OF RHYTHM 19
eighth notes are twice sixteenth notes are twice
4
as fast as quarter notes as fast as eighth notes
& 4 œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
5
sixteenth notes are four times

this pattern of 8 notes
˙ ˙ ˙ ˙
faster than quarter notes
? 44 ˙ .. ˙ .. .. ˙ ..
takes 8 beats
˙
this is another way of notating
32nd notes are twice as fast as sixteenth notes 32nd notes, showing 4+4
(there are eight 32nd notes for each quarter note)
& œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ w
9
this pattern of 8 notes
? ˙ ˙
takes 1 beat
˙ ˙
Two rare durational values are the double whole note (also called a “breve”)
and the 64th note, which is twice as fast as a 32nd note.
& ∑ ∑ ∑two∑ways
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
11
œ œ œ
of notating the double whole 64th notes 64th
? ∑ ∑&∑ ∑ W › „ œ œ
∑ ∑ ∑ ∑ R ∑ ∑ Ù∑
double whole note (or breve) rest rest
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
ÔÔ
4
4.3 Dots and Ties
4 We have a whole note, which lasts for four beats, and a half note, which lasts
for two beats, but we don’t have a durational value that lasts three beats. To
do so requires using a dot or a tie.
A tie links two notes together to create a new duration. Ties occur between
8 notes of the same pitch. A slur, which looks like a tie, is placed over or under
œœœœ œ
notes of differenttwo
pitches and means
ways of notating the to play
double them in
whole a notes
64th connected
64thmanner.
& W › „ Ù
112 A dot addeddouble
to awhole
notenoteincreases
(or breve) rest duration of that note
the restby half. A
RÔÔ
second dot represents half the value of the first dot, or a quarter of the original
duration. (These are known as “double-dotted notes.”)
tie joins notes together
j
to create a new duration
& ˙. ˙ œ ˙ .. ˙ œ œ
J ˙ œ œ
113
= =
dot equals half of second dot equals half of
the note's duration the first dot's duration slur means to play with no
& 44
audible gap between the notes
118
?
E¯≤ minor
CHAPTER 4.11.BASICS 12. C˜ minor
OF RHYTHM 13. C minor D˜ minor
14.20
8 4.4 Meter
œ j
œœ œ œœ œœRÔ œ Ùœ œ œ
two ways of notating the double whole 64th notes 64th
W › ˙ ..„
113 Meter describesdouble the number
whole note of
(or beats
breve) in arest measure (also know as rest a “bar”) and
&
112
how the beats are normally divided.
Example =
115
Beat is "[t]he basic pulse underlying measured music and thus the unit by
which musical time is reckoned..." according to Barry Kernfeld in The New Ô
œ œ œ
Grove Dictionary ofnotes
tie joins Jazz, 2nd edition. Pulse and beat are synonymous.
together
of the beat or=pulse. Tempo can be referred
j
to create
toa new speed 1.
the duration
& ˙. ˙ ..
Tempo refers
˙ œ ˙ œ œ
J ˙ œ œ
113 to in beats per minute (bpm), such as 60bpm (where the rate of the beat
116
117 would be equal = to a second), or, in classical = music, with terms like Allegro,
œœ
Andante, and Adagio, sometimes in combinations with "M.M." for Maelzel’s
second dot equals half of
dot equals half of
Metronome.
the note's duration
2. =
the first dot's duration slur means to play with no
Meters with two beats in a bar are described as duple. If there
audible are the
gap between three
notes
beats in a bar, the meter is described as triple, and if there are four beats in a
8 118
3
bar, the meter is described as quadruple.3
=œœœœœœ
&4 œ œ œ œœœœ œ œ œ œ œ œ œ œ œœœœœœ
5 6
3.
If the beats are normally divided into two parts, the meter is described
œœœœ œ Ù
two ways of notating the double whole 64th notes 64th
W › „
as simple.118If the beats
wholeare
note normally divided into three parts, rest the meter is
&
112 double (or breve) rest
= œ œfour œbeats="quadruple"
RÔÔ œ
described as compound. triplet quintuplet sextuplet
4.
j tie joins
j notes together
120 two beats="duple" three beats="triple"
2 œ œ 32 ˙œ œ ˙œ œ ˙œ œ 44 œœ œ œœ œ œœ œ œœ œ
& 8 œ œ to œcreateœa new duration
. = ˙ œ ˙ .. = beats˙in each bar j
? & ˙each œ naturally
œ divide into two parts
J ˙ œ œ
113
119
of these meters is "simple" because the
j j
second dot equals half of
Thedot equals half of
time
thetwo
signature
beats="duple"
2 is “simple duple meter.” The time signature 32 is
the first dot's duration four beats="quadruple"
8three beats="triple"
6 œ . œ . 9 œ . œ . œ . 12 ˙ . ˙ . ˙ . ˙ .
note's duration slur means to play with no
4
“simple triple meter.” Finally, 4 is “simple quadruple meter.”
& 16 œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ
123 audible gap between the notes
When describing meter, we say how the beat is divided before the number
3 these meters
118 of beats in the measure.
&each4 =ofœ_____________________
œ œis "compound"
œ œ œ œbecause
œ theœ ___________________________
œ in œeachœbarœnaturally
œ œ divide
œ œ œintoœthree
œ œparts
3 5 6
Meter beats
("simple" or "compound")triplet
("duple,"quintuplet
"triple," or "quadruple")
sextuplet
126
&
(how the beat is divided) (the number of beats)
j j
120 two beats="duple" three beats="triple" four beats="quadruple"
With compound meters the bottom number specifies the division of the beat.
2 œ œ 32 ˙œ œ ˙œ œ ˙œ œ 44 œœ œ œœ œ œœ œ œœ œ
&8 œ œ œ œ
The beat value is a dotted note. We say 16 6 is “compound duple meter” because
6
it has two beats. The time signature 8 is also compound duple. Compound
time signatures have a top number greater than four that is divisible by 3 (6,
9, 12).each of these meters is "simple" because the beats in each bar naturally divide into two parts
j j
two beats="duple" three beats="triple" four beats="quadruple"
. . . . . . . . .
& 16 œ œ œ œœ œ œ 98 œœ œ œ œœ œ œ œœ œ œ 12
6 œ 4 ˙œ œ œ ˙œ œ œ ˙œ œ œ ˙œ œ œ
123
each of these meters is "compound" because the beats in each bar naturally divide into three parts
126 The following table summarizes meter and time signatures.
& Top number of time signature: 2 3 4 = Simple

Top number of time signature: 6 9 12 = Compound
Number of beats: Duple Triple Quadruple
j
& ˙ .second ˙ half ofœ 118 ˙ .. = ˙ œ œ
to play with no J ˙ œ œ
3
dot equals half of
=dot equals
œ of theœnotesœ œ œ œ œ œ œ œ œ œ
3
&equals
464thbetween
the note's duration the first dot's duration slur means
8
audible
second dot gap half
dot equals half of
œ œ5 œ
two ways of notatingthethenote's duration
double whole 64ththe
notes
œ
first dot's duration
W › „ œ
CHAPTER 4. BASICS OF RHYTHM 21 slur means to play withtriplet
no qu
3 œ &œ œ œ œ œ œ œ œ œ œ 120œ œ œ Rœ œ œÙtwo

112
118
double whole note (or breve) rest rest
ÔÔ 3 œ jœbeats="duple" œj œ 5 three beats="triple"

3 6 audible gap between the notes
& 4Tuplets
4.5
3 œ triplet 2 œ œ œ 2œ œ œ œœ œœ œ œ œ ˙œ œ 44
3 ˙ ˙
118
œ aœgrouping œ œ œ ofœ notes œ &œthat 8 œœwould œœ œœœnot

6
Tuplet is a generictie joins notes

term &that4 describes
together
quintuplet sextuplet
j j j
to create a new duration
. œ =œ note˙ 3naturally
A ˙quarter œ divides˙˙two.. beats="duple" ˙ three œ œnotesœ œor four
120 normally twooccur within three
beats="duple" beats="triple"
a beat. four beats="quadruple"
triplet quintuplet sextuplet
& 2 ˙ = ˙ two 4 J œ occurs œ œ œ œ

113 each of these meters is "simple" because the beats in each b
& 8 Aœ triplet
œ œ œ is2 a œgrouping œ œofj three œ j œeighth œ notes 4 œthat œ˙ œ œ within œ beats="duple"
œ œthe three beats="triple" four beats="
into eighth sixteenth
120 beats="triple" four beats="quadruple"
2 œ œ 3 ˙ ˙ of˙five sixteenth
j j44 œœ œ œœ œ œœ œ œœ œ
notes.
two
& 8 œ œ œ œ 2 œ œ œ œ œ 6 œœ . toœparts
. 9 œ . œ . œ . 12 .
span ofdotthe
equals half of note. A quintuplet
quarter second dot would
equals half be123a grouping
of
&gap16between œœœœœœthe notes8 œ œ œ œ œ œ œ œ œ 4 œ̇ œ œ

theoccur
notes each
to note's duration
within the span ofthe first
one dot's duration
quarter note. It is not
slur uncommon
means to play with see
no
of these meters is "simple" because the beats in each bar naturally divide into two
quintuplets, sextuplets, and septuplets. audible
36 œœj. œjœ. 9œ œœ. œ œœ. œ œ . œ œ12 œ˙ . œ œ ˙œ. œ œ ˙œ. œ œ ˙œ. œ œ

each of these meters
two beats="duple"three beats="triple" fourisbeats="quadruple"
"simple" because the beats in each bar naturally divide into two parts
118 3 5 each of 6these meters is "compound" because the beats in each b
& 16
& 4 œœœœœœ 8 œ œ œ œ œ œ œ œj.œ j4. œ œ. œ œ. œ .œ œ œ œ .œ œ œ .
123
126
two beats="duple"three beats="triple" four beats="quadruple"
& 6 œœœœœœœ
16 œtriplet 98 œœ œ2œquintuplet
œœ œ œ œœ œ œœ 12 œ˙ œ œ ˙œ œ œ ˙œ . œ œ ˙œ . œ œ
œ sextuplet
4
123
& 4
each of these meters is "compound" because the beats in each bar naturally divide into three parts
126
If you write a piece of music that naturally has a triplet division to the
3
or 12
beat, you should use 68 , 98 each depending on the number of3beats
beats in each
& 42 œ œ œ œ œ œ
120 of
8 these meters is "compound" because the in each bar naturally divide into three parts
&
126
measure.
3 3 & 42 œ œ œ œ œ œ & 68 œ œ œ œ œ œ
3 3
& 68 œ œ œ œ Inœ compound

œ
Figure 4.5.1 Two measures that sound 127
the same
6 œ meter,
8 of œa dotted
œ œ œquarter
œ note and&a quadruplet is a grouping 9of
128
&span
a duplet is a grouping of two eighth notes to occur
within the
four eighth notes to occur with the span of a dotted quarter note.
4
127
6
& 8 œ128. œ œ œ œ œ œ œ œ9 œ
& 4 4œ œ œ œ œ œ œ œ œ œ œ œ
128
127 duplet quadruplet
&
&4 œ œœœœœ œœ œ œœœ

2 4
4.6 Common Rhythmic Notation Errors

The standard practice when notating rhythms is to use beaming to show where
the beginning of each beat occurs.
4 4œ œ œ œœœœœ œœ œœ œœœ œ œ œœ œœ œ
Consider the following example:
& 4& 4J J
It is difficult to discern where the downbeats are.
downbeats? ? ? ?
4
4& 4œ œJ œ œœœœœ œœ œœ œœœ œ œ œœ œœ
downbeats? ? ? ?
&4 J œ
Here is the same rhythm correctly notated. The downbeats provide a ref-
erence point, matching the conductor’s beat pattern or your tapping toe.
# 4 œ œ# œ œ œ œ œ œ œ œ œ œ
& 4 œ œ œ œ œ œ CHAPTER
œ œ œ œ BASICS
4. OF RHYTHM œ w
9 22
El - ean - or Rig - by, picks up the rice in the church where her wed - ding has been,
1 2 3 4
4œ
œ œ&œ 4 #œœ œœ œ# œœ œ œœ œœ œœ œœ œœ œ wœ
# 4
without syncopation
& 4 œœ œ œ œ
El - ea - nor Rig - by picks up the rice in the church where her wed - ding has been,
In compound meters like 68 , the beat is the dotted quarter.
& 8 &œ 44œ œJ œ œ œœœœœ œœ œœ œ œ œ œ œœ œ œœ. œ œJ

6
156
incorrect rhythmic notation
9
1 2 3 4
& 44 œ œ1 œ œ œ œ œ œ2 œ œ œ œ
130
correct rhythmic notation
1 2
& 68 &œ 44œ œœ œ œ œœœœœ œœ œœ œ œ œœ œ œœ œœ œœ. œ œ

158 downbeats? ? ? ?
J
131
& 44 œ œ œ œ œ œ œ œ œ œ œ
The exception to this practice of “showingJthe beats” involves syncopation.
Syncopation occurs when notes on weak beats and on weak parts of beats
132
are emphasized and nearby strong beats are deemphasized. Syncopation is
downbeats? ? ? ?
& 44 œJ œ œ œ œ œ œ œ œ œ œ
common in popular music.
2 3
Strong beats are the first beat of each measure (in 4 and 4 ) and beats 1 and
3 in 44 . Syncopation at the beat level involves ties across those strong beats.
Numbers in parentheses in the example below are beats that are obscured
through syncopation.
2
&4 œ œ œ œ œ œ ˙
133 (1)
& 43 œ œ œ œ œ œ œ œ œ ˙.
137
(1)
& 44 œ
141
œ œ œ œ ˙ œ œ œ ˙
(3) (1)
Syncopation can also occur at the division of the beat level. Below are two
syncopation figures that don’t show the beat but are acceptable because they
144
&
are common and to write them out correctly involves more symbols (beamed
eighths and ties) for the performer to comprehend.
158
&
166
&
4
141
&4 œ œ œ œ œ ˙ œ œ œ ˙
(3) (1)
144 exceptions to rhythmic notation rules
& 44 œJ œ œ œ œ œ 44 œ œ œ œ œ
J J J J J
2-beat 4-beat
syncopated pattern syncopated pattern
146
& 44 œ œ œ œ œ œ œ œ 44 œ œ œ œ œ œ œ œ
this "proper" rhythmic notation of the above syncopations is not required
An example of syncopation at the eighth-note level (the division of the

148 beat) can be found in the following example from “Eleanor Rigby.”
& # 4 œœ
4 œ œ œ œ œ œ œ œ œ œ #œ œ œ œœ œ œ œœ œœ w
148
&
#
& 44 œ œ œ œ œ œ œ œ œ #œ œ #œ
without syncopation
œ œ œ œ œ w
152
El - ea - nor Rig - by picks up the rice in the church where her wed - ding has been,
Notice how syncopating notes gives them emphasis and creates a “pull”
6
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œJ
against the rhythm
156 of the accompaniment.

1. After listening to each example,
1 specify2 the meter (e.g.,
1 “compound
2 triple”).
6
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
158
(a) Lin-Manuel Miranda, “First Burn”
YT: r2ys-AimNbE
œ
measured(b)
horizontally
Al Green,= Willie
"melodic" intervalAl Jackson Jr., “Let’s Stay Together”
œ ..
Mitchell,
#œ #œ œ œœ .. ˙
? 44 œ # œ œ ˙
160
J J # œ œ
J
YT: uSu6tcbMOu0 J
measured
(c) Kenny vertically
Kirkland, “Dienda”= "harmonic" interval
w wFarjeon,w“Morn-
? w (d) Traditional
w w Gaelicw tune, wtext by Eleanor
162 YT: ko1gUVP461A
w
ing Has Broken”
Scottish
perfect major major perfect perfect major major perfect

(P1) (M2) (M3) (P4) (P5) (M6) (M7) (P8)
YT: qH0iFkxQba4
subdominant dominant submediant leading tone
mediantHoward Lawrence,
w7̂
tonic (e)supertonic
Guy Lawrence, James Napier, and Sam Smith,
? w1̂ w w w w6̂
w
163 “Disclosure”
2̂ 3̂ 4̂ 5̂
supertonic mediant dominant
?w ww w
tonic
b ww
164
w
subtonic submediant subdominant
? ## # ∑
##
& ∑
14
2
46
˙. #œ
Beethoven, Op. 57, I, mm. 78-80
& # ˙˙ .. # œœ ‰ Œ ‰
œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p
? ˙. œ ‰ œ œ
f
œ . & ∑ ?œ . # œ .
œ œœ #
nœ ˙. œ . n œ œœ
f YT: 93ASUImTedo
# w œ œ n#
For each example, specify the implied timeCorelli, Op. 5, No. 1, mm. 12-15
˙˙ ˙˙ ˙duple”). ˙˙ ˙
2. signature and the meter (e.g.,
& # ˙˙ ˙ ˙ ww Ó ˙
˙ ˙ ˙ w ˙˙
15
œw œ œ .
“simple
bb ˙ œ w œ ≈ ≈ b œr œ ˙
49
œ œ œ œ œ ≈ œ œ
Beethoven, Op. 110, III, mm. 124-125
rK
& ˙ ˙ œ J 14 ###
œ
? 2142# # ˙ ˙ ˙ ˙ Ó ˙ Ócresc. n # ∑
& ˙ poco cresc. ∑ ˙ p˙ & #
? b œœ œœ œœ œœ œœ b œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œœ œœ œœ œœ œœ
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89
b. Time Signature: Meter:

∑ p ∑ ∑ ∑ ∑ ∑ ∑ ∑
1. D minor 2. F˜ minor 3. F minor 4. D˜ minor 5. A¯≤ minor
∑ # ∑ ∑Jn b œ ∑
19
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? Signature:
HWc. Time Meter:
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& ∑
23
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Sixième Livre de G minor m. 7
104
&& b œ˙ œ œ œ˙ œ # œ œ œ
24
œ ˙œ œ œœ # ∑?
6. F˜ minor 9. G˜ minor
& 10. A¯≤ minor
?? œ˙ œ œ œ œ œ
7. A minor 8. B minor
œœ b œœ œœ œœ
109
b ˙
#
∑ ∑ Signature:∑ ∑ ∑ ∑ ∑
24
&
11. E¯≤ minor 12. C˜ minor 13. C minor 14. D˜ minor
d. Time Meter:
3. Use one note value (with one or two dots as necessary) to show the sum
&b ∑ ? # ∑ ∑ ∑∑ ∑ ˙ .. ∑= œ œ ∑œ ∑ œ œ œ ∑œ∑j

25 of all the rhythmic values given.
∑ ∑
113
Example
115
=œ œ œ
? ∑ ∑ ∑ ∑ ∑ ∑
1.
b 116
117
2. =œ œ
3. =œœœœœœ
118
4. =œ œ œ œ
?
119
4. Specify the meter of each time signature.

(a) The meter of 4 is:
2
(b) The meter of 9 is:

16
(c) The meter of 3 is:

4
5. Correct the incorrect rhythmic notation in each example in order to show
the beats. The subdivisions grouped into beats are shown in parentheses11
above the rhythms to be corrected.
Incorrect Correct
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versions of the textbook, homework exercises, and practice exercises
be found at musictheory.pugetsound.edu
Chapter 5
10
10
148
Intervals
# 4
& # 44 œ œ œ œ œ œ œ
œœ
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152
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Chords
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& 86 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . .œ œJ
Augmented Sixth156Chords. We will return to Section 5.5 at that time.
œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ
156
5.1 Introduction&to8 Intervals J

1of scales,notation
2 1 2 melodies.
& 686 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ
Intervals are the 158
building correct
blocks rhythmic chords (or harmonies), and
Intervals are a measurement between 1 two 2pitches, 1
either 2 or hori-
vertically
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ
158
zontally. When measuring vertically, we refer to harmonic intervals because
the two notes sound simultaneously. When measuring horizontally, we refer to
melodic intervals because the notes occur one after the other.
œ
measured horizontally = "melodic" interval
.
? 44 œ # # œœ œœ . . #œ œ œœ .. ˙
˙
160
œ # œ œ œ.
measured horizontally = "melodic" interval
? 44 Jœ # #Jœœ œœ . #
J œ J œœ œ . ˙˙
160
# œ
measuredJvertically = "harmonic"
J J interval
J
When you measuremeasured
fromvertically
the tonic=up
"harmonic" interval
to each scale degree of a major scale,
?
162
you find the following intervals:
?w w w w w w
w w
162
w
perfect major major perfect perfect major major perfect
(P1) (M2) (M3) (P4) (P5) (M6) (M7) (P8)
?
163
All intervals in the example above are either “perfect” or “major.”
5.1.1 Numeric Size of Interval

There are two elements to naming intervals: the quality and the number (for
example, “major sixth,” abbreviated as “M6”). Let us first focus on the nu-
meric size of intervals.
26
CHAPTER 5. INTERVALS 27
11
11
Odd-numbered intervals will always be a line to a line or a space to a space.
? ww ww w w
ww ww
165
165
w w
3rds
3rds 5ths
5ths 7ths
7ths
Even-numbered intervals will always be a space to a line or a line to a space.
? w ww w ww w ww w w
168
168
w w w w w 11
? ww
2nds
ww
4ths
w ww
6ths
w w
8ves
165 2nds 4ths 6ths 8ves
w w w
?
5.1.2
172
172 Interval
3rds
Quality: Perfect
5ths versus Major/Minor
7ths
Intervals such as the unison, fourth, fifth, and octave can be classified11
as
? ww ww ww ww
“perfect” but never “major” or “minor”. Conversely, the intervals of the
w w w w
w
168
w
? ww ww4ths w ww w
second, third, sixth, and seventh can be major or minor but never perfect
ww w Perfect Intervals: w
in quality.
?
w w
185
185 2nds 6ths 8ves
Unison, 4th, 5th, 8ve
Major or Minor Intervals:
w bw w w
2nd, 3rd, 6th, 7th
?
172
w w w #w
3rds Perfect intervals5ths 7ths
are always natural to natural, sharp to sharp, and flat to
4
flat except for the fourths and fifths between B and F, which involve B to F
?
2
w ww wb w w n w
192 B to F.
and
192
M7 m7 M7 m7
? ww ww w w
?w b w # #www w# # ww b b ww b n ww
n b ww # n ww wb w ## www n w
perfect fourths perfect fifths perfect octaves
#w
174
bw n w
?
199
2nds 199
4ths 6ths 8ves
exceptions between B and F
?
w bw w w
177 Minor intervals are one half step smaller than major intervals.
?
172
?
206
206
w w w #w
? M7 m7 M7 m7
199
?
4 5.2 How to Identify Perfect, Major, and Minor
Intervals
?
206
Here are two methods for identifying intervals.

The first method involves thinking of the lower note of an interval as the
tonic (the first note of the scale). Remember that all the notes above the tonic
in a major scale are perfect or major. Determine if the upper note is in the
?
2 major scale. If it is not, determine if the interval is a half step smaller than a
major interval, in which case it is a minor interval.
?
9
? b w # # ww n b ww # n ww #w bw nw #w bw #w nw
174
bw # w bw bw n w bw #w nw
exceptions between B and F
bw
& w
177
Interval: m7
quality size
(P, M, m) (number)
178
think of lower
note as tonic & w
179
œ œ b w7
1 (3) (5)
& w
both notes are on spaces,
so count in odd numbers to
determine the numeric size
of the interval
E¯≤ is not in the F major key signature,
œ œ
180 key signature of F major so the interval is not major
&b œ œ œ Aœ œ
m7
E¯≤
F E
M7
If the lower note of an interval has a sharp or flat on it, cover up the
12
accidental, determine the interval, then factor the accidental back in.
#w #w # w #w
182
& #w w w #w
F˜ is in G major, raising G to G˜ makes
Interval: ?7 cover sharp on lower so this is a M7 this a half step smaller,
note to think in G major therefore it is a m7
instead of G˜
The second method is to memorize how many half steps there are in each
interval. To determine the size of an interval, count the number of half steps
between the two notes then refer to your memory.
186
#
&
Number of half steps Name of interval Number of half steps Name of interval
1 m2 7 P5
2 M2 8 m6
3 m3 9 M6
4 M3 10 m7
5 P4 11 M7
6 Tritone∗ 12 P8
∗ A “tritone” is a generic name for an augmented fourth ( + 4) or diminished
fifth ( ◦ 5). These two intervals are enharmonic. Augmented and Diminished
Intervals are discussed later in this chapter.
#w #w # w #w
& #w w w #w
bcover
w sharp on lower1 so2 this3 is a4 M7b œ5 n œ6thisœ7a bhalf
œ n œ bw
186 counting half steps F˜ is in G major, raising G to G˜ makes
bœ nœ bœ nœ
& notew to think inwG major
Interval: ?7 8 9 10
step smaller,
therefore it is a m7
instead of G˜
10 half steps = m7
5.3 How to Write Perfect, Major, and Minor In-

#w tervals
#w 1 #2 3 w 4 5 6 7 8 # w9 10
& #w b w
To write an intervalwabove a given note,w b œ given
# bw
nwœ below.
counting half steps
œ
186
&
If you are w b œa minor
w asked to write b œ n œ b œ n œ
n œ sixth above the note A, start with the A
use the two methods
major scale and key signature. F˜

In is
A in G major,
there is raising
4 G to G˜ makes
Interval: ?7 major, an10Fhalf steps is= am7major
, which
cover sharp on lower so this
F isisa aminor
M7 sixth thisabove
a halfA.step smaller,
6
sixth above the note A. Therefore,
note to think in G major therefore it is a m7
### w Nw
12 188 instead of G˜
& w## ww #ww #ww

?
# w
182
& w w #w
m6 up = ? M6 up is F#, according m6 above A = F
F˜ is in G major, raising G to G˜ makes
Interval: ?7 to A Major key so
signature
bw œ bœ nœ bw
cover sharp on lower this is a M7 this a half step smaller,
186 counting half steps
w bœ nœ bœ nœ bœ nœ
note to think in G major
&
1 2count3 the4number 5 of 6 half therefore
8
7 steps. 9Ifityou
is10
a m7
w
Alternatively, you can simply know
instead of G˜
there are 8 half steps in a minor sixth, you can count from A up to F.
Writing small intervals up to a major third below a given note is straight-
forward using a combination of whole and half steps. However,10 half steps = m7larger
to write
intervals below a given note, it is sometimes helpful to invert the interval first
bw b œ n œ9 b10w
#
of Intervalscounting half steps
œ
(Inversion
186 Explained is discussed in the next section).
& #w nwœ b œ n
w b œ Explained œ b œ n œ Nw
188 1 2 3 4 5 6 7 8
w of# Intervals
w wsteps = m7
&
?
5.4 Inversion 10 half
m6188only
up = two
? notes inM6 is F˜, according
###
There are an up
interval, one lower and onem6higher.
aboveTo
A =invert
F
w Nw
&w w w
an interval, change the position of the notes so the
? note that was lower is now
higher.
w w
& w w ww w
m6 up = ? M6 up is F˜, according m6 above A = F
w
w w
m6
& Awis below wF M3 ww w F
A is above
w
In the above example,
m6a m6 inverts to a FM3. ThisM3
A is below is true for
A isall notes
above F a M3
(or m6) away from each other. Below are examples of how intervals invert.
& b ww b ww ww w b ww w ww w ww ww # ww # ww
195
w bw w
m2 M7 M2 m7 m3 M6 M3 m6 P4 P5 °4 +5
201 Note that the symbol ◦ represents “diminished” (one half step smaller
&
than perfect or minor) and the symbol + represents “augmented” (one half
step larger than perfect or major).
Below is a chart of how intervals invert.
210
&
(larger)
Augmented
HowMinorIntervals
(smaller)
Major Invert Perfect
Diminished
1 8 M m
2 7 P P
202
&
203
3b w 6w + °
# ww
# # ww
‹
º3 m3 M3 +3
& #w #w
4diminished
third 5 minor third major third augmented
third
b ww ww # ww
207
º4 +4
&
P4
To write a small interval below a given note, you should be able to combine
whole steps and half steps up to the interval of a perfect fourth (two whole
steps plusdiminished
one halffourth
step). To write perfect
a largerfourth
interval belowaugmented
a given fourth
note, invert
the interval size, determine the note above, then write it below the given note.
w w #w w
210
& ?
invert interval:
m7 down = M2 up #w
m7 down = ? M2 above E is F˜ m7 below = F˜
& w
214
w
5.5 Augmented and Diminished Intervals
A is above F Augmented intervals are one half step larger than perfect or major intervals
and diminished intervals are one half step smaller than perfect or minor
219 intervals.
&
Remember that perfect intervals (unisons, fourths, fifths, and octaves) can 13
never be major or minor, and major and minor intervals (seconds, thirds,
sixths, and sevenths) can never be perfect in quality. However, any size of
interval can be augmented or diminished.
(larger)
Augmented
(smaller) Perfect
Major
Minor
Diminished
Here are musical examples illustrating the continuum of interval quality.
202
&
Minor
Diminished
203
# b ww # ww # # ww # ‹ ww
º3 m3 M3 +3
&
CHAPTER 5. INTERVALS
diminished augmented 31
minor third major third
third third
w +4
6
w ww P4
wwbº4w ww ? ww w # ww
w
144 202
& & w & w

207
ID # only w
3
Ex. ____ 1. ____ 2. ____ 3. ____ 4. ____ 5. ____
ww w
diminished fourth perfect fourth augmented fourth
w ? ww
& wwº3 ww
150
203 w w
# b ww # ww 3. ____ #4.# ww____ # ‹ ww6. ____
HW m3 M3 +3
&
210
& 1. ____ 2. ____ 5. ____
w # ww ?majorb wwthird bw # ww
& third
156
w # ww bw
diminished minor third augmented
third
ID # & Qual
wwbwww Exerciseswwwwww ?? w w #w
6 207
w
1. ____
º4 2. ____ 3. ____P4 4. ____ 5. ____+4 6. ____
& b # ww w ww
144
& w ww b
5.6 Practice
#ww ww
162
ID # onlyHW & w each example.

w
6 diminished fourth perfect fourth augmented fourth
w ww ? w
1. Specify 3
only the number, not the quality, for
ww www
Ex. ____ 1. ____ 2. ____ 3. ____ 4. ____ 5. ____
w
144
& w w
1. ____ 2. ____ 3. ____ 4. ____ 5. ____ 6. ____
w w ww # w ?
? w w w w #
w www
150
HW & w____ w b ww 4. ____ ww

168
& w b3w b w b
210 ID # only
& Ex. ____ 1. 2. ____ 3. ____ 5. ____
w w w ? www 12. w
1. ____ 2. ____ 3. ____ 4. ____ 5. ____ 6. ____
ww ? b w w
150
& w
2. Identify the interval quality 9.and size for each example.
# www w#ww #www
7. ____ 8. ____ ____ 10. ____ 11. ____ ____
& ww# w ? bb ww
156
HW
& 1. ____ b w # w w w b w #w
# w 2.2.____
174
bw w 5.5. ____
ID # & Qual
3. ____ 4. ____ 6. ____
w following the? givenwnote.

b w____ 18.#____
1. ____ ____ 3. ____ 4. ____ ____ 6. ____
& w # wwintervals 15.above

b w w ? b w # ww w
156
w # w b b w
13. ____ 14. ____ ____ 16. ____ 17.
# ww w w w
162
HW & ? 4. w____
3. Write the
bw
180
w
ID # & Qual
Write above & 1.1.____
w____ 2.2.____ b w #
3. ____w bw
5. ____ 6. ____
w b w w ? # w
____ 3. ____ 4. ____ 5. ____ 6. ____ 7
ww # www # ww wwb w www b#www
162
HW & ?
168
b w
1. m6↑ 2. P4↑ 3. M3↑ 4. M6↑ 5. M7↑ 6. m2↑
& 1. ____ b w ?4. b____ ww 5. ____ w

186
& ww 2.#____
ww 3.w____ w w w
4. Write below
?
the following intervals the given note.
bw b w 11. ____ 12.#____ w
HW
& 1.7.M2↑
6. ____
w w 3.#M7↑w
w ? b w ww 6. #P5↑w
168
b w
Writing below ____ 8. ____ 9. ____ 10. ____
& 1. #º5↓w bw ? b w # w w
# wb ww ?10.b____ w
2. +4↑ 4. M2↑ 5. M6↑
& #w w wb w w #w
174
192
w
2. M3↓ 3. P4↓ 4. M6↓ 5. m3↓ 6. M2↓
& # b ww
↑↓
7. w ? 16.#____
&
____
b w
8. ____
15.w____
9. ____
w 11. ____
18.b____
12.
w
____
? 10.b wm6↑ 11.#+5↑ w w

Click here 13.
to ____
download the
____homework.
# w ww
210 14. 17. ____
w
HW174
can be&found
& #www
b ? w b ww
#
180 PDF versions of the textbook, homework exercises, and practice exercises
bww ? ww
7. m3↑ 8. m6↑ 9. P4↑ 12. m7↑
# b w
b17.w# w____ 18.# w____
& 13.w____ 14.b w____
198 1. m6↓ at musictheory.pugetsound.edu
2. M2↓ 3. +5↓ 4. P4↓ 5. M3↓ 6. m3↓
15. ____ ? 16.w____

bww #w
Write above
216
& 1. m6↑
? b+5↑w
180
w 11. P5↓
2. P4↑ 3. M3↑ 4. M6↑ 5. M7↑ 6. m2↑
& 7. w
b w # w ? w b w
186 13. M3↑ 14. m2↑ 15. P5↑ 16. º5↑ 17. M6↑ 18.
& ww w w w w
? 4. bM6↑ w
Write above M7↓ 8. M2↓ 9. m3↓ 10. P4↓ 12. m3↓
3. w w
HW
w
↑↓
& 1. M2↑ w
222
1. m6↑ 2. P4↑ M3↑ 5. M7↑ 6. m2↑
? 16.wM3↓ 17. M6↓ 18. P5↓

186 2. +4↑ 3. M7↑ 4. M2↑ 5. M6↑ 6. P5↑
& 13. wwº5↓ w w 15.#m2↓ w ? wb w w

192
& w
↑↓ HW
w
14. +4↓
b b 9. P4↑ ?#10. #
b7.b m3↑
8. m6↑ b
# #m6↑ 11. +5↑
1. M2↑ 2. +4↑ 3. M7↑ 4. M2↑ 5. M6↑ 6. P5↑
b
228
& w b # w
192 12. m7↑
& w ? w #b ww ___ minor

↑↓
ww
198
& Ex.w___ w ___ b w # w

#7. m3↑
B¯ major
b b b b16. º5↑ 17. M6↑ 18. +5↑

b¯ minor 1. ___ major
& 13.# M3↑

232 8. m6↑ 9. P4↑ 10. m6↑ 11. +5↑ 12. m7↑
? # w ___ minorw
198 14. m2↑ 15. P5↑
&2. ___wmajor w ___ minor bw 3. ___#major w

13. M3↑ Incorrect
14. m2↑ 15. P5↑ 16. º5↑ Correct
17. M6↑ 18. +5↑
ã 68 œ
( œ œ œ œ œ œ œ œ œ œ œ œ ) (œ œ œ œ œ œ œ œ œ œ œ œ )
236
œ œ œ œ œ œ. œ
www
238
www ww
& www w
Fifth Fifth
Fifth Third
Fifth Third
Third Root
Third Root
1. º5↓ 2. m7↓ Major 4. M6↓
3. P4↓ 5. m3↓ 6. +2↓
#w
Minor
w w ? #w bw
210
HW
Diminished
& bw
w bw
1. m6↓ 2. M2↓ 3. +5↓ 4. P4↓ 5. M3↓ 6. m7↓
w bw ? w #w
216
& 202
&
w ? bw
7. M7↓ 8. M2↓ 9. m3↓ 10. P4↓ 11. P5↓ 12. +6↓
w w w
↑↓
& bw
222
Chapter 6
203
# b ww # ww # # ww # ‹ ww
º3 m3 16. º7↓M3 17. M6↓ +3
&
13. º5↓ 14. +4↓ 15. m2↓ 18. P5↓
2284
b
Triads b b b b b minor third # # # # major third
&b j j .
augmented
w.
diminished
‰ n n# ## Œ ‹ œ œ # œ ˙ œ œ
Beethoven, Op. 127, II, mm. 100-102
third
bb b b B¯≤ œ
third
j nn #
# œ minor ˙ . 1. ___œmajor J n œJ œ œJ ___ œ
& Ex. ___ º4œœ œ‰ œ . ‹ œJ # œœ___
œ . major œ œJ œ
+4œJ minor
42
J
## b ww Œ wwb b b b cresc. # ww
b¯≤
Œ ‰
207
J
&
P4
&
232
j
œ b œj œ . fourth
œ
j to Triads jœ j j
œ œ œj augmented
œ œ œ œj
6.1 Introduction b œ œ j œ
?2. ___ #
œ n n n n # # # # ˙ . 3. ___ major œ œ œ œ œ œ ___ œminor
œ fourth
b b b b major œ œ
diminished perfect fourth
œ
Œ ‰ ‰ofŒ three
___ minor
‰ Œ notes œ
J Jthirds.J œA Jtriadœ isœ also
J
œ # ˙ . œ J
J
#w
A triad consists stacked in consecutive
w w w
236 210 Incorrect Correct
ã 68 œ # # # # w # w.
called a chord as well as a harmony. (Harmony also refers to chord progres-
&
sions.)
œ œ œ œ œ œ.
invert interval:
œ
‰Œ
45
&
The lowest ?note
? ####
m7ofdown = M2when
a triad up it is stacked in thirds is called the root.
of triads later.)M2 above E is F˜

m7 below = F˜
The middle note is the third and the highest note of the triad is the fifth. (We
m7 downinversions
will discuss =? ∑
www ww Third
238
www ww Third
214
wwwww wwww Third w

& wœ œRoot
Fifth Fifth
& ˙˙ ..w
FifthFifth
œn œ œw
Fifth
wœ œ œ œ œRoot
46
Fifth Fifth Beethoven, Op. 57, I, mm. 78-80
#œ
Third Fifth Third Third
& # ˙ . # œœ Root ‰Œ ‰ œ œThird
œ œ œ œ œ œ œ œ œ œ œ œ œ œ Root
œ œ œRoot
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ Root œ œœœ
Third
Root
œ œ . andœ . di-
Root
f of triads—augmented, major, minor,
p˙ . are four qualities
? œ œ
There
œ ‰ œ œ nœ ˙. œ .
œ . n œ œœ
+5 # w M3 w P5 b w º5 b b w
minished.
w w m3 w M3 w m3
242
f
218
& & w M3
P5
& w M3 & w m3 & w m3
49
r
bb ≈ ≈ b œ œ major œ œ œ œ œ œ. œ œdiminished
œ ≈ œ œ
+ M m º
œ œ œ
Beethoven, Op. 110, III, mm. 124-125
Kr
& J
augmented minor
poco cresc. p triadscresc.

Major and minor triads are common, diminished are less common,
? b b n œœœ œœœ œœœ œœœ œœœ b œœœœ n œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœ œœ œœ
and augmented triads are rare.
bœ œ œ œ œ œ œœ
6.2 Lead-Sheet Symbols
b b∑ œ
51
Lead-sheet symbols (also known as “lead-sheet notation” and “lead-sheet

&
? b ‰Œ≈R.
chord symbols”) are often used as shorthand for chords in popular music and
jazz. These symbols allow a guitarist or pianist to choose how to “voice” the
b
chords, i.e., how they want to arrange the notes.
ww ww
C major triad in different voicings—all chords below contain only C, E, and G
& w ww ∑ ww
52
www ww ww ww
w w
? ww
∑ ∑ w w ww w ww
w w ww
32
CHAPTER 6. TRIADS 33
Lead-sheet symbols for triads communicate the root and quality of a chord.
Lead-sheet Symbol Chord Quality Notes in the Chord
F major F–A–C
2
Gm minor G–B –D
2
D◦ diminished D–F–A
4
44 C+ augmented C–E–G
44
Here is a musical example with lead-sheet symbols and guitar tablature.
F #m
F #m
A
A
& ###### 44 ‰ œjj œ œ œ œ Ó

& 4 ‰ œ œ œ œ œ œœ .. œœ œœ œœ œœ œœ œœ œœ Ó
422
422
She's just a girl and she's on fi - re
# ### œœœ œœœ

She's just a girl and she's on fi - re
# 444 œœœ œœœ œœœ œœœ œœœ œœœ

422
& #
422
&
? ## ### w
? # 444 w ww
D E
D E
# ### Œ
424
# j‰ Œ
424
& # Œ œœ œœ œœ œœ œœ œœ œœ œœj ‰ Œ
& œœ œœ œœ œœ œœ œœ œœ œœ
Hot - ter than a fan - ta - sy Lone - ly like a high - way
# ###
Hot - ter than a fan - ta - sy Lone - ly like a high - way
# œœœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœ

424
& # œœœ œœœ

424
& œ œ œ œ œœ
? ## ### ww
? # ww
426
# ###
#
& #
426
& 6.2.1 Alicia Keys, Salaam Remi, Jeff Bhasker, Billy Squier, “Girl on
YT: J91ti_MpdHA
Figure
426 # #
As#you## can see in the example above, major triads are represented by an
Fire”
426 (2012)
&
&
uppercase
# letter ( A , E , and D ) while minor triads are represented with the
? # #
# ##◦#
are?represented
4
root in uppercase followed by a lowercase “m” (e.g., F m ). Diminished triads
by including the diminished symbol ( ◦ ) after the chord root
(e.g., C ) while augmented triads are represented by including the augmented
symbol after the root ( C+ ).
? #### ˙ ˙ œ œ œ nœ
#˙ #˙ ˙ ˙
"Love Song" Sara Bareilles
6.3 Inverted
Gm F/A B bsus2
Triads C Dm C/E F D/F #
&b œ œ œ œ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œ

67
œœ œœ œœ œœ œ
An inverted triad does not have the root as the lowest note. It is important
to distinguish between root and bass. The root of a chord is the lowest note
œ œ œ œ # œœ
j j j
? b Œ ‰ j ‰ œj Ó ‰ œj ‰ œ Ó ‰œ ‰œ
when the notes are stacked in thirds. The bass is the lowest note, which might
œ Ó ‰ j‰ j
œ œ œ #œ œ
be the root, third, or fifth.
œ œ œ œ
A triad is in “root position” when the root is the lowest note, “first inver-
œ
sion” when the third of the chord is the lowest note, and “second inversion”
when the fifth of the chord is the lowest note. #œ
ww ww ww
71 "root position" "first inversion" "second inversion"
& www ww w wG www

w w
? ∑
C E
w ∑ wE ∑
wG
wC
C Major
root of chord is lowest note
Csus4 fifth of chord is lowest note Csus2
third of chord is lowest note
ww www ww
∑ ∑ (also Csus)∑ (also Csus9)
77
&
& w &w
222 6.3.1 "Slash" Chords
&
Fifth Fifth
In lead-sheet notation, an inverted chord has the triad before the slash (/) and
Fifth
? ∑
it. “ C/E ” means a C triad with Fourth
the bass note after Third
∑ note that is not the root of∑ the chord. In
an E as the lowest note. Second (or
Therefore,
Root
a slash chord has a bass
fact, it is possible to Root
.have slash chords where the bass note is not one of the
Root
4
chord tones (e.g., C F ).
slash
chord
C/E
bass note
Remember, in a slash chord, the first letter you see represents the root of
the chord. The letter after the slash is the lowest note (the bass).
Lead-sheet Symbol Root of Chord Notes in the Chord Bass Note (Lowest Note)
F/A F F–A–C A
Dm/A
. 2 D D–F–A A
2 2 2
G◦ D G G–B –D D
. 4 4 4
C+ G C C–E–G G
˙ ˙ ˙ ˙ ˙
es:
es: CHAPTER 6. TRIADS 35
cc œœ œœ œœ œ œ
es:
œœ œœ œœ œ œ œ œœ ˙
es:
œ œ œœ œ ˙
6.4 Analyzing Chords
œ ˙ œœ œ ˙
When a three-note chord is represented by four or more notes (some of which
˙˙˙ ˙˙˙
are duplicates of the original three notes) and spread out across a grand staff,
˙˙˙ ˙˙˙
we can arrive at a lead-sheet symbol by answering three questions:
cc ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙˙

1. What is the root of the chord?
˙˙ ˙ ˙˙ ˙˙
2. What is the quality of the chord (i.e., is the chord major, minor, dimin-
ished, or augmented)?
3. What is the bass note (i.e., is the chord inverted)?
www
474
ww
To determine the root of the chord, write all the notes only on the lines of the
ww
474 staff in treble clef (you may need to use ledger lines).
&
& w
? ww
? w ∑∑
22
Lead-sheet: ___ ___ ___ ___ ___ ___ ___ ___
Subphrases:
# 2 œJ (œ)œ(# œ)œ œ . œ œ . œ œ . œ œ œ œ
Motives:
476
j
401
& 4
ww___ ___ ___ ___ ___ Jw
J J (œ) œ œ œ
You could also choose to write all the notes only on the spaces in a staff.
œ #œ. ( ) œ.
œ
476
& ___ Í
ww www
( )
&
___ ___
w
Lead-sheet:
Subphrases:
e: i iv i iio V i iv V
# 2 œJ (œ)œ(# œ)œ œ . œ œ .410œ #œ . œ œ œ œ

Motives:
j
& 4
?
J &J Jw (œ) œ œ œ
œ #œ. ( ) œ.
œ
Í
? w w ∑∑
( )
o
e: i iv i ii V i iv V
12 3
#
The bottom note is the root when the chord is stacked as a triad. In this
410 case, the root is D.
& Next, determine the quality of the triad (major, minor, diminished, or
augmented) by analyzing if there is a M3 or m3 from the root to the 3rd, and
if there is a M3 or m3 from the 3rd to 5th. D F
12 3 1 2 34
D F F A
#
Since there
411is a m3 (3 half steps) from D to F and a M3 (4 half steps) from
&
F to A, the triad is minor.
Finally, determine if the chord is inverted by checking to see if a note other
than the root is the lowest note. Since the bass note (lowest note) is the root
411
#
&
D
35
D, the chord is not inverted. The chord is in root position, so the lead-sheet
symbol is Dm .
Now, try the process again.
& w
478
bw
? w
22
___ w
Lead-sheet: ___ ___ ___ ___ ___ ___ ___
On scratch paper, stack theSubphrases:
notes only on lines in the treble clef to deter-
mine the root.
# œ (œ)œ œ
& b www
Motives:
411
œ œ
& 42 J (# œ) œ . J œ . J œ . œJ œ œ œ (œ) œ œ (œ) œ # œ . (œj) œ .
479 401
&
Í
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
410
#
The root is E. &
Analyze the quality of the triad by measuring from E to G and from G to
492 2
&
B.
12 3
B¯≤
? ∑ ∑ ∑ ∑ ∑ E ∑ G ∑ D F
35 1 2 34
It is an E diminished triad ( E◦ ).
Finally, determine if the chord is inverted. Is the root (E) the lowest note?
499
& & w
478
F A
bw
bw
411
? ∑ ∑ ∑ ∑ ∑ ?& ∑ ww w ∑
w
Since the lowest note is G, the chord is inverted. Our lead-sheet symbol is
E◦ /G , which means we have an E◦ chord with a G in the bass.
506
479
& 6.5 Simple “Sus” Chords

Common in popular music are “sus” chords, with “sus” being a shortening of
? ∑ ∑ ∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑
“suspended,” a term we will study in the chapter on non-chord tones.
The two basic sus chords are the sus4 and sus2 chords. In the sus4 chord
(also labeled simply as “sus”), a perfect 4th replaces the 3rd of the chord. In
the sus2 chord (sometimes called “sus9”), a major 2nd replaces the 3rd of the
chord. Both of these sus chords have a perfect 5th from the root to the fifth.
492
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
CHAPTER 6. TRIADS 37 5
F #m
C AMajor Csus4 Csus2
w
59
& cw# ww www

# www # ww
ww
E D
Fifth # w Fifth# w
ww w
(also Csus) (also Csus9)
ww
w
222
& & &

Fifth
?c w Root # w
Fourth
Root w
Third Second (or Ninth) 5
w Root
w #w w
F #m
ww
59
c # # www # # ww #
A E D
& w # w ww
G #/B## w
Here
"Hard is I'm
to Say a musical
Sorry" example with a sus4 chord. Peter Cetera and David Foster
#
## # w
63
E A/C B/D
& c œ˙ œ œ œ œ˙w œ œ œ œ œ #œw œ œ œ œ˙ œwœ œ œ œ œ œ

?
3
w˙ œ ˙w #˙w œ ˙ w
"Hard
# # I'm˙Sorry"
? to# #Say ˙ œ œ Peter# ˙Cetera and David Foster
# # # # E# A/C # B/D # G #/B #
63
& # # C œ˙m œ œ œ œ˙ œ œF /Aœ œ œ œ œ Bœsus4œ œ˙ œ œ Bœ œ œ œ œ

3
# #
& # # œ˙ œ ˙ ˙ œ ˙
65
œ œ œ œ œ œ . œ œ ˙
? #### ˙ œ œ˙ ˙˙ œ œ œ œœ # ˙ œœ ˙˙
? # # # # œ#
nœ #F˙#/A # B˙ ˙
#### C m sus4 B
&
65
œ œ œ œ œ˙ œ œ œ œ . œœ œœ Sara ˙˙ Bareilles
"Love Song"
˙ œ
F/A B bsus2
˙ œ œ ˙ D/F #
&? b# # #œ# œœ œ n œ œ œ YT:œ PLtKoLkxDSQ
Gm C Dm C/E F
œœ œœœ œœœ œœœ œœœ˙ œœœ œœœ œœœ˙ œœ

67
œ œ
œ œ Peter œ œ
œ œœ
œ œCetera and Davidœ œ# ˙
œ œ œ Foster, j I’m Sorry”# œ
?Here j j j j “Hardœjto Say œ
b œis aŒ musical
‰ œ ‰ example
œ Ó with ‰ œa ‰sus2 œ chord.
Ó ‰ ‰ Ó Sara ‰ Bareilles
j‰ j
Figure 6.5.1
œ œ # œ
œ F/Aœ B bsus2 œ C œ D m œ#
"Love Song"
Gœm
# œ D/F
&b œ œ œ
C/E F
œ œ œ œœ œœ œœ œ œœ œœ œœ
œœ œœ œœ œœœ œœ œœ œœ œœœ œ œ œ j œœ j œ œ œ # œœœ
67
? Œ ‰ j ‰ j Ó ‰ œj ‰ œj Ó ‰ œ ‰ œ Ó ‰ j ‰
b œ œ œ # œ œj
œ"second inversion"
œ œ œ œ œ
œ ww #œ
ww ww
71 "root position" "first inversion"
& www ww w w w
ww
C w E w G
? ∑ w ∑ Song” wE ∑
wG
YT: qi7Yh16dA0w
w w
Bareilles, “Love"first
w ww
71 Figure 6.5.2 "root position"
Sara inversion" "second inversion"
&Weroot
wwwwill ww note third
C
ww inof chord w 9Innotea later
iswlowest
w G 7chapter,wwwthere is a
w
not invert sus chords this text.
section ofmore
on chord issophisticated
lowest sus chords like C sus andfifthCofsus
chord is lowest
(29) . note
C E
? Summary
∑ w ∑ wE ∑
wG
6.6
w
Triad construction isCsummarized in the following table.
root of chord is lowest note third of chord is lowest note fifth of chord is lowest note
#w # www
b b www
8
CHAPTER# 6.w
w TRIADS# ww b www ? b # www
& # w
242
38
Ex. C ˜m
# ww
____ 1. ____ 2. ____
Lower Interval 3.Upper
____ Interval 4. ____ 5. ____
# # # www
& # # www Augmented: # wwwsteps)? #(4# half w steps) b www b b www
248 M3 M3
HW (4 half
M3 m3
Major:
#w ? b ww M3 b ww
1. ____ 2. ____ 3. ____ 4. ____ 5. ____ 6. ____
& # # ww w bm3
w
(4 half steps) (3 half steps)
b b ww b wwsteps) b(4whalf steps)

(3 bhalf # # # www
254
Minor: bw
# ww b ww ## w‹ www
8 9. m3 10. ____ m311. ____
# # www #b bwwwwwwhalfP4steps)
7. ____Diminished:
8. ____ ____ 12. ____
& ## w bwM2 w ? bb(3 b w

242
ww w
(3 half steps)
w
260
Sus2:
C ˜m
(2 half steps) (5 half steps)
# ww steps)
Ex.
13. ____
____ 1. ____
14. ____ 2. ____
15. ____ 3.
16.____ ____M217. 4. ____
____ 5. ____
18. ____
# # # www (5 halfwsteps)? #(2

b b www
P4
& #w # ww # half w b www

248 Sus4:
& # ww ?
266
# # # www ? b b www
1. ____ 2. ____ 3. ____ 4. ____ 5. ____ 6. ____
b www b ww ? b ww
3. A¯≤sus2 4. C˜
# ww
1. Bm 2. E+ 5. Dsus4 6. Fº
& b b
254
& the triad types (M, m, + , ) using lead-sheetb wsymbols.# #Sus2

b w w and
272
◦
1.
HW Analyze
# www # wwwb ww b b www5. F˜º #6.w‹ wwBw¯≤sus2

8
2. w
#1.## #Dm ?
sus4 chords
7. ____ are also
8. ____ included.9. ____ 10. ____ 11. ____ 12. ____
& w # ##wwAww b w w
3. E¯≤sus4
? b
b
4. G¯≤+
242
& w ww ? b w ww # ww
260
& Ex. C____

278
˜m 1. ____ 2. ____ 3. ____ 4. ____ 5. ____

13. ____ 14. ____ 15. ____ 16. ____ 17. ____ 18. ____
11. C˜m
&
248
2. Write 7.the specified8. triads
Fsus4 E 9. Gsus2
and sus chords. 10. Dº 12. A+
?
266
&
284
6 254 A¯≤Fsus2 ˜
¯≤+ ˜ ¯≤m
& the following inverted triads using
1. Gm
13. Bm 2.DE+
14. 3.15. 16.4.EC 5. Dsus4
17. B 6.Cº
18. Fº
? slash notation. ww
& b b www ww ? b ww # www&
272
bBwww
3. Analyze
&
290
#
79
& w
HW
w2. A w3. E¯≤sus4 ww
HW
2. w
4. G¯≤+ 5. F˜º 6. B¯≤sus2
&? w w b ww
260 1. Dm
w ? w # w?
B¯≤º/D¯≤ 3. F˜/A˜
bw w ?
1. Dm/A 4. Em/B
& w w
278 294
& &
¯≤/B¯≤
EFsus4
Ex.7._____ 1. _____ 2. _____
9. Gsus2 3. _____ 10.4.Dº
_____ C˜m
5. _____ 6.12.
_____
5. C˜m/E 6. Gº/D¯≤ 8. A/C˜
8. E 11. A+
7. Dº/F
& ?
266
&& b w∑ ? ∑
284 298
∑ ∑& ∑ ? ∑
86 4. Write the specified inverted triads.
PRAC
& ww B
?Ex. Fm/C∑
14. D¯≤+
EXER
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Chapter 7
Roman Numerals and Cadences
7.1 Roman Numeral Chord Symbols

Music is full of patterns that are similar from one piece to the next. As we
saw with minor scales, we were able to use scale degree numbers to show
the different patterns for harmonic, melodic, and natural minor, despite the
fact that there are 15 minor key signatures. Using numbers instead of note
names helps us see these patterns. Thinking of music in terms of numbers is
also helpful with transposition, which means moving melodies and/or chord
progressions from one key to another. Thinking of music in terms of numbers
also helps us to analyze it and to spot similar patterns between many different
pieces in different keys.
We will use Roman numerals to represent chords within a specified key.
The Roman numeral “ I ” represents a triad built on 1̂ , or the 1st note of the
scale. Uppercase Roman numerals represent major triads and lowercase Roman
numerals (e.g., “ i ”) represent minor triads. Uppercase Roman numerals with
a “ + ” are augmented (e.g., “ III+ ”), and lowercase Roman numerals with a
“ ◦ ” are diminished (e.g., “ vii◦ ”). (There is also the Nashville Number System,
which uses Arabic numbers for chords instead of Roman numerals.)
Key Lead-Sheet Root Scale Degree of Root Roman Numeral Notes15in Chord
4
G 230 Bm B 3̂ iii B–D–F
&
2 2
f G◦ G 2̂ ii◦ G–B –D
2 2 2 2
c E E 3̂ III E –G–B
For inversion of Roman numerals, we will use a modified “slash chord”
notation until we study Figured Bass. For now, we will write “ I /3rd” if the
3rd of the I chord is the bass note, for example.
C: I/3rd G: ii/5th
the 3rd of the I chord the 5th of the ii chord

(C-E-G) is in the bass (A-C-E) is in the bass
The following table offers more examples.
31
&
39
CHAPTER 7. ROMAN NUMERALS AND CADENCES 40
Key Roman Num. Root Scale Deg. of Root Notes in Chord Bass Note
4 4
14 g V/3rd D 5̂ D–F –A F
Csus2
iv/5th C MajorD Csus4
ww www ww Second (or Ninth)

a 4̂ Csus) D–F–A
(also A
(also 4 Csus9)
& w w
222 4
vii◦ /3rd
& & Root
D CFifth 7̂ Fifth C –E–G
Fifth E
Third Fourth
Root Root
7.2 Diatonic Chords in Major

slash
Observe the pattern ofchord
diatonic chords in major represented by Roman nu-
merals. (Diatonic means notes within a key signature and can be contrasted
with the term “chromatic.”) One C/E
sees the pattern M-m-m-M-M-m- ◦ in triad
quality. bass note
Lead-sheet symbols
www www ww
C Dm Em F G Am Bº
ww www www w
225
& ww w
w
C: I ii iii IV V vi viiº
Roman numerals
(require key designation)
226
&
240
& Figure 7.2.1
7.3 Diatonic Chords in Minor

248
&
Because there are three versions of the minor scale, there are more than seven
diatonic chords in minor. The sixth and seventh scale degrees affect all of the
triads except the tonic, making 13 possible diatonic triads in minor.
C: I ii iii IV V vi viiº
Roman numerals
(require key designation)
NATURAL MINOR
www www www wwwG

226 Am Bº C Dm Em F
& ww www www
w
a: i iiº III iv v VI VII
rare
HARMONIC MINOR
ww # www
G˜º
ww # www
227
& ww # www
Am Bº C+ Dm E F
www w w
w
a: i iiº III+ iv V VI viiº
rare
MELODIC MINOR
# www # www
F˜º G˜º
# www # www
228
& w # ww
Am B C+ D E
ww # www w
a: i ii III+ IV V ˜viº viiº
rare rare rare rare
Most Commonly Used Chords (Roman numerals) in Minor
from the natural minor scale
229
ww n www # www
G˜º
ww # www
Am Bº C Dm E F G
& ww www www w w
w
a: i iiº III iv V VI VII and viiº
from the harmonic minor scale
Figure 7.3.1
However, when one analyzes a large amount of tonal music, one finds the
following Roman numerals are most commonly used in minor.
# www # www
F˜º G˜º
& w # ww # www # www
Am B C+ D E
ww # ww w
w
CHAPTER
a: i 7. ROMAN
ii NUMERALS
III+ AND CADENCES
IV V ˜viº viiº 42
rare rare rare rare
Most Commonly Used Chords (Roman numerals) in Minor
from the natural minor scale
229
ww n www # www
G˜º
ww # www
Am Bº C Dm E F G
& ww www www w w
w
a: i iiº III iv V VI VII and viiº
from the harmonic minor scale

Notice that both VII (the “subtonic triad”) and vii◦ (the “leading-tone
triad”) are included. The subtonic triad ( VII ), built on the lowered 7̂ that
occurs in natural minor, regularly occurs in circle of fifth progressions in minor
and in rock and pop music, while the leading-tone triad ( vii◦ ), built on raised
7̂ , is usually either a passing harmony or has dominant function.
7.4 Cadences
We’ve been studying harmony—triads and chords. A cadence is a harmonic
arrival point, a harmonic moment of stasis. A cadence can be compared to
a comma or period in written language—the ear gets a moment to process a
short passage of music, then the music continues. We will differentiate between
four basic cadences now, adding more specificity in a later chapter.
1. Authentic Cadence (AC): a phrase ending with the chords V – I
2. Plagal Cadence (PC): a phrase ending with the chords IV – I
3. Deceptive Cadence (DC): a phrase ending with the chords V – vi
4. Half Cadence (HC): a phrase ending on the V chord

? ### j
œ. œ œ œ w
œ .
CHAPTER 7.
w
ROMAN NUMERALS AND CADENCES 43
7.4.1 Examples
"The Star-Spangled Francis Scott Key and John Stafford Smith
of Authentic Cadences
Banner"
B b/D F Bb B b/D G m C ø7/G b B b/F Bb
œ œ (œ ) ˙
F F7
b 3 œ. œ œ œ . (œ ) œ
&b 4 œ œ J ˙
5
J
j
œœœ œœœ ( œœœ ) ˙˙˙
O'er the land of the free and the home of the brave!
b œœ œœœ œœœ ... ( œœœ ) œœœ

& b 43 œ œ œœ .. ˙˙
5
œ J ˙
? b 3 œ (œ ) œ . j ˙ œ bœ œ. j
b 4 œ œ
( ) œ.
œ œœ ( œœ ) ˙ œ bœ œ. œ œ ˙
œ ( ) œ œ ˙
B¯≤: V I/3rd V I I/3rd vi iiJ 7/5th I/5th V7 I
authentic
cadence
YT: LGvW6jHUHiY
Figure 7.4.1 Francis Scott Key and John Stafford Smith, “Star-Spangled
Banner”
In the example above, the notes surrounded by parentheses are non-chord
tones, which will be studied later. Also, there are seventh chords in this ex-
ample, which we will study in the next chapter.
2 Here is another example ending with an authentic cadence.
"I Want to Hold Your Hand" Lennon–McCartney
C# F# D #m C# F#
## # œœ œ œ . œ œ . œ œ œ œ Œ ‰ œJ œ œ œ
B B
V # # # 44 ‰ J œ œ Ó
10
œ ˙
# ## # 4
& # # 4 ‰ œj œ Œ ‰ œj œ Œ Œ œ ‰ œj œ Œ œ
I want to hold your hand, I want to hold your hand.
‰j
10
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œœ
? # # # # # 44 j
# j j œ. œ œ. j j jœ
œ. œ œ. œ œ œ. œ œ. œ œ œœœ œ
F˜: IV V I vi IV V I
authentic
cadence
"Just Give Me a Reason" Pink, Jeff Bhasker, Nate Ruess
# 4 œ œ œ . œ œ œ YT:‰ jenWdylTtzs
G C Em
j œ œ œ œ œ œ Œ ≈
14
V 4 œ œ
Figure 7.4.2R Lennon-McCartney, “I Want to Hold Your Hand” œ œ
7.4.2 #Examples
4 ≈
14 I let you see the parts of me that weren't all that pret - ty And with
& 4 of Plagal Cadences

j
œœ ..
Here are examples with plagal cadences. œœ œœ œ œ œ ˙˙˙ œœœ œ
? # 44 ≈ œ œ ˙ ˙
œ œ ˙˙
G: I IV vi
# œ.
C G
œ œ œ œ Œ
17
V J ( ) œ ( )
Score
"Amazing Grace" Lyrics: John Newton, Harriet Beecher Stowe

2 Tune: "New Britain" (traditional)
## 3 C# F# D #m C# F#
"I Want to HoldG/B
Your Hand"
Em G/D G/D D7 G C G
Lennon–McCartney
& # # #4# # œ44 ‰ œJ˙œ œ œœœ œœ œ˙˙. œ œ . œ œœœ œ œ Œ ˙ ‰ œJ œ œ˙˙ ..œ œ ˙ . Ó

B B
10
V ˙ ˙ ˙ ˙.
# # # #The4 hour
Was blind, butyour now I see. I want to hold your hand.
& # # And ‰ œj œ ‰ œj œ Œ œ
I want to hold hand,
‰ grace
j Œwillœ Œ ‰j Œ œ
10
4
I first be - lieved.
œœ œœ we œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
lead me home.
œœ œ œ œœ
? ### # #43# œœ44 ˙˙ j œœ œj
Than when first be - gun. A - MEN.
? ˙˙ j œœ j˙ ˙˙j.. j ˙.
# œ. œ œ. œ˙ œ. œ œ. œ œ ˙ œ. œ œ œ œ
œ. œ œ. œ
˜: IVvi
G: FI/3rd I/5th
V I/5th
I V
vi
7
I IV IV V I I
#
authentic
plagal cadence
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
7
&
cadence
Figure 7.4.3
"Just Give Me a Reason" Pink, Jeff Bhasker, Nate Ruess
#
G C Em
j
V 44 œR œ œ . œ œ œ ‰ œ œ œ œ œ œ œ œ Œ ≈ œ œ
14
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
7
#
& 44 ≈
14 I let you see the parts of me that weren't all that pret - ty And with
j
œœ .. œœ œœ œ œ œ ˙˙ œœœ œ
# ˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
18
& ? # 4 ≈ œ
4 œ œ œ ˙ ˙ ˙˙
?#
G: I IV vi
∑ ∑ ∑C ∑ ∑ ∑ ∑ ∑ ∑
18
# œ.
G
œ œ (œ ) œ Œ
17
V J ( ) œ
# ∑ # ∑ j ∑ ∑ ∑
27 ev - - - - 'ry touch you fixed them
&
17
& œœ .. œœ œœ
œ. œ œ œ œ
( ) ˙˙
?# w ˙˙
?# ∑ w∑ ∑ ∑ ∑
27
IV I
plagal cadence
YT: OpQFFLBMEPI
Figure 7.4.4 Pink, Bhasker, and Ruess, “Just Give Me a Reason”
3
"Take Me to Church" Andrew Hozier-Byrne
#
G C G C G Cm G
j œ
V 43 œ œ œ œ œ œ œ œ ‰ œ . œ œ œ œ œ ‰Œ œ œ œ . œ œ œ ≈Œ œ b œ œ . œ œ ‰Œ
19
# 3
A A - - - men , A - - - men, A - - - men. 3
& 4 ∑
19
œœC ˙˙G œœC ˙˙G œC m

"Take Me to Church" Andrew Hozier-Byrne
˙˙G ˙˙G
# 3
œ œ œ j‰œœ . œ œ œ œ ˙ ˙ œ
œ œ ‰Œ œœ œ œ . œ œ œ ≈Œb œœ b œ œ . œ ‰Œ
19
V # 34 œ œ œ œ œ
?
4 ∑ ˙˙ œ ˙ ˙˙ œ ˙˙ œ
œ œA - -
3
# 3 G:
A A - - - men , A - - - men, - men.
& 4 ∑ I
19
œœ
˙˙ impliedœplagal cadences
˙˙
IV I IV I iv I
˙˙ œ˙ œœ ˙ b œœœ ˙˙
"Voi?
che# sapete"
3
4 ∑ ˙˙
b b
œ˙ b
Bœ/F F 7
˙˙
Wolfgang
œAmadeus˙˙Mozart
œG m
œ œ
B C m/E
b 2 G:Hozer-Byrne, œ œ Me Iœ Church”
4 œ I œ IV“Take
& b 7.4.5 œ to œIV œ .I œ iv ŒI
24
YT: PVjiKRfKpPI
implied plagal cadences œ

Figure
‰ œj œœ œœ
don - ne ve - de - te s'io l'ho nel cor,
b
7.4.3 Examples of Deceptive Cadences
& b 42 œBœb œœ œœ. ≈ œ œœ œœ. ≈C œm/Eœœ œœb ≈ œ œœ œœ
24
≈B b/Fœ œœ ≈F 7 œ œœ œG m

"Voi che sapete" Wolfgang Amadeus Mozart
œ. .œ . œ. œ. . œœ œ. . œœ œ. .
b b 2Pœ œ. .œ œ œ. .œ œ œ œj. œj.. œ
& 4 œœ œœ Œ œ œœ œœ
24
j j j j œ œ
œ œ
? b b 42 don
œ ‰- œne ‰ve - œde ‰- œte ‰ œ œ
s'io ‰ l'ho ‰ nel cor,
œ œ œ œ œ‰ j œ œ
b œ œ
& b B¯≤:42 Iœ œ œœ œœ. ≈ œ œœ œœ. ≈ œ œœ œ ≈ œ œœ œœ
œ ≈I/5thœ œœ V≈ œ œœ viœ œ œ
24
œ . œ. . œ. . . œ. . . œœ œ. . œœ œ. .
P. . deceptive. cadence œ
ii/3rd 7
j j j j œ œœ œ œœ œœ œœ
? b b 42 œj ‰ œj ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
œ œ œ œ œ œ
B¯≤: I ii/3rd I/5th V7 vi
deceptive cadence
YT: 53geSxS8-Ak
Figure 7.4.6 Mozart, The Marriage of Figaro, “Voi che sapete”
6
b ww ww # www ww
b b w # b www
79
& w w w
w w ww 46
4
CHAPTER 7. ROMAN NUMERALS AND CADENCES
? b F/C w w A m7TomG/B w C bFww
w C ww F/C C w #Gwsus
"True Colors" Kelly and Billy Steinberg
w w
4 Œ j œ œ‰ j j Œ ∑
28
&Ex.4 _____ j œ œ . œ œ 4.œ _____

. ¯≤œ 1.œ _____
E¯≤œ/B œ œ . œ2. _____
œ œ 3. _____ œ œ . œ5. œ_____ 6. _____
4 ww j b ww b bb www ww b ww
86
& ww j
True col - ors, true col - ors are beau - ti -ful like a rain -bow.
# w
œœ .. œœ ˙˙ # wwœœ ... œœ ˙˙ w
28
&4 . w œ œœ œ œ
ww œœ œœ œœœ œœœœ
HW
? b wœ œ ˙ œ œ ˙ b w œœ
w bw
w j
? 4 œ. œ ˙ j
œ. œ ˙
w jw j j
4 w œ œ . œ œ6.. _____
œ . 5. _____ œ ˙
bw w
bC:wwIV/5th I # www cadencevib b ww
92 1. _____ 2. _____ 3. _____ 4. _____
w #I ww
& # w
IV/5th I Vsus 7 V/3rd IV
w
deceptive
bw
w E m7 b w
"Thinking Out Loud" Ed Sheeran and Amy Wadge
? b#w œ œ œ #œwww œ # wAYT:œLPn0KFlbqX8

œ œ w œ œ œb œww
œ œ œ œ œ ˙ w ≈œ œ œ
E m7 G G ABm
4
V # 7.4.7 # w andœ Steinberg,
œœ œœ œ Œ
33
Figure 4 Kelly “True Colors”

7.The
_____ me I 8.
fall_____
inexample, 9.from
lovewith you ev_____
- 'ry the 10. _____toIAct
sin-gleprelude
day just11.
I _____
want tell you I am12.
to Richard _____ soopera
hon-ey
# # und
following of Wagner’s
44 ofIsolde, j
33
the&history
Tristan is arguably one of the most famous deceptive cadences in
Tristan und
˙ ˙˙
Isolde,
œ œ toœ Act I. . œ œ œ ˙ .
œœ œœ œœ
œœ œœ œœ ˙˙ ..
Preludemusic.
classical
œœ . œ Richard Wagner œœ œœ œœ œœ œœ œœ
œ. œœœœœ
? # # 4# œj # œ j œ œ . n œ œ #œœœ
j œ œ. j œ
E7 F
6
& 8 # œ œ # œœ œ œ œ n œ # œ œ œ . œ œ
4 .
œ œ œ œ œ‰ œ œ œ‰
98
œ .
J
Sii f ƒ p half cadence
œœ ..
D: 7 IV V vi ii7 IV V
œ œœ . œ . œ
? 68 # œœ n œœ ...
più
‰ œ.
nœ
a: V7 VI
deceptive cadence
YT: ghjz6D34HPQ
Figure 7.4.8 Wagner, Tristan und Isolde, Prelude to Act I
A deceptive cadence means V did not go to I . This means that “ V to
not- I ” is technically a more correct description for a deceptive cadence than
V - vi , which is the most common realization of “ V to not- I .”
In the example below, V goes to IV/3rd .
Ave Verum Corpus,
CHAPTER K. 618 (textural
7. ROMAN NUMERALS reduction) Wolfgang Amadeus Mozart
AND CADENCES 47
#
& # C ˙˙ .. œœ
100
œœ œœ œœ œœ
œœ ˙˙ .. œœ œœ œœ œœ 7
˙ ˙˙ .. reduction)œœ œœ Amadeus Mozart

œœ œœ œœWolfgang œœ ˙˙ ..
Ave? # # Corpus,
Verum C w K.˙618 (textural
#
& ## C ˙˙ .. œœ œœ
100
œœ œœ œœ œ œœ ..
˙˙ D/A œœ œœG/Bœœ
# œœ œ œ œœ œœ ˙ j
A
ww
104
& ˙ œ˙ . œ ˙˙ ˙
Ó
? # # C ˙w ˙ ˙˙ .. œœ œœ œœ œœ œœ ˙˙ .. œœ
œ ˙˙ . œ # œœ
? # # œœ œœ œœ œ ˙. œ
˙˙ Ó
˙
## j IV/3rd
œœ œ œœ œœ
D/A A G/B
ww
104
& ˙˙ . œ
œdeceptive ˙˙ ˙
D: I/5th V
˙ cadence Ó
œ ˙. œ
? # # œœ jœœ œœ œ j ˙ j œ # œ j ˙ .
"Eine kleine Nachtmusic," K. 525 (reduction)
œ
Wolfgang Amadeus Mozart
˙ ˙˙ Ó
œ œ œ œ œ œ œ œ œ œ #Aœ œ œ œ œ œ œ œ #Aœ
# c Dœœ œœ œœ œœ œœ œœœ œœœœ œœœœ œœœ# œ œœœ # œœœ œ œœœVœ œœœ œ œœœ œ IV/3rd
# œœœ œ œ œ œ Œ
YT: 1Qxrru15jfo
E m7/G
œœœœœœœ
108
& œ
Figure 7.4.9 Mozart, Ave Verum Corpus, D:
K.I/5th
618
deceptive cadence
7.4.4 Examples of K.
Half Cadences
œj/Gœ œ œ œ œ œ# œj œœœœœœœœ œœœœœ Œ
"Eine kleine Nachtmusic," 525 (reduction) Wolfgang Amadeus Mozart
?# c œj œ œ œ œ œ œ œj
#œ œ œ œ œ
D E m7 A A
œœ œ œ œ œœ œ œ œ #œ œ œ œ œ œ œ œ
# œœ œœ œœ œœ œœ œœ œœœ œœœœ œœœ œœœ #Vœœœ œ œœœ œ œœœ œ œœœ œ #Vœœœ œ œ œ œ Œ
& D:c Iœ œ œ œ œ œ œ œ iiœ/3rd
108
7
œ #œ
half cadence
œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
(phrase ends on V)
? # c œ œœœœœœœ
œœœœ
D: I ii7/3rd V V
half cadence
(phrase ends on V)
YT: TpPuLwtDQrY
Figure 7.4.10 Mozart, Eine kleine Nachtmusik, K. 525, I.
w œ ˙
C: IV/5th I IV/5th I Vsus vi7 V/3rd I IV
deceptive cadence
"Thinking Out Loud" Ed Sheeran and Amy Wadge
# 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ ˙
E m7 G A Bm E m7 G A
V # 4 Œ ≈œ œ œ
33
me I fall in lovewith you ev - 'ry sin-gle day I just want to tell you I am so hon-ey
#
& # 44 ˙ j
33
˙˙ œœ œœ œœ œœ .. œœ œœ œœ ˙˙ .. œœ œœ œœ œœ œœ œœ
œ œ œ œ. œ œ œ ˙. œ œœœœœ
? ## 4 j
4 . j œ. œ œœœ j œœœœœ
œ œ œ œ œ œ. œ œ œœ
D: ii7 IV V vi ii7 IV V
half cadence
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Figure 7.4.11 Sheeran and Wadge, “Thinking Out Loud”
You may encounter chords with no thirds in rock and pop music. If you
encounter a chord that has only a root and fifth, label it with a “5” after the
root in lead sheet labeling (e.g., B5 , as in the next example).
Additionally, you may encounter incomplete chords, which are chords
containing only the root and third but no fifth.
5

"Love Yourself" Justin Bieber, Benny Blanco, and Ed Sheeran
C #m
#
A E B5
V # 44 œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
37
#
& # 44 ‰ Œ
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∑ ∑
37
œœ .. œœ œ ˙ œœ ˙˙
? # # 44 ‰ Œ œ . œ ‰ œœ ˙˙ œœ .. œœ ‰ œ ˙
J œ. œ J
E: vi IV I V
C # m7
#
A B5
V # œJ ‰ Œ ‰ œ œ œ œ œ œ œ œ œ œ œ
40
##
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& ∑ ∑
œœ .. œœ œ œ œœ œœ œœ œœ œœ œœ œœ
? ## œ . œ ‰ œœ œœ Œ
œ œ œ œ œ œ œ
J
vi IV V
half cadence
"Every Breath You Take" Sting

____ ____ ____ ____
j j YT:
j oyEuk8j8imI
V b b b b 44 ‰ œ œ œ œ (œ) œ ‰ œ œ œ œJ (œ) (œ) ‰ œ (œ) (œ) œ œ ∑
42
J Blanco, and Sheeran, J “Love

J Yourself”
11
Figure 7.4.12 Bieber,
Incorrect
Ev - ry smile you fake Ev - 'ry claim you stake Correct
I'll be watch-ing you.
b 3b (4œœ œ œ œœ œExercises
b4 4 . (œ) œ (œ) (œ )œ œœ ( œ)œ œ œ43 œœ . œ œ œœ œ . œ œ œ œ œ(œ ) œœ(œœ) (œ)
œ œ œ œ œ œœ œ ) ( œ œ œ(œ) œ œ œ œ œ œ œ œ œ œ )
7.5VbãPractice
42
Example
J œœ œ œ œ œ
œ
œ œ œ
?numerals 4
8
b b b3b (4œ œœ (below).
1. Label the following chords with lead sheet symbols (above) and Roman
œ œœœ œœ œœœœ1.œœœ_____
œ œ œœœœ œœœ2.œœ_____
œ œ)
3
(œ ) 3.
œ œ œ œ œ œ5.œ_____
œœœ
1. ã 4 Ex.œ_____
œ
# # # # w ____ # # w # #____
œ œ œ 4 œ œ œ œ 4.œ _____
œ_____
____ # #
b
112 Eº
b w
A ¯≤: ____
& ww w ww w b b w 4 # ww
n w
(w œw œ_______________
1 2 3
6 6
(œ œ œ œ œ œ œ œ œ œ œ œ ) œ œ Cadence
œ œ œ type: œ œ œ œ œ)
ã8 œ œ œ œ . œ œ œ 8
379
w J w
# # w ## w w #
2.
?b w ## # w b # # w
(œw œ œ bœ bœ œ œ œ œ œ œ œ )
6 d:˙_____ œ œ 3.68b: _____ 4. c: _____ 5. A: _____
ã Ex.
8 iiº 1. E: _____ œ2. e: _____
381
3.
2. Given the Roman numeral and key, write the key signature, notate the
b 1.w____ # # # w 2. ____b b b b w # # 3. ____

triad, and label the chord with a lead-sheet symbol (above).
# Ex. F_____
˜m/Ab
1. _____ 2. _____ 3. _____ 4. _____ 5. _____ 6. _____
&˜ ˜ ww b b www? b ww
118
& # ww ?
w ww
383
& ˜˜ w
2. D: IV/5th n w
? # ww b b b w ##
# w b b w # 3. b¯≤:vii
# w
Ex. E: ii/3rd 1. f: V º
1. ____b w b 2. ____ bb
? 1. G: _____ 2. E ¯≤: _____ ?
387 3. ____ 4. ____
& 3. B ¯≤: _____ 4. f ˜: _____ 5. f : _____ & 6. D: _____

124
3. A¯≤: ii 11. _____
#### w ### w # # ww7. ____b b #
1. g: III
7. _____ 8. _____ 2. A: vi
9. _____ 10. _____ 12. 4. b: iiº
_____
& 5. ____
w ww 6. b____
w ww
? w ? w ww
391 8. ____
& # # ww # w b ww # ww bb ww
ww w ww
w w CADENCES w 50
? #### w ### w b w # w ## w
CHAPTER 7. ROMAN NUMERALS AND
b w b w
3. Label lead-sheet symbols above and Roman numerals below and analyze
7. c õf
the type : _____
cadence8.that
A: _____
ends9.the
d: _____ 10. D: _____
phrase. 11. g: _____ 12. e: _____
Thomas a’Becket, “Columbia, the Gem of the Ocean”
"Columbia, the Gem of the Ocean" David T. Shaw
# Œ
_____ _____ _____ _____ _____ _____
.œ œ œœœœœ
Lead-sheet symbols:
œ
130
& c œ œ . œ œ
˙ œ œ ˙˙ œ ˙˙˙ œœ
œ œ ˙˙ ˙ ˙˙ ˙˙ œ œ œ˙˙ œ
?# c Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Roman numerals: G: _____ _____ _____ _____ _____ _____
1 2 3 4 5 6
Cadence type: _______________
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Bob Marley, “Could You Be Loved”
6
"Could You Be Loved" Bob Marley
# 4 œ (œ) œ œ ˙ ‰ œ ( œ) (œ)
____ ____ ____ ____
(œ ) œ.
46
V # 4 Ó Ó Ó J Ó
#
Could you be loved and be loved?
j j j j
& # 44 ‰ œœj‰ œœj‰ œœj ‰ œœj ‰ œœj‰ œœj ‰ œœj‰ œœj ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœj ‰ œœj‰œœj‰ œœj
46
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? # # 44 œœ‰ ‰ .œœ œ ‰ ‰ . r œœ ‰ ‰ . œr œœ ‰ Œ œœ ‰ ‰ . œœœ ‰ ‰ . œ œœ ≈ œ ≈ œ œ
R œ R R ( ) œ( ) œ
____ ____ ____ ____
1 2 3 4
Cadence type: _______________
"Blowin' in the Wind" Bob Dylan

____ ____ ____YT: g3t6YDnGXAc
____ ____ ____ ____
j
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œ œ . œ œ(œ .) the ‰ œj œ œ œ œ (œ ) œ œ ‰œj œ . œ œ(œ ) œ œ œ œ œ œ ˙ Œ‰
50
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The an - swer my friend, is blow-in' in the wind, the an - swer is blow-in in the wind.
& b 44 ‰ œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ œ . œœ œ œ œ . œ œ œ œ œ .
50
œ œ œ œ . œœ ..
œ œ.
? 4‰ ‰ j ‰ j ‰j œ ‰ j
b 4
œ œ œ œ œ (œ ) œ œ œ œœ œ œ .
œ
____ ____ ____ ____ ____ ____ ____
1 2 3 4 5 6 7
Cadence type: _______________
"Stand by Me" Ben E. King, Jerry Leiber, Mike Stoller
## 4 j j œ œ œ œ œ (œ)(œ)
Lead-sheet symbols: ____ ____ ____
V # 4 œ œ œ œ œ Œ ‰(œJ) (œ) (œ) œ( ) Œ ‰(œJ) (œ) (œ ) œ œ . Œ ‰ J ( )

55
## 4
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ww ww ww ww
& # 4 ‰Œ
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w w w w
? ### 4 ‰ œ œ œ ‰ œ Œ œ œ
4 œ ‰œ Œ œ œ œ ‰ œJ Œ œ œ œ ‰ œJ Œ œ œ
J J
Chapter 8
15
Seventh Chords 230
&
8.1 Introduction to Seventh Chords

C: I/3rd G: ii/5th
A seventh chord adds to a triad another note a third higher than the fifth.
Chords, being the
built3rd of the Ihave
in thirds, chord the numbers—third,
members that are odd 5th of the ii chord
fifth,
seventh, and we will eventually discuss
(C-E-G) is in the bass extensions of the ninth, eleventh,
(A-C-E) is in the bass and
thirteenth. The fifteenth would be the double octave, so chords only extend as
high as the thirteenth. 15
230
root third & fifth seventh ninth eleventh thirteenth

Rt 3rd 5th 7th 9th
w
11th
w
13th
w
w
231
& w w w
15
230
C: I/3rd& G: ii/5th
(this is for later)
the 3rd of
In classical and popular the I chord
music, theseventh
there are five types of 5th of the ii chord
chords com-
232
&
monly encountered: (C-E-G) is in the bass (A-C-E) is in the bass
C: I/3rd
• the major seventh chord G: ii/5th
• the major-minor the 3rd ofchord

seventh the I chord the 5th of
(also known as a dominant the ii chord
seventh chord)
root third fifth seventh ninth eleventh thirteenth
(C-E-G) is in the bass (A-C-E) is in the bass
Rt seventh
3rd chord 5th 7th 9th 11th 13th
w w
w
• the minor
w chord w
231
• the&half-diminished seventh
w w
root third seventh
• the fully-diminished fifth
chord seventh ninth
(often called (this is for later)
eleventh
diminished thirteenth
seventh chord)
Rt 3rd 5th 7th 9th 11th
w
13th
w
w w
231
& w w
Full name: major seventh major-minor seventh minor seventh half-diminished seventh fully-diminished seventh
w m7( b5), -7(-5), dm7

Primary abbrev: maj7 7 m7 ø7 º7
Other labels: Maj7, Δ7, MM7 Mm7, Dom7 -7, mm7 dim7, dd7
& wwww b www b www b b b wwww b b ∫ wwww

232
(this is for later)
Full name: M major seventh

M7 w m7seventhm
major-minor
bminorw seventh half-diminishedm7seventh fully-diminished seventh
M m7 º º º7
b
Primary abbrev:
triad maj7 triad 7 triad m7 triad ø7 triad º7
Other labels: Maj7, Δ7, MM7 Mm7, Dom7 -7, mm7 m7( 5), -7(-5), dm7 dim7, dd7
www b www b www b www ∫Cwwwo7

232
& b b b b b
Figure
Lead-sheet 8.1.1
symbols: Cmaj7 C7 Cm7 Cø7
wwwto wdifferentiate
b www w between w m3five º b ww m7
237
Another way Mw m bw typesb w

& the wwwthe º b ∫ w ww º7m3m3 by
w stacked b triad b w w triad b w
M3M7 M m7
m3 m7
of seventh
M3
chords is
learning howtriad m3
thirds are
triad m3 triad
in each M3 one. m3
M3 M3 m3 m3 m3
237 Lead-sheet symbols: Cmaj7 C7 Cm7 Cø7 Co7
& www b www b b wwww b b b wwww b b ∫ wwww

w w
242
&
M3 m3 m3 M3 m3
m3 m3 M3 m3 m3
M3 M3 m3 m3 m3
51
242
&
CHAPTER 8. SEVENTH CHORDS 52
In later chapters we will discuss other seventh chords built on augmented

triads and minor triads.
8.2 The IV/5 “sus” chord

An additional four-note chord that sounds like and functions similar to a V7
16 chord is the IV /5̂ (or F/G in C major) chord. In popular music this chord
often is substituted for the V7 chord
244 F/G or G9sus4 a variant: Dm7/G or G9sus4
w
w
& w www www www
w w
F
sus4
w basstriad w w w
major 9th
7th
note is G Root
2
Here is a musical example with the IV /5̂ chord in A major.
7
248
& A b ±7/C
"O-o-h Child" Stan Vincent
Db B b m7 D b/E b
b œ œ œ.
V b b b 44 Œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
60
bb b b 4Horns
Some - day yeah we'll put it to - geth - er and we'll get it un - done
& 4 Œ œœœ ˙˙˙ ˙˙˙ ˙˙˙

60
? b b b 44 œ œ œ . œ œ œ œ. œ œ œ œ œ œ ≈ œ œ
Bass
b œ
Db ±
A b 7/C B b m7 D b/E b
b œ œ œ
V b bb Œ
62
œ œ œ œ œ œœœœœ œ Œ
b
& b bb Œ
Some - day when your head is much light - ter
œœ ˙˙ ˙˙ ‰ œœ œœ ≈ œœ œœ
62
œ ˙ ˙ œœ œœ
? bb b œ œ œ œ œ . j
b œ œ
œ œ œ œ œ. œ œ œ ‰ œ
b
V b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
64
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Figure 8.2.1 Stan Vincent, “O-o-h Child”
b
& b b b ∑ ∑
Another example of this chord is found in the opening to the Beatles’ “The
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
64
Long and Winding Road”. In the key E2 major, the chord is A2/B2.
? b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
the
230 3rd of the I chord
the 5th of the ii chord
& is in the bass
(C-E-G) (A-C-E) is in the bass
CHAPTER 8. SEVENTH CHORDS 53
root third fifth seventh ninth eleventh thirteenth

Rt C: I/3rd
3rd 5th 7th 9th G: ii/5th
11th 13th
w w
YT:
w
fR4HjTH_fTM
w I chordw
231
& w w 3rd of the

Figure 8.2.2 Beatles, “The Long and Winding Road”
the the 5th of the ii chord
(C-E-G) is in the bass (A-C-E)
(this is in the bass
is for later)
8.3 Roman Numerals of Diatonic Seventh Chords
Full name: major seventh major-minor seventh minor seventh half-diminished seventh fully-diminished seventh
b
When notating seventh7 chords with m7 Roman numerals, ø7 there are a few 7con-
Primary abbrev: maj7 º
Other labels: Maj7, Δ7, MM7 Mm7, Dom7 -7, mm7
ventions to follow. An uppercase Roman numeral means m7( 5), -7(-5), dm7
a major dim7,
triad dd7a
and
ww b ww bw b b b wwww b b ∫wwwww
232
root Roman thirdnumeral fifth
means a seventh
minor triad.ninthAddingeleventh
“7” after thirteenth
& ww ww b www
lowercase a Roman
w
Rt means 3rd 5th seventh 7th between9th the root 11th 13th
w
numeral there is a minor and seventh of the
w
231
& w w
7 m
M M7
chord. Therefore, V M means m7 a major triad m7 withºa minor seventh
m7 º between the º7
w
triad
roottriad
and seventh and triad vi7 means a minor triadtriad
and a minor seventh triad between
the root and seventh. Add “M7” for a major seventh chord (this (e.g.,
is for IM7 ). The
later)
237 Lead-sheet symbols : C maj7 7
C ( ø7 ) means C m7 ø7
C triad with a C o7
www b www b b wwww b b b wwww b b ∫ wwww

half-diminished symbol there is a diminished minor
&
symbol ( ◦7 )seventh
w w
Full name:seventh
majorfrom rootmajor-minor
seventh to seventh. Theminor
seventh diminished
seventh half-diminished on a seventh chordseventh
fully-diminished
M3 m3 m3 M3 m3
m7( b5), -7(-5), dm7

means maj7the triad is diminished m3 and the m7distance from theø7 root m3 to seventh 7 is am3
Primary abbrev: m3
M3
7
M3
M3
m3 m3 º m3
Other labels: Maj7, Δ7, seventh.
diminished MM7 Mm7, Dom7 -7, mm7 dim7, dd7
& wwww b www b b wwww b b b wwww b b ∫ wwww

232
Below are the diatonic seventh chords used in major and minor and their
w www w www www

Roman numerals.
wwwtriad ww triadw
&triadwwww ww w w
242
ww
M M7 M m7 m m7 º m7 º º7
w C7 w
triad triad
237 Lead-sheet symbols: C maj7 Cm7 Cø7 Co7
& www b www b b wwww b b b wwww b b ∫ wwww

C: IM7 ii7 iii7 IVM7 V7 vi7 viiø7
w w w
M3 m3 m3
www
m3 M3
ww # wwww # www
m3 m3 M3 m3 m3
ww ww
243
& ww
M3 M3 m3 m3 m3
ww ww ww ww w
wwwiv7 wwwV7 www M7 www o
&a: wwwwi7 wwwiiø7 www M7 w w7
242
244 w
III
w w w VI vii
& C: IM7 ii7 iii7 IVM7 V7 vi7

Figure 8.3.1 Roman numerals for diatonic seventh chords in major
viiø7
www w
www www www # wwww # www
243
& www w w
w w w
a: i7 iiø7 IIIM7 iv7 V7 VIM7 viio7
244
&
Figure 8.3.2 Roman numerals for diatonic seventh chords in minor

1. g: III 2. A: vi 3. A¯≤: ii 4. b: iiº
? ?
391 CHAPTER 8. 5.SEVENTH
____ 6. ____
CHORDS 7. ____ 8. ____ 54
& &
9
Menuet, BWV Anh. 116 J.S. Bach
12 8.4 Practice Exercises_____
w
w # 3 wœ œ œ œw # œ œ œ
7. C˜: IV_____
œ
# # w #
_____5. e: viiº_____
/3rd_____ _____ 6._____ _____ __________ 8. G:
_____
# ww&the given
4 œb chordsww œwith# lead-sheet œ wwand Roman
bœ w œ nu-
d: VII _____ I/5th
œ w œ œ# #symbols œ
wœ above
bb w w b ww b www
135
ww
401
& below. w
1. Analyze
merals
bb b_____ 2. E¯≤b: _____ 3. #e: _____

w # # #_____ 5.#d: _____ 6. B¯≤: _____
ø7/C
w
D
˙ w # œ # w œ www œ œ b œ œwwwœ œ
#
_____ _____ _____ _____ _____ _____
? # 3
ww 4 b # ww œ œ wwœ œ œ œ ˙ww
395
&
1. b: 4. E:
w
w_____ w w w_____ w_____
w
407
?Ex.bE¯≤b:____ w # w #
_____ # _____ w w w
w _____ # ww
b b viinø7www/ 7th 1.1 g:#_____www 22. D:# _____ ww 3.b bc˜: _____
ww4 4.b bG:b _____
_____ _____ _____
3 w n5 ww 6 5. d: _____
ww
_____ _____
_____
2. Given the Roman numeral, provide the notes of the chord and the lead-
# œ œ œ œ œ œ œ œ œ œ ( œ) œ ( œ) ˙ .
9. f˜: _____ 10. g: _____
_____ _____ _____ _____ _____ _____
7. f: _____above.
sheet symbol 8. D: _____ 11. c: _____ 12. G: _____
&
139
# ### bb ## bbb ####

maj7/D
G_____ _____ _____ _____ _____ _____
413
& #
?# œ œ œ œ
œ2. g: iiø7 œ 3. D: viiœ ø7 œ œ œ (œ ) œ œ (M7
œ) œ
M7
Ex. e: III /5th 1. A: ii7 4. c: V7 5. B: IV /3rd
#
3. Analyze the harmonies in the excerpts with lead-sheet symbols
_____ above and
bb ## ## bbb #
_____ _____ _____ _____ _____ _____ _____ _____
_____ _____ _____
b b b (1999)
419 Roman numerals7 below.
&(a)
8 9 10 11 12
“No Scrubs” Cadence type: _______________
"No Scrubs" Kevin Briggs, Kandi Burruss,

1. a: iv7 2. D¯≤: iii7 3. f˜: viio7 4. D: vi7 c: iv7/3rd
5.Tameka Cottle,6.Lisa M7
G: ILopes
b
? b b b& b b b b b b b44b
Lead-sheet
_____symbols: _____ _____ _____ _____
# #œ œ
143 _____ _____ _____ _____ _____
b œ œ œ œ# b
œ œ œ bœ œ bœ œ œ
425
b nœ œ
? 4 8. A¯≤: ii7
bbbbbbb 4 œ
7. f: V7 9. b: viio7/5th 10. B¯≤: viiø7 11. e: iiø7/3rd
œ œ
12. F: IVM7
œ
?
431
b
Roman numerals: a¯≤: _____ _____ _____ _____
1 2 3 4
bb
& b b b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
145
YT:
? b b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ FrLequ6dUdM
b b (b)
b Mozart, Piano Sonata K. 545, I
10 Piano Sonata K. 545, I Wolfgang Amadeus Mozart
œ œ ˙ œ œ œ Ÿœ (œ)œ œ
_____ _____ _____ _____ _____ _____ _____
& 44 ˙ œ. œœœ Œ Œ
145 Allegro
( )
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
C: _____ _____ _____ _____ _____ _____ _____
1 2 3 4 5 6 7
Cadence type: _______________
∑ ∑ ∑ ∑
149
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download the homework.
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153
Chapter 9
Harmonic Progression and Har-

monic Function
In this chapter we will look at common harmonic progressions and examine

the principle of harmonic function that underlies progressions.
9.1 The Circle of Fifths Progression

The circle of fifths progression ( I – IV – vii◦ – iii – vi – ii – V – I ) was a stalwart of
the Baroque era in music. You will find many examples of this progression in
the music of Bach, Handel, and Vivaldi, especially in minor ( i – iv – VII – III – VI – ii◦ – V – i )
with the subtonic VII .
55
CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION56 11
Dm Gm7 C7
˙ ‰ œ œ œ ˙ œ
œ œ œ ˙ œ
œ œ
&b C œ œœœ œœœ œ œ ‰
157
‰ 11
Gm7 œ œ œ œ C7
? C Dm
b ˙œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
œ œ œ œ œœ œœœœœœ
‰ œ œ ˙ œ œ œ œ˙ œ œ œ œ
& b d:C œi œ œ œ œ œ œ œ œ ‰ iv‰ 7
157
VII7
B¯≤maj7
? C˙ œ œ œœœ œ œ œœ œ œœ # œœœ œœœ œ œ˙ œ œ œ œ œ œ œœ œ œœ œœ œ œ œœ œ œ œœjœ
Fmaj7 Eø7 A7 Dm
b œ œ œ ˙ œ nœ œ œ #œ. œ œ œ J
159
&b
d: i iv7 VII7
œ œ œ7 œ œ œ œ œ Bœ¯≤majœ 7œ œ œ œ œ Eœø7œ œ œ œ œ œ œ A7 œ
? b Fmaj Dm
j
˙œ œ œ˙ œ œ œ œ ˙œ œ
œ œ œ œ œœ œ œœ œ
œ œ œœ œ
& b IIIM7œ œ VIM7 œ # œV.7
159
iiø7n œ Ji
& b ∑ ∑ ∑ ? ∑ ∑ œ∑œ œ∑œ œ∑œ œ∑ œ ∑ ∑ ∑ ∑ ∑ œ ∑ œ ∑œ œ∑œ œ∑œ ∑ ∑ ∑ ∑ ∑ ∑

162
b œ œ dHrvGOd6G20
œ œ œ œYT: œœ œ œ œ œ œ œ œ œ œ 1047,
j
Figure 9.1.1 J.S. Bach, Brandenburg Concerto No. 2 in F Major, BWV œ
? ∑ ∑ ∑ ∑ ∑ III∑ ∑ ∑ ∑ VI ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
I. M7 M7 iiø7 V7 i
b Gm Cm/E¯≤ F B¯≤ E¯≤ Ao/C D Gm
b 4 œ. œ œ œ. œ œ. œ
& b 4 œ . œ œœ .. œ œ . œ œ . œ œœ .. œœ œœ . œœ œœ .. œœ œœ .. œœ œœ . œœ # œœ . œœ œœ .. œœ œœ . œœ # œœ . œœ œ . œœ œœ œ œ ..
162
. . . . . nœ.
f
˙ ˙˙ ˙˙˙
? b b 44 ˙˙ ˙
˙˙
˙˙
˙˙
˙ ˙˙
˙ œ ..
œ ˙
g: i iv/3rd VII III VI iio/3rd V i
b
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ f6jvsEb-Usk
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
166
Figure 9.1.2 George Frideric Handel, Suite in G minor, Passacaglia
? b ∑ ∑ the∑ circle
∑ of∑ fifths
∑ for
∑ key
∑ signatures
∑ ∑ ∑because
∑ ∑this∑circle
∑ for∑ harmonic
∑ ∑
This circle (the circle of fifths for harmonic progression) is different than
b progression contains diatonic notes only. The circle of fifths for key signatures
(Figure 2.3.4) contained all 12 notes of the chromatic scale.
f
˙ ˙˙ ˙˙˙
? b b 44 ˙˙ ˙
˙˙
˙˙
˙˙ ˙˙
˙ AND HARMONIC
˙ ..
œ FUNCTION57
œ ˙
CHAPTER 9. HARMONIC PROGRESSION
Major
I
V i IV
V minor iv
ii iiº VII viiº

VI III
vi iii
Figure 9.1.3 Circle of Fifths for Harmonic Progression
The circle of fifths (for harmonic progression) is sometimes known as the
12 “circle of descending fifths.”
œ
descending fifths
œ
166
& œ œ
begins on C
? œ
œ œ
œ
ends on C
& ∑ ∑ ∑ The
∑ circle
∑ progression
∑ ∑ ∑has been
∑ ∑used ∑regularly
∑ ∑since∑the Baroque
∑ ∑
168 Figure 9.1.4 Circle of descending fifths occurring diatonically on the staff
era.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? œ œ
œ œ
CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION58
ends on C
Fõ/A
œ œœœ œ œœ
G/B C Bm
œ
œ ≈ œ œ ≈ # œ œ ≈ œ œ œ
168
& ≈
& ≈ œ œ œ ≈ œ œ œ ≈ #œ œ ≈ œ œ
œ œ œœ œœ
G: I/3rd IV viio/3rd iii
D/F˜
œ œœœ œ œ œœ œ
170 Em/G Am G
& ≈ œ ≈ œ œ œ ≈ œ ≈ œ œ
& ≈ œ œ ≈ œ ≈ #œ ≈ œ
œœ œœœ #œ œœ œœ
œ
vi/3rd ii V/3rd I
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT: 5NkzTTkqTB4

∑ ∑ ∑ ∑ ∑ ∑ ∑
172
Figure 9.1.5 W.A. Mozart, Piano Sonata in C, K. 545, I (1780s)

8
& ∑68 ∑ ∑ Cmœ∑ œ œ∑ œ ∑ ∑ ∑ œ ∑ E¯≤maj∑7 ∑A 7 ∑ D˙∑7 ∑

7 F7 B¯≤maj7 ø
? bb J J J J ˙ Œ ˙ Œ œJ œJ
œœ. œ. œ. œ. œœ. œ. œ. œ. œœ. œ. œ. œ. # ˙

Hal - la - hal - lo - he! O - ho! Tra - la - lei!
b œœ œ œ œ ˙˙˙˙ œœ œ ˙
œ œ ˙˙˙ œœ œ œ ˙˙
68
& b œ #˙
f
? bb ˙ œœœœ ˙ œœœœ ˙ œœœœ
˙ œ. œ. œ œ œ. œ. œ œ ˙ œ. œ. œ œ
. . ˙ . . . .
g: iv7 VII7 IIIMA7 VIMA7 iiø7 V 7
? bb ∑ ∑ ∑ ∑ ∑
71
YT: PiIblkOtm3g
Figure 9.1.6 Richard Wagner, Die Meistersinger, Act II, Scene 6 (1860s)
b
&b ∑ ∑ ∑ ∑ ∑
71
? bb ∑ ∑ ∑ ∑ ∑
& www major www www
ww
www
ww
F
sus4
w basstriad w
9th
7th
note is G Root
16 CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION59
244 F/G or G9sus4 a variant:Dm7/G or G9sus4
? 44www major
& www sus4 www www
AmF7 Dm7 G7 Cmaj7 Fmaj7 Bø7 E7 Am7
w triad w w ww ww
248
w bass w wRoot w w w
9th
7th
note is G
a: i7 iv7 VII7 IIIMA7 VIMA7 iiø7 V7 i7
16
? 444 F ww w a variant:
Bøø77
? w
Am77
F/GAm Dm77 G77
G Cmaj77
Cmaj Fmaj77 B E77sus4
E E 7 7
wwww ww
248 orDm G9sus4 Fmaj Am
w
256244 Dm /G or 7 G9sus4
& 4www wwmajor www wsus4 wwww

ww Moon”
w
ww 7 (1950s)
w bass w
9th
YT: K8wE58PTIkw
triad 7th
Figure
a:
a: i9.1.7
i77 noteBart
iv
iv 77 Howard,
VII 77“Fly III
Me to the
MA7
MA7 VI MA7
MA7 (chords
iiø7 only)
V sus4 Vi77
is G Root
wG7
Bø7
?248 ? 44 Am7 w 7 Bwø7
Am7 Dm7 G7 Cmaj7 Fmaj7 E7sus4 E7
wDm7 w wE7 w
264 256
? 44 w
Cmaj7 Fmaj Am7
w w
a: iw7 iv7 VII7w w MA7 iiwø7
IIIMA7 VI w
V7sus4 w7
V
16
a: i7 iv7 VII7 IIIMA7 VIMA7 iiø7 V7 i7
?256
264
270 244 F/G or G9sus4 a variant:Dm7/G or G9sus4
& 44www www w wwww www

Bø7
?
Am7 Dm7 G7 Cmaj7 Fmaj7 E7 E7sus4
w w w w w w
F
ww
sus4 YT: FHhZPp08s74
w w w
major 9th
7th
triad Freddie Perren
Figure 9.1.8 and Dino Fekaris, “I Will Survive” (chords only)
Root
(1970s) bass note is G
a: i7 iv7 VII7 IIIMA7 VIMA7 iiø7 V7sus4 V7
?264
270
278
C˜m F˜m
? #44# # # 44 ‰ jw‰ j‰ j‰ j ‰ j‰w j‰ j‰ j ‰ j‰ wj‰ j‰ j ‰ j‰ j‰ j‰ j
?
248 Am 7 Dm G 7 Cmaj 7
Fmaj B E 7 Am B7 ø7 7E 7
w œ œ œ wœ w œ œ œ œw w
a: i7 iv7 VII7 œ IIIœMA7œ œVIMA7 iiø7 V7 œ œ i7 œ œ
?256 c˜: i
278
286
iv VII III
w
Bø7
?4 w
Am7 Dm7 G7 Cmaj7 Fmaj7 E7sus4 E7
w w w
? #4# # #w ‰ j‰ j‰ j‰ j ‰ j‰ jw‰ j‰ j ‰ j‰ jw‰ j‰ j ‰ j‰ j‰ j‰ j
268 A D˜ ø7 G ˜7 C˜m
œ œiv œ œVII œ œIII œ œ VI œ œ ii œ œ V œsus4œ Vœ œ

a: i7 7 7 MA7 MA7 ø7 7 7
? 264
286
294
C˜m F˜m
? # # # # 44VI ‰ j‰ j‰ j‰ iijø7‰ j‰ j‰ j‰ jV7‰ j‰ j‰ j‰ ji ‰ j‰ j‰ j‰ j
B E
? ####
272
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
?
294
c˜: i ivYT: EgT_us6AsDg
VII III
? ####
D˜ø7 G˜ C˜m
Figure 9.1.9 Antonina Armato, Tim James, 7Adam Schmalholz, “Love You
?The# # # #circle
A
‰ jof‰ fifths
j‰ jprogression
‰ j ‰ j‰ jhas
‰ ja‰feeling
j ‰ jof‰ inevitability
j‰ j‰ j ‰ about
j‰ j‰it jbecause
‰j
284 268
Like A Love Song” (2010s) (bass and chords only)
œ œ œ œ œ œ œsince œ œ œ œ œ œsequence
œ œ we
œ
it consists of harmonic sequences. To understand harmonic
will first look at melodic sequences, the bass line is the “melody” in a
? ####
harmonic sequence.
VI Ask yourself
iiø7 what happens
V7 after this melodic
i idea:
292
b 2 ‰ U
272
b
& 4 b œ œ œ ˙ ? ?
ƒ
œ œ œœ œ œ
b b C Ó a Œsequence
œ œ œ œ isœœa musical
œ œ œ idea
Œ repeated œat aœ œdifferent
Figure 9.1.10 Beethoven, Symphony No. 5, Op. 67, I.
œ œ pitch
Œ level.
276
&Therefore, ?
p
b
&b
281
œ œ œ œ G ˜7
D˜ø7 C˜m
? # # # # ‰ j‰ j‰ j‰ j ‰ j‰ j‰ j‰ j ‰Vj7‰ j‰ j‰ j ‰ i j‰ j‰ j‰ j
268 A
VI iiø7
b 2 9.‰œ HARMONIC U
272
b
& b 4 œ œ œ œ˙ œ œ œ œ œ? œ œ œ œ ?œ œ
œ œ œ
CHAPTER PROGRESSION AND HARMONIC FUNCTION60
VI ƒ
Sequences can be short orø7long. For example, look at this familiar idea and
ii V7 i
b U
272 notice how all four bars are sequenced down a step in the following four bars.
276
& bbb bC 42Ó ‰ Œœ œ œœ œ œœ œœ ˙ œ œ œ œ Œ œ œ œ ? œ œ œ œ œ œ œ ?Œ ?
&
ƒp
œ I. œ
b b Clook Œ œatœ the
Ó again œœœ œœ œ Œ œ œ œœœ œœ œ œ Œ
œ bass
276 Figure 9.1.11 Mozart, Symphony No. 40,
b &Now
&b
281
?
line in “Love You Like A Love Song” and notice
p
how it can be thought of a two-note idea treated as a descending sequence.
↓2nd ↓2nd ↓2nd
? #### ˙ œ ˙
œ ˙
œ ˙
281
œ
↓5th ↓5th ↓5th ↓5th
Figure 9.1.12 “Love You Like A Love Song” bass line sequence in groups of
two notes
Sometimes we will hear a circle of fifths sequence where some of the chords
are not in root position, as in the Handel and Mozart examples. In these two
examples, we are hearing the sequence of the roots, even though they are not
clearly presented in the bass.
17
œ
Cm/E¯≤ B¯≤ E¯≤
œœ̇
? b b œ̇ œœ̇
Gm F Ao/C D Gm
# œœ̇
282
œ̇œ œœ̇ œ̇œ œœ̇

? bb
283
YT: f6jvsEb-Usk
Figure 9.1.13 Handel Passacaglia with roots as open note heads
We will return to the idea of harmonic sequence later in this chapter.
9.2 Harmonic Rhythm

You will find that all of the progressions we discuss can have different har-
monic rhythm. Harmonic rhythm is a term for how long each chord lasts.
For example, in “Fly Me To The Moon” (Figure 9.1.7), “I Will Survive” (Fig-
ure 9.1.8), and “Love You Like A Love Song” (Figure 9.1.9), each chord lasts for
four beats and has whole-note harmonic rhythm. In the Mozart (Figure 9.1.5)
and Wagner examples (Figure 9.1.6), on the other hand, each chord lasted for
two beats, and so had a faster harmonic rhythm.
Listen to the following example to hear four-beat harmonic rhythm change
to two-beat harmonic rhythm.
? bb ˙ œœ œ̇ œœ̇ œ̇ œ̇œ # œœ̇ œœ̇
g: i iv/3rd VII III VI o
CHAPTER 9. HARMONIC PROGRESSION ANDiiHARMONIC
/3rd V i
FUNCTION61
? ### 4 w w w ˙ ˙ w ˙ ˙ w
283
4 w
A: IV I vi V IV I V IV I V
whole-note harmonic rhythm half-note harmonic rhythm
? ###
291
YT: F90Cw4l-8NY
Figure 9.2.1 Dan Smith, “Pompeii”
In some music, harmonic rhythm will remain consistent, while in other
pieces there will be an infinite variety to the length of harmonies. Through-
out this text, we will be examining harmonic rhythm and the placement of
harmonies within the phrase.
9.3 Shorter Progressions from the Circle of Fifths

9.3.1 II-V-I
The “ ii – V – I ” progression can be found in many pieces of music in all styles—classical,
popular, but especially jazz, since the Great American Songbook (popular
songs from the 1930s, 40’s, and 50’s) on which jazz repertoire is built contains 13
many examples of this progression.
Dm7 G9 C6
& 44 w œ #œ œ œ œ bœ œ œ œ
175
œ ˙.
w
? 44 www www www
w
w
C: ii7 V9 I
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
178
& YT: MENQyu4D7Ig

Figure 9.3.1 Duke Ellington, “Take the ‘A’ Train”
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w
? 44 www www www
w
w
8 CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION62
C: ii7 7 V9
œ œ œ œ ˙
I
B¯≤maj7 E¯≤maj7
œ ˙
Cm F7 Aø7 D7
? b#b# 4J J J J Œ ˙ Œ œ œJ
68
178 Em7 A7 Dmaj7
& 4 ˙. œ b˙ n˙ a wJ
. w œœ. wwœ. œ. œ. ˙ w
? # # 44œœœ œ.www œ. œ. ˙ œœ. œ. wwœ.
Hal - la - hal - lo - he! O - ho! Tra - la - lei!
b œ œ œ œ ˙˙˙ œœ wœ œœ œ. # ˙
œ œ ˙˙˙ œ # ˙˙˙
68
&b œœ
f
D: ii7 V7 IMA7
## ? b œœ œœœœ ˙
∑ b ˙ ∑ œ œ œœ œ ˙∑ œ. œ. œ ∑œ ˙
œ ∑œ œ œ
181
& ˙ . . . œ. YT:˙ sUg1Dpsd6fw œ. œ. œ œ

. . . .
Figure
g: 9.3.2
iv7 Miles Davis,
VII7 “Tune-Up”
IIIMA7 VIMA7 iiø7 V 7
? ## ∑ ∑E bm ∑ E bm7
œD∑ 6œ œ œ ˙A 9( 5)
A b7 A b 13 ∑D b6
b b #
? bb 4 œ œ œ
œ œ œ œ. J œ œ œ
œœ J. œ ˙
Ó
71
bbb 4 J
œœ œœ
You must re - mem - ber this a kiss is just a kiss, a sigh is just a sigh
bb 4 J œ œœ n œœœœœœ ˙˙˙˙
&bbb 4 ‰ Ó
71
j œœ .. œœ n œœœ œ
œ. nœ ˙ œ œ
œœ œœ œ
? bb 4 ‰ œ œœ œœœ œ œœ œ œ œœ œœ ˙ Ó
bbb 4 œ œ œ
œ œ œ ˙
œ œ œ
D¯≤: ii V7 ii7 V13 I V+9 I
? bb b ∑ ∑ ∑ ∑ ∑ ∑
76
bb
YT: d22CiKMPpaY
b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑
76
Figure 9.3.3 Herman Hupfeld, “As Time Goes By” (1931)
9.3.2 VI-II-V-I
? bb b ∑ ∑ ∑
This progression can occur in one of the following three ways (or orderings):
∑ ∑ ∑
• vib– ii
b –V–I
• I – vi – ii – V
• ii – V – I – vi
One can think of these reorderings as rotations, as shown in the example below.
# 4f w w ˙ ˙ ˙ ˙
? b b A:˙ IV Iœ œ œ viœ ˙ V IV œ œ Iœ œ V ˙ IV Iœ œ Vœ œ
˙ whole-note œ
. œ. œrhythm
œ. ˙ œ. AND
œ. œharmonic œ. œ. œ œ
. PROGRESSION . œHARMONIC
. ˙ . .
harmonic half-note rhythm
CHAPTER 9. HARMONIC FUNCTION63
g: 7iv 7 VII MA7 MA7III ø7 VI 7 ii V

start start start
E bm A b7 b b b b # D b6
vi
œ œ
E m7ii
œ œ œ œ œ ˙A 9( 5)I
A 13 D 6
˙
? b b 4 œ œ œ œ œ œ. J œ œ œ œ. J Ó
71
bbb 4 J
I ii
œœ
vi V V vi
œœ
You must re - mem - ber this a kiss is just a kiss, a sigh is just a sigh
bb b 4 ‰ J œ œœ n œœ œœœ ˙˙˙ Ó
71
b
& b 4V j œ n œœœ œœ ii ˙
œ. nœ ˙ œ
œ. I. œ
œ œ
? b b9.3.4 œœ
œ œœ of the œviœœ – iiœ – V –œœ I progression
4 ‰Rotations œ œœœœ œœœ
bbb 4 œ œ œ œ ˙ Ó
? ### œ œ
Figure
œ œ œ œ ˙
291
9.3.2.1 D¯≤: ii
vi-ii-V-I V7 ii7 V13 I V+9 I
The vi – ii – V – I progression contains the last four chords of the circle of fifths
? ###
progression.
±
295
B b m7 E b7 Ab 7
bb 4
76 F m7 13
& b b 47 ˙.
Dm w G9 œ œ œ œ Cœ6 œ ˙.
œ the prom - isedœ kiss œof
& 44b b w4 œ # œare œ
175
œ bœ œ œ Œ ˙. ‰ Ó
You spring - time,
& b b 4 Œ ‰ œj Ó Œ ‰ œj Ó ∑
76
j
w œœ œœ œœ
? 44 www www wwww œ
? bb 4 w ˙
bC:b ii74 ˙ ˙ V9 ˙ ˙ ˙ I ˙ ˙
#
A¯≤: Em
& # 44 ˙ .
j
178 vi77 ii7 A7 V7 DmajI7MA7
œ b˙ nœ. aœ w
www YT:wOPapxr8GvGA
w ww
? # 4
Figure #9.3.5
w
4 Jerome Kern, “All the w
w Things You Are”
Here isD:another
ii7 example from more
V7 recent popular music.
IMA7
C˜m F ˜m C˜ m F ˜m
#
& # 44 ˙˙˙
B E Bsus4 B
˙˙˙ ˙˙
181
˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙
˙ ˙ ˙ ˙ ˙
? ## 4 ˙ ˙ ˙ ˙ ˙
4 ˙ ˙ ˙
E: vi ii V I vi ii Vsus4 V
#
& # ∑
185
YT: ZyhrYis509A
Figure 9.3.6 Søren Rasted, Claus Norreen, René Diff, and Lene Nystrøm,
? ## ∑
“Barbie Girl” (chords only)
9.3.2.2 I-vi-ii-V
Here are examples of the I – vi – ii – V progression, sometimes called the 1950s
progression because of its prevalence during that decade, although this pro- 99
gression was also widely used in the 1930s and ’40s.
A b66 F m7
m7 B bm9
m9 E b 99 A b 66
A F
F m7 B b m9
B E b 99
E
bb
A F B E
4
80 m7 m9
&bb ‰
80
4 œ w œœ œ œ œ œ œ œ w œ œœ œ œœ œ
Blue
Blue moon
moon you saw
you saw me
me stand
stand--ing
ing aa-- lone,
lone, with
with--out
out aa dream
dream in
in my
my heart
heart
b
& b b b 44 Œ Œ œœœ Œ œœœœ Œ œœœ Œ œœœ Œ œœ Œ œœœ Œ œœœ Œ œœœ
80
80
œ œ œ œœ œ œ œ
? b b b 44 Œ
b ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
A¯≤¯≤::
A II vi77
vi ii99
ii V99
V II vi7
vi7 ii
ii9
9 V
V9
9
b bb b bb
85
&
85
& bb b b b ∑∑w
85
?
85
YT: WTj7DvlptAc
b
Figure 9.3.7 Richard Rodgers, “Blue Moon” (1934)
F 66
F D m7
D m7 G m7
G C 77
m7 C F
F 66 D
D m7 G
G m7 C
C 77
44
m7 m7
Œ œ œ . œjj œ
86
Vb Œ ‰ œj œ œ ˙ œ
86
œ w œ œ œœ
Some--where
Some where be -- yond
be yond the
the sea
sea some
some -- where wait -- ing
wherewait ing for
for me
me
4 j Œ ‰ jœ jj Ó
86
& b 4 Œ Œ ‰ œjœ œœœ œœ œœœ ... œœœ Ó

86
œ œ œ œ
œ .
. œ œ
œœ œœ œœ œœ .. œœœœœ
œœ œ œœ œ . œ œ œ œ
? 4 Œ
b 4 œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ
F:
F: II vi77
vi ii77
ii V77
V II vi77
vi ii77
ii V77
V
V b ∑ G∑m7 ∑ ∑ ∑ C 13sus ∑ ∑ C ∑13 C ∑7(13b9)∑F ±9∑ ∑ A m7 ∑ /E∑D m9∑ ∑ ∑ ∑

91
b 44 œ œ ˙ œ œ YT: œ œ_R8HhlaMvko
œ œLasry, œ œ“Beyond ˙. œ œ œ
Œ Sea”
91
V
Figure 9.3.8 Charles Trenet and Albert The (1945) œ
b ∑ for ∑this
my∑ bass
∑ line
∑ inI'm
∑ the
a∑stran∑- gerrecording.
∑in ∑par - a∑- dise∑ ∑ ∑ All ∑ lost∑ in∑ a ∑
91
&Listen Take hand next
& b 44 w ˙˙˙ œœœ b œœœ ˙˙ ..

91
œœœ ww
www ˙ œ œ ˙˙ .. œ w
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑w ∑ ∑ ∑ ∑
? b 44 ˙ ˙ ˙ ˙ œ œ ˙ ˙
˙
F: ii7 V7 IMA7 vi7
authentic cadence connects to next phrase
? bb 4 Œ
bb 4 ˙ ˙ ˙ ˙ ˙
V ˙ I
˙ ˙ ii
9.¯≤: HARMONIC
CHAPTER A I vi7 PROGRESSION
ii9 V9 AND
I HARMONIC
vi7 ii9 FUNCTION65
V9
b bb b bb
F# D #m G #m C# F# D #m G # m 85 C #
? # # # # # 44
85
˙ ˙ &
? ˙b b b b ∑∑w
291
# ˙ ˙ ˙ &
˙ ˙ bb
F˜: I vi ii V I vi ii V
? # # # #86#
F6 D m7 G m7 C 7 F6 D m7 G m7 C7
4
295
# Vb 4 œ w ‰ j mEHcTciiXQY
Œ YT: Œ œ œ. j
œ œ œœ ˙ œ œœ œœ
Figure 9.3.9 Frankie Lymon, Herman Santiago, Jimmy Merchant, “Why Do
Some-where be - yond the sea some - where wait - ing for me
4
& b 4 Œ Œ ‰ œjœ œœœ œœ œœ .. œjœ Ó jÓ
Fools Fall in Love” (1955)
Œ ‰ jœ
86
œ œ œ œ œ
œ .
. œ
9.3.2.3 ii-V-I-vi œ œ œ œ
œ œ œ .. œœ œœ œ œœ œœ .. œœœ
œ œ
? acts4 asŒ a link between the Vœ– I cadence in the middle of the
b 4 œ of the next œphrase. œ œ activity
Below is an example of the ii – V – I – vi progression. In this example, the vi
and the ii chordœ at œ

œ theœ beginning œ œ œ œ
œ œ œ
chord phrase
This harmonic
after the arrival on the I chord is like a “turnaround” in jazz. We discuss
F: I vi7 ii7 V7 I vi7 ii7 V7
turnarounds more in a later chapter on jazz harmony.
G m7 C 13sus b9) F 9
C 13 C 7(13 ± A m7/E D m9
V b 44 œ œ ˙ œ œ œ œ œ œ œ œ ˙. Œ œ œ œœ
91
Take my hand I'm a stran - ger in par - a - dise All lost in a
4
&b 4 w ˙˙ œœ œœ
91
˙˙ œœ b œœ ˙˙˙ ... œœœ www

www ˙. œ w
? b 44 ˙ ˙ ˙ ˙ œ œ ˙ ˙
˙
F: ii7 V7 IMA7 vi7
authentic cadence connects to next phrase
YT: WFrUsa5SUv0
Figure 9.3.10 Robert Wright, George Forrest, Alexander Borodin, “Stranger
in Paradise” (1953)
If you view this video on YouTube, you will briefly see the double bass part,
which has lead-sheet symbols on it.
9.3.3 III-VI-II-V
The iii – vi – ii – V circle of fifths segment is sometimes repeated (or looped)
within a song.
10
C # m7 F # m7
### 4
Bm E E/D
œ œ œ œ œœ
95
& 4 œ œœ
œ ˙ œ œ œ œ.
## œ
44 Cœœœ #m7œœœ ... œ Fœ #.m7œ œ . œœE œœ œœE/Dœ œœœ
10 great - test
œ œœ œœ Bœœ m
love of all is hap - pen - ing to me
& # ##
95
œœ .. œ œ œ.
& # 44 œ œ œ œ œœ
95
œ œ œœ ˙ œ œ œ œ.
? ### 44 great
˙ - test ˙ ˙ œ - pen - ingœ to me
### œ
44 œœœ 7 œœœ ... œ œ 7. œ œ œ œœ iiœœ œ . œœ œœ œœ 7 œ œœœ
love of all is hap
95
& A: iii œœ .. œ
vi
œœ œ. V V /7th
C # m7 F # m7
# ### ‰ œj œœ
97 Bm E E/D
?
& # 44w ˙
# Œ œœ œ
˙ ˙
### œ œ œ Vœ/7thœ
97
œœ œœ .. œ Fœ #m7 œ œ œ œ Bœ m œ
A: iii7 vi7 ii I've V
found 7
the
&# # C # m7
œ œ. œœ ... œ œ œ œ œ œ œœ œE œ œE/Dœ
œœ j
97
& # w
Œ ‰ œ œ œ œ
? ### œ
##
˙ ˙ œ œ œ œœ œ
97
œœ œœ .. œ œ˙ œ œ œ œ œ œ
I've found the
& # œiii7 œ . viœœ ...7 œ œ œ œ iiœ œ œœ

œœ V
œ œ Vœ 7/7thœ
##
& # ∑ ∑? # #∑# ˙∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑œ ∑
99
˙ YT: IYzlVDlE72w ˙
### œ
Figure 9.3.11 Michael Masser and Linda Creed, “Greatest Love of All” (1977)
iii7 vi7 ii V V7/7th
J ‰ŒÓ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
99
&
Sometimes, this progression is rotated to ii – V – iii – vi , as in “September,”
the well known song by Earth, Wind, and Fire.
C # m7 F # m7 C # m7 F # m7
##
B m7 E B m7 E
? # # # ∑ ∑& #∑ 44 ∑œ œ ∑œ Ó∑ ∑œ œ ∑œ œ ∑œ œ ∑ œ ∑œ œ ∑Ó ∑ œ ∑œ œ ∑œ œ ∑œ
99
##
Ba - de - ya say do you re-mem-ber Ba - de - ya danc-ing in Sep-tem-ber
j j
& # 44 œœ .. œœ ˙˙ œœ œœ ˙˙ œœ .. œœœ ˙˙˙ œœ œœ ˙˙
99
œ. œ ˙ œ œ ˙ œ. œ œ ˙
? # # # 44 œ œ œ Œœ #œ œ œ œ œ œ Œœ #œ œ œ
A: ii7 V iii7 vi7 ii7 V iii7 vi7
YT: Gs069dndIYk
Figure 9.3.12 Maurice White, Al McKay, Allee Willis, “September” (1978)
This ii – V – iii – vi progression is also seen in the following song.
b
& b bbb c œ . j j j j
œœœ ˙˙˙ œœœ ... œœœ ˙˙˙ œœœ .. œœœ ˙˙˙ œœœ ... œœœ ˙˙˙
214
œœ .. .
? bb c j j j j
b b b œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙
D¯: ii7 V iii7 vi ii7 V iii7 vi
b
& b bbb
205
YT: dQw4w9WgXcQ
Figure 9.3.13 Mike Stock, Matt Aitken, and Pete Waterman, “Never Gonna
? bb
bbb
Give You Up” (1987)
9.4 Harmonic Function

Now we will address non-circle-of-fifths progressions. Notice that we have not
included the vii◦ or IV chord in any of the shorter circle of fifths progressions
above. However, it is a common axiom that Rock ‘n’ Roll is made up of
three chords: I , IV , and V . This is because each of those chords represents
¯/F Gø7
a harmonic function. Harmonic function refers to the tendency of certain
chords to progress to other chords, or to remain at rest. Many texts on music
theory enumerate three harmonic functions. In this text, we will discuss four.
1. Tonic function (abbreviated “ton.”): The I chord has tonic function,
which is a state of stability and rest. Tonic chords do not demand pro-
gression to other chords.
2. Dominant function (abbreviated “dom.”): The V and vii◦ (chords con-
taining the leading tone 7̂ and supertonic 2̂ ) tend to progress to tonic ( I ).
Special note: The I/5th chord has dominant function when it resolves
to the V chord, as in the third chord from the end of the “Star-Spangled
Banner.” 17
B b/D F B b B b/D G m C ø7/G b B b/F Bb
œ œ (œ ) ˙
F F7
b œ œ œ . ( œJ ) œ
& b 43 œ œ œ. ˙
152
J
j
b
& b 43 œ œ œœœ œœœ ( œœœ ) ˙˙˙ œœ œœœ œœœ ... ( œœœ ) œœœ
œœ .. ˙˙
152
œ J ˙
? b b 43 œ ( œ ) œ . j ˙ œ bœ œ. j
œ ( œ) œ . œ œœ ( œœ ) ˙ œ bœ œ. œ œ ˙
œ ( ) œ œ ˙
B¯≤: I/5th V7 I
dom. ton.
Figure 9.4.1 Key and Smith, “The Star-Spangled Banner”

? bb A: IV œ I
˙ vi
œœ̇ V ˙IV I œœ V # œ̇IV I œœ̇ V

start
# vi
start start
?3. #Pre-dominant
# 44 w function w(abbreviated
w ii “pre-dom.”):
˙ ˙ w The IV˙ and w
283
containing the subdominant 4̂ and submediant 6̂ ) tend to˙ progress to

w
I
ii (chords
chords
A: of
IVdominant
Iii function.
vi vi V IV VI VV IV I Vvi
I
4. Tonic prolongation function (abbreviated “ton. prol.”): The vi and iii
(chords that share two common tones with 1̂ –3̂ –5̂ from the tonic triad)
V
tend tostart Iand progress to chords ofstart
occur after the tonic chordstart iipre-dominant
vi
function. ii I
F # is represented
D #m G # mon aCflowchart
# F # in the
D #m G #m C#
? #I# # # # 44
Harmonic function next section.
ii ˙ ˙V
291
# ˙ ˙ ˙ ˙ vi
˙ ˙
vi V
9.4.1 The Harmonic Flowchart
V I ii
FUNCTION: Tonic Tonic Prolongation Pre-Dominant Dominant Tonic

F# D #m # C# F # IV D #m G #viiº C#
? # # # # # 44 I
iiiG m m
˙ ˙
291
˙ ˙
ROMAN
#
I
˙ ˙ ˙ ˙
NUMERALS:
vi ii V
(dashed lines represent possible movement within a functional area)
9.4.2Tonic
FUNCTION:
Figure HarmonicTonic Prolongation
Flowchart in Major Pre-Dominant Dominant Tonic
ROMAN
Remember that IV goes to iii I in the plagal cadence
IV and Vviiº goes to viI in
I
NUMERALS:
the deceptive cadence. When IV goes to I , label IV as having tonic prolonga-
vi ii V
tion function. The plagal cadence and deceptive cadence are exceptions to the
harmonic flowchart.
(dashed lines
Here is the Harmonic representin
Flowchart possible
minor. movement withinaddition
Note the a functional
ofarea)
the subtonic
VII chord, which has one function—to progress to III .
FUNCTION: Ton. Ton. Prol. Pre-Dom. Dom. Ton.
III iv viiº
ROMAN i VII i
NUMERALS:
VI iiº V
Figure 9.4.3 Harmonic Flowchart in Minor

The tonic chord I can progress directly to a chord of any other function and,
in fact, many pieces begin with a I – V – I progression, representing harmonic
function of Tonic-Dominant-Tonic.
9.4.2 Tonic-Dominant-Tonic Progression

This is the most elemental progression in music, often realized with I – V – I .
? # # cD: ˙ii7 ˙ ˙ ˙ ˙ IMA7
˙B ˙ ˙B
V7
C˜m F˜m C˜ m F ˜m
# 9. HARMONIC PROGRESSION
E Bsus4
& # E:c vi˙˙˙ ii˙˙˙ ˙˙˙ FUNCTION69

˙˙
181
˙˙˙ ˙˙ ˙˙˙ ˙˙
˙
CHAPTER V I vi
AND ii
HARMONIC Vsus4 V
˙ ˙
D 7/F #
? ### 3c œ˙. œ œ ˙ Œ ˙ œ . œ œ˙
G D 7/A G
˙
185
& 4 œ œ Œ ˙ Œ œ˙ œ ˙ Œ
E:p vi
? # 3 Œ œG œ œ œ Dœ7/Aœ œ œ Dœ7/Fœ# œ œ Gœ œ œ
ii V I vi ii Vsus4 V
# 43 œ . œ œ Œ œ. œ œ
185
& G:4 I œ Vœ7/5th Œ V7/3rd

Œ œ œI Œ
C p
tonic dominant tonic
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÓ œ œ
190
&?c# 4˙3 Œ œ œ œœ œ œœ œ œ œœ Ó
G G7 C
˙ œ œ œ œ . œ. œ.YT:œ. OmQQoohTW80 ˙˙ # œœ œœ œœ œœ œœ. œœ n œœ œ.

. .
p
? c wwC œ œ Ó w œœ œœ. tonic
.
G: I V 7/5th V 7/3rd I
Ó
Figure 9.4.4 W.A. Mozart, Piano Sonata, K. 283, I.
œ. œ. w
190 tonic dominant
&C:c I˙ œ œ œ œ œœ œ Vœ œ Ó V˙˙ 7 œ œœ œ œœ œœ œœ œI œœ Ó
G G7 C
˙ œ œ œ œ . œ. œ. œ. # œ œ . . n œ. .
p
? c ww œ œ Ó w œœ. œœ. Ó
œ. œ. w
C: I V V7 I
YT: o1iUR3GG4DQ
Figure 9.4.5 Ludwig van Beethoven, Piano Sonata in C major, Op. 2, No. 3, 11
I.
F# F# B/F #
#### 3 œ œ œ œ. œ œ
B
œ œ œ œ. œ œ
& # 8 J J J
103 con brio
R RÔ J J J
##
& # # # 38 ‰ œœ œœ
103 La don na è mo - bi - le qual più ma al ven to,
‰ œœ œœ ‰ œœ œœ ‰ œœœ œœœ
œ œ œ œ œ œ
? # # # # 38 œj ‰ ‰ œ œ œ œ j ‰ ‰
# œ œ œ
B: I V V I/5th
œ œœ œ œ œ œ
F C C 7sus F
? 4
œ ˙ œ œ œ œ œ œ œ œ˙
107
b 4 ‰J YT: Œ4iUwkJuRdiY
Œ
107 Figure 9.4.6 Giuseppe
Hey Jude,
Verdi, Rigoletto, “La
don't make it bad
donna è mobile”
take a sad song and make it bet - ter
4
&b 4 Œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
œ œœ œœ œœ
œœ œ œœ œœœ
? 4 Œ j j
b 4 œ œœ œ œ œj œ œj j j j œj œ œ œj
œ œ. œ œœ œ œ
œ œœ œ œ œ œœ œ œ. œ œœ œ œ œ œ œœ
F: I V V7sus4 I
? # # # # 38 œj ‰ ‰ œ œ œ œ j ‰ ‰
# œ œ œ
CHAPTER 9.B:HARMONIC
I V
PROGRESSION V HARMONICIFUNCTION70
AND /5th
œ œœ œ œ œ œ
F C C 7sus F
? 4
œ ˙ œ œ œ œ œ œ œ œ˙
107
b 4 ‰J Œ Œ
107
Hey Jude, don't make it bad take a sad song and make it bet - ter
4
&b 4 Œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
œ œœ œœ œœ
œœ œ œœ œœœ
? 4 Œ j j
b 4 œ œœ œ œ œj œ œj j j j œj œ œ œj
œ œ. œ œœ œ œ
œ œœ œ œ œ œœ œ œ. œ œœ œ œ œ œ œœ
F: I V V7sus4 I
YT: A_MjCqQoLLA
Figure 9.4.7 Lennon-McCartney, “Hey Jude”
12
œ œ œ œ œ
? # # # 44 œ .
A E7
J œ œ œ œ œ. Œ Œ ≈ œ
112
### 4 ‰ j ‰ j ‰
All my ex - es live in Tex - as And that's why
j‰ j ‰ j‰ j‰ j‰ j
112
& 4 œ œ œœœ œœœ œœœœ œœœœ œœœœ œœœœ

œœ œœ
? ### 4
4 œ œ œ œ œ œ œ œ œ
A: I V7
tonic dominant
? ### œ œ œ œ œ ‰ œ œ œ œ ˙
114 E7 A
J Ó
###
114 I hang my hat in Ten - nes - see
‰ j ‰ j ‰ j ‰ j ‰ œj ‰ j j j
& œœœ œœœ œœœ œœœ œœ œœ ‰
œœ ‰ œœ
? ### œ œ
œ œ œ œ œ œ
V7 I
(dominant) tonic
Db Db E b m7 A b 7 E b m7 A b 7 Db
bb 4
&bbb 4 œ Œ Œ
116
œ œœ w œ œ œ
YT: Jk7uXaNuWNE
œ w œ œ œ œ
Figure 9.4.8Startspreading
Sanger D.news
Shafer and Linda J. toShafer,
day, “All My Ex’s
I want Live
to bein
œ œ œ œœ œ œ œœ œ œ
- the I'm lea - ving
b b b bprinciple
4 œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œœ Œ Ó œ
116
b 4 Œ Óof
Texas” (1986)
&The “Tonic-Dominant-Tonic” could also be represented with
œ œ in terms œ œ
I – vii◦ – I . Even though we learned that “dominant” means “5̂ ” (and also
“ V? 4 sections,
b b earlier
chordb that
”) in
∑ to “dominant
b b 4progresses œ Œ Œ function”
œŒ Œ œ Œ of harmony
Œ œ Œ means Œ œ“a
the tonic chord.” We will revisit this concept and
other possibilities for D¯≤:
“dominant
I function”
I later. ii7 V7 ii7 V7 I
9.4.3 Tonic-PreDominant-Dominant-Tonic Progression

This sequence of harmonic functions can be realized in four possible ways:
• I – ii – V – I
• I – IV – V – I
• I – IV – vii◦ – I
• I – ii – vii◦ – I
Here are examples with I – ii – V – I .

14
‰ œ‰ œ œœ ‰ œœœœœœ‰ œœœœœœ
C D m7/C
œ œ œ œ
&c
194
≈ œJ .œ œ œ ≈ œJ œ. œ œ ≈ œJ . œ ≈ œJ . œ
?c ˙ ˙ ˙ ˙
14
‰ œ œ œ ‰ œ œ œ œ ii‰7/7thœ œ œ œ œ œ ‰ œ œ œ œ œ œ
C D m7/C
c œ
194
& ≈ œ .œ tonicœ œ ≈ œ œ. œ œ
C: I
J J ≈ œ . pre-dominant
œ ≈ œJ . œ
J
‰ ˙ œ œ ‰ ˙ œ œ ‰ ˙ œ œ ‰˙
G 7/B C
& c œ .œ œ œ œ œ œ .œ œ œ œ œ
? œ œœ œœœœœ
196
œ œ
≈ J ≈ J ≈ œJ . œ ≈ œJ . œ
? ˙
C: I
˙ ˙ ii7/7th
˙
tonic pre-dominant
‰ œ œ œ‰ ‰ œ‰ œœ œœ
œœœœœ
G 7/B C
œ tonic
& œ .œ œ œdominant œ œ
196 V7/3rd I
œG m œ œ œ œø œ
≈ J ≈ œJ . Gœ m œ ≈œ œJ . G m œ ≈ œJA . 7/G œ
Œ œ Œ
b˙b C œ œ œ œ œ˙œ œ œ œ ˙œ œ œ œ œ œ œœ˙œœ œ œœ œ œœ œœ
198
&
? œœ œœ œœ œœ
œ œ œœ œœ œ œ œœ œœ œ œ YT: œ œ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œ œ œœ œœ œ œ
œœ œœvqM4tCZ7RV8
Figure 9.4.9 J.S. Bach, Well-Tempered Clavier, Book I, Prelude 1 in C major
œ Œ Ó œ Œ tonic
7/3rd
BWV V I
? bb C Œ Œ Ó Ó ø Œ Ó
846
œ Aœ7/G
dominant
œ Œ œ œ œ œ œ œ œœ œ Œ œœ œœ
Gm Gm Gm
œ œ
iiø7/7th
œ
g: i i i
b b C œœ œ œœœ œœ œ
198
& œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œ œ œœ œœ œ œ
ø œ œ œ
œ œ
œ œ œ œ
œ œ
œ œ œ # œ
œ œ
œ œ œ œ
œ œ
œ œ œ œ
œ œ
œ œœ
b œ œ œœœ œ œ œ œœ œ Œ œœ œœ # œ œ œ œ œ œ œ œ œ Œ
203 A /G7 D 7/F D7 Gm
b
& b b Cœ Œœ œœ œœ œ œŒ œœ œœÓ œ œ œ œ Œœ œÓœ œ œ œ œœŒ œœ Ó# œ œ œœ œœ œ Œœ œœÓœœ œ œ
?
œœ œœ œœœ œœ œœ œœ œœœ œœ
g: i i i iiø7/7th
? b b A œøø77/G Œ Ó Œ Ó œ Œ Ó
tonic
G im Œ Œ
pre-dom.
# œ œ Œ œ DV77
#
œ
œ Œ
ii /7th DV77/F/3rd
# œ œ
203
b œ
& b œœ œ œœœA bœœœ œœ œ œœœ œœœ
œ œœ œ œ œ œ œ œ œ
œœ Dœœb œ œ œœ œœ œ œ Eœœb œœ œœ œœ # œœ œœ œœ Aœœb œœ œœ œœ œœ œœ œœ
b b b œ 3œ ˙ . œ œ ˙.
207
& b 4 ˙. œ œ œ œ œ Œ
˙. œ œ œ œ œ
? bb œ Œ Ó Œ Ó œ Œ Ó
Z #œ œ Œ Œ
? b b biiø743/7th œœœ œœœ
V7/3rd œ œœ V7 œœ œœ
œ dominant i œœ œœ
b (pre-dom.) œ œ tonic
œ œ
°
A¯≤: I b * ° b *° Eb *° AIb *
bb b b 3 ˙ . .
˙YT: O0PChj-uQPo œ œ œ œ œ Œ
207 DIV
A V
& 4 ˙. ˙. œ œ œ œ
Figure 9.4.10 W.A. Mozart, Symphony No. 40 in G minor, K. 550, I.œ (textural
Z œœ œœ œœ œœ œœ œœ
? b b b 43 œœ œœ
reduction)
œ œ
b œ œ
A¯≤: Iœ œIV V I
° * ° *° *° *
? ## œ œ œ œ
œ œ œ œ
V7 I
CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC
(dominant) tonic FUNCTION73
Db Db E b m7 A b 7 E b m7 A b 7 Db
bb 4
&bbb 4 œ Œ Œ
116
œ œœ w œ œ œ œ w œ œ œ œ
œœ œœ œœ œ œœ œœ œœ œ œ œœ œ œœ
Startspreading
- the news I'm lea - ving to day, I want to be
bb 4 œ œœ œœ œœ œ œ œœ Œ Ó
116
&bbb 4 Œ Ó œ
? bb 4 œ œ œ Œœ Œ œŒ œ Œ œ
bbb 4 ∑ œ Œ Œ œŒ Œ
D¯≤: I I ii7 V7 ii7 V7 I
tonic pre- dom. pre- dom. tonic
dom. dom.
YT: 5-pyc_z7WbY
Figure 9.4.11 John Kander and Fred Ebb, “Theme from New York, New
York” (1977)
? ### 4 jj j j œ
4 œ. #œ œ œ œ œ Œ Ó
A Bm
œ . œ œJ œJ œ Œ Ó
295
A: I ii
tonic pre-dom.
? ###
E
jj j Œ Ó
A
j jœ j Œ Ó
œ œ œ
299
œ. ‹œ œ œ œ œ œ. # œ
V I
dominant tonic
? # # # 44 A w
D
w
E
w
E A
303
w œ
YT: 7PCkvCPvDXk
A: I IV V V I
Figure 9.4.12 Meghan Trainor and Kevin Kadish, “All About That Bass”
˙˙˙ are examples

˙˙ ˙˙˙ ˙˙
˙˙˙ with I˙˙˙– IV – V – I ˙˙ ˙˙
(bass line and chord symbols only) (2014)
˙ ˙
308
& Here
progression.
realizing the Ton-PreDom-Dom-Ton
˙ ˙
309
C: I vi IV V versus I vi ii/3rd V
? 44 ˙
C Am F G
˙ ˙ ˙
C: I vi IV V
G¯≤ A¯≤ D¯≤ B¯≤m

311
? b b b 44 w w
bb w w
D¯≤: IV V I vi
? 4 œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
315
F E¯≤ B¯≤ F
b 4 œœœœœœœœ œœœœœœœœ
F: I ¯≤VII IV I
FUNCTION: tonic ton. prol. pre-dom. tonic
319
? bb œ Œ Ó Œ Ó œ Œ Ó Œ Œ
#œ œ
iiø79./7th
CHAPTER HARMONIC V 7/3rd
PROGRESSION V7 HARMONIC FUNCTION74
AND i
(pre-dom.) dominant tonic
Ab Db Eb Ab
b ˙.
& b b b 43 ˙˙ ..
207
˙. œ œ œ œ œ Œ
œ œ œ œ œ
Z œœ œœ œ œ œœ œœ
? b b b 43 œœ œœ
b A œ œ œ œ œ œ j œ œ
? # # # 44 œ # œj œj œ œj Œ Ó
Bm
œ . œ œJ *œJ °œ Œ Ó *
295
œ°
. * °œ * °
A¯≤I: I
A: IV iiV I
tonic tonic pre-dom. dominant
pre-dom. tonic
? ###
E
j œj œ œj Œ Ó j jœ j Œ Ó A
œ œ œ
299
œ. ‹œ œ.
œ YT: pceSX1hceOI # œ
V I
Figure 9.4.13 Frédéric Chopin, Waltz in A-flat major, Op. 34 No. 1
dominant tonic
? # # # 44 A w
D
w
E
w
E A
303
w œ
A: I IV V V I
tonic pre-dom. dominant tonic
˙˙˙ ˙˙˙
18
˙˙˙A ˙˙˙ ˙˙˙ Bm ˙
˙˙ ˙˙ ˙˙˙
308
&
? # # # 44 j j
j œ YT: CXnEgbDcITo j ˙
# œ œ œ œ Œ Ó œ . œ œJ œ œJ œ Œ Ó
295
309
C: I
œ
Figure 9.4.14
.
vi David IV Crane,VMarta
versus I
Kauffman, vi
Michael ii/3rdAlleeV Willis,
Skloff,
A:Danny
I ii (bass line and chords only)
? 44 ˙
Phil Solem, Wilde, “I’ll Be There For You”
˙j œj œ ˙œj ˙Œ Ó
C Am F G
? ### j
jœ œ œj Œ Ó
299 (1995) E A
œ. ‹œ œ œ. # œ œ
Progressions using vii◦ ( I – IV – vii◦ – I and I – ii – vii◦ – I ) are less common
because of the instability of diminished chords.
C: I vi IV V
V I
G¯≤ A¯≤ D¯≤ B¯≤m
311
? b b b 44
9.4.4 The Tonic-Tonic Prolongation-PreDominant-Dominant
w
? # b# b 4 w w w w – Vw , althoughœ in
Progression
A D E E A
303 # w
4 w is most commonly realized with I – vi – IV
This progression
D¯≤: IV
classical music V
one will often encounter I
I – vi – ii/3rd vi
– V (mentioned above in
A:onI vi – ii – V – I ). IV
the section V V I
? b 44 œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
315
F E ¯≤ B¯≤thirds. F
˙˙ ˙˙
Notice the bass line starts with descending
˙ ˙˙ ˙ ˙˙ ˙ ˙˙ œ œ˙œ œ œ œ˙˙œ œ
˙ ˙ ˙ I ˙˙
308
& F: I ˙ ¯≤VII˙ IV
˙
C: I
FUNCTION: vitonic IV V prol.
ton. versus I vi
pre-dom. ii/3rd
tonicV
309
&
Figure 9.4.15 Compare I – vi – IV – V to I – vi – ii/3rd – V (the bass lines are
319
the same) D¯≤sus2 A¯≤ E¯≤ A¯≤ E¯≤ D¯≤sus2 A¯≤ E¯≤ A¯≤ E¯≤
? b b 22 b œ . j b œ . œj œ
b œ œ œ œ œ ˙ œ œ œ ˙
Here is a musical example with I – vi – ii/3rd – V .
E¯≤: ¯≤VII IV ¯≤VII IV

315
&
I IV I I IV I
319
&
CHAPTER 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION75 15
Eb F m7/A b Bb
˙ œ œ œ œ œ œnœ œ œ œ bœ œ
Cm
b œ œœnœœœœ bœœœ
&bb C œnœ œ œbœ
211
p
? bb C œ & œœ œœ œœ Œ œœ œœ œœ Œ œœ œœ œœ Œ œ œ œ
b œ w w w œ œ œ
E¯≤: I vi ii7/3rd V
tonic ton. prol. pre-dom. dominant
Eb F m7/A b Bb
œBm
? ### 44 215# œj œj œ œjb Œ˙˙ Óœ œ œ œ œ njœ œ œ œ b œ œ
œ . œ œJ œ œJ œ œ œŒn œ œÓœ œ b œ œ œ œ n œ œ œ œ
Cm
A
œ. & b bœœ
A: I ÿ cresc. ii
Œ œœ œœ œœ AŒ œœ j œœj œœ j Œ œœœ œœœ Œ œœœ œœœ œœœ

? ### ?
j œj œ œj b b b wŒ Ó œ œ œœ œœœ
Œ Ó w
E
œ. ‹œ œ œw. # œ œ œ wœ
I vi ii7/3rd V
V tonic I ton. prol. pre-dom. dominant
B¯≤
? # # # 44 b
F Cm Gm
&w b c w w
219
A D E E A
w ww w
wYT: SSeveT_9ZxEw
ww œ www
w w
?IVb c
Figure 9.4.16 Ludwig van Beethoven, Pathétique Sonata, Op. 13, I
A: I V V I
b w w
˙˙˙ w ˙ w
˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙ ˙
9.4.4.1 I–vi–IV–V
& As mentioned
˙
B¯≤: I earlier, the progression
V
1950s that it is known as the “’50s progression” and˙
I – vi –iiIV – V was so prevalent
the
vi
“’50s
˙
in the
doo-wop
F ˜7 F ˜7
unusual unusual
progression.”Bm Asus2 E9 G D Em7
#
C: I vi IV V I vi ii /3rd V
w
versus
& # c www wC w
223
www Am ww w ww
Listen
309 for this bass line in the following examples.
ww w Fw
w Gw
w w ww
? 44 ˙ w
˙ w ˙ ˙w
? # # c www # ww w #w
vi w IV
w
Vw
ww # ww
C: I w w
b: i V7 VII IV9 VI III iv7 V7
?
311 Figure 9.4.17 I – vi – IV – V bass line in C major
• Hoagy Carmichaelunusual unusual

and Frank Loesser, unusual
“Heart and Soul” (in C major)
YT: pNjpTOB4ksY
?
319
• Curtis Williams, Jesse Belvin, Gaynel Hodge, “Earth Angel” (in A-flat
major) (1954)
YT: VJcGi4-n_Yw
?
323
327
18
? # # # 44 j œj œ œj Œ Ó j
œ . œ œJ œ œJ œ Œ Ó
A Bm
# œ
295
œ. œ
• Dolly
A: Parton,
I “I Will Always Love You” ii(in A major) (1974)
? ###
E
j œj œ œj Œ Ó
A
j œj œ œj Œ Ó
299
œ. ‹œ œ. #
œ YT: 3JWTaaS7LdUœ œ
• Johnny
V Ramone, Dee Dee Ramone, Joey
I Ramone, “Rock ‘n’ Roll High
School” (in C major)
? # # # 44 w w
A D E E A
303
w w œ
YT: vSkQEoZngyc
A: I IV V V I
˙˙ ˙˙
In the above examples, the chords have have half-note harmonic rhythm. In
˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙
&˙ ˙˙˙ ˙
the following example, the chords have whole-note harmonic rhythm (4 beats
˙ ˙
308
˙
per chord).
• John Stephens and Toby Gad, “All of Me” (in A-flat major) (2013)
309
? 44 ˙
C Am F G
˙ ˙ ˙
YT: 450p7goxZqg
The I – vi – IV – V progression can also be rotated to IV – V – I – vi , as in the
following example. C: I vi IV V
G¯≤ A¯≤ D¯≤ B¯≤m

311
? b b b 44 w w
bb w w
? bb b
315
bb YT: PIh2xe4jnpk
Figure 9.4.18 Nasri Atwey, Adam Messinger, Mark Pellizzer, Ben Spivak,
Alex Tanas, “Rude” (bass line and chords only) (2014)
? bb b
323
bb
You will see more examples of Tonic-Tonic Prolongation-PreDominant-
Dominant progressions, including the use of the iii chord, in the Practice
Exercises and the Homework.
Remember, there are two exceptions in Harmonic Function: IV has tonic
prolongation function when it progresses to I , and I/5th has dominant func-
? bb b
327 when it progresses to V .
tion
bb
9.5 Exceptions Created by Harmonic Sequences
Exceptions to the harmonic flowchart often can be explained by harmonic
sequences.
Œ œœ œœ Prol.
œ ŒPre-Dom.
œ œœ œœ œœDom.Œ œTon.œ œ Œ œ œ œ
?Ton.b w Ton. w œIV œ œ œœ œœ œœ w œœ œœ œœ
bb
FUNCTION:
iii
V
w 15
ROMAN
b
I vi ii I
b bm
NUMERALS:CHAPTERI 9. HARMONIC
vi PROGRESSION ii7AND
/3rd HARMONIC
V FUNCTION77
E b VII F m7/A b Bb
VII
b 4 œ ˙ œ œ œ œ œ œnœ œ œ œ bœ œ œœ œœœ
CVII
B¯≤
b
219 F Cm Gm
& b b b 4C w ww nœ bwœ œ œ œ n œ œ œ b œ
211
& ww www ww
(dashed lines represent possible movement within a functional area)
w
p
? 4
??#bb#bb#b# 4C44 œœ œ&œœœœœœœ œœœ œ œ Œwn œ œœœ œ œœœœ œœœœ œ Œ œœ œœ œœ nwŒœ œœœœ œ œœ œœœœ œ
327
E D A D
wœ w wwœ œ œ œ œ œ œ œ w
¯≤:¯≤E:: III
BE viV¯≤VII ii 7/3rd
iiIV ¯≤viV
VII
Eb F m7/A b Bb
˙ œ œ œ œ œ œ nœ œ œ œ bœ œ
FUNCTION: tonic ton. prol.
unusual pre-dom.
unusual dom.
Cm
bb ˙G
∑ G ∑ ∑ Gœ∑œ n œ œGœ œ b∑œFœ˜m œ œ n œF∑˜œmœ œ
223
&
215
#
? # # 44œ b
331 A A
ÿ n wKeith Forsey, w
n w Giorgio w nw
YT: Q4TK82N1nEk
nw w wWhat
Figure 9.5.1 cresc.
¯≤œVIIœ œ ¯≤VIIŒ œ I œ œI
Moroder, Irene Cara, “Flashdance...
A:Œ(1983) Œ ¯≤VIIœ∑œ œœ¯≤VII Œvi cadence
?
?Thebb bb sequence
∑œ œ dom.
œ ∑ œ œ ∑ œ œœ ∑ œœ œœvi∑ œœ
w œ œ œ œ œ œ
A Feeling”
b w and the last wtwoœbarsœ ofœthe

w the first two bars
FUNCTION: deceptive
ˆ is between tonic dom.
example.
? b b 44 I
339 7
vi ii /3rd V
wF w
219
bb 4 wB¯≤ up a P5 w up a P5 Gm
Cm
& 4 w ww www
ww www w
? b b 44
sequenced up a M2
9.5.2 Exceptions in w “Flashdance... What A Feeling”wcreated by se-

w w
Figure
? bb
343
quence
B¯≤are
There : I unusual chord resolutions
V in theii verse of “HotelviCalifornia,” in
the example below. unusual
unusual
F ˜7 F ˜7
#
& # 44 www ww w ww
223 Bm Asus2 E9 G D Em7
? bb w www ww ww ww ww
w
353
w ww w
? # # 44 www # ww w # www w ww ww # ww
w w
b: i V7 VII IV9 VI III iv7 V7
unusual unusual unusual
YT: YW4dzWE1SUs
Figure 9.5.3 Don Felder, Don Henley, Glenn Frey, “Hotel California” (1977)
The example below shows how these exceptions come about through har-
monic sequences.
sequenced up a M2
343
? ## 4 w w w w
4 w
up a P5
w
up a P5
w up a P5 w
pre-dom. dom.
18 down a M2 down a M2
? ## ? # # # 44 j œj œ œj Œ Ó jœ œ œ
351
A Bm
# œ œ . œ œ Œencounter
Ó
295
œ. sequencesœas a possible explanation

J when
J you
Figure 9.5.4 Exceptions in “Hotel California” created through sequences
Look for harmonic
A: I progressions.
unusual chord ii
? # # j j j j
jPopular
j œ œ œ VIIŒ Chord
Ó œ œ œ œ Music
Œ Ó
E A
9.6 #The Subtonic
299
œ. ‹œ œ œ . #
in œ 19
? b bAlthough
323
bimportant to Adiscuss here. D

we will discuss mode mixture and the Mixolydian mode later, the
V I
ubiquity of the subtonic chord (2 VII ) in rock and popular music makes it
# # # 2 VII
?The 44 w w
E E A
303
w w
chord can precede tonic, dominant, and pre-dominant chords,
which means it can substitute for any function except tonic. œ
A: I IV V V I
˙˙˙ ˙˙ ˙˙˙ ˙
Ton. Ton. Prol. Pre-Dom. Dom. Ton.
˙˙˙ ˙ ˙˙˙
FUNCTION:
˙ ˙˙˙ IV ˙˙
V˙˙
308
& iii
ROMAN
bVII
I vi ii I
bVII bVII
309 NUMERALS:
? 44 ˙movement within a functional area)

C Am F G
(dashed lines represent possible ˙ ˙ ˙
C: I Music vi IV V chord
? bb
Figure 9.6.1 Harmonic Flowchart for Popular with Subtonic VII
327
b ? b b b b 44
G¯≤ A¯≤ D¯≤ B¯≤m
311 in Major
b w w
Notice also that movement from IV – I (from the plagal cadence) is common
in the following examples from popular music.
w w
Here are examples ending with 2 VII – IV – I , where IV progresses to I (a
D¯≤: IVand is precededVby 2 VII .
plagal cadence) I vi
? b b ? b 44 œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
335
315 F E¯≤ B¯≤ F
b œœœœœœœœ
F: I ¯≤VII IV I
? bb
339
319
b
? bb C b œ . j b œ . œj œline and chords
Figureb 9.6.2 Lennon-McCartney,
œ œ œ œ œ“Hey œ œ œ ˙only)
YT: A_MjCqQoLLA
(1968) ˙ Jude” (bass
? b bdoesConsider
347
b
the following questions: When a phrase ends on the IV chord,
it have dominant function (i.e, is it a half cadence)? Does IV have
dominant function in popular music when it progresses to I ? If so, does 2 VII
have pre-dominant function in the above progression?
? bb
355
b
? b 44 œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœœœœœ
F: I 9. HARMONIC¯≤PROGRESSION
CHAPTER VII IV I FUNCTION79
AND HARMONIC

Notice that 2 VII begins the phrase in the following example, and proceeds
19
?319b b
323 to a IV – I conclusion.
b D¯≤sus2 A¯≤ E¯≤ A¯≤ E¯≤ D¯≤sus2 A¯≤ E¯≤ A¯≤ E¯≤
? bb C b œ . j b œ . œj œ
b œ œ œ œ œ ˙ œ œ œ ˙
E¯≤: ¯≤VII IV I IV I ¯≤VII IV I IV I
iii IV 19
? bb
323
ROMAN
V
b bVII
I vi ii YT: z8rQ575DWD8 I
bVII bVII
NUMERALS:
Figure 9.6.3 U2, “Desire” (bass line and chords) (1988)

The following example 2 VII preceding and following the IV chord.
(dashed lines represent possiblehas
movement within a functional area)
Does the 2 VII chord have tonic prolongation as labeled, or is it “pre pre-
dominant” in function?
? # # # # 44 œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ
327
œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
E D A D
iii IV
ROMAN
V
bVII
I vi ii I
bVII bVII
NUMERALS:
E: I ¯≤VII IV ¯≤VII
? ####
FUNCTION: tonic ton. prol. pre-dom. dom.
331 (dashed lines represent possible movement within a functional area)
#
327
? # 4 œ œ œ œ œ œ œ œ
# 4 Keith Forsey andn œ Steve
œ œ œ œSchiff,
œ œ œ “Don’t œ n œ œAbout
œ œ œ œMe)”
œœ
E D A D
# 9.6.4
YT: CdqoNKCCt7A
Figure
œ œ œ œYou
œ œ œ(Forget
? ####
339 (bass line and chords) (1985)
an I example with 2¯≤VII
Here is E: VII cadencing to ¯≤VIIthe first four
IV the I chord in
FUNCTION:
bars tonic
then progressing ton. in
to the vi chord prol. pre-dom.
a deceptive dom. four
cadence in the second
bars.
? # # # 44
F ˜m F ˜m
? ####
347 331 G G A A G G
nw nw w w nw nw w w
A: ¯≤VII ¯≤VII I I ¯≤VII ¯≤VII vi vi
FUNCTION: dom. tonic dom. deceptive cadence
? ####
355
? ###
339
YT: GaH25Sghoqc
Figure 9.6.5 Walter Becker and Donald Fagen, “Reelin’ in the Years” (bass
? ####
363 line and chords)
? ###
347
? ###
355
16 9.7 The Best-Seller Progression
#
231
& # 44 ˙
D A Bm G
˙˙ ˙˙ ˙˙ ˙˙˙
˙ ˙
? # # 44 ˙ ˙
˙ ˙
D: I V vi IV
#
&The# I – V∑ – vi – IV
∑ progression
∑ ∑occurs∑in many∑ popular
∑ songs,
∑ has ∑a Wikipedia
∑
233
Figure 9.7.1 The I – V – vi – IV “Best-Seller” Progression
page, and has been mentioned in a New Yorker article about bestselling novels
(see the third paragraph from the end of the article). The music group Axis of
? # # ∑ ∑ ∑ ∑ ∑ ∑
Awesome made a compilation of several songs with the I – V – vi – IV progres-
sion that makes for an entertaining summary (warning: there is some language ∑ ∑ ∑ ∑
after the 5-minute mark). 13
Here is a written-out example that includes the I – V – vi – IV progression.
##
F˜m
& # 44 ∑≈ œ œ œ œ ∑œ œ œ œ

122 A E D
∑ œ œ œ ∑ œ œ . ˙ ∑ œ∑ œ
243
#
? ## ## 44 ∑ œ ∑ œ
Ne-ver mind I'll find some-one like you I wish
122
& œ ∑ œ ∑ œ ∑ œ œ ∑ œ
œœ œ œœ œ œœ œœ œ œ œ œ œ œ œ œ œœ œœœ œ
? ### 4 ˙
4 ˙ ˙ ˙
## ˙ ˙
∑ ∑ ∑ ∑ ∑ ∑
249
& A: I V vi IV
124
# # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
? ## ∑ ∑ YT: hLQl3WQQoQ0
∑ ∑ ∑ ∑
# # # ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
124
Figure 9.7.2 Adele Adkins and Dan Wilson, “Someone Like You” (2011)
&
#
The I – V – vi – IV progression can be rotated to become vi – IV – I – V and
& # ∑ ∑ ∑ ∑ ∑ ∑
255
IV – I – V – vi .
? # # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ## ∑ ∑ ∑ ∑ ∑ ∑
##
& # ∑ ∑ ∑ ∑ ∑ ∑
137
137
### ∑ ∑ ∑ ∑ ∑ ∑
&
? ### ∑ ∑ ∑ ∑ ∑ ∑
20
? # # 9. HARMONIC PROGRESSION AND HARMONIC FUNCTION81
352 13
CHAPTER
# # # 4 ≈ start
122 A E F˜m start D
& 4 œ œ œI œ œ œ œ œ œ œ œ œ œ . vi˙ œ œ
# # # 4IV
122
& 4 œ œ V
œ œ œ œ
V
œ œ IV
œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œœœ œ
œ
? # # # 44 vi
˙
I
˙ ˙ ˙
˙ ˙
Figure 9.7.3
A: IExample of I – V –Vvi – IV rotation tovivi – IV – I – V IV
? ##
360Here is an example with the vi – IV – I – V progression.
bb 4 j
Fm D¯≤ A¯≤ E¯≤
&bb 4 œ œ œ œ œ œ œ œ. œ ˙
124
? ##
377
bb 4
124 Hel - lo from the oth - er side
& b b 4 œ. j
œœ ˙˙ œœ .. j
œœ .. œ ˙ œ. œœœ ˙˙˙
? b b b 44 j j
b œ. œ ˙
œ ˙
16
œ.
#
231
& # 44 ˙
D A Bm G
A¯≤: vi IV I V
˙˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙
? b#b#b b44 ∑ ˙ ∑ ∑ ∑ ∑ YT:
∑ ∑YQHsXMglC9A
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
126
& ˙ Greg Kursten,˙ “Hello” (2015)˙

Figure 9.7.4 Adele Adkins and
bb
126The viD: – IV
I – I – V progression
V can also bevithought of as IV
being in minor:
& b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
i – VI – III – VII
233 D¯≤ A¯≤ E¯≤ D¯≤ A¯≤ E¯≤
bbbb bb œ
Fm Fm
œœœ œœ œœ œœ œœ
&
? bb b ∑ ∑ œ∑ ∑ œ∑ ∑ œœœ ∑ ∑ b∑b ∑œœ ∑ ∑œ ∑ œ∑ ∑ œœœ
∑ ∑
b
? bb b œ
b œ œ
œ bbbb œ œ œ
œ
A¯≤: vi IV I V f: i VI III VII
Figure 9.7.5 “Best-Seller” Progression with Roman Numerals in Major and

Relative Minor
b
& b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
235
Whether you hear this progression in major or minor depends on whether
you hear the first chord as the tonic or if you hear the third and fourth chord
as tonic and dominant.
Here is an example with the IV – I – V – vi progression.
? b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
b
& b bb ∑ ∑ ∑ ∑ ∑ ∑
249
B¯≤: I/5th V7 I
dom. ton.
bb 4
157 G¯≤ D¯≤
&bbb 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb 4
157 Now that it's rain - ing more than ev - er Know that we still have each oth -
& b b b 4 ww ww
w w
? b b b 44
bb w
w
D¯≤: IV I
159
b
& b bbb œ œ œ œ œ œ œ œ œ œ œ œ
A¯≤ B¯≤m
œ œ œ œ œ œ œœ
bbbb
159 er You can stand un - der my um - br - el - la You can stand un - der my um - br - el -
& b w ww
ww
w
? bb
20 bbb w w
? ##
352
V vi
start start
I YT: CvBfHwUxHIk
vi
Figure 9.7.6 Christopher Stewart, Terius Nash, Kuk Harrell, Shawn Carter,
“Umbrella” (2007)
IV V V IV
9.8 The i–VII–VI–VII Progression
I
Thevii – VII – VI – VII ( Am – G – F – G ) progression is similar to the descending
1̂ –27̂ –26̂ –5̂ bass line of the “Andalusian progression” ( Am – G – F – E ) in fla-
menco music, with the exception of the last bass note or chord.
Here are examples of the i – VII – VI – VII progression.
? 44
Am G F G
œ œ Œ Œ
360
œ œ œ. œ œ œ œ œ. œ œ
a: i VII VI VII
?
362
YT: iXQUu5Dti4g
Figure 9.8.1 Jimmy Page and Robert Plant, “Stairway to Heaven” (chords
and bass line only) (1970)
?4
Am G F G
4 œ œ Œ Œ
360
vi I
œ œ œ. œ œ œ œ œ. œ œ
a: i VII VI VII
Am B¯≤ A¯≤ B¯≤
? b b 44 œ œ œ ? 4
362 G F G
4œ œœœ œœ œŒœ œ œ œœ œœœ Œœ œ œ œœœ. œ œ œœ œœ œ œœ œ œœ œœœ. œ œ œ

360 Cm
b œ œ
16 a: i VII VI VII
c: i VII VI VII
B¯≤ A¯≤ B¯≤
? b b 44 œAœ œ œ œ œ œ œ œ œBm
362
#
231 Cm
? bb & # 44 ˙ œœœœœœ œœœœœœœœ œœœœœœœœ

D G
b
366
b ˙˙ c: i ˙ VII ˙
˙˙ YT: rYEDA3JcQqw˙˙ VI ˙
˙˙ VII
Figure 9.8.2 Adele Adkins and Paul Epworth, “Rolling In The Deep” (chords
? #b # 44 ˙
? can also be˙rotated to become
and bass line only) (2010)
366
The ˙
b b i – VII – VI – VII progression ˙ VI – VII – i – VII .
D: I start V vi start IV
i VI
233 D¯≤ A¯≤ E¯≤ D¯≤ A¯≤ E¯≤
bb œ b b b bVIIœœœ
Fm Fm
œœ œœ œœ œœVII œœ
& b b VII
œœ œ œ VII œœœ œ œ œ
? bb œ œ œ
bb œ bbbb œ œ
VI i
œ œ
?In bsome
Figure
374 9.8.3 The i – VII – VI – VII progression rotating to VI – VII – i – VII
A¯≤: vi
b b cases, the fourth chord is eliminated. In that case, VI – VII – i – VII
IV I V f: i VI III VII
becomes VI – VII – i – i , as in the following examples.
4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
235 B¯≤ C Dm B¯≤ C Dm
b
& 4
? b 44 ˙ ˙ w ˙ ˙ w
˙ ˙ w ˙ ˙ w
d: VI VII i VI VII i
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
239
YT: 4RYlgoQrshw
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 9.8.4 Christopher Bridges, Calvin Broadus, Johnny Mollings, Lenny
Mollings, William Roberts II, “All I Do Is Win” (chords and bass line) (2010)
?4b œ44 ˙œ Œ ˙ Œ
œ œw œ. œ˙ œ ˙œ œ œww. œ œ
a: i ˙
˙ VII w VI VII ˙ ˙
d: VI
CHAPTER VII
9. HARMONIC iPROGRESSIONVI VII i FUNCTION84
AND HARMONIC
B¯≤ A¯≤ B¯≤
? b b 44F œ œ œ œ œ œ œ œG œ œ œ œ œ œ œ œAm
362
Cm
b w œœœœ
w w œ œ œ œ œ œ œ œ wœ œ œ œ
c:w i w VI w
4 w
239
&4
VII VII
? b
366
bb œ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ
? 44 œœ œ œ œ œœ œ œ œ œ
start start
i a: VI VII VI
i
VII VII VII VII

YT: F6AggxvVFRY
12
Figure 9.8.5 Philip Glass, Metamorphosis Two (1989)
# wwww progression # wwww

www can# also # # # # w of asb being
_____ _____ _____ _____
b b b _____ www inb ba wwmajor

_____ _____
VI i – VII – VI – VII i be thought
vi – V – IV –&V .# _____ w w
401 The
12
w ww w
w_____
ww F
key:
G1.# b: _____ ww G # # wwww Am #4. #E:# _____
_____ _____
w 2. Eb¯≤: _____ www 6.bBb ¯≤G: ww_____

_____
˙˙˙ &˙˙ # w ˙˙ b b ww ˙˙ ˙˙˙ # wwww˙˙ 5.b d:F˙˙_____ ˙˙˙ww

401
374 Am G
& ˙ _____˙ ˙ ˙ w
˙
3. e: _____
www 5.b d: _____

407
?1. b:b _____

n ww 2. E¯≤:#_____ww 3. e:# _____
# w 4. E:b _____ w ww 6. B#¯≤: _____ ww
_____ _____ _____ _____ _____
bb wb w # ww # www b w b b n w ww
www
407
? b 7.b f:n_____w # ww #9. f#˜: _____ ww 12.#G: _____

b b www 8. #D: _____ ww # wwww 10.b bg: _____ w b b11.b c:n w_____ ww
_____ _____ _____ _____ _____ _____
a: i VII VI VII C: vi V IV V
w ww
# 7. f:more # # 8. D: _____bharmonic
_____# common b 9. f˜: _____# #progressions # # #12.
Figure 9.8.6 The same progression _____ viewed _____from minor
_____ and _____ relative major
10. g: _____ b 11.to
maj7/D
# # G:in_____
G_____ _____
b
413
& b
There are several c: _____
explore fu-
#augmented # # sixth b ø7and# jazz ø7harmony. b # # # M7

ture chapters G maj7
dealing with topics like secondary _____
_____ /D _____ _____ chords, mode _____ mixture, _____ the
&Ex. e: IIIM7/5th # 1. A: ii b 2. g: ii #3. D: vii b b 4. c: V #5. B:# IV /3rd

413
Neapolitan chord, 7 chords, 7
b b b 1. A: ii7 # #2.# g: iiø7 ## bbb #

_____ _____ _____ _____ _____ _____
9.9 Practice b
Exercises
419
3. D: viiø7 4. c: V7 5. B: IVM7/3rd
& _____ b _____
Ex. e: III /5th M7
bb # # #3. f˜: viio7 # # b b 5.b c: iv7/3rd # 6. G: IM7

_____ _____ _____ _____
& 1. a: iv7 b b b 2. D¯≤: iii7

419
Day One Day One: 4. D: vi7
1. Write the circle of fifths _____ progression in the following keys
_____ with_____ root
? b # f˜: vii # c: iv /3rd b 6. G: IM7
_____ _____ _____
b
above. b b b _____ b b _____ # _____ b _____
b
425
position triads.
1. a: iv 7 Label 2. D¯≤: iii
Roman 7 numerals
3. o7 below and
4. D: vi 7 5. 7
lead-sheet symbols
?F bmajor: #9.#b: viio7/5th b10.b B¯≤: viiø7 11.# e: iiø7/3rd b12. F: IVM7
_____ _____
b bb bbb
425
431
(a) In 7. f: V7 8. A¯≤: ii7
?b
431
7. f: V7 8. A¯≤: ii7 9. b: viio7/5th 10. B¯≤: viiø7 11. e: iiø7/3rd 12. F: IVM7
? b _____ I _____ _____ _____ _____ _____ _____ I

_____
# I
432 1 2 3 4 5 6 7 8
&B #minor:
(b) In _____ _____ _____ _____ _____ _____ _____ I
_____
# I
432 1 2 3 4 5 6 7 8
433 & # _____ _____ _____ _____ _____ _____ _____ I

_____
? b b _____
1 2 3 4 5 6 7 8
i _____ _____ _____ _____ _____ _____ i

_____
433
? b
1 2 3 4 5 6 7 8 13
b 1 the following
I
_____ _____ _____ _____ _____ _____ _____ I
_____
?
2. Review. Write intervals above the given note.
b w # # w
435
w _____ _____ _____# w _____ _____

434 2 3 4 5 6 7 8
& & # _____ I # w_____ _____ w8I

1. º7↑# #
434 1 2 3 4 5 6 7
& #
2. M3↑ 3. P5↑ 4. M7↑ 5. º5↑ 6. m7↑
I
_____ _____ _____ _____ _____ _____ _____ I
_____
? w
441
& w _____ b w_____

1 2 3 4 5 6 7 8
bw i
_____ w
_____ _____ _____ w
_____ _____ i
1 2 3 4 5 6 7 8
1. m3↑ 2. m6↑ 3. P5↑ 4. º7↑ 5. M3↑ 6. M6↑
& bw ? #w w
447
w w w
& bw w w w bw
F˜º7 F˜7/C˜
? 4. º7↑ Dm/F
?
457 Am
& 9. HARMONIC PROGRESSION? &

1. m3↑ 2. m6↑ 3. P5↑ 5. M3↑ 6. M6↑
& bw # w7. d: _____ w

447
w 5. g: _____ w w
CHAPTER AND HARMONIC FUNCTION85
6. B: _____ 8. F: _____
3. Review.
7. º7↑Given the lead-sheet
8. M3↑ symbol and
9. +6↑ key, write
10. m7↑ the key signature,
11. º5↑ 12. P5↑
triad or seventh chord, and Roman numeral.
B˜º ¯≤maj7
? ?
¯≤m/B C˜m
?
453 461 G B
D ADº/F Am/G
& &
1. f:a:_____
1. _____ ˜: _____
2.2.cA: _____ 3.3.Ec:¯≤:_____
_____ 4. E:
4. G: _____
_____
FF˜˜7m/C˜
? ?
FF˜˜º
/A7˜
465
Dmaj7
Dm/F Fm
Am
&
457
&
5. g:
5. b: _____
_____ 6.6.D:
B:_____
_____ f ˜_____
7.7.d: : _____ ¯≤: _____
8.8.AF: _____
4. Review. Correct the rhythmic notation of the following example.

469
G˜º/B
Incorrect A¯≤maj7
Correct
( œ œ œ œ œ œ œ œ?œ œ œ œ œ œ œ œ ) ( œ œ œ œ œ œ œ œ ?
ã&44 œ œ œ œ œ
B Am/G
œ œ œ œ œ œ œ œ)
461
œ œ. œ œ&
≈
17
1. a: _____ 2. c˜: _____ 3. E¯≤: _____ 4. G: _____

Bo/D
(4
4œ œœœœ œ œ œœœœ œ ?œ œœœœ œ œ œœœœ œ ) (œ œœœ œ œ Dmaj
C C/E Dm/F C/G G C
œ ˙˙˙œ
œ œœœ œ ?
Incorrect Correct
&
243
F˜/A˜ F˜m
465
6 œ œ œ œ œ)
Day Two: 7 Fm
ã&8 œ œ œ œ œ œ . œ &
471
5. For each cadence, label the chord(s) involved.
Half Cadence =
? 44 œ œ = œ 7. f ˜: _____
œ
œ Cadence
8. A¯≤: _____
œ Deceptive ˙
5. b: _____ 6. D: _____
Plagal Cadence =
C: I Authentic
viio/3rd I/3rd Cadence
ii/3rd = I/5th V I
passing
6. Analyze the following progressions with lead-sheet symbols above and
FUNCTION: tonic pre-dom. dom. tonic
Roman numerals below.
####
469
&& b w
245 _____ _____ _____ _____ _____ _____ _____ _____
ww ww ww ww ww ww ww ww
w w w
?b w w # # # # ww w w ww
w w w w
F: _____ _____ _____ _____ E: _____ _____ _____ _____
1 2 3 4 1 2 3 4
# # ww the wRomanwwnumerals,
253
b b the
For the _____ _____
_____ do _____ _____ _____ _____ _____
ww write
7. progression, the following:
& Given w ww w ww triads
ww or seventh
ww ww
w w w w w
(a) chords
(b) Analyze the harmonies with lead-sheet symbols above the staff
? #Analyze w harmonyw using

(c)
#viations the harmonic function ofbeach
w “ton.”w forwtonic function,
w b w the wabbre-
“dom.” for dominant function,
“pre-dom.”
b: _____ for pre-dominant
_____ _____ B¯≤: _____ and_____
_____ function, “ton. _____
prol.” for tonic
_____
1
prolongation 2 function
3 4 1 2 3 4
# bb w
_____
_____ the _____ that ends the_____
_____ _____ _____ _____
w ww
(d) Specify cadence progression
& ww ww b ˙˙˙ ˙˙
ww _____ ww_____ ww
261
ww w ˙
w w w w
#
14
44
_____ _____ _____ _____
&? ## www
473
w w w bbb w w ˙ ˙
D:
w I iii vi7 ii7/3rd V w I
G: _____ _____ _____ _____ E¯≤: _____ _____ _____ _____
FUNCTION: _____ _____ _____ _____ _____ _____
1 2 3 4 1 2 3 4
Cadence: _______
? b b 44
479 _____ _____ _____ _____ _____ _____
www
g: i VI iv iiø7/3rd V7 i
FUNCTION: _____ _____ _____ _____ _____ _____
Click here to download the first homework assignment for this chapter.
Click here to download the second homework assignment for this chap-
ter.
Chapter 10
Non-Chord Tones
10.1 Introduction to Non-Chord Tones

Non-chord tones are notes that do not belong to the chord. Sometimes
referred to as “embellishing tones” and “non-harmonic tones,” non-chord tones
are classified by how they are approached and left (either by same tone, step,
or leap).
There are nine types of non-chord tones.
Table 10.1.1
Non-Chord Tone Approached by Left by
Passing Tone step step in same direction
Neighbor Tone step step in opposite direction
Appoggiatura leap step
Escape Tone step leap in opposite direction
Double Neighbor see text see text
Anticipation step same note
Pedal Point same note same note
Suspension same note step down
Retardation same note step up
The following qualifiers can be applied to non-chord tones:
• Accented—occuring on the beat

• Unaccented—occuring on the weak part of the beat (on the offbeat)
• Chromatic—not belonging to the key
• Metrical—equal to the duration of the beat

• Sub-metrical—smaller than the beat
• Super-metrical—larger than the beat
10.2 Passing Tones

Passing tones are notes that pass between chord tones.
87
CHAPTER 10. NON-CHORD TONES 88
E¯≤ Cm
b 4
(E¯≤-G-B¯≤) app (C-E¯≤-G)
&bb 4 Œ Œ Œ
pt
œ
pt
œ œ (œ ) œ œ ( ) œ œ œ
( )
Girl you're the one I want to want me
b b∑b b b
4
E¯≤
YT: rClUOdS5Zyw
Cm &
b 4
(E¯≤-G-B¯≤) app (C-E¯≤-G)
&bb 4 Œ œ Œ œ œ œ Œ œ œ œ œ œ
pt pt Martin,
Figure 10.2.1 Jason Desrouleaux, Ian Kirkpatrick, Samuel Denison
D¯≤=D¯≤-F-A¯≤ A¯≤ 9(˜5)=A¯≤-C-E-G¯≤-B¯≤ D¯≤6=D¯≤-F-A¯≤-B¯≤
œ
E¯≤ Mitch Allan, “Want to Want Me” (2015) Cm
œ
Lindy Robbins,
œ ˙ ˙
( )
œ
( ) ((C-E¯≤-G)
)
? bb b 4 Œ
5 (E¯≤-G-B¯≤) app the passing tone is
Œ Œ
In the first bar of the “Want toptWant Me” example,
& b b4 œ œ œ œ œ
pt
œ œ œ œ
unaccented. In the third bar, it is accented (on the beat). The non-chord tone
( )
( ) ( )
? b b ∑
in bar 2 is an appoggiatura. 4
bbb
There can
sigh be two
is
Girl consecutive diatonic
just you're athe one sigh passing tones
I want to in a descending
want me scale
segment from the root and fifth of a chord.
? ? b ∑b
(D¯≤-F-A¯≤-B¯≤)b b b b ∑ b b b
7
A¯≤9(˜5)
4
D¯≤ D¯≤6
œ (œpt) (œpt) œ
(D¯≤-F-A¯≤) (A¯≤-C-E-G¯≤-B¯≤)
b
5
? b b b D¯≤ ˙ ˙
b b (D¯≤-F-A¯≤)
A¯≤9(˜5) D¯≤6
œ œpt œpt) œa ˙sigh

(A¯≤-C-E-G¯≤-B¯≤) (D¯≤-F-A¯≤-B¯≤)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙∑ ∑ ∑ ∑ ∑ ∑
? b b bb ∑sigh∑ ∑ ( is∑) ∑ ∑(just
5 8
b
? b b ∑b
7
bb
sigh is just a sigh
YT: d22CiKMPpaY
? b b ∑b
7
bb
Figure 10.2.2 Herman Hupfeld, “As Time Goes By” (1931)
Here is an example with chromatic passing tones.
? b b b ∑ ∑ ∑ B¯≤∑ 7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑E¯≤∑7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
8
bb (B¯≤-D-F-A¯≤) (E¯≤-G-B¯≤-D¯≤)
bb 4
8
j œœ ( b( œœ )) (( # n œœ )) œœ œœ ..
pt pt pt
pt
& 4 j œ ( œœ ) ( # n œœ ) œœ œœ ..
œ œ (pt ) ( pt ) œ pt pt
b
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
11
_40V2lcxM7k
Figure 10.2.3 Thelonious Monk, “Blue Monk” (1954)
In the next section we discuss the neighbor tone.
10.3 Neighbor Tones

Neighbor tones move away from a note by step then return to the note.
b 4
(E¯≤-G-B¯≤) app (C-E¯≤-G)
&bb 4 Œ œ Œ Œ
pt
œ (œ ) œ
pt
(œ ) œ
CHAPTER 10. NON-CHORDœ TONES œ
( ) œ 89
18
G
? b b ∑
(G-B-D) 4
# 3 . ( œ ) œ .. ( # ntœ ) œ .. ( ntœ ) œ .. (ntœ ) ˙ bbb

Allegretto pt
œ œ œ œ ˙
269
& 4 D¯≤œ . ( ) œ # œ œ œ
A¯≤9((˜5))
p
( ) ( )
nt
D¯≤6
pt nt nt (D¯≤-F-A¯≤-B¯≤)
œ (œpt) (œpt) œ
(D¯≤-F-A¯≤) (A¯≤-C-E-G¯≤-B¯≤)
??b b# b 43 Œ ˙ ˙œ
œ
5
bb œ œ œ
sigh is just a sigh
# ∑? b b b∑b
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
272 7
b
YT: frrGAqzuOlA
Figure 10.3.1 Ludwig van Beethoven, Minuet in G, WoO 10, No. 2
B¯≤7 we discuss the appoggiatura.E¯≤7
In the next section
? # ∑ ∑ pt∑ pt ∑
(B¯≤-D-F-A¯≤)
∑ ∑ ∑ pt ∑pt ∑
(E¯≤-G-B¯≤-D¯≤)
∑
bb 4Appoggiatura
8
& 4 j œ ( œœ ) #( n œœ ) œœ œœ .. j œœ ( b( œœ )) #(( n œœ )) œœ œœ ..
10.4
œ œ is(ptapproached
The appoggiatura )( ) by leap andœ left by ptstep.ptIt is usually ac-
# (on the beat), which makes it a particularly expressive non-chord tone.
pt
∑Cm ∑ B¯≤ ∑ ∑ ∑ ∑ B¯≤ ∑

cented
282
& A¯≤
b
(C-E¯≤-G) (B¯≤-D-F) (A¯≤-C-E¯≤) (B¯≤-D-F)
&?b #b 44 ∑˙ ∑ j (∑œ )

pt ant
∑œ
11
œ ) ∑( œ ) œ ∑
app
∑ œ .
œ
leap step
(
Near, far, where - ev - er you are
# ? b b œŒÓ
13
∑ ∑ ∑ ∑ ∑ ∑ ∑ b
289
& YT: WNIPqafd4As

live
Figure 10.4.1 James Horner and Will Jennings, “My Heart Will Go On”
?The# example
∑ above∑ also has∑an anticipation,
∑ ∑ is discussed
∑ in a∑ later
(1997)
which
section in this chapter.
2
E A Bsus4 B
?&# ### # 44∑ w Œ œ∑ ( œ œ ) ∑œ

14
(E-G˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
∑˙ ˙ ∑
app
∑ w ∑
296
? # ∑ ∑ ∑ ∑ ∑ ∑ ∑
? # # # # ∑ ∑ ∑ ∑ ∑YT: IxuThNgl3YA
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
18
Figure 10.4.2 Bruce Springsteen, “Born to Run” (1975)

Notice that both the appoggiaturas in the following example resolve up.
Both the leap to and step away from any appoggiatura can be from any direc-
tion.
?# 3 Œ œ œ
4 œ œ œ
A¯≤ E¯≤/G
j j app j
272
j j
(A¯≤-C-E¯≤) (E¯≤-G-B¯≤)
bb b 6 œ (nœ )
œ œ Œœ Œ œ
& 8 œ (nœ )
app
(nœ )
œ œ œ œ
(nœ )
‰ œ œ œ œ œ ‰ œ œ œ œ œ
app app
? b b 68 ‰
b œ œ‰ œ‰ œŒ . œ œ œ œ‰ œ‰ œŒ . œ œ
œ œ
J J
b
& b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
275
YT: Fcomfvmq28Q
? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 10.4.3 W.A. Mozart, Symphony No. 40, K. 550, II
∑ ∑ ∑ ∑
b next section we discuss the escape tone.
In the
2 10.5 Escape Tone

b#b b 4tone
E A Bsus4 B
∑ is approached
∑ by( œstep
∑œ ) andœ left ∑by leap in the
∑ ˙opposite˙ ∑direc-
288
(E-G˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
&
14
? #
app
# # easy Œ œ is the end of wthe “Star-Spangled Banner.”

4 wexample to remember
An escape
tion. An
The word “of” in “home of the brave” is an escape tone.
? b b B¯≤/F∑ ∑ ∑(F-A-C-E¯≤)
F 7
∑ B¯≤
∑ ∑
b (B¯≤-D-F)
b 3 œ. œ
(B¯≤-D-F)
œ
18
&b 4 ˙
esc
J
( )
home of the brave.
b
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
20
YT: LGvW6jHUHiY
Figure 10.5.1 Francis Scott Key and John Smith, “Star-Spangled Banner”
(1814)
Here is another example, with escape tones used in a melodic sequence.
? b b 68 ‰
b œ œ‰ œ‰ œŒ . œ œ œ œ œ œ œ
œ ‰ ‰ Œ.
œ œ
J
CHAPTER 10. NON-CHORD TONES J 91
C G/F C/E F G7 C
œ œ
(C-E-G) (G-B-D-F) (C-E-G) (F-A-C) (C-E-G)
# œ) œ
(G-B-D-F)
œ œ . ( œ )œ . (esc
œ) œ œ
‰ ( œ) ‰ œ œ ‰ œ Œ Œ
app
& 43
275 app
esc
(
2
f œ œ œ œœ
3 ? œapp œ œ
E A Bsus4 B
?&# #4# # Œ 44 œœ œœ œœŒ Œ ( œ œ)

Œ Œ˙ Œ
(E-G˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
œ
14
w œ w ˙
B¯≤/F F7 B¯≤
& b ∑ 3 ∑œ . ∑ ∑ ∑ (∑œ) ∑ ∑œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

279
18 (B¯≤-D-F) (F-A-C-E¯≤) (B¯≤-D-F)
&b 4 ˙
escYT: A-Qfd7gpGfU
J
Figure 10.5.2 Joseph Haydn, Piano Sonata in C Major, Hob. XVI:35, III
(1780)
?Here∑ ishome
∑an example
∑ ∑ of∑an escape
∑ ∑ tone
of
∑ in∑popular
the
∑ ∑music.
∑ ∑ ∑ ∑ ∑
brave.
2
C E Em7 A Fmaj7 Bsus4 B
? 4# # # # 44 œ.wœ. œ œ œ œ œ Œ œœ. ( œ œœ) œ. œœ. œ( œw.) w

14 (C-E-G) (E-G˜-B) (E-G-B-D) ˜-E)
(A-C(F-A-C-E)(B-E-F˜) (B-D˜-F˜)
˙ w ˙
app
20 esc
&4 Œ ≈ R
pt pt
( ) ( )
B¯≤/F F7 B¯≤
b b ∑43 œ . ∑ œ
(B¯≤-D-F) (F-A-C-E¯≤) (B¯≤-D-F)
œ ∑
18
∑˙
esc
& ∑ JYT: ∑ap87QgZKTNw ∑ ∑
24
&
( )
Figure 10.5.3 Paul McCartney and Linda McCartney, “Silly Love Songs”
home of the brave.
(1976)
C Em7 Fmaj7
.œ œ. œ(ptœNeighbor
10.6(C-E-G)
œ œ . œ. œ(esc
œ œ .)
(E-G-B-D) (F-A-C-E)
.
Double
4 œ œ œ w w
20
&4 Œ ≈ R
pt
) ( )
The double neighbor (sometimes called a “neighbor group”) occurs when
both the upper and lower neighbor occur before the return to the starting
tone.
C
œ
4 œ ( œ œ ) œ œ (# œ dn œ ) œ œ (# œ œ ) œ
(C-E-G)
24 dn
&4
dn
Figure 10.6.1 C major arpeggio embellished with double neighbors
∑ ∑ ∑ ∑ ∑ ∑ ∑
25
&
A¯≤ E¯≤/G
?b j j app j
272
j j
(A¯≤-C-E¯≤) (E¯≤-G-B¯≤)
bb 6 œ ( n œ) œ Œ œ œ Œ œ
& b 8 œ ( n œ)
app
œ œ
( n œ) œ œ) implied)œ
( n(Dm
C G C G C Dm
j œ ‰ œœ. jœ œ œœ œ œ œ .œ œ œ œ‰(# œ œœ) œ œœ (œ œœ)œ œ #œœ œ) œœ .

app app
? œ 6
. œ œ
& b b b 8 œ‰
c œ œ œ œœ œ œ J
œ ‰ œ‰ Œ .
œ œ œ (œ œ
319
œ ‰ ‰ Œ.
p œ œ dn
˙˙ œ J œœ ˙˙ œ œœ œœ J
dn dn
?c œ œ œ Ó ∑ œ
C G/F C/E F G7 C
œ œ
C: (C-E-G)
I V I (C-E-G) V I (F-A-C)(ii implied)
(G-B-D-F) (C-E-G) ii
œ ( œ )œ œ
(G-B-D-F)
3 œ œ . ( œ )œ . ( esc
œ) œ (# œ)
275 app
‰ œ‰ œ Œ Œ
app
‰
esc
&4
f œ œ
œœin C Major, Op.
YT: ep6rzB1Kx3U
œœ
3 Œ œ œœ œœ Œ œ
10.6.2 Friedrich Kuhlau,?Sonatina
Œ œ Œ Œ
&The4 double
Figure 55, No. 1, I (1823)
œ neighbor is sometimes confused with escape tones and appog-
giaturas. Be sure to keep track of chord tones when analyzing non-chord tones.
Look at the next example and ask yourself how you would analyze the harmony
and non-chord tones on beat 4 of the first measure.
D E¯≤
279 (D-F˜-A) (E¯≤-G-B¯≤)
b 4 # œ(#app œ
?
b œ ) œ ( œ ) œ ( œ ) œ ( œ ) œ ( n œ) œ œ œ œ œ
dn
& 4 œ (œ œ ) œ œ (œ œ ) œ
nt nt nt
œ
dn dn
? b b 44 œ Œ Œ # œœ œœ Œ
YT: PmO3Wlono6w
Figure 10.6.3 W.A. Mozart, Piano Sonata K. 333, I (1784)
In the next section we discuss the anticipation.
10.7 Anticipation
An anticipation is a non-chord tone that anticipates the arrival of the next
chord and is often found at cadences, as in the next example.
œ. œ ˙ œ ˙
œ.
2
E A Bsus4 B
IV ( œ œ )
(E-G˜-B) (A-C˜-E) (B-E-F˜) (B-D˜-F˜)
# œ
14
? # 4 ˙ ˙
app
# # 4 10.w NON-CHORD
Œ TONES
œ w
A¯≤: vi I V
CHAPTER 93
B¯≤/FA F˜m/A F7
B7/A E/G˜ AmajB¯≤
7 E/B B7 E
# # # # (B¯≤-D-F)
3 œ œ œ
(œ) (œ) esc œ
pt pt
œ
œ ‰
126
& b 3 œ4. (œ)

nt(B¯≤-D-F) ant
œ J œ (œ)˙ œ œ (œ) ˙ .
18 (F-A-C-E¯≤)
&b 4 3 J
# # # #home
E che so - spi - ri la li - - - ber - tà
3
& C 4 œœœ œœœ Œ œœ7 œœœ ‰ œj œœ (œ) œœ 7 œ œ
126
of the brave.
Emœ œ ntFmaj ant ( ) ˙.
?4# #Œ# # 43œ. œ. œ œ œ œŒœ œœ.) œ œœ

œœ. œ œ œ.Œ œ. œ(esc ˙.
(C-E-G) (E-G-B-D) (F-A-C-E)
w œ w˙˙ ..
20
≈ R
pt pt
&4 œ
( ) ( )
E: IV ii/3rd V7/7th I/3rd IVM7 I/5th V7 I
œ ) œ œ (# œ œ ) œ œ
(C-E-G)
4 œ ( œ œ ) œ œ (#YT: œ dnE6lV3nKg-nc
24 dn
&4
dn
Figure 10.7.1 George Frideric Handel, Rinaldo, “Lascia ch’io pianga” (1711)
Here is an example of an anticipation in popular music.
G A Dm F
(G-B-D) (A-C˜-E) (D-F-A) (F-A-C)
j j ntœ j ant
& b 44 œj œ œ œ œ œ œ œ œ Ó ‰(# œ ) œ ( n œ ) ˙ œ œ
œ
25 pt pt ant ant nt ant
( ) ( )
( ) ( )
( ) ( )
I know where you're com - ing from Call me on the line Call me
&b ∑ ∑ ∑
29
YT: StKVS0eI85I
Figure 10.7.2 Debbie Harry and Giorgio Moroder, “Call Me” (1980)
Sometimes syncopation will lead to an anticipation of a note in a chord in
the following measure, as occurs at the ends of bars 1, 2, and 3 of the “Call
Me” example.
10.8 Pedal Point

A pedal point is a note that is held through changing harmonies, starting as
a chord tone before becoming a non-chord tone. Pedal points are often in the
bass voice (the term “pedal” relates to the foot pedals on an organ).
CHAPTER 10. NON-CHORD TONES 94 19
C7 F/C Dm7/C
(C-E-G-B¯≤) (F-A-C) (D-F-A-C)
& 44 ‰
281
‰ ‰ œœ œ
b œ œ œœ œ œ œœ œ œ œ œœœœ œ
≈ j ≈ j ≈ j
? 44 œ . œ œ. œ œ. œ ˙
˙ ˙ ˙ ˙
C pedal (in bass) starts as consonant note (in the chord)
G7 C
283 (G-B-D-F) (C-E-G)
& ‰ œ œ œ œ œ ( œ ) œ www
≈ ped.
j
pt.
? (œ .) (œ ) ˙ w
(˙ ) (˙ ) w
( )
ped. pt.
pedal point (in bass) is now a non-chord tone
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑YT:∑ W4271Rm9TSU

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
285
Figure 10.8.1 Bach, J.S., Well-Tempered Clavier, Book I, Prelude 1 in C
?Here
∑ is∑ an∑ example
∑ ∑ ∑ from
∑ ∑ the∑ Romantic
∑ ∑ ∑ ∑era.∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
major BWV 846 (1722)
14
Gm D7 Fõ7 Gm
b
& b 68
130 (G-B¯-D) (D-F˜-A-C) (F˜-A-C-E¯) (G-B¯-D)
3-2 sus.
b j œ œ
ben legato.
& b 68 ‰ œœ
130
œ #(œœ ). œ ‰ #œ œ œ
œœ œ J
p
j
œ œœ .. œ œ œœ œœ
? b b 68
œ˙ . œ ( ) ( œ˙ .)
ped. pt. (bass note is still sounding)
ped. pt.
g: i V7 (i) viio7 i
E¯ B¯m7 Fm7
b bbb 6 œ œ œ (œ )
J No. œ2,. “Sie liebten sich
œ . beide” (1844)
132
& 8
inc. nt.
YT: jYgW5PhsQOE
J
Figure 10.8.2 Clara Schumann, Op. 13,
da - - - re - Por - - - ta Ros - - - - sa
œ œ œ œ
bb b b 6 œœœ œœ .. œœ ..
132
œ œ ( œ) œœ .. œœ ..
( )
& 8 J J
œ œœ œœ
inc. nt.
≈ ≈ j ≈ j
? 44 œj. œ
281 (C-E-G-B¯≤) (F-A-C) (D-F-A-C)
& 4 ˙‰ 10. NON-CHORD ‰œ . œ ‰œ. œœ ˙

œ œ ˙ œ œ ˙ ˙
œ bœ œ œ œ œ œ œ œœœ œœœœœœœœœœ
CHAPTER TONES 95
≈ jC pedal
Schumann ≈examplej ≈ note
jhas a suspension (“3-2 sus.”);
? 4
(in bass) starts as consonant (in the chord)
4G7 œare. discussed

œ inœ the œ section.œ . œ
. next C˙
The Clara above also
˙ ˙ ˙ ˙ the inversion
suspensions
When a pedal point is in the bass, it is not necessary to specify
œ œ starts
(G-B-D-F) (C-E-G)
œ œencounter œ asœconsonant
283
œ ( œ ) œact aswww pedal points.

You‰ mightC also œa pedal pointœ in note
of the chord because the bass pedal point obscures the inversion.
& œ pedal (in bass)
œ œa higher
ble pedal point,” where two notes (often a fifth
(in the
apart)
chord)
voice, as well as a “dou-
G7 C
≈ j ped. pt.
? Suspension
œ
(G-B-D-F) (C-E-G)
œ œ ( ˙œ ) œ œ
283
& ˙‰ (œ œ.) œ (œ ) ww
10.9
˙ œ œ œ œ œ w
Suspensions
( ) are accented non-chord ( ) tones occurring( on ) downbeats. A suspen-
≈ j
sion is approached by the same note and resolves down by step. A suspension
ped. pt.pt.
ped.
?
is made up of a preparation, suspension, and resolution. Sometimes the prepa-
(œ .) œ) ˙ w
ration is tied pedal
to thepoint (in bass) is now a non-chord tone
suspension.
˙ (˙ ) w
( ( )
( ) G C
(G-B-D)
ped. pt. (C-E-G)
Preparation Suspension Resolution Prep. Sus. Res.
& 44 G˙˙˙ œ˙ ) œ ˙˙˙ œ˙ ) œ

285
pedal point (in bass) is now a non-chord tone
(no tie)
˙C ˙
( (
(G-B-D) (C-E-G)
˙˙ ˙ ˙˙ ˙
?4
Preparation Suspension Resolution Prep. Sus. Res.
(œ ) œ (œ ) œ
& 44
285
˙˙ ˙˙ ˙˙ ˙˙
(no tie)
C: V I C: V I
˙ ˙
?4 ˙ ˙
4∑ ∑ ∑ ∑are∑classified
∑ ∑ ∑by∑numbers
∑ ∑ ∑(9-8,∑ 7-6,
∑ ∑4-3,∑ 2-3,
∑ ∑and∑ sometimes
∑ ∑ ∑
Figure
287 10.9.1 Introductory Suspension example with and without tie
&Suspensions
6-5) that
C: Vspecify the interval
I distance of the
C: Vsuspended noteI and its resolution
to the bass note
? ∑G ∑ C∑ ∑ ∑ Dm/F

∑ ∑ C/E∑ ∑ C∑ ∑ sus.
G∑ ∑ ∑C ∑ G/B
∑ ∑ ∑ F∑ ∑sus.
C ∑ ∑
sus.
& ˙˙˙ (œ ) œ œœ
sus.
œœ œœ œ œœ
287 9 - 8 4 - 3 6 - 5
˙˙ ˙˙ œ˙ œ
7 - 6
œ œ) œ œ œ œ œ ˙ ˙
( ) ( )
(
˙ œœ
?˙ œœ œ œ œ ( ) œ œ ˙ ˙
2 - 3
sus.
C: V I ii/3rd I/3rd I V I V/3rd IV I
Figure 10.9.2 Examples of the 9-8, 7-6, 4-3, 2-3, and 6-5 suspensions
In the example above, the notes in the 4-3 suspension are an 11th and 10th
higher than the bass. Reduce all intervals larger than an octave to the numbers
7-6, 4-3, and 6-5.
Here is an example with a 4-3 suspension.
? # 44 ) œ (œ ) œ ˙
œ
( ( )
D/F˜
#
G D G D
& 44 œœ10. NON-CHORD œ

292
œ
pt
(œ ) œ œ œœ ( œ ) ˙˙
pt
œ
pt
œ œ œ
2-3
CHAPTER sus.
TONES 96
G: I V/3rd V I V
) œ ˙
pt
œ œ (œ œ
pt
œ œ œ œœ œ œ œ œ
pt
? # 44 ) œ ( œ ) sus.
E¯≤m7 F
4œ - 3 pt ˙
bb b œ4 W
294 ( ) ( )
(
ww 2 - 3 pt (Wœ ) n œ ( œ ) pt œ œ ( œ ) œ ( œ )
pt nt
& bb 2
∑ w sus. nWW
G: I
π V/3rd V I V
? b b 4 ∑
bbb 2
E¯≤m7 F
w Wsus.
bb b 4 W w W
294
( œ ) n œ (œ ) œ œ (œ ) œ (œ )
4 - 3 pt pt nt
& bb 2 ww W
∑ w nWW 7
F˜m
π G/B Em A D Em/G
? b b b 42 ∑ sus. sus. 9 - 8
b b œ œ œ œ œ œ forœWStrings œ œ œ œ
7 - 6 nt
œw(œ)œAdagio œ (œ )œ(1936)
œ œ œ œ ( œ˙ )) œœ ((œœ ))œœ
pt 7 - 6 nt
# 3 œ Samuel
296
˙
YT: b8G9vRqq3RI
Figure# 10.9.3 œ œ
& 2 œ œ œW ˙
(
w
( )
Here is an example with 7-6Œand 9-8 suspensions. ˙ nt Œ

Barber,
˙
? # # 32 œ œ œ ˙sus. Œ œ œ œ ˙ Œ œ sus.˙97 -- 86 ntŒ
œ œ
F˜m G/B Em A7 D Em/G
œ œ œ (IVœ˙ )/3rdœ (œ)œ iiœ œ œ Vœ7 (œ )œ œI œœ œœ œœ ((iiœœ/3rd

7 - 6 nt
) œ
)œ
pt
# # D: ) œ (œ œ
296
3 œ œ œ œ ˙ ˙ (œ )
& 2 œ œ ˙
iii
Œ ˙ nt Œ
? # # 32 ∑ œ œ ∑œ ˙ ∑ Œ œ∑ œ œ ∑ ˙ ∑ Œ œ ∑ œ œ ∑ ˙ ∑ Œ
300
&
D: iii IV/3rd ii V7 I ii/3rd
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
# # ∑
∑ ∑ YT: ∑HawWrnUGH_0
∑ ∑ ∑ ∑ ∑
300
&
Figure 10.9.4 George Frideric Handel, Suite No. 2 in D Major, HWV 349:
II. Alla Hornpipe (1717)
? ## ∑ ∑ ∑ ∑ ∑ ∑
The 2-3 suspension is the “bass suspension” and is measured against an
upper voice. Again, you may encounter the literal intervals 10-9 but should ∑ ∑ ∑
label the suspension as 2-3.
G: I V/3rd V I V
E¯≤m7 F
sus.
b
294
& b b b b G42
CHAPTER 10. NON-CHORD TONES nt 97
œ ) n œ (œ ) œ œ ( œ ) œ ( œ )
4 - 3 pt pt
W w W
20
∑ pt ww D/F˜ W
nW G
(
# 4 œ
D D
œ
292
& 4 œ π ( œ ) œ œ œ œ œœ ( œ ) ˙˙
? bb 4
bbb 2 ∑ œ œ œ
w W
œœ Wœ œœ (( œœ )) œœ œ ˙˙
pt
œ
pt
? # 44 œ ( ) œ w( œœ ) œ
œ
pt
œ ( )
F˜m G/B 2 - 3Em pt A7 ptD Em/G

sus.
sus. sus. 9 - 8
# # 3 œœ œ œœ ( œ˙ ) œ (œ)œ œœ œ œ œ (œ )œ œ œœ œœ œœ (( œœ˙ )) œœ ((œœ ))œœ

296 G: I 7 - 6 nt
V/3rd V Ipt V 7 - 6 nt
& 2 œ œ œ ˙
Œ ˙ ˙ nt Œ
#
∑ ∑ Bach, ∑ J.S.,
∑˙ Chorale
∑ ∑ 238,∑ “Liebster
∑ ∑ Jesu,
∑ ∑wir ∑sind ∑hier,”∑ BWV∑
294
& 10.9.5 œ œ ˙
YT: VKNcvMcGlvI
? ## 3 œ Œ œœ œ Œ œ œ œ ˙ Œ
2
Figure
373
? # numbers
∑D: iii∑ like
∑ 5-4∑IVor ∑ ∑ ∑ ∑ V∑7 ∑ I ∑ ∑ ∑ ii/3rd∑ ∑
When a chord is inverted, you will sometimes encounter non-standard sus-
pension /3rd3-2. ii
C/G G7/F F G7/F

300 sus. sus.
& ˙˙˙ œ˙
5 - 4
œ
3 - 2
˙ ˙˙ œ˙ ) œ
˙ ˙
( )
(
? ˙ ˙ ˙ ˙
C: I/5th V7/7th C: IV V7/7th
Figure 10.9.6 Non-standard suspension numbers because of inverted chords

You will sometimes encounter decorations of suspensions where other notes
occur before the resolution, as in the following example. 23
D7/C Gm/B¯≤ A7
324
sus.
& b 43 # œœ (œ) ˙˙ œ œ (œ ) œ
res. app
(œ )
pt
(œ )
nt
œ œ œ (# œ ) # œœ
pt
? b 43 n œœ . (œ) # ˙(b œ ) œ œ œœ œ œ
ret.
œ œ œœ
J
( )
app
&b
327
YT: fTwkVsECg9w
Figure 10.9.7 Bach, J.S., French Suite No. 1 in D Minor, BWV 812, Sara-
?Theb “ret.” in the tenor part in the second measure is a retardation, which
bande (1722)
&b
348
21
B¯≤7 Cm/B¯≤ B¯≤7 Cm/B¯≤ B¯≤ Aø7 B¯≤ Aø7 F7 B¯≤

CHAPTER 10. NON-CHORD TONES /B¯≤ /B¯≤ /B¯≤ 98
Ÿapp
œ Ÿ œ pt œ . ret. j
b b c inœ the®œnext œ (œ) œ (œ ) œ
. œ ( ) section. ®œ. œ ( ) œ (œ ) œ œ́ ≈ œ . œ œ́ ≈
pt app
œ (œœœ) œœ ‰
302
is &
9-8
J R R (œ ) œ
covered
( )
j
4 - 3 sus.
10.10 Retardation ≈
9 - (8)
bb c œ œœ
œ œœ ‰
?
A& œ bœ œ œ œ ( # œ ) œ non-chord œœ œ meaning
œ œ œœtone, œ
œ œœ œœ œ œœ it occurs on a
œ˙ œ is usuallyœ anœ˙accented
retardation
app
downbeat. A retardation is approached by the same note and resolves up by
step.
G/B Am/C G/D D7 G
# 3 œ ( œ) œ ( # œ ) œ œ
app nt
..
304
& 4 ≈ œ (œœ) œ ( œ) œ ((œœ)) œ Œ

9 - 8 sus.
œ œ.
app ret.
app
œ œ œ œ œ œ œ œ œ œ œ (œ˙ ) œ
4 - 3 sus.
? # 43 œ œ œ œ œ Œ ..
G: I/3rd ii/3rd I/5th V7 I
# ∑ ∑ 545, II (1788)
307 YT: hSqwR_dsecg
& 10.10.1 W.A. Mozart,

Figure Piano Sonata in C major, K.
Classical composers like Mozart often used retardations and suspensions at
?#
cadences in slow movements.
∑ ∑
10.11 Incomplete Neighbor
Because composers are notorious for “breaking the rules,” you will encounter
examples in the real world that either defy explanation or have multiple valid
explanations. One “utility” non-chord tone is the incomplete neighbor.
b b 8 œ˙ . œ ( ) ( œ˙ .)
ped. pt. (bass note is still sounding)
ped. pt.
g: 10.
CHAPTER V7TONES
i NON-CHORD i viio7 i 99
E¯≤ B¯≤m7 Fm7
b œ
& b b b 68 œ œ œ œ. œ.
132
inc. nt.
J J
( )
da - - - re - Por - - - ta Ros - - - - sa
œœ œ œ œ œœ .. œœ ..
bb b b 6 œœ
132
œ œ ( œ) œœ .. œœ ..
( )
& 8 J J
œ œœ œœœ
inc. nt.
? b b b 68 œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œœ
b œ œ
A¯≤: V ii7 vi7
b
& b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑YT:∑ Sf-tjXevlyQ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
134
Figure 10.11.1 Giacomo Puccini, Gianni Schicchi, “O mio babbino caro”

b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&Youb bmay∑ also
134
(1918)
find incomplete double neighbor figures, especially in late
Romantic music and jazz. Keep an open mind when analyzing music.
? b b b Adding
10.12 b ∑ ∑ ∑ ∑ Non-Chord
∑ ∑ ∑ ∑ ∑ ∑ Tones
∑ ∑ ∑ to
∑ ∑a ∑Chord
∑ ∑ ∑ Pro-
∑ ∑
gression
Here are ideas for how to add non-chord tones (or “embellishments”) to the
melody or inner voice part of a chord progression:
1. Repeated note: add upper or lower neighbor
2. Step down:
(a) Add a suspension by delaying the resolution of the note
(b) Add an escape tone by moving by step in the opposite direction of
the original stepwise movement, then leap
(c) Add a double neighbor
(d) Add a chromatic passing tone
(e) Add an anticipation
3. Step up:
(a) Add retardation by delaying resolution of the note
(b) Add a double neighbor
(c) Add a chromatic passing tone
(d) Add an anticipation
(e) Add an appoggiatura by leaping one step beyond the note of reso-
lution, placing the appogiatura on the beat, displacing the note of
resolution to occur after the beat
app
G/B Am/C G/D D7 G
# 3 œœ (œ) œ (# œ ) œ œ
CHAPTERG/B Am/C TONES
10. NON-CHORD G/D D7
app nt G 100
œœ9 - œ8 sus. Œ ..
304
# 43 of≈ 3rd:(œ) œ (# œ ) œ œ œ œ . œ (œœ) œ ( œ) œ

9 - 8 sus.
&
app nt
œœ œ Œ ..
304
& 4 ≈ app app œ œ. œ (œœ) œ ( œ) œ

( )
4. Leap ( )
(ret.
)
( )
œ œ œ
(a) Fill inapp
the 3rd with a passing tone
œ œ œ œonœtheœ beat, œ3 sus.of reso-
4 - 3 sus.
œ œtheœ appogiatura œ displacing

ret.
œ œplacing
? # 43 lution, ˙
app
œ œ œto occurœ afterœ œ œ œ œ œ œ (œ˙ ) œ the Œnote ..of

(b) Add an appoggiatura by leaping one step beyond( 4the
) - note
? # 43 resolution œ œ
œ œ œ œ beat œ
the Œ ..
G: Iof
5. Leaps ii/3rddo not embellish
/3rd4th or larger: I/5th V7 now)
(for I
Here is a basic framework with all possibilities labeled.
#
G D Em C
44
˙˙ ˙˙
307
&# ˙˙ ˙˙
G D Em C
44
˙˙ ˙˙
307 step down step down
& ˙˙ ˙˙
repeated note
step
step down
down step down repeated note
˙ ˙ ˙˙ ˙
step down
? # 4 ˙˙
step down repeated note
˙
repeated note
˙
leap of 3rd
? # 44 ˙ ˙˙
step up
˙
repeated note
˙
leap
stepofup3rd
4
step up
leap of 4th leap of 3rd
step up
G: I V vi IV
G: I V
Here is one possible solution: vi IV
G D Em C
# 4
309
œ˙ œ
esc. 4-3 sus
&# 44 ˙(œ ) œ œ˙4-3 sus œ (œnt) ˙˙

G D Em nt C
309
œ˙ (œ )
(esc.
˙(œ4-3) sus œ (œ )
)
& 4 œ (œ ) ˙˙
( )
˙
4-3 sus pt
œ œ œ (œ ) œ
app
œ ˙œ œ
nt
?# 44 ˙œ œ (œ ) (œ˙)
pt
œ˙ œ (œ )
(app
( œ) ˙œ œ
( nt) )
?# 44 ˙ ˙ œ (œ ) ˙
pt
G: I V vi pt IV
G: I V vi IV
Notice that, when non-chord tones are added to different voices on the same
beat, consonant intervals (3rds, 5ths, 6ths, or 8ves) are made. If consonant
intervals can’t be made, the voices are staggered rhythmically (as occurs on
beats 3 and 4 in measure one of the example above).

1. Fill in the blanks in the following table.
Non-Chord Tone Type Approached by Left by
same tone step up
leap in opposite direction
step step in same direction
leap
2. Analyze the harmonies with lead-sheet symbols above the staff and Roman
numerals below. Add the following non-chord tones: two suspensions, one
passing tone, and one appoggiatura. Do not add non-chord tones to the
bass.
22
b
Lead-sheet: _____ _____
& b 44 ˙˙
_____ _____
˙˙ ˙˙ ˙
311
˙
? b b 44 ˙ ˙ ˙ ˙
Rom. num.: _____ _____ _____ _____
b
& b 44
313
? b b 44
315
_____ _____ above the_____
numerals4 below, then analyze the non-chord tones.
3. Lead-sheet:the
Analyze _____
harmonies with lead-sheet symbols staff and Roman
&b 4 ˙
(a) Brian˙Holland, Lamont
˙
˙ Dozier, Eddie˙ Holland, “Stop!
˙ In the Name ˙ ˙
˙
of Love” (1965)
16 ? b 44 ˙ _____ ˙_____ ˙
4 Œ œ ‰ œj œ ( œ .) j
_____ Fmaj7 _____
Œ œ) œ j
139
&_____
Rom. num.: 4 _____ œ ˙ _____ ( œ _____
( ) œ. œ ˙
44
317
Stop! in the name of love be - fore you break my heart
&b &
4 4 Œ œœ ‰ œœj œœ œ .) œ ˙
j Œ (œ ) œ j
139
œ œ œ œœ .. œœ ˙˙ œœ œœ œœœ œœ ..) œœ ˙˙
œ. œ ˙
(
(
? ?4 œœ
b 4 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ
œ œ
œœ
œ œ
œœ
œ œ œ œ œ ( )
C C: _____G C _____G C (Dm implied) Dm

œ
_____ ____ _____
4 œ . j∑œ œ œ œ ∑ œ . j œ∑œ œ œ œ∑. œ œ ∑(# œ œ ) œ ∑œ(œ œ )œ œ∑(# œ œ ) c ∑œ .

143
&4& œ œ
319
J
p
˙˙ œœ œœ ˙˙ œœ œœ
œœ tuei1XUAGRo
YT: dn dn dn
&œ ∑Schumann,
? 44Robert ∑ Dichterliebe,
∑ ∑ Op.Ó ∑48, 1. ∑“Im ∑wunderschönen
∑ c ∑œ
143
(b)
Monat Mai” (1840)
?
C: I V I V I (ii implied) ii
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑
151
&
∑ ∑ ∑ ∑
151
&
? ∑ ∑ ∑ ∑
15
## 2
134
& # 4 ≈ œ
C˜7 Bm/D C˜7
∑ ∑ Œ ‰
R
# # # 2 ≈ (œ .) œ œ ≈
Im
(œ ) œ
134
(œ ) œ
#œ (œ ) œ
& 4 œ œ ( )
œ #œ œ œ
œ
? # # # 42 œ #œ œ œ œ œ œJ œ
œ( ) œ œ œ
f ˜: V _____ _____
##
œ œ œR œr œr
Bm/D _____ _____
& # ( œJ .) ≈ œ
137
œ ‰
R R ( ) R
wun - - - der - schö - nen Mo - nat Mai, als
## œ
& # (œ ) œ œ œœ œ œ (œ ) œ
137
( œ)
œœ .) œ œ
(
œ j
? ### œ œ ≈ œ œ œœ œ œJ œ
J ≈ œR
œ
A: _____ _____ _____
YT:
L-Nkm8cBLgE

Chapter 11
Melodic Analysis
We will divide analysis of melodies into motives (which can be broken into
fragments) and phrases (which can be broken into subphrases) in order to
understand the construction of melodies. We will discuss periods and sentences
in another chapter.
11.1 Motive
A motive (or motif) is the smallest identifiable melodic idea in music. How-
ever, we will find times when it will be necessary to discuss a smaller fragment
21
(called a “germ” by some authors) from a motive.
In the following example from the first movement of Beethoven’s Symphony
No. 1, we find four motives within the first four measures of the primary theme.
œ. œ.
mot. 1 mot. 2 mot. 2 mot. 3 mot. 3 mot. 4
& C œœœœ ˙.
376
œ œ
œ. œ ˙. œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. . .
ƒ S
mot. 1 (rhy. ch.)
‰ œj ‰ # œj œ œ œ
mot. 1
& 44 œ ‰ # œj œ œ YT:œ tFafjC-180E

382
Figure 11.1.1 Ludwig van Beethoven, Symphony

rhythmic No. 1, Op. 21, I, Motives
in Primary Theme (1800) change
(same)
Later in the movement we find Beethoven extracting motives from this
four-measure phrase
mot.in
1 order to develop them through sequences.
mot. 1 (inv.)
384 Here is development of motive 1.
& œ œ œ œ œ œ œ
386
& œ œ œ œ œ œ œ illustration of
mirror inversion
387
&
#œ œ bœ œ bœ œ #œ
mot. 1 mot. 1 (ret.)
œ 7
103
& 44
388
CHAPTER 11. MELODIC ANALYSIS 104
24
ww ww # ww ˙˙ # ˙˙
330
& w b w
w w ˙˙ ˙˙
w w
p œ œ œœ
? Ó Œ œ bœ œ œ œ Œ Ó Ó Œ œ Œ Œ œœœ
œ
24 p cresc.
˙˙ ˙˙˙ # #˙˙˙˙˙
cresc.
w ww b ˙ # wwn ˙
& b˙˙˙˙ww b ˙˙˙
330
ww b ˙˙˙ ww˙˙ ˙˙ ˙ ˙˙˙

& w ˙
334
˙
p œ œ œœ œ
? Ó Œ œ b œœœbœ œœ œŒ b Óœ
cresc.
? Ó Œœ œ Œ Œ œœ œœ œœ œ
œ Œ Œ
p Œ Œ œ œ
cresc. œ Œ Œ œ
cresc.
√˙˙˙ ˙˙ b ˙˙ n ˙˙ ˙˙ # ˙˙
b ˙˙ b ˙˙ ˙ ˙˙ ˙
˙ ˙˙ œ
& ˙˙ # ˙
337 334
˙ bcresc.
˙˙ ˙˙ ˙˙ œœ
& ˙˙˙ ˙ œ ˙ ˙ œ
ƒ b œ œ œ bœ œ
?
? œœ Œ Œ Œ Œ œ b œ œ œ œ Œ Œœ œ œœ œœœ œœ œ œ Œ Œ œ œœ œ
œœœ œ
√ ƒ
˙˙ # ˙˙ œœ
337
˙ b ˙˙ œœ
& ˙˙˙ ˙˙ ˙
˙ ˙
˙
ƒ
340
& œ b œ œ
? œ 11.1.2 Œ Beethoven, Œ œ œ No. œ1, œI, development
œ œ œ œ ofœ motive œ
YT: tFafjC-180E
Figure Symphony
œ œ œ1
?
Here is development of motive 2
ƒ
Œ bœ. œ bœ
Ó
340
& ∑ Œ bœ. œ bœ Œ Œ Ó
p
b˙. bœ. œ bœ Ó Œ bœ. œ bœ
? Œ Ó œ bœ
Œ bœ. Œ
344
& YT: tFafjC-180E

Figure 11.1.3 Beethoven, Symphony No. 1, I, development of motive 2
?
Here is development of motives 2 and 3 together.
CHAPTER 11. MELODIC ANALYSIS 105 25
. . . . . . . .
˙. œ.#œ œ œ œ #œ œ œ œ œ œ Œ Ó ∑
& ˙˙ .. œ b ˙˙ œœ œœ b ˙˙ œœ
Œ ∑ # œœ ˙ œ œ #˙ œ
f .
#˙ p pœ. .
344
? #˙. Œ ∑ Œ œ Œ #œ Œ œ Œ
25
. . . . . . . .
˙. . . . . . . . .
œ . # œ œœ œœ œ # œ œœ œœ œ œ œ Œ Ó
b ˙ b ˙
∑
& ˙˙ .. œŒ . # œ œ # œ∑ œœ œœœ ˙Œ Ó œœ œœ ˙ ∑ œœ
# œœ b˙ œœ œœ b# ˙ œœœ
348
˙
& f ˙˙ ... œ
#œ ˙ ˙ œ
œ œ #˙ œ ˙ œ.
#˙. Œp ∑ pœ.. .Œ
344
? #f˙ . pŒ ∑ p Œ œ Œ #œ Œ
œ œ
? ˙. Œ . . . .∑ . . . . Œ œ Œ #œ Œ œ Œ
#˙.
˙. œ.#œ œ œ œ #œ œ œ œ œ œ Œ Ó
b ˙ ∑ œ
348
˙ . œ b˙ œ œ
& ˙˙ .. # œœ ˙˙ œœ œœ # ˙˙ œœ
352
∑ Œ ∑
∑ tFafjC-180Ep. ∑ ∑ .
& p
Figuref 11.1.4 Beethoven, Symphony No. 1, œI, development of motives 2 and
YT:
3 ? ˙. Œ ∑ Œ œ Œ #œ Œ œ Œ
?The# ˙previous
.
∑ 4. ∑ ∑
excerpt leads directly into the next, which features develop-
∑
.
ment of motive
. . œ. œ w ˙.
352
bœ
∑ œ b œ œ œ
& b ˙˙ ˙˙ b ˙˙ ˙˙ b ˙˙ ˙˙ b œœ œ œ b œœ
& @˙ ∑ @˙ ∑ @˙ ∑ @˙ ∑ @˙ ∑@˙ ∑@ @ @ ∑ @
356
p . . . . . .
. . . œ œ œ œ bœ nœ
? œ b œ œ œ œœ Œ Ó œ b œ ∑ œ b œ b œ ∑ œ
? ∑b œ œ œ∑ ∑ ∑ ∑ ∑
œ. . .
.
. . œ. œ w ˙. bœ
356
b œ Œ Ó œ b œ œ œ bœ
& b ˙˙˙ ∑ ˙˙˙ ∑ b ˙˙˙ ∑ ˙˙˙ b
∑ ˙ ˙
˙ ˙
˙
∑˙ b œ
∑ @œ @œ ∑@œ
œ
363
& @ @ @ @ @ @ . @
. . . . .
. œ. œ. œ . . œ œ œ œ bœ nœ
b œ
? œ ∑ œ œ∑ œ Œ∑ Ó œ b œ ∑
b œ ∑ ∑œ b œ b œ ∑ œ
œ. ∑
YT: tFafjC-180E
In the next section, we will look at some of the various ways one can alter a
melody
Figure 11.1.5 Beethoven, Symphony No. 1, I, development of motive 4
11.2 Melodic Alteration

While there are more than a dozen ways to alter a melody, we will focus on
seven methods of basic melodic alteration at this point of the text.
11.2.1 Inversion
Inversion as applied to music means an idea is exactly upside-down or “mir-
26 rored” across a horizontal plane, like mountains reflected in a lake.
First, listen to the following example.
m m
œœœœœœœœœ œ œ œ
360
& c ≈ œ œ œ œ
œœœœœœœ
œœœœœ
?c Ó ≈ œ œ œ œ œ œ œ œ œ Œ ≈ œ œ
21
œœœœœœœœœœœœœœœœ œœœœœœœœœœœ
362
& œ #œ œ œ œ
œ œ œ œ œ œ œ œ # œ œ œ œœ œ œ œ. œ.
&?C œ œ œœ œ ˙ .
376
œ
œ . œ ˙ . œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. . .
ƒ S
mot. 1 (rhy. ch.)
∑ ‰ ∑ j ‰ ∑ j ∑
mot. 1
&44 œ∑ ‰ ∑# œj œ ∑ œ YT:œ E8EvUmq0Zao œ œ œ ∑

382 364
& œ # œ
Figure 11.2.1 Bach, Invention No. 1 in C Major, BWV 772 (1723)
rhythmic
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
The first seven notes in measure 1 are change
inverted in measure 3, shown in the
following example. (same)
mot. 1 mot. 1 (inv.)
384
&372
œ ∑œ œ ∑œ œ œ∑ œ ∑ ∑ ∑ ∑
386
&
? ∑ ∑ œ ∑ ∑ ∑ ∑illustration
inversion∑
œ œ œ œ œ œ
of
387
&
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
379
Figure 11.2.2 Melodic inversion in Invention No. 1 in C Major by J.S. Bach
388
& or tonal (where the intervals abide by the scale or key). For the majority
Melodic inversion can be real (where every interval is exactly the same qual-
ity)
? and∑21st-century
∑ music in∑ the final∑chapters of∑ this text.∑ ∑
of this text, we will encounter tonal inversion until we discuss techniques of
20th-
413
&
& 44 Œ
& ≈ R w w

CG A Dm F
œ œ œ œ
4 j( œ œ ) œ œjœ (œ# jœœ œjœ ) œ œœ œ Ó(# œ ‰ # œnt œ n œ ant ˙ œ œ
(C-E-G)
(G-B-D) (A-C˜-E)
(D-F-A) (F-A-C)
& b4 44œ change

24 25 11.2.2 Intervallic Change dn
ptdn pt ant dn
nt ) ant ant
œ
Intervallic œ exact than inversion. With intervallic change, the
œ œis less
( ) ( )
( ) ( )
( ) ( ) ( ) ( )
rhythm is generally intact and the motive relates to a previous iteration, but
I know where you're com - ing from Call me on the line Call me
some of the intervals are different.
G mot. 1 A Dm mot. 1 (int. ch.)
F
b b b4 44 j œj œ œ œ œj œ œj˙œ.ntœj œ œantÓœant Ó ‰ ‰œ#jœntœ œœn œ antœ ˙œ ˙œ. œ

(G-B-D) m3 (A-C˜-E) (D-F-A) P4 (F-A-C)
V
29
ant
b
25 pt pt
& 4 œ œ œ œ ( ) ( )
( ) ( )
( ) ( ) ( ) ( )
I The
knowver - y you're
where thought
com of- you
ing from Call me andonI the
forline
- get to do
Call me
mot. 1 mot. 1 (int. ch.)
b b 4 ∑j j ∑ œ œ ˙ . ∑
P4
b 4 œ Rayœ Noble, “The˙ .Very∑ Thought
∑ Ó ∑of‰You”
33 m3
V œ œ œ œ œ(1934)
œ
29 YT: v9V98ECtsfY
Figure 11.2.3
26 The nextTheexample
ver - y has twoofintervals
thought you changed, one of
andwhich
I for -includes
get to do a change
in contour.
m œ mœ œ
360
œ œ œ œ ↑ œ
mot. 1 (int. ch.)
c ≈
mot. 1
33
&# # # # œ œ œ œœœ œœ œ œœ œ œ œ œ
œ nœœ œ œ œ œœ n œ
M2
Œ ‰ Œ Ó Œ ‰J Œ Ó
m3↓
V J
? c Ó I'm not in love œ œ œ œ so don't for - get œ itœ
œœœœœ
≈ œ œ œ œ
œ Œ
≈
œ œ œ œ œ œ œ œ œ œ œ œYT:
œœœœ œœœœœœœœœœœ
362
& œ #œ œ œ œ
STugQ0X1NoI
Figure 11.2.4 Eric Stewart and Graham Gouldman, “I’m Not In Love” (1975)
œ œ
? œ Augmentation
œ œ œ œ œ #œ
11.2.3 œ Diminution
œand œ œ œ œ
Augmentation usually refers to an exact doubling of the duration of every
rhythmic value in a motive or phrase.
364
œ œ œœœœœ œ œœœ
mot. 1 inv. mot. 1 inv. mot. 1 inv. mot. 1 inv.
œœœœœ œœœœœœœœœœœ œ œ
mot. 1
& ≈ œ œ œ œ œ œ œ œ #œ œ
œ œ œ œ œ œ œ œ œ œ
frag. a frag. a aug. frag. a aug. frag. a aug. & ext.
? ∑ œ #œ œ œ œ
∑ ∑ ∑ ∑ YT: ∑ E8EvUmq0Zao
∑ ∑ ∑ ∑ ∑ ∑ ∑
367
&
Figure 11.2.5 Augmentation of fragment “a” in Invention No. 1 by J.S. Bach
We will discuss extension and fragmentation of motives later in this chapter.
? ∑ ∑ ∑ ∑ ∑ ∑
Diminution is the opposite of augmentation and usually refers to the
exact halving of the duration of every rhythmic value in a motive or phrase. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑
379
&
Score
However, diminution can also refer to the use of shorter rhythmic values, as in
the following example.
mot. 1
U U
w.
w. bU
w. U
? 6 w. w. w. w.
4 bw. w. w. ∑ ∑
ƒ (Trumpets & Trombones) mot. 1 (dim.)
?6 Ó ˙ b ˙ ˙˙ w .
2
∑ ∑ ∑ ∑ ˙. œ Œ Œ
2
4 ˙ b˙
ƒ (Tubas) w. ˙. œ
mot. 1 (dim.)
?6 ∑ ∑ ∑ ∑ ∑ ∑ Ó. bœ œ œ œ
4
ƒ 4
(Timpani)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
8
YT: aDFGmiXnLjU 21
?
Figure 11.2.6 Diminution of the first four notes in “Uranus” from The Planets,
∑ ∑ ∑ ∑ ∑ ∑ ∑
8
Op. 32, by Gustav Holst (1916)
. .
∑ C œ œ œ œ ∑˙ . ∑œ œ œ œ ∑ œ œ œ. œ∑ œ

376
?
11.2.4 Rhythmic Change
∑ & ∑
8
œ. œ ˙. œ . œ . . œ. œ. . . œ. œ. . .
Similar to the inexact nature of intervallic change, label a motive as having
ƒ S
rhythmic change when some but not all rhythmic values of the motive are
varied.
?
mot. 1 (rhy. ch.)
∑ ‰ j ∑‰ j ∑
mot. 1
∑ ∑ ∑
& 44 œ ‰ ∑# œj œ ∑œ œ ∑
15 382
œ #œ œ œ œ
?
rhythmic
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑(same) ∑
15
change
?
384
∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
15
YT: vCadcBR95oU
Figure 11.2.7 Hurby Azor and Ray Davies, “Push It” (1987)
392Imagine the effect if there had been no rhythmic change and the first mea-
&
sure was merely repeated.
In the next example, from Beethoven’s “Pathétique” sonata, motive 1 has
dotted rhythms during the introduction of the piece.
399
&
406
&
413
364
? ∑ œ #œ œ œ œ
CHAPTERmot.
11.1 MELODIC ANALYSIS
mot. 1 inv. mot. 1 inv. mot. 1 inv. mot. 1 inv.109
& ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œmot.
œ œ1œ œ œ œ œ œ
#œ
b b bfrag.c a j
367
mot. 1
& j ‰frag. a aug.

œœœ œ œ n œœœ œ œœœ frag.
œ œ œ
a .aug. & ext. ‰
œ
.. œ œ . œ œ œœ œ œ
œ œ . œœ n œœ .. œœ n œœœœ
œ. #œœ œ œ. œ œœ œ
frag. a aug.
? ∑ œ
Í Í .
œ ≈ . Kr œ œ œ
21
? b b c œœœ œœœ ... œœ œœ .. œœ # œ œ . œ œ œ ≈ . œ
b œœ œœ . J œ J RÔ
œ œ .. mot. 1
b b b mot. mot. 4j
367
mot. 1
& c 1 j ‰ . œ œ ‰
œœ .. œœ n œœœ œœ œœ œœ .. œœ œœ .. œœ œœ œœœœ. œ.
œ œ . œ œ
mot. 2 mot. 2 mot. 3 mot. 3
C œ œ . œ n n
376
& b b œ œ œ∑œ ˙ . ∑ ∑ ˙ . ∑ ∑ œ œ ∑ œ œ∑ ∑œ œ ∑œ. ∑

& b Í
369
œ. œ œ . œ . K. œ.Íœœ. . .œ .œ. œœ. . .

ƒ S
? b b c œœœ œœœ ... œœ œœ .. œœ # œ œJ ≈ . r œ . œ œ œ ≈ . œ
b œ œ œ J (1799) RÔ
YT:
... 1 Pathétique Sonata, Op.mot.

SrcOcKYQX3c
Figure 11.2.8œ Beethoven,
œœmot.
?In bthe œ
b b development
∑ ∑ section, ∑ Beethoven ∑ ∑ changes ∑ j the∑rhythm∑ of motive∑ 1 then∑
13, I, Introduction
1 (rhy. ch.)
4 j j
382
&4 œ
abbreviates it in‰ #œ œ œ œ
the following measure ‰ œ ‰ #œ œ œ œ
when it is sequenced up a step.
mot. 1 (rhy. ch.)

œ
rhythmic
´ œ´ ˙ # œ # œ´ œ´ œ´ œ´
mot. 1 (rhy.change
ch.) (abbrev.)
œ œ œ # œ
& C Œ œmot.Œ 1 Œ œ # œ œ ˙ # œ Œ mot. 1Œ (inv.)
(same)
œ œ œ
369
#œ
p ÿ œ œ œ œ œ œ
f
&? œœ œœ œ œœ œœ œ œœœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ
384
œC œ bœ œ
386 œ œ
mirror inversion
œ œSrcOcKYQX3c
œ œ œ œ œ
387
Figure 11.2.9 Beethoven, &

YT:
Pathétique Sonata, Op. 13, I, development section
# œ œ meansb œ the b œ œ or#embel-

œ
11.2.5 Ornamentation
œ notes in a motive
7 can be œornamented
& 44 with passing tones, neighbor tones, and the other non-chords tones we
388
Ornamentation
lished
studied in the previous chapter.
Here is an example of the ornamentation of a 4-note motive.
##
mot. 1 mot. 1 (orn.) mot. 1 (orn. & ext.)
& # # # 44
397
œ . œ. Œ œ. Œ n œ . œ.
œ œ œ ‹
œ. œ. œ œ œ nt œ œ œ œ n
n œ. œ. . . ntœ œ œ
.
nt
####
#
400
& YT: s6fPN5aQVDI

Figure 11.2.10 Stevie Wonder, “Sir Duke” (1976)
4
&4 œ &‰ #Cœj œœœ œ œ
j
‰ œ ‰ # œj œ œ œ œ œ. œ.
œœ ˙. œ ˙ . œ . œ œ. œ. œ œ. œ. œ. œ œ. œ. œ. .
œ . . 110.
ƒ S
rhythmic
CHAPTER 11. MELODIC ANALYSIS change
(same)
11.2.6 Extension mot. 1 (rhy. ch.)
œ œ œ œ œ œj œ j
mot. 1
j
382 mot. 1 mot. 1 (inv.)
œ cœ œ œ œ‰ #œœ œ œ œ ‰ œ ‰ #œ œ œ œ
384
œ œ &
&
Extension of a motive needs little explanation: additional material is added to
the end of a motive upon its repetition or reoccurrence at a later point in a
piece.
386 Refer to the “Sir Duke” example directly above and to therhythmic
final measure of
& œ œ œ œ œ œ
change
the J.S. Bach Invention in C Major example in the section on augmentation.
œ
(same)
œ œ mot. œ œ
illustration of
11.2.7 Retrograde
œ œ œ œ which œ
387
œ isœ an œ œ œ
1 inversion mot. 1 (inv.)
exact reversing of the&

384
While rare in tonal music, it is worth mentioning retrograde,
&
order of notes, as can be seen in the following example
from popular music.
œ 7
386
388
& 44
mirror inversion
387
397 &
&
YT: ECVbVwEzY2E
Figure 11.2.11 Melodic Retrograde
mot. 1 in “Toxic” by Cathy Dennis, Christian mot. 1 (ret.)
œ 7
Karlsson, Pontus Winnberg, Henrik Jonback (2003)
388
&c
We will not consider transposition of a motive (also known as a sequence)
to be a motivic alteration worth labeling since it is so common.
11.3 Fragment
####
the motive is usually definedmot.
While 397 1 smallest identifiable
as the mot. 1 melodic
(orn.) idea in a mot. 1 (orn. & ext.)
& # c œ . œ. Œ œ. Œ n œ . œ.
composition, “compound” motives can be broken into fragments (sometimes
œ œ œ ‹ œ œ n œ œ œ
œ. œ. œ œ œ œ œ
n œ. œ. . . nt .
called “germs”).
In J.S. Bach’s Invention 1 in C Major I, the opening 7-note compound
motive can be divided into two overlapping four-note fragments
nt nt can each
that
be developed independently.
mot. 1 mot. 2
400
& c ≈ œ œ œ œ œ œ œ œ œ œ œ
frag. a frag. b
Figure 11.3.1 Fragmentation of motive 1 in C Major Invention

Here again is the example of development (in augmentation) of fragment
“a.”
? œ #œ œ œ œ
364
mot. 1 inv. mot. 1 inv. mot. 1 inv. mot. 1 inv.
œœœœœ œœœœœœœœœœœ œ œ
mot. 1
& ≈ œ œ œ œ œ œ œ œ #œ œ
? ∑ œ #œ œ œ œ
∑ ∑ ∑ ∑ YT: ∑ E8EvUmq0Zao
∑ ∑ ∑ ∑ ∑ ∑ ∑
367
&
Figure 11.3.2 Development of fragment “a” in Invention 1
In the following example Bach develops an inversion of fragment “b” leading
? ∑
27
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
into a cadence in G major.
m
frag. a inv. frag. b inv. frag. b inv. frag. b inv.
œ œ œ œ œ j
&c œœ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
374
& ∑ ∑ a aug. &∑ext. ∑ ∑ ∑ ∑

379
?c œ œ œ
frag.
œ œ œ œ #œ œ. œœ ≈ œ œ
œ
œ
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
377
& YT: E8EvUmq0Zao

Figure 11.3.3 Development of fragment “b” in Invention 1
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
11.4 Phrase
Musical form is full of sections, and the phrase is the smallest category of
section. Unlike a motive, a phrase gives the sense of completing a formal unit.
∑ ∑ ∑ ∑ ∑ ∑ ∑
385
&
In classical music, phrases always end with cadences; if you have encoun-
tered a cadence, you have just witnessed the completion of a phrase. In popular
music, a phrase might be completed by a melody reaching four measures in
length or by completing a line of lyric instead of by a cadence.
? ∑ ∑ ∑ ∑
To generalize (or perhaps over-generalize), most of the phrases you en-
counter will be four measures in length and will end with one of the four ∑ ∑ ∑
cadence types (authentic cadence, half cadence, deceptive cadence, and, less
commonly, the plagal cadence). While four- and eight-measure phrases are the
most common, you will also encounter phrases that are five, six, and seven
∑
392
measures in length. Less commonly, you will encounter three-measure phrases.
& Here are examples of four-measure phrases. Notice that these phrases have
a sense of completion even though they do not end with cadences.
? ∑
3
phrase “a”
pickup
C F C F
œ . œ.
notes
V 44 J ≈ œJ œ œ œ . œ œ œ . œ œ œ œ œ œ . œ w Ó Œ ‰ œ œ3
37
I've got sun - shine on a phrase

cloud “a”
- y day when it's
pickup
C: I IV
notes C F CI IV
F
œ . œ.
V 44b J ≈ œJ œ œ œ . œ œ œ . œ œ œ œ œ œ . œ w Ó Œ ‰œ œ
37
phrase “a”
V b bI've˙ got sunœ -shineœ œ œj YT: onnz80onuEhHE

œ. œ œ œ œ ˙. ∑
42
a cloud - y œday
Figure 11.4.1 Smokey Robinson œ . and Ronald White, “My Girl”(1964)
when it's
I'm C: Iev - 'ry wo - IV
man it's all in Ime IV
phrase “a”
bbbbb 4 ∑˙ ∑ ∑ œ . ∑ ∑ ∑ ∑∑

46 3
V œ œ œ œj
Fm
& b 4 œ œ œ œ œ ˙.
42
œ . phrase “a”
pickup
I'm ev - 'ry wo - man it's all in me
C F C F
b œ . œ.
notes
V 44b b J ≈ œJ∑ œ œ œ∑. œ œ œ . œ∑œ œ œ œ œ .∑œ w ∑ Ó Œ ‰ œ∑ œ

37 53 E¯≤: ii
b I've got sun-shine ∑

& b b C:∑ I ∑ onvNAq7Cv34l4
∑ ∑ ∑ ∑
46
a cloud - y day when it's
YT:
IV I IV
(1978)b
Figure 11.4.2 Nickolas Ashford and Valerie Simpson, “I’m Every Woman”
b b ∑ ∑ ∑ ∑ ∑ ∑
59
VHere is an
phrase “a”
b b b 44iv ˙chord,œwhich j discussed œ . œ inœ the

Fm example of a five-measure phrase. Notice that the final chord
∑
42
&
is partb of a half cadence or
(a minor
œ œwilldeceptive
œ œ . cadence,
be
œ chapter ˙ .on has
œ œphrase
mode mixture)
& b b I'mespecially
∑ ev - 'ryconsidering
∑wo - manits∑ relation ∑ me ∑ before and∑ after
53
yet the a feeling of
it. b
completion, it's all to in the phrases
V b b E¯≤: ii∑ ∑ ∑ ∑ ∑ ∑
65
phrase “a”
bbb b4 ‰ œ∑ ∑ ∑ ∑ ∑ ∑
59 B¯≤ F
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
46
& 4
b
V b b You must not know 'bout me You ∑must not know - 'bout me I can have an -
71
B¯≤: I V
b (phrase∑ “a” continued)
& b bCm ∑ ∑ ∑ ∑ ∑
65
b œ œ œ‰œ œ œ œ‰
48
E¯≤m
&b œ œ œ œ œ œœ. œ.
œ œ bœ œ œ œ œ œ œ œ œœ œ
b
& b bii ∑
71 oth - er you by to - mor - row So don't ev - er for a sec - ond get to think - ing you're ir - re - place - a - ble
iv
b
51
& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
YT: 2EwViQxSJJQ
Figure 11.4.3 Shaffer Smith, Mikkel Eriksen, Tor Erik Hermansen, Espen
b
Lind, Beyoncé Knowles, “Irreplaceable” (2006)
&b ∑ ∑ ∑ ∑ ∑ ∑
59
b
&b ∑ ∑ ∑ ∑ ∑ ∑
65
œ j
& c œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
? c œ œ œ œ œ #œ œ œ œ.
frag. a aug.ANALYSIS
& ext. 113 27
œœ ≈ œ œ
CHAPTER 11. MELODIC
frag. a inv. frag. b inv. frag. b inv. frag. b inv. œ

m aœ V7 - i cadence
œ
œ œ œ œ œ œ œ œ œ œ œ œ œj ‰
Here is an example of a six-measure phrase that ends with
& c œ œ œ # œ œ œ œ œ œ œ œ phrase
374
in G minor.
“a”
D/F˜ G7/Ffrag. a ¯≤aug.
7 Gm/D
& ext. D7 Cõ7 D7
? cb 3œ œœ ˙ œ œœœ œœœ œœœ ##œœœ œn ˙œ . Œœ œ œ .˙œ œ œœ œ œ œœ # œœ œ œœ ≈œ œœ œ

C/E E Gm/D Gm
& b 4 œ nœ œ # œ œ œ œ œ ˙. œ œ œ œ œ œ œœ Œ
377
œ
p
#œ nœ nœ bœ œ œ. œ. œœ œ œ
# œ “a”
œ œ œ œ
? b 3 œ œ œ Dœ7 # œ œ œ Œ
phrase
b 4 D/F˜ C˜
œ
Œ Œ Œ Œ
E¯≤7
œœ œœ œ œ # œ œ œ Œ œ ˙œ œ œœ# œ œ œ œ
o7
G7/F
C/E Gm/D D7 Gm/D Gm
b 3 œ ˙ œ œ œ œ œ n ˙˙ .. œœ
& b 4 œ nœ œ # œ œ œœ œ œœ œœ œœ œ Œ
377
b b #pœ∑ n œ ∑ ∑œ. PbwJhFGUiFc

# œ ∑œ œ œœ œœ∑ œœ ∑ ∑
384
& n œ b œ œ œ. YT:
? b 3 # œœ œœ œ Œ
b 11.4.4
4 W.A. Mozart, Symphony No. 40, œK. 550, IIIœ (1788) œ
Figure
Œ Œ œ Œ Œ
?Here
bb ∑ ∑ ∑ ∑
is an example of an 8-measure phrase.
∑ ∑ ∑
phrase “a”
œ œœ œ
Aõ7/G G
œ.
G D7/A G C/G
# 3
384
œœ œ œ œ. œ œ# œ œ . œ
& 4 ˙ œ Œ œ Œ
bb ∑ ∑
391
& p
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ# œ œ œ œ œ œ œ œ œ œ œ
?# 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
? bb ∑ ∑
not a cadence
(phrase “a” continued)
D7/A G Em G/B C C/E G/D D
œ œœ œœ œ œ
# œ.
œœ œ œ œ œ. œ œ Œ # œ n œ œ œ œ œ .œ œ œ œ # œ n œ œ
388
&
œ œ œœœ œ œœœ œ œ œœœ œ œ œ œ
?# œ œ œ œ œœ œ œ ˙ œ œ˙ œ Œ œ œ
œ ˙
I/5th V
half cadence
YT: 1vDxlnJVvW8
Figure 11.4.5 W.A. Mozart, Piano Sonata in C Major, K. 545, II
Examples of seven-measure phrases are rare and often involve elisions,
which will be covered in a later chapter when we discuss how phrases are
combined to create small forms like periods and phrase groups.
œ œ
You must not know 'bout me You must not know - 'bout me I can have an -
B¯≤: I V
(phrase “a” continued)
11.5b Cmœ
48
E¯≤m
œ œ‰œ œ œ œ‰
Subphrase
œ œ œ œ œ œœ. œ.
&b œ œ bœ œ œ œ œ œ œ œ œœ œ
Subphrases are smaller than phrases but larger than motives. Most of the
oth - er we
subphrases you byencounter
to - mor - row So will
don't beev -two
er for measures
a sec -ond get tolong.
think - Subphrases
ing you're ir - reare
-placecalled
- a - ble
ii iv
“phrase segments” and “phrase members” in other texts.
We will label subphrases with letters (a, b, etc.). When a subphrase repeats
phrase “a”
but has slight alterations, we will put an apostrophe after the letter (e.g., a’)
subphrase “a”
and refer to it as “a prime.” If another alteration to subphrase subphrase “b”
a occurs, we will
# ## 4 j
51
label it as a” and refer to it as “a double prime.” If the subphrase is merely
mot. 1 mot. 1 (int. ch.)
& # 4 œ . œj Ó œ. œ Ó Ó œ œ œ œ œ œœ œ œ
transposed (in a sequence), we will label it as a, not a’ in our analysis.
We are including analysis of subphrases in this text because many compo-
sitions have melodic units that are two measures long. Analyzing subphrases
helps us understandStran - gersthe construction
wait - ing of melodies. up and down the bou - le - vard Their
E: IV I
In the following example, notice that subphrases a and a’ have the same
4 4 4
first six notes (G –F –B–C –E–E).
Phrase: a
55 subphrase a subphrase a'
#### 4 Œ Œ 3 j
& 4 œ œ j œœ œ œ œ œ œ œ œ j œœ œ œ œ œ œ Œ
j Œ Œ
3 3 3 3 3 3
œ œ œ
Don't stop think - ing a-bout to - mor-row Don't stop it - 'll soon be here
YT: OvSbZEYlfnM
Figure 11.5.1 Christine McVie, “Don’t Stop” (1977)
Here is an example of a four-measure phrase with subphrases a and b.
Phrase: a
4 subphrase a subphrase b
Fm
œ œ œ . œ ˙D¯≤ Fmœ œ œ œ
E¯≤ E¯≤
œ
D¯≤
˙
? bb 4 Œ œ œœ œ J Œ œ œ œ
59
bb 4
Par - ty rock is in the house to - night Ev - 'ry - bod - y just have a good time
f: i VII VI i VII VI
? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
63
bb YT: KQ6zr6kCPj8
Figure 11.5.2 Stefan Gordy and Skyler Gordy, “Party Rock Anthem” (2011)
Notice that we are not looking at the motives within these subphrases. This
is because we are looking for melodic segments that are repeated. For some
compositions it is more informative to look at subphrases and less informative
to identify motives if motives are not extracted and developed.
There will be times when you will notice important melodic ideas happening
at three levels of analysis (motive, subphrase, and phrase), as in the following
example.
b œ œhome
œ‰œ œ œ œ‰ œ œ œ œ œ brave.
œœ. œ.
&b œ œ bœ œ œ œ œ œ œ œ œœ œ
of the
C - er you by to - mor - row So don't Em 7 7

oth ev - er for a sec -ond get to think Fmaj
- ing you're ir - re-place - a - ble
. œ. œ ptœ ptœ œ œ .
œ . œ. œ(esc
œ œ .)
(C-E-G)
ii
CHAPTER 11. MELODIC (E-G-B-D)
iv
ANALYSIS (F-A-C-E) 115
4 œ œ w w
20
Phrase: Œ ≈ Ra
&4
( ) ( )
subphrase a subphrase b
# # # #C 4 j
51
mot. 1 mot. 1 (inv.)
& (C-E-G) 4 œ . œj Ó œ . œ Ó Ó œ œ œ œ œ œ œ œ œ
dn œ œ œ ) œ
œ
4 œ œ (# œ
œ # œ
& 4 œ (œ ) œ
24 dn
dn - gers
Stran wait - ing up and
( down the bou - le - vard Their
)
E: IV I
Phrase: G A a Dm F
55 YT: 1k8craCGpgs
subphrase a subphrase a'
## 4 Œ Œ
(G-B-D) (A-C˜-E) (D-F-A) (F-A-C)
# j j j
& b# 4 j
& 4 4œj œœ œœ œœj œ œ œ œœ œœ œœj œ œœ œœ ŒÓ œ ‰(Œ# œœ)jœ( nœœœ) œ ˙œ œ œœ œ œœ Œ
25 Figure 11.5.3
pt Steve
pt Perry,antJonathan Cain,
antNeil
ant Schon,3 nt
“Don’t3 Stop3 Believin”’
3 3 nt3 ant 3
(1981) ( ) ( )
( ) ( )
( ) ( )
There is ambiguity between motive and subphrase. Reconsider the follow-
I Don't
ing exampleknow
from where
stop
theyou're
thinkcom -on
- ing
section a -ing
boutfrom
to - mor-Call
intervallic me
row change:
Don't stop onit the- line
'll soon beCall
hereme
E: I mot. 1 IV I mot. 1IV(int. ch.)
b j ‰ œj œ œ œ œ ˙ .
P4
V b b 44 œ œ œ œ
m3
œ ˙. Ó
29
The ver - y thought of you and I for - get to do
b b b ∑ ∑ ∑ ∑ ∑ ∑
33
V
YT: v9V98ECtsfY
Figure 11.5.4 Ray Noble, “The Very Thought of You” (1934)
When you listen to the music of “The Very Thought of You” you will hear
that each motive lasts for two measures. The difference is that motives are
typically short—two to seven notes—whereas subphrases will usually contain
six or more notes and occupy two measures (half of a four-measure phrase).
Day One:
1. For the following examples:
• Analyze motives using numbers (1, 2, etc.)
• Label lead-sheet symbols and Roman numerals when blanks are
provided
• Label non-chord tones for notes in parentheses

(Note: Even though there are 11 blanks for motives, there are only
six motives in this example due to motivic alteration.)
˙
____ ____ ____ ____
Motives:
b 4 j œ. œ. œ. œ œœ
& b 4 œ (œ) œ . œ œ œ (œ ) œ .(œ)œ œ œ œ(œ)œ (œ) (œ) (œ) (œ) (œ) œ . œ œ (œ)œ ˙
147
Ah Ah Ooh
b 4
__ __ __
j
__ __
j
__ __
j
__ __
j
147
Lead-sheet:
& b 4 œœ œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙
œ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙
? b 4 j j j j
b 4 œ œ. œ ˙ . œ ˙ œ. œ ˙ œ ˙
œ œ.
28 B¯≤: __ __ __ __ __ __ __ __ __
#
393
Motives:
& C œ (œ ) œ. (œ)œ # œ (œ) œ

œ )# œ œ.(n œ)n œ
. YT:œ (#RgKAFK5djSk . . .
? # C“See You Again”
Figure 11.6.1 Charlie Puth, Cameron Thomaz, œ œ œ
( )œ œ
Andrew Cedar,
œ œ œ œ
( )œ œ
Justin
œ œ œ œ. œ. œ. œ. œ. œ œ. œ œ œ œ œ œ œ
( ) ( )
Franks, (2015)
2.
28
. example, alter the given
For the following . motives . . as. specified.
. . . Also, J
provide e:lead-sheet
__ symbols
__ and Roman
__ numerals and analyze
__ non-
__
# ___
393
chord tones.
Motives:
& C œ (œ ) œ œ œ ___ œ
___ ___ ___
œ œ
Lead sheet:
398
. # œ. ( ) œ (# œ )# œ . (n œ)n 2œ aug.
.
Motives: 1 ( 2
) 1 aug. 1 2 inv.
œ œ œ œ œ. œ
& c œ (œ)œ(œ)œ œ (œ)( )œ œ œ .
œ (œ)(œ) œ œ
?# C (œ )œ ( œ)
œ œ œ œw œ w œ œ œ˙ œ œ˙˙ œ œ
? c www œ œ. . . .ww . œ. œ. œww.
. . ˙˙. . .˙ . J
e: __ __ __ __ __
C: ___ ___ ___ ___ ___
Lead sheet: ___ ___ ___ ___ ___
3. For
402 the following example:
&• Write the lead-sheet symbols

398
Motives: 1 2 1 aug. 2 aug. 1 2 inv.
c œ (œ)(œ)œ œ
&• Writeœ œthe
œ( )
œ
(œ) chords as whole œ notes in œthe bass clefœ staff
www including w
?
? c ∑www non-chord
• Analyze ∑ ∑ tones, ∑ ∑wwthe ones ˙˙ write
∑ you ˙
˙ ∑ ˙˙ ∑
• Alter the given motives as specified to fit the harmony
C: ___ ___ ___ ___ ___
• Specify the cadence
410
&
Lead sheet: ___ ___ ___ ___
b
Motives: 1 1 int. ch. 1 inv. 1 inv.
˙ œ
& b c∑ œ œ (œ∑)
402
? œ∑ œ
∑ ∑ ∑ ∑
? b c
b
g: i iv i V7
Cadence: ____________
b
&b
Day Two: 406
? bb
4. For the following example:

• Analyze the motives using numbers (1, 2, etc.), noting motivic
alterations when applicable
• Analyze subphrases using letters and primes (a, a’, b, etc.)

• Label lead-sheet symbols and Roman numerals when blanks are
provided
• Label non-chord tones for notes in parentheses
22
Lead-sheet: ___ ___ ___ ___ ___ ___ ___ ___
Subphrases:
# 2 œJ (œ)œ(# œ)œ œ . œ œ . œ œ . œ œ œ œ
Motives:
j
401
& 4 J J (œ) œ œ œ
J ( ) œ # œ . (œ) œ .
Í
410
#
& YT: Dbb_VGJXaSU
Figure 11.6.2 Robert Schumann, Album for the Young, Op. 68, No.
16, “First Loss”
Click here to download the first assignment for this chapter.

Click here to download the second assignment for this chapter.
Click here to download the Unit 2 Practice Test.
Chapter 12
Form in Popular Music
The overall form of a piece of popular music usually can be broken down into
smaller 4-, 8-, 12-, or 16-bar sections. The material in this chapter is informed
by John Covach’s essay “Form in Rock Music” from Engaging Music: Essays
in Music Analysis (ed. D. Stein).
12.1 Verse-Chorus Form

The Verse-Chorus form is arguably the most common musical form of
present day popular music and is probably familiar to most readers of this
text. In Verse-Chorus form, the chorus contains the “hook”—the memorable
refrain—while the verse typically contains less memorable melodic material. A
clear example can be found in the 1985 song “We Are the World.”
Table 12.1.1 Michael Jackson and Lionel Richie, “We Are The World”
(1985)
0:00–0:26 Introduction, 6 bars
0:26–0:53 Verse 1, 8 bars

0:53–1:18 Verse 2, 8 bars
1:18–1:49 Chorus, 9 bars
1:49–2:14 Verse 3, 8 bars

2:41–3:08 Bridge, 8 bars

3:35–4:02 Chorus, 8 bars ending with key change
4:02–end Chorus, 7 times in F major with fade out
YT: 9AjkUyX0rVw
Common additions to the Verse-Chorus form, beside the bridge, are the
pre-chorus and post-chorus.
118
CHAPTER 12. FORM IN POPULAR MUSIC 119
Table 12.1.2 Kurt Cobain, Krist Novoselic, and Dave Grohl, “Smells
Like Teen Spirit” (1991)

0:25–0:42 Verse 1, 8 bars
0:42–0:58 Pre-chorus, 8 bars
1:23–1:31 Post-chorus, 4 bars
1:31–1:39 Interlude, 4 bars

1:39–1:56 Verse 2, 8 bars
2:37–2:45 Post-chorus, 4 bars
2:45–3:02 Guitar solo, 8 bars
3:02–3:10 Interlude, 4 bars

3:10–3:26 Verse 3, 8 bars
YT: hTWKbfoikeg
It is worth noting that there may disagreement about labeling sections in
a form. One person may call a section a “pre-chorus,” another may call it a
“first chorus,” while another may call it “verse part b.” There is ambiguity in
naming sections and disagreement is to be expected.
There are “simple” and “contrasting” verse-chorus forms. A simple verse-
chorus form has the same harmonic progression for the verse and chorus (e.g.,
“All About That Bass”). The chord progressions for the verse and chorus are
different in a contrasting verse-chorus form like “We Are the World.”
12.2 AABA Form

The AABA form is associated with the hits from Broadway musicals in the
1930s and remained one of the most popular forms of popular music until the
1950s, when Rock ‘n’ Roll became popular. Each section (A or B) is typically
8 measures long. The A sections contain the primary melody we associate with
the song while the B section provides contrast and is often called the “bridge”
or “middle eight.”
Table 12.2.1 George Gershwin, “I Got Rhythm” (1930)
0:10–0:18 A section (A1), 8 bars

0:26–0:35 B section, 8 bars
0:35–0:45 A section (A3), 10 bars
0:45–0:53 A section, 8 bars (instrumental shout chorus)

0:53–1:02 Introduction, 8 bars (shout chorus continues)

1:35–1:54 Coda, 12 bars
YT: Q_jKTPsh54Y
It is common for one or more of the A sections to be instrumental, and it
is also common to eliminate an A section on the repeat of the entire AABA
form (AABAABA, for example).
Other well known songs with AABA form include “Over the Rainbow” from
The Wizard of Oz as well as many famous songs from the Great American
Songbook by George Gershwin (“Let’s Call the Whole Thing Off,” “Someone
to Watch Over Me”), Cole Porter (“Anything Goes,” “Love for Sale,” “I Get
A Kick Out of You”), Irving Berlin (“Blue Skies,” “Puttin’ on the Ritz”), and
Jerome Kern (“The Way You Look Tonight,” “Smoke Gets In Your Eyes”).
The AABA form continued to be dominant into the 1960s (including Beatles
songs like “Yesterday,” “Norwegian Wood,” and “Hey Jude,” to name a few).
The AABA form is less common in the present day but can be found in songs
like The Cure’s “Friday, I’m in Love” (1992) and Norah Jones’s “Don’t Know
Why” (1999).
A note on terminology: the entire 32-bar AABA form is sometimes called
a “refrain” or “chorus,” and some AABA songs are preceded by a “verse.”
This means a song like “Someone To Watch Over Me” begins with a verse
and is followed by a “refrain” (which could also be called a “chorus”). Other
synonymous terms you may encounter for “verse” in the context of AABA form
are “prelude” and “introduction.”
12.3 ABAC Form

Many popular songs from the 1930s–1950s were in the 32-bar ABAC form.
Well-known examples include “White Christmas,” “Someday My Prince Will
Come,” and “When I Fall In Love.”
“Star Dust” is an example of an ABAC form that is usually performed with
a verse preceding the refrain.
Table 12.3.1 Hoagy Carmichael, “Star Dust” (1927)

0:13–1:13 Verse, 16 bars (8 bars + 8 bars)
1:13–1:41 A section, 8 bars

2:07–2:32 A section, 8 bars
2:32–2:57 C section, 8 bars
2:57–3:12 Coda, 4 bars
YT: hWkoFj14HkE
The ABAC form may also occur as ABAB’ where the B’ section begins the
same as the B section but ends differently.
12.4 The 12-Bar Blues

Associated with the Blues genre, which originated in the early 1900s, the 12-bar
blues was also popular during the Swing Era of the 1930s and 1940s, (examples
include “In The Mood” and “One O’Clock Jump”), as well as during the early
years of Rock ‘n’ Roll in the 1950s (“Johnny B. Goode,” “Hound Dog,” “Rock
around the Clock”). The basic 12-bar blues progression is shown below.
Table 12.4.1 Chuck Berry, “Johnny B. Goode” (1958)
Bars 1–4: I I I I
Bars 5–8: IV IV I I
Bars 9–12: V IV I I
YT: Uf4rxCB4lys
12.5 Harmonically Closed and Open Sections

A harmonically closed section ends on the tonic chord ( I ). A harmonically
open section typically ends on a non–tonic chord like V , but could also end
on IV .
In an AABA form, the A sections are usually harmonically closed, ending
on I , and the B section (or bridge) is usually harmonically open, ending on V .
In verse-chorus form, sections that leads into the chorus (verse, pre-chorus,
and bridge) are usually harmonically open, while choruses can be harmonically
closed or open.
If you compose a piece in AABA or verse-chorus form, placing harmonically
open and closed sections appropriately is important to the flow of the music.
For example, the verse and bridge on “We Are the World” are harmonically
open (ending on V ) while the chorus is harmonically closed (ending on the
tonic chord, I ).

1. For each song, fill in the beginning time for each section, label each section
type (verse, pre-chorus, chorus, post-chorus, interlude, introduction, A, B,
or C section, etc.), and the number of bars in each section of the form.
Table 12.6.1 Tom Bahler, “She’s Out of My Life” (1980)
Time: : Section Type: , bars

(a) Time: : Section Type: , bars
YT:
6DQJPL9Yuq0
Table 12.6.2 Lennon-McCartney, “Penny Lane”
(b) Time: : Section Type: , bars
YT:
S-rB0pHI9fU
Click here to download the homework assignment for this chapter.

Chapter 13
Phrases in Combination35
13.1 The Perfect Authentic Cadence

& w
478
bw
We will now distinguish between two types of authentic ( V – I ) cadences: the
Perfect Authentic Cadence (PAC) and the Imperfect Authentic Cadence (IAC).
The Perfect Authentic Cadence must meet three requirements:
? w
w
1. V – I
2. Both chords in root position

3. Tonic scale degree (1̂ ) in the highest voice of the tonic chord
1̂ in highest voice
& ˙˙ ˙˙
479
˙˙ ˙
? ˙
C: V I
both V & I are in root position
If at least one of these requirements is not met (one or both of the chords
are inverted, tonic is not in the highest voice, or vii◦ occurs in place of V ),
the cadence is an Imperfect Authentic Cadence (IAC).
13.2 The Sentence

∑ ∑ ∑ ∑ ∑ ∑ ∑ A sentence
∑ ∑ in∑ music∑ is ∑a phrase
∑ with
∑ a ∑specific∑ melodic
∑ ∑construction:
∑ a melodic
idea (motive 1 or subphrase a) is either repeated or sequenced then followed
by either related or unrelated material leading to a cadence.
In this first example, Mozart sequences motive 1 from measure 1 up a step
in measure 2. Measure 3 contains related material and measure 4 contains
cadential material.
123
∑ ∑ ∑ ∑ ∑ ∑ ∑
CHAPTER 13. PHRASES IN COMBINATION 124 35
36
related material
### 6 œ . œ œ œ œ œ . œ œ œ œ j œ œ œ œœ œ œ œj
mot. 1 mot. 1 frag. b frag. b
J œ œ J œ œ
489
& 8 J J
p frag. a frag. b frag. a frag. b
j j j j j j
œ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ
? # # # 68 œ . œ J œ. œ œ J œ œJ œ œJ œ œ œ .
J
A: I I/3rd V/3rd V7/5th vi7 V/3rd1̂ in highest
I ii/3rdvoice
I/5th V
& ˙˙ ˙˙
479
Half Cadence
phrase a
˙
# # # œ . œ œ œ œ œ .YT: œ œ œ œ ?œ ˙˙ œj œ œ œ œœ œ œœ œj
493
& J J K. 331, I J ˙ J œ
vp_h649sZ9A
In thepnext example,
Figure 13.2.1 Sentence Structure in Mozart,
j Beethoven
j j jthe intervals
C: j V of subphrase
j I a in mea-
sures 3–4 toœ fit the
œ œ œ œ œ œ œ œ œ œ œ œœ rootsubphrases
. œ œ œ 5–6.œJ Measures
changes
? #a’# #in œmeasures œ lead

œ . œ œ 7–8 œ toœ a half
œ œ œ
J œ œ.
dominant harmony. He extracts
bothmotive
V & I 2 from
are in position
a and
J J
cadence.
J
. œ . œ œ œ œ.(HC)
subphrase a
. œ . œ œphrase
subphrase a'
n œ œ. a'Œ . n œ. œ
I/5th V
b . œ
& #b b#b œ œ
480
C œ . œ œ. j Œ
j
& # œ . œœ œ .œmot. 1œJ œ . œ œmot.œ32 œJ œ œ
œ mot. 1œœ œ œœ mot.
œ œœœ œœœ2 ‰
497
p Jœ
3
œ œœ œ œœ œœ œœ
? bb b
b Cœ Œ œj œ ∑œj œ Œ œœœj œ œœœj œœœ n œœœj œŒ Ó Œ n œœ œœ œœ
? ### œ . œ œ œ œJ œ . f:œ œi œ œJ œ œ œ
œ7/3rd œ jœ ‰
J J œ
V
related material
œ . œ œ n œ œ. œ . œ œ œ œ. ˙˙˙ œ œ œ œ
mot. 2 mot. 2 V7 I
bb œ œU
485
&bb Œ Œ ˙ nœ œ œ
Œ
(PAC)
j j
œ œ
S 3 S 3 p œ
n œœ œœ œœ ƒ œœœ œœ
? b b b Œ œœœ œœœ œœœ
Œ œ œ œ Œ Œ
œ œU
Œ Œ
b
i viio/3rd i/3rd iio/3rd V
Half Cadence
YT: G8yuCJGWS20
Figure 13.2.2 Sentence Structure in Beethoven, Op. 2, No. 1, I
In the next example, unrelated material follows subphrase a and its repe-
tition.
& b œœ Œ œœ œœ œœ œœ œœ œœ ..
œ ‰ 125
CHAPTER 13. PHRASES IN COMBINATION (PAC)
I V I
b œ œ . . œ œ . . œ. œ. œ. œ. n œ œ œ œ
subphrase a
&b c
510
œ œ œ œ
Í Í Í
b
& b c œ œœœœœ œ œœœœœ œœ œ œ œ œœœ œœœ
œ œ œ œ œ œ œ #œ œ
B ¯≤: V7/3rd I/3rd
œ œ . . œ œ . . . . œ œ
œ. œ. œ œœ nn œœ œ œœ œ
subphrase a
bb œ œ œœ œœ œ œ œœ œœ œ œ œ
512
&
Í Í Í
bb
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
V7/3rd I/3rd (not a strong cadence)
b˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ
new phrase
b ˙ b˙
514
˙
unrelated material
&b ˙ ˙ ‰ ‰
˙
p
? b ‰ œ œ œ ‰ œ n œ œ ‰# œ n œ œ ‰ œ œ œ Œ œ œ œ ˙˙ ˙˙
b & bœ ˙
ii/3rd I/5th V7 I
(HC)
YT: PmO3Wlono6w
Figure 13.2.3 Sentence Structure in Mozart, K. 333, I (1783)
13.3 The Period

In music, a period consists of at least two phrases with the final phrase ending
in a more conclusive cadence than the first phrase.
13.3.1 Conclusiveness of Cadence

Because period form involves “more conclusive” and “less conclusive” cadences,
it is important to distinguish between inconclusive and conclusive cadences.
Conclusive cadences end on the tonic chord, while inconclusive cadences do
not.
Inconclusive Cadences Conclusive Cadences
Deceptive Cadence ( V – vi ) Authentic Cadence ( V – I )
Half Cadence (ends on V ) Plagal Cadence ( IV – I )
CHAPTER 13. PHRASES IN COMBINATION 126
In addition, the perfect authentic cadence (PAC) is more conclusive than

the imperfect authentic cadence (IAC). While the plagal cadence (PC) occurs
less frequently than the other three cadences listed in the table above, it will
sometimes occur in root position at the end of a phrase after an inverted
36 imperfect authentic cadence (IAC) has concluded a previous phrase, with the
related material more conclusive
### 6 œ . œ œ œ œ œ . œ œ œ œ j œ œ œ œœ œ œ œj
understanding that a root position PC could be considered
mot. 1 mot. 1' frag. b frag. b
œ œ J œ œ
489 than an inverted IAC.
& 8 J J J
Generally, a period will either contain a phrase ending in a half cadence
p
(HC) followed by a phrase ending in an authentic cadence (IAC or PAC), or
j j j j j j
it will contain frag.
a phrase
a
endingfrag.
frag. b
in aan IAC
frag. b
following by a phrase ending in a
œ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œ
PAC.
6 œ . œ of the
? # # #Examples . œ œ Conclusive-More
J œ“Less œ œ œ.
J œ œJ œ œJ Conclusive”
13.3.2 8 J
Cadential Formula
A: I I/3rd V/3rd V7/5th vi7 V/3rd I ii/3rd I/5th V
In the first example, a HC concludes the first phrase and a PAC concludes the
Half Cadence
second phrase, making a period.
39
phrase a
# # # œ . œ œ œ œ . œ œphrase œ j œ œœ œ œ œj
œ œ œ œ
a
œ œ J œ œ
493
& J J J
j
œ
p j œ .j jœj œ j œ œœ j n œœ j œ . n œ
? b b b 42? œ# œ# œ œœ . œœ œœœœœ œœ œœœœ œœœœ. œœœœœœ œœœ œœ œ œœœ œ œœ œœœ œœ œœœœ œ œ œ œ œ œ
535
b # J J J J œ œ.
p J
? b b b 42 œ œ œ œ
I/5th V
b œ œ phraseœ a' œ œ œ
(HC)
A¯≤: # # # œ œ œ œ œ
jV j
. J œ œ . œ œ œ œ œ œœ œœ œ ‰
J œ œJ œœ(HC)
497
& œ œ œœ
j j j j j
œ œ œ œœ œœ œ phrase œ œœ b œœ œ œ œ
? ### œ . œ J œ. œ œ J œ œJ. œ. .œ . œ j œ 1̂ ‰
œ œ b œ b œœ œ nœ œ œ œ b œJœ œœ œ7 œ. . œ.
œ œ œ .
539
? bb b œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œVœ œI œ
b
###
(PAC)
501
? bb b &
3
b bœ œ œ œ j
YT:œvp_h649sZ9A œ
œ œ œ
? ## # ∑ diagram ∑ of the∑ above example.
Figure 13.3.1 Mozart, Piano Sonata K. 331, I
∑ ∑
V 7
∑I ∑
Here is a formal (PAC)
a a'
HC PAC
Figure 13.3.2 Diagram of Mozart, K. 331, I, mm. 1-8

Notice that one or more phrases within a period can be a sentence, as in
the example above, since sentences are phrases with specific melodic structure.
In the next example, the first phrase concludes with an IAC and the second
phrase concludes with a PAC. 37
phrase a
œ œ œœœœ œ œœœœ œ œ
œœœœœ œ œ œœ3̂
2
& b 4 œJ œ œ œ
501
& b 42 ‰ œœ Œ œœ œœ œœ œœ œ œ œ œ œ
œ œ œ œ œœ
F: I V I
(IAC)
œœœœœœœœ œ
phrase a'
œœœœ œœ œœ œœ
œœ œ ‰ ..
1̂
&b
506
& b œœ Œ œœ œœ œœ œœ œœ œœ œ ‰ ..
I V I
(PAC)
&b
510
YT: hmu-6FJT5Bw
?b ∑ ∑ ∑ ∑ ∑ ∑
Figure 13.3.3 Joseph Haydn, Piano Sonata in F Major, Hob. XVI:9, III.
Scherzo ∑ ∑
In the next example, the first phrase ends with an IAC and is followed by
a second phrase ending with a PAC.
38 phrase a
3 œ # œ œ # œ œ œ n œ œ œj ≈ œ œ ≈ œ ≈ œ #œ
518
œ
3̂
&8 # œ
œœ J œ J œ
π
? 38 ‰ œ #œ œ
∑ œœ ≈‰ œ œ ≈ ‰ œœ ≈‰
a: i V i
(IAC)
phrase a'
œ #œ œ œ nœ œ j ≈ ≈ œ œ œ
œ œJ
523 1̂
& œ
œ œ œ
? ∑ œ œ ≈ ‰ œ #œ ≈ ‰ œ œ ≈
œ œ œ
i V i
(PAC)
phrase a = "antecedent"
# # # 6 œ . œ œ œ œ œYT: . œ œ œ j œ œ œ œœ œ œ œj
œ
GwcyH-aWUc8
œ œ 59, “Für Elise”œ œ

527
& 8
Figure 13.3.4 Beethoven,JBagatelle in A
J
minor, WoO
J J
p
sive cadence isœ“Lean
j on Me”j by Bill jWithers.
j j j
œ œ œ œ œ œ œ œ œ œ œ œœ
Another example with a less conclusive cadence followed by a more conclu-
? # # # 68 œ . œ œ œ œ œ . œ œ œ œ œ œ œ œ
J J J œ œ.
J J
YT: fOZ-MySzAac HC
Figure 13.3.5 “Lean on Me” (1972) by Bill Withers (less conclusive)
j
phrase a' = "consequent"
13.3.3 #Antecedents and Consequents
## œ . œ œ œ œ œ . œ œ œ œ œ œ
a period, the phrase Jending with the Jless œconclusive
œ œœ œœisj called
œœcadence œœ ‰ the
531
In &
“antecedent” and the phrase ending with the Jmore conclusive
œ œ cadence
œ
j jThese canj be thought
j of jas being in a “question and
is
œ œ œ œ œ œ œ œ œ œ œ
? # # œ . œ œ œ œJ œ . œ œ œ œJ œ œJ œ œ œ j ‰
answer” #relationship.
called the “consequent.”
J œ œ
PAC
(more conclusive)
œ
i V i
CHAPTER 13. PHRASES IN COMBINATION (PAC) 129
phrase a = "antecedent"
### 6 œ . œ œ œ œ . œœ œ œ œ œj œ œ œ œœ œ œœ œœj
J œ
527
& 8 J J J
p j j j j j j
œœ œ œœ œœ œœ œ œ œ œœ
œ œœ œ œ œ œ œœ
? ### 6 . J œ. J œ œJ œ œJ œ œ.
8 J
HC
(less conclusive)
### œ . œ œ œ j
œœ œœj œ ‰
phrase a' = "consequent"
531
œ œ. œ œ œ œ œ œ œ œœ
& J J J œ œ œ œœ
j j j j j
œœ œ œœ œœ œœ œ œ œ œœ œœ œ œ œœ
? ### . J œ. œ J œ œJ œ œ j ‰
J œ œ
PAC
(more conclusive)
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Figure 13.3.6 Antecedent and Consequent in Mozart, Piano Sonata K. 331, I
13.3.4 Parallel and Contrasting Periods

Periods are labeled as “parallel” or “contrasting” based on the melodic mate-
rial. In a parallel period, the melodies in both phrases begin similarly. In a
contrasting period, the phrases begin differently.
The three preceding examples are parallel periods
The apostrophe mark (’) is called “prime” and is used to show a phrase is
similar to a previous phrase but ends with a different cadence. Therefore a’ is
called “a prime” and a” is called “a double prime.” If you are analyzing a piece
that requires triple and quadruple primes, it is clearer to use a1 , a2 , a3 , and
so on.
Below is an example of a contrasting period.
39
phrase a
39
j a œ œ œ œ. j
œ œ . œ œ œ n œ nœ
? b b b 42 œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
535
phrase
b j
p œ . j œ œ n œœ œ . n œ
œ œ œ œ
2 bœb bœb œ42 œ œœœ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œœœ œ œ œ œ œ œ
? b b b 4?
535
b œ œ œ œ
p A¯≤: V
? b b b 42 œ œ œ œ
(HC)
b œ œ œ
phrase b œ œ œ
A¯≤: . . . V.
œ œ œ œ œ bœ bœ œ
. œ œ œ œnœœ œ œ œ œ œ b œ œ œ œ œ œ. œ. œ.
œ
539 1̂
? bb b œ œ œ œ œ œ
(HC)
b œ œ œ œ œ œ œœ œ œ
phrase b
?œ b b b . . ..
3
œ b œ œ 1̂j
b œ b œ œ œ œ
b œ œ œœœœ œ œœ. œ. œ.
? b b b œ œ œ œb œœœ .œ œ œ
œ
œ œ œ œnœœ œ œ œœ œ
539
b œ œ œ œ œ œ œœ œ œ
V7 I
? bb b
(PAC) 3
b 543b œ œ œ œ j
œ œ
? bb b œ œ œ
b YT: SrcOcKYQX3c
V7 I
Figure 13.3.7 Beethoven, Piano Sonata in C minor, Op. 13, (Pathétique), II
(PAC)
? b b b ∑ a∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b b
HC PAC
? bb b
Figure
553 13.3.8 Formal diagram of the example above (2nd movement of Beethoven
b
Pathétique sonata)
13.3.5 Repeated Phrase

? bb b ∑ ∑ ∑ ∑ ∑ ∑
b
If you encounter a section consisting of the same phrase occurring twice, call
it a “repeated phrase.”
40
phrase a 39
j 3
# # # 2 œf . œ œœ œ œ œ phrase a œ œ
& 4 œ . œ œ . œ œœ œœœ œœœ œœ œœ œ œ œ œœ œ œ œ œœ # œœ œ . œœœ ... œœ
œ œ
3
543 1̂
j œ n œœ œ . f j
œ f œ . œ œ œ œ œ œn.œ
? bb b 24 #œ# #œ 42œ œ‰œœ œ œ Œœ œ œ‰œ œ . œœ œ œ œœ œœ œJœ œ œ œJ œœ œœ œœœ œ œœœ ..œ œ œ .œœœœ
?
535
b
p f
? bb b 24 œ œ (PAC)
E: V7 I
b œ œ œ œ phraseœa œ œ œ
A¯≤:# # j
# œœ œ œ œœ œ œ œ œ œ
548
œ œ œ
3 3
V
œ œ . œ œœœ œœ œœ œœ œ œ œ œ œ œœ # œœœœ œœ ..
1̂
& (HC)
œ.
? # # # œœ œœ œœ œ . œ œ œœ œ œœJ œœ œœ. . .œ . œ . œ œ œ
phrase b
œ b œ b œ œ
œ œ
œ œ œ .œ œ œœ œ œ œ œ œnœœ œ œ œ œ œ b œ œE: Vœ7 œ œI œ. œ. œœ.
œ
539 1̂
? bb b œ œ œ œ œ œ œ œ œ (PAC) œ
b
? bb b ### œ
3
b &b œ œ œ j
552
œ œ
YT: Qy8NLd7d6VE œ œ œ
? # # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ (PAC)
Figure 13.3.9 Robert Schumann, Album for the Young, Op. 68, No. 17,
V7 I
∑ ∑ ∑
“Little Morning Wanderer”
a a
###
566
PAC PAC
&
Figure 13.3.10 Formal diagram of the example above (“Little Morning Wan-
derer”)
? ### ∑ ∑ ∑ ∑
In following two sections, we will examine periods containing more than
two phrases. ∑ ∑
13.4 The Asymmetrical Period

Asymmetrical periods consist of three or five phrases. In an asymmetrical
period, there will be an unequal number of antecedents and consequents, hence
the “asymmetry.” In the example below, there is one antecedent and two
consequents.
41
phrase a
b nœ.
& b b c œœ œœ œœ .. œœ œ œœ b œœ œœ .. b œœ n œ n œ œ . œ b œœ œœ œœ # œœœ n œ n œœœ
552
œ œ œ
ƒ
? b c œœ œ n œœ œœ œœ œœ b œœœ œœœ nn œœœ b n œœœœ œœ œ # œœ n œœ
bb œ b œ œ œœ œ œ œœ n œœ œ œ œ
œ œœ œœ œœ œ bœ œ œ œ œ œ œ œ
œ œ
V
(HC)
phrase b
b œ œ œ œ œ
& b b œœ œœ œ œ .# œ œœ œœœ # œœœ n œœœ ... n œœ n œœœ
œœ b œ œ .
556
œ b œœ œœ œ œœœ b œœ b œœ œ . n œ œ
p œ
? b œ œ nœ bœ nœ bœ œ nœ œ œ nœ œœ œœ n œœœ œœ
ritenuto
bb nœ bœ nœ bœ œ œ œ œ
œ nœ œ œ nœ œ bœ œ
œ œ
bœ œ
V7 i
phrase b (PAC)
b œœ U
& b b œœ œœ œœ œ . # œ œœœ œœ # œœ n œœ .. n œ œ œœ b œ œ . œ ww
560
œ œœ œ . œ n œœ œ b œœ œœ œœœ b œœ b œœ œ . n œ œ ww
π
œ U
? b b œ œ nn œœ bb œœ nœ bœ œ nœ œ œ œœ œœ n œœœ œœ w
cresc.
b nœ bœ œ nœ œ œ nœ œ œ œ w
œ nœ œ œ bœ œ œ
bœ œ
V7 i
(PAC)
YT: UPptFNwQppA
Figure 13.4.1 Frédéric Chopin, Prelude Op. 28, No. 20, in C minor
13.5 The Double Period

The Double Period. A double period consists of at least 4 phrases and is
comprised of an antecedent group and a consequent group. The first two
phrases in a double period are the antecedent group and the final two phrases
are the consequent group, which ends with a cadence that “answers” the less
conclusive cadence (or “question”) that ended the antecedent group.
The melodic scheme of abab’ (four phrases) is commonly encountered in a
double period. A double period with this melodic scheme would be described as
a “parallel double period” because both the antecedent group and consequent
group begin with the same melody.
phrase a
T
42 phrase a
T Tnn œ . j
42
b j a
& bb b bb bb 422 œœ T
phrase a
œ. œ œœ Tn œ . b œ œœ œœ . n œj
42
œ. n œj
565
phrase
T œ. œ Tn œ . b œ œœœ .. n œj
42
œ. n œj
565
& b b b 42 œ T œ. œ œ. œ œ n œj
& b b b b 42 n œj b œ
565
& b 4 ppœœ œ. œ œ. nœ œ œ . b œ œ œœœ . nœ

565
œ œ. œœ œ
œ œ œœ œ ...
? 2 pœ œ œ. œ œœ .
? b bb b bb 42 pœœœœ œœœ œœœ .. ‰
‰ œ œ œ
œ œ œ œœœ ... ‰
‰
? bb b b b A442¯: œœ œœœ œœœ .. ‰ œœ œ œ œ œ. ‰
? b b b b A42¯: œ œ œ. ‰ Vœ . ‰
b œ œ.
V
A¯: œ (HC)
(HC)
V
A¯: phrase b
V
(HC)
Ÿ
phrase b
(HC)
Ÿ
œ gg œœœ œphrase
phrase b
b œ .. œ b
œœ œ œœ œœ œœœ
œ œœœ .... œœ œ. œ œŸnœ œ œœ œ œœ œœ œ œœ3 œ
3
& bb b bb bb œ .. œœ .. œ
œœœ œœ .
3
œ gg œœ
569
œ .. œœœ œ œ œ œœ œ œ œŸ œ œ 3
& bb b œ œœ .. œ œœ .. œ gg œœ œœœ .. œ œ œ nnœœ œœ œ œ ‰‰œœ œ œ œ œœ
569
& bbbb œ .. œ œœcresc.

.. œ œœ .. œœ œ œ œ œœ œœ
œ ggÍœœ
569
& b œ .. œ œœcresc. œœ gÍœ œœ œ œœ œ œ œ œ nœ œ œ œ ‰ œ œ œ œ

569
œ œœ œ œ œœ . œ œj ‰
œ œ
œœœcresc. ggÍ œœœ œœ œ œ œ j
?
? bb bb b bb œ œœœ gggÍ œœ œœ
œœ œ œ œ.
œ. œ œœœœJj ‰‰
? bbb b œ œœœ œœ gg œœ œœ œ œœ œ. œ Jœœj
cresc.
? bbbb œ œ gg œœ œ œ œV œœJ ‰
œ œ œ ‰
b V
(HC)V
(HC) J
phrase a
phrase a T
T
V
(HC)
a Tn
bbb œ T jphrase
œ. b œœ .. œœ
(HC)
b
& bb œœ . œœ œ. nœ œ a T
j œ n œ Œ
573
& bb b b b œœ T œœœ Œ
phrase
œ .. n œj T b œœ . œ
573
n
& b b b b p T œœ .. œœ œ. j nœ œ n bœ œœ Œ
573
b œ œ . œ œn œœ œœ œ œ œ œ b œœœ . œœ œœ œœ
œ œ œ œœ œœ n œ œ Œœ œ œ
œ bbœœ
573
&
? b b b pp œ œ œ œ œ œ œ œ œ .œ œ œ œ œ œ œ œ œ nœ œ œ œ
? bb bb œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ nœ œ œ œ œ bœ
? bbb b p œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œœœœœœœœ
œ
œ œ nœ œ œ œ œ bœ
? bbbb œ œ œ œ œ œ œ œ œœœ œ œ Vœ
b œ œ œ V
(HC)
(HC)
V
phrase b'
phrase b' V
(HC)
œ. j
(HC)
b œ .. œ œ œ b'
b œœœ œœ œœ œœ œœ œ œ œ œj ‰‰
phrase b'
& bb b bb bb œ .. œ. nœ œ
577
œ .. œœ œjj œœ .... œ n œœ œœœ

phrase
j
577
œ. b œœ œ œœ œj
j
& bb b œj
œ
bpœœ œ œ œ œ œ œœ œœ œœ œJj ‰
œj
œ .. œ œj œ .. œ Sœ . n œ œœ
577
& bbbb œ œ
œ .. œ œj œ j
nœ œ œ œ œœ Jœ ‰
577
j
& b S bpœ
œj œj
œ
œ œ œ œ
S œ nœ œ œ œ pœ n œ b œ œ œ œ œ œ œ œ œ œ œJjj
?
? bb bb b bb ≈ œœ œœ œœ ≈ œ œœ œœ S≈ œœ .œœ œ n œ œ œ œ pœœ n œ b œ œ œ œ œ œ œ
œœ n œ b œ œ œœ œ œ œœ œœœ .
Jœ
œ j‰‰
? bbb b ≈œ œ ≈œ œ ≈ œœJœ .œ œ n œœ œ œ œœ œj ‰
≈œ œ ≈œ œœ ≈ Jœœ .œ œ n œ œ œ œ n œ b œ œ œ œ œ œ œ. œ‰
? bbbb ≈ ≈œ œ ≈ œJ . œ œ œ 7 (PAC) .
b J V7 œ
(PAC)
. I
V I
antecedent group V7
consequent group (PAC) I
antecedent group V7
consequent group (PAC) I
aantecedent group
b consequent
a group b'
aantecedent group
b a
consequent group b'
a HC b HC a HC b' PAC
a HC b HC a HC b' PAC
HC HC
YT: VlfL9LWtCls HC PAC
HC HC HC PAC
Figure 13.5.1 Beethoven, Piano Sonata Op. 10, No. 1, II
? b b? # œœœ œ œ œ œ n œ œ œ œ œœ n œ b œ œ œœ œ œ œ œ œ
b b # #≈ ∑ ≈∑œ ∑ ≈ ∑œJ . œ∑ ∑ ∑ ∑ ∑ œ∑.
œ ∑ ‰∑ ∑
V7 (PAC) I
antecedent group consequent group
###
a b a b'
699
&
HC HC HC PAC
II) ? # # ∑ ∑ ∑ ∑ ∑ ∑
#
Figure 13.5.2 Formal diagram of a double period (Beethoven, Op. 10, No. 1,
A double period will typically have one of the following cadential schemes:

phrase 1 phrase 2 phrase 3 phrase 4
Scheme 1: HC HC HC PAC
Scheme 2: IAC IAC IAC PAC
Scheme 3: IAC HC IAC PAC
Figure 13.5.3 Possible cadential schemes in a double period

Notice that the first two phrases of an antecedent group can consist of an
IAC followed by a HC (“Scheme 3” in the above example). This may seem
confusing if you are focused on analyzing phrases solely in groups of two instead
considering how many phrases are in a section before analyzing the cadential
scheme and the form.
13.5.1 Repeated Period

You may encounter a section consisting of four phrases that is not a double
period but instead is a repeated period.
43
phrase a
# ˙˙ # # œœœ # œœ œœ # # œœœ # ˙˙ # # ˙˙ œ
&c ˙ # œ # # # ˙˙˙ #˙ n #˙˙˙ ˙.
˙
581
S
n # # ˙˙˙˙ œ #œ
cresc.
# œœ # œœ
dolce e molto ligato.
& c # ˙˙
?
# # œœœ # œœ & # ˙˙ # # ˙˙
# # # ˙˙˙ # ˙˙ w
E: V
(HC)
phrase a'
# ˙˙ # # œœ œ
? ˙ œ # # œœ # # # ˙˙˙ # ˙˙ # n œ˙œ # ˙˙ ..# œ
#œ
˙ œ #œ nœ #œ œ #œ #œ ‹œ
585
œ #œ #œ œ
3
&
p #œ
p
3 3
cresc. 3
? # ˙˙ # # # œœœ # œœ # # # ˙˙˙ # ˙˙ nw œ Œ Ó
nw œ
V7 I
(PAC)
phrase a (with ornamentation)
# œ‹ œ œ œ œ œ œ# œ œ œ œ #œ œ #œ œ #œ˙‹œ œ œ œ œ##œœ#œœ œœ œ œ
3 3 3 3 3
3 3 3
œ
3 3 3
# œ œ # œ œ œ œ˙‹œ#œ œ œnœ #œ
3 3 3
& ˙ # œ˙# œ œ œ˙œ œ

3 3
œ #œ œ#œ#œœ
589
S
3
œœ # # œœœ
cresc. 3
dolce
? # ## ˙˙˙ # ˙˙ #n ˙˙˙
# ˙ #œ ? #œ#œ
3
& # ˙˙ # # œœœ & # ˙˙ # # œœœ œ

# œœ ˙
V
(HC)
phrase a' (with ornamentation)
#œ œ œ # œ œ œ #œ #œ œ
3 3 3 3
# œ˙#œ œ œ˙œ œ œ # œ œ # œ œ œ œ œ œ œ # œJ
3 3 3 3
& #œ ‹œ œ œ œ œ œ #œ œ œ ?
593 3 3 3 3
˙ œ #œ
p f
? # ˙˙ # # # œœœ # œœ œ
cresc.
###˙˙˙ # ˙˙ nw
nw œ
V7 I
(PAC)
repeated parallel period

parallel period parallel period
a YT:a' lbblMw6k1cU a a'
HC Piano Sonata
Figure 13.5.4 Beethoven, PAC Op. 53, I HC PAC
Examine the difference between these two formal diagrams, noting the ca-
dence after the second phrase in each:
p V f
? # ˙˙ # # # œœœ # œœ œ
cresc.
# phrase
˙˙ ###˙˙˙ nw
(HC)
œ
b'
nw
œ. j
bb œ .. œ j œ .. œ œ œ œ œ
n œ œœ b œœ
V7 I (PAC)
&bb œ œ‰
577
œ
j
œ œ
j œ œ œ œœœ œ
p parallel period J
repeated parallel period
S
j
parallel period
? bb b œ œ œa œ œ œa'œ œ n œ œ œ œ aœ n œ b œ œ œ œ œ a'œ
œ œ œ œ
b ≈ ≈ œHC ≈ œ . PAC œ œPAC
. ‰
J HC
Figure 13.5.5 Formal diagram of a repeated period (Beethoven, Op. 53, I)

V7 (PAC) I
a b a b'
HC HC HC PAC
Figure 13.5.6 Formal diagram of a double period (Beethoven, Op. 10, No. 1,
II)
In the next section we will examine phrase combinations that are not peri-
ods.
13.6 Phrase Groups and Phrase Chains

Phrase groups and phrase chains are not periods. In phrase groups and phrase
chains, the final cadence is a half cadence. A phrase group consists of at least
two phrases whose melodies begin similarly and has the final phrase ending in
a half cadence. The terminology in this section draws from Douglass Green’s
Form in Tonal Music.
44 CHAPTER 13. PHRASES IN COMBINATION 137
phrase a
. œ. œ. œœœœœœ
597
# # 3 œ œ. œœ œœ œ3̂ œ œ œ
& 8
p
#
& # 38 œ œ œ. œ œ œ œ œ œ œ. œ. œ. œ
‰?
. . V I
(IAC)
. .
phrase a'
# # œ œ. œ œ. œ œ œ œ
œœ
œ œ œ.
601
œœ
&
f
? # # œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ
œ
V
(HC)
605
##
&
YT: oh6ByhUep0s
Figure 13.6.1 Franéois Couperin, 5 Pièces de Clavecin, 4. Le Petit-Rien
(Ordre XIV, 8)
? ## ∑ ∑ ∑ ∑ ∑ ∑
A phrase chain also ends in a half cadence and consists of at least two
phrases with contrasting melodies. ∑ ∑
45
phrase a
œ œ œ œ
# œ. œ. œ #œ œ œ œ œ
& b 42 ..
605
p
œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
? b 42 ..
V/3rd i
(IAC)
phrase b (is a sentence)
subphrase a subphrase a
609
œ œ œ œ ˙ œ œ œ œ ˙
&b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
crescendo
? œ œ
b
phrase b (continued)
related material
œ œ œ ‰ .
613
&b J .
f dim.
œ œ œ œ œ œ œ #œ œ œœ # œœ
?b œ œ œ J ‰ ..
V
(HC)
&b
617
YT: O93GspATPzs
?b
Figure 13.6.2 Beethoven, Sonatina in F, Anh. 5 No. 2, II. Rondo
∑ ∑ ∑ ∑ ∑ ∑ ∑
13.7 The Elision
An elision is a special device for joining phrases together in an overlapping
manner. In an elision, the final bar of one phrase is simultaneously the first
bar of the next phrase.
46 measure
number
# ˙˙ j j
œœ œœ œ œ œ œ œj ‰ œœ ‰ œœ ‰ Œ
in phrase: 1 2 3 4
& c ˙˙ œœ œœ œœ œœ
j j j
œœ
617
œœ œ
J J œ œ œJ J J
p j
?# c ˙˙ ˙˙ œ œ œ j œ œœ
∑ œ œ œ œ œœ ‰ œJ ‰ Œ
J
measure
number
in phrase: 1
. .2 . . . .
3 4/1
Ÿ
# ˙ ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ
621 elision
& ˙ œœ œ œœ œœ œ œ œ œ ˙ œœœœœœ
.. .. œ œ œ ˙˙ œœ œ œ œ œ œ
˙ S p
˙ œ œ œœ œ œ œœœœœ œ œ œ
?# ∑ ˙ ˙ œ œ œ œ
measure
Ÿ
number
in phrase:
œœœœ
2 3 4
# œœœœ
& ˙˙ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœœœ
625
S p œ œ œ œ œ œ œ
cresc.
œ œ
?# œ œœœœœ œœ œ œ œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4/1 2 3 4
628
#
& YT: TpPuLwtDQrY
Figure 13.7.1 Mozart, Eine kleine Nachtmusik, K. 525, I.
?# ∑ ∑ ∑ ∑
13.8 Summary of Phrases in Combination

Table 13.8.1
Number of Phrases Form Melodic Scheme Cadence Info
2 phrases Parallel Period a a’ Less conclusive then
more conclusive
Contrasting Period ab Less conclusive then
more conclusive
Phrase Group a a’ Ends with HC
Phrase Chain a b Ends with HC
Repeated Phrase a a Same cadence twice
3 phrases Asymmetrical period a a b or Ends with most
a bb conclusive
Phrase group a a b or Ends with HC
a bb
Phrase Chain a bc Ends with HC
4 phrases Double Period a b a b’ or HC–HC–HC–AC or
a a’ a a" or IAC–IAC–IAC–PAC or
a a’ a b IAC–HC–IAC–PAC
Repeated period a b a b or Less conclusive then
a b a c or more conclusive
a a’ a a’ formula repeated

For the each excerpt below, do the following:
• Label chords with Roman numerals at the ends of phrases to determine
cadences
• Label cadences by type (PAC, IAC, HC, PC, DC)
• Examine the motivic structure to determine if a phrase is a sentence

• Create a diagram of the form using cadence abbreviations (HC, DC, PC,
IAC, and PAC) and letters to designate melody (a, a’, b, etc.). Use the
“prime” symbol (’) to show if a melody ends with a different cadence. In
this chapter, the prime symbol should not be used to represent embel-
lishment of the melody or changes in the harmonization or register.
• Name the form of the excerpt (sentence, parallel period, contrasting pe-
riod, asymmetrical period, parallel double period, repeated phrase, re-
peated period).
1. Mozart, “Ein Mädchen oder Weibchen,”The Magic Flute.

48
48
j œœ œœ œœ .. œœ œœ .. œœ œœ œœ œœ œœ œœ .. œœ œœ .. œœ œœ ‰‰ j
4422 œœj œœ œœ œœj
& bb
& œœœ œœœ œœœ œœ œœœ
648
œœ
648
‰‰ œœ ‰‰ œJ ‰‰ œ Œ
Œ œœ ‰‰ œœ ‰‰ œ ŒŒ
JJ J JJ JJ
j
? b 422 ‰‰
? b 4 œœJ
J ‰‰ œœj ‰‰ œœ ŒŒ œœ ‰‰ œœJ ‰‰
JJ J œœ ŒŒ
F:
F: ____
____ ____
____
œœ .. œœ œœ œ œ . œ œœ .. œ œ œ j
3
œœ œœ œœ œœ œœj ‰‰
3
œœ œœ œ œ . œ œ œ œ œœ . œœ œœ .. œœ
653
œœ
653
& bb œœœœœ ‰‰
& œœœœ ‰‰ œœ
œ ŒŒ œœ ‰ œœ . ‰
œœ ‰ œœ ‰ œœ Œ
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JJ JJ JJ JJ
? b œœjj ‰‰
? j
œœj ‰‰ Œ jj ‰ jj ‰ ŒŒ
b œœ Œ œ ‰ œœ ‰
œ
œœ
____
____ ____
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47
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47
Figure 13.9.1
ŸŸ
bb Piano Sonata K. 333, jI. ŸŸ
& bb bb cc œ . œœ œ œ œœ œœ .. œjj œœ œœ œ jœ j
632
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632
2. Mozart,
bb cc œœ .. œœ œœœ œœ œœ. œœ bb œœ .. œœ œœœ œœ œœ œœœ œœœ
632
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632
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636
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636
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nn œœ œœ œœ œœ
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636
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636
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#œ œ
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?
? bb bbb ‰‰ œ ŒŒ ‰‰ œ ŒŒ œœ œ œœ ŒŒ œœ œœœ œœ œœ œœ œœ œ œœ
?
? bb b ‰‰ œœ œœ œœœ œœœ ŒŒ ‰‰ œœ œœ œœ œœœ
œ ŒŒ œœ œœ œ œœ œœ ŒŒ œœ œ œœ œœ œ œœ œœ œ
œ œœ
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____ ____ ____ ____
____
____ ____
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œœœ ... œœ œœ œœ . œ œ. œœ œœ œœœ œœ œ œ œ

œœ œœ œœ œœœ œœœ œœ œœ œœœ œœœ nnn œœœ bbb œœœ œœ œœ œœœ œœœ
bb bbb œœ ... œœ œœ œ œœœ... œœ... œœ... œœ œœœ œœœ ... JJœœ œœ œ
640
& œ œ œ n œ b œ œœ œœ œ œ
640
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640
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640
&
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? bbb œœ ÓÓ ŒŒ ˙ &
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644
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644
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Figure 13.9.2 217
338 .. œ œ . œœœ œœœ ... œœ œœ .. ## œœ œœjjj œœœ ... œœ

3. Edmond Dédé, Chicago, Grande Valse à l’Américaine.
j
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250
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256
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Figure 13.9.3
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? to download the first homework assignment for this chapter.
Click here
Click here to download the second homework assignment for this chapter.
Chapter 14
Accompanimental Textures
In this chapter we will focus on common accompanimental textures. This

chapter does not make an attempt to catalog every known accompanimental
texture. Instead, it is meant to encourage you to listen to texture more closely
and increase your musical awareness.
14.1 Texture
We will consider texture in terms of vertical and horizontal elements. The
vertical nature of texture relates to the number of notes occurring simultane-
ously as harmonies. It could also relate to the number of voices or instruments
performing melodies simultaneously in a contrapuntal texture. The horizontal
element of texture relates to rhythmic activity: is the most common rhythmic
value in a passage a slow or fast one?
To illustrate, here is a texture with chords (vertical elements) containing 51
five voices with a melody (a sixth voice) above. Notice that the texture has
slow rhythmic values on the horizontal plane.
b
705
& b b b b 42 W
E¯m7 F
ww œ nœ œ œ œ œ œ œ
W
∑ w nW
W
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### 6
Figure
707 14.1.1 Samuel Barber, Adagio for Strings (1936)
& 8
Our second example is an excerpt for four instruments—a string quartet.
While this a four-voice texture, it is full of rhythmic activity. The most common
rhythmic value is the sixteenth note, and the syncopated figures in measures
? # # # 68 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3–4 of the Violin I part and measures 5–6 of the Viola part add to the textural
complexity.
143
CHAPTER 14. ACCOMPANIMENTAL TEXTURES 144
œ œ œ œ nœ œ
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œnœœ œœ j
œ œ œ œ nœ
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Violin I & b 4 œ
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f
bb b 2 œ œ œ œ œ œ œ œ œ œ n œ œ œ ‰ j‰
Violin II & 4 J œ œ œ œ œ œ œœ œ œ nœ œ œ
f œ œ œ œ œ nœ œœ œ
b 2
B b b 4 œœ Œ ∑ œ œ œnœ
Viola œœœ
f
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Figure 14.1.2 Mozart, String Quartet K. 428, IV (1783)
b
Vln. II &Inb bthe ∑following∑ ∑ we will
sections, ∑ examine
∑ fairly
∑ straightforward
∑ ∑ melody-
∑
and-accompaniment textures in classical and popular music. In later chapters
we will explore more complex textures.
Vla. B bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14.2 Chorale Texture
? b b textures
∑ ∑ those ∑in which∑ there is∑ a chord∑ for every
∑ (or nearly
∑ ∑
b note.
Chorale are every)
Vc.
melody A familiar example of chorale texture is the “Star-Spangled
Banner.”
©
˙ ˙
# # G:6 I/3rd vi
161
Ich träum -te von bun -ten Blu - men, so wie sie wohl blü-hen im Mai; ich träum-te von grü-nen
& # 8 ‰ œ œ œœ
IV œ
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I/5th I/5th V7 I I
œ œ TEXTURES
œ œ œ cadence
CHAPTER 14.œ ACCOMPANIMENTAL
œ œ œ
p
145
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J J Jœ . J œ œ
˙ œ œ œ ˙ œ J˙
œ . œ ___œ œ œ ˙
V œ .. A: œ œ œœ
7
Score
œœ ___ ___
# O# œ say can you see, œ œ the U

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œ œ dawn's œ ‰‰ ‰
167
by
? œ. œ œ œ . œ œœ œœ # œœ ˙
7
œœ œœ ˙˙
## # œ . Lyrics:
œ John Newton, ˙ œjU‰
Wie - sen, von lu - sti - gem Vo - gel - ge - schrei, vom lu - sti - gem Vo - gel - ge - schrei.
# Grace" œ Harriet BeecherœStowe

œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
167
& œ œ C "Newœ œBritain" œ.œ œ

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Was Francis
blind, Scott
but Key
now I Stafford
see. ___ ___ ___
Figure 14.2.1 and John Smith, “The Star-Spangled
# ∑
The
Banner” (1814) hour I first be - lieved.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
12
V
And grace will lead me home.
œœ œ ˙˙
In the Than when example
we byfirstSchubert,
be - the
gun. melodyA at times
- MEN.
?# 3 œ ˙˙ ˙
following moves in a
œœ ˙˙ .. ˙ ..
# #4 œ
slightly different rhythm that the chords below.
3 ‰ ˙ ˙
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172
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
12
vi I/5th I/5th V I IV I
œ. œ œ. œœ œœ .. œœ # œœ . œ œ . T œœ œ œœ . œ œ ..
? # # # 43 œ œœ . œœ œœœ ... n œœJ œœ ..
plagal cadence
œ œ. œ œ œ. œ œ œ.
172
J J J
p œœ . œœ j œ œ œ j ˙˙ π 4
V #œ# #.. 43œ ‰ œœ. œœ œ˙˙j
? œ œ œ
œ œ.. œ œœ œœ .. œ œœ &œœ .. 4
7
œ œ œ œ. œ.
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? œ . œ œ œœ œ ˙ 4 œ # œœ
7
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œ. œ œ 4
˙ #œ. œ œ
˙ œ
Figure 14.2.2 Franz Schubert, Winterreise, D.911, “Die Nebensonnen” (1828)
Chorale textures are also described as “homorhythmic” because all of the
parts move in the same rhythm.
12
& 44 œœ œ œœ œœ œœ œœ œœ œœ œ œ œ . ‰ œœ œœ œœ œ œ œ œ œ œ
œœ œœ œ œ œ œ. œ œ œœ œœ
Some nights, I stay up cash - ing in my bad luck Some nights, I call it a draw
? 4 œœ œœ œœ œœ œ œœ œ œ œ œ œœ œœ œ . ‰ œ œ œ œœ œœ œœ œ œœ œ
4
12
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Figure 14.2.3 Jeff Bhasker, Nate Ruess, Andrew Dost, Jack Antonoff, “Some
Nights” (2011)
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CHAPTER 14. ∑ACCOMPANIMENTAL
w nW
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TEXTURES 146
π
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In the next section we will examine arpeggiated accompaniments.
w W
14.3 Arpeggiatedw Accompaniments W
14.3.1 Arpeggios
One way to express chords rhythmically is through arpeggios in one part
and a bass line in octaves in a lower part, as in the following example from
Beethoven’s Moonlight Sonata.
####
& C œ œ œ œ œ œ œ œ
œ œ3 œ œ3 œ œ3 œ œ3 œ œ œ œ œ œ œ œ
sempre π e senza sordini
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####
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? #### ww
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Figure 14.3.1 Ludwig van Beethoven, Moonlight Sonata, Op. 27, No. 2, I
(1802)
54
The next example has descending arpeggios.
# 3 œ œ œ œ œ œ œ œ œ œ œ œ
Cmaj7 Bm7
& 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
746
˙. ˙. ˙. ˙.
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&Notice8that in œboth
œ œthe Beethoven
œ œ œandœ Alicia œ œœ œ œœ
Figure 14.3.2 Alicia Keys, “If I Ain’t Got You” (2004)
œ œ œ œ œ œ œ œthe
œ (an octave plusœa third) betweenœ the bass is(low-
Keys examples there
harmonious interval of a tenth
? # 12 j j
est) voice and the soprano (highest) voice.
8 œ. œ œ ˙. œ. œ œ ˙.
œ. œ œ ˙. œ. œ œ ˙.
12
752 Fmaj7 Am
œœ œ œœ œ œ œ
? # 12
8 œ. j j
œ œ ˙. œ. œ œ ˙.
œ. œ œ ˙.
œ. œ œ ˙.
The following examples have arpeggios that ascend and descend through a
chord.
12
Fmaj7 Am
&b 8
752
54
œ œœœœœ œœœ œœ
œ
œ œ œœœœ
œ œ œœœœ
? #b 12 œ œ œ œœ œœ œœ
Cmaj7 Bm7
438 œ œ œ œ œ œ
œœ œœ œœ œœ œœ œœ
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& œ œ œ œ œ œ œ œ. œ
.
˙3 . 3 3 œ 3. 3 œ 3 .
˙3 3 3 œ 3 3œ 3
.
˙. ˙. ˙. ˙.
?# 34
& b 14.3.3 James Pankow, “Colour My World” (1970)

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Figure
? #b 12
750
G Am
& 8∑ ∑ ∑œ ∑ ∑ œ∑ ∑ ∑ œ ∑œ œ ∑ ∑ œ ∑œ œ ∑
œ œœ œœ œœ œœ
œœ œ œ œœ œ
? # 12 j j
8 œ. œ œ ˙. œ. œ œ ˙.
œ. œ œ ˙. œ. œ œ ˙.
752
#
&
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Figure 14.3.4 Fred Ball, Joseph Angel, and Robyn Fenty, “Love on the Brain”
(2016)
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Notice in the above example that there is also an organ playing block chords
to create a sense of legato in the texture.
The next two examples are from more recent popular music.
# œ (œ)œ œ
Motives:
œ œ
& 42 J (# œ) œ . J œ . J œ . œJ œ œ œ (œ) œ œ (œ) œ # œ . (œj) œ .
401
Í
13
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122 e: A i E iv i iio VF˜m i iv V
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#
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##
& # 44 œ œ œ œ œ œ 1œ 2 3 œ
122
œ œ œ œ
Bœ¯ œ œœ œœ œ œ œ œ œ œ œ œ œœ œœœ œ
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Fm D¯ A¯ E¯
& b b b 44 œ œ œ œ YT:œhLQl3WQQoQ0
œF œ A œ. œ ˙ J.S. Bach
124
Menuet, BWV Anh. 116

Figure 14.3.5 Adele Adkins and Dan Wilson, “Someone Like You” (2011)
# 3 D Hel œ œ from œ œthe oth - er sideF˜m/Cœ˜ œ œ œ

_____ _____ _____ _____ _____ _____
& b b b4b 44œ œ œ j œ œ œœ œ

- lo
œ œ
124 135
& œ ˙ j
? # # 44 œ œœœœ .. œ œ œ œ œ œœœ œ˙˙ œ œ œ œ œ œ œœ ..œ œ œ œœœœ œ ˙˙˙œ œ œ œ œ
œ
. œ œ œ œ œ . œ
411
? # 43 4˙œ Œ Ó Œ Ó
? bb b b 4 œ œ œ œ œ œ œ ˙œ œ œœœœœœ
j j
œ .
Bm_____
G: _____ _____
œ ˙ G_____ œ ._____ _____˙
œ
_____ œ œ _____ œ œ œ œ
? # # œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ _____ _____ œ
1 2 3 4 5 6
413 A¯: vi IV I V
œ œ œ œÓ œ œ œ œ ( œ) Œœ ( œ) ˙Ó.
_____ _____
& œ Œ
139
A F˜m/A B7/A E/G˜ œ Amaj7 E/B B7 E

# # # # 3 œ œ (œ) (œ) œ œ œ ‰ œ
pt pt
œ œ J œ œ (œœ) œ œ ((œœ)) œ ˙ œ. ( œ) œ
126
? #
nt
? ## œ 4 œ
&
ant
œ3 œ œ
415
# #
E che so - YT: spi qHm9MG9xw1o
- ri la li - - - ber - tà
& #7 43 œœœRyanœœœ Tedder,

Figure# 14.3.6 ‰9 œj 10œœ (œ)11œœ œ12 œ ˙ .
126
Œ 8 “Secrets”œœ œœœ (2009)

_____ _____ _____ _____ _____ _____
"No Below
Scrubs"is an example in 44 with œ arpeggios in Cadence
œ
sixteenth notes.( )
œ œ œœ
_____ nt type: _______________
Lead-sheet symbols:
ant
˙˙˙ ..
_____ _____ _____
? b#b#b#b b#b b 3c œ œ Œœ œ œ
Œ .œ œ
143
& 4 œ œœ œ œ œ œ œ
œœ nœ œ œ œ
? bb b b c œ
E: IV ii/3rd V7/7th I/3rd IVM7 I/5th V7 I
bbb œ œ œ
Roman numerals: a¯: _____ _____ _____ _____
1 2 3 4
YT: FrLequ6dUdM Kevin Briggs, Kandi Burruss,

Tameka Cottle, Lisa Lopes
Figure 14.3.7 Kevin Briggs, Kandi Burress, Tameka Cottle, Lisa Lopes, “No
Scrubs” (1999)
10
14.3.2 Alberti Bass
Score
Alberti bass accompaniment patterns involve arpeggios that do not arpeggiate
Piano Sonata
chords K. 545, upward
in a simple I or downward motion, but in aWolfgang Amadeus Mozart
“low–high–middle–high”
( )
_____ _____ _____
pattern as you can see in the examples _____
below. _____ _____ _____
( )
œU œ ˙ œ œ œ Ÿœ œ œ œ
mot. 1
U U
œ w. . œ œ œU Œ
Allegro
& c w˙. Œ
145
bw. w. w. w.
? 6 w. bw. ∑ ∑
4 w. w.
ƒ (Trumpets & Trombones)
c
mot. 1 (dim.)
& œ œ œ œ œœœ œ œ œ œ œ 2œ œ œ œ œ œ
? 46 œ ∑ œ œ ∑œ œ ∑ œ ∑œ œÓ ˙ b ˙œ ˙ œ w . œ œ ˙ . œ œ œŒ Œ
2
˙ b˙ ˙
C: _____ _____ _____ ƒ (Tubas)
_____ _____ w ._____ ˙ ._____œ
1 2 3 4 5 6 mot.7 1 (dim.)
? 46 ∑ ∑ ∑ ∑
YT: 5NkzTTkqTB4 ∑ ∑ Ó. bœ œ œ œ
Cadence type: _______________
Figure 14.3.8 Mozart, Piano Sonata K. 545, I (1788) ƒ 4

(Timpani)
Piano Sonata,
The nextOp. 10, No. 1,uses
example II the same Alberti pattern as in the Mozart Beethoven
example
above, but transposed
_____to E minor
_____ and in a lower
_____ register.
T T
_____ _____ _____
b j . j
& #b b b4 42 œœ ∑ (œœ .) œ œœ .œ œ ( n œœ) œ œœœ œ œ œ œ(œœœ) b œœ œ œ œœœ.. œ œ (œn œ )
?
149
8 Elec. Gtr.
4 œ . J J œ
p œ.
?
# 4
Keyboard
2 œ œ œ . œœ œ œ œ
& b b b b4 4 w œœ œ
w œœ . ‰ w w œ. ‰
8
w œ w . w w
g w_____ _____ ggg ww_____
Agg¯:w
ggg _____
ww _____
ggg ww _____
1 2 3 4 5 6
? # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
8
Elec. Gtr.
œ œ _____
œ œ _____ œ œ_____œ œ œ__________
œ œ_____ œ _____
œ œ œ œ
Ÿ
_____
œ œ
Elec. Bass
bb .. œ
œ .. œ œ œ œ( )(œ )œ œœ œœ œ . œ œnœœ œ œ œ œ œ œ œ
3
& b b œœ .. œ œœ œ œœ ggg œ œ
153
œ œ œ
?# ∑ ∑ ∑ ∑ ∑ ∑ YT: Í∑ L6zR7qJ9frA
∑ ∑ ∑ ∑ ‰ ∑
12
œ œœ andg œœ œœ œ œœ“Pipeline”
œ . j these
œ œ œ
gg œ œ œ œ œ œœ your‰analysis
cresc.
? bb b
don't include
œ œ œ
notes in
# b
Figure 14.3.9 Brian Carman Bob Spickard, (1962)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ J ∑ ∑
12
&
14.4 Block
7
Chord
_____ _____
8 9
Accompaniments
_____ _____
10
__________ _____
11 12 13
_____
14
?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
12
Cadence type: _______________
This section contains the following subsections below:
• The “1 (2) &” rhythm
• The “Barbara Ann” Rhythm
• Repeated 8th-note Chords
• Repeated Quarter-note Chords

12
Fmaj7 Am
& b 8 14. ACCOMPANIMENTAL

752
œ œ œ œ œ œ œ œ œ TEXTURES
œ œ œ œ œ œ œ œ œ œ 150 œ
œ œ
CHAPTER
œ œ
14.4.1 The “1 (2) &” Rhythm
? 12
In thisb section,
8
. on beat œ1 .and the. second˙chord œ.
frequently in popular music. The firstœsuch
we will discuss some accompanimental rhythms that occur
with the first˙chord

. on the upbeat
œ . after
rhythm has two chords per measure,
beat
2.
j j
E¯ Gm7 A¯ B¯
b œœ ˙˙ œœ ..
& b b c œœœ ... œœ ˙˙
754
œ ˙ œ. œ ˙
? bb c
b œ. j j
55
œ . œ ˙
# c D j œ ˙ j j
756 Em C D D Em
& œœ ˙˙
œœ .. œœ .. œœœ ˙˙˙ ww
œ ˙ œœ .. œœœ ˙˙˙ w
œ. œ. œ.
? # c œ . œj ˙ j j
œ . Ed Townsend, “Let’s Get˙ It On”w(1973)
œ ˙ œ . œ
YT: x6QZn9xiuOE
œ. œ ˙
Figure 14.4.1 Marvin Gaye
œ. œ ˙
and
œ. œ ˙ w
You will find a similar rhythm and bass line in the next example.
##
D/F˜
760
D G G/A
& c j j
œœ .. œœ ˙˙ œœœ .. œœœ ˙˙˙
œ. .
? ## c j
œ ˙ j
œ. œ ˙
œ.
#
& #
762
YT: fdz_cabS9BU
Figure 14.4.2 Ed Sheeran, “Thinking Out Loud” (2014)
? ## ∑ ∑ ∑ ∑ ∑
The “1 (2) &” rhythm is also found in “Don’t You (Forget About Me),” a
song associated with the film The Breakfast Club.
55
# D5 E5
j
C5 D5 D5 E5
j
& c j
756
œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ ww
j j j
? # c œ. œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ ww
œœ . œ ˙
. œ. œ ˙ œ. œ ˙ w
##
D/F˜
760
D G G/A
& c j YT: CdqoNKCCt7A j

Figure 14.4.3 œ . œ
œœ .. Keith Forsey ˙
œ and œ . œ ˙˙˙ About Me)”
œœ .. You œœ(Forget
˙ Steve Schiff, “Don’t
Score (1985)
?Below
# # care five more examples
j
œ ˙ j
of block chord accompaniment in the “1 (2)
œ. œ ˙
œ.
&” rhythm.
bb 4
&bbb 4 œ œœ ˙ œ œœ ˙ œ œœ ˙
Voice
762
##
&b
b 4 œœœ œœœ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ ˙˙
Nev - er nev - er nev - er
œœ œ œœ ˙ œœ œ œœ ˙
Keyboard
b b
& b 4
? b# #b 4 œœ∑..
? œœ ˙˙∑ œœ .. ∑ œœœ ˙˙˙ ∑œœœ .. œœ ∑ ˙˙
Elec. Gtr.
b b b 4 œ. œ ˙ œ. . œ ˙
J J J
? b b b 44
Elec. Bass.
bb j j j
œ. œ ˙ œ. œ ˙ œ. œ ˙
b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4
YT: zWzy5q_M5Ho
bb
Figure 14.4.4 Holly Knight, Gene Bloch, Ann Wilson, and Nancy Wilson,
b “Never”
& bb ∑(1985) ∑ ∑ ∑ ∑ ∑ ∑ ∑
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bbb
? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb
©
55
4
& b# 444 œ . œ
Keyboard 1
Œ ‰ j . C5 œ œjœ œ œ . œ . œ œ œ Œj‰ œj œ . œ
œ œj
D5 E5 D5 D5 E5
œœ œœ œœ.
756
& 4 œ. œ œœ œ
œœ ˙˙ œœ .. œœ ˙˙ œœ .. œœ ˙˙ ww
? 4 œ. . j œ œ œ œ . œ . œ œ œ Œ ‰ œj œ . œ œœ œœ œœ.
b 4 œ œ œ œ œ œ.œ œ œ
Œ ‰
j j j
? Keyboard
# 44 œ . 2 œœ ˙˙ œœ .. >œ œœ ˙˙ > œœ .. > œœ ˙˙ > ww>œ
>œ . > >œ
? 4 œœœœ . ‰ œœœœ Ó ˙ œœ œ .‰ œœ œÓ ˙ œœœ œ .‰ œœœ œÓ ˙ œœœ ‰wœœ Ó
b 4 J J J J 55
? b# 44 D ‰ j Ó D/F˜ ‰ jÓ G ‰ j Ó G/A ‰ jÓ
# 4 j j
D5 E5 C5 D5 D5 E5
j
756
760
& # 444>œœ . œ>œ ˙ j >œ . > œ ˙ >œ œ . >œ œ j˙ >œ >wœ

&
œ
œœœ. .. œ ˙ œœ ˙˙œœ . œ ˙ œœ .. œ . œ œœ˙ ˙˙ w
œ. œ. œ ˙
j j j
? ## 444 œ . œœ ˙˙ œœ ˙˙ œœ .. œœ ˙˙ ww
? # 4 œœ .. œ ˙ j œœœYT: .. iP6XpLQM2Cs
. œ Gottwald,
˙ j
œ . Benny Blanco, w“Tik Tok”
œ ˙
œ ˙ Lukasz
œ . Kesha Sebert,
Figure 14.4.5
(2009)
œ. œ ˙
# # 4 E¯m9
D/F˜
760
D G G/A
b b 4 j j ‰ œj Ó œœj j
A¯13sus Fm7 B¯9sus
& b b b4 4œ . ‰ Óœ ˙ ‰ j Ó
762
& œœ .. œœœ œœœ œ ˙œœœ œœœ œœœœ..

œœ. œœ œ œœœ˙˙˙œ ‰ œœœœ Ó
œ œ œ œ©
? ## 4 4 j
?
b b b b b4 4œ . œ ‰ œj Óœ ˙œ ‰ œ Ó
j ‰ j Ó j œ ‰ œj Ó
œœ. œ œ ˙
D¯: (ii V iii vi)
bb bb bbb b 44 œ ‰ œj Ó j
E¯m9 A¯13sus Fm7 B¯9sus
œœ ‰ œjœ Ó ‰ œj Ó
762
&
& b b œœœ œœœ œ œœœœ ‰ œœœœ Ó
766
œœ PMivT7MJ41M
YT: œœ œœ œœ
? b b 4 ‰ jÓ ‰ œj Ó ∑ ‰ œj Ó
Figure 14.4.6 Bruno Mars, Philip Lawrence, Christopher Brown, James Fauntleroy,
? bb b bb b 4 œ œ œ ‰ jÓ œ
Johnathan Yip, Ray Romulus, Jeremy Reeves, Ray McCullough II, “That’s
bb
What I Like” (2017)
œ œ
Notice that the example above (“That’s What I Like”) has the same pro-
gression as D¯: (ii
“September” V Wind, and Fire.
by Earth, iii vi)
b
& b 44 œ . œj j j j
766 Gm B¯ E¯ B¯ Gm B¯ E¯ B¯
œœ .. œœ ˙˙ œœ .. œœ ˙˙ œœœ .. œœ ˙˙ œœ ..
œœ ˙˙
˙ œ. œ ˙ . œ ˙ œ. œ ˙
? b b 44 j j j j
œ . œ ˙ œ ˙ œ. œ ˙ œ ˙
œ. œ.
B¯: vi I IV I vi I IV I
YT: RgKAFK5djSk
Figure 14.4.7 Charlie Puth, Cameron Thomaz, Andrew Cedar, Justin Franks,
Dann Hume, Josh Hardy, and Phoebe Cockburn, “See You Again” (2015)
CHAPTER
2 14. ACCOMPANIMENTAL TEXTURES 153
bb 4Ac.‰Gtr.r‰ j r r
& 4 œœ œ ˙ ‰ . œ ‰ œj ˙ ‰ . œ ‰ œj ˙ ‰≈ œr‰ œj œ œ œ .
.
8 (notated at pitch in grand staff)
œ ˙ œ œ ˙ œ œ ˙ œ œ œœ
? b b 44 œœ .. œj ˙ j
œ . œ ˙ œ . œj ˙ œ . œJ ˙
b b 4 Organ
& 4 ww ww ww
w w w ww
? b b 44 w w
w w
B¯: I V vi IV
b
&b ∑ ∑ ∑ ∑
12
YT: 0yW7w8F2TVA
Figure 14.4.8 James Arthur, Neil Ormandy, Steve Solomon, “Say You Won’t
?Theb b example∑below has the “1∑(2) &” rhythm in∑ dimininution. ∑

Let Go” (2016)
56
#### 4 equivalent to:
j j j
& b 4 œ. œ œ. œ œ. œ Œ Ó C œ. œ Ó œ. œ Ó
Œ Œ
œ .∑ œ Ó
&b ∑ ∑ ∑
770
? #### 4 œ Œ œ Œ œ Œ Ó C ˙ Ó ˙ Ó ˙ Ó
? 4
bb ∑ ∑ ∑ ∑
775
#### 4
& 14.4.94 Justin Bieber, Benny Blanco, and Ed Sheeran, “Love Yourself”
YT: oyEuk8j8imI
Figure
(2015)
? # # The
14.4.2
#
# 44 “Barbara
∑ ∑ Ann”∑ ∑ Rhythm
∑ ∑ ∑ ∑ ∑ ∑
It is easier to describe the next block chord accompaniment pattern as the
“Barbara Ann” rhytm than the “1 2 3 (4) & (1) & (2) & 3” rhythm. Below
####
are six examples of pieces that use this rhythm, whether with block chords or
785 in the bass line.
solely
&
? #### ∑ ∑ ∑ ∑ ∑ ∑
##
& ##
791
? #### ∑ ∑ ∑ ∑ ∑ ∑
F TEXTURES
CHAPTER 14. ACCOMPANIMENTAL A 154
b b D4 j j j
& b b bb 4 ∑ ∑ œœ œœ œœ .. œœ œœ œœ œœ ˙˙
F˜m/C˜
? # # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œBaa,œ baa,œ baa,œ œbaa,œ œ œBar -œbar' œAnnœ œ
411
? b b b œ4 œ œŒ œ . œÓ œ œ œ ˙ œœœ œœ Œœœ .. œœ Óœœ œœ œœ ˙˙

bbb 4 J J J J J J
Bm Baa, baa, baa, baa, Bar - bar' Ann, G Baa, baa, baa, baa, Bar - bar' Ann
? # #b bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
413
& b b œb b Œ ∑ Ó YT: -bSnI-a0BSc

∑ Œ∑ ∑
5
Ó
œ
Figure 14.4.10 Fred Fassert, “Barbara Ann” (1961)
??bb b b44b b b ∑ ∑ ∑ ‰ ‰ ∑
415
j ‰ j‰ j j j j
œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
b
& b bbbb ∑ ∑ ∑ ∑ ∑ ∑
9
YT: w6MQrdfj638
? bb b b ∑ ∑ ∑ ∑ ∑
Figure 14.4.11 Brian Holland, Lamont Dozier, Eddie Holland, “You Can’t
∑
bb
23
Hurry Love” (1966)
? ## # j Œ‰ j ‰ equivalent j ‰j Ó j ‰ j j Ó
419
56
## # 4 Œ Œ
jÓ Cto: j Ó
15&
.
œ 4 œœ œœ œœ. œ œœ . œ œ œ œ œ .
bb b b . b . ∑. . .∑ œ. ∑ œ. œ. ∑ œ . œ. ∑ œ. œ. œ ∑ œ
770 œ. œ œ. œ
& b
?? #### # # 44 œ Œ œ Œ œ Œ Ó C ˙ Ó ˙ Ó ˙ Ó
423
? bbb ∑ ∑ ∑ ∑ ∑ ∑
b b14.4.12
YT: yRYFKcMa_Ek
Figure b Sara Allen, Daryl Hall, and John Oates, “Maneater” (1982)
? # #b b 4 j‰ œj ‰ œj ˙ j
‰ œj ‰ œj ˙
431 B¯ E¯ F E¯
& 4 œ œ œ. œœ œœ œœ œœ .. œœ
775
œœ œœ œœ .. œ œœ œœ ˙˙ œ œ œ. œ œœ œœ ˙˙
? b b 44 j ‰ j‰ j ‰ ‰
? ##
437
œ œ œ. œ œ œ ˙ œ œ œ . œj œj œj ˙
B¯: I IV V IV
b b
779
?&# #
443
YT: iPUmE-tne5U
Figure 14.4.13 Kimberley Rew, “Walking On Sunshine” (1985)
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ##
449
bb
791
&
? ##
455
? b
? b 4 j ‰ j‰ j j ‰ j‰ j
b 4 œ œ œ. œ œ œ ˙
œ œ œ. œ œ œ ˙
B¯:14.
CHAPTER I ACCOMPANIMENTAL
IV V
TEXTURES IV 155
j j j . œœ. œœ .. œœ. œœ. œœ- œœ œœ œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœœ
A C
œœ œœ œœ .. œœ œœ .. œœ ‰ œœ ‰ œœ œœ œœ œœ œœ
4
Elec. Gtr.
V #4# # œœœc
# # œœ œœ ..
œœœ . œœœŒ..
œœ ‰ # œœ ‰ equivalent
œ œ œ œ œto: œ
œœœ. œ Œ œœ . œœœŒ œœœÓ œœœ œœœCœœœ œ œœ. œj œ . œ jœ œ œ œ œ œ
œœ Ó œ .
56
œœ. œ œÓ œ œ .œ œœj Óœ œ
779
770 & œ. . . .œ œ - J J J
? 44 ‰ ‰ ‰ j‰ j
Elec. Bass
? #### c œ Œ œ j Œ œj Œj Ó C ˙ Ó ˙œj Ó ˙ Óœ
œ. œ. œ . œ. œ. œ- œ œ œ. œ. œ . . œ. œ- œ
783 23
V bb c B¯
j ‰ YT: j ‰ tuK6n2Lkza0
j
E¯
j ‰ j‰ j
F E¯
?&# # 14.4.14 œ œ œœ œœ œœ“Are

œœ ˙˙ Muncey,
œœ œœ œœ ..j œœ‰ j ‰œœ jCameron .. jœœYou œœ‰ jœœ Be
˙ My
œ œ œ . œ ‰ jGonna
775
419
Girl” (2003) œ œ œ . œ ˙ œ œ ˙˙
Figure Nic Cester and
œ œ œ . œ. œ. œ. œ œ œ. œ. œ . œ. œ. œ. œ œ
? ∑b .c ∑.version
?A slower ∑ of∑ this j∑ ‰rhythm
∑j ‰ ∑joccurs
∑ in∑ Deep
∑ Purple’s
∑ j ∑‰“Smoke
j∑‰ j∑ on ∑the
b œ œ œ . œ œ œ ˙
œ . œ œ. . œ œ bœœ ˙
Water.”
œ ˙ . œ.
? b b 44B¯:œœ. I œœ œ . œœIV ‰ œœ ‰ b œJ ˙ Vœœ. œœ œ . IVœœ ‰ œœ .. ˙˙
423
J J J
j j j . . . . -
œœ œœ œœ .. œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ ... œœœ œœœ œœœ œœœ œœœ œœœ œœœ
A C
Elec. Gtr.
c # œ œ œ . œ ‰ # œ ‰ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ .. œœ ‰ œœ ‰ œœ œœ œœ œœ œœ
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779 427
. . . . œ- œ_zO6lWfvM0g
Ian?
Figure 14.4.15 Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, and
c j ‰ j‰ j j ‰ j‰ j
Elec. Bass
Paice, “Smoke on the Water” (1973)
? b Repeated
437
œ. œ. œ . œ. 8th-noteœ. œ- œChords œ œ. œ. œ . œ. œ. œ- œ œ
b
14.4.3
Repeated 8th-note chords occur regularly in “classical” music textures.
r œ œ .œ œ œ . r œ . œ œ œ .œ œ œ œ œ œ œ œ œ. œ
&c œ œ #œ ˙ #œ ˙
r
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?c
? b
449
b
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Figure 14.4.16 W.A. Mozart, Piano Sonata K. 310, I (1778)
? bb
455
19
& b 42 ∑ ∑ ∑
177
19
Íj
2 Œ ‰ œ œ œ > >
177
&b 244 œ œ œ œ œ œ œœ œ .
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177
. . . .
p Íj Í
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177
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# œœœ
œ œ œ
. . . .
p Í
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∑
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∑
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∑ œœ œœ . œœ ∑œ
>œ
180
&b 4 .
j
œ .. œ œ
&b œ
180
j œœ œœ œœ œ œ œ œ œ # œ œ
œœ .. œœ œ.∑ œ.
&b œ œ
∑ > ∑ m œ œ ∑œ œ
180
œπ
? b œœ œœ œœ œœj œœ œœ œœœ œœœ œ œ œœ œœ .. œ œœœ. œœ
&b œ
œ œœœ œ œ œ œ œ œ .. œ.
180
j >œœ œœ œ m œ œœ œœ œœ œ œ.
œ œ > # œœ œœ œœ π.
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∑.
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184
&
> œ
Figure 14.4.17 Franz Schubert, Winterreise, D. 911“Gute Nacht” (1828)
b ∑ ∑F ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
184
& ‰ œj
&c Ó ‰ œ œ œ b˙. Ó
184
œ. œ ˙ œœ ˙
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ich grolle nicht, und wenn das Herz auch bricht.
& cb œœ œœ œœ œœ œœ œœ
184
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ

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F >
?c Ó ˙ ˙
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙
˙ ˙ ˙
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Figure 14.4.18 Robert Schumann, Dichterliebe, “Ich grolle nicht” (1844)
The next example is from the musical Annie. Note the “1 (2) &” rhythm
in the bass line.
20 CHAPTER 14. ACCOMPANIMENTAL TEXTURES 157
b j
188
& b œ.œ œ œ j‰ œ ‰ œ . œ œ œ œ ‰ œ œ ‰ œ. œ œ œ.
œ œ
It's a hard - knock life for us, It's a hard - knock life for us 'Stead of treat - ed
b
188
&b ‰ Œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ

œ. œ. œ.
œœœ œœœ œœœ œœœ œœœ
. . . . . . . . . . . . .
? b ‰ j j j j
b Œ œ‰‰ œÓ œ ‰‰ œ Ó
œ œ œ œ
> > > >
b
&b ∑ ∑ ∑ ∑ ∑ ∑
191
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Figure 14.4.19 Charles Strouse and Martin Charnin, Annie, “It’s the Hard
bb ∑eighth notes∑ are a standard

∑ accompanimental
∑ ∑texture in rock.
∑
191
&Repeated
Knock Life” (1977)
57
? b b c ∑œœ œœ œœ œœ œœ œœ∑œœ œœ œœ œœ œœ ∑œœ œœ œœ œœ œœ œœ∑œœ œœ œœ œœ œœ œœ∑œœ œ œ œ œ∑ œœ œœ

F5 E¯5 D¯5 B¯5 C5 E¯5
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bb œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ 57
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F5 E¯5 D¯5 B¯5 C5 E¯5
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791 b b 4 œœœœ
? bb b
b YT: 9JtlCuIqcrM
? b b b 44
Figure 14.4.20 Geoff Gill and Cliff Wade, “Heartbreaker” (1979)
The brepeated eighth-note rhythm is also common in recent popular music.
œ œ œ œ œexample
œ œ œ œ œ œ œtheœ œ1950’s œ œ œ œ œ œ œ œ œ(i.e., œ
? that
Note bb b b the∑ following
∑ ∑ ∑ ∑ uses ∑ ∑ ∑ ∑ progression ∑ ∑ ∑ œ ∑œI –œ∑viœ –œIV ∑œ – ∑V ).
Piano œ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
F Am/E Dm7
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
b 4
791
& 4
? b 44
œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
Elec. Bass œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Elec. Gtr.
&b
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Figure 14.4.21 Nate Ruess, Andrew Dost, Jack Antonoff, and Jeff Bhasker,
?
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
“We Are Young” (2011)
57
14.4.4 Repeated Quarter-note Chords
œ œ œ œ œchords
œ œ œ are œœ œœaœœcommon
œœ œœ___œœ œœ œœaccompanimental
œœ œœ ___
œœ œœ œœ___œœ œœ___
œœ rhythm œœ
F5 E¯5 D¯5 B¯5 C5 E¯5
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b b
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b popular ( ) œ œ œ œ
Repeated quarter-note
___ ___ ___
music. ( ) ( )
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3
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b b b b 4 p œF5œ œ œ œ œ œ œ œ E¯5œ ˙ . D¯5œ œ œ
57
œœœœœœœœ œ
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œ œœ œ œ
œœœ œœ œ œœ œœ œœ œœ œœ œœ œœœ œœ œœœ œœ œœœ œœ
Piano œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ .œ œ .œ œ .œ œ œ. œ .œ œ. œ œ œ. œ œ. œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ
b 4
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& b œ œ œ œ œ œ ___ œ œ œ œ œ œ ___ œ œ œ œ œ œ ___ œ œ œ___œ œ___ œ œ œ___ œœœœ

? b 44 D: ___
___œF œ œ œ œ œ œ___ œ œ œ œ œX9yTjXM6m50

œ ___
œAm/E œ œ Dm7 œœ œœ
Elec. Gtr. œ œ œ œ œ œ œ œ œ œYT: œ œ œ œ œ œ œœ œœ œœ œœ___œœ œœ œœ œœ œœ œœ___ œœ œœ___
œœ œœ___
# .œœ œœ œœ George
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œ œœ œ œœ
452
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4 œ HWV
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œ̇ œ
791 Elec.Piano
Figure Frideric Handel,
F
(1738)
? 4
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? 4 ___
4 ___ ___ ___ ___ ___ ___
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How to#Get to Sesame Street?”
œ œ œ œ ˙ œ Œ
Figure 14.4.23
œ œ œ œ
? ∑ ˙
(1969)
∑ ∑ ∑ ∑G ∑ œEm∑ G7/D ∑
#
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Analysis
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Figure 14.4.24
F: ___ Billy
___ Joel, ___
“She’s ___
Got a Way”
___ (1971)
___ ___
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& b b b b 4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

58 803
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bb bb 4 œ Œœ œÓ œ Óœ œ œ‰ j œ Œ Ó Ó ‰ j
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œ
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Figure 14.4.25 Lou Gramm and Mick Jones, “Cold As Ice” (1977)
? 44 Œ Ó Dm/F
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b j ∑œj j j ∑ j Ó j ‰j∑ jj j ∑jŒ jÓ j ∑ Ój j ‰‰ j∑j‰ j‰
E¯ Dm
& b 4b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰œœ œ‰ œœœ ‰œ œœ ‰ œœ ‰ œœ ‰ œœ ‰

4 œœœ œœœœ œœœœ
807
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. . . . . . . .
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bb b 4b ‰j‰œ œ.j‰ Ój‰ j‰
813 b ‰ j Ó ‰j j j Ój j Dm ‰ Ó
j ‰œ œ.j‰ j‰ j‰ œ ‰œ œœ ‰ œ ‰ œ ‰ œj ‰œj œj ‰ œj ‰ œj ‰
807 Dm/F E¯
& b b 4b b œœ œœ œœ œœ
& œœ œœ œœ œœ œœ. œœ.. œœ. œœ. œœ œœ. œœ œœ
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∑ œ œ.∑ ∑ œ œ. ∑
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? b b ∑4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
& b bbbbb 4
811 D¯ G¯maj7 E¯m9 D¯/A¯ A¯
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3 3 3
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3
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b bbb ∑ ∑ ∑ ∑ ∑ ∑
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Figure 14.4.27 Michael Bublé, Alan Chang, and Amy Foster-Gillies, “Haven’t
? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Met You Yet” (2009)
bb
˙ œ ˙ œ œ ˙
? #### œ nœ ˙ ˙
Sara
"LoveBareilles
Song" CHAPTER 14. ACCOMPANIMENTAL TEXTURES #˙ 160
F/A B bsus2 D/F #
&b œ œ œ œ
Gm C Dm C/E F
œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œ

67
œœ œœ œœ œœ œ œ œ œ œ
? j j jœ j j œj #œ
b œ Œ ‰œ ‰œ Ó ‰œ ‰œ Ó ‰œ ‰ Ó ‰ j‰ j
œ œ œ œ #œ œ
œ œ œ #œ
ww ww ww
71 "root position" "first inversion" "second inversion"
& www ww wYT: qi7Yh16dA0w

w wG www
C w E
Figure 14.4.28 Sara Bareilles, “Love Song” (2007)
? ∑ w ∑ w ∑
w
In the next section, we will examine accompanimental textures consisting
wC
E
of afterbeats and offbeats. G
"Who's Holding Donna Now" David Foster, Jay Graydon,

of chordRandy Goodrum
14.5rootAfterbeats
of chord is lowest note third of chord is lowest note
and Offbeats# fifth is lowest note
#### 4
#
œ
œ ˙
˙ j j
Badd2
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# 4 œœ .
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œœ ˙˙˙
œ .. œ œœ
14.5.1
The term “afterbeats” is from Fundamentals ofœ.Musical
? # # # #and4 pedagogue
w . œ
Arnold Schoenberg.œ “Afterbeats” j are repeated
4 w
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composer
# J notes) that
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˙ after the
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œ n œ œ œ œ œ b œ Œ œ.
sempre piano e dolce
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b
T
b . œ
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b
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œ Ludwig van Beethoven, Piano Sonata Op. 2, No. 1, IV (1796)
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In thepnext example, the afterbeats are not repeated chords but instead are
Figure
& 42 ‰ ‰ œ œ
œ œ œœ
‰ œ œ #œ
passing-tone figures harmonized in thirds.
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f
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Figure 14.5.2 W.A. Mozart, Piano Sonata K. 279, III (1775)
14.5.2 Offbeats
Offbeats are typically chords that occur regularly on upbeats, avoiding down-
beats. While there are many styles of music that use chordal offbeats, in this
section we will consider only polka and reggae styles.
14.5.2.1 Polka
The polka, which originated in Bohemia, has connotations with Germary and
Oktoberfest. The polka in the United States is often associated with Frankie
Yankovic, who was known as the “Polka King.”
b œ œ. œ. œ. . . . .
‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
Accordion
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Piano & Ac. Bass
b œ œ œ œ œ œ œ
b
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Figure 14.5.3 Jaromír Vejvoda, “Beer Barrel Polka” (1927)
? b b ∑Reggae
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
14.5.2.2
Reggae is associated with the island of Jamaica and, in terms of texture, is
characterized by offbeats, often played on an electric guitar. Bob Marley is
closely associated with reggae music.
# # 4 œœ .. œ œœ œ.
Clavichord
œ≈œ œ
17
j
œ ≈œœ Ó Ó
œ
& 4 œ œ. œ œœ
√
? # # 44 œ œ ≈ œ ‰ . œ œ œ œ œ œ œ œ ≈ œ ≈ œ ≈ œ œ œ œ œJ ‰
Muted Elec. Gtr.
R
# #Elec. j j j j
‰ œœj ‰ œœj ‰ œœj ‰
4 ‰ j
Gtr.
& 4 œœ ‰ œœ ‰ œœ ‰ œœ œœ
? ## 4 ‰ ‰. r ‰ ‰. ‰ ‰ ≈ r ‰ Œ
Elec. Bass.
4 r
œœ œ œœ œ œœ œ œœ
. . .œ .œ .œ . œœ.
b b b 44 œ œœœ ‰ œœœ ‰ œœœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ ‰
Accordion
60832
19& œ
# # ∑ ∑. ∑J ∑ J ∑ J∑ ∑J ∑ J ∑ J ∑ J∑
& YT: g3t6YDnGXAc
? b b 44 œ œ
Piano & Ac. Bass
b œ œ œ
Figure 14.5.4 Bob Marley, “Could You Be Loved” (1980)
œ œ œ
By the lateœ 1970s,œBritish bands like The Police
œ œ
? #that
songs # ∑used the∑ reggae œ∑ ∑œ ∑ style.
∑ accompanimental ∑ ∑ ∑œ ∑ œ ∑
and UB40 were recording
834
j j j j
Dm B¯/C C
#b# 4 ∑Œ j j j j œ œœ ∑‰ œœ ‰ œœ
‰∑ œœ ‰∑ œœ ‰∑ œœ ‰ ∑œœ ∑ ‰ œœ ∑ ‰
Elec. Gtr.
& 4
& ∑ œ. œ. œ. œ. œ. œœ œœ ∑ œœ ∑
. . .
? #b 44 ∑ ∑ ∑
?
Elec. Bass
# ∑ ∑ œ∑ ∑ ∑ ∑ ∑ ∑
œ. œ œ ˙ . . œ œ ˙. œ. œ œ
&b
837
YT: mbv-LcdLY-Y
Figure 14.5.5 Gordon Sumner, “Walking on the Moon” (1979)
?
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? b 44
Elec. Bass
834
œ. œ œ ˙ . œ. œ œ ˙ . C œ œ œ163
j j j. j
Dm B¯/C
j j j j
& b 44 Œ D¯ ‰ œœœ ‰ G¯œœœ ‰ œœœ ‰ œœœ A¯/E¯‰ œœœœ ‰ œœœœ G¯/A¯ ‰ œœœ ‰ œœœœ
œ
CHAPTER 14. ACCOMPANIMENTAL TEXTURES
Elec. Gtr.
837
. . . . . . . .
bb b b 4 ‰ œj ‰ œj ‰ œj ‰ œj ‰ œœj ‰ œœj ‰ œj ‰ œj
Elec. Gtr.
& b Elec. 4 Bassœœ œœ œœ œœ œ œ œœ œœ

? b 44
œ. œ œ ˙ . œ. œ œ ˙ . œ. œ œ
? b b b 44 œ œ
Elec. Bass
bb œ œœ œ œ œ œ . œ œ œ
. .
837
œ. œ
bb b b D¯:4 I‰ œj ‰ œj IV‰ œj ‰ œj V/5th j jœ j œ j
D¯ G¯ A¯/E¯ G¯/A¯
œœ ‰ œœœ ‰ œœœ IV/5̂

Elec. Gtr.
& b 4 œœ œœ œœ ‰ œœ ‰ œœ
œ œ
b
b b b bBass
839
& Elec.
? bb 4 œ œ YT: GVVZ_O0_vUc œ œ
bbb 4 œ œ œ . œ in 1983 œ œ
œ . Diamond,
œ œ œ œ . œUB40)
?Reggae .
b b b b b D¯: ∑ ∑ is fairly ∑common ∑in the IV/5̂
∑ ∑ as
Figure 14.5.6 Neil “Red Red Wine” (recorded by
accompanimental texture present day,
I IV V/5th
can be heard in the following examples.
E F˜m/C˜ E F˜m/C˜
# # # # Elec.
4 ‰ j‰ j j j j j j j
839
œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰
Gtr.
& 4 œœ œœ
œ. œ. œ. œ. œ. œ. œ. œ.
? # # # # 44 Œ ‰
Elec. Bass
œœ≈œœ œ œœ≈œœ œ
œ . . . œ . . . œœ
YT: luzciaIHL04
Figure 14.5.7 Gwen Stefani and David Stewart, “Underneath It All” (2001)
CHAPTER 14. ACCOMPANIMENTAL TEXTURES 164 61
F˜
Gtr. j j j j
B
# # # # Elec.
V # 4 œ.
4 ‰ œ
œ ‰ œ
œ
œ. ‰
œœ ‰ œœ
œ. œ. ‰ œœj ‰ œœj ‰ œœj ‰ œœj
841
œ. œ. œ. œ.
? # # # # 44 Œ ≈ ‰ Œ ≈ ‰ j
Elec. Bass
# œ # œ œ œ œ œ ‹œ
œ œ œ œ
####
G˜m
j j j j E œ. . . .
843
V # ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ

œ. œ. œ. œ. J J J J
? ####
# œ œ Œ ≈
œœ
‰ j
#œ œ œ
Œ ≈
œœ œ œ
####
#
845
V YT: BFG0aiDrmUk
2 Figure 14.5.8 Jason Mraz, “I’m Yours” (2007)
? #### G¯
∑
A¯ D¯
∑
B¯m A¯
b #
& b b b b 44
Muted Elec. Gtr.
œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œ ‰ œ
12
œ œ
j j j j j j
b b b 4 ‰ œj ‰ œj ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
Elec. Gtr.
b
& b 4 œœ œœ œ. œ. . . . .
12
. .
? b b b 44 Œ ≈œ œ Œ ‰
12 Elec. Bass
bb œ œ œ œ
. œ œ . œ œ œ œ.
œ. œœ
D¯: IV V I vi V
b
& b b b b ∑ ∑ ∑ ∑ ∑ YT:∑ PIh2xe4jnpk
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Alex
14
Tanas, “Rude” (2013)
14.6 The 3–2 Son Clave

? bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
bb
The 3–2 son clave (and the 2–3 son clave) are essential rhythmic elements in
Afro-Cuban music. In this section we will see how cross rhythms implied by
the 3–2 son clave can be viewed as a possible source of cross rhythms in popular
music. Here is a video demonstration of a 3–2 son clave.
b
& b bbb ∑ ∑
30
b
& b bbb ∑ ∑
30
YouTube: https://www.youtube.com/watch?v=dxVeiPQ1juo
Here is rhythmic notation of a 3–2 son clave. Notice there are three attacks
23
419 in the first measure and 2 attacks in the second bar.
ã 44 Û
23
419
‰ Û Œ Û Œ Û Û Œ
J
ã 44 Û ‰ Û Œ Û Œ Û Û Œ
1 J 2 the
> > >
421 The
1 rhythm
2 3 underlying 3 first
1 bar2 is 3+3+2.
ã >Û 1 Û 2Û 3 Û 1 Û 2 Û 3 Û 1 Û 2 Œ Û Û Œ
> >
421
ã 44 Û Û Û Û Û Û Û Û Œ Û Û Œ
423
ã
423
The 3–2 son clave has also been called the “Bo Diddley Beat” because of
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2
Bo in eighthsin
note
the 1950s. Look at3+3+2 in sixteenth notesabove as you
‰ Û Œ Û
its use by Diddley the rhythms shown
J J
listen to the following examples.
440
ã 1> 2 3 1> 2YT: 9kAhqaPMsdQ >

425
3 1 2
ã 44 Û Û Û Û Û Û Û Û Ó
Figure 14.6.1 Willie Dixon, “Pretty Thing”
447
ã
426
YT: 5OOcnPVdKrs
ã
Figure 14.6.2 Bert Berns, Bob Feldman, Jerry Goldstein, and Richard Got-
tehrer, “I Want Candy”
454
ã
454
ã 14.6.3 Russ Ballard, “New York Groove”

YT: LKdHy18rZcI
Figure
YT: oOmUCbDofo4
Figure 14.6.4 George Michael, “Faith”
YT: z8rQ575DWD8
Figure 14.6.5 U2, “Desire”
ã4 4 Û ‰ Û Œ Û Œ Û Û Œ
23
J
419
23
ã 44 Û1 2 ‰ 3 Û 1 Œ2 3 Û 1 2 Œ Û Û Œ
419 CHAPTER 14. ACCOMPANIMENTAL TEXTURES 166
421
4
ã 4 Û> The ‰3+3+2 J
Û> ŒRhythm Û> Œ Û Û Œ
4 Ûexamples
14.6.1
41 2 Û 3 Ûbelow,
Inã the J Û 3theÛ first
1 Û 2only 1 Û bar Û Œ Û Û Œ
the >3+3+2 rhythm> is shown in both >1 2
421
2 of the 3–2 son clave is used. Below,
ã Û >Û Û Û > Û Û Û > Û Œ Û Û Œ

421
eighth notes and sixteenth notes. The
1
sixteenth-note 3 1 is known
2 version 2 3 as tresillo.
4 Û3+3+2Û in eighth
Û ÛnotesÛ Û Û Û 3+3+2 Œ in sixteenth
Û notes Û Œ
ã4
423
ã 443+3+2
Û ‰ Û Œ
in eighths Jnote
Û 44 Û ≈ Û ‰ Û Ó
J
423
Û 3+3+2 ‰ in eighths
Û Œnote Û Û 3+3+2
≈ Ûin sixteenth
‰ Û notes Ó
3+3+2 in sixteenth notes
ã The
423
ã 44 Û> ‰ J Û Œ> Û 44 Û ≈ Û ‰ J Û Ó
4 Û Û ÛJ Û Û Û Û> Û Ó J
425 example below shows the sixteenth-note subdivisions in the 3+3+2
1 2 3 1 2 3 1 2
rhythm.
ã4 1 2 3 1 2 3 1 2
4 Û1> Û2 Û3 1Û> Û2 3Û Û>1 Û2 Ó
425
ã4 >
4 Û Û Û Û> Û Û Û> Û Ó
425
ã4
44 Û ≈ Û ‰ Û Ó 44 Û ‰ Û ‰ Û Ó 44 Û . Û ‰ Û Ó 44 Û . Û . Û Ó
426
ã
J J J
Below are different ways of notating the sixteenth–note version 3+3+2
426
ã
rhythm.
ã 44 Û1 ≈2 Û3 ‰1Û2Ó3 1 244 1Û2‰3Û1‰ 2Û 3Ó 1 2 44 Û . Û1 ‰2 3Û 1Ó2 3 1 244 1 Û2 .3Û1. 2Û 3Ó1 2

426
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
J J J
ã 44 Û . Û Û Û Û . Û Û Û 44 Û . Û . Û Û . Û . Û
430
454
ã pattern, which is associated with second line parades in New Orleans.

The first example, by the Rebirth Brass Band, uses a “second line” drum-
430
ming
ã 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
> > > > > >
432
ã4 4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
YT: cczwRUBxNL8
Figure 14.6.6 Reggie Calloway, “Casanova” (1987)
The well-known
3 + introduction
3 + to “Eye
3 of the
+ Tiger”
3 uses+the 23+3+2
+ rhythm.
2
4 >Û Û Û >Û Û Û YT:>Û btPJPFnesV4> > >

1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2
Û Û Û Û Û Û Û Û Û
434
ã4
Figure 14.6.7 Frankie Sullivan and Jim Peterik, “Eye of the Tiger” (1982)
In the following example from Cyndi Lauper’s “Girls Just Want to Have
Fun,” the lead electric guitar riff emphasizes a 3+3+2 rhythm in 16th notes
on each downbeat.
Elec. Gtr. 1 2 3 1 2 3 1 2 123 123 12

bb 4 j œœ .œ œœ ‰ œœj œœ
& b b b b 4 œœ .œ œœ ‰ œœ œœ Œ œœ
23
419
ã 44Keyboard
Û ‰ Û patch) Œ
j
Û Œ Û Û Œ
J
(Polysynth
bb 4 œ ‰ œœœ œœœ
& b b b b 4 œœ .
Œ ∑
> > >
421
1 2 3 1 2 3 1 2
4 .. .. .. .. Œ‰ œœ. œœ.Û‰ œœ. œœ.Û‰ œ œŒ‰

ã&4 b bÛb b b b Û44 Û‰ œœœÛœœœ ‰ Û œœœ œœœÛ‰ œœœÛ œœœ ‰ Û œœœ œœœ œœ œœ
Organ
œ œ œ œ œœ œœ œ. œ.
..
? b3+3+2 œ. œ. ≈ œ.note
4in eighths œ. œ. œ. ‰ ‰ œ 3+3+2
. . œ. œ. œ. notesj .
œ œ œin≈sixteenth
423 Muted Elec. Gtr.
4 b b b 4
bb ‰ Û Œ ≈ J 4 ≈ œ.Ó ‰ œJ ‰
ã4 Û Û 4 Û ≈ Û ‰ Û
Elec. Bass J J
? b b b b 44 j2 3 1 2 j
1b b 2 œ
> > > œ
425
œ . œ ˙ œ . œ
3 1
4
ã4 Û Û Û Û Û Û Û Û Ó
bbb ∑
&4 b b 14.6.8 Robert4∑Hazard, ∑“Girls Just
∑ Want∑ to Have∑ Fun” (1983)
∑ ∑
3
b
YT: PIb6AZdTr-A
4 4
426
Û ≈ Û ‰ Û Ó Û ‰ Û ‰ Û Ó
ã 4Below is an example4 showing the 3+3+2
Figure
Û . Û ‰ Û Ó Û . Û . Û Ó
4 rhythm (in 16th4 notes) immedi-
J J J
bb
& b b 3b b + 3∑ + 2 ∑ 3 + ∑ 3 + 2∑ ∑ 3 + 3∑+ 2 3∑ + 3 +∑2
ately repeated. The rhythm is shown in two possible notations below.
ã 44 b bÛ .b b Û ∑Û Û ∑ Û . Û Û Û 44 Û . Û . Û Û . Û . Û
430 1 23 1 2 3 12 123 1 2 3 12 12312312 12312312
& bb ∑ ∑ ∑ ∑ ∑ ∑
? b
The following three examples all use the (3+3+2)+(3+3+2) rhythm as a
ã b bbbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
432
rhythmic ostinato or groove.
? b 14.6.9
b b b b b ∑John Stephens
∑ ∑ Toby∑ Gad, “All∑ of Me” ∑ (2013)∑ ∑
YT: 450p7goxZqg
443
Figure and
ã Notice that this progression is from the Best-Seller progression.
450 YT: lY2yjAdbvdQ
ã
Figure 14.6.10 Shawn Mendes, Teddy Geiger, and Scott Harris, “Treat You
Better” (2016)
J J
4 Û> > >

425
1
CHAPTER 14. 1
2 ACCOMPANIMENTAL
3 2 3 1 2
TEXTURES 168
ã4 Û Û Û Û Û Û Û Ó
YT: jVCxZlpj8dw
4 4 4 4
426
ã 4 Û ≈ Û ‰ Û Ó 4 Û ‰ Û ‰ Û Ó 4 Û. Û ‰ Û Ó 4 Û. Û. Û Ó
Figure 14.6.11 Ed Sheeran, Steve Mac, Johnny McDaid, Kandi Burruss,
Tameka Cottle, and Kevin Briggs, “Shape of You” (2017)
J also occurs in theJfollowing classicalJpiece by Ligeti.
This rhythm
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
ã 44 Û 14.6.12
. Û ÛGyörgy
Û Ligeti, 44 Horn,
Û . ÛTrioÛ forÛ Violin, Û . Ûand
. ÛPiano,
Û . IIÛ(1982)
. Û
430 1 23 1 2 3 1 2 1 2 3 YT:
1 2 W6HQ2Za75k0
3 12 12312312 12312312
Figure
The following examples have the (3+3+2)+(3+3+2) rhythm in 8th notes.
> > > > > >

432
1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
ã4
434
ã YT: d020hcWA_Wg
Figure 14.6.13 Guy Berryman, Jonny Buckland, Will Champion, and Chris
Martin, “Clocks” (2003)
450
ã
YT: h_L4Rixya64
24 Figure 14.6.14 Grohl, Hawkins, Mendel, Shiflett, “Best of You” (2005)

3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+ 2 +2+ 2
> > > > > > > > > > > >
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2 1 2 1 2
ã 44 Û Û Û Û Û Û Û Û Û Û Û ÛYT:
ÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
435
PIh2xe4jnpk
Alex Tanas, “Rude” (2013)
3 + 3 + 4 + 3 + 3
4
ã 4 Û. Û.
437
1 2 3 1 1 2 3 1 1
Û Û Û ‰ Û Û
2 3 4 2 3 2 3
14.6.1.1 Habanera and Reggaeton
The reggaeton beat is built from a 3+3+2 rhythm. We will see a relationship J
between the reggaeton beat with the habanera. First, let us examine the
famous “Habanera” bass line from the opera Carmen.
? 2 ≈ œ œ. ≈ œ œ.
438
b 4 œ. œ.
œ. œ.
?b
440
YT: iqlUlr2yzY8
Figure 14.6.16 Georges Bizet, Carmen, Habanera (“L’amour est un oiseau
rebelle”) (1870)
?
447
454
b 4 œ . œ. œ . œ.
œ. œ.
?b ≈ œ œ. ≈ œ œ.
440
œ. œ.
23
( ) ( )
œ. œ.
419
Compare the habanera pattern above to the reggaeton beat below, notated
ã 44 Û ‰ Û Œ Û Œ Û Û Œ
for bass drum and snare drum.
J
Snare Drum
4
ã 4 œ1 ≈2œ œ3 œ 1 œ 2 ≈ œ3 œ 1 œ 2 œ œ
œ ≈ œ
œ œ
œ ≈ œ
442
> Drum > >

421
4Bass
Û Û Û Û Û Û Û Û Œ Û Û Œ
ã4 Compare the “reggaeton” rhythm to the 3+3+2 of the first bar of a 3–2
444
ã
son clave (refer to the second measure in the example below).
423
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2 in eighth notes 3+3+2 in sixteenth notes
‰ Û Œ Û
J J
4 Û> > >

425 Here are examples of songs with a reggaeton beat.
1 2 3 1 2 3 1 2
ã4 Û Û Û Û Û Û Û Ó
YT: VQqwea8ZSbk
Figure 14.6.17 Wycliffe Johnson and Cleveland Browne, “Dem Bow” (1990)
ã 44 Û ≈ Û ‰ Û Ó 44 Û ‰ Û ‰ Û Ó 44 Û . Û ‰ Û Ó 44 Û . Û . Û Ó
426
J YT:J 6vjv9O4c1do J
Figure 14.6.18 Aubrey Graham, Paul Jefferies, Noah Shebib, Ayodeji Balo-
gun, Luke3 Reid,
+ 3 Errol
+ 2Reid,3Kyla
+ 3Smith,
+ 2 Corey Johnson,
3+ 3+ 2 Dance”
“One 3 + 3 (2016)
+2
ã 44 Û . Û Û Û Û. Û Û Û 44 Û . Û . Û Û . Û . Û
430 1 23 1 2 3 12 123 1 2 3 12 12312312 12312312
YT: kJQP7kiw5Fk
> > > > > >

432 Figure 14.6.19 Luis Rodríguez, Erika Ender, and Ramón Ayala, “Despacito”
(2017) 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
ã 4
4 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
Notice that the progression for “Despacito” comes from the Best-Seller
progression.
3 + 3 + 3 + 3 + 2 + 2
> > > > > >

1 2 3 1 2 3 YT: 1 8ELbX5CMomE
2 3 1 2 3 1 2 1 2
ã 44 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
434
Figure 14.6.20 Bieber, Michaels, Tranter, Moore, and Tucker, “Sorry”
YT: FjvxZO4BX38
Figure 14.6.21 Karen Marie Ørsted, Jonnali Parmenius, and Uzoechi Emenike,
“Final Song” (2016)
426
J J J
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
ã 44 Û . Û Û Û Û. 44 Û . Û . Û Û . Û . Û
1 2 3 1 2 3 1 2 1 2 3 YT:
Û Û Û
430 1 2 DCBmhs4dYzc
3 12 12312312 12312312
Figure 14.6.22 Adam Levine, John Ryan, Jacob Kasher Hindlin, Justin Tran-
ter, and Phil Shaouy, “Cold” (2017)
In the next two sections, we will examine expansions of the 3+3+2 rhythm
14.6.2> 3+3+3+3+2+2
> > > > >
432
1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
4
4 section, we will see each number in the 3+3+2 pattern repeated,Ûgen-
Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
Inã this
erating the 3+3+3+3+2+2 pattern.
3 + 3 + 3 + 3 + 2 + 2
4 >Û Û Û >Û Û Û >Û Û Û >Û Û Û >Û Û >Û Û

434 1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2
ã4
Listen for the 3+3+3+3+2+2 rhythm in the following examples.
YT: co6WMzDOh1o
Figure 14.6.23 U2, “Beautiful Day” (2000)
YT: PKRuEY68BVA
Figure 14.6.24 Aluna Frances and George Reid, “You Know You Like It”
(2012)
YT: cLyUcAUMmMY
Figure 14.6.25 Janee Bennett, Jessica Glynne, Jack Patterson, and Ina Wrold-
sen, “Hold My Hand” (2015)
14.6.3 8 Groups of 3 Plus 4 Groups of 2

the 3+3+2 pattern can also be expanded to 8 groups of 3 sixteenth notes
followed by 4 groups of 2 sixteenth notes, as shown in the example below.
24 3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+ 2 +2+ 2
> > > > > > > > > > > >
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 1 2 1 2 1 2
ã 44 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û
435
Listen for this rhythm in the examples below.
#
ã #
437
?
1. c˜: N6 2. b: N 3. G: ¯VII7 4. d: viio65/V 5. F: N46 6. f˜: N6
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
# # 4 œ . > >œ œ > >œ . >

> >œ œ > >œ > > >
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
œ‰ J œ‰ œ ‰ J œ‰ œ œ #œ œ
664
& 4
61
F˜
Elec. Gtr. j j Jr., “Ghostbusters”
j j (1984)
B
# # #14.6.26 j j j j
YT: Fe93CLbHjxQ
# # 4 ‰Rayœœ Parker,
œ œ œ
V 4 œ. ‰ œœ. ‰ œœ. ‰ œœ. ‰ œœ ‰ œœ ‰ œœ ‰ œœ
841 Figure
œ. œ. œ. œ.
? # # # # 44 Œ ≈YT: XjVNlG5cZyQ
‰ Œ ≈ ‰ j
Elec. Bass
#
Figure 14.6.27 œPink, œ # œ œ “Raise
œ Your Glass”
œ œ (2010)
‹œ
œ Max œœ
Martin, Johan Schuster,
#### j
G˜m
j j j E œ. . . .
843
‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ

V # ‰ œœœ ‰ œœœ ‰ YT:œœœ IIkqOLvuQNo
. Many œ.
. Zooz, .“Warriors” J J J J
Figure 14.6.28 Too (2016)
? #### Œ ≈ ‰ j Œ ≈
# Other
œ œ Combinations œ œ of 3s# œand œ2s œ œ œ œ
œ
14.6.3.1
You will also find other combinations of 3s and 2s (or 3s and 4s).
bb b 4 œœœ ... œœœ œœœ œœœ ‰ œœœ œœœ œœœ ... œœ .. œœ œœ œœœ œœœ œœœ œœœ ...
Fm E¯ D¯
œ. œ œ ‰ J
845
& b 4 J
? bb 4
b b 4 œ . œ œ œ ‰ œj œ œ . œ. œ œ œ
‰ j
œ œ œ.
b
& b b3b
847
24 + 3 + 3 + 3 YT:
+ 3KQ6zr6kCPj8
+ 3 + 3 + 3 +2+ 2 +2+ 2
4 >Rock >Anthem”> (2011)

> > > > > > > > >
Figure1 14.6.29
2 3 1 2 Stefan
3 1 2 Gordy,
3 1 2 3Skyler
1 2 3Gordy,
1 2 David
3 1 2 Listenbee,
3 1 2 3 1 Peter
2 1 2 Schroeder,
1 2 1 2
ã4 ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛÛ
435
“Party
? bb b ∑ ∑ ∑ ∑ ∑ ∑
b
Notice that this progression is from the i–VII–VI–VII progression. The
rhythm in the above example is dissected below.
3 + 3 + 4 + 3 + 3
ã 44 Û . Û.
437
1 1 1 1 1
Û Û Û ‰ Û Û
2 3 2 3 2 3 4 2 3 2 3
J
Listen for the 3+3+4+3+3 rhythm in the following examples.
#
ã #
438
bb 4
&bbb 4 œ œœ ˙ œ œœ ˙ œ œœ ˙
Voice
b b b 4 œœœ œœœ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ ˙˙

Nev - er nev - er nev - er
œœœ œœ ˙ œœœ œœ ˙
Keyboard
b
& b 4
? b b 14.6.30œ . œ ˙ ..
œœ ˙˙NadirœœKhayat, œœ Falk,
˙˙ Rami œœ Wayne
œœ .. Yacoub, ˙˙
bb 44 œœOnika
..
Elec. Gtr. YT: SeIJmciN8mo
Figure
b Bilal Hajji, “Starships”
Maraj,
œ. œ ˙ œ.
Carl
œ ˙
Hector, and
J (2012)
J J
? b b b 44
Elec. Bass.
bb j j j
œ. œ ˙YT: iS1g8G_njx8
œ. œ ˙ œ. œ ˙
Figure 14.6.31 Max Martin, Savan Kotecha, Ilya Salmanzadeh, Amethyst
Kelly, Ariana Grande, “Problem” (2014)
One also finds the 3+3+4+3+3 pattern in the second bar of “Tik Tok,” an
example from earlier in the chapter.
4
& b 44 œ . œ œ œ Œ ‰ œj œ . œ œ œ œ œ œ œ . œ . œ œ œ Œ ‰ œj œ . œ œ œ œ œ œ œ .
Keyboard 1
? 4 . j j
b 4 œ œ œ œ Œ ‰ œ œ.œ œ œ œ œ œ œ. œ. œ œ œ Œ ‰ œ œ.œ œ œ œ œ œ œ.
> >œ >œ >œ >œ >œ >œ >œ

? b 44 œœœ
Keyboard 2
‰ œœ Ó œœ ‰ œœJ Ó œœ ‰ œœ Ó œœ ‰ œœJ Ó
J J
? b 44 ‰ jÓ ‰ jÓ ‰ jÓ ‰ jÓ
> > > > > > > >
YT: iP6XpLQM2Cs
Figure 14.6.32 Kesha Sebert, Lukasz Gottwald, Benny Blanco, “Tik Tok”
(2009)
Notice that this progression comes from a rotation of the i–VII–VI–VII
progression.
14.7 Distinctive Bass Lines

©
Sometimes the identity of a song is in its repeated bass line (known as a “riff,”
which is a short repeated pattern). Listen to the distinctive bass lines in the
following examples.
YT: KjuF89RvfIA
Figure 14.7.1 Joseph Eastburn Winner, “Little Brown Jug” (1869)
YT: eeFpUDCyTUo
Figure 14.7.2 Lennon-McCartney, “Day Tripper” (1965)
YT: Er9xGRolrT4
Figure 14.7.3 Bernard Edwards and Nile Rodgers, “Good Times” (1979)
YT: rY0WxgSXdEE
Figure 14.7.4 John Deacon, “Another One Bites the Dust” (1980)
YT: QYHxGBH6o4M
Figure 14.7.5 Rick James, “Superfreak” (1981)
YT: a01QQZyl-_I
Figure 14.7.6 David Bowie, “Under Pressure” (1981)
YT: JtpX8KBT768
Figure 14.7.7 Amethyst Kelly, Charlotte Aitchison, George Astasio, Jason
Pebworth, Christopher Shave, Kurtis McKenzie, “Fancy” (2014)
YT: a5qZOMQ1qys
Figure 14.7.8 Ben Haggerty, Ryan Lewis, Jacob Dutton, Eric Nally, Joshua
Karp, Joshua Rawlings, Darian Asplund, Evan Flory–Barnes, Tim Haggerty,
“Downtown” (2015)
14.7.1 Distinctive Guitar Riffs

You will also find distinctive riffs played by guitar in conjunction with bass, as
in the following examples.
YT: fTTsY-oz6Go
Figure 14.7.9 Ray Davies, “You Really Got Me” (1964)
YT: y8OtzJtp-EM
Figure 14.7.10 Jimmy Page and Robert Plant, “Immigrant Song” (1970)
YT: 4c8O2n1Gfto
Figure 14.7.11 Steven Tyler and Joe Perry, “Walk This Way” (1975)
YT: pAgnJDJN4VA
Figure 14.7.12 Angus Young, Malcolm Young, and Brian Johnson, “Back in
Black” (1980)
This chapter is meant to give you ideas about animating chords and chord
progressions with accompanimental textures, including riffs. It is by no means
meant to be exhaustive, but rather to encourage you to listen closely to texture
and accompaniment.
Chapter 15
Creating Contrast Between

Sections
In this chapter, we will explore how a composer or arranger can create contrast
between different sections in a piece of music.
15.1 The Elements of Music

Creating contrast usually involves varying one or more of the “Elements of
Music,” which are listed and explained below.
Table 15.1.1 The “Elements of Music”
Melody We all know what melody is, but don’t confuse
melody with ostinato! Melody lives and breathes
and has variety.
Harmony In this section, we will associate harmony with
key and mode (major versus minor).
Rhythm What the most common rhythmic value is in a
section.
Timbre The different tone colors of different instruments,
and the different tone colors an individual
instrument can produce.
Texture Described in the previous chapter as existing in
the vertical plane (the number of voices) and the
horizontal plane (rhythmic activity of the various
voices).
Articulation Staccato versus legato, or short, clipped notes
versus long, sustained or connected notes.
Dynamics Loud versus soft.
Register High versus middle versus low.
In the next two sections we will look at how two different pieces exhibit
contrast between various sections using the elements of music.
175
CHAPTER 15. CREATING CONTRAST BETWEEN SECTIONS 176
15.2 Mozart, Eine kleine Nachtmusik, K. 525,

II.
The second movement of Mozart’s Eine kleine Nachtmusik is a five-part rondo
form (ABACA).
Let us examine the elements of music in the first section (the A section).
.
œ œ œ . œ œ œ œ œ œ . œ œ œJ œ œJ œ. œ œ œ œ œ œ œ . œ
œ‰
Vln. I & C J ‰J ‰ J J‰ J J ≈ ≈ J
Violino I
p
j j j j
Vln. II & C œj‰ œj ‰ œ œ œ œ œ œ œ . œ œj‰ œ. œ œ œ. œ œ œ œ ≈ œ œ ≈ œ . œ œj‰
œ
Violino II
œ
p
Vla. Viola BC Ó ∑ ∑ ∑ ∑
?C Ó œ œ œ œ œ œ Œ œ Œ œ œ œ œ
œ
Violoncello
Vc.
p
e Contrabasso
∑ ∑ ∑ YT: o1FSN8_pp_o
∑ ∑ ∑ ∑
14
Vln. I &
Figure 15.2.1
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
Notice how Mozart expresses the various musical elements:
Vln. II
Table 15.2.2 A Section, Second Movement, Eine kleine Nachtmusik
Harmony The key is C major
Vla. B ∑Rhythm ∑ The 8th ∑note is most
∑ common∑ rhythmic ∑value, ∑
though the phrase begins with quarter-note values
Texture The top two instruments are grouped together
? ∑
Articulation ∑ ∑ legato ∑
against a simple bass part
Generally ∑ ∑ ∑
Dynamics Soft
Register Neither extremely high nor low
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
21
&
Here is the beginning of the second section (the B section):
Vln. I
Vln. II
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?C Ó œ
Vc.
Violoncello
œ œ œ œ œ œ Œ œ Œ œ œ œ œ C
p
e Contrabasso
œ. œ. œ. œ. œ œ œ œ œ œ œ œ. œ. œ. œ. #.œ œ œ. œ. # œ. œ.
14
&C ‰
œ ‰ œ ‰ œ . œJ œ œ œ œ œ . œ œJ ‰ J œJ œJJœ œJ œ œ ≈ œ œ ≈ œ . œ œ ‰ C
Vln. I œœ .
Vln. I p &C J J J
œ. œ. œ.
Violino I
&C œ œ p j ‰ œ œ œ œ œ œœœ
œ. œ. C #œ ‰ ‰ œ . . . . œ n œ œ
Vln. II
j j œ
p. II. j j j‰ œ œ j j ≈ .≈ ‰C
Vln. II & œ œ œ œ œ œ œ. œ œ. œ .œ . œ. œ . œ œ. œ œ œ œ œ .œ . œ . œ œj
. . .œ œ.
Violino
Vla. BC œ œ pœ Œ œ œ œ œ œ Œ œ œ œ. œ.
p. . . B. C Ó ∑ ∑ ∑ ∑ C
œ. œ. œ. œ.
Vla.
œ œ œ œ œ
Viola
? C ?C Ó Œœ œ œœ. œœ. œ.œ œ. œ Œœ œ ŒŒ œ œ

œ œ œ C
c. Violoncello
p
Vc.
p
e Contrabasso
∑œ. œ. œ. ∑œ. œ ∑œ œ œ œ œ∑ œYT: . .

∑œ. œ. #∑œ
. œ.o1FSN8_pp_o œ∑ ‰ ∑œ. œ. # œ∑ œ b b∑b C
17
& œ
14
Vln. I
Vln. I & C J
p
∑ œ. œ.∑ œ. b b∑b C
Figure 15.2.3 B Section, Second Movement, Eine kleine Nachtmusik
C ∑ are the∑ most ∑noticeable
&Here j ‰∑ œdifferences:
œ ∑œ œ ∑œ œ œ œ∑
œ œ œ Bœ Section,
#œ œ . . Movement,
. . œ
Einen œkleine
œ œ. Nachtmusik
Vln. II
p. . . .
Table 15.2.4 Second
B C œ. œ. œ. œ. œ8th notes
Rhythm
Œ œ. œthe
. œ. most
œ. common
œ Œ œ. œ.value,
œ.∑ œ. b b∑b C
B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
are rhythmic
Vla.
Vla. with some 16th-note runs
pTexture
.œ œ. œ. œ. beginning of each subphrase œ. œ. œ. œ.
All four voices move in the same rhythm at the
? CArticulation œFour Œstaccato Œ b C

c. ? ∑ ∑ ∑ ∑ œ. œ. ∑œ. œ. ∑œ ∑ ∑ ∑ b ∑b
notes start each subphrase
Now,plook at the beginning of the next contrasting section (the C section):
c.
T T T
bb b C Œ œ. n œ œ. n œ œ. œ
17
Vln. I & nœ J ‰ Œ Œ nœ J ‰ Œ Œ
p
b
Vln. II
& b b C œœ œœœœœœ œœœœœœœœœœ œœœœœœ œœœœœœœœœœ œœœœœœ
p
Vla. B bbb C œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ
p T T
? bb C Ó œ. n j . n j
œ
c. b Œ nœ œ ‰ Œ Œ nœ œ ‰ Œ
p
YT: o1FSN8_pp_o
Figure 15.2.5 C Section, Second Movement, Eine kleine Nachtmusik
The following elements are noticeably changed:
œ œ œœ œ #œ
#### j j j j œœ. ‰ œœ. ‰ œœ. ‰ œœ.178

G˜m
843
E
V # ‰ œ
œœ ‰ œ
œœ ‰ œ
œ ‰ œ
œœ ‰ œ œ œ œ
CHAPTER 15. CREATING CONTRAST BETWEEN SECTIONS
.
Table 15.2.6 C Section, . Secondœ. Movement,
. J kleine
Eine J Nachtmusik
J J
##
? # Harmony
#Rhythm Œ accompaniment
≈ ‰ j Œ ≈
# œ œ The œ œ # œmovesœ in œ16th notes and œtheœ œ
This section begins in C minor
œ
ornamentation of the second melody note (the
turn) in the outer parts sounds as four 32nd notes
bb b 4 œœœ ... œœœ œœœ œœœ ‰ œœœ œœœ œœœ ... œœ .. œœ œœ œœœ œœœ œœœ œœœ ...
TextureFm The middle two parts (Violin
E¯
II and Viola)
D¯
are
œ. œ œ ‰ J
845 paired together and the Violin I and Cello/Bass
b 4
& Articulation J
part engage in imitation
The middle parts are played in a “separated”
manner (more staccato than legato) and the
? bb 4
b b 4 œ . œ œ œ ‰ œj œ œ . œ . œ œ ‰ j
motive in the outer voices starts with a staccato
note
œ œtransitional
Listen to how Mozart puts the entire form together, including œ œ.
material to smooth out the changes from one section to another.
A B A C A
legato staccato legato staccato legato

8th notes 8th notes 8th notes 16th notes 8th notes
Vn1+Vn2 vs Bass All 4 together Vn1+Vn2 vs Bass Bass imitates Vn1 Vn1+Vn2 vs Bass
C major C major C major C minor C major
YT: o1FSN8_pp_o
Figure 15.2.7 Formal Diagram of Second Movement, Eine kleine Nachtmusik
15.3 “Rude” by MAGIC!

Now we will examine contrast in recent popular music. Here is the musical
example of the texture from the reggae section of this song, as seen in the
2 previous chapter.
G¯ A¯ D¯ B¯m A¯
b
& b b b b 44
Muted Elec. Gtr.
œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œ ‰ œ
12
œ œ
j j j j j j
b b b 4 ‰ œj ‰ œj ‰ œœ ‰ œœ ‰ œœœ ‰ œœœ ‰ œœœ ‰ œœœ
Elec. Gtr.
b
& b 4 œœ œœ œ. œ. . . . .
12
. .
? b b b 44 Œ ≈œ œ Œ ‰
12 Elec. Bass
bb œ œ œ œ. œ œ . œ œ œ œ.
œ. œœ
D¯: IV V I vi V
In Verse 1 there is no bass drum, snare drum, or electric bass. All we
b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
hear
14
are the voice part and the two guitar parts from the top two staves in
b
& b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
14
14
the example above. There are fewer voices occurring on the vertical plane,
creating a light texture.
YT: PIh2xe4jnpk
Figure 15.3.1 Verse 1 of “Rude”
The bass guitar and drum groove enter in Verse 2, thickening the texture
and adding the backbeat of the snare drum.
YT: PIh2xe4jnpk
Figure 15.3.2 Verse 2 of “Rude”
In the pre-chorus, the guitars and bass have legato half notes and quarter
notes while the drummer plays cross-stick eighth notes (if one is counting in a
slow 44 ). Without the snare drum backbeat, the texture lightens.
YT: PIh2xe4jnpk
Figure 15.3.3 Pre-Chorus of “Rude” 23
419
ã 44 Û
The chorus has approximately the same accompaniment as Verse 2 but the
‰ Û Œ Û Œ Û Û Œ
voice parts are in a higher register, repeating a 2-measure subphrase containing
J
the “hook.”
> > >

421
1 1 2
2YT: PIh2xe4jnpk
3 3 1 2
4
ã 4emphasizes a (3+3+2)+(3+3+2) rhythmÛ on allŒ instru-Û
Û Û Û Û Û Û Û Û Œ
Figure 15.3.4 Chorus of “Rude”
The post-chorus
ments (guitars, bass, and the bass drum, snare drum, and hi-hat of the drum
set).
423
ã 44 Û 44 Û ≈ Û ‰ Û Ó
3+3+2 in eighth notes 3+3+2 in sixteenth notes
‰ Û Œ Û
J J
4 Û> YT: > >

425
1 2 3 1 2 3 1 2
ã4 Û Û Û Û
PIh2xe4jnpk Û Û Û Ó
Figure 15.3.5 Post-Chorus of “Rude”
Below is a formal diagram of the first five sections of “Rude.”
426
J J J
3 + 3 + 2 3 + 3 + 2 3+ 3+2 3+ 3 +2
ã 44 Û . Û Û Û Û. Û Û Û 44 Û . Û . Û Û . Û . Û
430 1 23 1 2 3 12 123 1 2 3 12 12312312 12312312
432
1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2
legato staccato legato staccato J J legato
8th notes A: I 8th notes 8th notes ii16th notes 8th notes
? ### j œj œ œj Œ Ó
Vn1+Vn2 vs Bass All 4 together Vn1+Vn2 vs Bass Bass imitates Vn1 Vn1+Vn2 vs Bass
j œj œ œj Œ Ó
299 C major E C major C major A C minor C major
œ. #œ œ
œ . ‹ œ œ
Verse 1 Verse 2 Pre-Chorus Chorus Post-Chorus
V I
? ### 4 w w
A staccato D E E A
All instruments w No snare drum
staccato legato staccato legato elements
4 w œ
8th notes 16th notes whole notes 16th notes 3+3+2 rhythm
303 No bass/drums All instruments Open hi-hat
A: I IV V V I
˙˙˙ ˙
˙ ˙ ˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙
˙ ˙ ˙ ˙
308 YT: PIh2xe4jnpk
&
Figure 15.3.6 First ˙
5 ˙
Sections of “Rude” ˙
309
This five-section unit repeats again with Verse 3, Verse 4, the Pre-Chorus,
C: I and vi
Chorus, IV
Post-Chorus. V versus I vi ii/3rd V
When you listen to the entire piece, you hear how the musicians designate
the form using the elements of articulation, C
? 44 ˙
rhythm,Am texture, Fand dynamics.
G
˙
One element that changes very little during entire song is the chord progression,
which we examined in the chapter on harmonic progression, and is a rotation ˙ ˙
of the 50s progression. C: I vi IV V
G¯≤ A¯≤ D¯≤ B¯≤m

311
? b b b 44 w w
bb w w
? bb b
315
While you are likely aware of successful songs in the which very few musical
bb
elements change, it is worth considering how you can articulate the form of your
compositions and arrangements using the elements of music.
? bb b
323
bb
? bb b
327
bb
Chapter 16
Figured Bass
16.1 Historical Context

In the Baroque era in music (roughly 1600–1750 C.E.), a shorthand was de-
veloped for writing chords. (Lead-sheet symbols are the modern shorthand for
representing chords). Figured bass (also known as thoroughbass) consists
of a bass line notated on a staff accompanied by numbers representing intervals
to be played above the bass note within the key signature. (These figured-bass
numbers are traditionally notated below the bass line.)
Figure 16.1.1 George Frideric Handel’s handwritten manuscript of Recorder

Sonata in A minor, HWV 362, I. Larghetto
181
20
j
bb
188
& œ . œ œ œ j‰ œ ‰œ œ . œ œ œ œœ ‰ œ œ œ ‰ œœ . œ œ œ .
CHAPTER 16. FIGURED BASS 182
63
3 Œ œ . œJ œœ #œœ œ œ œ #œ œ
& 4 It's a hard-knock life for us, 6 It's a hard-knock life for us 'Stead of treat - ed
863
bb ‰ Œ 6 4+ 6 3
188
7 6 6
œ œ œ œ œ œ œ . œ œœ œœ œœ œœ œ œœ. œœ œ œ œœ œ œœ
7 6 6
& 7 6 2
? 43 œ . œ œ œ œ œœ.œ .œœ.œœœ.œ .œœ.œ œœ. œœ. œ œœ. œ œœœ. . œ œ. œ. œ. œ. œ. œ œœ. . œ. œ.
œ œ. j3 œj
? b ‰ Œ 3 j‰ ‰ j Ó 3 œ ‰‰ Ó
b œ œ
3
œ œ œ >œin A minor, HWV

> figured
Figure 16.1.2 George Frideric
362, I. Larghetto, without
867 > bass realization
Handel, Recorder Sonata
>
&3 œ. œ œ #œ
œ œ œ œ œ œ œ #œ œ
191
& 4 Œ J
3
?∑
œœ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ œ∑ œœ ∑œœ∑ œœ∑ œ ∑œ
3
& 43 œœ œœ œ œ œœœ # œœœ œœœ œ œ œœ œœœ œœ œ

191 3 3
3
œœ œ œ
œ . œ œ œ œ œ . œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ
? 43 œ œ. œ œ. œ œ.
884
œ œ.
& 3 6
4+
3
7 6 6
3
7 6 6
3
6 7 6 2
? ∑ ∑ ∑ ∑ ∑
195
&
YT: ljj6URbK8Xg
Figure 16.1.3 George Frideric Handel, Recorder Sonata in A minor, HWV
∑ ∑
195
&Like lead-sheet symbols,

362, I. Larghetto, with figured bass realization
figured bass allowed a keyboardist or guitarist
freedom in choosing chord voicings. While some early music specialists perform
? ∑ ∑
from scores with the original notation, editions of Baroque compositions by
composers like J.S. Bach and Handel that were originally notated with figured
bass have been “realized” or written out in modern editions.
In the present day, figured bass is taught in music theory courses primarily
as a shorthand for chord inversion symbols (although many music programs
also endeavor to teach students to perform at the piano music written with
figured bass notation).
16.2 Figured Bass Inversion Symbols

Following are the figured bass inversion symbols most commonly used for triads
and seventh chords. (Remember that figured bass numbers represent intervals
above the bass note within the key signature.)
Figured
Figured BassBass
(or (or
"Bass"Bass Position
Position Symbols",
Symbols", or "bps")
or "bps")
CHAPTER 16. FIGURED BASS
3 + 3 + 183 4 + 3
4
ã 46 Û6. 6 6 Û
437
1 2 3 1 1 2 3 1
Û Û ‰ Û Û
2 3 4 2 3
For Triads:
For Triads: J
4 4
Root is the 3rd of the triad 5th of the triad
Root isbass 3rd of the
the note. triad
is the bass5th of the
note. triadbass note.
is the
? b 42 ≈ œ œ.
bass note. is the bass note. is the bass note.
≈ œ
438
œ.
Figure 16.2.1 Figured Bass Inversion Symbols for Triads
7
7
œ. Root of the seventh chord
Root of isthethe
seventh
is the bass note.
chord
bass note. œ.
?b ≈ œ ( œ. )
66
≈ œ
440
The 3rdThe 3rdseventh
of the seventh
chord chord
œ.
of the
is the bass note.
5 is the bass note.
(
œ4. œ.
For Seventh Chords: 5
The 5th of the seventh chord
For Seventh Chords:
34
is the bass note.
The 5th of the seventh chord
Snare Drum
is the bass note.
4
3
ã 4 œ2 ≈ œ œ œ œ ≈ œ œ œ œ ≈œœ œ œ
442
4 The 7th of the seventh chord
is the bass note.
4 The 7th of the seventh chord

is the bass note.
Bass Symbols
Figure 16.2.2 Figured Bass Inversion
2
Drum for Seventh Chords
444 Unlike original figured bass notation in the Baroque era, in music theory
www ww
courses, figured bass inversion symbols are placed after Roman numerals.
& w
Compare figured bass symbols to the modified slash notation we have been
using in previous chapters. 29
ww ww www w
www
572
C C/E C/G Am7 Am /C7 Am7/E Am7/G
& ww
w w w ww
ww
C: ww
iii w
w w ii6
www vi wwwwvi wwww

C: 447
I I6 I64 vi7 vi65 vi43 vi42
& w Bass versus Roman Numerals

C: I I/3rd I/5th vi7
vi 7/3rd 7/5th 7/7th
Figure 16.2.3 Roman Numerals with Figured

579
&
with Modifed Slash Notation
Because the figures 65 , 43 , and 42 C: iii7used for seventh chords,
are only ii56 the “7” IM43
wwww
is omitted when labeling inverted seventh chords.
451
589
&
&
C: V765
Figure 16.2.4 “7” is not included when 7th chords are inverted
J J
p
j j j j j j
Bass Drumfrag. a frag. b frag. a frag. b
œ FIGURED
œ œ œ œ œ œ œ œ œ œ œ œ
? # # # 68 œw. œ œ œ œJ œ . œ œ wwœ œJ œ œ œ œJ œww œ œ .
444
CHAPTER 16. BASS 184
& w w J w J
Notice thatwit is essential with seventh chords to include symbols like “M”
C: A: seventh
(for a major Iiii I/3rd and
chord) V/3rd
◦
ii67ø/5th
andV 7 figured
beforevithe V/3rd bass 6 3rd I/5th V
I Iii/
4numbers and
after the Roman numeral. Half Cadence
www www phrase a w www

447
& w ww w
w w
# # # œ .7 œ œ œ œ œ 6. œ œ œ œ M4 j œ œ œ œœ ø4œ œ œj
J œI 3œ vii 2 œ œ
493
& C: iii J ii5 J J

p j j j j j j
&? # # œœ . œ œœ œœ œœ œœ . œ œœ œœ œœ œœ œœ œœ œœ œœ
Figure 16.2.5
451
16.3 #The Cadential J J Chord J œ œ.

Six-Four J J
A common term in music theory—the I/5th V
phrase a' “cadential six-four” (or cadential
6
6
)—is used to refer to the I that regularly proceeds the V chord in (HC)
cadences.
j
4 4
## œ œ œ. œ œ œ œœ œœj œ ‰
& # œ. œ œ
œ œ œ œ œœ
497
J J J œ œ œ œœ
j j j j j
œ œ œ œœ œœ œ œ œœ œœ œ œ œ
? ### œ . œ J œ. œ œ J œ œJ œ œ œ j ‰
J œ œ
A: ii6 I46 V7 I
(Cadential 64 )
YT: vp_h649sZ9A
CHAPTER 16. FIGURED BASS 185 17
B b/D F B b B b/D G m C ø7/G b B b/F Bb
œ œ (œ ) ˙
F F7
b œ œ œ . ( œJ ) œ
& b 43 œ œ œ. ˙
152
J
j
b
& b 43 œ œ œœœ œœœ ( œœœ ) ˙˙˙ œœ œœœ œœœ ... ( œœœ ) œœœ
œœ .. ˙˙
152
œ J ˙
? b b 43 œ ( œ ) œ . j ˙ œ bœ œ. j
œ ( œ) œ . œ œœ ( œœ ) ˙ œ bœ œ. œ œ ˙
œ ( ) œ œ ˙
B¯: I64 V7 I
(Cadential 64 )
B¯: I/5th V7 I dom. ton.
b
G¯ YT: LGvW6jHUHiY D¯
& b bbb c Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
157
Figure 16.3.2 Francis Scott Key and John Stafford Smith, “The Star-Spangled
Banner”
It is worth remembering that the cadential 6 (or I64 ) has dominant function,
b
& b b b b c ww
157 Now that it's rain - ing more than ev4 - er Know that we still have each oth -
just like the V chord that usually follows it. Previously, we have called this
ww
w
chord “ I/5th .”
w
We will use the term “cadential six-four” throughout the rest of this text,
now that figured bass has been introduced.
? bb c
16.4b Other
b b w Occurrences of Six-Four
w
Chords
D¯: IVchords with the fifth of the chord
Second-inversion I in the bass, also known as
159 6
4 chords, are special chords found only in four situations in classical89
music.
bbbbb œ œ
A¯ six-four (discussed in the previous
B¯m section)
&
1. Cadential
œ bass
œ the
2. Passing six-four: œ œwillœ look
œ œ line œ œlikeœ a œpassing-tone œ œ œwith
œ œ œ figure, œ
three stepwise ascending or descending notes, and the middle chord will
b
159
& b bbb w
be a 64 er You can stand un - der my um - br - el - la You can stand un - der my um - br - el -
chord
& œœœ œœ œœ
ww ww
w
? bb
bbb w
œ w
œ
?œ
V vi
œ œ
C: I V64 I6
(passing 64 )
& œœœ œœ œœœ

œ
?œ œ œ
C: I V64 I6
3. Pedal six-four: the bassline will consist of 6three repeated notes, and the
(passing 4 )
middle chord will be a 64 chord.
& œœœ œœ œœœ

œ
? œ œ œ
C: I IV64 I
(pedal 64)
4. Melodic bass six-four: in this situation, the bass voice has the melody;
when the fifth of the chord occurs in this bass voice melody, the result
will be a 64 chord.
16.5 Additional Information

Though we will not use them in our harmonic analyses, you will sometimes
encounter figured bass symbols containing all of the intervals above the bass
note in Baroque music containing figured bass. The common figured bass
inversion symbols in the sections above are abbreviations of the figures given
25
452
in the examples below.
www ww ww
& w w
5 6 6
w
3 3 4
www wwww wwww www

455
& w
7 6 6 6
5 5 4 4
3 3 3 2
Figure 16.5.1 “Full” Figured Bass symbols showing every interval above the
lowest note
Additionally, you may notice that figured bass numbers in actual music
(but not in Roman numeral labeling) may be altered chromatically with the
following symbols.
& . #bb wwww œ œ 7œ#.# www6 œ 2œ œ œ bbœwww. œ œ œ# wwwœ œ . œ# wwœw œ œ
?& œ w œ œ # # ww ww #w œ œ. #w
43 C: œvii#œwo.7/ii œ o œ
7
vii /iii
. ø7
vii /IV
œ œ . viiø7/V viio7/vi
CHAPTER viio7FIGURED
C: 16. /ii 3 vii o7/iii
BASS 3 viiø7/IV 3viiø7/V viio7/vi
3 187
b bbb ## ˙˙nn wwww

bGGwwwo w
n www
Fõ
4 wwEo
Eo o Ao
&
543
4 bb œœb # œœ n www n ˙˙
n
Fõ
# ˙˙˙ b w b ˙˙ ˙
867
&& # ˙˙n w
Ao
wb ˙
543
œ c: œviio/iv˙ #˙ ow o
vii /V vii /VI viio/VII
o
c: vii /iv viio/V viio/VI viio/VII
? 44 b bœ w b˙wwww w
˙ n wwww
Fõ7
www œ ˙ b www ˙
Dø7 Eo7 Gø7 Aø7
# nn wwww˙6
547
& b bbb
Fõ7
nb ww 6 b ww
547 Dø7 Eo7 Gø7 Aø7
& ww now7 4+ #w #5 nw
b c:
wviiø7# /III n
vii /iv viio7/V
b7
b 5/VI
viiø7 viiø7/VII
c: viiø7/III vii o7/iv viio67with
/V a viiø7/VI viiø7/VII
accidentals without 4 with + and accidentals before a
ww www
numbers
____ refer to ____
the slash
____through it mean
____ ____ affect that____
www the bass www
552 number
& www w ww
3rd above bass ____
____ raise
____those intervals
____ ____ above the ____
ww
552 interval bass
& w
w w w ww
above
w w w w
#
Figure 16.5.2 Figured Bass with Chromatic Alterations 63
#œ# w ____ # #œ wœ ____
b b b 3ww____ œ œ ____
Lead-sheet:C: ____ _____ ____ _____ ____ _____
____ ____ _____ ____
# œ ____ œ b w____ ____ w œ #œ œ

870
& ____ œ . œ w
C: ____ ____ ____ ____ ____ ____
w œw w
558
w J w
____
16.6&&Practice w w
4 ww Œ ww w
w6www w wwww wwwww www
558
w
863 ____ ____ ____
ww V /vi 62.#E:w V #7/IVw 3. wD¯:4 V /ii 7 4. wwc:6 V /III6 5.#wwg:7#V 6/Vww6 6www3
Exercises
& 1. A¯: w w
? w
b bC: ____
b # 6 ____
b œ .w____
2 symbols
œ œ below œ œ ____
____œstaff. œ____.
#Roman
œ œ œœ
œnumerals
4 7 4 6 6
œ . œ œ œ œ œw. œ œ
1. Analyze the triads ____ with lead-sheet above and
? 43 ____
____
withC:figured
____
œ œ .
bass ____
inversion
œ œ .
symbols ____
œ œ____
the
.w .
œ œ____
____
ww
____
ww 3 www 3
564
& w ww 3
564 ____ ____ ____ ____
ww
Rom. num.: 1. c: _____ 2. b: _____ 3. F: _____ 4. D: _____
& _____ w w
ww w
3
# # cC: ____ b b # ˙ ____ ˙b b b w____

Lead-sheet: _____ _____ _____
# ˙˙˙4
874
wwC: b____
œœ1 # œœ n ˙˙ ww ____ ˙ b ˙˙ b ww____
867
& & 2 #˙ #ww˙˙ ____ b

____
w 1 œ œ ˙ ˙ # 3
w w
2 3 4
?numerals
#? w ____
#symbols
b bass
w inversion below thebstaff. b w____
2. Analyze the seventh chords with lead-sheet symbols above and Roman
# wc with w b w b b
œ w œ ˙ w ˙ w ˙wwww
____ figured ____
ww www ˙ www
568
& w ˙
____ ____ ____ ____
ww ww # 5w
568
& 1. D: _____ b # 2. g: _____ww 6

n 4
6 _____ b 7 4. f: _____ w
b5
Rom. num.: 3. e:
C: ____ ____+ ____ ____
# # # # w 3rd above bassb # # intervals

C: accidentals
____ ____
4 with + and 6 with____ ____
raise#those
without a
b b band
accidentals_____
before a
b b wwRoman nu-
Lead-sheet: _____ _____ _____
above #the bass ww

numbers refer to the 2slash through it mean3
#
1 number affect 4that
&Label w w w
878
ww inversion symbols below.

interval above the bass
3. the given chords using lead-sheet symbols above
? # # # # bww ww# _____ # # w _____ b # _____

merals with figured bass
www b # w # # # b ww b b b#b w ww
Lead-sheet: _____
&bb
870
w w
16
#w w
? b w ## w ## w
? bb b
8. D¯: _____
w
Rom. num.: 5. E: _____
_____ 6. d: __________ 7. B: _____
_____ _____
538
Rom. num.: 1. c: _____ 2. b: _____ 3. F: _____ 4. D: _____

¯_____ f ˜: Vwith
# key signatures. b #
viio7/5th : IVM7/7th the 7
bbbb
874 4. the1.specified
Lead-sheet:
Write b:_____ 2. DAnalyze
chords. 3. _____
chords 4. E: iisymbols.
_____
lead-sheet /3rd
& # ww_____ b ww _____ w ww

Include
?# w w
542 _____ _____
? w &
& w
? ## w 6 b b w2. c: iiø4 # ww bbbb w
1. E: IV 3
3. G: V56 4. d: viio6
546 _____
Rom. num.: 1. _____ _____ _____
? below and lead-sheet symbols ?
5. D: _____2. g: Roman
Analyze the excerpt using _____ numerals with figured bass inversion 3. e: _____ 4. f: _____
symbols
&
above. Analyze non-chord tones.
& _____
## #### w b b b b4.b g:wwwviio6
& #1.#A: wwI6
Lead-sheet: _____ _____ _____
b # 3.wwb: V65
878
ww 2. F: ii42
? # # ww w #### w
# b w b b
_____ _____ _____ _____
? # # bbb w
550
8. D¯: _____M6
7. f ˜: VII
Rom. num.: 5. E:6 _____ 6. d: _____ ø4 7. B: _____ 6
5. e: iv4 6. B¯: vii 3 8. E¯: IV 5
554
Lead-sheet: ____ ____ ____ ____ ____ ____
& 44 œ
64 882
œ œ œ(œ ) œ ˙œ œ ww
? 44 œ œ
œ
œœ œ œ œ w
œ œ œ
( )
w
C: ____ ____ ____ ____ ____ ____
884
& YT: 8QZ0WkwZ5Uc
? ∑ ∑ ∑
Figure 16.6.1 J.S. Bach, Chorale 175, “Jesus, meine Zuversicht”

Chapter 17
Secondary Dominant Chords
So far we have studied diatonic harmony (chords without accidentals, with the
exception of the use of raised 6̂ and 7̂ in minor, which are considered diatonic).
In the following chapters, we will study chromatic harmony.
2
b 44 œŒÓ 44
16
V
? 4 ∑ 4
16
17.1 Examples with Secondary Dominants
b 4 4
Secondary dominants are common in classical and popular music. Here are
examples with the chromatic chords noted. We will examine these chords
more closely later in the chapter.
4
17
Vb 4 œ œ œ œ ‰ j
œ œ
œ œ œ Œ
I be - lieve in yes - ter - day.
17
œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ
? 4
b 4
œ œ œ œ œ œ œ œ œ
Figure 17.1.1 Paul McCartney, “Yesterday” (1965)
Vb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
Vb ∑
35
189
?
35
? 43 œ . œ œ .
œ œ. œ œ. œ œ.
œ œ.
63
4+ 7 CHORDS 7 6 6
3 3 3
6 7 6 DOMINANT
CHAPTER 17. SECONDARY 2 6 6 190
b 4
&b 4 Œ ‰ j Ó
195
b
Don't know why I did - n't come.
& b 44 # œ n œ j
195
œ œ œ n œ œ œ œ b œœ œœ .. œœ ˙˙
? b b 44 Œ j
˙ œ. œ ˙
˙
21
YT: tO4dxvguQDk
Figure 17.1.2 Jesse Harris, “Don’t Know Why” (2002)
### 4 jœ
œ œ ‰ œ ˙ Œ ‰ œJ œ œ‰ œ œ œ ˙ Ó
198
& 4 œ J 21
### 44
shine up my old brown shoes. I'll put on my brand new shirt
& ##
198
# ˙ . j œ #œ ˙
œ œ ‰ œ œ œ . Œ œ‰ n œ œ˙ œ‰ œ œ œ œ ˙w Ó
198
& 4 J J
? ### 44 shine up my old brown shoes.
œœ œ œ I'll nputœ onœmy brand
### œ œ œ œ œ œ
44 œ œ œ œ œ œ
new shirt
œœ
198
œ œ œ œ
& ˙œ . œ œ œ # œ ˙ . œ n œ n ˙œ œ œœ œ œœ w
? # # # 44 ∑
œ œ œ∑ œ YT:œ∑ -qgpewMCVjs
œ œ œ ∑ n œ œ∑ œ œ∑ œ œ œ∑ œ
202
&
œ œ œ œ œœœœ nœ œ œ œ œ œ œ œ
## ∑
Figure 17.1.3 Rick Nielson, “I Want You to Want Me” (1977)
& 4# ∑ ∑ ∑ ∑ ∑ ∑
202
& 4 ˙. œ #œ ˙.
202
œ nœ ˙. œœ ˙ œ œ
? 4# # # ∑ ∑ ∑ ∑ ∑ ∑ ∑
& 4 œœ œœ œœ œœ ‰ œœj Œ œœ œœ œœ ‰ œœj Œ œœ œœ œœ ‰ œœj Œ œœ œœ œœ
202
œ œ œ œ # œœ # œœ œœ œœ n œœ œœ œœ œœ œ œ œœ
? 44# #
& # œ œ ∑œ œ ∑ œ œ œ ∑ œ œ∑ œ œ ∑œ œ œ ∑ œ
209
œœ œ œ œœ œ œ œœ œ œ œ œ œ
### ∑
∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑
209
& ∑ ∑
206
&
YT: vL7Op9ZQ3E0
?# # ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑∑ ∑∑
& #∑ ∑
Figure
206 17.1.4 Robert William Lamm, “Saturday in the Park” (1972)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙. œ #œ ˙ . œ nœ ˙ œœœ w œ
? # # # 44 œ œ œ œ
œ œ œ œ n œ œ œ œ 9 œ ____
œ 10œ œ191
E¯: ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
œœœœ nœ œ œ œ œ œ œ œ
Lead-sheet: ____
CHAPTER 1 ____
17. 2 ____ 3 DOMINANT
SECONDARY 4 ____5 CHORDS
6 ____
7 8
& 44 œ‰ ‰ œœj œ œœœ œ ‰ ˙ j

64 882
& 4 œ œœ ˙˙ .. ( ) œ œœœ ˙˙ . œ ‰ œj ww˙ . ‰ j

887
œ ˙. # œœ ˙˙ ... n œœ ˙˙ .. œœ ˙˙
4
& 4 ˙. > œ #œ ˙. > >. œ ˙
202
œ n œ ˙ œ > œ
? 4 œj œœ ˙œœ ‰ j œ œ‰ (œ ) w ‰ j ˙ œ œ
4 œœ œ œ œ œœ ˙ œ œj œ œ ˙ œ œ
4 œ ˙ w œ ˙
& 4 œœ. œ.œ> œ œ ‰ œjœ. Œœ. œœ œ ˙ œ ‰ œœ.j œ. Œ>œ œ ˙œ œ ‰ œ.œjœ. œŒ œ ˙œ œ
202
œœ œœ œœ____œœ #____
C: ____
œœœ # œœœ> œœœ ____
œœœ n œœœ ____ œœœ œœœ œœœ œœ > ____ œœ œœ œœ
? 44 ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
892
884
& b b œ4 œ œ œ
Lead-sheet:
œœ œ œ
b
& œ4 œ œ œ œœ œœœ YT:
œ œawVi2QXC0ZE
œœ œ œ œœ œ˙œœ œ œ œœ œ
œœ œPhilip Lawrence,
( œ ) œ œand Ari
Bruno Mars, œCeeLo œ œ Green, œ œœLevine,
? 17.1.5
Figure
∑ ∑ ∑ ∑ ∑ ∑œ
j œ œ œ
“Forget You” (2010)
? #b # # 4 3œœ œœ ( œ) œœ .
. . œ œ œ
> œœ . œ . . œ œ (œœ ) œ>
& b #b 4# 8 œ . œ œJ œJ R≈œ œ œ œ œJ œJ œ R ≈œœ
206
( )
# # # # 31 œ . 2œ œ. œ. 3 # œr œ4 œ 5 6 œ . 7œ œ. 8 œ. ‹9œr œ œ10
206
E¯: ____ La____
don - na____
è mo - bil____ ____
____ qual piu____
____ - ma al ____ven -____
to,
& # 8 œœ ≈ œœ œœ ≈ œœ
4 R R
& 4 ‰ ‰ œœj ˙˙ ..œœ œœ ‰ œjœ ˙˙œ. œ ‰ œj œœ˙ .œœ ‰ œj œœ˙ œœ
887
? # # # # 38 œ # œ ˙ . œ œ # œœ œ ˙˙ œ... œ ‹ nœœœ œ˙˙ .. œ œœœ ˙˙

# > > > >
? 44 j œ ˙ ‰ j
œœ œ œ œ ˙ ‰ œj œ œ ˙ ‰ œj œ
œ. œ. >œ ˙ œ. œ. œ ˙ œ œ œ ˙ œ. œ. œœ ˙˙
> 8uMb3CnP6L8
YT: . .> >
Figure 17.1.6 Verdi, Rigoletto, “La donna è mobile” (1851)
. > . .
b 4 œj ‰ œœ. ≈ œœ œœœ œœ. . >
œœ œœœ œœ œœ œœ œœœ œœ ‰
892
&b 4 œ. œ œœ
J
π œ.
œœ. œ n œ b œ. œ. œ. >œœ œ œ. œ. n >œœ œ
? bb 44 J ‰ œ ≈ œ œ œ œ b œœ J ‰
YT: JRXIDEpquCg
Figure 17.1.7 Tchaikovsky, The Nutcracker, “Miniature Overture” (1892)
17.2 Tonicization
In this chapter and the next, we will study tonicization, which means treating
a chord other than the I chord like a tonic by approaching it with its dominant.
In diatonic harmony, the V chord (the dominant) resolves to the I chord (the
CHAPTER 17. SECONDARY DOMINANT CHORDS 192
tonic). A secondary dominant is a major triad or dominant seventh chord that

resolves to (or tonicizes) a chord other than the I chord. 65
œ
C A7/C˜ Dm B7/D˜ Em C7/E F D7/F˜ G E7/G˜ Am G7/B
˙˙ ..
& 44 œœ œœ n œœ
G7/B
œœ œœ
C
# œœ b œœ œœ œœ ˙.
896
œœ œœ œœ œœ œ œ œ œ
œ #œ œ œ ˙.
? 44 œ œ #œ œ #œ œ œ œ #œ
C: V56 I V56/ii ii V56/iii iii V56/IV IV V56/V V V56/vi vi V56 I
901
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 17.2.1
25
911Singthe bass line of the example above and notice that a secondary chord,
&
452
ww ww
through its chromaticism, intensifies the drive to the next chord.
& www
Principle 17.2.2 Secondary Dominants. The Roman numeral after the
w w
?
slash is the chord being tonicized by the V chord before
. 4 the slash.
∑
You may find5 ∑ 6
that you want to analyze 7
∑ 6
the D F in the example ∑
above ∑ ∑ ∑
w
3 3 4
ww wwww wwww www

455
a II5 instead of a V5 V (which we pronounce as “ V5 of V ”), and the
6 6 6

& ww
as .
4
E G as a III65 instead of V65 vi (“ V65 of vi ”). Notice, however, that a ii
7

chord is typically
7
minor in a 6major key and diminished
6 in a minor6 key ( ii◦ ),
918
&
5
making uppercase 5
II a chromatic 4
harmony for which 4 is V/V .
the proper label
3 3 3 2
b Cww
w # # wwww
D7 E7 A7 B7 7
#∑wwww
w # www ww
459
&? ∑ # www ∑ ∑ ∑ ∑ ∑
In C major
Label as V7/V V7/vi V7/ii V7/iii V7/IV
Not as II7 III7 VI7 VII7 I7
925
&While labeling D7 as II7 in C major makes the root clear, it does not
Figure 17.2.3
464
&?V chord, or the dominant

∑ ◦ in C major). ∑
communicate the function of the D7 , which is to progress to a G major chord
(the
Also, notice that the vii is not tonicized with its secondary dominant
in the example above. Listen to the following example to understand why
diminished
472 chords such as vii◦ and ii◦ in minor are not tonicized.
&
479
&
486
&
? 44 œ œ œ œ #œ œ #œ œ
œ #œ œ #œ
C: V6 DOMINANT
CHAPTER 17. SECONDARY I V6/ii ii CHORDS
V6/iii iii V6/IV IV 5 5 5 5 V56/V
193 V V6/vi vi V6
5 5 I
901 Ÿ F˜7 Bo
& # # œœœ ... # œ œ N ˙˙˙

25
? #˙
˙
452
ww ww
25
452
& www w w
www53 ww6 ww6
& C: V7/viio
w viio w4
w
3
wwww
(not recommended)
ww wwww www
455
& ww
5 6 6
w
3 3 4
ww7 www65w wwww64 www64

455 902
& ww5
3
& 3 3 2 25
ww b ww
?
6 6
ww
7 6
#
D7 E7 A7 B7 C7
∑ w ∑ ∑ ∑ ∑ ∑
# Bw ∑
w ∑ ∑ ww7 ∑ ∑ ∑ ∑ ∑ ∑
452 5 5 4 4
w # w w
459
w Ew w w
3 3 2
& w # w
3
& # w
w ww w w
w # wwww w b www
Figure 17.2.4
D7 7 7 7
w
A C
w w # w # w
459
17.3
In # www 53
&C majorSecondary w
# wwDominants w63 in Major and 6 Minor
w
4
IIw III ww ww canVIIbe secondarywwdominant

455
Label as V7/V V7/vi V7/ii V7/iii V7/IV
&
chords.as V w
Not
In Cas
Both
Label
major
major
7w
w/V 918 V /vi w
7 7
w
triads and major–minor
7
VI
seventh
7
V /ii
7
w w
chords
7
V /iii
7
w 7
V /IV
I7
&
7 7 7 7 7
# # www2
Not as II III VI VII I
# www3
464 6
7
D 6E A B64
& #D7wDww # www

5 5 4
3 3
w
ww # # www # # wwwb www
464
www # www #V/ii

7 E 7 A B7 B C7
# www
E A
& ww ? # ww7∑ w # V/iiiw
459
& # C:
ww
V/V w V/vi
w∑ ∑ w ∑ 7 ∑ ∑ ∑
ww w
w # # www7
C 7 D Dominant E 7 MajorA7 V/iiiB
w # ww77
FigureC: 17.3.1
V/V Secondary Triads inV/ii
In C majorb w7 w
468
V/vi
& as VCwww7/V V#7D
w
ww/vi V#7E ww/ii w7/IV
w wwVII/iii7 # # wwwI7
7 7
VA VB
Not as b w w w # ww
468
Label
& C: Vwww7/IV # www7/V # ww7/vi
II7 III 7 VI 7
V V V7/ii V7/iii
925
& Dominant w # # w
w
464
# ww
C: V7D V7/V E
A V7/ii B
# www w
473
V7/vi
V7/iii
# www Secondary
/IV
& 17.3.2
473
Figure Seventh Chords in Major
&Notice
? ∑ ∑
the chromaticisms in the example above. The raised notes generally
C: V/V V/vi V/ii V/iii
w
act as the leading–tone to the root of the chord being tonicized. In the major
w # # www
# wwww # www
theC7only secondaryD7 dominant withE7 a lowered Achromaticism
7 isB7V7 IV .

# wwww
mode,
485
b www
468
&
The lowered note in V7 IV acts as 4̂ of the chord being tonicized in the same

485
w
&
way the last flat of a key signature is 4̂ .
Below are all secondary dominant chords (triads and major-minor seventh
C: inV7the
chords) V7/V
/IV minor mode. V7/vi V7/ii V7/iii
& bbb n www

492
# n www
C D F
n www
473
492
& c: V/iv V/V V/VII

(same as IV)
b www
n wwww
C7Secondary Dominant
D7 7
E¯in F7 B¯7
b ww
# n wwww
476 Figure 17.3.3 Triads Minor
&bb n wwww ww w
c: V7/iv V7/V V7/VI V7/VII V7/III
(same as VII7)
____ ____ ____ ____
481
b
&bb # n www n www
C D F
n www
CHAPTER 17.
c: SECONDARY
V/iv DOMINANT
V/V CHORDS V/VII 194
(same as IV)
b www
n wwww
C7 D7 E¯7 F7 B¯7
b www
# n wwww
476
&bb n wwww w w
c: V7/iv V7/V V7/VI V7/VII V7/III
(same as VII7)
____ ____ ____ ____
?Remember that both
481 Figure 17.3.4 Secondary Dominant Seventh Chords in Minor
vii◦ (on raised 7̂ ) and the subtonic VII (on the
lowered 7̂ ) occur in the minor mode. The subtonic VII can be tonicized with
V7 VII ,1.while vii◦ , being2.diminished,

E¯: V/ii g: V7/VI cannot. 3. e: V4/iv 4. A: V6/ii
Notice that an F major chord in C minor can be2 V/VII or IV , depending 65
on how it functions or progresses. If the F major chord progresses to a B2
œœ œœ theœœ
G7/B C A7/C˜ Dm B7/D˜ Em C7/E F D7/F˜ G E7/G˜ Am G7/B
4 b œœ œœ œœor Bœœ◦ , label ˙˙ ..
C
œœ anyœœ inversion) ˙.
896
chord, label the F chord as V/VII . If the F major chord has pre–dominant
&to4a Gœœ major
œ œ
œ œ # œ œ nœ
œ œœ œ œœ œ œ œ œ œ œ 7
function and progresses chord (in
# œ IIIœ orœ ˙.
F chord as IV .
The B chord, on the other hand, can be labeled correctly asœ V
?
4
# œ œ # œto IIIœ inœminor.œ #œ
27
VII7 because both V7 III4 orœ VIIœ7 progress
16 C: V56 I V56/ii ii V56/iii iii V56/IV IV V56/V V V56/vi vi V56 I
17.4538Analyzing Secondary Dominants
? Ÿ
F˜7 _____ _____ _____ _____
901
Bo
& # # œœœprocess.
When you encounter a chord
dominant, use the following
... # œ œ N ˙˙˙
with a chromaticism and suspect it is a secondary
2. D¯: IVM7/7th 3. f ˜: V7
?thirds
# ˙ to determine the root and quality. If the chord
1. b: viio7/5th 4. E: ii/3rd
˙ _____seventh chord,
1. Stack the chord in
_____or a major–minor
542 quality is major (if a triad) _____ _____
? C: V /vii ?
go on to
&vii &
step 2. If the chord quality
7 o is not major
o or major–minor seventh, the
chord is not a secondary
(notdominant.
recommended)
# #1.# #E: IV6

902
546 & _____

ww _____ # www
2. c:(stacked
iiø43 in 3rds) 3. G: V56
_____
4. d: viio6
_____
? ?
? #### w & &
#w ∑
6
1. A: I 2. F: ii42 3. b: V65 4. g: viio6
?
E: ____
_____ 4 _____ _____ _____
? # ## ?
550chord in question is an F major triad in first inversion.
The
& #that would be&a perfect 5th below the root of the &
904
2. Determine the note
chord you are analyzing. If this note would be the root of a diatonic
# e: analyzing
5.
chord, the chord you are iv64
? ## # ∑
7. f ˜: VII6
B¯: viiø4 dominant.
is a6.secondary 8. E¯: IVM65
∑
####
3
& # www
554
w
906
#### F˜ down P5 is B; in E major, B is 5̂
556&4
fore the chord is?V6 V .

Since B is 5̂ , the F major chord in first inversion is tonicizing V . There-
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

17.5 Writing Secondary Dominants

To write a secondary dominant, use the following procedure.
## # www
& #
5. e: iv 6
w3
6. B¯:195viiø4 7. f ˜: V
#### w ˜
4
CHAPTER 17. SECONDARY DOMINANT CHORDS
& # ww
1.554 F down
First determine the note that is the root P5 is
of the chord B;tonicized
being in E major,
B is 5̂
w
(the chord to the right of the slash).
b
556
& F˜ down P5 is B; in E major, B is 5̂

d: V43/VI
&b
556
(6ˆ is B¯)
&b
root of the V7 in the key of B2 (the Roman numeral after
2. Determine the 557
the slash): F
d: V4/VI
3 F–A–C–E 2
3. Build a major–minor seventh chord on F:
4. Invert the chord accordingly. 4
3
(6ˆ is B¯)
inversion means the fifth of the chord is
in the bass.
&b
557
b wwww
&b
564
d: V43/VI
&b
2 558
4 4
V b 4 œŒÓ 4
17.6 Irregular Resolutions16 of Secondary Chords
? 4 ∑ 4
16
b 4 4
The roots of secondary dominants do not always resolve down a perfect fifth to
the tonicized chord. In many of the examples of popular music with secondary
dominants at the beginning of this chapter, the secondary dominants resolve
deceptively.
4
17
Dm G B¯ F
Vb 4 œ œ œ œ ‰ j
œ œ
œ œ œ Œ
I be - lieve in yes - ter - day.
17
œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ
? 4
b 4
F: vi7 V/V IV I
Figure 17.6.1 Paul McCartney, “Yesterday” (1965)
In “Yesterday,” the V/V resolves not to V but to IV , which sometimes
acts as a substitute for the V chord (the dominant) in popularmusic.
19
Vb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
This progression also happens in “Forget You,” where a V7 V resolves to
a IV chord.
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
19
bb 4 œ œ œ œ
œ
E¯: ____
CHAPTER ____ ____DOMINANT
17. SECONDARY ____ ____ ____ ____ ____
CHORDS ____ ____196
1 2 3 4 5 6 7 8 9 10
& 44 ‰ ‰ œœj
7
‰ j ‰ j ‰ j
887 C D F C
˙˙ .. œœ ˙˙˙ ... œ ˙. œœ ˙˙
>
œ ˙. # œœ ˙. n œœ ˙˙ .. œ ˙
> > >
? 44 j œ ˙ ‰ œj œ ‰ j ‰ j
œœ œ œœ ˙ œ œœ
œ. œ. >œ ˙ œ œ œ ˙
˙ œ. œ. œ ˙
. . œ ˙ œ. œ. >œ ˙
> >
C: I V7/V IV I
. > . .
j . œ
b 4 œ ‰ œœ ≈ œœ YT:œ awVi2QXC0ZE .
œœœ œ. œœ œ œ œ >œœ œ ‰
œ
892
b
& 4 œ. œ œ œ œ œ œ œ œ œJ
π
“Forget You” . (2010) œ. œœ n œœ b œœ. œœ. œœ. >œ œ œ. œ. n >œœ œ
Figure 17.6.2 Bruno Mars, CeeLo Green, Philip Lawrence, and Ari Levine,
œœ œ
?In b“Ib Want
44 J You to Want Me” by Cheapb Trick,
≈ œ the
œ V/V chord resolves
J ‰ to
‰
21
a subtonic VII chord in A major.
2
## j
F˜m7
& # 44 œ œ ‰ œ œ œ ˙ Œ ‰ œJ œ œ‰ œJ œ œ ˙
B G A
Ó
198
### 4
198 shine up my old brown shoes. I'll put on my brand new shirt
& 4 ˙. œ #œ ˙ . œ nœ ˙ œœœ w
? # # # 44 œœœœ
œ œ œ œ nœ œ œ œ œ œ œ œ
œ œ œ œ œœœœ nœ œ œ œ œ œ œ œ
A: vi7 V/V ¯VII I
& 44 ˙ . œ #œ ˙.
202
œ nœ ˙. œœ ˙ œœ
4
YT: -qgpewMCVjs
& 4 œœ œœ œœ œœ ‰ œœj Œ œœ œœ œœ ‰ 2 œœj Œ œœ œœ œœ ‰ œœj Œ œœ œœ œœ

202
Figure 17.6.3 Rick Nielson, “I Want You to Want Me” (1977)
œ œ œhowever,
Remember, œ # œœthat the
# œœ subtonic
œœ œœ nVII
œœ in major
œœ œœ can
œœ actœ as a substitute
œ œœ
for the dominant (see the Harmonic Flowchart for Popular Music with Subtonic
? 44
œœ œ œ
VII chord in Major).
œœ œ œ œœ œ œ œ œ œ
. 2
In “Baby Love” by the Supremes, a C7 B in C major ( V42 IV ) resolves

œœ œ œ œœ œ œ œœ œ œ
œ œ œ
to an A7 chord ( V7 ii ), which

. 2then resolves to ii ( Dm ). In this example,
7
notice that the B in the C B is a lowered chromatic note that wants to
2
resolve downward by half step to A. Instead of this A being the third of the IV
# ## 3 œ. . œ >œ œ . œ œ. œ. œ >œ
& # # 8 œ . œJ œJ R≈ R≈
206 chord (an F major chord), which is the traditional and expected resolution, it
J J
is the root of an A7 chord ( V7 ii ).
# # # # 3 œ . œ œ. œ. œ œ. œ. œ œ
206
œ≈œ
La don - na è mo - bil qual piu - ma al ven - to,
œ.
r r
& # 8
#œ
œœ œœ
‹œ
œœ ≈ œœ
R R
œ œ œ œ œœœ œœœ œ œœ œœ
? # # # # 38 # œ œœ œœ œ œ œ ‹œ
#
22
C C7/B¯ A7 Dm7
j j j
& 44 œ œ œ ˙ œ œ œœ ˙ œ œ œ œ bœ œœ œ œ œœ œ ˙ Œ
210 3 3
J
Ba - by love, my ba - by love, I need you oh how I need you
œœ œœ œœ œœ œœ œœ œœ œœ # œœœ œœœ œœœ œœœ n œœ œœ œœ œœ

œ œœœ œ œœœ œ œ œ œ œ œœœ
& 44 ‰
210
?4 ‰ œ œœœ œ œœœ
4 bœ œ œ œ œ œ œ œ
œ œœœ bœ œ œ œ œ œ œ œ œ œœœ
C: I V42/IV V7/ii ii7
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
215
YT: 9_y6nFjoVp4
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
215
Figure 17.6.4 Lamont Dozier, Brian Holland, and Eddie Holland, “Baby
Love” (1964)
Finally, a rather common deceptive resolution of a secondary dominant is

V7 vi to IV , which can be seen in the following three examples.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑
227
&
∑ ∑ ∑ ∑ ∑ ∑ ∑
227
&
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
# 4 ˙ œ œ ˙. œœ w ˙ ˙
J
D: _____ _____ _____ _____ _____
# j œ œ œ œ œ ‰ ‰ œj œ œ
G B
V 44 œ œ . œ œ œ œ
228
I've had no - thing to live for And look like
#
& 44 ˙˙ œ # œœ n œœ # # œœ ˙
228
˙˙ Ó
œœ œ # œ œ
˙
? # 44
65
œ C A7/C˜ Dm B7/D˜ Em C7/E F D7/F˜ G E7/G˜ Am G7/B œ œ œ Cœ

4 œ œ #œ œ œ œ œœ ˙.
G7/B
œ
# œœœ œœœ b œœœ œœœ œœœ œœœ œœ œœœ n œ ˙˙ ..
896
& 4 œœ œœ œœ œœ
œ I œ œ œ
œ ˙.
# œ œ œ œ A# œ œ # œ œ
G: V/vi
? 44 œ œ # œ œ
# Cœ œ œ œ œ œ Vb6/IV
230
VC: V6 I V6/ii
5 5 ii V56/iii iii 5
œ IVœ V56/VŒV V56‰/vi œvi œ Vœ 56 œ I œ œ
901 Ÿ
Fno˜7- thin's gon - na Bocome my way So I'm just gon'
# œ œ N ˙˙˙ œ # œ n œ
230
& ## # œœœ˙... #œ œ Œ Ó
& ˙˙ œœ œ n œ œ œ
œ bœ œ œ
? #˙
?# ˙
C: V7œ/viio
œ viio œ
œ bœ œ œ œ œ œ
(not recommended) œ
##
902
& # # ww # www
IV V/V
(stacked in 3rds)
? #### w
# w
YT: rTVjnBo96Ug
Figure 17.6.5 Steve Cropper and Otis Redding, “(Sittin’ On) The Dock of
the Bay” (1967) ?
E: ____
œ œ œ œ œ œ
? œœ œ œœ œ œ œ œ œ œœ œ œœœ œ # œœ œ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œœœ œ # œœ œ œœ œ
F G C E E7 F G C E E7
904
?˙ ˙˙ ˙˙ ˙˙
˙ ˙˙ ˙˙ ˙˙ ˙˙
C: IV V I V/vi V7/vi IV V I V/vi V7/vi
E B7 C˜m G˜7 A
44 # ˙˙˙ # # œœœ #YT:

# œœ rAn-AWXtHv0
# # # ˙˙˙ #˙
908
& œ
Figure 17.6.6 John Lennon, “Imagine” (1971) ˙
& 44 # ˙˙
# # œœœ # œœ # # # ˙˙˙ # ˙˙
E: I V vi V7/vi IV
˙ ˙˙ ˙ ˙ ˙ ˙˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
C: IV V I V/vi V7/vi IV V I V/vi V7/vi
E B7 C˜m G˜7 A
4 # ˙˙ # # œœœ œ
&4 ˙ # # œœ # # # ˙˙˙ #˙
˙
908
& 44 # ˙˙
# # œœœ # œœ # # # ˙˙˙ # ˙˙
E: I V vi V7/vi IV
YT: lbblMw6k1cU
Figure 17.6.7 Beethoven, Piano Sonata Op. 53, I (1804)
There are two ways to conceptualize this progression. The first is that the
progression of iii to IV (Em to F in C major) is not unusual, so E to F, which
appears to be III to IV but is in fact V/vi to IV , is a chromatic modification
of iii to IV . The other way to think of V/vi to IV is as V/vi to VI/vi , a
deceptive progression within the submediant area.
We can conclude that secondary chords do not always resolve strictly to
the chords they appear to be tonicizing.
Day One:
4 each chord with its secondary dominant seventh chord (whose
66 C Am7 Dm7 G
& lies
4 ˙˙a perfect 5th above ˙˙
˙˙ chord of resolution).
910 1. Approach
˙˙ the root of the ˙
˙ Roman ˙ ˙
26 root Label
26
? 4˙ ˙
chords ____
with ____ numerals
____ below
____ and lead–sheet
____ ____ symbols
____ above.
? 4444 ˙˙˙ ˙ ˙˙˙˙ ˙˙ w

____ ____ ____ ____ ____ ____ ____
? ˙˙˙7 ˙ www
485
4C:˙ I ˙
485
vi˙7 ii˙ V w
w
ton. 7
˙
FUNCTION:
C: ____ V /____ ton.
____ prol.
V7/____ pre-dom.7
____ V /____ dom.
____
C: ____ V7/____ ____ V7/____ ____ V7/____ ____
& 44____
C A7 D7 G
˙˙ ____
n # ˙˙˙ ˙˙˙
912
˙˙ # ˙˙˙ ˙˙
____ ____ ____ ____ ____ ____ ____
? 444 ˙˙˙ ˙˙ ˙ www

____ ____ ____ ____ ____
? ˙˙
489
˙˙ www
?444 ˙ ˙
489
˙ ˙˙
C: ____
˙˙
V7/____ ____ V7/____ ____
˙
V77/____ ____
C: ____ V7/____ ____ V7/____ ____ V /____ ____
C: I V7/ii V7/V V
FUNCTION: ton.
2. Analyze the followington. prol.
secondary pre-dom.
dominants. Include dom.
lead-sheet sym-
?
493
? ####
493 bols above.
## #
ww b # ww b b b b ww bbbb
____
Lead-sheet: ____ ____ ____ ____ ____
# ww
914
& w ww b ww
w w w w
501? # b w # # ww #### w bbbb
w
? # #w b w b b
?
501
b: _____ F: _____ c: _____ G: _____ E: _____ f: _____

1 2 3 4 5 6
b
?& b b b
920
?
508
508
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb
?
?
515
515
3 3 3 2
ww
D7
# wwww
E7 A7 B7
bCww
7
w w # w # ww
459
CHAPTER w
& 17. SECONDARY
# ww w w
# wwDOMINANT CHORDS 200
In C major
3. On the empty staff below, copy 7the notes from the upper 7staff to
Label as V7/V V7/vi V /ii V7/iii V /IV
the
Not aslowerII7staff while III
adding
7 the VI
specified
7 non–chord
VII7 tones. I7(Note:
LNT = lower neighbor tone; UNT = upper neighbor tone.) Realize
# Bww with
the lead–sheet symbols using quarter–note accompanimental texture.
w #
464
# w
D E A
& bass # www

# ww inversion symbols. w w
Below the lower staff, analyze the chords using Roman numerals
w
figured 67
chro.
C:b V/V LNT PT UNT j V/viPT PT
4 ˙ ˙
& b b C47 œ œ œ . Dœ7 œ œ ˙E7
920 PT DN APP
w
V/ii V/iii
w
# www # # wwww
# wwww
A7 B7
&? b b wwww4 # wwww

468
bb 4
C: V7/IV V7/V V7/vi V7/ii V7/iii
D7/F˜
bb
924 Cm Fm G
&&b bb b 44 # n www n www

C D F
n www
473
67
? b b 44 c: LNTV/IV
chro.
bb bb c
V/V V/VII
j PT PTœ ˙ ˙ ˙
PT UNT DN PT APP
œC7 œ œ . Dœ_____
920 (same as IV)
& 7 œ w B¯7
_____ w
b www ww
E¯7 F7
w b www
476
&?b bb n wwww n w n w
Rom. num.: _____ _____
c # ww w w
Day Two: 928 b b
b bc: V7/IV
& b the
4. Write V7/V dominants.
following secondary V7/VI IncludeV7lead-sheet/VII 7/III
Vsymbols
(same as VII7)
D /F˜
b
924 Cm key signatures.
Fm 7 G
above. Include
?
& bb b c
____ ____ ____ ____
? b b
481
? b b 1.cE¯: V/ii
b 2. g: V7/VI 3. e: V24/iv 4. A: V6/ii
b b following
b
933
5. For
Rom.the _____ example, _____
alter the given_____
motives as specified. _____ Add an
&
num.:
accompanimental texture of afterbeats. Analyze the Roman numerals
with figured bass inversion symbols below the staff.
? b F œ œ . œ œ . œ œ Dm œ
œœ œ ‰œ
G7/B C
& b bc ‰ J ‰œ
928
œœœ œœ œ
mot.1 mot. 2 mot. 2 aug. mot. 1 mot. 2 1 inv. 2. inv
? b b c ‰ œœ œœ œœ ‰ œœ œœ œœ
& b J
939
J
? b
F: _____ _____ _____ _____
bb
# # #second
Click here to download# #the w b # b w
_____ the first_____
Click here to download _____
homework assignment for_____
this chapter._____
& b b wwof the textbook, b wexercises,# and practice

w homework b b exercises
w
932
homework assignment for this chapter.
PDF versions # w w
?b w # # # # ww w
bb n w # # # www bb b b ww
w
1. F: _____ 2. E: _____ 3. g: _____ 4. b: _____ 5. c: _____
bbbb # nw ### bbbb

937 _____ _____ _____ _____ _____
& n www w ww b n www b w

nw
w
? bb b w # w # # # # ww bbbbb w
#w
b w
b
6. A¯:_____ 7. G: _____ 8. f˜:_____ 9. D¯:_____ 10. D:_____
F: V6/IV E: V/ii g: V4/V b: V/iv c: V4/VI

A¯: V6/vi G: V6/IV f˜: V4/iv D¯: V/ii d: V7/V
Chapter 18
Secondary Diminished Chords 69
œ . œ(œ) œ œ . œj œ
Lead-sheet: _____ _____ _____ _____ _____ _____ _____ _____
4
& b 4 œ . (œ)œ (œ) œ (œ) œ
958
nœ ˙
18.1 Secondary Diminished Chords
? b 44 œ œ œ œ
mot. 1 mot. 2 mot. 3 mot. 4 3 inv. mot. 4 1 inv.
The vii◦ chord has dominant function (see the Harmonic Function Flowchart).
Since chords of dominant function typically resolve to chords of tonic func-
tion, diminished triads as well as half–diminished and fully–diminished seventh
chords occur
d: i as secondary
III6 diminished
VI chords. iv
III V6/V Vsus4 V
4
Cõ7 Dm Dõ7 F˜ø7 G Gõ7 Am Bø7
œœ œœœ œœ œœœ ˙˙ ..
Bø7 Em Eø7 F
& 44 œœ
C C
b œœ œœ œœ
œœ b œœœ œœœ # œœœ ˙.
962
œœ œ œ œ œ œ
œ œ œ
œ #œ œ œ ˙.
? 44 œ œ #œ œ #œ œ œ œ #œ
C: viiø7 I viio7/ii ii viio7/iii iii viiø7/IV IV viiø7/V V viio7/vi vi viiø7 I
967
&
?
Figure 18.1.1 A Harmonic Sequence with Secondary Diminished Chords in

C major
968
&
Below are some examples of pieces with secondary diminished chords. No-
tice that chromaticism is an “essential” part of secondary diminished chords
(“non–essential” chromaticism refers to chromatic non–chord tones).
?
976
&
?
201
? 4 B Cœ #Cœ˜ Dm
44 œ œ #Dœ˜ Em œ Eœ œF #Fœ˜ Gœ #Gœ˜ Am Bœ C˙
œ œ .
&C:4 viiœœ ø7 Iœ viio7œœ/ii iiœœ vii#o7œœ /iii iiiœœviibø7œœœ/IV œœIV viiœœœø7/V œœœV viiœœo7/viœœœvi viiœø7 ˙˙I ..
962
œ 18. œœSECONDARY
b œ œ œ DIMINISHED œ œ CHORDS
. 202
œ # œ œ œ ˙
? 44 œ œ # œ œ # œ œ œ œ # œ
CHAPTER
œ œ
3
C:# vii œ
3
œ
3
4 œ œ œ œ œ
967 3 3
œ œ œ œ œ œ
& 4 œ .œ œœ œ . œ œ . œ . œ . œ œœ .œ œ œœ. œ œ .(œ) œœ œ œ œœ œ œ œ œ œ
3 3 3 ø7
ø7 I vii /ii ii vii
o7 o7 /iii iii viiø7 /IV IV vii ø7 /V V vii o7/vi vi vii I3
œ. œ
# 4 œœ 3 œ œ œ œ œ œ œœ œ œ œœ œ œ 3 œ œ œ œ 3 œ 3 œ
3 3
967 3 3 3
& # 44 œ .œ œœ œœœ . œ œ . œ . œ œ . œ œœ .œ œ œœ. œ œ .(œ) œœ œ œ œœ œ

?
4 œ œ œ œ #œ œ . œœ
? # 44 œ œœ œ œ
œ œ œ œ #œ œ œ
971
# YT: 9ayLUAWmatk
22 & 18.1.2 J.S. Bach, Herz und Mund und Tat und Leben BWV 147, X.
Figure
“Jesus bleibet CFreude” (“Jesu,CJoy
7/B¯ of Man’s Desiring”)
A7 (1723) Dm7
4 j. . . j b œ œ j3
# œ œ œ œ œ œ œ . . . .
& 4 2 œ œ ˙ œ œœ œœœ ˙œ œœœ œ œ # œœ œJ œ œ œ œ œ œ ˙ œŒ œœ
œ œ œ œ œ œ
210 3
œ œ œ œ
971
&# 4
? œœ # œ. n œ.needœ.you
f œp
Ba - by love, my ba -
S
by love,
f
I need
p you oh how I
œœ œœ œœ œ œœœ œœ œœ # œœœ œœœ œœœ œœœ n œœœ . œœœ œœœ œœœ

4 œ œœ œœœ œœ. œœ œœ. œœ œ œ œ œ œ œ œ œ. œ. œœ œ
? # 2
‰
&4 4 œ ‰ Œ J ‰ œœ ‰ Œ œ œ œœ
210
œ
? 44 ‰ J œ œœœ
J œ œœœ
bœ œ œ œ œ œ œ œ
œ œœœ bœ œ œ œ œ œ œ œ œ œœœ
C: I 4/IV
VYT: 7 ii7
2 67maTrrSKjg V /ii
Figure 18.1.3 Tchaikovsky, The Nutcracker, “Trepak” (1892)
#
V # 44 Ó œ œ. œ œ. ˙ Œ‰ œj œ œ œ œ œ. œ Œ
215
J J J
#
& # 44 œœ .. œœj œœ œœ œœ .. œœj
Don't go chang - ing
j
to
j
try and please me
j
œœ .. n œœœ ‰ œœœ ..
215
œœ œœ .. œœ .. œœ œœ œœ
œ . œ œ œ # œœ .. œœ œœ œœ .. œ . œ œ œ œ . œ œ ..
? # # 44 ˙ œ œ. ˙. œœ w ˙ ˙
J
#
V # ∑ ∑ ∑ ∑ ∑ YT:∑ HaA3YZ6QdJU
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
219
Figure 18.1.4 Billy Joel, “Just the Way You Are” (1977)
#
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
219
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& b ˙˙ ˙˙ ˙˙ ww
˙
g: ____ V7/____ ____ V7/____ ____ V7/____ ____
CHAPTER 18. SECONDARY DIMINISHED CHORDS 203
### 4 œ ˙ œ ˙ œœ œœ œ œœ˙
nœ œ œ
511
V 4 œœ œœ
œ œ œ
œ #œ
YT: Cw16cySo65Y
Figure 18.1.5 Dewayne Blackwell and Earl Bud Lee, “Friends in Low Places”
(1990)
18.2 Secondary Diminished Chords in Major and

Minor
28
28 Below are the secondary diminished chords that occur in major and minor.
w
Cõ Dõ Fõ Gõ
533
bEwwo w
Eo
& #Cwwwõ # #Dww˜
wo w #Fwwõ #Gwwõ
w
533
w b ww w #viiwwo/vi
&C: vii# wwwo/ii #vii# wwo/iii viiwo/IV # ww
viio/V
õ7 Dõ/iii
bEwwwwø7 wwwø7
F˜ø/V
ww
Gõ/vi
C: viiCo/ii vii o 7 viiEoø/IV o7 o7
www
7 vii vii
bCwõ7 #Gwwwõ7
538
& #b wwww #
# ww # ww˜
b wwww w
Dõ7
# www # wwo7
538 F
&
C: # wwwo7/ii
vii # # wwwo7
vii /iii viiø7/IV viiø7/V vii /vi
viio7/ii
C: 18.2.1 Secondary viio7/iii
Diminishedviiø7/IV viiø7/V Chords vii 7/vi
in oMajor
b b wwwo nAwwwo
Figure Triads and Seventh
# nFwwwõ
Fõ
& bbb w
Eo Go A o
n wwEo
543
&bb w
n wwo/iv # n wwwo/V
bGwww n www
543
c: vii vii viio/VI viio/VII
b w bGwwwwø7 w
nAwwwwø7
ø7 o/iv Fõ7
c: Dvii o viio/VI Gø7 viio/VII
bEwwwo7
Eo7 vii /V Aø7
www
# nFwwwwõ7
547
& bbb ww bn wwww b wwww n www

Dø7
w
547
&bb c: viiø7
www/III viinow 7/iv #viin wwo7/V viiø7/VI viiø7/VII
b
c: viiø7/III viio7/iv viio7/V viiø7/VI viiø7/VII
& bbb
552
b b that vii◦/III
552
Figure 18.2.2 Secondary Diminished Triads and Seventh Chords in Minor
&Notice in minor is not included because it is ii◦ . Notice
also that vii III has no accidentals—it is the same as iiø7 but functions
ø7
differently. The iiø7 chord has pre–dominant function and progresses to V

ø7
whereas the vii III chord progresses to III .
Minor triads are tonicized by fully diminished seventh chords. Major triads
are traditionally tonicized by half diminished seventh chords but can also be
tonicized by fully diminished seventh chords.
18.3 Analyzing Secondary Diminished Chords

When you encounter a chord with a chromaticism and suspect it is a secondary
diminished seventh chord, use the following process.
1. Stack the chord in thirds to determine the root and quality. If the chord
quality is a diminished triad or a half–diminished and fully–diminished
seventh chord, go on to step 2. If the chord quality is not a diminished
triad or a half–diminished and fully–diminished seventh chord, the chord
is not a secondary diminished chord.
#
975
& # 44
70
ww w
# www
M3
m3
? # # 44 #w
m3
w
?
D: _____
The chord in question is an G4 half–diminished seventh chord in first
#
inversion. 977
&
2. Determine the note that would be a minor 2nd above the root of the
chord you are analyzing. If this note of resolution would be the root of
?#
a diatonic chord, the chord you are analyzing is a secondary diminished
#
chord.
& #
515
w
# www w
999
#
& G˜ up m2 is A; in D major, A is 5̂
&? ##
#
##
.517
515G ø7 B is analyzed as viiø65 V in D major.
4
&
This
ww
18.4 Writing Secondary Diminished Chords
# ww w
###
531 diminished chord, use the following procedure.
&&
To write a secondary
˜
1. First determine the note that is the root of the chord being tonicized
G up m2 is A; in D major, A is 5̂
b
(the chord to the right of the slash).
?#
b
517
&
g: viio42/iv
4ˆ is C
b
2. Determine vii◦7 in the key of C minor (C is the root of the iv chord,
b
518 numeral after the slash): B is the root of vii in C
◦7
which is the Roman
&
minor because it is a m2 below C.
3. Build a fully–diminished seventh chord on B: B–D–F–A2
&b
g: viio42/ivCHORDS
CHAPTER 18. SECONDARY DIMINISHED 205
4 4ˆ is C
4. Invert the chord accordingly. 2 inversion means the 7th of the chord (A2)
b w
b n www
is the 518
bass note.
& b
## c C
975
22
o4 7
C7/B¯ g: vii 2/iv
& j ww w
27
www
70 A Dm7
M3 j j
&#44 œ œ œ ˙ 519 œ
bœ # œ m3œ œ b œ œ œ œ œ œœ œ ˙ Œ
3
œ ˙
210 3
b
# œ œ J
m3
# w
18.5&?Practice
# # cw w Exercises
&
515
Baw - by love, my
# ww w ba - by love, I need you oh how I need you
Analyze the œœfollowing
D: œ_____
œ œœ œœœ secondary
œœ œœ diminished
œœ œœ # œœœchords
œœœœ œœœœ with
œœœœ lead–sheet
n œœ œœ œœ sym-œ
œ ˜œupœ m2 œ D major,
œ with
œ œA isfigured
5̂ œ bass œbelow.œ œ œœ
?
4
1.
&4 ‰ andGRoman
210
bols above isnumerals
A; in symbols
b b4# # ww b b # w # # ‹w b
517
bbbœb b wwœ œ œ b b b b b
____ ____ ____ ____ ____ ____
&? nœww œ œ# # œ # ww œ b b bœ œn wwœ
Lead-sheet:
977
& 4 ‰ w œ œ œn œww
œ œœœ bœ œ œ œ nœww œ œ œ œ œœœ
# w
? # # C: I b b 4ˆ isn wC w # # w ii7b b b b ww
b bVb 42/IVw b b b b b V7/ii # #
g: viio42/iv
b
b w
& b n#D:www_____
518
c ˜: _____
2œ .
g: _____ E¯: _____ D¯: _____ A¯: _____
V # 44g: viiÓ o4/iv œJ œ œ. ˙ Œ‰ j œ œ œ œ Œ

215
1 3 4 5 6
2. õ7 2
Write theAfollowing C õ/E J G
secondary diminished
ø7/F œ IncludeF‹o7lead–sheet
chords.
Eo7/B¯ /EJ œ . œAo7sym-
/C
viio7Include
bols above. /vi vii o6/Vsignatures.
key viiø4/IV viio4/iii viio4/V viio6/ii
?& # # _____
____Don't go chang -____ ____ me ____ 5
44 j
ing2
j j
to
j
try and please 2
j‰
519
215 3
œœ .. œœ #œœ _____
œœ œœœ .. œœœb _____
œœœ œœœ .. œœœ #.. œœœ# œœœ_____
œœœ œbœœ ..n œœœ_____
œ.
b œ . œ œ œ # œ .. bœ œ œ .. . # w b bb . œn ww œœœ ...
& 1.bA¯:ww viio7/vi # ww 2. c: viio65/V# ww 3. e: viiø4n3w/III
983
w above˙ andb ww˙Roman

4. B: viio42/ii
? # # the
44 ˙following œ . ˙ . with
œ n wexcerpt wlead–sheet
œ œ #
? # w # #
? b bb wwith figured b b n w symbols
J wbass inversion w # below. w Analyze
b b b b non–chord
3. Analyze
523 symbols
numerals
tones in parentheses.
____ 3. B¯: _____ ____4. f ˜: _________ 5. A¯:
j
1. d: _____
____ 2. e: _____ _____
____ ____
& b 68 _____ œ_____ j ‰ ‰ _____∑

219
œ. œ œ œ œ œ œ œ _____ œ œ œœœ
# # # # .
bbb w b b
988 _____
# w # b w
( )
b # # b b b w
& # w- ing . till. #then wwend b b b n ww j j n w
( )
w keep on fight
n w. j
? b 68 œœ . œœ ‰ ‰ œœ .. œœ ‰ œœ # wœœœ ... ‰
We'll
b œ œ # wœ
? b b b nœw. œ # # # # œww. œ# # #œ# w b b>œ bœ b # œ w >œ œ b>œœb wœœ
219
b . J J# b >b >
? b 68 ‰ 9. e¯:_____ 10. g:_____
7. c˜: _____
˙. œ. œ œ #˙.
6. f:_____ 8. B:_____
˙. >> > (# œ ) œ
F: ____ ____ ____ ____ ____ ____
1 2 3 4 5 6
YT: 04854XqcfCY
Figure 18.5.1 Freddie Mercury, “We Are the Champions” (1977)
ter.
Chapter 19
Mode Mixture
19.1 Mode Mixture

Mode mixture typically consists of borrowing chords from the parallel minor
during a passage in a major key. “Borrowed chords” refers to borrowing
chords from minor and is synonymous with mode mixture. In the examples
that follow, notice the lowered chromaticisms—26̂ is most common but 23̂ and
27̂ also occur in borrowed chords.
24
### 6
E D˜ø7 D Dm A/C˜ B7 E7sus4 A
232 V 4 œ œ ˙ Ó 44 œ œ œ œ œ œ œ œ œ œ œœ ˙
##
& # 46 œ œ ˙ n ˙ 44 ˙
All your life you were on - ly wait-ing for your mo - ment to ar - rive.
# ˙˙ n ˙˙ ˙˙
(œ ) œ ˙ ˙ ˙
232
? # # # 46 œ # œ n ˙ ˙ 44 ˙ ˙
ped. pt.
˙ ˙
A: V viiø7/V IV iv I6 V7/V V7sus4 I
##
V # ∑ ∑ ∑ ∑ ∑ ∑
235
YT: 4J5FPNitDc8
###
Figure 19.1.1 Lennon-McCartney, “Blackbird” (1968)
∑ ∑ ∑ ∑ ∑ ∑
235
&
Notice the emotional effect of switching to the minor mode.
A famous example that progresses from the major I chord immediately to
the minor i chord is Richard Strauss’s Also Sprach Zarathustra.
? ### ∑ ∑ ∑ ∑ ∑ ∑
241
### ∑ ∑ ∑ ∑ ∑ ∑
V
##
207
& # ∑ ∑ ∑ ∑ ∑ ∑
241
? b 43 œ œ œ œ œ œ # œœ œœ œœ œ œ œ œ ˙
(œ) ˙
U̇
b 3 œœ œ œœ œ œœ œ œ œ # œ b œ œ œ
œ œ #œ œ
72
& 4d: œ19. MODE œ œ œ œ œ 7 o7 # ˙I 208
CHAPTER
œ œ œ œ œ
MIXTURE œœ# œ œ # œV n œœ viiœœPicardy
# œ œ ˙ third
œœ bœww œ œœ ≈ ‰œ Œ Óœ U̇
C Cm
c ˙ œ ..
& 3˙ œ ˙œ œ œ œ œœ # œw œ œœ œœ œ
?
b 4 R R (œ) ˙
p f p f 3 V 7 3 viio73 I 3
?c w w w œ œ œ œ œ œ œPicardy
œ œ œthird
d:
w w w œ œ
˙ œ .. œœœI b wwwi œœ ≈ ‰ Œ Ó
C Cm
& cC: ˙ ˙ œ
R R
p f p f 3 3 3 3
&
?c w wYT: IFPwm0e_K98w œ œ œœœœœœœœœœ
w RichardwStrauss, Also Sprach
Figure 19.1.2 w Zarathustra, Op.30 (1896)
?Later
C: during the opening of Also
I Sprach
i Zarathustra, another borrowed
chord occurs.
F Dø7/F C/G
œœ œœœ ˙˙˙ œœœ œœ œœ

& c œœœ œœœ œœœ ˙˙˙ b œœœœ œ œ ˙œ œ œ
& Œ
f
?c œ œ œ
? w w
w w
C: IV iiø65 I64
& YT: IFPwm0e_K98

Figure 19.1.3 Richard Strauss, Also Sprach Zarathustra, Op.30 (1896)
?
The next three examples have the pattern 1̂ –27̂ –6̂ –26̂ in the bass line.
# 4 4 ˙ ˙ ˙
A: V viiø7/V IV iv I6 V7/V V7sus4 I
CHAPTER 19. MODE MIXTURE 209
b
& b b 44 Œ œ œ œ ‰ . œr œ œ
E¯ E¯7/D¯
‰œ œ
235
œ. œ œ
3
œ œ
b
& b b 44 Œ œœ
Ev - 'ry day is so won - der - ful Then sud - den - ly
œ œ œœ œ œ œœ
235
œ œ >œ œ œ œ > œ
? b b 44 w bw
b
E¯: I V24/IV
bb ‰. r Ó
237
Fø7/C¯
& b
Cm
˙ œ œ œ bœ ˙
b
237 It's hard to breathe
& b b œœ œœ
œ œ
œ œ œ œ œ b œœ œ œ œ œ œ œœ œ
> œ >
? bb w bw
b
vi iiø43
YT: f1zLSpzCh9E
Figure 19.1.4 Linda Perry, “Beautiful” (2002)
CHAPTER 19. MODE MIXTURE 210 25
#
& # 44 œ œ œ œ n œ œ œ j
D D7/C G/B B¯
j
239
nœ œ œ œ œ œ
œ
# j
nev - er un - der - stood a sin - gle word he
j
said But I
& # 44 ‰
239
j œ ‰ j œ b œ
œœ œœ n œœ œœ œœ
œ œ œ n œœ œ œ œ œ
? # # 44 ˙ j
n˙ œ. bœ ˙
D: I V24/IV IV ¯VI
## j
241
j
D/A D
& nœ œ œ œ œ œ œ
#
helped him a - drink his wine
& # œ
241
œœ œ œœ œœ
œ œ œœ # œ
? ## nœ #œ œ œ
˙ œ
I64 I
#
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
243
YT: kyI1OImD7ow
# ∑ ∑ bass
Figure 19.1.5 Hoyt Axton, “Joy to the World” (1970)
This# same ∑ ∑line∑ can∑ be∑ found
∑ ∑ (in
∑ ∑the∑same
∑ ∑harmonic
∑ ∑ ∑rhythm)
∑ ∑ ∑in ∑“Part
∑
243
&
of Your World.”
? # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑SXKlJuO07eM
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Figure 19.1.6 Howard Ashman and Alan Menken, The Little Mermaid, “Part
of Your World” (1989)
In the next example by Radiohead, the iv chord (borrowed from minor) is
preceded by the major IV chord.
w w ____
˙
C E7 A7Am Dm D7 G
? 44C: ˙˙˙˙wIV # ˙˙˙ ˙˙˙ ø6 # ˙˙˙ w6 ˙˙ # ˙˙˙˙

____ ____ ____
____ ____ ____
ww
ww
583
CHAPTER 19. MODE MIXTURE˙ ii 5 ˙ I4 ˙˙ 211
I
C: ____ vi
V7/____ vi
____ ii
V7/____ ii
____ V
V7/____ V
____
# G B C Cm
& #____
wwF ww ww____ ww____ b ww____ ww
ww ww____ w w˙ wAm wD wG w
w wb ˙
C C7 E7 7
? 44 ˙˙˙˙ ˙˙ # ˙˙˙˙
____ ____
˙˙˙ ˙
˙˙ # ˙˙˙ ˙ ww
w
587
?# ˙w w˙ w ww w
w w w
I
C: ____ IV
V7/____ IV
____ vi
V7/____ vi
____ V
V7/____ V
____
G: I V/vi IV iv
591
õ7/A ˜ø7/C õ7/A

www
Eo7 F____ F____ B____
# www # ColinwwwwGreenwood,
____
? b n w b # # # # Ed O’Brien,
w
b b b19.1.7 Thom Yorke, # n # www
YT: XFkzRNyygfk
Figure b b Jonnyn Greenwood,
w
Philip Selway, Albert Hammond, and Mike Hazlewood, “Creep” (1992)
1. A¯: viio7
Mode mixture is/vi 2. in
also found c: vii
the o6/V
5 music of 3.
the viiø43/III
e: band Nirvana. 4. B: viio42/ii
F˜5
˙˙ n bb ˙˙˙ n ˙˙ n ˙˙
D5 B5 G5 B¯5 C5 A5 C5
? # # 44 ˙ ˙˙ ˙˙ ˙˙
595
˙˙ ˙ ˙ ˙ n˙ ˙ n˙
D: I iii vi IV ¯VI ¯VII V ¯VII
YT: pkcJEvMcnEg
Figure 19.1.8 Kurt Cobain, “Lithium” (1992)
In the example above for “Lithium,” the Roman numerals are analyzed as
triads instead of “5” chords because the third of the chord is either implied or
occurs in the voice part (not shown).
In the next example from the third movement Brahms’s Third Symphony,
the I chord alternates twice with a borrowed chord. There are three flats in
the key signature because this movement began in C minor, but this section
occurs later in the movement and is in C major.
73
C Bo7/C (ped.) C
b nœ
& b b 38 œ n œ œ œ Aœ œ nœ œ œ nœ œ
π dolce
‰ œ ‰ b n œœœ ‰ œ
? b b 38 œœ .. œ œœ .
b (œ œ) .
J ped. pt.
C: I viio7 I
Bo7/C (ped.) C C/E F Bo
b b œ A œœ œ œ n œ œ œ œ œ nœ œ nœ œ
& b œ œ nœ œ œ nœ
‰ œ ‰œ œ œ œ nœ œ œ œ
? b b œœ b n œœœ œ nœ œ nœ
b (J J J
)
ped. pt.
viio7 I I6 IV viio
b
&bb YT: UH324lgbxaI
Figure 19.1.9 Johannes Brahms, Symphony No. 3 in F major, Op. 90, III.
Poco Allegretto (1883)
?A similar
b b bin “Inchworm,” from the movie Hans Christian Andersen. Notice the
7
alternation between the I chord and a borrowed chord (2 VII )
happens
special quality of the borrowed 26̂ in the upper melody.
b
ˆ
& b b 43 œ œ
ˆ
bœ ˙ bœ
(6) (6)
œ œ œ œ ˙
23
Two and two are four, four and four are eight,
? b 3 Œ œ œ Œ œ œ œ Œ œ œ œ œ œJ œœ œ Œ
3
bb 4 œ œ
3
3
Inch - worm, Inch - worm, meas - ur - ing the mar - i - golds,
b 3
& b b 4 Œ ˙˙ Œ ˙
E¯ D¯7 E¯ D¯7
˙ b b ˙˙˙˙ .... ˙˙ b b ˙˙˙˙ ....

? b 3 ˙. b˙. ˙. b˙.
bb 4
E¯: I ¯VII7 I ¯VII7
b
&bb ∑ ∑ YT: 6dd6e14ov2c
∑ ∑ ∑
27
Figure 19.1.10 Frank Loesser, Hans Christian Andersen, “Inchworm” (1952)
? b ∑ ∑ ∑ ∑ ∑
bb
A famous example of mode mixture occurs in the “Waltz of the Flowers”
from Tchaikovsky’s Nutcracker.
b
&bb ∑ ∑ ∑ ∑ ∑
? bb ∑ ∑ ∑ ∑ ∑
b
? b ‰œœ b n œœœ œ
œ
œ œ
nœ
œœ n œ œ
bb( J nœ
J ped. pt. ) J
CHAPTER
vii19.
o7 MODE MIXTURE
I I6 IV viio 214
D Cõ7/D (ped.) D
#
& # 43 œœ ... œœ ˙˙ ..
dolce cantando
˙ ˙˙ ..
p - b ˙˙˙ œœ . œ ˙ . ˙.
- >
25
- œœ œœ
? ## œœ œœœ
D7/Cœœœ œœœ
# 443 œœ œœ œœ B¯ œœ œœ
œn œj
D G/B
& # œœ œ œ œ (nœœ)ped.œpt. œ
œ œj œ œ œ
239
4 œ
D: I viio7
œ I
# D j
nev - er un - der - stood a sin - gle word he
j
said But I
& # 44 ‰
239
j œ ‰ j œ Cõ7/D (ped.)
œœ œœ> bn œœ œœ >œœœ
œ œ- - œ >n œptœ œ œ
D
# >œr œ
& # œœ œ ˙˙
? ## P44 ˙ bn ˙œœœ ( œ˙˙ .. ) œ
˙ j œœ
- - œ. bœ ˙
œœ œ bœ œ f.
? # # D:œœ I œœ œœ V24/IV œ œ œœ ‰ ¯VI j ‰ œœ. ‰
J Dœ J
IV
œ
# # D/A œ .
j
241
j
( )
& nIœ
ped. pt.
œ viiœo7 œ œ I œ œ
##
helped him a - drink his wine
241
& œ œœ œ œœ œœ
œ
YT: Kw0wLLVEMaA
œ œœ # œ
? ## nœ #œ œ œ
˙ œ
Figure 19.1.11 Tchaikovsky, Nutcracker, “Waltz of the Flowers” (1892)
A similar melody occurs in “One Day I’ll Fly Away,” which, though it has
a different Iharmonization,
6 still uses mode mixture. I
4
# 3
& # 4
243 D Gm D
œ œ ˙ œ œ ˙.
œ
# # 3 ˙˙˙ ... ˙. ˙˙ ..
One day I'll fly a - way.
& 4 ˙. b ˙˙˙ ... ˙˙ ..

243
? # # 43 ˙ . ˙. ˙.
˙. ˙. ˙.
D: I iv I
YT: I8eNaVEEtC8
Figure 19.1.12 Joe Sample and Will Jennings, “One Day I’ll Fly Away” (1980)
19.2 Harmonization of Borrowed Scale Degrees

Let us examine the ways 26̂ can be harmonized as root, 3rd, 5th, and 7th of a
30 borrowed chord.
& b b www b www b ww b www b ww b ww

w w ww b ww
C: ¯VI ¯VII7
599
30 iv iio iiø7 viio7
¯6 as: Root
b b www
ˆ 3rd 5th 5th 7th 7th
& b www b ww b www b ww b ww

Figure
605 19.2.1 Harmonization of 26̂
w w ww b ww
599 & Here are the ways 23̂ and 27̂ can each
C: ¯VIchord (notice
a borrowed
be harmonized
iio chords are
iv some of these
as root, 3rd, and 5th
viio7from the ¯VII
iiø7 duplicates 7
of
previous
¯6ˆ as: Root
example). 3rd 5th 5th 7th 7th
bw
b ww b www b b www b www b www bw
& b ww
613
30
C: ¯III ¯VI ¯VII ¯III
b b www
i v
b www b ww
605
&
¯3 as: Root
b ww ¯7 as: Root
b ww b ww
w23̂ 27̂ ww
3rd 5th 3rd 5th
620 ww b ww
&It C:is not
Figure 19.2.2 Harmonization of and
¯VI ¯VII7
599
611 iv iio iiø7 viio7
&¯6 as:that
ˆ necessary to memorize the chords in this section so much as to
realize Root 3rd of diatonic
the quality 5thchords will5th be altered7th when a scale7th
degree
bw
b ww b www www
from the minor mode is included in the chord.
b b www b b www Chords bw

& b ww
627
& Analyzing and Writing Borrowed

19.3
615
605
& C:secondary
Unlike
¯III i ¯VI ¯VII v
chords, you merely note the root, quality, and inversion of a
¯III
¯3 as: Root 3rd 5th ¯7 as: Root 3rd 5th
borrowed chord in your Roman numeral analysis.
So, for the following chord:
# b wwww b wwww
611
b wwww b wwww
622
&
M3
m3
m3
? A is root when quality is ø7 iiø65

G: ____ stacked in 3rds; G: ____
(m3-m3-M3)
A is 2ˆ (bass note is
3rd of chord)
615
#
&
Notice that the root is A when you stack the notes in 3rds, and A is 2̂ in
G major. The quality is half–diminished since the 3rds stack as m3–m3–M3,
making this a iiø7 chord. Since C, the 3rd of the chord, is in the bass, the
correct analysis is iiø65 .
To write a borrowed chord from a Roman numeral, be sure to pay close
622
#
attention to the quality of the Roman numeral.
&
A: 2 VI
2 VI is built on 26̂ . Determine 26̂ in A major, which is F6, then stack 3rds
in the configuration M3–m3. The resulting triad contains F6–A–C6.
? A is root when quality is ø7 iiø
G: ____ stacked in 3rds; G: ___
(m3-m3-M3)
CHAPTER 19. MODE MIXTURE A is 2ˆ 216
(bass n
3rd of
###
615
nw
& n ww
A: ¯VI
Be careful of flats before Roman numerals. Flats mean to lower a root a
m2 in the key signature, not to literally put a flat in front of the root of a
#
chord.
# # Cadence with 2 VI616
&
19.4 The Deceptive
The V –2 VI deceptive cadence is a deceptive realization of a deceptive progres-
sion. This V –2 VI cadence ties into the 2 VI –2 VII – I progression to produce an
“epic” (although somewhat clichéd) ending to the “Star Spangled Banner” as
performed at the Super Bowl and Presidential Inaugurations by artists such
as Whitney Houston, Beyoncé, and Lady Gaga, among others.
26
b U
Dø7 B¯7/D A¯/E¯ E¯7 F¯6 G¯add9 A¯
& b b b 43 œ œ œ. œ œ œ . 44 w
J w
246
esc. j
And the home of the brave!
b U
& b b b 43 n œœœ œœœœ œœ .. ( œœ ) œœ 44 ˙ b ˙˙˙ ww
246
œ œ . œ œœ b ˙˙ ˙ w
j U
w
? b b b 43 n œ œ œ. œ œ 44 b ˙ b˙
b nœ œ œ. œ œ b˙ b˙ w
A¯: viiø7 V56 I64 V7 ¯VI ¯VII I
vi
#### 4
Am E/B Bsus4 B C D E
& 4 œ œ ˙. œ w
œ YT:wKbkWuVUkPmYw ˙ ..
250
J
Figure 19.4.1 John Stafford Smith and Francis Scott Key, “The Star-Spangled
##
Banner” (1814)And
& # # 44 n œœ (œ )
as the home
performed of the
by Whitney brave, at the 1991 Super
Houston the brave!
Bowl
˙w. œ w˙ ˙
250
w n www ww
œ w ˙ ˙ n n ww w
( )
? # # # # 44 n œ n˙. œ n˙. œ œ w
œ ˙. œ ˙.
nœ œ ˙. œ ˙. n˙. œ n˙. œ œ w
E: iv6 I46 Vsus4–3 ¯VI ¯VII I
256
#### ∑ ∑
&
##
& ## ∑ ∑
256
? #### ∑ ∑
b œ . ofœj the œ ˙ b˙
b brave! w
nAnd
œ theœ home
U
b b b b A¯:
43 viiœMODE
œœœ5œ œœœI64... ( œœœ ) œœœVœ7 44 ¯VI
˙ b ˙˙˙ wwI
246
&
esc.
CHAPTER 19.n œ œ b ˙˙
¯VII
œ vi MIXTURE w
ø7 V6
˙ 217
j U
w
? b#b #b 43 n œAm œ E/B œ . œBsusœ 4 B 44 bC˙ b˙
b wœ w
& # # 44 n œœ œ œ ˙ . œ . œ œw œ b˙
D E
b˙
˙ ..
250
w J
A¯: viiø7 V56 I64 V7 ¯VI ¯VII I
# # # # 4 vi
And the home of the brave, the brave!
4 n œœ (œ ) ˙w. (œ ) w˙ ˙
250
& n Dwww
œ w ˙ 4 ˙B
n n wwwC ww
w
#### 4
Am E/B Bsus E
œ w
? # # # # 444 n œœ œ ˙œ . ˙ . œ wœ ˙ .
& ..
250
n w˙ . œ n ˙˙ . œ Jœ w
nAnd
œ the home
œ ˙ . of theœ ˙ . n brave, w
˙ . œ n ˙ . œ theœ brave!
# #
& # # 44E: nivœœ6 (œ ) I˙w46 . (œ ) Vsus
250
w w ˙
˙ ˙
˙
¯VI
n w
w n ww
¯VII
w
w
4–3 I
œ nw w w
# #
& # ## # ## 44 n œ œ ˙ ∑. ∑
256
? ˙. n˙. œ n˙. œ œ w
YT:œ qGDH18R7GfA
n œ œ ˙ . Smithœ and . œ n˙. œ œ w
˙ . Francisn ˙Scott
# # #(1814)
& #
Figure 19.4.2 John Stafford Key, “The Star-Spangled
∑ ∑ Inauguration
256
Banner” E: iv
as6 performed
I4
6 by Vsus
Beyoncé ¯VI
4–3 at the 2013 ¯VII
Presidential I
D˜m G˜ø7/D F˜/C˜ C˜7 F˜

#### # 4
D E
˙. œ œ œ w
256
? # # ## 4 œ œ
& ˙ œ œ œœ ˙ ˙.
j
∑
œ w ∑
#
> >
And the home of the brave, the brave!
>œ> >œ>
# ## # 4 j Œœ œ Œœ œ
256
& # # 4 œœ n œœœ ˙˙ .... œœ ww

œ w n ww Ó˙
œ œ ˙ .. n n www w ˙˙
> >
? # # # # # 44 Œ >œ œ >œ Œ >œ œ >œ
# Ó
œ nœ w w nw nw ˙
œ nœ w w nw nw ˙
F˜: vi iiø43 I46 V7 ¯VI ¯VII I
YT: GbXSZBnBOQ4
Figure 19.4.3 John Stafford Smith and Francis Scott Key, “The Star-Spangled
Banner” (1814) as performed by Lady Gaga at the 2016 Super Bowl
This same V –2 VI deceptive cadence with 2 VI progressing to 2 VII followed
by I occurs in epic fashion at the end of the animated film Beauty and the
Beast from 1991.
19.5 The Picardy 3rd

It is rare to borrow from the major mode during a passage in a minor key. The
major tonic usually functions as V/iv if it’s not the last chord of a piece, and
raised 6̂ and 7̂ occur naturally as part of the melodic minor scale.
In minor, the one place to borrow from the major mode is at the end of a
piece in minor, with the use of the major I chord instead of minor i .
œœœœ œ #œ U̇
3 œ œ œ œ # œ œ
& b 4 œœ œœ œœ œœœ œœ b œ œœ œ œœ# œœ # œœ œ # œœ n œœ œœ œ # ˙˙
72
U̇
œ
? b 43 œ œ œ œ œ œ # œœ œœ œœ œ œ œ
(œ) ˙
30
bw
& d: b ww b www b ww
w
b www
w
b ww7
Vw
b ww
viio7 bIw
w w
C: ¯VI ¯VIIthird
Picardy
599
iv iio iiø7 viio7 7
&b
¯6ˆ as: Root 3rd 5th 5th 7th 7th
b b www b www b www

& b b www b www bw
b ww
YT: fTwkVsECg9w
?While
Figure 19.5.1 J.S. Bach, French Suite No. 1 in D Minor, BWV 812, Sarabande
605
b ¯3C:as:
the¯III
Root 3rd
¯VI
Picardy 3rdi (the major
5th
¯VII
third above
¯7 as: Root
the tonic)
3rd
v ¯III
was most
5th
com-
monly encountered in the Baroque era, it has been used from then until now,
though with less frequency.
611
# b www w b wwww
b www Exercises
19.6&Practice b wwww
M3
&b w
m3
m3
Cõ7/B¯ Aõ7/G A is root
theC¯following C˜lead–sheet
ø7/G
when E¯m/G¯ D/F˜ andø6Roman 31
ø76 above
1. Analyze
viio42 G: ____? ¯III chordsvii
with
o4/iii ii quality
ø4 is iv
symbols 6ii/V5
G: V____
numerals with figured bass stacked
2 in 3rds;
inversion 3
(m3-m3-M3)
symbols below.
ˆ (bass note is
? ? # ww b b ww # w # # w b w
A is 2
____ ____ ____ ____ ____ 3rd of chord)
____
b # ## b ww b b b b w # # www # # # n www b b ww b b b # n www
628
615
# n w
& n ww
D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____
A:1 ¯VI 2 3 4 5 6
b
616
&the b ww symbols. w # # www b b www

Given the____ ____ key,____ ____ ____the chord
____ on
# # # # and
2. Roman numeral, and key signature, notate
? staff, n www b b wwww____ # # ww____ b b b b ww____ # # ____
634
w b ____
analyze with lead–sheet
### w b b ## # b
____
& b F:b ____ D: ____ E¯:b ____ bB¯:

?b E: ____ A: ____ ____
1 2 3 4 5 6
A: iv f: V34/V D: ¯VI F: iiø65 e: viio42/iv B¯: ¯III
D/F˜
bb bb b with
ww following
D¯/F A¯/E¯ Co/E¯ Ao/C C
#b# #with
ww lead–sheet
622
### b w excerpt # ww that

____ ____ ____ ____ ____ ____
b w b b bAnalyze
ww #notes
____ ____ ____ ____ ____ ____
? w b w # b # # n w b b
640 3. Analyze the symbols above and Roman
& b
numerals
b
are non–chord
w b #
tonesb wby putting parentheses around
figured bass inversion symbols
ww
below.
b w # nw
them and specifying
them E¯:by ¯VII
type.
7 b: V56N/iv o6 ¯III g: viio7 ø4 G:Niio6
N6
c: ____ e: ____
6
4 iiA:
B¯: ____ N6/V
c˜: ____
A¯:
viio6ii/VI
d: ____ 3 b: ____
#
628 1 2 3 4 5 6
& # # ____ b ____ # ____ b ____ # ____

b w b w # b ww b b ww
w w
____
& # # # www b b b ww n # www b b ww

646
w w
f˜: ____ f: ____ e: ____ B¯: ____ D: ____ d: ____
1 2 3 4 5 6
__________ __________ __________ __________
b œ. œ œ œ œ. œ
& b b 12
8 œJ œ
74
J
œ œœœ œœ b œœœ œ œœœ œ œœœ
espress. dolce
? b b 12 œ œ. œ œ
b 8 ‰ .œ .œ œ.
° *
° * ° * ° *
E¯: __________ __________ __________ __________
__________ ___________ ____________ ___________
œ Tbn œ œ bœ. œ.
b œ
&bb J
J
œœ œœ œœ
nœ œ œ œ b œ œœœ œœ œ
? bb œ œ. œ œ
b . œ œ
œ *
° ° * ° *
° *
__________ ___________ ____________ ___________
& 44 www
Lead-sheet: ____ ____ ____
YT: bVeOdm-29pU
____ww
w
Figure 19.6.1
Rom. num.: ____ Frédéric Chopin, Nocturne in E-flat major, Op. 9, No. 2
? 44 w
____ ____ ____
w
(1832)
Function: Tonic Mode mixture Tonic __________
(with ¯6) ____
ClickL.S.:
here____ ____
to download the homework assignment ____
for this chapter.
& www www www

?
w w w
R.N.: ____ ____ ____ ____
Func.:__________ Secondary of V __________ __________
Chapter 20
The Neapolitan Chord
20.1 The Neapolitan Chord

The label “Neapolitan” is used in classical music for the 2 II chord and is
labeled as “ N ” instead of 2 II . For example, when the Neapolitan chord occurs
in first inversion—its most common inversion—it is labeled as N6 .
Being a chromatically altered ii chord, the Neapolitan has pre–dominant
harmonic function.
Notice the special character of the Neapolitan and how composers some-
times alter texture, register, and dynamics when the Neapolitan occurs, as in 75
the first movement of Beethoven’s Symphony No. 7, Op. 92.
œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Bm7/D
6 œœœœœœœœœœœœ
A
### œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ
& 8
ƒ
œ œœ œ. œœ
? ### 68 j ≈œ œ œ. œœ
œ. œ œ. œ œ œ . œ œ œœ
œ.
œ.
A: I ii65
# # # œœœ œœœ œœœ œœœ œœœ œœœ b œ .. œ

œ œœ œ œ
B¯/D E7 A
nœ.
& œ œ œ œ œ œ b œ #œ.
π cresc. ƒ
? ### œœ œœ n œœb œ œœ œ œœ œ œœ œ œœ œ œœ œ n œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ
œ . œ œ œj ≈ œ
N6 V7 I
##
& # YT: -4788Tmz9Zo
Figure 20.1.1 Beethoven, Symphony No. 7, Op. 92, I (1812)
? ###
220
###
&
π cresc. ƒ
? ### ≈œœœœ n œœb œœœœœœœœœœœœœœœœ n œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ
CHAPTER œ20. j
œ œ NEAPOLITAN
. THE œ
œ CHORD 221
20.2 Examples of the Neapolitan

6
Chord
7 N V I
##
C˜m C˜m/B
& ## C
3 3 3 3 3 3 3 3
sempre π e senza sordini
? #### C w w
w w
c˜: i i42
D/F˜ G˜7 C˜m/G˜ G˜sus4 G˜7 C˜m

####
A
& œ œ œ
3 3 3 3 3 3 3 3
œ œ œ œ œ œ œ nœ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ
? #### œœ
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ œ
VI N6 V7 i64 V4 7
3
i
YT: bT6WmWVYPhI
Figure 20.2.1 Beethoven, Moonlight Sonata, Op. 27, No. 2, I (1802)
For comparison, play the example above from the Moonlight Sonata and
4 ◦6 4◦. 4
try other pre–dominant chords in its place, like iv ( F m ) or ii ( D F ),
while noting the difference in effect.
The next example is a well-known movie theme.
CHAPTER 20. THE NEAPOLITAN CHORD 222
œ. œ ˙.
& 44 œ . œ œ. œ ˙
76 C D¯
œ. œ
? 44 Œ œœœ ‰ ‰ œœœ œœœ œœœ ‰ Œ bœ œœœœ

b œœ ‰ ‰ œœ œœ œœ œœ ‰ Œ
J J J
C: I N
& 44G œ(no. 3rd) œ. œ ˙.

C D¯
œ œ. œ ˙
76
œ. œ
7
œ œœ ‰ œ œœ œœ ‰ œ œœ ‰ œ œœ œœ.
& œœ œ œ œœ œ œ. œ
? 44 Œ œœœ ‰ ‰ œœœ œœœ œœœ ‰ bœ œœœœ
Œ b œœ ‰ ‰ œœ œœ œœ œœj ‰ Œ
œ J Œ œJ J
? C:Œ
œ I œ Œ N œœ ‰ œœ Œ
V7
G7 (no 3rd)
œ
& œœ œœ ‰ œ œœ œœ ‰ œ œœ œœ ‰ œ œœ œœ.
œ œ
YT: ML-RqsAG09o
œ œ. œ
& j
œ œ œ œ
Figure 20.2.2 John Williams, Raiders of the Lost Ark, “Raiders March”
? Œ Œ œ MoonlightŒ Sonata, ‰ pre–dominant
œ Œ
(1981)
As with theœ example from the œ try other
?
chords V
(like
7 IV , iv , or iiø65 ) in place of the Neapolitan chord in the example
above, and notice the difference in effect.
The next example shows the harmonic progression from main theme of the
recent Star Trek movies.
& b 44 w
Dm B¯ E¯ A
ww ww ww ww b ww ww # ww ww
w w w w w w w
? b 44 w w w w bw w
bw w w w
w w w w w w
d: i VI N V
&b
YT: EO1FZEUbZJE
Figure 20.2.3 Michael Giacchino, Star Trek, “End Credits” (2009) (chords
only)
?b
b 4 w w w w
w w w w bw w w w
d: 20.
CHAPTER i THE NEAPOLITAN
VI N
CHORD V 223
4 ww
Gõ7/D Am/C Gõ7/B Am
www w ww
B¯/D Am/C E
& 4 # ww # www w b ww
w
ww
w # ww ww
w w
Cõ7/B¯ C¯ Aõ7/G C˜ø7/G E¯m/G¯ D/F˜ 31
? 44 w w ____w ____w w____

viio42 ¯III viio42/iii iiø43 iv6 V6/V
____ w w w w w
? # #w b wwww wb b b b b www # w# ww # # w# # wwww b b ww b b w
628 ____ ____
Cõ7/B¯ C¯ b Aõ7/G # Cw˜wø7/G #E¯m/G¯ w ˜ 6b # n ww

n w 6 6 b D/F 31
a: viio4o4
vii 23
i6 ¯III viio6viio4/iiii 5
N 6
iiø4
2 i iv V V /V 3
D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____
www b b ____ bw # wwww # # # # #____

____ ____ ____ ____ ____ ____
? # # b w____ b b b ww # #____ www b b ____
ww b b b ____
1 2 3 4 5 6
n www
628
b ww n w b w #
? # # #D:# ____www b A¯:b ww____
w YT:# # G:rD5wQROo_bs
w # # wwww b b www
w b b b B:b www____ # #B¯:
634
Figure 20.2.4 w
n w 2 and Antonius
Hans Zimmer
____ ____ b c: ____
Tom Holkenborg, Batman v Su-
1 3 4 5 6
perman: Dawn of Justice, “The Red Capes are Coming” (2016) (chords only)
E: ____ F: ____
____ D: ____
____ E¯: ____ A: ____ B¯: ____
____
# b ww b bD/F ww # # ww b b www
____ ____ ____
?# #
n wwww bExercises
# #____ b wwww # C____
oww w ˜ # ____ A#ow/Cw
634 1 2 3 4 5 6
20.3 Practice b b ____ b ____

b ww
D¯/F A¯/E¯ /E¯ C
b www____lead–sheet
____
? b b E:the # F:b ww____

w____following chordsb D: # #E¯: n wwwsymbols
# # ____ ww and
A:babove www
# #B¯:Roman
640
b b b w n
b w 2bass Cinversion 4w below.o Remember
1. Analyze with ____ ____
1 figured o/E¯ 3 5 to6 use
D/F˜
numerals with symbols
D¯/F 2A¯/E¯ A /C C
“ N ” instead6 of II .
bw
N N64 iio6 c˜:____
N6 viio6/VI N
? b b ww # b ww b b b www # # # # n ww b b www # # n www

____
c: ____ G:____
____ B¯: ____
____ ____ d:____
____ b:____
____
640
1 2 3 4 5 6
b ____ w
# # # # w b b bbw # ww b b bww # # b www b b w
____ ____ ____ ____ ____
# ww G:b____b www B¯: ____

646
& c: ____ n # ww c˜:b ____

ww d: ____w b: ____
w
1 2 3 4 5
w6
f˜: Roman
# # # #
4
b b b signatures. ww b b b w # b www b b w
N6 the ____ f: ____
N6 numeral,
____ e: ____
iio6 please
____ ____N6theB¯: ____ o6/VI D: ____
viiof
____ ____
N andd: ____
____
# Include
2. Given write notes the chord lead–sheet
# w key b ____
646
& # ww b ww n # ww b ww w w
symbol. 1 2 3 4 5 6
652 ____
w ____ ____ ____
w
____
& f˜: ____ f: ____ e: ____ B¯: ____ D: ____ d: ____

1 2 3 4 5 6
1. E¯: N6 2. a: N 3. D: ¯III 4. c: viio7/V 5. B¯: iiø4 6. G: N6
652 ____ ____ ____ ____ ____2 ____
& to ____ ____

homework____ ____ ____ ____
?
658 Click here download the assignment for this chapter.

2
1. c˜:____
N6 2. b:____
N 3. G: ¯VII
____7 4. d: vii
____o6/V
5
N46
5. F:____ 6. f˜: ____
N6
?
658
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
>
. >œ7 ‰4. d:>œviio65œ/V>œ ‰5. F:>œN46>œ >œ6.#fœ˜: Nœ 6
#1.# c4˜: N>œ6. >œ ‰2. b:>œ N œ >œ 3.‰ G:>œ¯VII
664
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
& 4 J J
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
# # 4 >œ . >œ ‰ >œ œ >œ ‰ >œ . >œ ‰ >œ œ >œ ‰ >œ >œ > >œ
664
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
& 4 J J œ #œ
Chapter 21
Augmented Sixth Chords
21.1 Augmented Sixth Chords

Augmented sixth chords are a special class of pre-dominant chords with
notes that approach the dominant (5̂ ) from a half-step below (44̂ ) and from a
33
half-step above (26̂ ) simultaneously.
˜4ˆ 5ˆ ˜4ˆ 5ˆ
? #˙ ˙ ˙
b b b # ˙˙
705
b ˙ ˙ ˙
C: ¯6ˆ 5ˆ c: ¯6ˆ 5ˆ
707
?
Figure 21.1.1
In minor, 26̂ doesn’t require a flat because 6̂ is lowered in the minor key
signature.
?
21.2 Types
714 of Augmented Sixth Chords
There are three general types of augmented sixth chords—the Italian aug-
mented sixth chord (“ It+6 ”), the French augmented sixth chord (“ Fr+6 ”),
and the German augmented sixth chord (“ Ger+6 ”). These geographic la-
?
bels have persisted
722 throughout the years despite the fact that no reasoning has
been found for these designations. 1
All types of augmented sixth chords contain scale degrees 26̂ and 44̂ . To
these two scale degrees, the It+6 adds 1̂ . The three notes of the It+6 (26̂ , 44̂ ,
and 1̂ ) form the foundation of the Fr+6 and Ger+6 . The Fr+6 adds 2̂ to the
?
Italian augmented 730 sixth chord’s
26̂ , 44̂ , and 1̂ , and the Ger+6 adds 23̂ to the
Italian’s , , and 1̂ , as is shown in the example below.
26̂ 44̂
1 The 1964 Harvard Dictionary of Music states these chords are “rather point-
lessly. . . distinguished as ‘Italian,’ ‘German,’ and ‘French’ sixth. . . ”
?
738
224
C: ¯6ˆ 5ˆ c: ¯6ˆ 5ˆ
CHAPTER 21. AUGMENTED SIXTH CHORDS 225
#w # w b # www # b # wwww
707
b ww b www
˜4 ˜4 ˜4
& b w
˜4 2 ¯3 ˜2 33
1 1 1 1
¯6 ¯6 ¯6 ¯6
˜4ˆ C: It+6
5ˆ ˆ
Fr˜4+6 5ˆ
? # ˙ ˙ bb # ˙ ˙
705 Ger+6 EnGer+6
bb ˙ ˙ # ww b ˜4 ˙ ˙ # www # www
711
&bb w ¯61 w w
˜4 ˜4
2 ¯3
1 1
C: ¯6ˆ 5ˆ ˆ c: ¯6 ¯6 5ˆ ¯6
c: It+6 Fr+6 Ger+6
b
&bb
714
#w # w b b # wwww # b # wwww
707 Figure 21.2.1 The Three Types of Augmented Sixth Chords in Major and
b ww b www
˜4 ˜4 ˜4
&
Minor
˜4 2 ¯3 +6 +6 ˜2
The final chord on the 1 first line—the Enharmonic
1 German1 or EnGer —respells
+6 1
the 23̂ as a 42̂ because ¯6 ¯6 only to major¯6I4 . The EnGer ¯6
the EnGer+6 resolves 6
does not occur in+6minor.
b
C: It +6 Fr +6 +6
Ger EnGer
& bb b Analyzing
729
# w ˜4 Augmented
# w # ww Chords
711
bb ww 1 www ww ¯31
21.3 ˜4 Sixth ˜4
& ¯6
2
1
Since our process for analyzing ¯6
chords has been to stack them up in thirds to ¯6
determine the root and quality, it is +6
worth examing these four augmented sixth
b
c: It+6 Fr Ger+6
&bb
735
chords as stacks of thirds.
714
& # b www o3 # b wwww o3

b #b wwww o3 # # b wwww o3
C: It+6 Fr+6 Ger+6 EnGer+6

b
& bb b
741
718
www
&bb # www # wwww
(don't forget about the key signature when in minor)
o3 o3 #w o3
c: It+6 Fr+6 Ger+6
b b that all augmented sixth chords contain a 3 when stacked in 3rds.

Figure 21.3.1 Augmented Sixth Chords Stacked in Thirds
b
721
&
◦
Notice
None of the chords we have studied so far contain diminished thirds.
Principle 21.3.2 Augmented Sixth Chords. When you encounter a chord
with a diminished third, it is an augmented sixth chord.
b
741 Once you determine the chord you are analyzing has a 3, analyze the scale
◦
&bb
degrees to determine which type of augmented sixth chord it is.
21.4 Lead-Sheet Analysis of Augmented Sixth Chords

When using lead-sheet symbols for augmented sixth chords, we will treat them
as major-minor seventh chords built on 26̂ , since that matches the sonic qual-
ity of the augmented sixth chords and is similar to how they occur and are
spelled in jazz and popular music. The chords in parentheses are enharmonic
respellings of the three augmented sixth chord types.
bbb w
# ww
ww o www
(don't forget about the key signature when in minor)
& # ww 3o3 # w o3
c: It+6 Fr+6 Ger+6
#w b ww # www ∫ b www b # www b b www

721 A¯7 (no 5th) A¯7(¯5) A¯7
& b ww (b w ) b w ( b w) b w ( bw )
C: It+6 Fr+6 Ger+6
b
Figure 21.4.1 Augmented Sixth Chords Stacked in Thirds
&bb
727
In the example above, we see a disagreement between “classical” analysis
and lead-sheet analysis. The fundamental concept of lead-sheet analysis is
to show root, quality, and inversion. The “classical” spelling and the classi-
cal analysis of augmented sixth chords show the direction of resolution (with
the chromatically raised notes), which necessitate the need for original labels,
since we don’t have a Roman numeral or a lead-sheet symbol that would com-
municate a chord containing a diminished third above the root (that is then
inverted!).
Therefore, when you are asked to provide lead-sheet symbols for augmented
sixth chords, analyze each one as if it is a dominant 7th chord with a misspelled
2 2 4 2 2 2
7th (A –C–E –F instead of A –C–E –G ).
21.5 Examples with Augmented Sixth Chords

21.5.1 The Italian Augmented Sixth Chord
The first examples, from the first movement of Beethoven’s Fifth Symphony,
shows an Italian augmented sixth chord ( It+6 ) in C minor with the “classical”
spelling. 77
b bb 2 œ œ œ ˙ œ œ œ œ ˙
& 4
‰ œ œ œ ˙ œ˙ œ œ œ
˙ n˙
? b b 42 ‰ Œ
b
U̇
Cm A¯7(no 5th) G
b b œ œœ œœ œœ œœ
& b œ œ œ œ Œ # œœœ Œ nœ
œ Œ
j f u
œ cresc. œ
? b b n œ n œœ œœ œ
œ œ Œ
œ
Œ œ U
Œ
b œ œ
i It+6 V
b
&bb YT: _4IRMYuE1hI
Figure 21.5.1 Beethoven, Symphony No. 5, Op. 67, I (1808)
?Theb b next example from popular music has an It

b
+6
spelled enharmonically
b
&bb
29
as a major-minor seventh chord with the fifth omitted.
# c Em j B
Œ œ œj œ . œ Œ ‰ œj œ bœ.
C7 7 Em
œ œ œ
279
& œ
# c j
Don't mean a thing if it ain't got that swing
279
∑ ∑ 3 b ˙˙ 3 3 œ . 3n œœœ œœœ3
78
&#
Em
& c Œ Œ j Œ œj œ Œ j œ ‰ œ œ ‰# œ .œ. ‰ œ œ ‰ œ
3 3
# œ œ. . #œ . . .
?# c
? # c Œœ # # œœ œœ. œ‰ # ##œœœ ˙˙ œ œ œ˙ œ œ œ œ Œ# œb
b œ œ. œ b œ
œ œ ‰b œ
J J
e: i 3
It˙+6 V7 3 3
i
#
3
∑ ∑ ∑ ∑ ∑ ∑
e: i
&
283
C7
## b ˙ ∑
YT: LYfF9VKMp4w
œ œ œ∑ Ó
3
& œ (œ ) œ ∑ ∑ ∑ ∑
283 3
&
Figure 21.5.2 Duke Ellington, “It Don’t Mean A Thing (If It Ain’t Got That
Swing)” (1931) ( )
? # ˙˙ ∑
21.5.2 The French Augmented Sixth Chord
˙ ∑ ∑ ∑ ∑ ∑
˙
The next example contains an example of a French augmented sixth chord
( Fr+6 ). Notice how the French augmented sixth chord has pre-dominant func-
Ger+6
tion and intensifies the drive toward the V chord.
#
∑ ∑ ∑ ∑ ∑ ∑Gm
289
& b Fõ7/E¯ E¯7(¯5) D
œœ œœ œœ œœ œœ œj ‰
Gm
2 œ
&b 4 œ . . . . # œœœ œœ œœ œœ
œ. # œ. œ.
˙˙œ # œ n œ œ œœœ
# π .
∑œ œ. œ. œ∑. œ. œ œ∑j ∑ ∑ ∑
289
&
? bb 24 œ‰ œ œ œ œ œ. œ œ œ. œ. œ. œ. ˙ œ
?# g: ∑ i ∑ ∑ viio42 ∑ Fr+6 V∑ ∑ i
b
&b
YT: xti0xkrIZjQ
? bb
Figure 21.5.3 Schubert, Winterreise, D. 911, “Der Wegweiser” (1823)
21.5.3 The German Augmented Sixth Chord

The following example, from Rossini’s William Tell Overture, has a German
augmented sixth chord leading to a chord of dominant function, the I64 chord.
? bb œ œ
b nœ œ œ œ Œ œ Œ œ Œ
It+6
CHAPTER 21. AUGMENTEDi SIXTH CHORDS V 228
n˙ œ œ nœ œ #˙ œ œ œ
C/E E
#
## # 2 n ˙ œ œ nœ œ #˙ œ œ œ œ
& 4 œ
S j S j
n˙˙ nœœ ˙ œœ
? # # # # 42 n ˙œ œ œ œ n œœ ‰ Œ # ˙˙œ œ œ œ œœ ‰ Œ
J J
E: ¯VI6 I
œ nœ œ œ œ
C˜
˙ œ #œ œ œ #˙
C7 E/B
#### ˙ œ #œ œ #˙ œ nœ œ œ œ
œ J
&
S j S
˙ œ j j
? # # # # # ˙˙œ œ œ œ # œœœ ‰ Œ n n n ˙˙œ œ œ œ n n œœœ ‰ Œ œ
# œœ
J J œ
J
V/ii Ger+6 I64
YT: oGPys3sKBHw
Figure 21.5.4 Gioachino Rossini, William Tell Overture (1829)
John Coltrane’s minor blues, “Mr. P.C.,” contains a German augmented
sixth chord (spelled as VI7 in minor) progressing to the V chord. (Note: The
bass line in this example is a jazz “walking” bass, which doesn’t stick strictly
to chord tones.)
w bw
IV7 ¯VI
b j
Cm A¯7 G7 Cm B¯ Cm
& b b c œ œ œ b œ ‰ œ . œ . b œ ‰ œ œj œ œ
275
˙ œ œœ
b j
&bb c Ó Œ œ Œ
275
˙˙ œœ .. œœ
b ˙˙˙˙ .... œœœ n œœœ
œ œ
œœ ˙ œ. œ
? bb c
œ nœ œ œ œ nœ bœ
c: i Ger+6 V i VII i
YT: oHDsywpCHj4
Figure 21.5.5 John Coltrane, “Mr. P.C.” (1959)
The next example is a movie theme and features a German augmented
sixth chord spelled as a major-minor seventh chord ( VI7 ). In this particular
case, the third of the chord doesn’t occur until the fourth beat of the measure.
78
#
Em
& c Œ Œ j Œ œj œ Œ j ‰ œ œ ‰ œ œ. ‰ œ ‰ œ
3 3 3
3 3 33
# œ œ. . # œ œ. . œ.
. b œ œ. b œ
? # c Œ # # œœ œœ ‰ # # œœ ˙˙ Œ b œJ œ ‰ b œ
J ˙ ˙
3 3 3
3
e: i
C7
#
& b˙ œ ( œ) œ œ œ Ó
3
3
(œ )
? # ˙˙
˙ ˙
Ger+6
#
& YT: KEt_FkMkaO4
Figure 21.5.6 Henry Mancini, “The Pink Panther Theme” (1963)
? # #Œœ#œœj
Fiona 3Apple’s “Criminal,” from 1996, features German augmented sixth
#
&
chords in the verse ( F7 in the key of A minor) as well as in the pre-chorus,

seen in the example below.
28
C B¯ A¯7 G
& c ‰ œj œ . œ œ œ b œ œ œ œ .
271
œ œ œ bœ œ œ. œ œ œ
j
I've come to you 'cause I need gui - dance to be true And I just
&c ˙ b b ˙˙˙ n œœ .. # œœ
b ˙˙˙
271
˙ œ.
?c œ œ œ bœ œ œ b˙ ˙
œœ œ bœ œ œ b˙ ˙
C: I ¯VII Ger+6 V
F7 A¯
& bœ œ œ œ œ œ œ. œ œ œ œ ‰ bœ œ œ œ
œ bœ. œ
273
œ bœ
don't know where I can be - gin Ooh
& b www w
273
bw
?
w bw
w bw
IV7 ¯VI
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
275
YT: FFOzayDpWoI
Figure 21.5.7 Fiona Apple, “Criminal” (1996)
∑ ∑ ∑progression
∑ ∑ ∑of Am ∑ – F∑7 – E∑ ( i∑– Ger∑+6 –∑V in∑ Roman
∑ ∑ numerals)
∑ ∑
275
&A repeating
occurs in “Friend Like Me” from the movie and musical Aladdin.
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
YT: 0HdwdptrmQQ
Figure 21.5.8 Alan Menken and Howard Ashman, Aladdin, “Friend Like Me”
(1992)
21.5.4 The Enharmonic German Sixth

In the following example an “Enharmonic German augmented sixth” chord
2 2 2 2 2
occurs. While a G 7 chord would normally have the notes G –B –D –F , the
F2 is respelled as an E6, creating the interval of an augmented sixth, while the
fifth of the chord, D2, is respelled as a C4, creating the interval of a doubly
œ œ œ.
œnœ œ œ œnœ œ œ
b œœœ œ œ œ œ œ œ œ œn œ231œ
Christina Perri jar of Hearts
b œ œ
œ œ œ œn œ œ œ
284
& b œ œ
CHAPTER 21. AUGMENTED SIXTH CHORDS
œ œ œ œnœ œ œ œ bœ œ œ œnœ œ œ œ œ œ œ œnœ œ œ œ bœ œ œ œnœ œ œ œ

augmented fourth. In fact, some music theory textbooks refer to the Enhar-
? b
monic German augmented sixth chord as “the chord of the doubly-augmented
bb
fourth.” The spelling is this way because the C4 will resolve upward to a D6,
the third of a major I64 chord.
p
288
G¯7 B¯/F F7 B¯
b 6 j
&b 8 ∑ Œ ‰ Œ œ œJ . œR œJ
288
œ
Am leuch - ten - den
b 6
& b 8 ≈ œ nœ #œ ≈ nœ #œ œ bœ ≈ œ œ œ œ ≈ œ œ œ ≈œœ
œ œ
p
œ bœ œ œœ
? b b 68 œ. œ œ.
b˙. œ.
B¯: EnGer+6 I46 V7 I
YT: PMFUeLdhhuM
Figure 21.5.9 Robert Schumann, Dichterliebe, Op. 48, “Am leuchtenden
Sommermorgen” (1840)
21.6 Distingushing Between Chromatic Harmonies

The following table provides a brief synopsis of what to look for when analyzing
chromatic harmonies.
Table 21.6.1 Distingushing Between Chromatic Harmonies
Chromatic Chord Type What to look for Chord Labels
Secondary Dominant QUALITY—M triad or Mm7 V/ , V7/
Secondary Diminished QUALITY— ◦ , ◦7 , ø7 vii◦ / , viiø7 / , vii◦7 /
Mode Mixture ACCIDENTALS—lowered notes ii◦ , iiø7 , iv , vii◦7 , 2 VI , etc.
Neapolitan 2II N
Augmented Sixth Chord ◦
3 interval It+6 , Fr+6 , Ger+6 , EnGer+6
21.7 Descending Chromatic Bass Lines

A common musical pattern is the descending chromatic bass line (1̂ –7̂ –27̂ –6̂
–26̂ –5̂ ). Composers harmonize descending chromatic bass lines with all manner
of harmonies, including secondary chords, borrowed chords, augmented sixth
chords, and rarely-used diatonic chords. Below are some examples from the
past four centuries.
30
b b œ˙ ˙ ˙ n ˙ œ œœ . œ œ . œœj # œ . b œœj # w ˙
Gm 7 G7/F D7
ˆD /F˜ C/E Cm/E¯
& b b 3243 ˙œ œ˙ ˙œ
291 (6) ˆ
(6)
23
b
291 Two andI two are
laid,four, am four and four in are eight,
& bbb 3243 wŒ œ œ ˙œ Œ w œ ˙œ Œ w˙œ œ œ œ œJ

When am laid earth,
? œœ œ
3
b ww ˙ w œ w ˙ œ ww Œ
π Inch - worm, w Inch - worm, meas -3ur - ing the mar - i - golds,
3
? b b 32 E¯ ˙ # w7 n ˙˙ n ww b ˙˙ D¯7 ww
b 3w
& b b 4 Œ ˙˙ Œ ˙
D¯ E¯
b ˙˙ . ˙˙ 6 ˙˙ .. 7
g: i ˙ b ˙ .
˙ .. V2/iv IV
V 6 4 ivb6b ˙
˙ .. V
? b 3 ˙. b˙. ˙. b˙.
& b b ∑4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
295
¯VII7 ¯VII7
YT: s-F19lgB0Ow
E¯: I I
b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
295
Figure 21.7.1 Henry Purcell, Dido and Aeneas, Z. 636, “When I am laid in
earth” (Dido’s Lament) (1688)
27
# 3 Ó ˙ ˙ ˙
cru - ci - fi - xus e - ti - am pro - no - bis
& b b 2 ∑ œ œ∑ ˙˙ ∑# ˙Ó ∑ ∑˙Ó ∑n œ˙ œ∑# ˙˙ ∑ # œw∑# œ ∑ #∑˙ ∑ ˙ . ∑ # ˙ ∑œ ˙˙∑

?
fi - xus, cru - ci - fix - us e - ti - am
b ∑. ˙˙ ∑ ˙˙
cru - ci
?
& #b 32 ∑ ∑ ∑ ∑∑ ∑ ˙ ˙ ∑˙
310
Ó
cru - ci - fi - xus,
b
& #b ˙˙ ∑
Aõ7/E∑ B/D˜ Dm7∑Gõ7/D A/C˜
∑ Am/C C7(¯5∑) Em/B B ∑ B˙7
310
˙ ˙˙ n ˙ n ˙˙ ˙˙ ˙ # ˙˙ ˙˙ # ˙˙ ˙˙˙
Em
& 32 ˙ ˙˙ # # ˙˙ n˙˙ # ˙ ˙ ˙
? #b b 3
? ∑ œ œ œ œ∑ # œ œ n œ ∑œ œ œ ∑ ∑ ∑
2 #œ œ nœ œ œ œ œ œ œ œ œ œ
œœ
e: i viio43/V V6 vii7 viio43/iv IV6 iv6 Fr+6 i64 V 7
YT: hY7CGrR6sPc
Figure 21.7.2 J.S. Bach, Mass in B minor, BWV 232, Crucifixus (1733)
? b b˜ 44C:
4ˆ œ Itœ+65ˆœ œ n œ œ œ œ bFrœ +6œ˜4ˆœ œ n œ 5œˆ œ œ n œ œ œ œ b œ œ œ+6œ
œ +6 œ EnGer n œ œ
? # ˙b ˙ b b # ˙ ˙
705
Ger
b ˙ (don't b ˙ ˙ key signature when in minor)

bb b ˙ wwforget about the
718
w
& #w # wwww # www
CHAPTER 21. AUGMENTED SIXTH6 CHORDS 233
c: i V6 i24 IV i V6 i42 IV6
C: ¯6ˆ 5ˆ o3 c: ¯6 o3
ˆ 5ˆ o3
C7/B¯ GerF/A A¯7

œ œ. œ n œ œ # œJ. ‰ œ œA¯b œ7n œ œJ ‰
c: Cm G/B Cm/G
œ n œ. ‰A¯œ ..7(¯5)
It+6 Fr+6 +6
b b 3 Œ œ .. A¯
b œ. ‰ 5th)
œ 7 (no
. n œ n œ œ R J ‰ œ
& 4 # w R 4J œ #œ w J
# ww b ww b ww ˜1 b www# www ˜∫124bbbwww# wwww œ . b ¯3˜4# www ##bœ#.wb wwwb www ˜˜24
707
721
& b w (b w ) b w ( b w) b¯61 w ( bw ) j
5 1
¯6 ¯6 ¯6
b It43+6C:˙˙˙ ...It+6 n ˙˙˙ ...

? bC: ˙.
b n ˙˙˙ ...
. +6
˙Ger ˙˙ .. EnGer+6
Ger#+6 œœ ‰
b n ˙˙ .. b ˙˙ .. œœ
Fr+6
+6
b Amc: #i ww ˜V14C+maj # www VAm/G #IV www6 D/F˜

711
b b w w w
˜4 ˜4
&
6 7/G˜ 4/iv Fmaj7i6
2 2 ¯3 Ger+6
œ œ œ+6 œ¯6 œ œ ¯6
4
‰ œ
1 1
œGer+6## œ˙ œ œ œ n œœœœ
¯6
œ
V&44b b b˙ œ #˙ œ
727
n˙
c: It +6 Fr
714
w w b w IVWoO
# b wwBeethoven, # b wwwVariations # wwwminor,
i4 inb C #80# b wwww(1806)o3 VIM7
YT: UoWXRlw9vBA
& a: i21.7.3
Figure o3
M4
III+ 3 32 o3 2 o3
6
? b b C: j j
b Gm
It+6 Fr+6 Ger
C7/E
+6 EnGer +6
œœ ‰ forget
œ œabout œœ œœ œ when Œin minor)œœ œœ œ Œ œœ œœ œ
Gm/F E¯
b 4 (don't
œ œ œ theŒ key‰ signature œ
V b b 4 œ œww o œ œ œ wwœœ o œœ œœ nwwœœ œœ o œœ œœœ b œ œœ œ œœ
œ
718
730
b b w
& #w 3 # ww 3 #w 3
i It+6
g: c: 4 +6
iFr
2
IV+6
Ger 6
5 VI
#w b ww # www ∫ b www b b # wwww b bb wwww

721 A¯7 (no 5th) A¯7(¯5) A¯7
& b ww (b w ) b w ( b w)
YT: VJDJs9dumZI
( )
Figure It+6 George Harrison,
C:21.7.4 Fr+6 +6
GerWeeps”
“While My Guitar Gently (1968)
Am C+maj7/G˜ Am/G D/F˜ Fmaj7
‰ œ œ œ œ œ œ œ
V 44 ˙ œ
œ
#˙ œ œ ## œ˙ œ œ œ œ
n œœœ
727
n˙
a: i III+M43 i42 IV6 VIM7
730
V YT: iXQUu5Dti4g
Figure 21.7.5 Jimmy Page and Robert Plant, “Stairway to Heaven” (1971)
g: i viio42 Fr+6 V i
30
D¯maj7(˜11) Fm
b
& bb bb b3 c œœ œ˙œœ œ ˙œœ œ œœ œ˙ n œœ˙ œ nœœ˙ œ b œœ œœ. œœœœœ
Fm Cm/E¯ Dø7
œœj œœ œœœj œœœ Ó œœœ

Gm D7/F˜ G7/F C/E Cm/E¯ D7
& 2 ˙ J . œ œ# œœ. œ œ# ˙ œ
291
? b b b3 c j j
291
j
When I am laid, am laid in earth,
& b 2 wœ . œ ˙œ . œ w n œ . ˙ œj b œ .w˙ œj œ . œ œ . wœœ œ

ww ˙ w w ˙ w
π ˜vi
w ww
f: i v 6 ø7 VI M7 i
? b b 32 ˙ # w n ˙˙ n ww b ˙˙
w
g: i VYT:
6 89dGC8de0CA
V24/iv IV6 iv6 V7
Figure 21.7.6 Steven Tyler, “Dream On” (1973)
# # # # c Cœ˜mœ Œ G˜/B˜
295
V Œ ‰ œ œ # œ œ œ œ œ œ œ œ . ‰ œj
r
# # # # œ œ . œœ œ œ œ œ œ œ
Wait - ing on a Sun - day af - ter - noon For
V c œ œ‰ œ ≈œ œ œ œ œ œ œ œ ‰ . # œœœ ≈ œœ œœ œœœ œœœ œœ

œ œ œ œ œ œ œ œ œ #œ œ R œœ œ
295
t # # # # c œ œ ‰ . œr ≈ œ œ œ œ œ ‰ . œr ≈ œ œ œ œ œ œ
œ œ #œ œ
c˜: i V6
##
C˜7/B A˜ø7
j
V ## œ œ œ.
297
œ nœ œ œ œ œ œ #œ Œ
what I read be - tween the lines
# # # # œ œ ‰ . œr ≈ œ œ r
297
V œœ œœ œœ œœ œœ œœ ‰ ≈ œœ ≈ œœ œœ
# œœ œœ œœ œœ œœ œ œ œ œ nœ œ œ œœ
t # # # # œ œ ‰ . œr ≈ œ œ œ œ œ r
œ œ #œ œ ‰ ≈ œ ≈ œ œ œ
V24/iv ˜viø7
YT: yjJL9DGU7Gg
Figure 21.7.7 Robert DeLeo and Scott Weiland, “Interstate Love Song”
(1994)
79
Cm G/B Cm/B¯ F/A Cm G/B Cm/B¯ F/A
b œ œ œ nœ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œnœ œ
& b b 44 œ
œ œ œ œ nœ œ œ œ bœ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ bœ œ œ œ nœ œ œ œ
? b b 44
b
c: i V6 i24 IV6 i V6 i42 IV6
b
& b bb
YT: 8v_4O44sfjM
Figure 21.7.8 Christina Perri, “Jar of Hearts” (2010)
? bb b
b
Below is a table comparing the harmonizations of these descending bass
lines.
Table 21.7.9
Bass Line 1̂ 7̂ 27̂ 6̂ 26̂ 5̂
V6 V42 IV6 6

Purcell i iv iv V
i – vii◦43 V V6 vii7 – vii◦43 iv IV6 iv6 – Fr+6 i64 – V6

Bach
V6 V42 iv IV6 Ger+6 i64

Beethoven i
Beatles i i42 IV65 VI
Led Zeppellin i III +M 4
3 i42 IV6 VIM 7
Aerosmith i i42 4 viø7 VIM 7
V6 4 4 viø7

S.T.P. i V2 iv ( VI )
Perri i V6 i42 IV6
For the harmonization of scale degree 6̂ , remember that the concept of 4 vi◦
was introduced when Roman numerals in minor were introduced. The notes
of the 4 viø7 chord belong to the melodic minor scale.
21.8 Chromatic Pre-Dominant Chords

The table below shows how our study of chromatic harmonies in recent chap-
ters includes the chromatic expansion of the pre-dominant harmonic function
category.
Table 21.8.1
Ton. Ton. Prol. Pre-Dom. Dom. Ton.
I iii IV vii◦ I
vi ii V
V/V
vii◦ /V
iv
iiø7
N6
It , Fr+6 , Ger+6
+6
bb w ww b b b n www # # www b n ww # ww
Ger+6 e: ____
g: ____ N6 It+6
B¯: ____ c˜: ____
Fr+6 viio6/V
d: ____ viio65
b: ____
1 2 3 4 5 6
Exercises# w
? # # b # wwww b b b ∫ b www # b www # # # # n # www b b # n www b b ww
____ ____ ____ ____ ____ ____
672
21.9 Practice
b # w above
1. Analyze the following chords with lead-sheet nsymbols b w and bRoman
ww
32
numerals
D: with
____ figured
A¯: bass
____ inversion
G: ____ symbols
B:below.
____ B¯: ____ c: ____
# ww
? b b w____
____ ____ 2 ____3 ____4 ____ 5 ____
w # n www ____ b b n ww____ # # # # ____ ww # # # w____

‹ www b n #____ ww
666
1 6
b w w w w
### # w bb b n w # w bb # # # www b n w
www e: b____ww B¯: ____
b www c˜:b____ ww
678
& g: ____ w # b____

www
w d: ____ b:
1 2 3 4 5 6
f˜: ____
# w
f: ____ G: ____ g: ____ b: ____ F: ____
# www Include
? # symbol. # b www
b ww signatures.
b b key # # # # n # www ____
# n w b b # b n wwww b____
b b www
672 2. Given the 7Roman numeral, please9write the 10
notes of the11chord and lead-
# b ____w b b ∫ ____
8 12
w w
sheet
684 ____
& D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____

1 2 3 4 5 6
1. c˜: Fr+6 2. F: It+6 3. G: EnGer+6 4. a: viio65/V 5. d: Ger+6
## # #
w b b bthe
Click here #to download
# ww____ b n wfirst b b b ww for
www ____ #____#this
wwww chapter.
b #____
nw
678
& w w
w b w b www
w
homework assignment
____
? here to download the Unit 4 Practice Test.
689
Click
f˜: ____ f: ____ G: ____ g: ____ b: ____ F: ____
1. E¯:7 It+6 2. a: 8Ger+6 3. 9D: EnGer+6 10 4. c: V43/V 11 12
5. B¯: Fr+6
____ ____ ____ ____ ____
?
694684
&
c˜:f:FrN+66
1. 6. 7. 2.
A¯:F:vii ø7/V 3. G:
It+6 EnGer
8. b: Fr+6 +6 9. a:
4. ¯III
F:viio66/V
54 5. cF:˜: Ger
10. viio4
+6/iv
2
Fõ7
?
689 F¯/A¯ B¯ F Cø7/B¯ A¯/C
____ ____ ____ ____ ____ ____
? b b b ww w ## n w b w # b b www
b b b # n wwww b b www
699
b b w b ww n w
w
+6
1. E¯: It 2. a: Ger+6 3. D: EnGer+6 4. c: V43/V 5. B¯: Fr+6
1. E¯: N6 2. a: N 3. D: ¯III 4. c: viio7/V ø4
5. B¯: ii 2 6. G: N6
?
694
6. f: N6 7. A¯: viiø7/V 8. b: Fr+6 9. F: ¯III46 10. c˜: viio42/iv
F¯/A¯
____ B¯
____ F
____ Fõ7
____ Cø7/B¯
____ A¯/C
____
? b b b ww w ## n w b w # b b www
b b b # n wwww b b www
699
bb w b ww n ww
Chapter 22
Modulation
22.1 Modulation
At its simplest, modulation is a change of key that happens within a compo-
sition. In popular music, the change of key will often be called a “key change”
instead of a “modulation.” Those who study classical music theory typically re-
serve the term “modulation” for the slower and more subtle change of key that
occurs in many classical pieces, although there are similarities between “key
change” in popular music and the classical music term “direct modulation,”
which we will study later in this chapter.
Here are examples of key changes in popular music.
YT: Ob7vObnFUJc
Figure 22.1.1 Beyoncé Knowles, Terius Nash, and Shea Taylor, “Love on
Top” (2011)
YT: Siz-xBfIqpg
(1997)
YT: lDK9QqIzhwk
Figure 22.1.3 Jon Bon Jovi, Richie Sambora, and Desmond Child, “Livin’ on
a Prayer” (1986)
22.2 Tonicization versus Modulation

Studying modulation will require us to distinguish between tonicization, which
we studied recently, and modulation. Tonicization, involving secondary chords,
can be as short as two chords ( V/V to V , for example) but can sometimes
encompass several measures as in the following example.
237
31
31
31
CHAPTER 22. MODULATION 238
bb œœ œœ œ ‰ œœ œœœ œœ œœ œœ n œ œ œœ œœ œœ ‰ œœ
299
b
bb b œ œ œœ ‰‰ œJJ œ œ œ nn œœ œœ œ œ œ œœ ‰‰ œJ
299
&
& b bb œœœ
&
299
J œ JJ
trau
trau -- rig
rig ge
ge -- seh'n,
seh'n, so
so kann
kann es
es auch
auch jetzt
jetzt nicht
nicht beim
beim Ab
Ab -- schied
schied ge
ge -- scheh'n,
scheh'n, so
so
bb b œ
œ œœ œœ œœ œœœ œœ
trau - rig ge - seh'n, so kann es auch jetzt nicht beim Ab - schied ge - scheh'n, so
b
& b b œ œœ œœ œœ œ œœ œœ œœ œœ œœœ œœ œœ œœ
299
& b bb œœ œœ œœœ œœ
&
299
œ œœ œ œœ œ œ œ œ œ œœœ œ œœ œœ œœ
299
œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ
j j j œ œœ œœ ‰ Œ
?
? bbb bbb bb œjjj ‰‰‰ œœœjj ‰‰‰
? jj ‰‰‰ œœjj ‰‰‰ jj ‰‰‰ œœjj ‰‰‰ jj ‰‰‰ œœjjj ‰‰
‰ jj ‰‰‰ œœœ œ œ ‰‰ ŒŒ
b œœ œœj œ œœj œ j œœj œ œJJ
œ œ œœ œ œ J
E¯: 7 œ
E¯: II vi V
V77/vi vi
bbb b œœœ œœ œœ œœ œ œ œœ œ œ jj ˙ .
302 vi /vi vi
‰‰ œœœJ
302
E¯: I vi V /vi vi
b ‰
œ œ œ œœ œœ œ œœ œœ œœ ‰ œœj ˙˙ ..
œ
302
& b ‰
& b bb
&
œ ‰ JJ
kann
kann es
es auch
auch jetzt
jetzt nicht
nicht beim
beim Ab
Ab -- schied
schied ge
ge -- scheh'n,
scheh'n, A
A -- de!
de! du
du
bb bbb bb
kann es auch jetzt nicht beim Ab - schied ge - scheh'n, A - de! du
œ
œœ œœœ œœ œœœ œœœ œœœ
302
& œœœ nnn œœœ œœ œœœ œœœ œœœ œœœ

302
&
& b b œœœ œœ œœœ œœ œœ bb œœ œœ œœ œœœ œœœ œ œœ
302
œ bœ œ œ œ œ œ
œœ œœœ œœ œ
œ œœ œ œœ œ œ
j
?
? j
? bbb bbb bb jjj ‰‰‰ œœjj ‰‰‰ jj ‰‰‰ œœJœ ‰‰ jj ‰‰ œœœ œœ œœjj ‰‰ ŒŒ j j
œœjj ‰‰‰ œœ œœ œœjj ‰‰‰ œœ œœ
œœj JJ ‰ j ‰ œœ œœ œœ ‰ Œ œœ œœ œœ œœ œœ œœ
b œ œ œ œœ œœ œ œœ œœ œ œœ œœ
305
œœ œ
305 7
305 IV V
V77/IV IV ii V/ii
V/ii ii V/ii
bb b œœ œœ
IV /IV IV ii ii V/ii
b œœ œœ ˙˙ .. œœ
IV V /IV IV ii V/ii ii V/ii
& b b œœ œœ œœœ œ œ
305
& b bb œ
& œ œ œ œ ˙.
305
œœ œ nn œœ œ œœ œ (( œœœ )) œœ œœ œ
mun -- tre,
tre, du
du fröh -- lili -- che Stadt, A -- de!
bb bbb bb œœ œ nn œœ œœ
305 mun fröh che Stadt, A de!
œœ œ
mun - tre, du fröh - li - che Stadt, A - de!
&
& œ nn œœœ œœ œœœœ nœ œ œ œœ n œ œœ œ œœ ( ) œœ œ œœ
& b b œ œœ nœ œ œ œ œ œ
œ
jj cresc. j j j
cresc.
?
? bbb bbb bb œœœj ‰‰‰ œœ œœ œœjj ‰‰‰ œœjj ‰‰‰ œœjj ‰‰‰
cresc.
? œœ œœ œœ œœ œœ œjjj ‰‰‰
b œ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ
ii
ii V/ii
V/ii ii
ii V/ii
V/ii ii
ii V/ii
V/ii ii
ii V
V II
ii V/ii ii V/ii ii V/ii ii V I
YT: Wod-JellQ88
Figure 22.2.1 Schubert, Schwanegesang, D. 957, “Abschied” (1828)
Below is a reduction showing the underlying diatonic progression of the
example above.
test ?
1. F: V5622.
CHAPTER 2. c˜: N6
/IV MODULATION 3. A: iv6 4. e: viio42/V 5. D: Fr+6239
? b w
(with tonicizations)
˙ ˙ w œœœœ œœœœ œœœœ w
757
bb ˙ ˙ w
E¯: I vi IV ii V I
? b b (without
w
766
w w w
˙. œ w
tonicizations)
b w w w
E¯: I vi IV ii V I
? bb
775
Figure 22.2.2 Reduction of Harmonies from “Abschied”

A modulation to a new key requires an eventual cadence to confirm that new
key. This cadence will often (though not always) have the following cadential
formula:
Table 22.2.3 Cadential Formula to Establish a Key
ii6 I64 V I
Pre-Dom. Dom. Dom. Ton.
Figure 22.2.4 Audio Realization of Cadential Formula to Establish a Key

In his book Form in Tonal Music, Douglass Green defines a V – I authentic
cadence with a pre-dominant prefix as a “full cadence.”
The cadential formula above is found in the following example.
œœ b n œœœ œ nœ bœ
? bbbb œœ œœ œœ b œœœ
? œ œ œ b œœœ bbœœœ # œœ # œ œ n œœœœœ ˙˙ œ n œœ œœœœœ
œœ œ ˙˙
CHAPTER g: ______ ______ ______ ______
22. MODULATION ______ ______ ______ 240
B¯: ______ ______ ______ ______ ______ ______ ______
m j j
œ .m
Lead-sheet: ______ ______ ______ ______ ______ ______ ______
3 œ œ œ œ ˙
˙ n œ œ œ
b œœJœ œœœ. œœœœJ. œ( n œ) œ˙˙œ. œ œ (œ ) œœ(b œœ ) ˙œ (œ )œ œ(œœ) #œœœœ. œœ(œn) œœw ( n œœ )œœ ˙˙˙ ..
ret.
b
& b 4 œœ
b œ
&
( )
( )
œ œœ œ œ b œ ˙œ
ret.
œœ
? b b 43œ œ œœ œ b n œœœ . œ œ œ œ b nœœœœ œ ˙œ# œ. œ œn œœœ œœ˙˙œ œ œ œ œ
? œœœ ˙ ..
b œ œ œ ˙˙
g:F:______
I V7 I______ ______ ______ ______ ______ ______
modulating...
C: I6 ii6 I64 V I
m m j
& b 3 œœ. œ n œ œ˙˙. œ
j
œ œ œ ˙˙˙ n œ œ œ œ œ n œ (n œ)œ ˙ ..
ret.
& b 4 œœ œœ œ œœ
bœ
œ œ œ œ œ œ œ œ œ œ ˙˙
( )
YT: 9WQbN91tpWI
?b œ œ J.S.œ Bach,
ret.
? (ca.
3 1715)
œ œ œ.bœ œ ˙ œ ˙ œ œ œœ œœ œœ œ œ œœ ˙ .
Figure 22.2.5 English Suite No. 4 in F Major, BWV 809, Sara-
bande
b 4 œ nœ œ œ. . œ
Notice that this cadential formula establishes a key more strongly˙ than
the simple V – I 7of an authentic cadence. This means there will be ambiguity
F: I V I
modulating...
between a tonicization and a short modulation ending
C: Iin
6 iian
6 I6authentic
4
V I cadence,
especially in music with fast harmonic rhythm, like Bach chorales (usually in
quarter-note harmonic rhythm).
sus.
#
œ # œœ œœ (œ ) #œ œ
4 - 3
& c œœ œœ œœ œ œ (œ ) œ œ
œ œ œ œ œœ œ œœ (ptœ)
pt
? # c œœ œ œ œ œ œ œœ
œ
G: I vi IV6 V7 I V42/V V6 V/V V7/V V
(as a tonicization of V)
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
(as a modulation to D)
YT: tVJy904MiIY
Figure 22.2.6 J.S. Bach, Christmas Oratorio, BWV 248, “Ermuntre dich,
mein schwacher Geist,” (Chorale) (1734)
To determine pivot chords and the new key, listen to the music to hear the
cadence in the new key, then work backward from the cadence to see if the
dominant in the new key was approached by pre-dominant chords ( ii or IV )
in the new key. Then, analyze from the beginning of the phrase until you reach
the new key. Finally, look for a logical pivot point. Sometimes two successive
chords could logically be pivot chords. If so, include two chords on either side
of your pivot bracket.
83
# # # 2 œf . œ œ œ œ j 3
œ
œœ œ œ œœ œ œ œœ œœ œ œ œœ œ
& 4 œ . œœ œ . œ œœ œœœ
3
œ œœœ # œœœ œœ ..
œ.
fœ œ œ œ œ œ œ œœ œœ œœ œ
? # # # 42 ‰ œ œ œ œ. œ J œ. œ œ œ
f œ
A: I V6 IV6 I46 V7 I IV I I V6 I
E: I6 IV I64 V7 I
#
& c YT: Qy8NLd7d6VE
Figure 22.2.7 Robert Schumann, Album for the Young, Op. 68, No. 17,
?Before
# c we start analyzing and writing modulations, we will examine key
“Little Morning Wanderer” (1848)
relationships and pivot chords.
22.3 Key Relationships

#
&
In the Baroque and Classical eras, composers typically modulated to the dom-
inant (when starting in a major key) or to the relative major (when starting in
a minor key). In the Romantic era, composers experimented with modulating
?#
to more remote (or perhaps adventurous) key areas, described as “foreign” to
the home key.
“Closely related” keys have key signatures one degree “sharper” or “flat-
ter” than the starting key. For any major or minor key, there are five closely
35
related keys, including the relative major or minor of the home key.
#
&
Home key
A
D one degree one degree E
## ### ####
"flatter" "sharper"
?#
775
&
b f˜ c˜
(relative keys with same key signature)
Figure 22.3.1 Closely Related Keys with A Major as Home Key

Key signatures that are not closely related are said to be “foreign” or
“distantly related.” We will see that some types of modulations from the
Romantic era, like common-tone modulations, exploit foreign key relationships
to dramatic effect.
22.4 Modulations with Diatonic Pivot Chords

Modulations with pivot chords will be analyzed using a pivot bracket, as we’ve
seen earlier in the chapter.
##
& ##
778
œ
? 3 œ œœ œ œ.bœ œ ˙ œ ˙ œ œœ œœ œ œ œ
b 4 œ nœ œ œ. œ œ œ œ œ ˙
..
˙
F: I V7 I
modulating...
C: I6 ii6 I64 V I
In a diatonic common chord modulation, the pivot chords will be
diatonic in both keys.
sus.
#
œ # œœ œœ œ # œœ œ
4 - 3
& c œœ œœ œœ œ œ (œ )
( )
œ
œœ œ œ œ œœ œ œœ (ptœ)
pt
? # c œœ œ œ œ œ œœ
œ
G: I vi IV6 V7 I
3535
D: IV V42 I6 V V7 I
both I and IV are diatonic

Home
Homekey
key
(as a modulation to D)
G: I vi IV6 V7
AA
I V42/V V6 V/V V7/V V
D one degree one degree E
### ## ## # #
one degree YT: tVJy904MiIY
###
D one degree(as a E
tonicization of V)
Figure 22.4.1 J.S."flatter" "sharper"
& # # ##
775 "flatter" "sharper"
&
775
Bach, Christmas Oratorio, BWV 248, “Ermuntre dich,
b b
22.4.1 Determining f ˜ Chords Between
Common c˜ Keys f˜ c˜
(relative keys with same key signature)
(relative
In order to compose keys with
a diatonic same chord
common key signature)
modulation, you need to deter-
mine which chords are diatonic—having the same root and quality—in both
keys.
G major: G Am Bm C D Em Fõ o
G major: G Am Bm C D Em F˜
D major: D Em F˜m G A Bm Cõ o

D major: D Em F˜m G A Bm C˜
Figure 22.4.2 Diatonic Common Chords in G major and D major
We can repeat this process with Roman numerals, aligning the roots of the
chords in the two keys.
R. N.: I ii iii IV V vi viio

G major: G Am Bm C D Em Fõ
Bm Cõ D Em F˜m
####
778
D major: G A
&
R. N.: IV V vi viio I ii iii
Figure 22.4.3 Roman Numerals for Diatonic Common Chords in G major

and D major
785
####
&
778
##
If you are a composer wanting to write a diatonic common chord modula- 83
j
# # # 2 œf . œ œœ œ œ
tion, you need to determine the best place within a progression to pivot to the
œœœ œ
œœ œ œ œœ œ œ œœ œœ œ œ œœ œ
new key. To do this, you need to consider the 3harmonic 3function of the pivot
& 4 œ . œ œ . œ œœ œ œœ ..
œœœ # œœœ
chords.
22.4.2 Harmonic Functions of Diatonic Pivot Chords œ.

fœ function, œœ œœ doœœ not œuse a pivot chord
? # # 2 œ œœ œœinœthe œ new
œ œœkeyœ typically
# 4 ‰ . J œ . œ œ might
œ
In terms of harmonic composers
œ
that has dominant function because such a modulation
f
sound abrupt and unconvincing. Instead, the pivot chord in the first key often
has tonic or tonic prolongation function.
A: I
In the following V6 IV6 I46the
example, V7 pivot
I IV V6 I
I Isimultaneously
chord has tonic function
in the first key and pre-dominant function in the 6 IV
E: Isecond I64 This
key. V7 creates
I a
more seamless and less jarring progression to the second key.
#
& c œœ œœ œœ œ # œœ œœ œ # œœ
œ (œ )
œ
œ
œ
( )
? # c œœ œ œœ œ œ œ œœ œ œœ (œ) œ œ œœ
œ œ
Harmonic function in G: Ton.
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
Harmonic function in D: Pre-Dom.
#
&
YT: tVJy904MiIY
?#
Figure 22.4.4 J.S. Bach, Christmas Oratorio, BWV 248, “Ermuntre dich,
The pivot chord in the first key, G, has tonic harmonic function, while in
the second key, D major, the G chord has pre-dominant function.
Observe the harmonic function of the pivot chords in the following examples
from Bach chorales.
G: I vi IV6 V7 I
D: IV V42 I6 V V7 I
Harmonic function in D: Pre-Dom.
#### nœ œ œ œ œ œ
& œœ œœ œ œœ œœ œ œ
J J œ
œ j
œ œ œ œ œœ œœ œœ n œ œ œ œ
? #### œ œ œ œ
œ œ
Harmonic function in E: Ton.
E: I V6 V7 I ¯VII6
A: V IV6 viiø7 I V 7 I
Harmonic function in A: Dom.
YT: gl4FNanCrbc
Figure 22.4.5 J.S. Bach, Chorale 4, “Es ist das Heil uns kommen her”, BWV
9
U jœ œ U
b j j
& b b c œœ œœ œœ n œ œœ œœ œ œ œœ. œ œ œ ˙
84
œœ œ n œ œ œ œœ œœ ..
. ˙
J
œ bœ œ œ œ œ œœ . œj œ œ œ œ b œ ˙
? b b c œœ n œœ b œœ œ œ œ œœ œ bœ œ œ bœ œ
b œ ˙
u u
Harmonic function in f: Ton.
f: i iiø65 V7 i i i
A¯: vi viio64 I6 I ii56 V 7 I
Harmonic function in A¯: Ton-Prol.
b
&bb YT: NE-uciPxYFE
Figure 22.4.6 J.S. Bach, Chorale 8, “Freuet euch, ihr Christen”, BWV 40
? bb
22.5 bHow to Recognize a Key After a Modula-
tion
Look for the following cues when examining music containing modulations:
1. Look for recurring accidentals, then add them to the key signature to
determine the new key
(a) Lowered notes (like flats) usually create 4̂ (as do the flats in key
signatures)
(b) Raised notes (like sharps) often create 7̂ , the leading tone
i. If there are multiple raised notes, look for the “sharpest of

sharps” (in key signature order) to determine which sharp is
acting as 7̂
2. If accidentals are canceled out, they indicate tonicizations or chromatic
non-chord tones 85
En cancels out E¯, which means
m
E¯ is lowered note acting as 4ˆ
E¯ represented a tonicization
bœ ˙
& b 43 œœœ. œ ˙˙ œœ œœ ˙˙
œbœ ˙ n œœ œ œœ œ œœ
œ œœ œ œ œ
œ œ
œ ˙ œ ˙ œœ œœ œœ œ œ œ
? b 43 œ ˙ œ ˙ œ œ
œ
F: I V7/IV IV V42 I6 V24 I V7 I
Bn occurs 3 times and isn't canceled out, representing a modulation

Bn is a raised note acting as 7̂
m j
& b œœœ. œ n œ œ˙˙. œ
bœ
j
œ œ œ ˙˙˙ n œ œ œ œ œ n œ (n œ ) œ ˙
œ œ œ œ œ œ œ œ ˙˙ ..
œ ( )
? b œ. bœ œ ˙ œ ˙ œœœœœ
nœ œ œ. œ œ œ œ œ
œœ ˙ ..
œ
˙
F: I viio42/V V65/V V6
C: I6 ii6 I64 V I
multiple secondary chords
destabilize F major cadential formula affirms new key
YT: 9WQbN91tpWI
Figure 22.5.1 J.S. Bach, English Suite No. 4 in F Major, BWV 809, Sara-
bande (ca. 1715)
22.6 Modulations with Chromatic Pivot Chords

You will sometimes encounter examples where the pivot chord is a chromatic
chord in at least one (and sometimes both) of the keys involved in the modu-
lation.
22.6.1 Secondary Common Chord

Below is an example where the pivot chord is a secondary chord in both keys.
32 CHAPTER 22. MODULATION 246
b œ
&bb Œ Ó ∑ ∑
308
b œ œ
& b b œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ
308
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? bb j ‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ Œ ‰ œj ‰ j ‰ œ n œ
b œ J œ J œ J j
œœ œ
œ œ nœ
E¯: I ii6
b
&bb ∑ ∑ ∑
311
b
& b b œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ n œ œœœ œœœ
311
œ œœ œœ œœ œœ œœ œœ œœ œœ
? b b j ‰ œj ‰ j ‰ œ œ j ‰ œ ‰ j ‰ œ ‰ j ‰ œ ‰ Œ
b œ J œ J œ J
œ œ œœ
E¯: V I V7/ii
A¯: V7/vi
b ‰ œj œ
&bb ∑ Ó Œ
314
œ œ
A - de!
b œ œ b œ œœ œœ œœ œœ bœ œ
&bb œ œ œ œ œ œ œœ œ œ œœ
314
œœ œ
bœ œ œœ b œœ œœ œœ
? b b j ‰ b œ ‰ j ‰ œœ œœ œ ‰ œJ ‰ œJ ‰ œJ ‰ œœœ ‰
b bœ J J
œ J
A¯: IV I64 V7 I64 V I
YT: Wod-JellQ88
Figure 22.6.1 Schubert, Schwanegesang, D. 957, “Abschied” (1828)
22.6.2 Borrowed Common Chord

In modulation by borrowed common chord (or mode mixture), the pivot
chord will be a borrowed chord in one of the keys involved in the modulation.
In the following example, a borrowed chord, i6 in D2 minor, rewritten as a
C minor chord, is reinterpreted as vi6 in the second key, E major.
4
f: i iiø65 V7 i i i
A¯: vi viio64 I6 I ii56 V 7 I
Harmonic function in A¯: Ton-Prol.
œ œ œ ˙
b b 3 œ. J
&bb 4
dolce
b
& b b b 43 œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ b œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ
D¯: I V43
œ. œ œ. œ #œ œ. œ
œ œ
& bbbb J J J
cresc. dim.
b œœœ œœœ œœœ

& b b b b œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ n œ # # œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ
D¯: V42 I6 i6
E: vi6
#œ nœ. œ œ
bbbb J nn n n # # # # œ œ œ œ œ œ œ œ œ œ œ œ œ
&
π p
b n ## j
& b b b # œ # n œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ n n n # # œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œœœ ‰
E: V6 V56 I
YT: H3S8slvoHoU
Figure 22.6.2 Beethoven, Piano Sonata No. 31 in A2 major, Op.110, I, (1821)
22.6.3 Neapolitan Common Chord

A particularly adventurous and imaginative pivot is the Neapolitan, which can
bridge the gap between two foreign (or distantly related) keys.
34
b œ nœ œ œ #œ œ œ ‰ œ b˙ œ. œ bœ œ
& b 42 J J ∑
330
fol - gen auf luf - ti - ger Bahn. Wo - hin? wo - hin?
b 2 œœœ ‰ n œœ œ ‰ œœ œ ‰# n œœ œ ‰ œœ ‰ œœ b ˙˙
b ˙˙
˙ ˙
3 3
b
& 4 œ œ ˙ ˙
π
330
œœ n œœ œœ # n œœ
3
œ œ b ˙˙
3
b b ˙˙
3
? b b 42 œ œ œ œœ ˙˙ ˙˙
d: i iio6 i46 V i N56

a¯: V56 i V
b ∑ Schubert,
YT: IvjZiYVZUIY
& b 22.6.3 ∑ Schwanegesang,

∑ ∑ 957, “Frühlingssehnsucht”
∑ ∑ ∑
337
Figure D. (1828)
In the example above, Schubert bridges the tonal distance between D minor
and A2 minor with N65 (note the dominant-seventh quality of the Neapolitan in
b
&b ∑ ∑ ∑ ∑ ∑ ∑ ∑
337
this instance), which acts as a V65 in A2 minor, a tritone away from D minor.
22.6.4 Augmented Sixth Common Chord
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑
In the next chapter, we will examine how Augmented Sixth chords are enhar-
monically reinterpreted in a process known as enharmonic modulation.
22.7 Modulations Without Pivot Chords
bb ∑ ∑ ∑ ∑ ∑ ∑
344
&
This section contains the following subsections below:
• Direct Modulation
bb
• Common-Tone Modulation
∑ Modulation
∑ ∑ ∑ ∑ ∑
344
&
• Sequential
? b Direct Modulation
∑ ∑ ∑ ∑ ∑ ∑
b
22.7.1
Direct modulation (also known as phrase modulation) is a type of modula-
tion where a composer decides to move suddenly to a new key without using
pivot chords or preparing the new tonic with its dominant.
a¯: V5656 i V
# 2 r r œ œ œ #œ œ œ
& 4 œJ œ œ œj R R J
337
337
R R
brin
brin -- ge
ge die
die Grü
Grü -- sse
sse des
des Fer
Fer -- nen
nen ihr
ihr zu.
zu.
# œ œ œ œ œ œ
337
& 42 œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ # œ œœ œ œœ œ œœ œ œœ œœ œ œœ œœ œ
337
? # 42 œ ≈ œ. œ. œ. œ ≈ œ. œ. œ.
e: i viio7
o7/i ped i
# ∑ œœ œœ œœ œjœj rnrœnrœr œ œœ œ œ œRœ œœ œ ‰ ‰ c

& JJ
339
RR RR œœ R R RJ J
339
All'
All' ihih- re
- reBluBlu- -men
men
im im GarGar- -ten ten
gepgep - flegt,
-flegt,
# # œ œ œœ œ œœœ œ œœœœœœ œ œœœœ œ œ œœ œ œ œ œœ œ œœ œ œ œœ œ œœ œœœœ œ œ œ œ œ

339
339
& œ œ œ œ œ œœœ œœœœœœœœ œœœœœ œœ œœœœœœ œœœ œ œ œ œœ œ œ œ œœ œœœ œœœ nœœnœœœ œœœ œœœœ œœ œœ œ œ œ œ œc
#œ œ
? # œœ . ‰‰ œœœœ . .. .. .
≈ ≈ œœ œœ œœ œœ œœ œœ œœ œœ
. . . .
≈ ≈œœ œœ œœ œœ c
e: viio7
o7/i ped i C: I V77/I ped I
YT: uTWQRjGkprQ
Figure 22.7.1 Schubert, Schwanegesang, D. 957, “Liebesbotschaft” (1828)
In the example below from the second song of the same song cycle as the
example above, Schubert does not attempt to change gradually from C minor
to A2 major, but instead stops on a half cadence in C minor and begins on the
tonic in A2 major in the next bar.
? #### c ‰ ˙ ˙ bbbb 43
˙ ˙ nœ
CHAPTER 22.E:MODULATION
vi Vsus4 IVadd9 vi64 A¯: vi250
b
& b b 43 ∑ ∑ ∑ c
346
b 3 r j r j U
& b b 4 œœœ ...... œœ œœ ‰ œœ œœœ ‰ c
?
346
œ œ œœ .... ˙˙ ..
n œ .. œ n˙.
? b b 43 r j r œj ‰ U
œ œ ‰
b œ .. c
œ .. œ œ ˙.
œ .. œ œ œ .. œ ˙.
c: i64 V i V
bb b Etwas ‰ œj œ œ. j
349
& c Ó Œ
schneller.
œ œ
Wie hab' ich oft so
œœœœ œœœœœ œ œœœœ œœœœœ œ

? bb c œ œ œ œ
349
b
3 3 3 3
3 3 3 3
? bb c j j j j
b œ ‰ œ ‰ œ ‰ œ ‰
œ œ œ œ
A¯: I
YT: mLTyrvgKDUo
Figure 22.7.2 Schubert, Schwanegesang, D. 957, “Kriegers Ahnung” (1828)
Direct modulation is the most common type of “modulation” found in pop-
ular music. At the beginning of this chapter we defined this type of modulation
in popular music as “key change.”
CHAPTER 22. MODULATION 251 35
œ œ bœ
#### œ œ œ œ œ œ œ œ œ . œ œ œ œ . œJ
c œ bbbb
342
&
#### c ‰ C˜m Aadd9 C˜m/G˜
b b b b n b œœ
342
Bsus4 Fm
& ˙˙ ˙˙ ˙˙˙ ˙˙
˙ ˙ ˙ n b œœ
? #### c ‰ ˙ ˙ bbbb
˙ ˙ nœ
E: vi Vsus4 IVadd9 vi64 A¯: vi
b
& b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
346
YT: Siz-xBfIqpg
b b b bdirect∑ modulation,
∑ composers
∑ ∑do not ∑make any∑ attempt
∑ to connect
∑
(1997)
346
&With
two different keys through any pivot chords or common tones. In the next sec-
? bb b ∑ ∑ ∑ ∑ ∑ ∑
tion, we examine how composers connect two keys through a common tone.
∑ ∑
b
22.7.2 Common-Tone Modulation
In common-tone modulation, two chords are connected through a single
b
& b bb ∑ ∑ ∑ ∑ ∑
note
354 to bridge the distance between two keys.
In the following example, the note C4 acts as a hinge between a C4 major
chord ( V in F4 minor) and an A dominant seventh chord ( V7 in D major).
b
& b bb ∑ ∑ ∑ ∑ ∑
354
? bb b ∑ ∑ ∑ ∑ ∑
b
SS r SS r Sr
œr ˙
## # 4 œ # œ ‰‰œ .. œ ˙ œ œ r
œ œœ ‰‰œ .. œœ ˙˙ œ œœ ‰ .Sœœr ˙˙
90
# œ ‰œ .
90
#œ œ
& œ œ
& # 44 ##!œœ ! !œ ##!œœ !œœ !œ !œœ !œœ !œœ ! !œ !œ !œœ !œ !œ !œœ ## œœ # œ œ ## œœ œœ œ œœ œœ
! !! ! !!!! !!!! !!!! !! !! !! !! !! !! !! !!
? r r
? ## ## 444 œœ ŒŒ ŒŒ ‰‰ .. œœr œœ ŒŒ ŒŒ ‰‰ .. œœR œœ ŒŒ ŒŒ ‰‰ .. œr
œ
R
f ˜: V i V
f ˜: V i V
r ƒ r r r
## # œœ œ ‰ . œœr ˙˙ œœ # œ ŒŒ ŒŒ ‰ .ƒœœr œœ ‰ . œœr œœ ‰ . œœr
œ ‰œ .œ œ œ # œ ## œœ œ # œ œœ ‰œ .œ œœ # ‰œ . œœ ‰œ .
&
& # œ œ œœ œ ## œœ œ #œ œ œ ## œœ # œ œœ œ œ œœ
!!œ !! !! !!œ !!œ !! !!œ !!œ !! !! ! ! !! !! !! !!
! ! !! !! !! !! !œ ! ! !
ƒ !!!!
? r ƒ r r
? ## ## œœ Œ Œ ‰ . œœ
Œ Œ ‰ . RR œœ ŒŒ ŒŒ ‰‰ .. œœr œœ ‰‰ .. œœr œœ ‰‰ .. œœr
f ˜: i V
ƒ
ƒ
f ˜: i V
pœ
## # pœ ŒŒ ÓÓ 5ˆˆ in f ˜
5 in f ˜
7ˆˆ in D
ww œœ
&
& # ww
7 in D
ww ww ww œœ
pp pp cresc. SS pp
? ww cresc.
? ## ## ww ww w ww œœ
ww ww ww ww œœ
pp A: V7 I
A: V77 I
YT: bEiYmeeV6sI
Figure 22.7.4 Beethoven, Symphony No. 2 in D major, Op. 36, I. (1801–1802)
In the next example, the note A acts as a hinge between an A major chord ( V
in D minor) and an F major chord ( I in F major).
b bb c œœ .. ŒŒ ÓÓ
nnœœ œœ .. œœ œœ .. œœ œœ .. œœ œœ
47
&
&b c
47
p
bb b c #pœ . ?? ## œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ
ŒŒ ÓÓ
& b c #œ.
&
pp
bb b c œ ŒŒ ÓÓ
& b c œ .. œœ ## œœ .. œœ œœ .. œœ œœ .. œœ
& ## œœ
ppœ .
? bb b cc œ . nnnnœœœ œœ .. œœœœ œœ .. œœœœ œœ .. œœœœ
? b ## œœ œœ ## œœ nnœœ œœ ## œœ œœ ## œœ
nnœœ b œ n œ œdim.
dim.
œ nnœœ œ œœ œ œœ œ b œ n œ œ
d:
d: V
V
& bbbb ∑∑ ∑∑ ∑∑ ∑∑
&
49
49
œœ œœ.. œœ.. œœ.. ˙˙

55ˆˆ in 3ˆ in F
ww œœ
in dd 3ˆ in F
?
? bbbb ∑∑ & œœ
&
pp π
π
bbbb jj ‰ Œ Ó ∑∑
&
& n œ œ # œ œ # œ œ
œ ‰Œ Ó œ œœœ œ œœœ
œœ œœ nnœœ œœ ## œœ œœ## œœ n œ œ # œ œ # œ œœ œœ œ œ œœ œœ œœ œ œ œœ
π
π π
π
? b
? bb b ∑∑ ∑∑ ∑∑ ww
ww
F:
F: II
YT: qSRRbOvpaXg
Figure 22.7.5 Schubert, Piano Trio No. 1 in B-flat major, D. 898, I. (1828)
22.7.2.1 Chromatic Mediants

In a common-tone modulation, the two chords connecting the two keys are
typically in a chromatic mediant relationship. Chromatic mediants are
chords with roots a third apart that share only one common tone and have the
same quality (both are major or both are minor).
37
E C
C˜ A
b # n www n www
A F
&b
811
• one common tone—A

• roots are a 3rd apart
• both chords are major
2
812
&4
Figure 22.7.6 Chromatic mediant relationship in Figure 22.7.5
824
&
C˜ A
b b œ œ # n wwwœ
787
œœ œ nœwww œ œ
A F
œ & œ
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
# 4 œ œ
811
(œ) (œ)
& 4 œ (œ) (œ) (œ) (œ) (œ)
( ) œ
(œ) œ
• one common tone—A( ) (œ)
( )
Any major or minor triad will have four• chromatic

roots are a 3rd apart as shown in
mediants,
RN:example
the G: ___ below.
___ vi ___ ___ ___ vi
D:___ ___ ___ ___ ___ ___ ___
www # ww www b ww www b b www www # www b www b ww b www n ww b www n www b www b b www
HF: C E C
Ton Dom E¯ C
____ A¯
PD C A
/V Dom Cm E¯m
____ DomCm
TonEmPD Cm
CadAm Ton A¯m
6 Dom Cm
& w___ ___b ___ w bw w

4
812
# 4 œ• root
œ of second
œ n œ œis a third
# œ lowerœor #higher
795 LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
& 4 • second chord is same quality

chord œ œthan# œstarting
as starting chord
œ #chord
œ œ
• the two chords within each bar share only one common tone
RN: e: ___ ___ ___ N6 ___ ___ i
37
42
Figure
820 22.7.7 Chromatic mediants of the C major and C+6minor triads
b:___
E ___ ___ Fr ___ C ___ ___
&
HF:
Below are examples chromatic mediantsC˜that do not involve
Ton Dom Ton ___ /V Dom ____ Dom Ton ___ Cad
modulation.
A64 Dom Ton
b # n www n www
In fact, the progression in the following three
A examples are found
F in the last
&b
bar of Figure
811 22.7.7, the progression from i to 2 vi (shown as Cm to A2m in
the example above).

G˜m G ˜m G ˜m
j
Em Em Em B (no 3rd)
• roots are a 3rd apart
#˙ œœœ n œœœ # # ˙˙˙ œœœ n œœœ # # ˙˙˙ œœ .. # œœ # ˙˙ ˙

803
? 42C #E ˙˙ C ˙
n œœ .. # œ # ˙
œ œ Cm E¯m Cm Em œCm Am ˙ Cm˙˙ A¯m
www # wwp www b ww www b b www www # www b www b b www b www n www Jb www n www b www b b www
E¯ C A¯ C A
& w bw
812
• root of second chord is a third lower or higher than starting chord

• second chord is same quality as starting chord
• the two chords withinYT:
eachmeGuEnjERxc
bar share only one common tone
Figure 22.7.8 Richard Wagner, Das Rheingold, Scene 3 (1854)
Gm E¯m Gm E¯m Gm
? b b 44 œ˙˙ . œ œ œ. œ œœ œ. œ ˙
˙
820
˙ .. b œœ n œœ b œœ n ˙˙
? bb
822
YT: AL2N4Bfl4Ec
Figure 22.7.9 John Williams, Star Wars: Return of the Jedi, “Main Title
(The Story Continues)” (1983)
7
# œ œ bœ nœ œ nœ bœ œ œ
Em Cm
& 44 Œ œ œ Œ
Trumpet
œ œ
Horn
œ œ œ œ
44
œ
# 4Choirœ œ ˙ . w œœ b œœ ˙˙ .. ww
& 4 œ œ ˙. w J
44
œœ œœ ˙˙ .. œ œ ˙ .. w
Kor - ah, Syahd - ho,
ww œ œ ˙ w
?# 4 J
44
4 91
3
B D B¯ (arrows show common tones)
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
48 G B¯ G¯
E G (roots are a 3rd apart)
E¯ ZTg6hg1miFg
YT:
b
& b 43 44
Figure 22.7.10
Em JohnGm
Williams,
E¯mThe Phantom Menace, “DuelE¯m
of the Fates”
(1999)
& ∑ Sequential
∑ œ ∑ ∑ >œ ∑ b∑œ ∑ ∑ ∑n œ ∑ ∑>œ ∑ b ˙∑ ∑ ∑
48
22.7.3 > >

Modulation > >
? 3
b 4 can also be accomplished by sequence.4 a œsequential modula-
? ba∑ melody œ
∑ n œ ∑ ∑ œ to∑ a new . œ 4 œ areIn repeated
b∑œ ∑ ∑ ∑ œ ∑ ∑œ ∑ bat˙∑ a new
Modulation
∑ pitch
∑
48
key. œIn the following >

tion, and its accompanying harmonies
n œ b œ .
> in the> new key.
of the original>idea occurs > > b ˙
>
level to establish or lead example, the sequence
∑ ∑ ∑ ∑ ∑ ∑ ∑
63
&
same melodic pattern in A¯
3ˆ 4ˆ 2ˆ 3ˆ 1ˆ 1ˆ 7ˆ 1ˆ ˆ2 4ˆ ˆ3 3ˆ 4ˆ 2ˆ 3ˆ 1ˆ 1ˆ 7ˆ 1ˆ 2ˆ 4ˆ 3ˆ
b
& b b b 43 œ œœ œ Œ œ œ œ n œ œ œ œ œ œœ œœŒ œœœ œ œœ œœ
œ∑œ œ œ ∑œ œ œ œ ∑ ˙
& ∑ œ. ∑œ œ œ ∑œ œ œ œ ∑ ˙ .
63
p
œœ œœ œœ n œœ ˙˙ Œ œ œœ œœ œœ œœ ˙˙
? b b
? b b∑ 4 3 Œ Œ Œ œ Œ Œ Œ∑Œ œ Œ Œ ∑
∑ ∑ ∑ ∑
63
f: i iiø42 i V43 i V6 i A¯: I ii42 I V43 I V6 I
same Roman numeral pattern in A¯
b
& b bb YT: M9SzCHQCNGY
Figure 22.7.11 Beethoven, Piano Sonata Op. 2, No. 1, III. (1795)
? bb b
In the following example, an idea in C major is repeated up a step in D
b
major, then up another step in E minor before reaching an F4 ◦ chord, a chord
with dominant function in G major.
3
33
same melodic pattern in D major
. œ.. . . œ.. . . œ œ. .
same melodic
melodic pattern
pattern in
in D
D major
major
.
same
.
& 4242 œœ œœ œ.œ. œ.œ. œœ œœ œœ. œœ œœ œœ œ.œ. œ.œ œœ## œœ œ œœ. ## œœ œœ œ.œ## œ.œ. œœ œœ œ.œ œ ## œœ œœ œ.œ œœ. œœ œ œ. œ.œ
&
14
14
14 Oboe
Oboe
Oboe
2 ‰ œ
& 424
14
˙˙ œœ œœ œ œœ ## œœ œœ # œ œœ ‰ JœJ
14
&
œœ # œ ## œœ
14
œ
Violin I
Violin II
Violin
2 j
j
& 2 4 ‰ œ ˙˙ œœ ## œœ œ œ # œ
&4 œœ œ ‰ œ
œœ œ œœ œœ
14
œ œ #œ
14
14 Violin II
Violin II
Violin II
establishes F˜, destabilizes C major

establishes FF˜˜,, destabilizes
establishes destabilizes C
C major
major
. . .
same melodic pattern in E minor
.. œœ.. œœ œœ œ.œ œœ.. œœ œœ œœ. œ.œ œœ œœ ## œœ.. œœ.. œ œœ œ.. œœ.. œ.. œ. œ. .
œœ ## œœ œœ.. œ.. œœ œœ œœ. œœ. œœ ## œœ œœ..
same melodic
same melodic pattern
pattern in
in E
E minor
minor
œ œ œ œ. œ. œœ.
18
& œ
18
18
18 &
œ
18
& ˙˙ œœ œœ ## œœ œœ
18
& œœ ## œœ .. œœ œœ ## œœ œœ œœ œ
& œ œœ œœ # œ ‰‰ œœJ ˙˙ œœ œ
18
& œœ œœ ##œœ
18
18
œ #œ J œ
E minor, affirms F˜ and movement G: viioo V7
E minor,
E affirms FF˜˜ and
minor, affirms and movement
movement G: vii
G: viio V77
V
away from C major dominant function in G major
away from
from C C major
major dominant function
dominant function in
in G
G major
major
away
. .
. # œ.. . .
œœ. œ.œ œœ. œœ
œ œœ œ.œ. . œ
œ.œ œœ œ œ.œ # œ œ.œ œœŸ
Ÿ
œœ œœ
22
& œ
22
&
22
j ŸŸ
22
& œœ ŒŒ ŒŒ ‰‰ œœj œœ
22
22
& ##œœ fœœ

f
22
& œœ ŒŒ ŒŒ ‰‰ j
22
22
& j œ #œ œ œ œ œ
arrival on G as tonic
arrival on
arrival on G
G as
as tonic
tonic
œœ œ # œ œ œ œ ffœ
YT: jD9_dShQbN8
Figure 22.7.12 Mozart, Oboe Concerto in C major, K. 314, III. (1777)
In the next example, after a cadence in G minor, an idea in F minor is
repeated down a whole step in E2 minor to achieve the change of key to E2
major, which is the starting key of this aria, as can be seen in the key signature.
36
36
& bbbbb cc œœ ˙˙.. ## œœ œœ ŒŒ bb ˙˙ œœ Œ œ Œ

Œ œ Œ
& b
351
351
cor mi va, pal - - - - - pi -
bbbbb cc ‰‰ œ œœ œ ‰‰ # œ n œ œ
cor mi va, pal - - - - - pi -
& œœ œœ œœ œœ ŒŒ
& b œ œ œ n #œ nœ œ
351
œ œ œ œœ œœ œœ
351
œ œ n œ œœ œ œ œ œ
? œœ œœ bb œœ œœ œœ bb œœ œœ œ
? bbbbb cc œœ ŒŒ œœ ŒŒ œ nn wœw
œ Œ Ó
b ŒŒ ÓÓ Œ Ó
g: i646 V i
g: i4 V i f: iioo V77
f: ii V
same pattern down a whole step

U
bbbbb ÓÓ
same pattern down a whole step
& bb ˙˙ œœ ŒŒ U
œ
354
& b œ
354
œœ U
- - - - - tan - - - - - - - do!
œ
U
bbbbb ŒŒ œ œœ
- - - - - tan - - - - - - - do!
œœ œœ œœ ŒŒ
354
&
& b
354
œ œ œ
U
U
œœ bb œœ œœ œœ b œ œ b œ œœ
? b œ
? b bb œ bœ œ bœ œœ ŒŒ
bb ŒŒ ÓÓ œ
f: i
f: i
e¯: iioo V77 V566
e¯: ii V V5
YT: VEmnmVXEqqM
Figure 22.7.13 Mozart, Don Giovanni, K. 527, “Mi tradi quell’alma ingrata”
(1787)
While this is by no means an exhaustive list of modulatory techniques, it
should give you a sense of some of the different means composers use to change
keys.
Day One
1. For each given key, list the five closely-related keys.
(a) d:
(b) D2:
(c) f:
####
36
785
Em Fõ
&#
G major: G Am Bm C D
#
36
& # # 2.
For each progression, analyze

D major: the
DC7/B¯
Fsecond
EmF/A F˜mDm
Roman numerals with õ G 7 C
Bm lead-sheet
GC/EA Dm/F C
C/G ____
37
Lead-sheet
symbols andsymbols: ____
specify the ____key.
____ ____ ____ ____ ____ ____
E C
vi ˜
Lead-sheet symbols: ____ ____ ____ ____ ____ ____ ____ ____ ____
Roman numerals: F: I V42 I6 C A
bb # n www n www
Roman numerals: F: I vi V42 I6 A F
&
C : ii
___ I6 ii6 I46 V7 I
811 37
___ : ii I 6 ii6 6
I4 V 7 I
E C
R. N.: I ii C˜ IV V
iii viA vii o
b # n www
nw
Lead-sheet symbols: ____ ____ ____ A ____ ____ ____ F ____ ____
&i b V6/iv
G major: G Am Bm C• roots D are õ ww are major
811 Em a 3rdFapart
Roman numerals: g: iv iv6 • both chords
___ •: one
ii6 common
viiø7/V tone—A
I6 V7 I
õEa¯D Em F˜m
ww # ww b ww Vww ww vi b wwviiob wwI b wwiin ww iiib ww n ww
www R.b wwN.: www b IV b www b b www
E¯ C GA¯ AC ABm Cm A¯m
4
C E C D major: • roots
CmCare m Em
3rd Cm
apart Cm Am
Day Two& w w bw w w #w w w w w
bw w
812 • both chords are major
www # ww major
www bkey, www b b wwwspecify
ww Modulation. www # wwwisthe
List w
ww b blower
the wclosely
b wwworn wwwhigher n www itsstarting
wwand www b bthe
ww chord
E¯ A¯ Cm E¯m Cm Em Cm A¯m
bparallelww minor keyb w bclosely
C E C C C A Cm Am
w b w w
3. Borrowed Chord related keys to
&
812
starting • root of second
then chord a third than
E¯related keys. • second chord is same quality as starting chord
# ###### # B
787
787 • •root
theoftwo chords
second chordwithin each
is a third barorshare
lower higheronly
than one common
starting chord tone
&& F˜
• second chord is same quality as starting chord
• the two chords within each bar share only one common tone
D¯ c˜ Gm E¯m Gm E¯m Gm
# ? 4 œ œ œ to parallel œ œ œ ˙
D
# # b œ . œ .
E¯m E¯m
820 ## # ˙ œ
n ˙˙˙
820
.
Gm Gm Gm
# # ? bbb 444 œ˙˙ ˙˙. .. œ œœ . b œœ œœœ n œœœœ . b œœ˙˙˙

789
&& œ œ
789
œ minor
˙ .. bœ nœ bœ n˙
# # # ##4.
& ## #
809 For each progression, analyze the Roman numerals with lead-sheet
809
&
symbols and specify the second key.
####
A________
C A A 7/G Dm/F B¯7 Dm/A A7 B¯
778 Lead-sheet symbols:________
Lead-sheet symbols: ____ ____ ____
____ ____ ____ ____
____ ____________
____ ____ ____
& numerals:A: A:I

Roman numerals:
Roman I ¯III ¯IIII VI24/IV V4/IV
####
2
817
& # ##
___ : V42d i6 Ger+66 6
i4 +6V 7
___ : V42 i Ger i64VI V7 VI
#
817
& Lead-sheet symbols: ____ ____ ____ ____ ____ ____ ____ ____
Lead-sheet symbols:
Roman numerals: Gm i6 Gm/B¯
g: i ____ N6 A¯/C
____ ____ B¯m/D¯
____ ____ A¯/E¯ Eo7
____ ____ Do7 Fm
____
825
#### : I6
___ 6 ii6 viio7/V I64 viio7/vi vi
&
N6
####
Roman numerals: g: i i
825
&
A¯ : I6
___ ii6 viio7/V I64 viio7/vi vi
Day Three
5. Determining Diatonic Common Chords. For each of the two keys in
each example, list the diatonic chords as lead-sheet symbols and as
?
Roman numerals then circle those diatonic to both keys
bb
822
Roman numerals: d: ___ ___ ___ ___ ___ ___ ___
Lead-sheet symbols in Dm: ___ ___ ___ ___ ___ ___ ___
Lead-sheet symbols in F: ___ ___ ___ ___ ___ ___ ___
Roman numerals: F: ___ ___ ___ ___ ___ ___ ___
6. Referring to the Harmonic Flowchart, fill in lead-sheet symbols, Ro-
man numerals, and Harmonic Functions for the following example—be
sure to put some of the chords in first inversion for variety; create a
˙ ˙ w ˙ ˙ ˙˙ ˙ ˙ ˙ w
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
# 4 w
& 4 ˙ ( ˙˙) (w) ( ˙) ( ˙ ) (w)
( ˙ ) ( ˙)
( ) ˙
( ) ( ˙ ) ( ˙)
( w) 259
CHAPTER 22. MODULATION
RN: G: ___ ___ vi ___ ___ ___ vi
melody by adding embellishments (non-chord tones) and try to create
D:___ ___ ___ ___ ___ ___ ___
repeating motives and/or subphrases; LSS stands for lead-sheet sym-
HF: RNTonstands
bols, Dom ____ PD
for Roman /V Dom
numerals,____
andDom Ton PD Cad64 Dom Ton
HF stands for Harmonic
Function
# ˙ ˙ w n˙ ˙ ˙ #˙
795 LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
& 44 #w ˙ #˙ ˙ #˙ w
RN: e: ___ ___ ___ N6 ___ ___ i
b:___ ___ ___ Fr+6 ___ ___ ___
HF: Ton Dom Ton ___ __/ V Dom ____ Dom Ton ___ Cad64 Dom Ton
Day Four
7. List the four chromatic mediants for each chord.
G ˜m Em G˜m G ˜m
j
Em Em B (no 3rd)
#˙ œœœ œ œ œ. # œœ # ˙˙ ˙˙
n œœœ # # ˙˙˙ œœœ n œœœ # # ˙˙˙
803 (a) Fm:
?
(b)2 D#2: ˙˙ n œœœ ... # œœ # ˙˙ ˙˙
4
(c) G: p J
Em Dõ/F˜ Em/G F/A Aõ7 B Em F˜7 Bm/D G7(¯5) Bm/F˜ F˜ Bm
(d) G4m:
i viio6 i6 viio7/V V
iv V7 i6 i6 V i
Day Five PD PD PD PD 4
8. Analyze lead-sheet symbols, motives (with numbers, noting melodic

alteration when it occurs), Roman numerals, and harmonic function.
96
by G.K.B.
LSS: ___ ___ ___ ___ by G.K.B.
LSS: ___ ___ ___ ___
œ
Motives:
& bb 433 œœ œœ œœ œœ œœ œœ ˙ œ œœ œœ œœ œœ œœ œœ œœ œœ œ
Motives:
& 4 ˙ œ
œœ œœ œ œœ
? b 43 Œ œ œœ œœ œ œœœ œœ œ œœœœ œœœœ œ œœœœ œœœœ
? b 43 Œ œ œ œ œ
RN: ___ ___ ___ ___
RN: ___ ___ ___ ___
HF: ___ ___ ___ ___
HF: ___ ___ ___ ___
LSS: ___ ___ ___ ___ ___ ___

LSS: ___
œ œœ œœ
___
œ œ œ ˙
___ ___ ___ ___
œ œ œ nœ ˙
Motives:
& bb œ œ œ œ œ œ ˙ œ nœ ˙
Motives:
&
œœ œœ œœ
œœ œœ nœ œ œœ œœ
?b œ
?b œ œœ œœ œ n œœœœœ œœœœœ œ œœ œœœ
œ œ œ
œ œ
RN: ___ ___ ___ ___ ___ ___
RN: ___ ___ ___ ___ ___ ___
HF: ___ ___ ___ ___ ___ ___
HF: ___ ___ ___ ___ ___ ___
& bb
&
?
?b
b 22.8.1
Figure
Compose an eight-measure example using the motivic structure
and harmonic function in the example above. Create a new melody 97
with new motives but the same sequence of motives. You may use a
different time signature, mode, and accompanimental texture.
LSS: ___ ___ ___ ___
Motives:
&b
?b
RN: ___ ___ ___ ___
HF: ___ ___ ___ ___
LSS: ___ ___ ___ ___ ___ ___

Motives:
&b
?b
RN: ___ ___ ___ ___ ___ ___

HF: ___ ___ ___ ___ ___ ___
b
RN: ___ ___ ___ ___
CHAPTER
HF: 22. MODULATION
___ ___ ___ ___ 261
LSS: ___ ___ ___ ___ ___ ___

Motives:
&b
?b
RN: ___ ___ ___ ___ ___ ___

HF: ___ ___ ___ ___ ___ ___
Click here
b download
& to
Click here to the second homework assignment for this chapter.
download the third homework assignment for this chapter.
Click here to download the fourth homework assignment for this chapter.
? to download the Unit 5 Practice Test.

Click here to download the fifth homework assignment for this chapter.
Click here
b
Chapter 23
Enharmonic Modulation
23.1 Enharmonic Modulation

In an enharmonic modulation, the pivot chord is almost always misspelled
in one of the keys and therefore must be reconceptualized enharmonically by
the analyst. In this regard, an enharmonic modulation is a harmonic pun.
Here is a pun from Shakespeare’s Richard III, Act 1, Scene 1:
Now is the winter of our discontent

Made glorious summer by this sun of York
107
The “sun” of York is the son of York, King Edward IV.
Here is a simple enharmonic modulation:
G7 Bm/F˜ F ˜7
œ
C Dm/F Bm
& 43 œœ
œœ œœ œ # œœ #œ œ
œ œ (# œœ) œ # œœ œœ
? 43 œ œ œ (œ) #œ œ œ
C: I ii6 V7
b: Ger+6 i46 V7 i
Figure 23.1.1 Enharmonic Modulation from C major to B minor
&
Like a verbal pun, this harmonic pun is effective because the third chord
( G7 ) has two “meanings”—in the context of C major, G7 is V7 and the root
wants to cadence down a fifth to C, but the G7 is a Ger+6 in the context of
B minor, where the root of the G7 wants to progress down a half step to a
?
chord of dominant function, i64 in the example above.
262
#
CHAPTER 23. ENHARMONIC MODULATION
872 263
www
& w ww
w
P5↓
C: V7 I 41
enharmonic resolves to
# www # ww
respelling
b & w #
# # ww
b
874
&
m2↓
b: Ger+6 V
resolves to
respell top note: B¯ becomes A˜

b www
Figure 23.1.2
876
? ### & # www

Notice that the G7 can only be spelled correctly in one of the keys—either
w w
as a dominant seventh chord on G (G–B–D–F) or as a Ger+6 on G (G–B–D–E4),
hence the term “enharmonic modulation.” The analyst must envision the other
spelling (the one not shown) to understand the double context, in the same
7
C: beVenvisioned Ger+6
way “sun of York” must as “son b:
of York.”
# # #wwwwwww b b b wwww
872 We will encounter two sonorities used in enharmonic modulations: the
bottom three notes respelled
&
878
dominant seventh sonority and the diminished seventh sonority.
23.2 The&V7 andw Ger+6 as Pivot ww Chords

w
P5↓
b: V7 modulation,B¯:
In this first type of enharmonic
Ger+6
the pivot to the new key will
7
consist of the V7 beingC: V
enharmonically reinterpreted
resolves to
I as a Ger+6 , or the Ger+6
enharmonic
being enharmonically reinterpreted as V . Secondary dominants, like V7 IV ,
7
#w

# www
respelling
# # # www b ˙˙
V7 Vrespelled
, etc., will also be reinterpreted harmonically as Ger+6 chords (and vice

enharmonically
˙˙ ˙˙˙ & ˙˙ w ˙ ˙
874 versa) in enharmonic modulations.
& # ˙˙ #˙ ˙ b ˙˙ ˙
As we saw in the previous section, m2↓
the dominant seventh chord and the
Ger+6 chord have the same sound but are spelled differently. This involves a
fairly straightforward Ger+6 respelling. MostVcommonly, the top note of
b:enharmonic
the chord is enharmonically respelled resolves to the enharmonic alternative.
to envision
a: viio7 i o4
c: vii 2 i
respell top note: B¯ becomes A˜
b www
876
# www
enharmonically
respelled
& w w ˙
b ˙
enharmonically respelled
˙˙ ˙ b˙ ˙ b ˙ ˙
b b ∫F:˙˙˙V7 ˙ b ˙
b
&b ˙˙ e: Ger b b+6b ˙˙˙
# www5 a key based on itsb spelling:
b winww major,
Figure 23.2.1 bottom three notes respelled
chord occurs & #vii

# w b w
878
e¯: viio43 Each i chord above
G¯:implies o6 I dominant seventh
the
+6
diatonically only on the 5̂ scale degree while the Ger
chord most commonly occurs with the lowest note on the lowered 6̂ scale degree.
Less commonly, the b: V7 three notes could
bottom +6
be respelled
B¯: Ger and the upper-
most note could be retained as a common tone.
˙˙˙
˙ ˙˙˙ ˙
b ˙˙˙ ˙ ˙ b ˙˙˙
& #˙ #˙
a: viio7 i c: viio42 i
enharmonically
respelled
b˙
& b ww # www
ww w
CHAPTER 23. ENHARMONIC MODULATION 264
C: V7 b: Ger+6
# # # wwww b b b wwww
bottom three notes respelled
&
878
b: V7 B¯: Ger+6
Figure 23.2.2
0
&
Remember, you will not see this respelling in the music you are analyzing.
You must be able to visualize the enharmonic respelling in order to analyze
the enharmonic modulation correctly.
The examples below illustrate some of the ways this enharmonic modulation
occurs in pieces from the literature
In the first example from Tchaikovsky’s Nutcracker ballet, a D7 is spelled
on the staff as D–F4–A–B4 so that it sounds like a V7 IV in D major but is
spelled and resolves as a Ger+6 in the key of F4 minor.
99
CHAPTER 23. ENHARMONIC MODULATION 265 99
Cõ7 D77
Cõ7/D ped.
D /D ped. D
## # - >
D D D
&
3
443 œœ- œ r
œœr ˙˙> ŒŒ
& # œ bb œœœ-œœ œœœ ...... œœ œœ œœ œœ ## œœ
œ œj ˙ œ--
-- œ--
j
- >>œ .. >>œ œ pp
œœ œœ œœ bb œœ œœ œœ œœ ŒŒ ## œœœ œœœ
?
? ## ## 4433 œ œœ œœ œ œ œœ œœ œœ ˙˙ . œœ œœ
œœ œœ œ œ œœ .
D: I viio7 /I ped. I V77/IV (D-F˜-A-C)
D: I viio7/I ped. I V /IV (D-F˜-A-C)
f ˜: Ger+6 (D-F˜-A-B˜)
f ˜: Ger+6 (D-F˜-A-B˜)
F˜m/C˜ C˜77/B F˜m/A C˜77/G˜

F˜m/C˜ C˜ /B F˜m/A C˜ /G˜
## # œ œ jj ‰ ŒŒ ‹ œ # œ œ œœ œœ œœ ## œœ œœ œœ ‰‰ ŒŒ ## œœ œœ ## œœ ## œœ
& # œœ œ ## œœ œ œœ ‰
&
‹œ #œ œ JJ
F
FŒŒ # n œœœœ œœœœ
Œ œ œ ŒŒ œœœ œœœ ŒŒ œœ œœ
? ## ## Œ˙˙ .. œœœ œœœ
?
˙˙ . ## œœ œœ ˙ . œœ œœ #nœ œ
˙˙ .# # œ œ
. ˙. .
f ˜: i664 V442 i66 V443
f ˜: i 4 V2 i V3
F ˜m F˜m77/E D77 F˜m/C˜ C˜77 F ˜m

F ˜m F˜m /E F˜m/C˜ C˜ F ˜m
## # œœ ## œœ œœ # œ œ œ œœ # œ # œ œ œœ œ œœ œ œœ œ œœ # œ œ
D
& #œ œ œ #œ #œ œ œ œ œ # œ œJ
& # J
ŒŒ˙ œœœ œœœ ŒŒ # œœœ ŒŒ œœœ n œœœ œjj
? #
? # ## ˙˙ œ nœn œ œœœ ˙˙ # œœ ˙˙ .. œ ## n œœ œœ
˙ nn œœ œœ ˙ ˙ œœ
˙ ˙ ..
f ˜: i i442 Ger+6 i664 V77
f ˜: i
i
i2 Ger+6 i4 V i
YT: Kw0wLLVEMaA
Figure 23.2.3 Tchaikovsky, The Nutcracker“Waltz of the Flowers” (1892)
In the following example from the second movement of Beethoven’s Fifth
Symphony, the same pivot chords are used as in the example above— V7 IV

in A2 major is enharmonically respelled and resolves as a Ger+6 in C major.

102 CHAPTER 23. ENHARMONIC MODULATION 266
A¯ Ao7
b 3 œœ . œ b œœœ œœ . œ œœ
& b b b 8 œœ .. œœ œœ œœ œœ
J J
πœ nœ
? b b b 38 œ œ œ œ œ œ œ œ œ J ‰
b 3
3 3 3 3 3
A¯: I viio7/ii
œ # œœœ ... n œœœ ... œœ.

A¯7
.
G7
œ. œœ.
C/G C
b b œœœ œ. œ # œ. œ. nœ n n œœœ œ
n œœ ‰
& b bb œ nœ
J
nœ ƒ
bœ. œ
? bb b ‰ n œœœ œœœ œœ n œœœ œ
b bœ. œ. œ. œ.
œ
V7/IV
C: Ger+6 I64 V7 I
YT: DdL2e4pE-uA
Figure 23.2.4 Beethoven, Symphony No. 5, Op. 67, II (1808)
In the following example from Les Miserables, a Ger+6 in E minor is spelled
as a V7 chord in F major and resolves to the I chord F major.
# ≈ œr œ œ œ œ
E¯ Em B
& # c œ œ. ˙. œ œ
356
bœ
#
And al - though I know that he is blind Still I
& # c b œœ œ œœ œœ œœ # œœœ œœœ œœœ œœœ

bœ n n œœ œ œ œ
356
? ## c b œ nw w
bœ nw w
e: i V
##
Am7 C7 F
& ˙. œ œ œ œ œ Œ b œ
nœ nœ
359
##
say there's a way for us I love him
Ó b œ
359
& œ œœ œœ œœ ˙
n œœ œ œ œ b ˙˙ œœ
? ## n˙ Ó œ
˙ ˙ b œ
˙ ˙ n˙
e: iv7 Ger+6
F: V7 I
YT: VjfmP7h3gBw
Figure 23.2.5 Music by Claude-Michel Schönberg, lyrics by Alain Boublil,
Herbert Kretzmer, John Caird, Trevor Nunn, and Jean-Marc Natel, Les Mis-
erables, “On My Own” (1980)
In the next section we will examine how the fully diminished seventh chord
can be enharmonically reinterpreted.
23.3 The Fully Diminished Seventh as Pivot Chord

Each diminished seventh sonority implies four different keys. Play and sing
through the example below.
& # # # wwww b b b wwww
b: V7 B¯: Ger+6
˙˙ ˙˙ ˙ b ˙˙˙
b ˙˙˙ ˙
880
& # ˙˙ #˙ ˙ ˙ ˙
a: viio7 i c: viio42 i
enharmonically
respelled
b ˙ b b ˙˙˙
˙ b b ∫ ˙˙˙˙ ˙ b˙ ˙
& b b ˙˙˙ ˙ b b b ˙˙˙
884
e¯: viio43 i G¯: viio65 I
Figure 23.3.1 The Four Resolutions of a Diminished Seventh Sonority

In the example above, each note of the vii◦7 chord was treated in turn as
scale degree 7̂ and resolved up by half step. In the example below, each note
of the chord resolves as if it were the 7th of the chord, moving down by half
step to the root of a dominant seventh chord.
42
˙ ˙ ˙ ˙˙
˙ ˙
& # ˙˙˙ # ˙˙˙ b ˙˙˙
888
b˙ ˙ ˙˙
a: viio7 V65 c: viio42 V7
enharmonically
respelled enharmonically respelled
˙ b ˙ b ˙˙˙˙ b b ∫ ˙˙˙˙ ∫˙ b ˙ b b ˙˙˙˙
& b b ˙˙˙ b˙
892
e¯: viio43 V42 G¯: viio65 V43
896
&
Figure 23.3.2 Resolutions of a Diminished Seventh Sonority to a Dominant
Seventh Sonority
This means that for any diminished seventh chord, you should be able to
imagine the other three respellings in the same way you can imagine other
spellings of words like two (i.e., to and too) or there (their and they’re).
In the following examples, a vii◦7 chord is enharmonically reinterpreted in
a new key.
4 .
In the first example, Beethoven enharmonically reinterprets F ◦7 C in G
4 .
minor ( vii◦43 ) as vii◦42 in E minor ( D ◦7 C ), which resolves to a V7 chord in
E minor.
C: I V7 ii6
C: I V7+6
b: Ger ii6
i46 V7 i
b: Ger +6 i46 V7 i
Gm Gm/B¯ D/A Gm Cõ7 D Fõ7/E¯ D Fõ7/C Gm/B¯
b
Gm Gm/B¯ D/A Gm Cõ7 D
j Fõ7/E¯
œœœ .. œœœ œœœ .. œœœ œœœ
D Fõ7/C Gm/B¯
œœœ
& bb bb cc œœ œœ .. œœ # n œœœ ... œœœ n œœœ œœ j ‰
œœ ‰ # nn œœœœ œœ ... œœ œœ ... œœ œœ œœ
& b œœ œœ .. œœ # n œœ .. œœ n œœ #Íœ
Íœœ œœ ..
œ Íœ œ. œ œ. œ œ.
? bb c Í œ nœ. œ #œ Jœ ≈ . œ œ œ. œ œ. œ œ.
? b bb c œ œ. œ nœ. œ
#œ
J ≈ . RÔœ ≈. œ
b œ œ. ≈ . RÔœ
RÔ RÔ
g: i i6 V64 i viio7/V V viio42 V viio43 i6
g: i i6 V64 i viio7/V V viio42 V viio43 i6
Fõ7/E¯ D Dõ7/C Em/B B7 Em/B B7(¯9) B7

Fõ7/E¯ D Dõ7/C
b œœœ œœœ .. # œœœ œœœ n nn œœ
B7(¯9) B7
# nn œœœœ
œœœ ..
Em/B B7 Em/B
& bb bb # # nn œœœ n n n œœœ œœœ œ

& b #Íœ œœ ... œœ œœ ... # œœ œœ n nn œœœ # # œœ n n œ n œœœ # œœ
p n œ n œ # œœ
Íœ œ. œ œ . œ pœ n œ œ œ cresc. π
œ.
cresc.
? bb œ œ œ . œ Jœ n œ Jœ Jœ n œ œ π
j
? b bb J J J nœ œ nœ
b œj
g: viio42 V viio43 nœ œ
g: viio42 V
e: viio4
vii
o4
3 V7 i46 V7 i46 V7(¯9) V7
2
e: viio42 V7 i46 V7 i46 V7(¯9) V7
YT: mlxF5I1MfbM
Figure 23.3.3 Beethoven, Pathétique Sonata, Op. 13, I (1798)
In the next example from the second movement of Beethoven’s Fifth Sym-
phony, Beethoven modulates from C major to A2 major by enharmonically. 2
reinterpreting an E◦ 7 chord in C ( vii◦7 IV ) as vii◦42 in A2 ( G◦ 7 F ). Notice

the unusual resolution of the vii◦42 chord to a Ger+6 chord by leading all three
of the upper voices of the vii◦42 up by half step to the Ger+6 , which itself is
unusually spelled in the key of A2 major (E–A2–C2–D instead of F2–A2–C2–D).
100
100 CHAPTER 23. ENHARMONIC MODULATION 270

Eo7
n œœC^
C
b œœ ..n œœ n œœ .. œœ b œœœ Eœœo7. œ œœœ œœ . œ œœœ ..

& b bb 38 œœ^ n œœ ..n œœœ œ. bœ.œ
œœœ œJ .
b nœ n œœ .. b œœœ œœJ . œ œœœ œœJ . œ œœœ ..
& b bb
38 œ. b œœ . œ
Sœ œ n œ nœ. œ Sœ . œπ
J J J .
jœ
œ
? b b b 38 Sœr œ n œ œ n œ œ . œ Sœj ‰ ‰ π∑ ‰ ‰ n œœj.
b œœ .
? b b b 38 œœr n œ œœ . œœ j
œœ ‰ ‰ ∑ p‰ n œ ‰ n œ n œœ . œ
b C:
œI œ. œ œ p n vii
œ o7/IV (E-G-B
n œ ¯-D¯)
A¯: viio72 (G-B¯-D¯-F¯)
o4
C: I vii /IV (E-G-B¯-D¯)
A¯: viio42 (G-B¯-D¯-F¯)
E7 A¯m/E¯ Do7 Go7/D¯ A¯/C D¯ E¯ A¯
œœœ .. ¯ Dœœœo7..
b b b b n œE7œœ. . Ab¯m/E .. ¯ Aœ¯./C
E¯œ7/D œD.¯ œE. ¯‰ ‰ œ ? œœAœ¯ œœ œ œ œ œ œ œ
& b . . . œ œœ.. œ .. œ.
bb b b b n œpœœ. . b œœœ .. œœœ ..
. . .
œ.
œ. œ.
œ
œ. Jœ ‰ ‰ œ ?Jœœ œ œœ œ œ œ‰œ œ œ
& fœJ œ. f pJdolce ‰
. . . bœ. œ. œ.
? b b b b œœp. b œœ . n œœ . b œ .. œœ.. œœ.. fjœ. œ. ‰f ‰ œpj dolce ‰ œ
b . . . œ. œ. ‰ ‰ œ j œœ
? b b b b œœ . b œœ . n œœ . bœ. œ. œ. j ‰ œœ
b œ .œ œ
V. Iœ œ
A¯: Ger+6 i64 viio7/V viio43 I6 IV
. œ
A¯: Ger+6 i64 viio7/V V42 I6 IV V I
YT: DdL2e4pE-uA
Figure 23.3.4 Beethoven, Symphony No. 5, Op. 67, II (1808)
? bb b
4
In the final example of this section, Schubert reinterprets a G ◦7 in G
b
4 4
minor as an E ◦7 chord in B minor ( vii◦65 V ). The G ◦7 chord in G minor

is analyzed as vii◦42 iv , meaning it could resolve to a C minor chord, but it

? bb b
could also have been interpreted as vii◦43 VI , or as tonicizing an E2 major
b
chord. Because the chord never resolves in G minor, one cannot be certain of
the intended resolution. Remember that diminished triads are not tonicized,
4
so the G ◦7 would not be considered as tonicizing the note A (the root of the
ii◦ chord) or F4 (the root of the vii◦ chord).
38
38
B¯+/F˜ Gõ7
b Œ ‰ œj œ . œj œj œj # œj. œr œ ‰ œj
& b 43 œ œ Œ
Gm Gm o7
362
362
Œ
tra - gen, Ich tra - ge Un - er - träg - li - ches, und
b
&b 43
362
362
˙˙ .. ˙ . œ œ œ œ ˙
# œœ œœ œœ œœ ˙˙ ˙˙ .. ˙ . n n ˙˙ ..
˙.
? b b 43 ‰ . œr j j
œ ‰œ œ. œ œ œ #œ . œ œ ‰ œ
cresc.
œ œ #œ
œ œ œ #œ œ œ œ. œ œ œ #œ. œ œ œ
g: i III+64 i viio42/iv
b: viio65 /V
#˙.
F˜sus4 F˜
b j r œ #œ
Bm
366
366
& b # œ . # œ n œJ # œR œR J J nœ Œ Œ
bre - chen will mir
mir das Herz im Lei
Lei -- -- -- -- -- -- be.
b
Herz be.
&b ∑ ∑
366
366
n ˙˙ œ œœœœœœœ ˙
#œ œ œ œ ƒ Z
? b # n ˙˙ # ˙ # œœ œ œœ œ œœ œ œœ œ # ˙˙ .. n ˙ .
b #œ. #œ nœ #œ œ # œ n˙.
#œ #˙.
#œ. #œ nœ #œ œ # ˙. n˙.
b: Vsus4 V i
b ∑ ∑
&b ∑
369
369
YT: 6PetvUTrUPY
Figure 23.3.5 Schubert, Schwanegesang, D. 957, “Der Atlas” (1828)
bb
& b Practice
∑ Exercises ∑ ∑ ∑
369
369
23.4
? bb ∑ ∑ ∑
Day One
1. Notate the specified chord, resolve it, then notate and resolve the
enharmonic respelling(s).
b
42 &b
˙ ˙ ˙˙_____ ˙˙˙
& # ˙˙˙ g: ˙ Ger#+6

˙˙˙˙
888
resolve b ˙˙ b˙ ˙ ˙
& bb
respell
enharmonically
˙˙ b ˙ b ˙˙˙˙ resolveb b ∫ ˙˙˙˙ ∫˙ b ˙ b b ˙˙˙˙
__ : ____ _____
& b b ˙˙ b˙
892
826
#
2. For the following Roman numeral progressions, label the chords with
&
viio43
e¯:symbols,
lead-sheet V42 key, and
specify the new viio65
G¯: notate all of the chordsV43
in the appropriate inversion on the staff below. The enharmonic pivot
chord can be spelled correctly in only one of the two keys.
____V7____
G: /IV ____
resolve _____
Lead-sheet symbols: ____ ____ ____ ____ ____ ____
# ¯VI
E¯: respell
7
&
Roman numerals: I IV V /V
828
___: Ger+6 i64 V42 viio7/iv iv V
b
896
&bb
__ : ____ _____
resolve
bb
b& b b
3. 830
Analyze with lead-sheet symbols and Roman numerals and label the
104 enharmonic pivot chords in the examples below.
b b
897
832
& ____ ____ ____ ____ ____ ____ ____
b
& b 44 œœœ # œœœrespellœœ œœ resolve
b œœ œ
b œœ
˙˙
7
f: V /VI _____
b b œ #œ œ ˙
? b 4
&bb œ
b 4 œ œ œ
__œ : ____ œ
_____ b˙
resolve
g: ____ ____ ____ ____ ____ ____ ____
# # ____
834
# # # # 4 œœ œ œœ œ
4&œ
____ ____ ____ ____ ____ ____
# œœ œœ œ # œœ ‹ # œœœ ˙˙
& œ ˙
? #### 4 œ
D: Ger+6 _____
4 œ œ œ ˙
## #œ œ
836 resolve
respell
&
E: ____ ____ ____ ____ ____ ____ ____
# 23.4.1
____ ____ __
____: ____
____ _________
____ ____
& # 44 œ n œœœ
n˙
resolve
œœ
n œœ
Figure
œœœ # œœœ ˙˙
œœ œ
#
& #
838 Day Two
? # # the
44 œspecified chord, n˙
œ œ nœ œ
4. Notate
œ
resolve it, then notate and resolve the
enharmonic respelling(s).
b: ____ ____ ____ ____ ____ ____ ____
#
& #
? ##
39
b
838
&bb
E¯: viio7 _____
b
&bb
840 respell resolve
__ : ____ _____
b
resolve
&bb
842 respell
__ : ____ _____
bbb
844 resolve
respell
&
__ : ____ _____
resolve
5. Analyze with lead-sheet symbols and Roman numerals and label the
###
846enharmonic pivot chords in the examples below. 105
3 &
___ ___ ___ ___ ___ ___ ___ ___ ___
& b 4 œœ œœ œœ b œœœ b œœœ b b œœœ b b ˙˙˙ b œœœ b b b ˙˙˙ ...

œ œ œ f ˜: viio7 _____
? b 43 œ # œ # # #œ
resolve
848 respell
bœ œ bœ
& ˙ œ b˙.
d: ___ ___ ___ __ :___
___ _______ ___ _____
___ ___
##
resolve
##
œœ #n œœ
850 ____ ____ ____ ____ ____ ____ ____
& # 44 &
respell
n ˙˙
œ œ
œœ
œ œœœ b n n œœœ n b œœœ ˙
__ : ____ resolve _____
? # # # 44 # # #œ œ œ bœ œ n˙
852
œ
respell
&
A: ____ ____ ____ ____ ____ ____ ____
Figure 23.4.2 __ : ____ _____
b b b b b 44 œœ the first
____ ____ ____ ____ ____
resolve ____ ____
& download œœ # œœ assignment

n œœœ homework n œœœ for
# n œœœthis chapter.
˙˙
Click here to
œ œ œ
Click here to download the second homework assignment
n ˙ chapter.
for this
? b b b 44 œ œ œ œ nœ œ
bb n˙
b¯: ____ ____ ____ ____ ____ ____ ____
b
& b bbb
? bb b
bb
Chapter 24
Binary and Ternary Forms
24.1 Binary and Ternary Form

In this chapter we will compare the following:
Sectional versus Continuous
Binary versus Ternary
Rounded Binary versus Ternary
24.2 Sectional versus Continuous 39

39
We apply the descriptor “sectional” to a binary or ternary form when the
first section (the A section) ends on the tonic. (Note: We use lowercase letters
to refer to phrases and uppercase letters to refer to sections.)
Introduction First Section
b 3 Œ Œ œjj œjj œ .. œjj œ
Introduction First Section
& bb bbb 43 ‰‰ ∑ œ Œ œœ
Zart bewegt Phrase 1
∑ Œ Œœ œ œ œ œ œ Œ œœ
369 Zart bewegt Phrase 1
& 4
369
3 j j j j j j j
Gu - ten A - bend, gut Nacht, mit
b
& bb bbb 43 œœœj œœ œ œœ ‰ œœ j œœ œ œœ ‰ œœ j œœ jœ œœ j œœ jœ œœ j
Gu - ten A - bend, gut Nacht, mit
œœ œœ œœ ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œ œœ œœ œœ œ œœ
369
& 4 pœ œ œ œ œ œ œ
369
? b 3 p‰ œ
œ
œ
œ
œ
œ œ
œ
œœ
? bb bb 43 ‰ œ œ œ œ œ œ
b 4 œ œ œ œ œ œ œ œ
b œ œ .. œ œ œ œPhrase
Phrase 2
& bb bbb œ œ Jœ œ œ œ œ œœ œœ œœ œœ
œ œ ŒŒ œ œ
2
& J œ œ œ
œœ œœ œ j Nägj - lein be œ-
374
jœ œœ œœ
Ro - sen be - dacht, mit Näg - lein be - steckt schlupf
b œœ j œœœ œœ œœ
374
œœ Jœœ Jœœ œ œœœ œœœj œœœj œœœ œ œJœœ

Ro - sen be - dacht, mit steckt schlupf
& bb bbb œœ œ
& œœ J J œ œ œ œ J Jœœ
œœ œ Jœœ
œ J œ J
374
œ
374
? bb œ œ œ œ œ œ œ œ
? b bb œ œ œ œ œ œ œ œ œ
b œ œ œ œ œ œ
Second274
Section
b œŒ j j Phrase 3˙
œ œjj ˙ œjj j œ œ œ
Second3Section
& bb bbb œœ œœ œœ œœ
Phrase
œ Œ œj œj ˙ Jœ œ ˙ œ œ j œ œ œ
&
378
œ œ J œ
378
un - ter die Deck: mor - gen früh, wenn Gott will, wirst due wie - der ge -
œ J J œ J
? b œ œ œ œ
b b œ24. BINARY
CHAPTER œ AND
œ œ
TERNARY FORMS œ
œ œ œ 275
Second Section
b
& b b œœ œ œ
œŒ j j ˙ œ œj ˙ j
Phrase 3
378
œ œ J œ œj œ œ œ
b œ œœ œ œ œ. j
& b b œœJ œœ œœ œJ œJ œ œœ b œœ œœ œ œ . œœJ œœ œœ œœ .. œœ œœ œ œœ œ œœ
378
J œ œ œœ
? bb œ œ œ œ œ œ
b œ œ œ œ œ œ œ œ œ
40 I = “Sectional”
bb j j ˙ œ œj ˙ j
œ œj œ œ œ œ œ ˙
Phrase 4
& b j ˙ ‰ ..
383
œ œ œ J
- weckt, mor - gen früh, wenn Gott will, wirst due wie - der ge - weckt.
b œ œ œ. j ˙
&bb ˙˙ ‰ b œœ œœ œ œ . œœ œœ œœ œœ .. œœ œœ œ œœ œ œœ œ ˙˙ ‰ ..
383
J J
? bb œ œ œ œ œœ ‰ .
b œ œ œ œ œ .
œ œ œ œ œ
b
&bb ∑ ∑ ∑YT: 6kh51bIA2q8
∑ ∑ ∑ ∑ ∑
388
Figure 24.2.1 Johannes Brahms, Fünf Lieder, Op. 49, No. 4 “Wiegenlied”
b
(1868)
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
388
The term “continuous” is used the first section of a binary or ternary form
does not end on the tonic chord. While this often means the first section ends
in a new key, it can also mean the first section ends on the dominant chord in
? bb
a half cadence.
112
∑ Section∑
b First ∑ ∑ ∑ ∑ ∑ ∑
Phrase 1 Phrase 2
& 42 œ. œ. œ œ œ # œ œ
Andante ten. ten.
œ. œ. œ œ. œ. œ œ
œ œ œ. œ. . . œ. œ. œ œ œ
œ. œ. . .
bb bp. . ∑ ∑ ∑
396
&2
?
4 œ Œ œ Œ Œ œ Œ Œ œ Œ œj ‰ œ ‰
œ œ J
b
&bb ∑ ∑ ∑
396
Phrase 3 Phrase 4
? bœb j ‰ œ ∑œ œ œ œ œ œ
ten.
&
ten.
œ∑ œ œ œ œ œ ∑œ œ œ œ
b œ œ
π
?
œ Œ œ Œ œ Œ
œ
Œ œ Œ œ Œ
Second Section
œœ j‰ œœ
Phrase 5 (contrasting material)
≈ ≈
? 242 œœ ŒŒ œ ŒŒ ŒŒ œœ ŒŒŒ ŒŒ œ ŒŒ œj ‰‰ œœ ‰‰
?
44 œ Œ œœ Œ œœ Œ œ œ Œ œœ Œ œœj ‰ œJJ ‰
œ œœ J
CHAPTER 24. BINARY AND TERNARY FORMS 276
Phrase 3 Phrase 4
jj ‰‰
Phrase 3 ten. Phrase 4
&
& œœœ œœ œœ œœ œœ œœ
ten.
œœœœ
Phrase 3 Phrase 4
œœ œœ œœ œœ
ten. ten.
œœj ‰ œœ œœ œœ œœ œœ œœ œœœ œœœ œœ

ten.
& œ œ œœœ
ten.
œ œ œ
π
π œ œ œ œ œ
? Œ π Œ œ Œ ŒŒ
?œ
? ŒŒ œœ
œ
ŒŒ œœ ŒŒ œœ Œ œœ ŒŒŒ œœ ŒŒ
œ Œ
œœ œ œ
Second Section
jj‰ œœ Phrase
Second Section
œœ œœ œ œœœ œœœ ## œœ œœ
Phrase 5Section
Second (contrasting material)
& œœj‰ œœ nn œœ ≈≈ œœ5 (contrasting

≈≈ œœ œœœ œœœ œœœ œœ œœ
Phrase 5 (contrasting material)
& œ œ œ œ
material)
& œ œ œœ #œ œ ‰ ≈ ≈ œ œ œ œ
œ œœ n œœ œœ œœ œœ œ. œ. œ œœ œœ œ œ œœ œ œœ œœ œœ œœ œœ
ƒ pp œ œ œ.. œ.. œ œ œ œ œ
? ƒ
jj‰‰ ƒ pœ œ
? œœ ŒŒ œjjj ‰‰ œœ ‰‰
? œœj‰ œœ œ œœ
jj ‰‰
œœ œœ œœj ‰ œœ
ŒŒ
œ Œ œœ ‰ œJJJ ‰ œ œ œ œœœ œ
Œ
V
Vtonic” = “Continuous”
“notV
“not tonic” = “Continuous”
“not tonic” = “Continuous”
œ œœ œ œœ œœ œœrr œ œœ œœ
œœ ‰‰
Phrase 6
œœ œœ
ten.
& œœ œœ œœœ..œœ œœœ..
Phrase 6
œœ œœœr œœ
ten.
& œœ œœ œœ .. ## œœ œœ œœ œœ œœ œœ œœ œœ
œœ ‰
Phrase 6
œœ... œœ..
ten.
&
œœ œœ œœ .. # œ œœ... œœ... . . . œ œ œœ
œœ œ œœ
? j
?
? œ œ œœjj ‰‰‰ œœ
œ
œœ
œ œ œ œ œ œ œ œœ œœ j
‰‰
‰
œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œj
œ œœ œœ œœ
YT: lLjwkamp3lI
Figure 24.2.2 Joseph Haydn, Symphony No. 94 in G major, Hob. I:94, II
(1791)
In naming any binary or ternary form, use the terms sectional or continuous
before binary or ternary, for example “sectional binary,” “continuous binary,”
“sectional ternary,” or “continuous ternary.”
Other descriptors include “two-reprise,” which means both the first section
(the A section) and second section (the A’ or B section) are repeated, and
“rounded,” used in conjunction with binary (“rounded binary”) to specify that
the opening material returns after the contrasting section.
In the following sections we will discuss three types of binary forms:
1. Balanced Binary
2. Rounded Binary
3. “Simple” Binary (usually called “binary”)
24.3 Balanced Binary

A balanced binary form, according to Douglass Green in his book, Form in
Tonal Music, features a binary form with a first section (the A section) ending
in a new key, and the second section ending with essentially the same cadence,
now transposed to the original key, as in the following piece by Bach.
CHAPTER 24. BINARY AND TERNARY FORMS 277 113
113
113
œœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœœ œœœ œœœ

First
First Section
‰‰ œ œœ œ œœœ œ œœœ œœœ œœœ œœ œœœ œœœ œœ œœ œœ œœ œ œ
Section
3 œœ œœœ œœ œœ œœœ œ œ œ
First Section
& b
b 433 œœ
& b 44 ‰ œœ œ œœ œœ
& œ œ œ œ œ œœ œ œ
œ
œœ œœ œ œ œ œ œ œ œ œ œœ
?
? 33 ∑ ‰ œœ œœœ œœ œœœ œœ œ œ œœ œœ œœ œœ œœ œ œœ œ œœ
œ œœ œœ œœœ œœœ œœœ œ œœœ
b 4
? bb 434 ∑
∑ ‰
‰ œ œ œ œ
These
These 9 bars
bars modulating
modulating from
from F major
major to
to C
C major
major are
are transposed
transposed in
in the
the last
last 999 bars.
99 bars FF major bars.
œœœ œœœ œœœ œœ œœœ œœ œœ œ œœ œ œ œ
bb œœœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ nnœœ œ œœœ œœ œœœ œœœ
These modulating from to C major are transposed in the last bars.
& œ œ œ œœ œ œœ œœ œœ œœ œœ bbœœ
&
& b n œ œœ œ œ œ bœ
nn œœ œ œœ œ œœœ œœœ
œ
b œœœ œœœ œœœ ? n œ œœ œœ
& bb œœœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ ?
& ?
?
& œ œ œ œ œ œ
Second
Second Section
Section
Second Section
œ œ nœ œ œ œ œ
b
& bb œœœ œœ œœ nnœœ œœ œœ œœœ œœœ œœœ œœœ œœœ
&
& œœ œœœ œœ œœ œ œœ nnnœœœ œœ œœ œœ œœœ œ œœœ œ nnnœœœ œœ
œ ŒŒ
Œ
ŒŒ
Œ
œ œ œ œœ œ œ œœ œœ
œœ œœ œœ œ œ œ œ œ n œ œ œ œ n œ œ
œ œ œ œœ œœ œœ œœ œœ n œ œœ œ œœ œ œ
œœ œœ nn œœ œœ œœ œœ œœ œœ œœ œœ œ
?
? bb
? nœ œ œ œ œ œ œ œ œœ œœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœœ ‰‰ œœ œœœ œœ œœœ œœ
b œ œœ œœ ‰ œ œ œ
œ
Cadence in C major
Cadence
Cadence in
in C
C major
œœ nnœœ œ œ œ œ œ œ
major
bb ‰‰ œœ œœœ œœœ œœ œœœ

œ œ n œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ b œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œœ œ œœ œ œœœ œ
&
&b ‰ œ œ œ œ œœ bb œœ œœ œœ œœ œœ œœ œ œœ œ œœ
& œœ
œ nœ œ œ bœ œ œ
? b œœ nnœœ œœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœ
? œ œœ œ œœœ œœ bbœœ ##œœ œœ œœ œœ œœ œœ nnœœ b œ œ œ œ
? œ œœ œœ œ œœ œ #œ œ œ œ n œ bb œœ œœ œœ œœ œœ œ œœ œ œœ
bb œ œ œœ œ œœ œ
œœ œ œ
&
œ
bb œœ œœœ bbbœœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœœ
œ
œœ œœ œœœ œ # œ œœ œ œœ œ œœ œ œœœ œœ œœœ œœœ
œœœœœ ## œœ œœ œœ œ œœ œ
&b
& œ œ œ
œ œœ œœ œœ œ bbœœ œ œ œ œ œ nœ œ œ œ œ
œ œ œ œ œœ b œ œœ œœ œœ œœ œœ œœ œœ œ œœ nnœœ œœ œœ œ œœ œœ œœ œ œœ œ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ
? b œ œœœ œœ œœœ œœ œœœ
?
? œ œ œœ œ œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ
bb œœ
œ œ œœ œœ œœ œœ œœ œœ œ œœ œœœ n œ œœœ # œ œœœ œ œœœ œ œœœ œ œ œ œœœ œœœ n œ œœœ # œ œœœ œœœ œœ œ b œ œ
& bb œœ œœœ œœ œ œœ œ œœœ œ œœœ œ œœ œ œ œœ œ nnœœ ## œœ œœ œœ œœ œœ œœ œœ nnœœ ## œœ œœ œ œœ bœœ œœ œ œœ
œ
&b
& œ œ œ œ b œœ
œ œœ œ œ œ
? bb œœ œœœ œœœ œœœ œ œœœ
?
?
œ
œ œœ œœ œœ nnœœ œœœ œœ œœœ ## œœ œœœ œ œœ œœ n œ œœ œ œœ œ œœ œ œœ œ œœ
b œœ nœ #œ œœ œ œœœ œ nn œœ œ œœ œ œœ œ œœ œ œœ œ
These 9 bars are modulating from B¯ major to F major.
œ œ œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
114
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b œœœ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ
& b œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œœ Œ Œ
œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ
? b œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ Œ Œ
œ œœœœœœœœœ œ
œ
Cadence in F major
&b
œ
œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœœ œœ œœ
œ œ œœ
œ
& b œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œœ Œ Œ
œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ
œ
? b œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ Œ Œ
œ œœœœœœœœœ œ
œ
Cadence in F major
&b
114 ?b These 9 bars are modulating from B¯ major to F major.
œ œ œ b œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ
YouTube: https://www.youtube.com/watch?v=HFeLqgVLxBM
œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œœ œœ œœ
? œœ œ œ œœ œœ œ œ œ œ œ œ
Figure 24.3.1 b J.S.
œ œBach, œ Invention No. 8 in F major, BWV 779
Because the first section These of a9 bars balanced
are modulating binary
from B¯ major ends in a new key, it is
to F major.
œ
& bb œœ œœœ œœ œ œ œ œbœœœ bœ œ œœbœ œœœœœœœœœ œœœœœ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œœ œ
114
inherentlya continuous binary form.
Balanced &binary form œ can be œfound œ œ œ œ œinœ œ movements œ œ œ from œ œ œœ the œ Baroque era,
œby œ œ œ œ œ œ œ œ œHandel,œ b œ œ œ œ
œœ œ œ œ œandœ œ œ œ
œœ œ œothers. œ œ œ œ œ œ œ œ œ œThe
œ œ œ œ œ œmovement
? œ œ œ
? bb œœœ œ œ œœ œ œ œ œ œ œ œ
including dance suites Bach, œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ Œœ œ œ œ
œ below
œœ
shows the endingsœ ofœ œthe first and section sections of theœ Courante from J.S.
Bach’s French Suite No. 6 in E major, BWV 817.Cadence in F major
œ
& b # œ# œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
œ œ œ œœœ œ œ œ œ œ œ jœ œ œ œ œ œ œ œœœ j .
Œ Œ
& # # 3
4 œ œ œ œ œ œ œ œ # œ œ ‰ ≈ œ j ..
? b œ œ œ œœ œ œ œ œœœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ. .
œ œ œ œ œ œ œ œ œ œ J œ JŒ Œ
œ
? # # # # 43 œ œ œ œ œ œ in F major œ .
≈œœœ J ..
Cadence
œ
## j j
& # # 43 œ œ œ œ œ œ œ œ œ œ œ # œ œ ‰ ≈ œ œ œœœ.j.. ..
œ
# # # # œ œ œ œ œ œ œ œ œ œ ‰ ≈ J œ œœJjj.. .
& # œ œ œ J œ œ œJ œJœ.. .
? # # # 43 œ œ œ YT:œ jrHP6Fp1yUY
œ ≈œœœ J ..
œ 6 in E, BWV,œ œ . Courante, bars
œ œ œ œ œ
? #### œ œ J
Figure 24.3.2 J.S. Bach, French Suite No 817
15–16 œ ≈ œ ..
# ## j
œ œ œ œ œ œ œ œ œ œ œ ‰ ≈ œ j.
& # œ œ J œ œJ œ œJœ. . ..
œ œ œ œ œ œ.
? #### œ œ œ ≈ œ œ J ..
YT: jrHP6Fp1yUY
Figure 24.3.3 J.S. Bach, French Suite No 6 in E, BWV, 817 Courante, bars
31–32
24.4 Rounded Binary

In a rounded binary form, the material at the beginning of the first section
returns, often shortened, after a contrasting phrase at the beginning of the
& # œ œ œ œ œJ œ œJœ. . œ J ..
œ œ œ œ œ œ279.
? #### œ œ ≈ œ œ J ..
CHAPTER 24. BINARY AND TERNARY FORMS
œ
second section. A generic phrase diagram of rounded binary form is shown
below.
First Section Second Section

a a b a
(opening melody
returns)
115
115
Below is an example of a rounded binary form. 115
First Section
œ œ œœ œ œœ œ œœ œ œœ œ
First Section
## # Phrase 1˙ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ œœ œ œœ œ œœ
PhraseSection
First 1
CC œ œœ ˙ ˙˙
Phrase 1
& ## œœœ œ œœœœœ
&
& # C œœ œ œ
pp
? # CC pÓÓ &
? ## ###
?
C Ó &
œ œ œ œ
œœ œœ œœ œœ œ œœ œœ œœ œ œœ œ œœ œ œœœ œœ œœœ œœ œœ œœ œœ œ œœ œ œœ
&
œ œ œœ œ œ œ œœ œ œœ œ œœ œ œ œ œœ œ œœ œ
## # œœ œœ Phrase
Phrase˙2 œœ œ œ œ œ œ œ œ œœœ œœ ## œœ œœ œ œœ œœ œ œ œ œ œ œ .
Phrase 2
œ œœ.. œœ.. ˙˙ œ œœ œœ œœ œœ œœ œœ œœ œ # œ œ œœ œ œ œœ œœ œœ œœ œœ œœ œœœ ..

2
&
& ## œ
& # ffœ. œ. œœ œœ œ .
œ
## # f ? œ œœ œ œœ œœ œ œœ œœ # œ œœ œ œœ œœ œœ œœ œœ œ # œ ˙
& # ## Ó ? œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œœ œœ œœ ## œœ ˙˙ ..
&
& œœ˙ œœ ÓÓ ? œ œ œœ œ œœ # œ œ œ œ œ ˙˙ ..
œ˙˙ œ
Second Section
Second Section
œ œ œ #texture)
œ œœ # œ n œ œmaterial j
œ œ œ œœ n œ œ œ
(contrasting material and texture)
œ # œ œ œ 3 (contrasting
œ œ œœ ## œœ œœ nn œœ œœ œ œœœ œœœ œœ œœ ˙˙˙ . œœjj ‰‰‰ Œ
œ œ and
Second
Phrase 3Section
## # œœ œœ # œ œœn œ œœ œ œ
Phrase 3 (contrasting material and texture)
.. œœ ## œœ œœ œœ
Phrase 3
Phrase
&
& # ## .. # œ œn œ œ œœ œ œ œ œ ## œ ˙ . œ ŒŒ
& pp ff pp #œ ˙.
## œœ œœ œœ nn œœ ‰‰
?
? ## # .. pÓÓ f
# œœ œœ œœ nn œœ &
œœ œ œ œ œ œ ˙ œ
p
jj ‰ ŒŒ
? # ## .. Ó œ œ
œ nœ & œ œ œ œ œ ˙
œ œ
œ œ œ œ œ œ œ œ ˙œ œ œ œœ ˙ . œj Œ œ
œ ˙ œ
& œ œ œ œ œ œ ˙˙ . œ
.
## # Ó Phrase œ œ œ œœ œœœ œœ œ œ œœ œ œ œ œ
Phrase 4 (opening melody returns)
œ
Phrase ˙4 (openingœ melody
œ œ œ œ œ
œœ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œœ œœ œ œœ œœ œœ œœ ..
4 (opening melody returns)
& # # Ó œ œ ˙
œ œ œ œ œ œ œ œœ œœ
returns)
& # Ó fœ œ ˙
& œ œ œœ œœ œ ...
œ œ
f œ œ ˙
## # f ? œœœ œœ œœ ˙˙
&
& ### ∑
∑∑ œ
œ
œ œ œ
œœ œ œ œœ œ œœ œ œ œ œ œ œ œœ ? œ œ œ œ ˙˙ ....
& œœ œ œ œ œ œ œœ œ œœ œœ œ œœ œœ œ œœ œ œœœ ?
.
œ œ œ œ
j
#### œ œ œ œ œ œ œ œ œ œ œ ‰ œ j..
≈ ..
&
CHAPTER
œ
œ24. BINARY AND TERNARY FORMS
J œ œ
œ J J. œ
œ
280
œ œ
œYT: zHtXRBi91dA œ œ œ.
? #### œ œ
œ ≈ œ œ J ..
Figure 24.4.1 Mozart, Piano Sonata in D major, K. 284, III.

/: a a'
:/:
b a''
:/
D: HC A: PAC D: HC PAC
Because both the first section (the A section) and second section (the B
section) repeat in the example above, this form would be called “two-reprise
continuous rounded binary form.”
a
Another example a binary formbis below.
of a rounded a
116
116 (opening melody
First
First Section
Section returns)
. œœ .. œœ
343 œœ . œœ œœ œœ œœ˙˙ œœ œœ œœœ œœœ œœœ œœœ ... # nn œœ œœœ ... œœ ˙˙˙
Phrase
Phrase 1
1 Phrase
Phrase 22
œœœ œœœ œœœ œœœ
& bb
& 4 œ œ #œ œ
pp
? b 433 ŒŒ
? œœ ˙˙ œœ œœ œœ œœ Œ œ œœ
b 4 œœ œœ œœ œœ Œ œœ œ .. œ
Second
Second Section
Section
œœ .. œ œœ œœ œœ œœ œ œœ œœ
Phrase
Phrase 33
œœ œœ œœ œœ œœ œœ n œ
(melodically
(melodically related
related to
to first
first phrase)
phrase)
& b œœ˙˙ œœ œœ œ n œœ ˙˙
˙˙
... ...
œ
?
? bb ˙˙ œœ œœ œœ œ œœ .
& ..
& ... œ .. œ
œ œ œœ œœ œœ ˙˙ œœ œœ
œ œœ œ œ œ ˙
(different accompanimental texture and register)
(different accompanimental
(different accompanimental texture
texture and
and register)
register)
œœ œœ œœ .. ## œœ œ .. œœ ˙ œœ .. œœ
Phrase
Phrase 44 (opening
œœœ œœœ œœœ œœ˙˙ œœ œœ œœœ œœœ œœœ œœœ ... œœ œœ œ
(opening melody
melody returns)
returns)
& b ...
œ œ œœ ˙˙
˙˙ œœ œ œ œœœ ...
& bb œœ œœœ .. ## œœ œœ .. œœ œœœ œœ Œ
? œ
& ?
œœ œœ œ œœ œ œ œœ
&b YT: 2vs-CrxwOmE

Figure 24.4.2 Schubert, 20 Minuets, D. 41, No. 18 in F major
?b
This form of the example above would be called “two-reprise continuous
rounded binary form” because:
• “Two-reprise” means both the first and second sections repeat
• “Continuous” means the first section does not end on the tonic chord
• In a rounded binary form the opening melody returns after contrasting
material
Rounded binary form is often encountered in compositions during the Classical

era (1750–1825) in music by Haydn, Mozart, and Beethoven, especially as the
form of a theme from a theme and variations, and as the minuet and/or trio
section in a Minuet and Trio.
24.5 Simple Binary

“Simple” binary is a term used to describe a binary form that does not have
features like the similar endings of a balanced binary or the return of opening
material like the rounded binary. You will encounter this type of binary form
in music especially throughout the Baroque era, as well as in the early Classical
117
117
era. 117
First Section
First Section
œ œ œ œ œ ˙ œ œœ
First Section
œ
bb bb CC œ œ œ œ œ œœ œ ## œœ œœ ˙ œœ œ œ œ œ œ œœ œ œ œ œ œ
&
& œ œœ œ œ œœ œ œœ œ œœ
œœ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œ œ œœ œ œ # œ
? b
? bbb CC œ œœ œ
œ œœœ œ œ œ œ # œ œœ œœ œ œ œ
œ œ œ œ
(starts in G
G minor)
(starts in
(starts in G minor)
minor)
b œœ œœ œ œœ ## œœ œ œœ .. nn œœ œœ
œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ ...
1. 2.
1.jj 2.jj
& bb b œ œ
j
˙˙
j
˙˙
1. 2.
& JJ œœœj œœœj
œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ
? œ œ œ œ œ œœ œœ œœœ
? bb bb œ œœ œœ œœ œœ œœ ... œœ œ œ œ
B¯ major)
in B¯¯ major)
(ends in B
(ends in
(ends major)
œœ œœ œœ œœ œœ œœ nn œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ nn œœ œœ
Second
Second Section (develops melody and and motives from from first section)
section)
... œœ œœ œœ œœ œœ œ œœ œœ œ ˙˙
Section (develops
(develops melody and motives
motives from first
& bb bb
melody first section)
& . œ œ œ
? b œ œ
.. œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ nœœ œ œ œœ œœ œœ œœ œœ œœ
? bb b . œ n œ œ
B¯ major)
in B¯¯ major)
(begins in B
(begins in
(begins major)
b œ nœ œ œ œ œ œ œ nœ œ œœ mwmw œœ œœ œœ œœ œœ œœ œœ œœ nnœœ œœ # œ œœ œœ œœ œœ œœ
& bb b œ n œ ##œœ œœ œ œ œ œ œ œ n œ œœ œ #œ
&
œœ œœ nnœœ œœ œ nnœœ # œ ˙
œ œœ # œ œœ ˙ œœ œ œœ
?
? bb bb nn œœ œ nn œœ ## œœ œœ œœ œœ œ
œ œœ œœ
bb œœ œ œ œ
bbb ˙ œ bœ œ œ
œœ œ b œ œ œœ nnœœ œ œœ œ œœ œœ œ œœ œœ œœ œœ œ œ œ
œœ œœ œœ œœ # œ œ œœ œœ
&b ˙
& œ #œ
MM m M M M
? bb bb
? œœ bbœœ œœ Mœœ Mœœ mww ˙˙ Mœœ Mœœ ˙˙ Mœœ œœ ˙˙ œœ œœ œœ œœ
œœ (back in G
(back G minor)
(back in
in G minor)
minor)
b bb œ œ œ œ œ œ œœ œœ œ œœ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œœ œœ œœ œœ ## œœ œœ œ nn œœ nn œœ œœ œ
& b œ œ œœ œ œ œ œœ œ œœ nnœœ ## œœ œœ œ œ œœ
&
œ œ œ
? b œœ œœ œœ œœ œœ ##œœ œœ œ
? bb b œ œœ œœ œœ œ œ
## œœ œ œœ œ œœ œ œ œ ŒŒ n œ ŒŒ
œœ œ œ œ œœ nœ
(opening melody does return—not
does not return not rounded binary)
binary)
(opening melody
(opening not return—
melody does not —not rounded
rounded binary)
MM mw Mœ Mœ Mœ œ
? bb œ bœ œ œ œ ˙ ˙ ˙ œœœœ
œ
(back in G minor)
b œœœœœœœ
& b œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ nœ œ œ
? b œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œœœ œ Œ Œ
b #œ œ nœ
œ
(opening melody does not return—not rounded binary)
b œ nœ œ nœ bœ œ œ #œ œ œ
118
&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? b œ œ œ œ œ œ œ
b œ œ œ Œ œ Œ œ
œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ m
b œ œ # ..
&b œ œ œ œ ˙
œ œ œ œ œ
? bb # œ Œ nœ Œ œ #œ œ ..
˙
(different ending than first section—not balanced binary)
b
&b
? bb
YouTube: https://www.youtube.com/watch?v=KMrJxhYj3tc
b
Figure 24.5.1 J.S. Bach, English Suite No 3 in G minor, BWV 808, Gavotte
&b
I.
Notice in the example above that the first section and second section can
begin similarly in a binary form, resulting in the large-scale form AA’. The
second section often features development of the primary idea from the first
? bb
section. We will discuss development in the next chapter.
24.6 Binary Principle

Binary principle, as defined by Peter Spencer and Peter Temko in their
b
&b
book A Practical Approach to the Study of Form in Music, states that the
first section of a binary form modulates to a new key and the second section
modulates back to the first key. We find this principal exemplified in a high
percentage of binary forms in the Baroque era, and diagrammed in the example
? bb
below.
/: a a'
:/:
b a''
:/
D: HC A: PAC D: HC PAC
a BINARY AND
CHAPTER 24. a TERNARY bFORMS a (opening melody
283
returns)

Major: I modulation V V modulation I
Minor: i modulation III (or v) III or (v) modulation i
Original key New key Original key
Figure 24.6.1 Diagram illustrating Binary Principle
24.7 Ternary Form 119
œ
b 24 œ . œ œ œ œ . œ œ œ œ . b œ œ œ œ œ œ œ œ œ œ œ
Ternary form is usually diagrammed as ABA and is described as “statement, 119
& bbb œ
24 œ . œ œ œ œ . œ œ œ œ . b œ œ œ œ œ œ œ œ œ œ œ œ
digression, restatement.”Green, Douglass M. Form in Tonal Music: an Intro- 119
& bbb œ œ œ œ . b œ œœ œ œ œ œ œ œœ œ œ
duction to Analysis. 2d ed., Holt, Rinehart and Winston, 1979, p. 84 A piece
F œœ
422 Fœœœ . œœ œ œœ . œœ
119
? bbb œœ œ œ œ nœ œ
in a rather simple and straightforward ternary is shown below.
& œ œ œ
bbb œ œ
42 œ . œ œœ œ œ . œœ œ œœ . b œ œ œ œ
œ nœ œ œ œ œ œ
& bb b b
? 442 Fœ œ œ œ œ
? bb 2 œœ œœ œœ œœ œ œ œ nœ œ
bb 4F œ œ
? b 2 œœ œœ œœ œœ œ œ œ nœ œ
bbb 4 œœ œ œ œ œ œ. bœ œ œ œ œ œ œ œ œ
& bbb œ. œ. œ
& bbb œ . œ œ œ œ . œœ œœ œ œ . b œ œ œ œœ œœ œ œ œ œ
p . œ œœ œ œ . œ œ œ . b œ œœ œœœœœ
& bbb
? œ œ œ œ œ
p œ œœ œ œ œ œœ œ œœ . b œ œœ œ œ œœ œ œ œ œœ
œ
bbb
& bb b bb
? pœœ . œœ œ. œ
œ œ
œœ œœ œ œ
? b œœ œ œ œ œ œ
bb p œ œ œœ œ
? b œœ œ
œ œ
œ œ œ
bbb œ œ œ œ œ œ œ œ œ œ œœ œœœœ œ
& bbb œ œ œ œ œ œ œ œ œ œ œœ œœ œ
& bbb fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œœ œ œœœ
? b bb b
& fœ œ œœ œ
œ
b fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ
& bb b bb
? œ œ œ œ œ œ œ œ œ œ œ œ
? bb f œ
bb œ œ œ œ œ œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ œ œ œ œœ œœœ U
bb
& bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Uœ
& bbb pœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U œ
œ œ œ œ œ œ œœ œ œ œ œ U
œœ
? bb bb b
& pœ œ œ
œ œ œU
U
& b b bb p œ œ œ œ
? œ œ œ œ œ œ œ œ œ œ œ U
? bb b b p œ œ
bb œ. œ œœ œ œ. œœœ œœ œ œ . œb œ œ œœ œœ œ œœ œ œ œ œUœ œ
& bb b b œ œ œ
120
? œ
b
f œ œœ
? bb œœ œœ œœ œœ œ œ nœ œ
b
b œ œ œ œ. œ œ œ œ . b œ œ œ œ œ œ œ œ Uœ
& b b œ.
p œ œ œ œ U
œ œ œ
poco rit.
? b œœ œœ œœ œœ œ œ œ nœ œ
bb
b bb œ . œ œ œ œ . œ œ œ œ . b œ œ œ œ œ œ œ œ œ œ œ œ
120
& 24. BINARY AND TERNARY FORMS
CHAPTER 284
f œ œ
?b b bœ . œœœ œ œœœ œ . œœœ œ œœœ œ . œb œ œ œ œ œ œ œœ œnUœœ œ
& bb b
p œœ œ œ œ U
? b b œœ œœ œœ œ œ
poco rit.
b œ
b œ œ œ œ. œ œ œ œ . b œ œ œ œ œ œ œ œ Uœ
& b b œ.
p œœ œ œ œ
bb œ œœ œœYT: BJviMnAB_jg œ œ U
poco rit.
& ? b b œ œ
b b Mozart, Andante in E-flat major, K. 15mm
Figure 24.7.1
Below is a diagram of K. 15mm by Mozart.
? bb
b a
A
a' b
B
b a
A
a'
E¯: HC PAC HC HC HC PAC
bbb
&Character
Figure 24.7.2 Diagram illustrating Binary Principle
pieces from the Romantic era with titles such as “Nocturne,”
“Intermezzo,” and “Song Without Words,” among others, by composers such
? bb
as Schubert, Chopin, Mendelssohn, Schumann, and Brahms, are often in a
b
larger ternary form where each section might be longer than eight bars.
Below are examples from a larger ternary piece, Rachmaninov’s Prelude in
C-sharp minor, Op.3 No.2. 121
# # # # Lento ‰ ‰ j‰ ‰ œœ œ ‰ n œj ‰ # œj
c œœ œœ # œœ n n œœ # œj œœ
&
œ- œ- œ- n œ n œ- œ # œœ- œ- œ- # œœ- n n œœ- # œœ
œ œ nœ œ -
> > w ˙ ∏ . . ˙ . .
ƒ > -œ œ- ‹ œ- # œ- # œ- - œ- ‹ œ- ‰ # œ- ‰ # œ-
‰ œ œœ # œ ‰ # œ ‰ ‰ œœ œœ # ‹ œœ # # œœ œ
? #### c œ ‹ œ n œ # œJ # œœ œ
œ œ œ J n œ J œ # œJ
œ œ w ˙ n œ. œ. ˙ n œ. œ.
> > w ˙ ˙
>
####
&
YT: sCtixpIWBto
? ####
Figure 24.7.3 Sergei Rachmaninoff, Prelude in C-sharp minor, Op. 3 No. 2,
First A section bars 1–13
####
&
? ####
####
&
‰ œ œœ # œ ‰ # œ ‰ ‰ œ œœ # œ ‰ # œ ‰
? #### c œ ‹ œ # œ # œœ œ ‹ œ n œ # œJ œ
œ œ n œ J œ J œ # œJ
œ œ w ˙ - - - n œ. - œ. - ˙ - - - n œ. - œ. -285
CHAPTER 24.> BINARY
> w AND˙ TERNARY FORMS ˙
>
#### - - - - - -
Agitato
- -
& œ œ œ œnœ #œ œ œ œ œ œnœ # œ œ œ œœ œœ œœ œ
œ ‹œ #œ œœ œ ‹œ #œ œ œ œ œ œ œ
F 3 3 -3 -3 -
? #### Œ - - -3 -3
3 3 3
3 3 3
cresc.
#œ nœ œ œ #œ nœ œ
w w œ œ œ œ
w
####
& YT: sCtixpIWBto
Figure 24.7.4 Rachmaninov, Prelude in C-sharp minor, Op.3 No.2, B section
? ####
bars 14–42
>œ >œœ # >œœ # n >œœ >œ >œœ # >œœ # n >œœ

Tempo primo
#### œœœ œœ ‹ œœ # n œœ # >œœ œ œ # >œœ

‰ ‰ J ‰ # # œœ ‰ œœ œ ‹ œœ ‰ # n œœJ ‰ # # œœ
53
& J J
# # # # Ï pesante sÎ
& ####
& nœ œ nœ œ
˙˙ nœ œ ˙
˙˙˙ nœ œ
˙˙ > > > >
? #### > >
>œœ >œœ ‹ >œœ n # >œœ # >œœ >œœ >œœ ‹ >œœ n # >œœ # >œœ
? # # # # ‰ œœ œœ # ‹ œœ ‰ # # œœ œ
‰ # œœ ‰ œœ œ # ‹ œœ ‰ # œJ
# œ
‰ # œœ
J J J
Ï pesante sÎ
? ####
nœ œ nœ œ
˙˙ nœ œ ˙
˙˙ nœ œ
˙˙ > > ˙ > >
> >
##
& ## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
55
YT: sCtixpIWBto
#### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
Figure 24.7.5 Rachmaninov, Prelude in C-sharp minor, Op.3 No.2, Second A
section bars 45–61
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
24.7.1 Compound Ternary
A compound ternary is a ternary form in which one of the sections (the A
or the B) is itself a binary or ternary form. Examples can be found in the
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
minuet and trio as well as the da capo aria.
In the next section, we will examine the differences between rounded binary
and ternary.
24.8 Distinguishing between Rounded Binary and

Ternary
In homework and on the test, you will encounter pieces that are five or six
phrases long that could be rounded binary or ternary. While other authors
have their own means to differentiate rounded binary from ternary, this text
offers the following criteria to consider:
1. Proportion: consider the proportion of the contrasting section to the
other sections. If the contrasting section is too small to stand alone, the
form is more likely to be rounded binary.
2. Nature: consider the nature of the contrasting section.
(a) If the melody is built from motives from the first section, the form is
likely to be a rounded binary. Ternary form will have a contrasting
melody in the contrasting section.
(b) If the harmony consists mostly of a dominant pedal, or a V chord
alternating with a I or I 64 chord, the form is likely to be a rounded
binary.
3. Era: consider the era when the piece was written. A piece by a Baroque
composer (J.S. Bach, Handel, Scarlatti, Couperin) or Classical composer
(Haydn, Mozart, and Beethoven) is more likely to be in rounded binary
form, whereas a piece by a Romantic era composer (Schubert, Schumann,
Chopin, Mendelssohn, and Brahms, among others) is more likely to be
in ternary form. Note that these are generalities. Baroque and Classical
composers wrote compositions in ternary form and Romantic composers
wrote pieces in rounded binary form.
Consider the following piece by Beethoven:
.
œ œ œ ˙ ˙ bœ
Vivace moderato.
˙ # œ.
122
œ
& 433 ‰ œ œ œ œ œ œ œ œ œ ˙Œ ˙ b œ n ˙˙ .. #œ
122 Moderato
&4 ‰ œ œ œ œ œ œ Œ n ˙˙ ..
pœ . p
œœ œœ. œœ. œœ. œ. œ. .
n œœ. œœ.
?3 . œœ. . . .œ b œœ. œœ. œ. œœ.
? 43 œ. œœ œ. œœ œœ bœ œ n œœ
4 œ. œ. œ. œ.
. .
œ œ˙ b œ. # œ.. œ.
œ œ œ œ œœ œ œ œ˙˙ b œ n # œœœ œœ ..
&‰ œ œ œ œ œ œ ˙
Œ Œ
&‰ œ œ œ œ œ n œœ œœ Œ Œ ..
? œœ.
.
œœ. œœ. œœ. b œœ.. n œœ.. œ.
œœ. œœ. œœ. œ b œœ n œœ œ. Œ Œ ..
? œ. œœ œ. œ Œ Œ ..
œ. œ. œ
U.
œ œ. œ œ œ.. œ œ. œ œ Uœ.
# œ . # œ .
& .. ‰ œœ œ # œ œ ‰ œ œ œ œ
œ ‰ œœ œ # œ œ ‰ œœ œ œ œ
& .. ‰ ‰ ‰ ‰poco rit.
F
F . . œœ. œœ. . . œœ #U
œ. # œœœ. œœœ. œ. œ. # œœœ. œœœ. œ
poco rit.
? .. œœ. œœ. œ. œœ #Uœœœ
? .. œ. # œ œ œ. œ. # œ œ œ.
œ
œ.. œœ.. œ.. œœ.. b œœ.. n œœ.. .
??
œœ. 24.
œ
œ BINARY
œ œœAND
œ
œTERNARY œ bœ nœ
œ œFORMS œœœ. ŒŒ ŒŒ 287
..
.
. .. œ
CHAPTER
U
œ œ..
œ œ œœ..
œ
.
œ
.
œ œœ œ Uœœ..
. ‰ œ œ ## œœ ‰ œ œ œœ ‰ œ œ ## œœ œ œ
&& .‰ . œ ‰ œ ‰ œ ‰‰ œ
FF poco rit.
U
. œœ.. œ.. œœ.. . # œœ.. œœ..
poco rit.
. # œ
.
œ .
? .. œ. # œ œ œ. œ œ œ. # œ œ œ . œœœ U
œ
## œœ
? .œ œ œ œœ.
.
œ œœ ˙˙ ˙ bb œœ ˙ ## œœ.
& ‰‰ œ œœ œ œœ œœ œœ œœ œ œœ ŒŒ ˙ nn ˙˙˙ ..
.
& œ
pp aœa tempo
œœ.. œœ.. œœ.. œœ.. b œœ.. œœ.. n œœ.. œœ..
tempo
? . bœ œ .
?œ œ œ œ œ œœ. œœ. n œ œ
œ.. œœ..
. .
œ˙ b œ # œ.
123
œ
‰ œ œ œ œ œ œ œ ˙ n œœ
œ
œœ Œ Œ ..
& œ œ
p
œœ. œœ. œœ. œœ. . .
? b œœ n œœ œ.
œ. œ. œ œ Œ Œ ..
& YT: hpQBbomOMj0
Figure 24.8.1 Beethoven, Eleven Bagatelles, Op. 119, No. 9
? In terms of proportion, bars 9–12 contain contrasting material to bars 1–8.

Because the contrasting material lasts for half as long as the open section, we
consider the proportion as pointing toward rounded binary.
In terms of the nature of the contrasting section, the melody is built from
the contour of the first four notes of the first measure, and the harmony al-
ternates between V and I 64 . Both the harmony and melody point us in the
&
direction of rounded binary.
Finally, consider the era in which Beethoven lived. Is he considered a Classi-
cal or Romantic composer? This is a difficult question to answer, as Beethoven
is a unique figure who is a bridge between the Classical and Romantic eras.
?
However, it’s generally safe to consider Beethoven as belonging to the Classical
era, and therefore as likely to write a rounded binary form.
You will encounter examples on homework and the test where these three
criteria are not unanimous and you will have to weigh the evidence to come to
a conclusion.
&
?
24.8.1 Written-Out Repeats

Occasionally you will encounter an example where the repeats are written out.
When you encounter such a piece, put the repeats in your diagram even though
there are not in the score.
Day One
1. For Handel’s Gavotte, HWV 491, please fill in the blanks below the
staves and diagram the form. Also, name the form. You will need
to determine which notes are non-chord tones in order to determine
44 œ œ œ œœ œœ œœ ˙˙˙ .. œœ œ œ œ œ œ œ
Allegretto
134
## Allegretto
RomanAllegretto
numerals.
œ œ œ œ œ œ œ œ œ ˙.
& 44 œœ œ œ œœ œ œ œœ œ
œ œ œ ˙˙... œœ œ œ œ œ œ œœ œœ œœ ˙˙˙ ...
134
&#
Allegretto
44 Fœ œ œ
134
134
œœ œœ
134
& F ˙.
? œœ œ
? ## 44 FŒ
œœ œœ
œœ œ œ œœ œ œ œ œœ œ Œ
?# 44 ŒŒ
4
œ œ œœ œœ œœ œœœ œ œœ œœ œœ œ œœ œœ ŒŒ
œ œ ___ ___ œ
___ ___
˙˙ .. œœ œœ
___
___ ___
## œœ œœ œ œ œœ œ œ ˙ .
___
œœ œœ œ œœ œœ ˙˙ . ..
&
&# œ œ œ œ œœ œœ œ œœ œœ ˙˙˙ ... ..
& œ œ œœ œ œ ˙ .. ˙˙ .. .
? œœ œ œœ œœ œ œœ
? ## œœ œœ
œœ œœ œœ # œ œœ œœ œ ...
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œ œ ___ ___ œ
___ ___
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___ ___
œ œœ # œ œœ œœ œœ œœ œ
___ ___
## .. œœ œœ œœ œ ˙˙ ..
&
&# .. œ œ œ œ œ
œœ œ œœ œ œœ œ ˙ . œ ## œœ #œ
œ # œ œ œ œœ œœ
œ ˙˙ .. œ
œœ œ
.f #œ ˙˙ ..
& f pp
œœ œœ œœ œœ œ œ
?
? ## .. fœœ œœ œ œ œœ œ œœ œœ pœ
.. œ
œ œœ œ œœ œœ œœ œœ œ œ œœ œ œœ
?# .œ œ œœ œ œœ
œ œœ
___ ___ œ œ
___ ___
___ ___
## œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ
___ ___
˙˙ ..
___ ___
œœ
&
&# œ œ œ œœœ œœœ œœ œœ œœ ˙.
œ
œ œœ œœœœ
œœ œ œ œœ œœ œœ œœ œœ
˙˙ .. œœ œ
& œ P ˙˙ . ppœ œœœ
? œœ P
Pœœ œœ œ œ œ
? ## œœ œœ œ œœ œœ
œœ
œ œ
œ
œ œ œœ œœ
œœ œœ pœ
?# œ œ
œ œ œ
œ œœ œœ œœ œœ
œ ___ œ
___ œ
___
___
___
___ ___
___
## œœ
& œœ œœ œ œ œœ œ œ œœ œ œœ œœ œœ œœ œ œœ œœ œ ˙˙ .. ..
&# ..
& œœ
œcresc. œ œœ œœœ œœ œœœ œ œ œ œ
œ œ œ œœ œœ œœœ œœ ˙˙.. .
& œœ œœ œ F
F œœ œ œ
˙˙ .
œœ˙ . œ
?
? ## œœ cresc. œ œœ œœ F ..
cresc.
œ œœ œ œœ œœ œ œ œœ œœ ...
?# œœ œœ œ
cresc.
œ œœ œ œœ œ
œ œ œœ œ œ
___ ___ œœ .
___ ___
___
___ ___
___
YT: IHEwWbK2fBw
& œ œ ____
RN in B¯: ____ ____
p ____ ____ ____
.œ ____
.œ .œ œ. . œ.
œ
œ TERNARY
œ œ œ b œ n œ œ. 289
HF: ____ ____ ____ ____ ____
? AND œ ..
œ. œ. œ Œ Œ
CHAPTER 24. BINARY FORMS
LSS: ____ ____ ____ ____ ____ ____ ____
œ œGeorge œ œ b œ Handel,
œFrideric
Motives:
Figure œ24.9.1 œ œ œ œGavotte,
b b œ œ œœœœ ˙
J Jdiagram based on ˙your
œ
HWV 491
& ForJ the piece
Menuetto
J above,
diagram:
A
complete the following
analysis.
œ œ œ and
œ œ œcadences œ œthe
b œ :/œ: œ using œ abbreviations
œ œ œ œ œ PAC,
Include section labels using uppercase letters, phrase labels
?
/: b œ œ œ œ œletters, œ œ œ
NCTs:
b diagram:
œ DC, PC. œ œ ˙ :/
using a
lowercase
IAC,
Trio HC,
A
RN: ____ ____ ____ ____ ____ ____ ____
/: :/: :/
HF: ____
a ____ ____ ____ ____ ____ ____
Circle all of the terms that apply to the name of the form:
TWO-REPRISE SECTIONAL CONTINUOUS ROUNDED BALANCED BINARY TERNARY
2. For the theme from first movement of Mozart’s Piano Sonata in A 137
137
major, K. 331, please fill in the blanks below the staves and diagram 137
## # ## 6 œAlso,
. œ œ œname
œ the jj œ œ œ œ jj œ . œ œ œ œ
137
6868 œ . œ œ
. œ form. œœ œ œœ œJœ œœ . œœ œœ œœ œJœ œœ œœj œœ œœ œœ œ œœ œœj œ . œ œ œœ œJœ
& #### ## œœ
the form.
&
& 868p œœ .. œ œœ œ JJœ œœ .. œ œœj œ JJœ œœ œœj œœ JœJ JœJ œœ œœ œœj œœ . œœ œœ œ JJœ
& # pp œ jj Jj Jj j JœJj œ JœJ œ œœ . j Jj
œœ œœœjj œœœ œœjj œœ j
œœ œœœœjj œœœ œœjj œœ œœjj œœ œœjj œœ œœ œ œœjj œœ œœjj
?
? ## # ## 668p œœ .. œœ œ œœœ
œJœj œœ .. œJœj œœ œœj œœ œœJj œœ œœ œœ .. œœ .. œœ œœj œœœ œJœj
# 8686 œœ .. JJœœ œœ .. œœ œ œœ JJœ JJœ œœ œJœ œ .. œ œ œ JJœœ
? ##### #
? œ J œ J
œœ
JœJ JJ œ JœJ
JœJ
œœ .. J
8 ___ ___
___ ___
___ ___
jj œœ ..
___ ___
## # ##
œœ .. œœ œœ œœ œœ œœjj œœ
j
œœœjj œœœ
j
œœjjœ œœ ‰‰ .. .. œœ .. œœœ œœ œœ œœ œ œœ
œœ ..
œœ œœ œœ œœ œœ..
& #### ## JœJ œœ .. .. œœ .. œ œœ œœ JœJ œœ œœ œ œœ œœ œœ..
& œœ .. œœ œ œœ œœ œœj œœ œœ œ œœœj œœ ‰‰ JœJ
œ
œ
&
& # œj JœJj j SSœœ ppœœ œœœœ œœ . .
œœ
œœ j œœjj œœjj œœ œ œœ œ
œœ œœjj œœœ
œ
œ œœ SS pp œ œœ
.. œœœ œœ œœ œœ œœœ œœ œœœ œœ œœ œœ œœ
?
? ## # ## œœ ..
œœ œ œœ JœJœj œœ œœj œ
œJJœ œœ œœ œœ j ‰ .. œœ œ
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œœ œ œ œœ œœ œœ
? ##### #
? # œœ .. œ JœJ œœ
JJ JœJ œœ œœjj œœœ ‰‰‰ .. .. œ œ
JœJ œœj ___
___ œ . .
___ ___
___ ___
## # ## œœ jj
___ ___
œœ.. œœœ
œœ œœ œœ... œœ œœ œœ œœ .. œœ œœ œœ œœ œœ .. œœ œœ œœ œœ
&
& #### ## œ œœ œœ œœ œœ
œœ œœ œœœjj œ. œœ œ œœ JJœ œœ œ œœ JœJ
& œ œœ.. œ œœ. œœ. JJœ JœJj œœ .. JœJj
& # SS SS SS . œ JœJ ppœ . œj
j j
œj
j
Sœ ## œœ.. œœ .. ppœœ œ
œœ œœjj œœœ œœœjj œœ œ œœ œœjj
? ## # ## SSœœœ ‰‰ Sœœœ ‰‰
SSœœœ ## œœJ œœ ... œœ .. JJœ œœ .. œœ œœœjj œœ œJœj
? # œ œœ œœ œ œœ œ. œœ œ JJœ
? ##### # œ
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___ ___
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## # ## j j j j j œœ œœ
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œœ œœjj œœ œœjj œœ œœœjj œœœ œœjj œœ œœjj œœ œœ

œœ œœ œœ œœ œœ œ ‰‰ ..
& #### ## œœj œœj œœj œœ
&
& œœ œœjj œœ œœ œœj œœ .. œœ œœ œœ JœJœ œœ œœœ ‰‰ ..
& # œœ œœjj œœ SSœœ ppœœ
œ œœ œœ .. œ ffœœœ
œ JJœ
JœœJ
œœ
œœ œœ œœ œJœœJ œœ .
?
? ## # ## œœ œœj œ SSœ ppœ j ffœœ œœ œœ œœ œœ œœ œœ ‰‰ ..
# JJœ œœ œJœ œœ
œœjj œœœ ... œ
? ##### #
? œœ
JœJ JJœ œ œœ JœJœ œœ JœJ
JœJ œ
JJœ œ
JœJ ___ ‰‰ ..
J œœj œ . œ JœJ ___
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.
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& #### ##
&
& #
#
YT: vp_h649sZ9A
?
? #
### #
? ##### # 24.9.2 Mozart, Piano Sonata K. 331, I
?
Figure
For the piece above, complete the following diagram based on your
analysis. Include section labels using uppercase letters, phrase labels
using lowercase letters, and cadences using the abbreviations PAC,
IAC, HC, DC, PC.
œ œœ. œœ. œ
œœ. œJœœ.œ œJ œ œb œœ.œ n œœ. ˙ œ. ˙
&b J
?J œ ..
œ. œ œ. œ œ œ œ œ œ Œ Œ
? b24. œ œ œ
œ œ b œ FORMS
œ œ œ œ œ AND œTERNARY œ œ œ œ œ
b œ BINARY œ œ œ œ ˙290
NCTs:
CHAPTER
RN: ____ ____A ____ ____ ____ ____ ____

HF: ____ ____ ____ ____ ____ ____ ____
/: a :/: :/
A B
/TWO-REPRISE
:
a a'
SECTIONAL CONTINUOUS
:/:
bROUNDED BALANCED
c :/
BINARY d TERNARY
Day Two
131
-- œform. œœ œ œœ... œœthe

œ œ œœ... name œ œœœ œœform.
3. Menuetto
For this diagram:
Polonaise in F major by Mozart, please fill in the blanks below 131
-
3 . œ-andœœ œdiagram
œ œ œ œ . œthe œ œœ œœ œ #Also, œ œ œ. œ œ.. œ œ œ œ œ
131
131
bb 4433 œJœœ.. œœœ-- œœ œœœ œœœ œœœ œœ œœœ œJœœ.. œœœ-- œœ œœ œœ œœœ ## œœ œœœ œœ. œœ œœ œœ. œœ œœ œ œœ œœ œœ œœ... œœ œœ œœ.. œœ œ œœ œœ œ œœ
the
&
staves
Trio diagram:
& b œ D: PAC # œe: PAC œ œ œœ œ œ œœ œ œœ œ œ œœ œœ
œ PAC
&
&b 443 pJœJ.G: HC JœJ.
Jœ m. J
3 œ œ œœ œ œœ œ œ8 œœ œ
œ œ œ œœ œœ œœ m. 12 œœ œœ œœ œœ œœm. 16 œ œœ - œœm.-20œœœ
G: HC
p
?
4433 ppœœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœ œœ œœœ œœ œœœœœ œœ œœœ œœœ œœ-- œœ œœ-- œœ œœ-- œœœœœ
4 m.
?
? b
? bb
b 443 œ œ œ œ œ œ œ œ œ œœ-- œœ- œœ-
œœ-- œœ œ œ œ œ œ œœ-- œœ œœ œœ œœ # œ œœ œœ.. œœ œ œœ... œœ œ œœ... œœ.. œœ œ œ œ œ œœ

& bb œ́œ́
Jœ́J œœ-- œœ œœœ œœœ œœ œœ œœ œ́œ́
Jœ́J œœ-- œœ œœ œœ œœ ### œœœ œœ œœ.. œœ œœ œœ. œœ œœ œœ.
œ œœ.. œœ œœœ œœ œœ œœ œœ ...
& b œœœ œ œœœ ..
&
&b ffœ́JJ œœ œœ œœ œœ
œ́J
Jœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ.. œœ.. œœ.. œœ
.
?
? b ffœœœœ œœ
œœœ
œœ œœ œœœ œœ œœ œœ œœ œœ
œœœ
œœ œœ œœ œœ œœ œœ.. œœ.. œœ.. œœ
œœœ
œœ ...
? œœ œœ œœ œœ œ ..
? bbb œ œ œ œ œ œ œœ œœ œœ œœ œ .
. .
œ œ œ œ. œœ.. œœ œ œ œ œœ œ œ œ œ œ œ œ. . œœ . œœ œœ œœœ.. œœ.. œœ œ œ œ ˙˙˙ œœœ
& bb ... œœ ... œœ œœœ œœœ.. œœ.. œœ œœœ œœ œœœ œœ œœœ œœœ œœ œœ œœ œœ œœ œœ... œœ.. .
œœ .. œœ œœ œ. œœ.. œœ œœœ œœ œœœ ˙˙ JœœJ ‰‰
&
& b .. œ . œ œ œ œ œ œ œœ œ œœ. œ ˙ œJ ‰‰
&b . pp˙
œ œœ œœœ ˙˙œ nn œœ œœ œœ J œ bœ
LSS:?
? b ... pp˙˙œœ____ œJœœ ‰‰ ____ œœ œœ____ Œ ____ ŒŒ œœ
˙˙____
œœ
JœJ ‰‰ n œœ œœ œ
œœ____ œœ œ
œœ œœœ bbb œœœ œœ
? .. œ ˙ JœJ œ ŒŒ œ ‰‰ n œœ
œJ œœ œœœ
150
? bbb ‰‰ ŒŒ œœ œ
b
Motives:
œ . J
œœ œ œœœ œ œ œ Œ
œ ˙ J
œ œ œ ˙
& b c -œJ œ œJ J JJ J
-- œ œ œ œ # œ œ œœ.. œœ œ œœ... œœ œ œœ... œ.. œœ œ œ œ œ œ
œ œ œ œ œ œ
bb œ́Jœ́ œœ--- œœœ œœ œœ œœ œœœ œœ œ́Jœ́ œœ-- œ œœœ œœœœ œœœ œœ ## œœ œœ œœ.. œœœ œœœœœœ.œ œœ œœœœœœ. œœœœ.. œ œœ œœœœœœ œœ œœœ œœœ ..
b œ́Jœ́J œ œ œœ œ œ œœ œœ œœ́Jœ́J œœ œ œ œœ #œœ œœ œ.... œ
&
&
?& œ œ œ œ œœ œ œ œ
NCTs:
&b bb c ffJ œœ œœ œ œ œJ œ œ œ œ œ œœ œ œœ œ œœ... œœ.. œœ.. œœ œœ
? œœ œ œœ œ œœ œ œ œ œ œœœ
?
? bb ffœœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ.
œ œœ œœ.. œœ.. œœ œœœ ...
..
?b œ œ œ œ œ œ œ œ œœ œœ œœ œ
RN in bB¯: ____ ____ ____ ____ ____ ____
.
. ____ .
123
.
HF: ____ ____ ____ ____ ____
& bb œ œ œ b œ œ
& bb
LSS:& ‰ œ ____œ œYT:____ œ œ ____ ˙˙____ n # œœœ ____ œœ Œ Œ
œ 6J2OpIjODTU ..
1621
& ____ &____

? œ œ œœ
œ . œ Polonaise
? bb œ œœ. œ œ œ œ œ.œ œ. ˙ p. ˙
Motives:
?
? bb œ œ œ œ b œ œ inœ F major
& bForJ the piece
b œ .
œ œ.
Figure 24.9.3 Mozart,
?J above, œ complete
œ Jœ Jdiagram
theœfollowing b œ n œ œon your
œ œ œ letters,based Œ Œ
œ labels ..
. œ œ œ .
œ œ andœ cadences œ œ œ œ œ œ œ
? œ œ œ œ œletters,
bbbb œlowercase œ b œ œ using
œ theœ abbreviations œ œ œ PAC,
analysis.
NCTs: Include section labels using uppercase phrase
&
&b œ ˙
using
&
&
IAC, b HC, DC, PC.
?
?
?b
RN: ? bb ____
HF:
b ____ ____A
____
____
____
____
____
____
____
____
____
____
____
/: a :/: :/
A B
/TWO-REPRISE
:
a a'
SECTIONAL CONTINUOUS
:/:
bROUNDED BALANCED
c :/
BINARY d TERNARY
Menuetto diagram:
Trio diagram:
G: HC D: PAC e: PAC G: HC PAC

m. 4 m. 8 m. 12 m. 16 m. 20
4. For this Allegro in B-flat major (K. 3) by Mozart, please fill in the 127
127
127
œ
127
b Allegro
blanksAllegro
below the staves and diagram the form. Also, name the form.
242 œœJœJ œœœ œœ œœ œœœ jj jj œ
Allegro
& bbbbbb Allegro œ ‰ œ ‰ œ ‰ œ œ
œ œ œ œ œ œ œ œ œœJœJ œœœ
25
& 2
4 œœœ œ ‰‰‰ œœœjj œœœ... œœœ... œœœ... œœœ... œœœ ‰‰‰ œœœjj œœœ... œœœ... œœœ... œœœ... œœœ ‰‰‰ œ nœ œœœ
25
œ
& b 44 ppJ œ œ œœ œ
& 2 J œœœ œœœ nnn œœœ
25
JJ
25
œ .. .. œ .. ..
p œ œ œœ œ.. œ.. œ œœ œ.. œ.. œ
? bb 22 p‰ œœœ œœœ œœœ ‰‰ JJœJ
œ œœœ.. œœœ.. œœœ... œœœ... œœœ ‰‰ JJœJ
œ œœœ.. œœœ.. œœœ... œœœ... œœœ œ
œœJœJ
œ œ
?
? bbb 2
44 ‰ œ œ œ œ œ œ œ ‰
‰‰‰ œœœ œœœ
? b b 42 ‰‰ ‰‰ J ‰‰ J JJ
b 4 ___ ___
___ ___
___
___ ___
___
& bbbbbb
b
œ ‰ jj ‰ jj . . œœ œ j
œœœ œœœ œœœ nn œœ nn œœ ‰‰ œœjjj
esc.
œ (œ) n œ .
... œJJœJJ
8
œœœ œœœ ‰‰‰

œ #œ œ
œœœ œœœ ‰‰‰ œœœjj
œ # œ œ œ œ esc. ...
esc.
j
œœœjj œœœ ### œœœ œœœ œœœ œœœ (((œœœ))) nnn œœœ ...
8
& œj
œœœ ### œœœ œœœ œ œ nn œœ nn œœ ‰‰ œ
8 esc.
& b œj
8
& œ œ
œœj
œœ œ . .p œ
œ œ œ
œœœ œœœ ‰ œœœJ œ. œ
œœJœJ œœœ... pp œ
? b
? œœ ‰ œœJœJ œœœ œœœ ... .. ... p‰‰ ∑ œ
œœœ œœœ
? bbbbbbb
? œœ ‰‰
‰ JJ ‰‰‰ JJœJ JJ œ . ... .. ‰‰ ∑∑∑
V
___
150 LSS: ____ ____ ____ ____ V ___
____
___ ____
V ___
œœ œ œ œ œœ œ œ œ œ œ
___
V ___
œœ œœœ œj ˙ œ œ œœ ‰œ œœ œ œœ œ˙ œ
___ ___
bb
Motives:
&b bbbbbb cœœœ

&& œœ œJ œœœ ‰‰‰ œœJœJ Jœœœ œœœ œœœ JœœJ œœ J‰‰‰ œœjjj œœœ œœ œœœ œœ œœ ‰‰ œJJœJ œœ œœ œœœ œœœ
15
Jœœ œœ
15
& œ œ œœ œœ ‰
15
&b œ œ œœ ‰ JJ œœ œ œœ œœ ‰ J œ œ
15
œ œ œ œ œ œ œ œ œœ ŒŒœ œ œ œœœœ œ œœœœœ œ œ

œ
? bbb œœ
?? nœœœ œ œ œœœ œ ŒŒŒœ œ œ ∑∑∑œ œ œœœœ œ œœœ œ œœœœ œœœ
NCTs:
?
?b bbbbbb cœœ œ nnœœ œ Œ
n œ ∑ œ œ œœ œ Œ œœ Œ
___ ___ ___ ___
___ ___ ___ ___
___
___ ___
___ ___
___ ___
___
b j œ ‰ œjjj œ œ œœ. ____ œ

œj œ n œ œ œ œ ‰ œ (œ)
œ nn œœ œœ œœ œœesc. . ..
& bbbbb œœ ____
j
œ ‰‰ œjj œœ. œœ ‰‰‰ œœœJ ____ (œ) b œ
RN22
22 in B¯: ____ ____ ____ ____ ____ ____
œœ. œœ.
esc.
b œ ‰ œœ. œœ.____ œœj œœ nn œœ œœ œœ œœ ‰‰ œœJ œœœ____

nn œœ œœ œœ œœ ((œœ)) bbb œœœ ...
œj
œœœ ‰‰‰ ____ ...
esc.
HF:&
& b œ œœœ ‰ œœœj œœ... œœ... œœ... œœ... œœœj œœœ... œœœ... œœ... œœ... œœ
22
& ‰ JJœ œ nœ œ œ ‰ JJœ

22 esc.
œ œ œœ.. œœ.. œœ.. œœ.. œ œœ œœ... œœ... œœ.. œœ.. œœ J J

œœœ ‰ œœJœJ ____
? bbb ____ œ. œ. . . œœœ ____œJ œ. œ. .. œœ.. œœ œ œ œ œ. œ .
?
LSS:?
? bbb ‰ JJ œ œ œœ. œœ.
‰ œ ‰‰‰ JJœJ œ œ œœ____ œ ‰ œ ____ œ ____
‰‰‰ œœJœJ œœœ œœ œœ ‰‰‰ œœJœJ
œ ‰œ
œœœ ... ____ œœJœJ œœœ... ...
b
Motives:b ‰ ‰ J JJ JJ œ . .
œ œ œ b œ___ ___ ___ J
b œœ œœœœ œ œ œ œ œ œ ˙ ___ ___œ___
œ
V
___
V ___
& b bJ J ˙
___ ___ ___ ___
V
V ___
J J
___ ___ ___
b
& bbbbb
&
? b b œ œ œ œ œ œ œ œ œ œ œYT:
&
& b
œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ t5R0ORjKloE
NCTs:
? bbb
? œ ˙
?
? bb
bb b 24.9.4 Mozart, Allegro in B-flat major
Figure
RN: On ____ ____
scratch paper,____
create a____
diagram____
of the ____ ____ section
form. Include
bbb using uppercase letters, phrase labels using lowercase letters,
HF: ____ ____ ____ ____ ____ ____ ____
& b b
labels
b
& bbcadences
&
&
and using the abbreviations PAC, IAC, HC, DC, PC.
? b
?
? bbbbbb
?
b
Day Three
129
5. Please fill in the blanks below the staves and diagram the form of “Af-
ter the Ball” from Alexander Gretchaninoff’s Children’s Book, Op.98.
Also, name the form.
# œ
Tempo di Mazurka
& # 43 œ˙ .˙ # œ˙ .˙ œ
œ.#œ œ. J œ œ œ˙ .
˙ ˙
# œ˙ .
œ
œ. #œ œ. J ˙.
F ˙ ˙
˙ ˙ ˙ ˙
? ## 3 œ ˙ œ #˙ œ ˙ œ œ ˙ œ #˙ œ ˙
4 œ
__________ ________ __________ ___
# j j j œ œ œ. j j j
& # .. œ œ . œ œ . œ œ œ œ . œ ˙ œ œ. œ œ œ œ. œ ˙.
f . œ. œ. p œ.
? # # .. œ œ .œ œ. Œ œ œ. .œ œ. Œ œ œ. .
œ. œ Œ Œ œ˙
œ # ˙˙ ..
. . .
_________ _____ ______ ___
# œ
& # œ˙ .˙ ˙ œ ˙ œ
œ.#œ œ. J œ œ
˙
# œ˙ . œ˙ . # œ˙ . œ. #œ œ. J ˙. ..
rall.
F ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
? ## 3 œ œ #˙ œ ˙ œ œ œ #˙ œ ˙
4 œ
__________ ________ __________ ___
150
Motives:# #
LSS: ____ ____ ____ ____ ____ ____
j j j j j j
& b .. œ œœ. œ œœ . œ œœ œ œœ œœ . œœ œ˙ œ œ œœ œ . œ
œ
œ œ ˙ œ . œœ œ œœ œ . œ œ ˙ .
& b c fJ . œ. J . J œ. J J J p œ. ˙
? # # .. œ œ .
œ œ Œ œ. . œ. Œ
œ œ. .œ œ. Œ Œ œ˙ œ # ˙˙ ..
œ
. œœœ œ œ . œœœ œ œ œ
. œœœ œœœ
? b b c œ œ œ œ œ œ œ œ _________
œ œ_____œ œ œ œ œ ______ œ___
NCTs:
## ˙ œ œ œ˙____
RN& # œ˙____
.
˙
# œ˙____ # œ œ . Jœ œ____
œ . ____ .
˙
# œ˙ .
˙ # œ œ . Jœ ˙ .
œ .____ ..
in B¯:
.
HF: p ˙
____ ____
˙˙
____
˙˙
____
˙
____
˙˙
____
˙.
˙ ˙
rall.
? ## œ œ # œ œ œ œ # œ ˙. ..
LSS: ____ ____ ____ ____ ____ ____ ____
œ œ œ bœ œ
__________ ________ __________ ___
b œœ œœœœ
Motives:
œœ œœœœ ˙ œ
&&b # # J J J J ˙
œ œ œ œ œ œœœ œœœ
? bb # œ œ œ œ œ œ œ œ œ bœ œ œ œ œœœœ˙
YT: 3AeFVFC1zy0
? #
NCTs:
Figure 24.9.5 Gretchaninoff, Children’s Book, Op.98, No. 13, “After

the Ball”
# ____
HF: & #____
RN: On ____
scratch paper,____
____
create a____
____
diagram____
____
of the ____
____
form.
____
____ section
Include
____
labels using uppercase letters, phrase labels using lowercase letters,
?Circle
##
and cadences using the abbreviations PAC, IAC, HC, DC, PC.
all of the terms that apply to the name of the form:
6. For the theme from Brahms’s Variations on a Theme of Haydn Op.

56a (the theme is also known as “St. Anthony’s Chorale”), please fill
in the blanks below the staves and diagram the form. Also, name the
form.
& b b 42 œœ .. œœ œ œ œœ œ
œœ œ œœ œ œœ œ œœ œ
œœ . œœ œœ œ œ œœ œœœ .. œœ œ œ œœœ œ
138
138
œ. œ œœ œœ œ œœ œ œ œœ œ œ. œ œ
œ œœ œ œ œ. œ œœ œœ œ œœœ
p f > >
j
? b 2 œ œ œ œ. nœ œ Œ œ
œ
b 4 œ œ œ œ œ
œ #œ nœ œ. nœ œ œ œ œ œœ
œ œ œ
___ ___
œ
___ ___
> >
&b
b
œœ œ œœœ œœ .. œœ œœ œœ œœœœœj ‰ .. .. œ œ œ œ œ œ œ b œ˙ . œ œ œ œœ œœœ œœœ
œ œ œ œœ œœ
œ ˙˙ . œ b n ˙˙˙ . ˙ œœœ
p
? bb œ # œ œ n œ œ œ . . ˙ ˙ ˙ œœœ
œ #œ œ nœ œ œ œ œœ œ œœ . . ˙ ˙ ˙ œœœ
œ œ
___
___ ___
___ ___
___ ___
___
œœ .. œœœ œœ œœ >œ >œ >œ > œœ. œ œ œ

œœ .. œ œœ œœ œœ œ œ œœœ
&b
b œœ .. œœ œ œ œœ . œ œ œ œ
œœœ .. œ œœ œ œœ œœ œœ œ œ œ œ œ. œ œ œ
œ œœ œ. œ œ œ œ œ œ
π f
? b b œ œœ œœ œ œœ œœ œ œ n œœœ
‰ œJ œ
œ
œ œ œ œœ œ #œ œ nœ œ œ
œ œ œ œ œ #œ œ nœ œ œœ
œ
___
___ ___
___ ___
___
U
˙œ . œ œ œ ˙ œ œ œ œ. œ. œ. œ. ›
1. 2.
˙ œ œœ ˙œ . œ œ œ ˙ ›
1. 2.
b œœ. œ œ ˙ œ œ œœ. œ œ ˙ œ œ œœ œœ œœ œœ ˙˙ ›
&b .. ›
f π π
U
œ˙ . œ b œ œ œ. œ œ œ œ œ œ. œ bœ œ œ. œ œ œ œ œ œœ. œœ. œœ. œœ.
dim.
dim. smorz.
smorz.
? bb ˙ ˙ ˙ ˙˙ .. ›
›
___ (tonic
___ (tonic prolongation
prolongation follows
follows cadence)
cadence)
b π œ œ œ œ œ œœ œfœ œ ˙ œ œ œ œ
œ
œœ œœœ œœœ œ
&?b b b cœœ œJ œœ œœJ œœ n œœ J ‰Jœ J
Jœ œ œ #œ œ nœ œ ˙ œ
J œ œ œ œ œ œ #œ œ nœ œ œ œ
œ œœ œ œ œ
œ œ œ œ œ œ œ œ293 œœ
œ œ
? bb c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ___
NCTs:
CHAPTER 24. BINARY AND TERNARY
___ ___FORMS
U
b ˙œœ.____ ˙œ œ œ ˙ œ œ œ ˙œ œ œ œ. œ. œ. œ. ˙ ›
1. 2.
RN in bB¯: œ œœ œœ . œ œ œ ____
˙____ ˙ . œ œ ____
œœ. œ œ ____ œ œœ œœ œœ œœ ˙˙____ .. ›
›
&
HF:
f
____ ____ ____ ____ ____
π
____
π
œ . œ œ œ œ œ œ . œ b œ œ œ . œ œ œ œ œ œ. œ. œ. œ. ˙ . U
? b b œ˙ . œ b œ œ
dim. smorz.
˙ œ œ ˙ ____. ›
LSS: ____ ____ ____˙ ˙
____ ____œ œ ____ ›
œ œ œ bœ œ
b œœ œœœœ
Motives:
œ
œœ œœœœ ˙
___ (tonic prolongation follows cadence)
& b bJ J J J ˙
& b
??b b œ œ œ œ œ œ œ œ œ œ œYT: bœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ 3EbkqX94ng8
œ
NCTs:
bb œ ˙
Figure 24.9.6 Brahms, Variations on a Theme of Haydn, Op. 56a
RN: On____ ____
scratch paper,____
create a____
diagram____
of the ____ ____ section
form. Include
HF: ____ ____ ____ ____ ____ ____ ____
labels using uppercase letters, phrase labels using lowercase letters,
and cadences using the abbreviations PAC, IAC, HC, DC, PC.
Click here to download the third homework assignment for this chapter.
Click here to download the review sheet for material studied prior to this
chapter.
Chapter 25
Sonata and Rondo Forms 139
# 3 œ œ œ œ œ œ ˙.
m.1
œ
& 4 .. œ œ œ ˙ . ..
œ œœ œ œ
? # 43 .. œ œForm
25.1 Sonata œ œ œ ..
Sonata form,G:also I
knownV6as “first-movement
V7 I
form,”
I
is vi“[t]he most important
principle of musical form, or formal type, from the Classical
D: ii period
I64 Vwell
7 I into
the 20th century,” according to the Grove Music Online. The purpose of this
# . œ We will œfocus on sonata form as it existed during the height.
chapter is to serve as an introduction to formal, thematic, mm. 7-8 in aspects
mm. 9-10 and harmonic G major
& . ˙
of sonata form. œ ˙ .
of the Classical era. Further and more detailed study of sonata form occurs in
? # .. ..
higher-level music theory courses.
G: V5 6 V7 I6 V7
25.1.1 Diagram ofI Sonata
IV I
Form vi
4
I
Below is a generalized diagram of sonata form, which serves as our starting

point. Real-world examples will contain differences and elaborations.
EXPOSITION DEVELOPMENT RECAPITULATION
PT transition ST (CT) Fragmentation & Retransition PT transition ST (CT)

sequencing
In major: I modulating V V V modulations V pedal I tonicizations I I
In minor: i modulating III III III modulations V pedal i tonicizations i i
PT = Primary Theme
ST = SecondaryTheme
CT = ClosingTheme
It is fairly common for a piece in sonata form to have multiple secondary

themes (ST 1 , ST 2 ). In some sonatas, the development section features new
material. Some sonatas will not have a closing theme. As we work with real
world examples, you will see the ways in which composers realize sonata form.
While the diagram above designates three large sections (exposition, devel-
opment, recapitulation), repeat signs in sonatas from the classical era designate
the sonata as a two-reprise form—the exposition repeats, then the development
and recapitulation repeat as a single unit. Douglass Green, in his book Form
in Tonal Music, notes the sonata’s evolution from and synthesis of rounded
binary and balanced binary:
294
CHAPTER 25. SONATA AND RONDO FORMS 295
The typical sonata form, as it appeared in the 18th century, is

a combination of rounded and balanced binary. It begins the
return with a restatement of the opening of part one, as in the
rounded binary, and it closes with a restatement of the final
sections (second and closing themes) of part one transposed to
the tonic, as in the balanced binary.
25.1.2 Sonatina Form

While “sonatina” is sometimes understood to mean a short sonata or an easy
sonata for beginners, in terms of form, sonatina form is sonata form with-
out the development section. Sonatina form is sometimes encountered in the
second, slow movement of a larger work like a symphony, as well as in over-
tures. A familiar piece in sonatina form is the “Miniature Overture” from The
Nutcracker by Tchaikovsky.
YouTube: https://www.youtube.com/watch?v=JRXIDEpquCg
Figure 25.1.1 Tchaikovsky, The Nutcracker, “Miniature Overture” (1892)
Exposition Recapitulation
PT ST CT PT ST CT
0:00 0:49 1:28 1:40 2:30 3:09
25.1.3 Sonata Principle

Important to sonata form is sonata principle, which Charles Rosen discusses
in his book Sonata Forms.
The exposition of a sonata form presents the thematic material and
articulates the movement from tonic to dominant in various ways so
that it takes on the character of a polarization or opposition. The
essential character of this opposition may be defined as a large-
scale dissonance: the material played outside the tonic (i.e., in the
second group) is dissonant with respect to the center of stability, or
tonic. Sonata style did not invent this concept of dissonant section,
but it was the first style to make it the generating force of an entire
movement.1
Rosen continues:
The dominant is conceived as a dissonant tonality in the exposi-
tion....The polarization, in fact, leads to the concept of a dissonant
section, which raises the dissonant interval or chord to a higher
power: that is, a simple reintroduction of the tonic key will no
longer serve as a resolution, but the section outside the tonic needs
to be resolved as a whole.2
1 Sonata Forms, Revised Edition, 1988, p. 229
2 Sonata Forms, Revised Edition, 1988, p. 244
25.1.4 The Monothematic Sonata

Haydn was especially fond of restating the Primary Theme in the dominant
where the Secondary Theme would normally occur. This reinforces the idea
that the tonal design of a sonata was as important as thematic design.
25.2 The Four Structural Functions in Music

In the “Structural Functions” chapter of A Practical Approach to the Study
of Form in Music, Peter Temko and Peter Spencer enumerate four structural
functions.
1. Expository function
2. Transitional function
3. Developmental function
4. Terminative function
25.2.1 Expository Function

Music expressing expository function maintains a stable tonal center and
clear melodies, usually with well-defined phrases. The vast majority of the
music we encountered in binary and ternary form in the last chapter was ex-
pository in nature. Additionally, the primary and secondary themes in a sonata
form are usually have expository function. Below is the secondary theme from 47
47
47
the first movement of Mozart’s Piano Sonata, K. 333.
aa
a ŸŸ
bbbbb cc œ . j
œœjj œœœ œœœ œœ jj œœ jj œ b œŸ. œ
632
œœ ...
632
&
& œœ œœ œœ œ œ JœJ œœ œœj JœJ œœ œœj œœ bb œœ .. œœ œœ œœ œœ œœœ œœœ
& b c œœœ ... œœ œœ
632
œ œ œ œœ.. œœ.. œœ. œœ . œ J œ œ J œ œ œ œ œ

. œ. œ.. œ œ.
? œœ .. œ œ œ œœ œœ
? bbbbb ccc ˙œœ˙ ..
? ÓÓ ŒŒ ˙˙ œœ nn œœ œœœ œœ œœœ œœ œ œ ŒŒ
b ˙˙˙
Ó Œ ˙˙˙ œ nœ œ Œ
˙ ˙ IAC
IAC in B¯¯
in B
IAC in B¯
bb
bbbbb
b
j j jj
œœjj œœ ŒŒ
636
& œœ ... j
œœjj œœœj œœœ
636
&
&b
j
nn œœ œœ œœ œ œœ œœ j
œœjj œœ .. œœ œœ œœ œ œœ œœ œœjj œœ œœ nn œœ œœœ ### œœœ œœœ œœœnnn œœœ œœœ Œ
636
## œœjj
œ n œ œ œ œœ œ œ œ œ. œ œ œ œœ œ œ œ œ œ
#œ
œ œ œ nœ
? œœ œœœ œœ œœ œœ œœ œ œœ
? bbbbb
? ‰‰ œ Œ
‰ œœ œœ œœœ œœ ŒŒ
‰‰ œ Œ
‰ œ œœ œœœ œœ ŒŒ œœ œœ œœ œ
œ œ œ œœ œœœ
ŒŒ
Œ œ œ œ œ œ œœ œ
b
œœ œœ œ
HC
HC in B¯¯
in B
HC in B¯
aa
œ. œœ œœ œœ œ.. œ. . œ œ. œœ œœœ œœœ œœ œ œ œ
œ œœ œœ œœ œœ œœ œœ œœ œœœ nnn œœœ bbb œœœ œœ œœ œœœ œœœ
a
œ œ œ œœ. œ.. œœ.. œœ œœ œœ ..
bbbbb œœœ .... JœJ
640
& œ œ œ œ œ œ œ œ œ
640
& b œœ .. J
640
&
œœ ˙˙ œœ
?
? bb œ Ó Œ ˙˙ œ œœ œœ œœ ŒŒ
Œ ˙˙
?
? bb b œœ Ó
Ó Œ & nn œœœ œœ œœ œœ œœ œœ œ Œ
?
?
b œ &
& nœ œ œœ œ
IAC
IAC in B¯¯
in B
IAC in B¯
b'
b'
œ œœ œœ œœ œ œœ œ
b'
bb œœœ ... œœœ nnn œœœ œœ œ œ œ œœ œ bbb œœœ œœ œœ œœœ œœ œœ œœœœ œ œœ œ œ œœ œœ œœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œ œ ŸŸŸ œ
b œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œœ .. œ œœ œœ ŒŒ
644
& bb œ œ œ.œœ œ
644
&
&b Œ
644
œœ œœ... œœ.. œœ œ œœœ œ

? b œœ
œ œ œ. . œœœ œœœ
œœ..
œœ œœ œœ œ œœ
œ œ œ œ œ œœ œ
œœ
œ œœ œœ œœ nnn œœœ œœ œœ œœ œœœ œœ
? ‰
? bbb bb ‰‰ œ œ œ œœ œ
œ œ
œ
PAC
PAC in B¯¯
in B
PAC in B¯
˙ œ
? bb œ œ Ó Œ ˙ œœ œœ œ Œ ?
& n œœ œ œœ œ
IAC in B¯
b'
œ
b œ . œ n œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ÿœ œ œ
&b . œ Œ
644
œ œ. œ. œ œ
? bb ‰ œ œ.
œ
œ
œ œ œnœ œ œ œ œ
œ
PAC in B¯
YT: PmO3Wlono6w
B¯:25.2.1
Figure ____ ____
Mozart, Piano Sonata, K. 333, I, Secondary Theme
Notice the perfect authentic cadence that closes off
____this four-phrase par-
____
allel double period within the larger sonata form. Cadences are important
demarcations within a form. ____ ____
25.2.2 Transitional Function

____ ____
Music of transitional function moves from one tonal center to another and
often features a contrasting accompanimental texture more rhythmically active
than preceding expository material. Tonicizations may also occur within a
transition. Transitions are sometimes called bridges. Mozart and Haydn often
ended their sonata form transitions with a half cadence followed by a rest to
signal that the secondary theme was about to commence. Again, notice the
importance of cadences to demarcate the form.
Allegro con brio 141
œ.. œœ œ.. œ.. œœ.. œ . œ

œ.. œ.. . .œ .
j
œ.. œ.. œ .. œœ œ.
Primary Theme
C œ . œœ œ.. œ.. œœ.. œœ.. Œ ŒŒ œ . œœ œœ. œœ . œ œœ. œœ .. œœ œœ..

Primary Theme œjj
Primary Theme
& œœ œ œ œ œ œ œ. œ œ œ œ.
& C œ. œ œ œ Œ œ.
p œœ.. Z œ. œœ.. œœ.. œœ.. œœ.. œœ..
? C pŒ œœ Z œœ. œœ œœ œœ œœ œœœ
?C Œ Œ Ó œ Œ Ó œ œ œ œ Œ Ó & œœ ŒŒ œœ ŒŒ œ.œœ ŒŒ œœ ŒŒ
Œ Ó Œ Ó Œ Ó & œ. œœ..
&
œ.. œ..
. . . œjj œ . . .
.
& œœ.
œœ.. œœ.. œœ.. œ ŒŒ ŒŒ œ . œœ œœ. œœ. œœ. œœj œ œœ. œœ. œœ. œœ œœ œœ œ œ.. œ.. œ.. œ..
& œ œ. œ œ œ œ œ
Z
Z
& œ œ œ œ œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ33 œ œ œ33œ œ œ33œ œ33 œ œ33 œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
& œœ œœ œ œ œ
œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ
33
œ.. œ.. œ.. œ.. (Primary Theme repeats with triplet accompaniment)
(Primary Theme
Theme repeats
repeats with
with triplet
triplet accompaniment)
accompaniment)
(PAC) (Primary
.. . œ .. œœ œ.. œœ .. œ œ.. œœ .. œœ
ŒŒ ŒŒ œ . œœ œœ. œ.. œ..
(PAC)
œ .. œœ œ.. œœ.. œœ.. œœ..
(PAC)
œ œ œ œ œ ˙˙ ..
&
& œ œ. œ œ œ œ
F
F
& ŒŒ ÓÓ b ˙
œ œ œ œ œœ œœ œ œ œ œ œœ œœ ˙ b˙
3 3 3 3 3 3 3 3 3 3 3 3
& œœ. œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œ œ œœ œ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œœ œ œ œœ œ œ w˙w

33 33 33 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3
. œœ œœ (PAC)
.. œ .. œ. œ .. œ . transition
(PAC)
.œ. œ . œœ . œ .
(PAC)
œ œ . n œ. œ .. œœ œœ.. œœ .. œœ œ œ œœ œ. œ œœ œ.. œ . œ transition

œ. œ. œ. œ œ œ œ œ œ. œ. œ. œ œ œ œ œ
& œ œ œ. œ. œ. œ œ œ œ œ œ œ. œ. œ œ œ œ œ
transition
& nœ œ
pp 3 3 3 5553 5
b ˙
5
& ˙˙ ˙ œœ œ œ œœ œ œ œœ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ
53
˙˙ ˙w ˙˙
3 3 3
ww ˙˙w b ˙ œ
3 3 3 3 3 3 3 3
&
3 3 3 3 3 3 3 3
w w œ œ œ œœ œ œ œ œœ
(tonic prolongation after cadence) (rhythmic motion resumes and is unceasing)
œœ.. œœ.. œœ.. œ œœ œ œ œœ

(tonic
(tonic prolongation
prolongation after
after cadence) (rhythmic
(rhythmic motion
motion resumes
resumes and
and is
is unceasing)
œœ.. œœ.. œœ.. œœ.. # œ œœ œ œ œ

cadence) unceasing)
œ.. œ.. œœ œœ œœ œ œœ #œ œ œ œ œ œœ
&
& œ œ œ
œ
5 5
? #œ œ œ
5 5 cresc. 5
55 5 cresc. 5
? #œ œ
3 3 3 3 3 3 3 3 cresc.
3 3 3
33 33 33 33 3
3 3
3 3
3 3 3
3 3
3 3
3
3
. œ œ . œ œ . œ œ. œ. œ œ œ. œ. ˙ . Fœ .
& œ Œ Œ œœ . œ
&
F
F
& Œ Ó 3œ 3œ 3œ 3œ ˙ b ˙
b ˙
3 3 3 3 3 3 3 3 3 3 3 3
& Œ Ó 3œ
œœ œœ œ œœ œœ œ œœAND
3œ 3œ 3œ
œ œ œ œ œ œ œ œœ œ œœ œœ œ œœ œ w˙ b ˙ 298
& œœ.. Œ Ó 25. œœSONATA œœ œ œœ œœRONDOœœ œœ œœ œœ œœ œœFORMS
3 3 3 3 3 3 3 3 3 3 3 3
œœ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ w˙
3 3 3 3
œ. œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ(PAC) w
CHAPTER
œ œ œ œ
œ.
œœ.. œœ .. œœ n œ. œ . œ œ. œ . œ œœ.. œœ .. œ œœ.. œœ .. œ œ. œœ .. œ transition
(PAC)
. . . œ œ œ œ œ.. . . œ œ œ œ
(PAC)
transition
&
& œ. œ . œ nn œœ.. œœ .. œœ œœ.. œœ .. œœ œ. œœ œ. œ . œœ œœ.. œ . œœ œœ.. œœ.. œœ.. œœ œœ œœ œœ œœ œœ. œœ.. œœ.. œœ œœ œœ œœ œœ
transition
& pp 3 3 3 553 5
˙˙ b ˙ ˙ p
5
& ˙ ˙ œœ œ œ œœ œ œ œœ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ3 œœ
3 3 3 3
˙˙w bb ˙˙ ˙
5 5
& w ˙ w ˙ œ
3 3 3 3 3 3 3 3
& ˙ww ˙ w˙w ˙w ˙ œœ œ œ œœ œ œ œœ œ œ œ œœ œ œœ œ œ œœ œ œ œœ œ œ œ œœ œ

3 3 3 3 3 3 3
(tonic prolongation after cadence) w (rhythmic motionœresumes and is unceasing) œ
## œœ œœ œœ œ œœ œœ.. œœ.. œœ..

(rhythmic motion resumes and is unceasing) œ
œœ œ œœ œ œœ
(tonic prolongation after cadence) (rhythmic motion resumes and is unceasing)
.œ. . . œ œ œ œ œ. œ. œ.
(tonic prolongation after cadence)
& œ œ œ
œœ. œ. œ. œ œœ œ œ œ œœ. œœ. œœ. # œ œ œ œœ œ œ. œ. œ. . . . œ œ œ œœ œ
& . œ. œ 5œ œ œ
œ
& 5 5
œ
? # œ œœ œœ
5 cresc. 5
5 cresc.
œ3 œ3 œœ3 œ œ bb œœ3 ## œœ œ œ3 œ œ œ3 œ œ œ3 œ ? # œ 3œ œ œ œ # œ
3 3 3 3 3 3 3 53 3 3 3 5
œ3 œ3 œ3
cresc.
?
œ3
5
&
& œœœ œœ œœ œœœ œœ œœ œœœ œœ œœ œœ œœ œœ œœœ œœ œœ œœœ œœ œœ œœœ(accidental
3 3 3 3 3 3 3 3 3 3 3
œ œ œœ b œleading # œ œto œœnewœ key œœ œœwill

œ œbe œœreaffirmed
œ
œ œ œ 3
repeatedly)
.œ. . . œ œ œ œ œ.. . . . .
3
œ œ œ . œ œ . œ
(accidental leading to new key will be reaffirmed repeatedly)
œœ. œœ.. œœ.. œ œœ œ œœ œ œœ. œœ.. œœ.. œœ œœœ œœ œœ.. œœ .. œœ œœœ.. œœœ .. œœ œœ.. œœ .. œœœ œœ... œœ œœœ œœ
(accidental leading to new key will be reaffirmed repeatedly)
& œ œ œ œœœ œ œ œ . œ œ. œ œ
&
& œ œ œ 5 œ
œ œ œ œ œ œ œ œ œ 3œ
5 3 3
? œ œ
œœ œ œœ œœ œ œœ œœ œ œœ# œ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ # œ œ œœ œ œ œœ œœ œ œœ œœ œ œœ œ
3 3
? œ œ œ # œ œ œ œ œ # œ œ
œ 3 œ 3 œ 3 œ 3 # œ 3œ œ 3œ œ 3 œ 3 & œ œ # œ œ œ œ œ œ œ œ œ3 œœ
œ œ # œ œ œ
5 3 3 3 33
? œ 3 œ 3 œ 3 # œ 3œ &
3 3 3 3
& œ œ#œ œ œœ œ œ œ œ œ œ
3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 œœ œœ œœ œœ
œ T œ. œ œ T œ. œ œ T œ. œ œ œ . œ œ TI œ . œ TI œ -
œ œ . # œ œ œ. œ œ . œ
‰. R
142
&
œ œ œ œ ‰≈ r œ
& œ œ œ œ œ œ œ œ œ œ œ#œ œ œœ œ œœ œ œœ œ œ œ œ #œ œ œ œ œ œ #œ .œ . œ
3 3 3 3 3 3 3 3 3 3 3 3
œ
#œ œ
œ-
œ-œ- ŒŒ ??œœ.. œ.œ. œ.œ. ŒŒ ÓÓ && ÓÓ œ. œ. œ. œ.
Œ Œ œ œ œ #œœ#œ œ Œ Œ œ œ œ#œœ# œ œ
Secondary Theme
& ‰ . œr# œ œœ œ œ œœ
33
33
J J
- œ œœ œ-œ-
5 5 5 5
& œ ? ‰ .œR # œ œ œ œ ŒŒ jj ŒŒ ÓÓ && œœœœ œœœœ œœœœ œœ œ# œ# œ œ œœ œ œ œœ œ œ œœ œ œ œ# œ#?œ

33 33 33 3 3 3 3 3 3 3 3 3 3
33
33
œœ.. œ.œ. œ.œ. œœ œœ œœ œ œœ œœ œœ œ
(half cadence followed by rest) D major, the dominant of C
(ST in G G major)
major)
&
#### œ
Closing Theme (tonic andYT:
dominant harmonies emphasized)
œ Hob.œ XVI:35,
œ I.
Lfq9P-zT_0I
c œ Joseph
& 25.2.2 Œ Haydn, œ . Sonata
Œ Piano œ ‹ œin C major,
œ œ œ œ. œ. œ.
Figure
p
? ## ## # #c cg œœ Œ œ œ œ œ œ œ œ œ œ. œ‰ jœ œ œœ # œ œ œ Œœ œ‰ œœ œ œœ œœ œœ œ œ‰ œœ.œ œœ.œœœ.
Primary Theme
140
& gg œœ œ œ œ œ œœœ œ œ œ .œ œ. œœ œ œ œ (œ)œ œ œ (œ) œ. (œ. ) œ. œ œ œ(œ)
& f œ p f p
. . œ.
ped. pt.
œ œ
? ## c œ Œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
˜ œ œ œ œ œ œ œ œ œ œ œ
J œ œ œ œ œ œ œ œ
g : i V
& œ . . .
œ. œ ‹œ œ œ œ
# ## ˙ . œœ œœ œœ
&6 #
# # œœ œœœ œœ ‰ œœ. œœ. œœ. œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ
œ
transition
& œ œ
# œ nœœ œ
& # # # #f
? œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œœœ œ˙ œ œœœ œn œœœ
œ p f
œ œ œ ped. pt. œ œ( œœ) œ œ œ œ (œœ)œ # œ œ œ œ (nœœ)œ f (œ) p
? ## œ œ œ œ Œ Ó œ œœœœœœœœ
& œ œi œ œ œ V
(cadence from V to I closes PT)
˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ
(increased rhythmic activity)
## # # # œ œ œ
10
œ
œ˙ . œ œ œ œ œœ ‰ J œ œ œ œ œœ œ œœ œ œœ œ œœ œ
‹œ ‹œ
& #
& œœ . œ œ# œœ œ œœ Œ ˙˙
œ œ
œœ œœ
œ
&
ggg œœœ œ œœ œœ œœ œ œœ œœ œœ œ.. œœ.. œ œœ œ ...
pœœ.. œœ.. œœ.. fœœ œœ œœ
&
fff . . œ œ œœ œ œœ œœœ œœ œœ œœœ p ff œ œ pppœ œ
? # # c œ Œ œœ œ œ œ œœ œ œ œ œœ... œ... œœœ.. ‰ œ œœ œ œœ œ œ œ œ œ œ pœ œ
? ## ## cc œœœ ŒŒ œ œœ œœ œœ œ œœ œœ œœ œ œœ ‰‰ œœJJ œ œœ œ œœ œœ œœ œœ œœ
? œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ
CHAPTER œœ 25. SONATA AND RONDO J FORMS œ œœ œœ œœ œœ œœ œœ œœ 299 œœ
# œ.. œ.. œ.. œ œœ œ œœ œ

œœœœ œœœ œœœ ‰‰ œœœ. œœœ. œœœ. œœ œœœ œœ œœ œœ œœ œœ œœœ œœœ## œœ œœœ œœœ œœ œœœ œœœnn œœ œ
œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ## œœ œœ œœœ œœ nnœœ œ œ
6 transition
& ## ###
6 transition
66 transition
œ
transition
œœ ‰ #œ nœ ˙ œœœ nn œœ
6
&
transition
& œ # œ œ œ nœ œœ œœ ˙˙
ff p ff œ f pœ n œ
f œ œ ppœ œ f œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ## œœ œœ œœœ œœ nnœœ œ œ ffœ œ œ œ ppœ œ œ œ
?# œœ œœ œœ œœ Œ Ó
? ## ###
?
œœœ œœœ œœœ œœœ œœœ ŒŒ ÓÓ œ # œ œ œ nœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
(cadence
(cadence from
from VV to
to II closes
closes PT)
PT)
(cadence from
(cadence from V V to
to I closes
closes PT)
PT)
(cadence from
(increased V to IIactivity)
rhythmic closes PT)
œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ
(increased rhythmic
10
# ‰ œœ
activity)
& ## ### . œœœ

10
10
10
œ. œ œ œ œ Œ œ œ œœ˙˙œ˙ .. œœ œœ œœ œœœ œœœ ‰‰ JœJJ œœ œœ œœ œœ œœ œœ œœ œœ

œœ .. œœ œœ## œœœ œœ œœœ ŒŒ ˙˙˙ œœœœ œœœ
10
&
& œ
œœ # œ œ ˙ p fff
?# œœ œœœœœœ fffœ œ œ œ ppœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ
œœœ œ
? ## ###
? œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œ œœœ
œœ œ œœ œœ
œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
14
##### œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ ### œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ
14
14
14
& œ œ œ œ œ œ œ œ
& #
14
&
œ nœ œœœ œœœ
nœ
œœœ
?# œ
œœœ œ
œœ nn œœ n œ œ
œ œœ œ œœœ bbb œœœ nnnn œœœœ œœœ
? ## ###
?
œœ œ
œ nn œœ œœ
œœ
œœ
œœ
œ
œ œ
œ
œ
œœœ bb œœ n œ œœœ œœœ & &
bœ &
œœœ . .
œœœJ.. nnn œœœ.. . . œ. œ. . . œœ œ œœœ
.
œœœJ.. œ. . . œ.
17
# œœœ.. œœœ.. . œœœ.. œœœ.. œœ œœ œœœ œœœ œœ œœœ œœœ œœœ œœ.. œœœ.. œœœ..
œœ.. œœ.. œœ..
17
& ## ### ‰ œœœ.. ‰

17
œœ
17
‰‰ JJ œœ ‰‰ JJ
17
&
&
#
& ## ### œ # œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œœ œ œ œ œ œ œ œ
&
& œ œœ ## œœ œœ œ œœ œœ œœ œœ œœœ œœ œœœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœœ œœ œœœ œœ œœ œœ œœœ œœ œœ œœ œ œœ ## œœ œœ œ œœ œœ œœ œœ œœœ œœ œœœ œœ œœ œœ œœ
œœ œ œ œœ œ œ œ œ œœ œ œ
I
legato
legato
œ œ œ mmIIœ œ œ . mmœ œ. œ.
legato
legato
. œ œœ œ œœœ ## œœ œœœTheme
legato Secondary
Secondary Theme Theme
# œ. . œ. œœœ.. œœ œœœ œœœ œœ œœœ œœœ œœ œœ œ œ œ œ Œ Secondary

Secondary Theme Theme
œœ œœ œœ œœ œœ Œ œœ # œ œœ œœ œœ mœœ œœ œœ .. mœœ ### œœœ œœ.. œœ..

Secondary
& ## ### œœœ.. œœ.. œœœœ

20
20
œœ.. œ œœ
20
20
& œ Œ
20
&
#
& ## ### œœ œœ œœ œœ œ œœ œœ œœ œœ œ œ ŒŒ ∑∑∑ # œ œ œ œ œ œ œœ œœ
&
& œœ œ œœ œ œœœ œ œœœ œ œœ œ œœœ œ œœœ œ œœ œ œœ œœœ œœœ Œ ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ (half
œ cadence
(half œ followed
cadence œ
followed
(half cadence followed
(ST is in V—A major)
(ST is in V—A major)
(ST is
(ST is in V—A
(ST is in
V—A major)
in V—A major)
major)
(half
by
(half cadence
by rest
rest followed
concludes
concludes
cadence transition)
transition)
followed
by rest
by rest concludes transition)
by rest concludes
concludes transition)
transition)
YT: 34stw2rF0t8
Figure 25.2.3 Mozart, Piano Sonata, K. 284, I.
25.2.3 Developmental Function

Music with developmental function often contains sequences and fragmen-
tation of earlier melodies. In addition, developmental music modulates through
multiple keys. Phrase lengths may be irregular and elisions may be used by
the composer to keep the listener off balance.
It can sometimes be difficult to distinguish between transitional and devel-
opmental music. A development section is typically longer than a transition
and therefore will contain more sections of a varying nature and as well as a
greater number of modulations.
Examples from a development section can be found in Section 11.1 of this

text. Note the fragmentation and sequencing of melodic ideas as well as the
different keys expressed in the examples throughout that section.
25.2.4 Terminative Function

Terminative function is typically expressed through a rather emphatic al-
ternation of tonic and dominant harmonies, usually to affirm a tonal center.
The closing theme of a sonata has terminative function.
œœ T œœœ.. œœœ œœ œTœ #œœ. œœ œ œ œ œ œ

œœ . œœ œœ œ œ #œœœ.. œ œœ œT I œ œ # œ œ œ -œ œ œ œ
..œ œœ‰ œœœT
I œ œ
142
T4
œ&T4 œ . ‰ œ œœ T T œœ .. ‰œœ œœœ T
T
T . œ
œœ . œ œœ
‰ œ . œ
‰ T
T œ T
œ œœ II œœ . œ œœ I œœœ ... œœ‰ ### œœœ-- ‰ .. œœ
I
T œœœ .. œœ œœœŒ... œœ
& ‰‰ . RœR œœ . œœœ œ
142
&
142 Vn. I
& œ œ Rœ
4 œ #œ œ # œ œ œ Œ œ # œ
&33 4 œ 33œœ 33 Œ 33œœ Œ œ3 3 Œ 3 œ 33 Œ33 œ 33 Œ33 œ
œ33 33 œ 33 œœ 3 œ 3 œœ 3 œ 3 œœ ‰ ≈ rœ
œ œ
œ
& ## œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ # œ œ œœ œ œ œœ œ ‰‰ ≈≈ œrr ## œœ .. œ œœœ ... œœ
3
Vn. II
& œ œ œ œ œ œ œ œ œ œ
3
& # œ œœ œœ œ œœ œœ œ œ œœ œ œ œœ œœ œœ # œ œœ œœ œ œ œœ œ œ œœ œ œœ œœ œœ œœ ## œœ œœ œœ œœ œœ œœ # œ . œœ œ
3 3 3 3 3
# œ œ 4 œœœœ œœ œ œœŒ œœ
Vla. # œB 4 œ Œ œ œ œŒ œ Œœ Œ œ
œ œ Œ
œ
œœ--- . .
œ ?‰4. rœ œ 333 333 œŒœ--- œŒ ? . . œœ œœ œ#œ œ œœœŒ.. œ œœœ.. Œ œ œ œœœ œ# œ Œœ
Secondary Theme
œ . œ. œœ
. Œ Ó Ó Œ
& ‰‰4..œrr## œœ œ œœ œœœ œœ œœœ Œ Œ œ Œ
ŒŒ œœ œ œœ##œœ œœ ŒŒ œœ œ œœœ## œœ œœ
Secondary
Secondary Theme
œ ŒŒ ? ? œ . œ. œ. Œ Ó & Ó
Theme
& œ . œJJ œ Œ Ó & & Ó
Vc.
&
C.B.
œœ # œ œœ œ œ -œ- V J I
-œ- ? G: I# œ œ œ œ œ œœ- Œ
5 5
‰ .œ œ œ œ
V I 5 V I
œœ- ? Œ Ó ?
5
& ? ‰‰ ..œRœ ## œœ œœ œœ œ œœ œ j & œœ œœ œœ œ # œ œ œ œ # œ

3 3 3 53 3 3 3 53
& Œ
Œ j Œ
Œ Ó
Ó œ œ œ œ œ œ œ œ œ œ œ œ ?
&∑ œœ œœ œ œœ œœ œ∑œœ œœ œ œ œœ ## ∑œœ œœ œœ œ œœ œœ∑œ œœ œœ œ œ œœ ∑## œœ
?
3 3 3 3 3 3
œœ .. œœ. j∑ œœ.
3 3
& & RR ∑ 3 33 ∑ &

3 3 3 3 3 3 3 3
3 3 œ . œ.
(half cadence .followed œ. œ œ œ œ œ
. by rest) (ST in D major, the dominant of G major) œ œ œ
3
(half cadence followed by rest) (ST in D major, the dominant of G major)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(half cadence followed
YT:byjVPDANe91d4
rest) (ST in D major, the dominant of G major)
&
Figure 25.2.4 Mozart, Symphony No. 41, K. 551, I., Closing Theme
## #B œ∑
## # Closing ∑ (tonic ∑ dominant
dominant∑ harmonies
harmonies∑emphasized) ∑ ∑ ∑
Closing Theme (tonic and dominant harmonies emphasized)
. œœ œœ œœ
Theme (tonic and
# # # c œ Œ Œ œ
Closing Theme
& œ
and emphasized)
# c œ ŒŒ ŒŒ œœ .. œ ‹‹ œœ
& #?# c pœ∑
& œœ œœ œœ
∑ ∑ ∑ œ ‹œ ∑ œœ.. ∑ œœ.. ∑ œœ.. ∑
pp . . .
? # # œ œ œ œ œ œ œ œ ## œœ œœ œœ œœ œœ œœ œœ œœ
? ## ## ## ## cc œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ (œ)# œ œœ œ (œ) œ œœ œ (œ) œ œœ œ (œ) œ œœ œ
? # # c œœ œ œœ œ œœ œ œœ œped. pt.((œœ)) œ ((œœ)) œ ((œœ)) œ (œœ) œ
& g˜:∑i ∑ ∑ ∑ ∑ped. pt. ∑ ∑ ∑ ∑ ∑
ped. pt. ( )
V
g˜ : i
g˜ : i V
∑œ.. ∑ œ.. ∑ œ..

V
& ∑ ∑ ∑ ∑ œ. ∑ ∑ ∑
## # ## # ˙ .. œœ .. œœ ‹‹ œœ œœ. œ œœ. œ œœ.
& # # # ## œ˙˙. œ ‹œ œœ œœ œœ
& #B
& œ
œœ
œ œ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? # ## # œ œ œ œ œ œ œ œ ## œœ œœ œœ œœ œœ œœ œœ œœ
? ## ###?
? # ## œ∑œ œœ œœœ œœ∑ œœ œœ œœœ ∑œœ œœ œœ œœœ∑ œœ œœ œœ ∑œœœped.œœ pt. ( œœ∑)# œ œœœ œ ∑(œœ) œ œœœ œ∑ (œœ) œ œœœ ∑œ (œœ) œ œœœ∑ œ
œ œ œ œ ped. pt. ( œ)
ped. pt.
( ) ( œ)
( ) ( œ)
( ) ( œ)
( )
i V
ii V
V
˙˙ ˙˙ ˙˙ ˙˙
## # ## # œ ˙ ‹œ ˙ œ ˙ ‹œ ˙
& #### œ œœ œ ‹œ œ œœ œ ‹œ
œ œ œ œ
& ##
& œœ œœ œœœ œœ œœ œœ œœœ œœ
‹œ ‹œ
œœ œœ œœ œœ
œ
cresc. œ
## œ œ œ œœ œ œœ ## œœ œ œœ œœ œ œœ œ œ œ œ œ œ ## œœ œ œœ œœ œ œœ œ œ œ œ œ œ
cresc.
?
? ## ### ## ###
cresc.
? œœ œœ œœ œœ œœped.
œ œœ œ (œ)# œ œœ œ( œ) œ œœ œ
pt.( œ
œœ œœ œœ œœ œœ œœ œœ œœ (œœ)# œ œœ œ( œœ) œ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ
œ œped. (œ
pt.( œ) ( œ) œ œped.
ped. pt. ( œ)
) ) pt. ( ) ( œ) œ œ
( )
ped. pt. ped. pt.
i V i V i
ii V
V ii V
V ii
## j œ . œ œ œ œ œ.
œ œ œ œj œ œœ œœ œj œ ‰ .. .. œ . œ œ œ œJ
& # œ. œ œ
œœ
J œ œ œœœ œœ
j j j
œ œ œ œœ AND œ œœ S p FORMS
œœ œ RONDO œ œœœœ œ œœ
œ œ œ 301
? ### œ . œ J œ œJ œ œ j œ ‰ .. .. œ
CHAPTER 25. SONATA
J œ
___ ___
# # œ œ . œ œ œ. YT: œ œ œœ œœj œ . œ œ œ œJ
œ aOzWTNaQRxQ œ. œ œ œ œ
& # œ J
Figure 25.2.5 Beethoven, Moonlight. Sonata, J pOp. 27, No.
S S S j j j j
2, III, Closing
œ œ œ # œ œ . œœ œ œœ œœ œœ œ œ œ œœ œœ
? ### œ œ ‰ œ . œ. œ
Theme (1802)
œ œ.
Go to the Practice ‰Exercises at theJ end of this chapter Jto J
practice identi-
fying these four structural functions aurally.
___ ___
j j j
## j
& # œ Form
25.3 Rondo
j
œ œ œœœ œœœ œœœ œœœ œœ œœœ œœ œœ œ œ œ œ œœ œ œ ‰ ..
. œ œ J
j J
œ œ œ S p f œ œ œ œ œ œ
A rondo is a?piece œ œ with
# # # œthatœbegins œ a refrain (anœ A section)
œ œ œ œ with ‰ ..
J j œ œ
that alternates
episodes (B and C). The 5-part J rondo, œ . œ
œ an exampleJ of which J
J we encountered
in an earlier chapter, has ABACA form or ABABA form. The 7-part
___ ___rondo
typically has ABACABA form, although other designs exist. A diagram for
7-part Classical form is shown below.
A transition B retransition A transition C retransition A transition B retransition A
Major: I V I i,vi, I I I
or IV
Minor: i III i I,VI, i i i

or iv
The refrain (the A section) is always in tonic. The first episode (the B
section) was typically in a closely related key—the dominant (V) if in major
or the mediant (III) if in minor. There was greater variety of keys used for
the second episode (the C section), including tonic minor in a major sonata or
the submediant (vi or VI). A retransition in this case is defined as a transition
returning to material previously heard.
Note that the B section being first stated in the dominant then later in
tonic is an example of sonata principle, a principle which occurred in many
Classical era pieces (see Charles Rosen’s Sonata Forms for more on sonata
principle).
An example of Classical seven-part rondo form is found below in the third
and final movement of Beethoven’s Pathétique Sonata, Op. 13.
. .
b b C . œ. œ. œ . œJ œ . œ ˙ œj œ n œ œ œ œj œ œ œ œ œ œ ˙ . œœ
Allegro
b
148
& œ J
p œ n œ œ œ œ œ œ œ œ œœ œ n œœ œ œœ œ n œ œ œ œ œ œ
? bb C ‰ Œ œ œ œ œ œ œ œ œ œ
b œœ
œ œ œ
bbb œœœœ nœ
& n ww œ œ YT: 05Xyc2FHHRI œ œ n œ œ œ ˙
œ œ Œ
w
Í Beethoven, Pathétique Sonata, œOp. œ13, IIIœ (1798), ˙ .. Refrain
? bb w
Figure 25.3.1
Œ Ó nœ œ œ ˙ Œ
b sequential œtransition follows, leading
œ
w œ
A brief to the mediant (E2 major).
bb œ œ œ œ œœœ œœœœœœœœ œœœœ. .

& b œ. ˙ œ œ œœ œœ
dolce
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
b
b ˙˙ .. ˙˙ ..
&bb œœ œœ œœ œœ œœ ˙ n ˙˙˙ ˙.
œ
œ . . . . .̇ .
p .̇
? b œœ. œœ. œœ. œœ. ˙˙ .. œ b ˙. ˙.
& œ J
p œ œ œ œ œ œ œœ œ n œœ œ œœ œ n œ œ œ œ œ œ
? bb C ‰ Œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ
b 25. SONATA AND RONDO FORMS
CHAPTER 302
œ œ œ
b bb œ œœœœ nœ œ œ nœ œ
& nw œ œ œ ˙ œ Œ
ww
Allegro.
Í œ œœ œ œ œ œ œ œ œ
. . ˙. œœ
b
? bb bb Cw œ . .
œ œ œ . œ . œ ˙ j
œ œ œ
nœ nœ œ œ
j
˙.
148
& J Œ JÓ œ
Œ
b œ œ
wp œœ n œ œ œ œ œ œ œœ n œœ œœ n œ œ œ œ œ
œ œ œ œ œ œ
? bb C ‰ Œ œ œ œ œ œ œ œ œ œ
b œœ œ œ . .
b b ˙ œ œ œ œ œœœ œ œœœœœœœ œœœœœ œ
& b œ. œ œ
œ œ œ
b bAllegro œ œ œœ œ œ n œœ œ œ13,n œ III,
œ. . ˙˙ .œ œ Œœ œ
œ œ œ œ œœ œœœ œœTransition
YT: 05Xyc2FHHRI
b . œ œ œ
dolce
148
&
? b œ
bbb Cnœwwœ. œ. œœ œœ .œ œJœœ . œ œœ ˙œ œœ œ n œœ œ œœ œœjOp.
j
œœ œœœœœ
&The w œ episode (the B section) J œ is in the mediant, Eb major,
Figure 25.3.2 Beethoven, Pathétique Sonata,
b b first
Ípminor. The primary purpose œ œ œ œ ˙ .
œ œthatœ theœ n œ œ œœ n œœœ œœ ˙œ.n œ œ œ œ œaŒœkey
œ œ œ œ œ
the relative
? bb w œ œ œŒkey.œ n œ Ó œ
? b b b Cthan œœ œ œ œœ
major of C of this first episode to establish
b w ‰ Œ œtuneful.
&particularly œ œ˙ . ˙ n ˙˙˙ ˙˙ .. œ
œ œ œ œ
different the starting Notice themes during this episode are
œ œ œ œ œ ˙ . œ .̇ . ˙ .
. . . .
not
p œ œ œ œ œ œ œ .̇œ œ œ b ˙. œ œ œ˙œ. . .
œ œ
bb b œ. .
œ œ. .
œ œ œœ œ˙ .
? b
& ˙ œ œ œ œœ œ œœ œ ˙œ. œ n œ œ œ n œ œœ œ œœ œœ
& b b œn.Œw œ œ œ ˙ œ Œ
wwdolce
Í œ œ œ œ œœ œ œœ ˙ .œ
? bb œ‰wŒœ œ œ œ œ œŒ œ Ó œ œ œ œ œ œn œ œ œ œŒ œœŒ ˙œ œ˙ . œ œ ˙œ œŒ œ?
& b ˙œ ˙ ˙ b œ œœ œ œ œ œ bœ
w ˙ œ ˙ œ
b p
? bbbb œ œ ˙œœ b ˙œœ œœ˙ œœ˙œ œ œ˙˙œ..œ˙œ œ œ œœœ bœœœn ˙œœ œœ œ n ˙˙˙œ œb ˙œ˙˙˙ œ... . ˙œ.
& b
& b bb œpœ. ˙ p. .œ . œ œ. YT: 05Xyc2FHHRI .̇ œ œ. ˙ œ ˙œœ œœ
dolceœœ. œœ. œœ. œœ. ˙˙ .. Sonata, .̇ b ˙.
? b b 25.3.3 Œ œ œ œ. œ œ œ œ . œ œ œ œ œ. œ œ œ . œ œ œ III, œ œ First˙ œ.EpisodeŒ
?The b œ ≈of œthe œœ first episode œ is≈œ clearly œ in ≈theœ form œ œ ofœ aœ parallelœ œ
Figure Beethoven, Pathétique Op. 13,
b b b final
œ≈ melody
œnœ
œ
œ
œ ≈ œ
œ
œ œ
œ œ œ & œ. ≈
œ
œœ
œnœ ˙œ œœ . ?
bb b ‰ Œ
period.
&
? b bb
b ˙ ‰
˙
˙ ‰ ˙ ˙ . b‰œ œ œ œ ‰˙œ Œn ˙ Œ ‰œ˙œ. œ ˙ œb‰œœ
&bb œ œ œ œ œ ˙ ˙˙n..œ œ œ
œ p œ.œ n œœ. œ. œœ. œ ˙ . œ œ œ .̇ œ œ ˙. .
? b b œ. œ œ ˙pœ. b ˙œ. œ. œ˙. œ˙. œ. ˙œ ˙ œ œ. b œ n œ.̇ œ bœ.˙. b ˙ ˙
? b b b pœŒ œ œ œ œ ˙ .. œ œ ˙ . ˙ ˙
b Œ
? b bb b ‰≈ Œ œ œ. ≈ œ œ. œ œ. ≈ œ œ œ. Œ≈ Œ ˙
≈ œ œ. œ ≈ œ œ˙œ œb. œ
?
& b b œnœ œ
˙ ˙ œ ˙ ˙ œ˙ b œ œ œ œ œ & œ œnœ œ œ
p
?
YT: 05Xyc2FHHRI
? bb bb b 25.3.4
œ œ ˙Beethoven,
‰ b ˙ ˙ ‰Pathétique
˙ œ ˙ ‰Sonata,
œ œ b œ n‰œ 13,
œ b‰œ
˙ n œ œ ˙
‰œ œ
b œ œœ œœ œ ˙ .˙
Figure Op. III, Conclusion of First
œ œ nœ œ œ œœ œ
p
Episode
. . . . .
A retransition follows and leads to a half cadence on a G major chord. The
? b b ≈ n œ œ œ. .
≈œ œœ œ
.
≈œœœœ
.
≈œ œ œ œ
refrain follows in C minor.
b œ & ≈ œ ≈
œœ
œnœ œ . œœ .
? bb 25.3.5 ‰Beethoven,‰ Pathétique‰ Sonata, ‰Op. 13, III, ‰œ ‰ œto
YT: 05Xyc2FHHRI
b nœœ œ
Second Refrain œ n œ
Figure
œœ œœ œœ .
Retransition
œ. œ. œ. œ. œ.
w œ
b . .
& bb b b ˙ œ
œ œ
œœ œ
œ œ œœ
œ œ œ œ˙˙ ..œ œ œ œœœ œ œ ˙.̇œ œ œ n œ˙˙. ˙œ œ œ˙˙˙ œ... œ œ œœ
& b œ. 25. SONATA . . . AND . RONDO FORMS œ œ303
p
CHAPTER
?The
bb b second œ œœ œœ.œ œœ. œœ. œ ˙˙ .. œ œ œ .̇
dolce . b œ˙. ˙ œ.
Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŒ œ
œ refrain.
bb œ episode is in Aœ2 major,œ the submediant
? second œ œminor. œ œ
episode (the C section) follows immediately after the
The b (VI) of C
b Œ Œ ˙ œ. œ ˙
& bb b bb ‰ Œ ˙ ˙ ˙ . b œ œ ˙˙ . œb œ
& ˙œ
œ œ
œ ˙ œœ ˙ .
œ
œ œ œ œ œ œ n ˙˙˙
˙ ˙ .
œ p. . . . .̇ .
p
˙
? b b œ œ œœ. b ˙œœ. œœ˙. œœ˙. ˙œ . ˙ œ b œ n œ.̇ œ b ˙. b ˙ ˙ .
? b b b œŒ ˙. œ œ ˙ ˙ ˙Œ
b p
b . . . .
& bb b bb ‰≈ Œœ n œ œ œ ˙ ≈ œ œ œ œ ˙ ≈ œ œ œbœœ ≈ œ œ œ œ & Œ≈ Œ ˙ œ œ ≈ œ ˙œ œb œ
?
˙ œ œ œ œ
p
˙ YT:˙05Xyc2FHHRI œnœ œ . œœ .
? b b 25.3.6 ˙‰Beethoven, ˙ ‰Pathétique
œ ˙ ‰Sonata, ‰œ œ
œ œ b ˙ ˙ œ b œ n‰œ œ on a˙ halfb‰œ
˙ cadence
n œ œ ˙ ˙on
Figure Op. 13, III, Second Episode
b œ œ nœ œ œ œ œ œ œ œ œœ .
major. pœ. œ. œ
A retransition follows the second episode, ending G
. . .
? b b ≈ n œ œ œ. .
≈œœœ œ
.
≈œœœœ
.
≈œ œœ œ ≈ ≈
b œ &
œœ œœ
œnœ . œœ .
? bb ‰ ‰ ‰ ‰ ‰œ n œ œ ‰œ œ
b œ nœ œ œœ œœ œœ .
œ. . œ. œ. œ.
YT: 05Xyc2FHHRI
Figure 25.3.7 Beethoven, Pathétique Sonata, Op. 13, III, Retransition to
Third Refrain
An abbreviated version of the refrain follows, leading directly to a restate-
ment of the second episode (the B section), this time in tonic major (C major).
YT: 05Xyc2FHHRI
Figure 25.3.8 Beethoven, Pathétique Sonata, Op. 13, III, Third Refrain and
Second Episode restated in tonic
Following the Second Episode is brief retransition that develops final mo-
tives of that episode through sequences.
YT: 05Xyc2FHHRI
Figure 25.3.9 Beethoven, Pathétique Sonata, Op. 13, III, Retransition to
Final Refrain
After one last statement of the refrain in C minor, the Coda begins imme-
diately after the cadence closing the refrain.
YT: 05Xyc2FHHRI
Figure 25.3.10 Beethoven, Pathétique Sonata, Op. 13, III, Final Refrain
. . .
149
œ œ nœ œ œ œ œ œ nœ œ œ œ œ œ nœ œ œ œ œ. œœ. n œœ.
bb œ Œ ‰ Œ ‰ Œ ‰ b # œœœ œœ n œœ
& b
p
3 3
S 3 3
S 3 3
ƒ
œ n œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .
œ œœ.
cresc.
? bb œ œ œ œ œ œ œœ œœœ œœ
b œ. n œœ.
b
&bb YT: 05Xyc2FHHRI
Figure 25.3.11 Beethoven, Pathétique Sonata, Op. 13, III, Coda
?Tob review a simple, five-part rondo form, see the section on the second
b b of Eine kleine nachtmusik in the chapter on Creating Contrast Be-
movement
tween Sections.
b b Sonata Rondo Form

& b
25.3.1
Sonata rondo form is a rondo in which the second episode (the C section) is
A.? b b b
replaced by a development section, resulting in a design of A-B-A-Dev.-A-B-
25.4 Rondo Character
&
Rondob b bcharacter is characterized by quick tempo in duple meter with light
character, typically achieved through the use of staccato articulation. This
cal?era,
duple meter could be either simple ( 24 ) or compound ( 68 ). During the Classi-
b b b or symphony, was often in rondo character. Not all pieces in rondo
the final movement of a multi-movement composition, e.g. a sonata,
quartet,
form are in rondo character.
Listen to the following six examples to develop familiarity with rondo char-
b
acter.
&bb 1.
? bb
b YT: kmiuh_OL2Zg
Figure 25.4.1 Joseph Bologne, Chevalier de Saint-Georges, Violin Con-
certo No. 9 in G major, Op. 8, III.
2.
YT: ysB5SeaJp6s
Figure 25.4.2 Haydn, Piano Sonata in D major, H. XVI:37, III.
3.
YT: QYUANirkakg
Figure 25.4.3 Haydn, Symphony No. 104 in D major, Hob. I:104, IV.
4.
YT: YhGkLPqWjBc
Figure 25.4.4 Haydn, String Quartet in E-flat major, Op. 33, No. 2,
IV.
5.
YT: hwxNp-LzDYo
Figure 25.4.5 Mozart, Symphony No. 36 in C major, K.425, IV.
6.
YT: H0x_dCrKd4w
Figure 25.4.6 Mozart, Symphony No. 39 in E-flat major, K.543, IV.
7.
YT: zuMs8kD5Des
Figure 25.4.7 Mozart, String Quartet No. 19 in C major, K.465, IV.
25.5 Standard Forms in a Multimovement Clas-

sical Piece
Below are the forms commonly encountered in the various movements of Clas-
sical symphonies, string quartets, and sonatas.
1. First movement: Sonata form
2. Second movement: Ternary form (ABA), sonatina form, or five-part
rondo
3. Third movement: Minuet and Trio (Compound Ternary)
4. Fourth movement: Rondo form, sonata form, or sonata rondo form
1. Identify the structural function of each excerpt below as expository,

transitional, developmental, or terminative. Aurally identify the tonic
and determine if the key is maintained or if other keys occur. Listen

for cadences to demarcate the form.
(a) Haydn, Piano Sonata No. 59 in E-flat major, Hob. XVI:49, I.
YT: je74Fhokrxg
(b) Beethoven, Symphony No. 5 in C Minor, Op. 67, I.
YT: W2qW6fOtAMY
(c) Mozart, Piano Sonata No. 18 in D major, K.576, I.
YT: rUgMSF49YE4
(d) Mozart, Symphony No. 40 in G Minor, K. 550, I.
YT: kWBCjaxVaeE
(e) Mozart, Piano Sonata No. 7 in C major, K. 309, I.
YT: ZbWsNTiaebY
(f) Haydn, Symphony No. 104 In D major, Hob. I:104, I.
YT: 21o-aldOI08
(g) Mozart, Piano Sonata No. 7 in C major, K. 309, I.
YT: V_i_FMMPKPc
(h) Mozart, Piano Sonata No. 18 in D major, K.576, I.
YT: rUgMSF49YE4
(i) Mozart, Piano Sonata No. 8 in A minor, K. 310, I.
YT: U4K2mz_rPcs
(j) Haydn, Piano Sonata No. 60 in C major, Op. 79, Hob. XVI:50,
I.
YT: EhJ-G0Lp8bI
(k) Mozart, Piano Sonata No. 14 in C Minor, K. 457, I.
PT = Primary Theme
ST = SecondaryTheme
CT = ClosingTheme
PT transition ST1 ST2YT:CT

sBYfP1gbTkE Retransition PT transition ST1 ST2 CT
0:00
(l) Mozart, Symphony No. 40 in G Minor, K. 550, IV. 139
# 3 œ œ œ œ œ œ ˙. .
m.1
œ
(2nd time)
& 4 .. œ œ œ ˙ . .
œ œœ œœ œœ 1:27 3:13
YT: B5fqVYXVDwU
Listen to ?the
# 0:30 œ œ 0:48
43 .. œ 1:01 ..
2. pieces below 3:37 Cadences
and fill in the diagrams. 3:48 4:19
and 4:32 4:45 5:12
textural1:36
changes
2:07 will designate
2:24 2:37 3:04 the form—listen carefully for these.
G: I V6 V7 I I vi
EXPOSITION DEVELOPMENT D:RECAPITULATION
ii I64 V7 I
#
PT transition ST CT PT
mm. 9-10 transition ST
mm. 7-8 in G major CT
& .. œ ˙
0:00
œœ˙ ..
? # .. ..
(2nd time)
G: V65 I IV I V7 vi I6 V7 I
4
0:08 0:22 0:45
1:12 1:40 2:03 2:11 2:31 2:54
0:51 0:58 1:35
PT transition ST (CT) Fragmentation & Retransition PT transition ST (CT)

sequencing
In major: I modulating V V V modulations V pedal I tonicizations I I
PT = Primary Theme
YouTube: https://www.youtube.com/watch?v=Rxsrsp7dLCg
ST = SecondaryTheme
CT = ClosingTheme
Figure 25.6.1 Mozart, Piano Sonata K. 545, I.
PT transition ST1 ST2 CT Retransition PT transition ST1 ST2 CT
0:00
(2nd time)
0:30 0:48 1:01 1:27 3:48 4:19 4:32 4:45 5:12

3:13 3:37
1:36 2:07 2:24 2:37 3:04
YouTube: https://www.youtube.com/watch?v=wPKFdj5V3Bw
Figure 25.6.2 Mozart, Eine kleine nachtmusik, K. 525, I.
Examples for Assignment 36, Section 1

3. For each excerpt below, identify the structural function as either ex-
pository, transitional, developmental, or terminative.
(a) Haydn, Piano Sonata No. 59 in E-flat major, Hob. XVI:49, I.
YT: je74Fhokrxg
(b) Mozart, Piano Sonata No. 7 in C major, K. 309, I.
YT: ZbWsNTiaebY
(c) Beethoven, Symphony No. 5 in C Minor, Op. 67, IV.
YT: fOk8Tm815lE
(d) Mozart, Piano Sonata No. 8 in A Minor, K. 310, I.
YT: U4K2mz_rPcs
(e) Mozart, Piano Sonata No. 14 in C Minor, K. 457, I.
YT: sBYfP1gbTkE
(f) Haydn, Symphony No. 104 in D major, Hob.I:104, IV.
YT: QYUANirkakg
(g) Mozart, String Quartet No. 17 In B-flat, K.458, IV.
YT: nHtaGz8sqTw
(h) Mozart, Piano Sonata No. 18 in D major, K.576, I.
YT: rUgMSF49YE4
(i) Mozart, Piano Sonata No. 8 in A minor, K. 310, I.
YT: U4K2mz_rPcs
(j) Haydn, Piano Sonata No. 60 in C major, Hob. XVI:50, I.
YT: EhJ-G0Lp8bI
(k) Mozart, String Quartet No. 17 In B-flat, K.458, IV.
YT: nHtaGz8sqTw
(l) Mozart, Piano Sonata No. 14 in C Minor, K. 457, I.
YT: sBYfP1gbTkE
Chapter 26
Voice Leading Triads
26.1 Voice Leading

Voice leading, also known as part writing, refers to rules about melodic
motions of voices involved in harmonic progressions. The primary concerns
behind voice leading rules are independence of parts, voicing of chords, and
economy of melodic motion for the sake of singable parts.
“SATB” voice leading refers to four-part chords scored for soprano (S), alto
(A), tenor (T), and bass (B) voices. Three-part chords are often specified as
SAB (soprano, alto, bass) but could be scored for any combination of the three
voice types. SATB voice leading will also be referred to as “chorale-style” voice
leading.
& c ˙˙ ˙
152
˙
Soprano
Alto
?c ˙ ˙
& c ˙˙ ˙
152 Tenor
˙
Soprano
Bass
Alto
?c ˙ ˙
˙
Figure 26.1.1 Soprano, Alto, Tenor, and Bass voices on the grand staff in
˙
“chorale-style” voice leading Tenor
&c ˙˙ ˙˙
Bass
˙ ˙
Soprano
“Piano-style” voice leading means the three upper parts are in the upper
staff (the right hand part) and the bass is the only Alto
voice in bass clef (the left
hand part). Tenor
?c ˙
&c ˙˙ ˙˙
˙
Soprano
Bass
Alto
Tenor
?c ˙
˙
& Bass
?
Figure 26.1.2 “Piano-style” voice leading
26.2 Types of&Motion
?
Definitions must be set out regarding types of motion between two parts.
310
c ˙ 26. VOICE
˙
152
&
CHAPTER
˙
LEADING
Soprano
˙
TRIADS
Alto
311
? ction˙˙ to each˙ other by Tenor

• Contrary motion occurs when the two voices move in opposite direc-
˙ step or leap.
Bass
• Oblique motion occurs when one voice stays the same and the other
voice moves up or down by step or leap.
˙˙ direction—both
& clar”) ˙˙
• Similar motion occurs when both voices move in the same (or “simi-
˙ motion ˙ is also Tenor

Soprano
up
Alto
(by step or leap) or both down (by step or leap);
similar called “direct” motion
• c ˙ ˙
152
&
? ˙˙ voicesmotion
cboth
Parallel
˙˙ move inis the
Soprano
a specific type of similar motion and occurs when
Alto
Basssame direction by the same interval—both up
? c ˙˙ ˙
by step, or both down by a third.
˙
Tenor
Bass motion
˙ ˙
contrary motion oblique similar motion parallel motion
& ˙ ˙ ˙ ˙ ˙ ˙
˙
same note
˙
up (by 3rd)
& c˙ ˙˙˙ ˙ ˙˙˙

up (by 2nd)
? ˙ Soprano
Alto ˙ ˙ ˙
Tenor up (by 6th)
?
up (by 2nd)
c 26.2.1
Figure ˙ ˙ four types
The Bassof motion 43
&
# # # ww similar˙nmotion
˙ ˙ w
n ˙ ˙n b b ˙˙˙ n n ˙˙˙ ˙ n ww
26.3contrary
Objectionable Parallels
w ˙ ˙
motion 917 oblique motion parallel motion
& ˙ ˙ ˙ ˙& ˙ n ˙
? writing in three or four parts, avoid having any two voices move in par-
When
˙
same note ¯VI ¯VII up (by 2nd)twelfths
˙
allel fifths or parallel octaves (and theirA: I up (by 3rd) C: V
?parallel ˙ ¯VII I
octave equivalents—parallel
and ˙
˙ objectional
unisons). In˙the Renaissance, ˙
Baroque, G: I ˙ and
Classical, ¯VIRomantic
# # # were
n wwupconsidered
b ˙ n ˙
n w n b ˙˙ b ˙˙ n n ˙˙˙ n ˙˙˙ ww w
eras, these 921 parallels were thought to destroy the independence of
&
(by 6th) up (by 2nd) Parallel
the voices. Parallel 3rds, 4ths, and 6ths acceptable.
2nds and 7ths generally were not used.
˙ ˙ ˙ ˙˙ ˙ ¯VI ¯VII par. 8ves

& ˙˙ ˙˙ A: ¯VI˙˙ ¯VII
C: I IV
˙ ˙ ˙ ˙ I
par. 5ths ˙
˙ ˙˙ ____ ˙
? ˙ ____ ˙ ____˙˙ ˙ ˙ ____ ˙ par. 5ths____
par. 5ths par. 5ths
˙ n ww ˙ ˙# # ˙
# n ww
b b b b ww
b b w
w # # ww
925
& b b wwww w b b b ww w
Figure 26.3.1 Objectionable parallel fifths and parallel octaves # w
1. F: ____ 2. e: ____ 3. E¯: ____ 4. A¯: ____ 5. A: ____
& Voice Ranges

26.4
930 ____ ____ ____ ____ ____
prac test ??the purpose of music theory class, we will set out restrictions for voice
For
ranges that are likely more limited than those found among vocalists in the
class. These voice ranges are based on those most commonly found in J.S.
Bach’s1.371 ø4 2. E: viio42/V
B¯: iiChorales.
3 3. f˜: Ger+6 4. b: V56/VI 5. F: EnGer+6
#˙ ˙
#˙
935 Soprano Alto Tenor Bass
&˙ & #˙ ? b˙ ?
˙ ˙
Figure 26.4.1 Voice ranges for soprano, alto, tenor, and bass voices
939
&
A: I ¯VI ¯VII C: V
G: I ¯VI ¯VII I
# # n ww n b b ˙˙˙ b n ˙˙˙ n n ˙˙˙ n ˙˙˙ www

CHAPTER 26. VOICE LEADING TRIADS 312
& # nw
921
26.5 Rules of Melody

C: I ¯VI ¯VII IV
Rules of melody have been included in books on composing, writing counter-
point, and music theory for centuries. The purpose of the rulesA:of¯VI ¯VII
melody asI
described in this text are to aid in the construction of singable melodies and to
reflect a____
summary of____melodic practice____ ____ ____
an SATB composition is considered na w
in music. (Remember that each
#
part in
# n wwon the bmelodies
b b b wwwfound inb b bJ.S. www 371# #Chorales,
b b Bach’s
925
b b wwstylistically
w w # www you
melody.) Because these rules of melody
& w
w be familiar with exceptions that have occurred in music#composed w
are based
will no doubt
&c ˙ ˙
152
since1. Bach’s
F: ____ death in____
2. e: 1750. 3. E¯: ____ 4. A¯: ____ 5. A: ____
˙ resolve:
˙ 7̂ goesAlto
Soprano
1. Tendency tones should to 8̂ and, to a lesser extent, 4̂
down by step) ? c ˙˙ ˙
930
goes____
to 3̂ (other tendency
____ tones are 6̂ and 2̂ , both
____ of which should
____ resolve
____
? ˙
Tenor
Bass
prac test 2. Avoid augmented intervals
3. 1.
Leaps larger than
B¯: iiø4 a o4
2. E: vii 4th 3. f˜: Ger
/V and leaps of +6diminished
4. b: Vintervals
6/VI 5. F: EnGer
should change
+6
& c ˙˙˙ Alto ˙˙˙

3 2 5
#˙
direction after the leap
˙
Soprano
# ˙ leaps should outline a triadTenor

935 Soprano Tenor Bass
#˙ ? b˙ ?
Alto
& &
4. Consecutive
The ˙following example

? demonstrates ˙ be to sing
c˙
when these rules are broken˙ ˙
how difficult a melody can
Bass
consec. leaps not outlining triad
œ˙
+5 7ˆ not
˙
contrary motion oblique motion similar motion parallel motion
&œ ˙ ? ˙ ˙ œ˙ ˙
resolving
œ˙
939
& œ #œ œ ? note œ
˙
same
˙
large leap up (by 3rd) up (by 2nd)
Figure 26.5.1
?˙ ˙ ˙ ˙ ˙ ˙
941
&
up (by 6th) up (by 2nd)
26.6 Rules of Spacing

˙
˙ (soprano, ˙
˙ and tenor) ˙
& ˙˙ voice parts ˙ ˙ ˙˙
par. 8ves
Generally, the upper three ˙ ˙ ˙
alto, are ˙
kept close ˙
5ths ˙
˙˙ of spacing
together. The general rule par.
and alto as well as the?distance ˙ ˙˙ par.
is to keep
˙˙ within ˙anpar.octave
the distance between
5ths
˙ of each ˙
5ths soprano par. 5ths
˙
other. Allowing a distance greater than an octave between ˙soprano˙and alto ˙ ˙
between alto to tenor
(or between alto and tenor) is considered spacing error. The distance from
the bass to the tenor can be greater than an octave.
w
Soprano Spacing
& w
an 8ve or less
Alto
w
an 8ve or less
? Tenor
w
more than an 8ve okay
Bass
Figure 26.6.1
In terms of spacing chords, one should consider the spacing that occurs in
the overtone series.
& œ ( bœ )
œ
œ œ 153
&
? œ œ œb œ œ
˙œ œ
( )
? 26.6.2 œ
Figure œ Overtone series starting on C2
˙ spaces between notes occur lower in the overtone series. Consider the
Larger
&c
voicings of the following chords. Some “ring” or resonate better than others.
Notice that all of the notes fall within the voice ranges specified above.
w w ww
& w ww w ww w
w ?c w
? ww ww w w
ww w w w
Figure 26.6.3
153
& Voice Leading Root Position Triads in Four

26.7
& Parts œ œ œ ( b œ ) œ
?
We?are writingœin four parts but triads have three notes. We will double the
œ
˙
root of every root position chord. (The root is in the bass when a triad is in
root position, so we are doubling the bass note in an upper part.)
Principle 26.7.1 Doubling rule for root position triads. Always double
&
the root in root position triads.
w
& w in the bassw line between w next, consider
ww chord andwsubsequentwwone.
w
To move from one chord to the the interval that occurs
?
melodically
w w the current
w w w
? wBass
w w
w w
26.7.1 movement ofwthe interval
w of a 3rd
w or 6thw
In the upper three parts (soprano, alto, and tenor): retain the two common
tones and move the other voice by step
&
& ˙˙ ˙˙ ˙˙ ˙˙
3rd 5th
Root Root
?
˙ ˙˙
5th 3rd 5th
? ˙˙ 5th ˙˙
Root
˙
3rd Root 3rd
Root Root
Root Root
Bass moves by 3rd Bass moves by 6th
C: I iii C: I vi
&
Figure 26.7.2
?
26.7.2 Bass movement of the interval of a 4th or 5th
In the upper three parts, do one of the following:
&
?
˙ Root ˙
˙˙ ˙˙˙
5th 3rd 5th
5th
? ˙˙˙ 5th ˙
5th 3rd
? ˙˙
Root
˙˙
3rd
˙ Root
3rd
3rd Root
Root 3rd
5th Root
Root
Root Root Root
Root Root
CHAPTER 26.
BassVOICE
moves by LEADING TRIADS Bass moves by 6th
by 3rd
3rd 314
Bass moves Bass moves by 6th
C: II
C: iii
iii C: II
C: vi
vi
1. Retain the common tone and move the other two voices by step
˙˙˙ ˙˙˙ ˙˙˙ 3rd ˙˙˙

3rd
&
3rd 3rd
& ˙ ˙ ˙ 5th ˙
5th Root
Root
5th 5th 3rd
5th Root 3rd
˙˙ ˙˙ Root ˙˙˙˙
Root
˙˙˙
5th
?
Root
?
5th
˙˙ ˙˙ Root
Root 3rd Root 5th
3rd
Root Root Root
Root Root Root Root
Bass moves by 5th Bass moves by 4th
C: I V C: I IV
C: I V C: I IV
2. Move all of the upper voices in the same direction (each upper voice will
&
move by a 2nd or 3rd to the nearest chord member in the second chord)
& ˙˙ ˙˙ ˙˙ ˙˙
?
5th 3rd Root 3rd
Root
˙
Root
˙˙
3rd
˙ ˙
5th
˙? ˙
154 5th 3rd 5th
Root˙
˙˙ ˙
Root
& ˙ 5th Root 5th Root
3rd
Root Root
˙ 3rd ˙ Root
? ˙ C: I ˙
V
Root
C: I IV
Root
26.7.3Bass
Bass
movesmovement
by 2nd of the interval of a 2nd
C: I ii
Move the three upper parts in contrary motion to the bass line.
& ˙˙
154
˙˙
* exception: 3rd of V resolves up by step;
Root3rd 5th
˙ ˙3rd
results in doubled
& ˙˙
* 5th 3rd
˙
?˙ ˙3rd
3rd
˙
5th 3rd Root
?˙
Root
˙
Root
˙ ˙
Root Bass moves by 2nd
5th
Root C: I Root ii
Bass moves by 2nd
C: V 26.7.3
Figure vi
Exception: is not in&
3rd of V chordWhen the bass
melody, canmoves by the interval of a 2nd in the deceptive
resolve down
& ˙ Root up by step˙˙while

the V˙chord
progression in the minor mode (V–VI in C minor), always move the 3rd of
5th ? 5th the other notes (the 5th and the doubled root)
? ˙ direction
3rd
˙ Root
move in contrary motion to the bass. In this situation, two voices move in an
˙ Root 3rd in the˙VIRootchord. In the major mode, use this voice-leading

upward 3rd and two voices move in a downward direction. This results
in a doubled
solution if 7̂ is in the soprano voice (because it is a tendency tone).
C: V vi
aug. 2nd
b
bad
& b b n ˙˙ ˙ n˙ ˙
˙ ˙ ˙
3rd 3rd
5th 3rd
? bb ˙ ˙˙ ˙ ˙˙
b ˙ ˙
Root 5th
Root Root
c: V VI c: V VI
˙ 3rd to deal with

˙˙ 5th demonstrate˙˙ the
Figure 26.7.4 Voice leading the deceptive progression in minor
&The˙˙ following
3rd
two examples Roottwo possible˙ways
5th
˙
the deceptive
Root progression in the major mode.3rd
Root
? ˙˙ 5th ˙˙ 3rd ˙˙ 5th

˙
Root
Root Root Root Root
repeated root: change chord member while maintaing correct doubling (Root, Root, 3rd, 5th)
C: I I I I
˙ 3rd ˙ 3rd ˙ Root
? ˙ ?˙ ˙˙˙Root
& ˙˙ 5th
˙ Root
Root
Root
3rd
˙
5th
Root
˙
Root
?
Bass moves by 2nd
˙
3rd
˙
CHAPTERBass moves by 2nd
26. VOICE LEADING TRIADS Root 315
C: I ii
C: I ii Root Root
Bass moves 3rd
* exception: by 2nd
of V resolves up by step;
˙
* exception: 3rd of V
C:resolves up by step;
results iniidoubled 3rd
&˙ ˙˙
I
results in doubled 3rd *
& ˙˙ ˙
3rd
* *3rd
˙
exception:
5th 3rd of V resolves up by step;
3rd 3rd 3rd
˙˙* 3rd
results in doubled 3rd
& ˙˙ 3rd
?
5th 3rd
˙
? Root ˙ ˙ 3rd
Root
˙ 5th
5th
˙
5th
˙ Root
Root Root
? ˙ Rootmoves by 2nd vi˙ 5th

Bass
Root
Bass moves by 2nd ˙ ˙ Root
C: V
C: V 3rd ofRoot
vi V chord is not in melody, can resolve down
& ˙˙
Figure 26.7.5 7̂ in the soprano voice
Bass moves in the deceptive progression in major
by 2nd
C: V
3rd of V chord is not in melody,Root ˙˙ vi
can resolve down 5th
& ˙˙ Root ˙ ˙5th

5th 3rd can resolve down
&˙ ˙˙3rd3rd ˙ Root

3rd of V chord is not in melody,
? ˙˙ 5th
˙ Root
5th
˙
Root
? 3rd ˙ 5th Root

˙
3rd
˙ Root ?˙VRoot ˙ Root

Root
˙ Root
C: vi
˙ Root
3rd
aug. 2nd
vi b
bad
vi ˙ 3rd
& b b n ˙˙ 3rd n˙
˙ aug. 2nd ˙˙
C: V
˙bad3rd aug. 2nd bad

C: V
b n ˙ 7̂ in an inner ˙ ˙voice in the deceptive

& b b 26.7.6 n˙˙ 3rd progression
5th
˙ 3rd ? bb bb b˙ n3rd
& ˙ ˙ n ˙˙˙ in major ˙
Figure
b 3rd˙˙ 5th ˙ Root ˙˙ ˙
Root
3rd 5th
5th
˙ Root ? ofb ˙c:the ˙˙ 5th

Root 3rd
? b b Repetition
26.7.4 ˙ Rootbass note ˙ ˙
b ˙ Root
b b˙ V
˙
5th
Root
VI
˙ ˙ Root
c: V
˙˙ ˙
VI
˙VI3rd
Root
Repeat the upper three notes or arpeggiate the upper notes to different chord
& ˙˙VIc:3rdV ˙˙c:VI ˙ VI ˙ 5th

˙
members while maintaining the voicing of a doubled the root, one 3rd and one
c: V V c: VRoot
5th. 5th
3rd
˙˙5th ˙ Root
Root Root
& ˙˙ 3rd ?˙ ˙˙ 5th

& ˙
˙ ˙ ˙ ˙ ˙˙ Root
˙
3rd
˙ ˙
3rd
˙repeated
3rdRoot Root
5th3rd
Root 5th Root 5th
Root 5th
˙I Root,
Root Root 3rd
I ˙5th
Root 3rd
?C: I˙˙ 5th ˙
Root
˙ 5th I˙ ˙ 3rd
root: change chord member while maintaing correct doubling (Root, 3rd, 5th)
? ˙ ˙˙ ˙ ˙ ˙
Root
˙ Root ˙Root
5th Root
3rd
Root Root
Root Root Root Root
repeated root: change chord member while maintaing correct doubling (Root, Root, 3rd, 5th)
repeated root: change chord
C: I member while maintaing
I correct doubling (Root,
I Root, 3rd, 5th) I
C: I I I I
Figure 26.7.7 Repeated notes in the bass line
26.8 Voice Leading First-Inversion Triads

Instead of focusing on the intervallic distance the bass part travels between
roots of chords, voice leading first inversion triads requires focusing on the
doubling or voicing of the chord itself. When approaching or leaving a first
inversion chord, move as smoothly as possible while avoiding objectionable
parallels, spacing errors, and melodic errors.
26.8.1 Voicing a First Inversion Chord

In contrast to the doubling rule for root position chords (i.e., “double the
bass”), do not double the bass note for first inversion triads. Instead, double
the root or fifth, depending on which can be approached and left most smoothly.
? # ### #c w w w w w w .. w
& # cw www w ..
1. 2

A: ____ ____ ____ ____ ____ ____ ____ ____ ____
? # # # B¯c F/A Gm wC/E Fw

w5th w w w .. w
3 ˙ w œ w
b
& 4 ˙A: ____ œ____ œ˙ œ 5thRt œœ
Rt
____ ____ ____ ____ ____ ____ __
œ F/A œœ GmœCm/E¯
Rt œ
? b 43 ˙œ B¯œ œ 3rd œ 3rd œ F
5th
b
& b 43 ˙˙ œœ 5th œ˙ œ Rt œœ
Rt 5th
œœ œ Rt œ
F: IV I6 ii V6 I
˙
? b b 43D œ Bm D/Fœ œ
œ œ œ
5th
3rd˜ G
# # c YT:œ8ZKxI8d4VbM œ 3rd
& œœ I œ Vœœ 5th viœ ii V
Figure 26.8.1 J.S. Bach,B¯:
6 6
Chorale 237, “GottRtlebel noch”, BWV 320
? # # c œœ D œœ Bmœ œ D/F 5th ˜œ Gœ

## c œ
& œœ œœ œ 3rdœœ 5th œœ
Rt
D: I vi I 6 IV
? # # c œœ œœ œ œ 5th œ œ
B¯ E¯ œ 3rd Aœ/C B¯
o F/A
b c D:œœ I vi œ I IV œ œ ( œ)
œ
& b œ œ œ œ
6
3rd
## œ œ 5th œ
Rt
& œ œ
? b b c œ YT: 3B9KD9CJ3tAœ (œ) œ 3rd œ œ
? # inversion
Figure 26.8.2 J.S. Bach, Chorale 153, “Alle Menschen müssen sterben”, BWV
If the 3rd of a first#B¯:

262
I is doubled,
IV it will beviiin one ofI the following
o6 V 6
situations:
1. Diminished triads in first inversion—always double the third (the bass),
not the root or fifth
? # # c œœ œœ œ œ 5th œ œ
œ 3rd œ
D: ILEADING
CHAPTER 26. VOICE vi I6 IV
TRIADS 317
B¯ E¯ Ao/C B¯ F/A
b œ œ
& b c œœ œœ œœ œœ
œ
3rd ( )
œ œ
Rt
œ œ œ
? b c œ ( œ) œ
5th
b œ 3rd œ œ
B¯: I IV viio6 I V6
YT: Lul-S82JIeM
Figure 26.8.3 J.S. Bach, Chorale 103, “Nun ruhen alle Wälder”, BWV
392
2. Consecutive first inversion chords—alternate between doubling the third

and not doubling the third
E/G˜ D/F˜ C˜m/E

## œœ
A Bm/D
œœ
& # c œœ œœ 5th œœ 5th
158
Rt Rt Rt Rt
5th 5th
œ œ œ œ Rt œ 3rd
? ### c œ œ œ œ 3rd œ 3rd
Rt 3rd
3rd 3rd
A: I V6 IV6 iii6 ii6

E/G˜consecutive
D/F˜ 1stC˜m/E
## œœ
A inversionBm/D
œœ Rt œ Rt
triads
& # c œœ œœ 5th
158
œ 5th
Rt Rt
5th 5th
# ### œœ œ Rt œ 3rd œ Rt œ 3rd

? # œ 3rd œ 3rd œ 3rd
&# c YT: QSv7SkXmhFI œ 3rd
Figure 26.8.4 J.S. Bach, 6Chorale6 106, “Jesu Leiden, Pein und Tod”,
? ###
A: I V IV iii6 ii6
BWV 245
consecutive 1st inversion triads
3. Approached in opposite direction in both parts
& b c œœ œœ . 3rd œ œ œœ œ 3rd ˙

œ
J ˙
˙
œ
?b c œ œœ
3rd
œœ œœ œ œ 3rd ˙ œ
F: ii I6 IV ii6 I6 ii7 viio6
&b YT: 7OQrWJvezT4

Figure 26.8.5 Palestrina, Missa Aeterna Christi Munera, Sanctus
? b never double the third of the V chord because it is the
Note that you should
leading tone (7̂ ).
œ. œ œ œ œ
J ˙
œ œœ œœ œœ œ ˙œ œ
?b c œ ˙
3rd 3rd
26.9 Voice Leading Second Inversion Triads

When a triad is in second inversion, double the fifth (the bass note).
b
B¯ E¯ Gm/D D Gm
&b c œœ œ œ Rt # œ ˙˙ ..
œ œ œ 5th œ
? b c œ œœ œ œœ 3rd œœ ˙.
b œ 5th ˙.
g: III VI i64 V i
b
&b YT: ivm4RACsrBU
? bb
Figure 26.9.1 J.S. Bach, Chorale 204, “Wer weiß, wie nahe mir”, BWV 166
26.10 Special Situations

Avoid parallel fifths when the roots of triads are a second apart, as in the
following examples:
1. ii6 to I64 (see the first measure in the examples below)

165
2. I to vii◦6 (see the second measure the in examples below)
165
& ˙ ˙˙ 5th ˙˙ ˙˙
˙
& 5th ˙ ˙˙ 5th 5th ˙
5th
˙˙
5th
˙
5th
˙
Root ˙ ˙˙ Root Root ˙ ˙
|| 5ths || 5ths 5th
? ˙
Root ˙
|| 5ths
˙˙ Root Root ˙
|| 5ths
˙˙
Root
? ˙ ˙ ˙
Root
C: ii6 I64 C: I viio6

Figure 26.10.1 Parallel fifths when roots are a 2nd apart
&
Root ˙˙ ˙˙ Root Root ˙˙ ˙˙
˙˙ ˙˙ ˙˙
Root
& ˙˙
5th
Root 5th
Root 5th
Root
˙ ˙
5th
˙ ˙
Root
˙˙
5th || 4ths 5th || 4ths
? ˙˙
5th
˙˙
5th
˙
˙
|| 4ths || 4ths
? ˙ ˙ ˙
& 26.10.2 Parallel fourths as a corrective when roots are a 2nd apart
&
Figure
are?inverted), revoice each chord so the 5th of the chord is below the root of
In any such situation where the roots are a second apart (even if the chords
the?chord in the upper voices
&
&
?
?
˙
œ
?b c œ
œœ
3rd
œœ œœ œ œ 3rd ˙ œ

26.11 Types of Six-Four Chords

bb c
B¯ E¯ Gm/D D Gm
& œœ œ use a œœ64 Rtchord.

# œœ ˙˙ ..
When you are harmonizing melodies and writing music, there are three situa-
tions where it is appropriate œ œ
to
5th
œœ œ œœ 3rd œœ ˙.
6
1. Pedal
2. Passing ? œ
bb c œ
4
˙.
6
4 5th
6
3. Cadential 4 g: III VI i64 V i
6
The pedal 4 typically occurs in the patterns I–IV 64 –I or V–I 64 –V.
œœ œœ œœ œœ
& œœœ œœœ œ œ œ
œ
? œ œ œ œ
œ œ
C: I IV64 I C: V I64 V
Figure 26.11.1 Examples with the Pedal Six-Four

The passing 64 typically occurs in the patterns I–V 64 –I 6 (or its retrograde) 159
and IV–I 64 –IV 6 (or its retrograde).
œœ œœ œœ
& œœœ œœ
œ
œœ œ œ œ
œ
?œ œ œ œ œ œ
C: I V64 I6 C: IV I64 IV6
Figure 26.11.2 Examples with the Passing Six-Four

6
In an earlier section we discussed the Cadential 4 chord. Please refer to
that section to review the cadential 64 chord.
&
26.12 Summary of Doubling Rules for Triads
?
To generalize, here are the doubling rules for voice leading triads in root posi-
tion, first inversion, and second inversion:
• Root Position Chords: DOUBLE THE BASS

• First-Inversion Chords: DO NOT DOUBLE THE BASS
◦ Exception: vii◦6 and ii◦6 : DOUBLE THE BASS
◦ Exception: Consecutive first inversion chords—alternate between
DOUBLE THE BASS and DO NOT DOUBLE THE BASS
• Second-Inversion Chords: DOUBLE THE BASS
Day One
œ
? bb c œ œ # c œ œ
5th
b Rt
œ œ œ Rt
œ
E¯: I
CHAPTER 26. VOICE vi IV TRIADS
LEADING ii e: III iv V VI 320
1. For bass movement of a 3rd or 6th, in the upper voices hold two
b c œœmove
common tones and move the other voice # # cbyœ step. For bass movement
of&a 2nd, 5th
the upper voices in contraryœ Rt
motion to the bass with 155
œ Rt doubling by specifying whichœ voice

3rd 5th
the exception of the deceptive progression, which has special rules.
? # œ œ root,œ third,
HW
c # c œ
Keep track of has the
cb œ Rt œ œ
3rd
œ
156
& b œ œ 5thRt5th
or fifth for each chord.
# c œ 3rd
b b c œœœ 3rd
Rt
& œ
d:œ III3rd Rt iv
?c œ ˙
HW
œ
156 PRAC EXER
œ œ
V VI D: I Rt iii IV ii
& œ œ
? #b b# # œc 5th œœ RtRt œ œ œ ____ œ ____ b b cc œ____
# œ
Rt
c œœœ 3rd œ ____ œ

5th
b
Rt
& œ
5th
HW
œ
? ca: i œ VII VIœ ˙
œe: III Vœiv
Bass moves by: ____ 5th ____ Rt
œIV
3rd Rt
œ I 3rdœ vi
III iv VI
? # # #3 c œRt œ œ œ b c œ œ U œ
HW
œ and
E¯: Rt ii V VI
&moves 4by:movement
œœ ____ œœ a 4th, ____œeither
b œhold
____(1)œ ˙˙
Bach chorale #2222. For
Bass bass
move a:the 5th
Rt of
____
œ ( nRtœ )
____ one common ____ tone
Nun preiset alle ??? i two voices VII by III step, orVI(2) moveivthe upper V voices VI in the same
œ # œ U ˙
A: iii IV V vi B¯: V vi IV ii
#
& #bthird,
? c3 œœ or œ) for
direction. Keep track of doubling
œœ each chord. # cœ œ Rt
by
œ
specifying which voice has the
& 4 œœ 5thRtRt3rd (fifth œ œœ # œœc (5thn3rdœ ) ˙˙
3rd
5th
b b
root,
b c
Bach chorale #222
& b œ œ
œ 5th œœœ 3rdRt œ u œ œ
3rd
Nun preiset alle ???
? b c œœ œ3rdRt ____ œ # œ œ ˙ œ œ
HW
œ c œ
Rt
HW
? # G: 3 ____ (œ)œ ____ œœ œ #

Bass moves by: ____ ____ ____
? b 4b cœ RtRt œ # œc œœ 5th u˙ œ
œ
____ ____ Rt ____
bb œ Rtiv œ V____ VI œ ____ D: I ____ œ IV œ
PRAC EXER
bb œ f:Rt i ____
HW Rt
˙
Bass movesd:by:III iii ii
& # #G:œ____ ˙ iv ____ VII œœ ____ III œ
œ b____ G: vi ii ____ V I
#
& œ 3rdœ ˙ c œ b c œ
œœ 3rd
5th
œ (œ) œ̇ #
5th
Day Two ? b œ Rt( ) 5th5th ˙

Rt
b cœœ 5th œœRtœ 3rd3rd˙˙ œ œ œœ œ œ # c œœœ œ œ œ

&
Rt
? # # œ œ œbass b symbols, œ œ
c œ œ c œ
HW 3.
# œ b œ in
Given the bass line and figured 5th analyze the Roman
œ____RtRt ˙the____staffœ and
œœ below (œ ) œ̇
HW
? ˙ œ œ # cB¯:œV leading.
numerals ____ add soprano, alto, and tenor parts
cA: œRt(iii) Rt ____
b b ____ œ
Bass moves by:
œV____œrulesviof____ good# voice

3rd
Rt œ iiœ
Rt
“chorale-style,”
B¯: following Choose the be-
IV vi IV
ginning register for each upper part carefully, considering the number
# c 3rd
b b bcb____
of
Basstimes by:the
movesB¯: ____bassvimoves
iii ____ ii by ____
theV interval of a 2nd.VII
b: iv III VI
&B¯: c œœ 3rd
œœ Rt œ œ œ
œ
____
Rt ____ ____
5th
? b b cb cœ œœ œœ œ # œ c œœ 5thœ œœ œœ
& b œ œ
PRAC EXER
œ Rt Rt
˜
? d:c ____
f: i iv
œ
VII
œ
III
œ
G: vi
œ ii ____
œ
V I
b œ œ
____ ____ ____ ____ ____ œ
____
Givenb b the
c œœ œ analyzeœ the # # cnumerals
œ ˜ œœ
& œ 5th œ (allœ threeœ upper
4. bass5th line, Roman below the staff and
add soprano, alto, and tenor parts in “keyboard-style”
3rd
œ treble
HW d: ____ ____ ____ ____ ____ ____ ____ ____
?beginning œ œ eachœ upper# #part

voices in the clef), following rules of good voice leading. Choose
b b c œ Rt register c œcarefully, œ
Rt
Rt œ œ
the for considering the
#
direction of the bass line.
& cB¯: iii vi ii V b: iv VII III VI
?# c œ œ œ ˙
œ œ œ
G: ____ ____ ____ ____ ____ ____ ____
Day Three
5. Analyze the Roman numerals in the blanks below the staff and the
doublings of the chords in the squares—specifying Root, 3rd, or 5th—for
J.S. Bach’s Chorale 367, Befiehl du deine Wege.
œœ œ œ
PRAC EX
? # # c œœ 5 œ R œœ 5 5 R
œ R
CHAPTER 26. VOICER LEADING

R TRIADS
3 R 3 R 321
#
I
D: ____ IV
____ ____ I6 ____ viio6
ii ____ ____
I
& b # c œœ œ
160
œ œœ œœ œ
& b c œ
œ
PRAC EX
œœ wœœ
œ
?#b b## #c cœ
?
œ œœ
œœœ œœœ œ
160
& œ œ œ œœ
œ 161
˜
œœ____œ ____œ
6 6
? #b# cD:œœ ____ œ ____ œœ œ____ ____ ____

g: ____ ____ ____ ____
& b c œœ # œ
œ œœ # œ
œ w
Givenb b the
c œœ line andœfigured œbass symbols, œ œ)
w(analyze
& D:and œadd soprano,
œ œ œ____ œ tenor œ
6. bass the Roman nu-
? b b# c rule for doubling œin diminished
merals ____ ____ alto, and œœ
____ parts
____
ww
in
____ chorale style. Review
& # œœ œ œ œ (œ ) alterations.
HW
œ œ
the special triads in first inversion. You
? b c #œ œ
bb
may wish to review figured bass with chromatic
˜
& b g:c ____
6 6
i viio6
____ i6
____ V
____ VI
____
? # #g: ____ ____ ____ ____
? bb c œ œœ œœ œœ www
& b œ
& bb c
œ œ6 œ œ˜ ww
(one of several
? b b g:c ____ œ
6
possible solutions)
? bb c œ œ œ œ ˙ ˙
œ sureœ your progression follows the Har-
HW ____ ____ ____ ____
n œ 6 making
b I the melody
b ____
& b B¯:Flowchart
7. Harmonize
V
____ I
____ ii6
____ V
____
monic (analyze
6 the harmonic
6 Ω
function of each chord, ab-
HF: Ton. Dom. Ton. Pre-dom. Dom.
breviated c: ____
____ ____then____
as “HF”),
____ ____ ____
add alto,
____ ____bass parts
tenor,____
and ____ in chorale
? b a smoother bass line.

b#
style following rules of good voice leading. Use first-inversion chords
œ
& b# c œ œœ œ ˙
to make
œ ˙
&b c œ w
?#
? b b# cc
PRAC EX
D: ____ ____ ____ ____ ____ ____

B¯:
HF: ____
____ ____ ____
____ ____
____ ____
____ ____
# ____
#HF: œ
& # c œ œ
____
œ____ œ ____ ____
œ œ œ
? # # # cthe figured bass symbols to specify Roman numerals with

Day Four
8. Analyze
inversion symbols below the staff. Add soprano, alto, and tenor parts
in keyboard 6
A: Istyle. VSpecify IV6
I root, third, V6 fifth for
and I every
V chord.
vi Addi-
#
tionally, specify the six-four chord type (pedal, passing, or cadential).
& # c
? ## c œ œ œ œ œ ˙
œ
6 6 6 6 ˜
4 4
b: ____ ____ ____ ____ ____ ____ ____

6 chord type: ____ ____
4
9. For the given Roman numeral progression, provide soprano, alto,

i V64 i6 iio6 i6 V i
tenor, and bass voices in chorale style. Be4 careful not to exceed any
voice’s range. Specify cadential
passing root, third, and fifth for every chord. Addition-
ally, specify the six-four chord type.
4
e: ____ ____ ____ ____ ____ ____ ____

6 chord type: ____
4
b
&bb c
? bb c
b
c: i iv i64 iv6 iio6 i64 V VI
6 chord type: ____ ____
4
b
b c
Click here &
to download the first homework assignment for this chapter.
? to b download the third homework assignment for this chapter.
Click here btocdownload the fourth homework assignment for this chapter.
Click here

b
&b
? bb
Chapter 27
Voice Leading Seventh Chords
27.1 Voice Leading Seventh Chords

There is one general rule for voice leading any seventh chord: resolve the 7th of
the chord down by step. All other voices should move smoothly to the nearest
chord tone in a voicing containing the appropriate doubling.
Principle 27.1.1 7th chords. Resolve the 7th of a 7th chord down by step.
163
j
163
œ œ œœœœ.. œœ œœ œœœj œœ
? bb bb
? 242 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
bb bb 4
pp
? bb bb
? 242 œ œœ
bb bb 4 œ œœ œœ œœ
Textural reduction:
Textural reduction:
œœœœ œœœ œœœ 7th

E¯77/D¯ E¯77/G
? bb bb 22 œœœœ œœœ
A¯ /D¯ A¯/C E¯/G /G A¯
œœœœ
A¯ E¯ A¯/C E¯/G E¯ A¯
? œ œœ œœ œ
7th
bb bb 44
? b bb 2 œ œ œ œ
b 4 7th
7th
œ
resolves down
resolves down by
by step
step
A¯: II
A¯: V442
V
6
II6 V66
V V656
V II
2 5
& bbb b
YT: SrcOcKYQX3c
Figure 27.1.2 Beethoven, Pathétique Sonata, Op. 13, II.
? b b bb
323
? ###### ww
? ww .
.. ww
ww
CHAPTER 27. VOICE LEADING SEVENTH CHORDS 324
### ## j j œ (œ) œ
& #
& 686 jj œ œ
8 œœ œœ .. œœ œœ œ œJJ
j
œœ œœj ŒŒ œœj œœ .. ((œœ)) œœ œ .. (œ) œ œœ ‰‰
401
œj
401
œ
### ##
Ich träum - te von bun - ten Blu - men, so wie sie wohl blü - hen im Mai;
686 ‰
401
œœ œ œœ œœ œ œœ œœ
Ich träum - te von bun - ten Blu - men, so wie sie wohl blü - hen im Mai;
œœ œœ œ œœ œœ œ œ
401
& #
& 8 ‰ œœ œœ œœ œ œœ œœ œ œœ œœ œ
œ œ
p
? ######
? 686 ‰ pœJœ ‰‰ ‰‰ œJœJ ‰‰ ‰‰ œœJ ‰‰ ‰‰ œœJ ‰‰ ‰‰ œœ ‰‰ j
8 ‰ J ‰‰ œJœJ ‰‰ ‰‰ œœj ‰‰ ‰‰
J J JJ
### ##
Textural
Textural reduction:
jj j Bm EEœ7 (œ ) œ A
.
F˜˜m
reduction:
686 jj œ œ j . œ œ . œ œ œœ ‰
A m Bm7/D 7
/D 7 A
œœ œœœ ŒŒ œœœ œœ . (œ( œ)) œœ œœ

163
j
& # 8 œœœœ œœ.œ. œœ œœ œœ œ œJJ œ
jœj
&
406 A F
œ. œœ ‰
406
œ
( )
? bb 2
b b 4 Ich œträum - te œvon bunœ- ten œBlu - men, œ so œ œ œ œ
### ## 6 Ich
406 wie sie wohl blü - hen im Mai;
p ‰
& b b b#b 42868 œ‰ œœœœœœ......
406 träum - te von bun - ten Blu - men, so wie sie wohl blü - hen im Mai;
& œ. œœœœœ..... œ œœœœœ..... œœœœ ... 7th7th œœœœœ.. ... œœ ..œœœ ...
? œ œœœ ... œ. œ. . œ .7th œœ .
pp
œ. œœ..
? #### 6868 A¯‰‰ œ .
? ##reduction: œœ.. A¯/Cœœ..
7th
..
œœE¯/G œœ. .
œ .œ .
Textural
œœ œœ œ 7th
7 E¯7/G
? b b 2 œœœ A: œœ 7
E¯ /D¯ A¯
œœœ œ vivi œ 6œ
b b 4 A: II iiii655œ VœV7 II
? bb 2 œ œ
bb 4 œ YT: 2GGPY3mhqLc
7th
œ œ
resolves down by step
Figure 27.1.3 V42
A¯: I Schubert, Winterreise, I6
D. 911, V6 V56
“Frühlingstraum” I
(1823)
The one exception to this is in the progression I – V43 – I6 , which closes the
theme of the first movement of Mozart’s Piano Sonata K. 331.
### 6 œ j œœ œ œœ
& 8 œœ œœ œ œœ œ œ ‰ ..
œ œ J
J
f œ œ œ œ œ œœ
? # # # 68 œ œ œ œ œ œ ‰ ..
œ J J
J
A/C˜
### 3 œ
A E7/B
œœ 7th œœ YT: vp_h649sZ9A
& 4 œ
œ œ œ
#
?In#the 3
# 4 œ œ
œ
example below, one can see that the 7th resolves up by step.
A: I V43 I6
##
& #
? ###
J J
f œ œ œ œ œ œœ
? # # # 68 œ œ œ œ œ œ ‰ ..
œ J
J LEADING SEVENTH J
CHAPTER 27. VOICE CHORDS 325
A/C˜
##
A E7/B
œœ
& # 43 œœ œœ 7th
œ œ œ
? ### 3 œ
4 œ œ
A: I V43 I6
# # 27.1.5 The I – V43 – I6 progression with acceptable parallel fifths

#
&Notice
Figure
that parallel fifths occur in this progression because of the upward
? # # because they consist of unequal fifths (where one of the fifths is in

resolution of the 7th. These parallel fifths may have been deemed less objec-
a case #of parallel fifths is diminished).

tionable
27.2 Voice Leading Successive Seventh Chords

Sometimes you will encounter a situation where there are successive seventh
chords. This is especially the case in circle of fifth progressions. When voice
leading a circle of fifths progression with root position seventh chords in four
parts (SATB), alternate between incomplete seventh chords (without the fifth
of the chord) and complete seventh chords, as can be seen in the example below 5
from Vivaldi’s Concerto for Two Violins and Cello in D minor, RV 565. 5
Dm Gm7 C7 Fmaj7
44 œ œœ œœ œœ
7
Dm3rd Gm7th C7 Fmaj7
& bb œœ Œ Œ Œ Œ
32
œœ œœ
3rd 7th
œœ Œ Œ Œ œœ Œ
32
& 4 œ œ
3rd 7th 3rd 7th
œ
5th 3rd 7th 3rd
32 5th 3rd 7th 3rd
œ
String 3rd Rt 5th Rt
?b 44 œ Œ Œ Œ œ Œ
32
œ œ
String 3rd Rt 5th Rt
?b œ
Orch.
4 œ Œ Œ œ Œ Œ
Orch. Rt Rt Rt Rt
Rt Rt Rt Rt
œœœ œœ œœœ œœ
iv7 (inc.) VII7 IIIM7 (inc.)
œ œ œ œ œ œ
d: i
44 œ œ œ œ œœ œœ œ œ œœ œ œ œ œœ œ œ œœ œœ œ œœ œ œœ œœ œœ œ œœ œ œœ œ œœ œœ œ œœ
iv7 (inc.) VII7 IIIM7 (inc.)
?b
32
d: i
?b
32
4 œ
Cello
Cello
solo
solo
B¯maj7 Eø7 Am7 Dm7

Eø7
œœ œœ
B¯maj7 Am7 7
œœ 7th œœ
Dm7th
& bb Œ Œ Œ Œ
3rd 7th 3rd
œœ
34
Œ œœ Œ œœ 7th Œ œœ Œ
7th
&
3rd 7th 3rd
œ
34
œ œ 5th
7th 3rd 3rd
String 7th 3rd
œ 3rd
?b
34 5th Rt Rt
œ Œ Œ Œ œ Œ
String
?
Orch.
œ RtRt
34 5th Rt 5th Rt
b œ Œ œ Œ Œ œ Œ
Orch.
œ7
Rt Rt Rt
œ
Rt Rt Rt
iiø7 (inc.)
? b œ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œ œ œœ œœ œ œœ œœ œœ œ œœ œœ œ
VIM7 v i7 (inc.)
34 VIM7 iiø7 (inc.)
v 7
i7 (inc.)
? œ œ œ œœ œ œ œ
34
b
Cello
Cello
solo
solo
& bb Vivaldi,
∑ ∑ ∑ Two Violins
∑ and∑ Cello in∑ D minor,
∑ RV
36 YT: qgJwavKDKgY
∑ ∑ ∑ ∑ ∑ ∑ ∑
36
&
Figure 27.2.1 Concerto for
565, V.
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
b
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
?b ∑ ∑ ∑ ∑ ∑ ∑ ∑
36
Principle 27.2.2 Voice Leading Successive Root Position 7th chords.

Alternate between complete and incomplete voicings.
If, on the other hand, you are asked to voice lead a circle of fifths progression
involving inverted seventh chords, always resolve the seventh of each chord
down by step and move the other voices smoothly. You will see the following
pattern: two voices will remain on common tones (shown with ties) while the
other two voices resolve downward by step.
&b 44 œœœ œœ œœ œœ œœ # œœ ˙˙
164
œ œ œ œ œ ˙
b 4 œœ œœ œœ œœ œœ # œœ ˙˙
164
&
? 44 œ œ œ œ œ œ ˙
b 4
? 4d: ivœ56 œ œ œ œ œ ˙i6
b 4 VII42 IIIM65 VIM42 iiø65 V42
24 œ
Figure d:27.2.3
iv56 Circle
VII42 of fifths
IIIM6progression
VIM42 with
iiøinverted
V427th chords
i6 (alternating
œ œ
6
&b 4 œœ œ œœ œœœ œœ œœ ˙˙˙

5 5
œ
6 4
and )
œ #œ
5
& b 44 œœ œœœ œœ œœœ œœ œ ˙˙˙

?b 44 œ œ œ # œœ ˙
?b 44d: ivœ 7 œ
VII43 œ
IIIM7 œ
VIM43 œ
iiø7 œ
V43 ˙i
3
d: iv7 VII4 IIIM7 VIM4 iiø7 V4 i
&4
3 3 3
3 4 œ
œ œœ œœ œœ œœ # œœ ˙˙
of fifths progression with alternating 7 and 43 chords
&b 4 œ
164 Figure 27.2.4 Circle
& 4 œ œ œ œ œ
? 43 ˙ ˙ ˙
27.3 Voice œ
? 4Leading œ the œ Vœ to Iœ Progression œ ˙
? 43 ˙ ˙b 4
7
7
In voice leading the 56V to I42 progression
d: iv VII M6
III5
VI
in 2
iiø
M4 four parts,
6
5
V 4 must 6deliberately
one
2
i
choose one of the following methods:
b 4 œœ& 4 œ œœœ œœ œœœ œœ œ ˙˙˙

œ œ # œœ
1. “Strict” resolution:
7
œ
? b 44resolving œ 3rd of œ the Vœ7 chord (œ7̂ ) up and
(a) Complete V to incomplete I: resolve 7̂ up and 4̂ and 2̂ down. This
means the œ the˙7th and 5th
7
of the V chord down. For the sake of consistency in terminology,
d: iv7
the examples VII43 label
below iiø7 7th Vof
IIIM77̂ , 2̂VI,M43and the 4 the chord.
3 i The
incomplete I chord will have a tripled root and one 3rd.
& c ˙˙ ˙ ˙˙ ˙
˙ ˙˙ ˙˙
7̂ 2̂
7th
˙
7̂
˙
7th
˙ ˙ ˙˙ ˙
2̂
?c ˙ ˙
7th
˙ ˙ ˙
2̂ 7̂
C: V7 I V7 I V7 I
complete incomplete complete incomplete complete incomplete
(b) Incomplete V7 (no fifth) to complete I.

& c ˙˙ 7th ˙˙ ˙˙ ˙˙
˙˙ ˙˙
7̂
˙
7th
˙ ˙
? c ˙˙ ˙ ˙˙ ˙
7̂ 7th
˙ ˙
7̂
C: V7 I V7 I V7 I
incomplete complete incomplete complete incomplete complete
& c ˙˙ 7̂
˙˙
˙˙ ˙˙
˙
7th
˙ ˙˙
?c ˙ ˙˙
7th
˙
7̂
˙ 2̂ ˙ ˙ ˙˙ 7̂ ˙
?c ˙ ˙
7th
˙˙ ˙ ˙
˙ ˙
& cC: V˙˙ 7 7th7̂ ˙I
˙ 2̂ ˙
˙ 7 2̂
7th ˙˙I
˙
V7 7̂
˙ 2̂ ˙
I V
˙ ˙ ˙ ˙
˙ ˙
CHAPTER 27. completeVOICE LEADING SEVENTH CHORDS 327
?c
incomplete complete 7th incomplete complete incomplete
˙ ˙ ˙
7̂
c
& C: ˙V˙ 7th ˙˙I ˙
˙V 7̂ ˙
˙I
7
˙˙ 7th incomplete
V 7
˙˙I 7
˙ 7th ˙
complete incomplete complete complete incomplete
˙
? c ˙˙ 7̂ ˙ ˙ ˙
7̂
˙ ˙ ˙˙
& c ˙˙7 7th ˙
˙ ˙ ˙
˙I
˙˙ 7̂ ˙
˙7 7̂
˙
7th
˙
V7
˙
C: V I V I
?c ˙ ˙
incomplete complete
˙
incomplete complete
˙ ˙
incomplete 7th complete
˙ ˙ ˙
7̂
c V˙˙7 7̂ I˙
2. “Free” resolution:
(a) If & ˙ V˙7 7th
C:
˙ you can ˙˙resolve itincomplete
I V7 I
˙ 7thto 5̂ . ˙
7̂ isincomplete
not in the soprano
complete part,
incomplete complete down bycomplete
the interval
?c ˙
of a third ˙˙ 7̂ ˙
˙ ˙˙ ˙
& c ˙ ˙ ˙
7̂ ˙V7 ˙˙I
˙ 7th complete
7th
˙
C: V7 I
?c ˙
complete ˙˙ 7̂
complete
˙
complete
˙ ˙
C: V7 I V7 I
complete complete complete complete
In piano music you will sometimes find “improper” resolution of the 7th of a 43
chord because it fits the hand better. This should be considered an exception
and will not be acceptable in voice leading exercises completed for this class.
b b c >œ œ œ œ nœ œ œ œ œ. œ ˙
411
& b J J
Ces - sa, cru - del, tan - to ri - gor!
b
& b b c œœ œœ n œœ œœ n œœœ œœœ œœ œœœ œœœ œœœ œœ œœ œœ œ œ
411
œ œ œ œ
f
>œ œ œ ˙
? bb c œ œ œ ˙
b
B¯: I6 V46 I V24 I6 IV I46 V7 I
b
&bb
414
b
YT: -Hlk8EDA02M
&bb
414
Figure 27.3.1 Giuseppe Giordani, Caro mio ben (1783)
? b Voice∑ Leading
27.3.1
bb ∑ I4 to V
6
∑
7
∑ ∑ ∑
When I64 resolves to V7 , beware of parallel fifths if the fifth is above the root
in the I64 chord. If it is, move all upper voices upward to the closest notes of
the V7 chord, or to an incomplete V7 (no 5th).
b
&bb
420
b
&bb
420
? bb ∑ ∑ ∑ ∑ ∑ ∑
b
b
&bb
426
solution: inc. V7 chord

˙˙
168 solution: upper voices ascend
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙
|| 5ths
˙ ˙˙ ˙ ˙˙ ˙
165
?
˙ ˙ ˙
5th ˙
& ˙˙ 75th ˙˙ ˙˙
˙ C: I64 V C: I64
5th
V7 5th C: I64 V7
˙ ˙˙ Root Root ˙ ˙ Root

|| 5ths || 5ths inc.
? ˙ ˙ ˙
Root
&
27.4 The Special Resolution of vii ◦7 (and vii ø7 )
? vii◦7 and viiø7 chords consist entirely of tendency tones (7̂ , 2̂ , 4̂ , 6̂ ).
The
˙˙ parallel˙˙ Root Root ˙ on the voicing

If one resolves all of those tendency tones correctly (2̂ –1̂ , 4̂ –3̂ , 6̂ –5̂ , 7̂ –8̂ ),
& ˙ ˙˙ Rootof the vii and vii
Root write
one might 5ths depending ◦7 ø7
5th 5th 5th
chord. Therefore, be sure to memorize the following 5th principle:
˙
Principle ˙27.4.1 Resolving ˙ the 7th
˙ of a vii◦7 or viiø7 chord
˙
|| 4ths || 4ths
?
is & ˙ ˙ of the chord (scale degree
vii◦ 7 . When
˙ the 3rd
voiced above the 3rd of the chord, resolve
2̂ ) up by step while resolving all other tendency tones normally (4̂ –3̂ , 6̂ –5̂ ,
?
7̂ –8̂ ). C: ii6 I64 C: I viio6
& ˙ ˙ ˙ ˙˙ ˙˙
˙ ˙ ˙˙
3rd
˙
7th 7th
˙ ˙
3rd 7th
3rd
2̂ 3̂ || 4ths
? ˙˙ ˙˙ ˙˙ ˙˙
|| 5ths
˙ ˙
(solution)
&
C: viiø7 I C: viiø7 I C: viiø7 I
?
Figure 27.4.2 Resolving viiø7
&The third measure above shows that revoicing the chord is another solution,
since parallel 4ths are not objectionable in this situation.
?If the 7th of the chord is voiced below the 3rd of the chord, resolve all
&
tendency tones normally.
? When to Use Seventh Chords

27.5
& as you approach tonic function. Therefore, sevenths are added most fre-
In your harmonizations of melodies, it is best to use seventh chords to add
tension
quently to chords of dominant function ( V and vii◦ ) and chords of pre–dominant
? ( ii and, to a lesser extent, IV ). (See the harmonic flowchart.) For
function
this reason, seventh chords like iii7 , vi7 , IVM7 , and IM7 are less commonly
used and encountered.
˙
? ˙˙ ˙˙ ˙˙ ˙˙
|| 5ths
˙
4
˙
(solution)
& vii˙˙ ø727. I ˙

˙ LEADING ˙˙ø7 ˙˙ Root C: viiø7
Root Root Root
C:
CHAPTER
5th
VOICE 5th
C: viiSEVENTH
I CHORDS I 329
5th
˙ ˙
5th
# ˙˙ œ
# #? ˙œ
˙
|| 4ths || 4ths
& c œ œ œ œœ˙ œœ ˙ ˙˙ .
.
œ œ œ œ
C: ii6 I6 viio6
œ œ ˙.
C: I
? # #7th# c˙ œ
4
œ œ7th ˙ œ
& ˙ ˙ ˙ œ ˙˙ œ ˙˙
˙. ˙˙
3rd
˙
˙ ˙
7th
3rd 3rd
2̂ 3̂ || 4ths
? A:˙ ii ˙˙ ˙ ii56 ˙˙
|| 5ths
˙ ˙ ˙ ˙
vi (solution)
V 7 I
##
& #
C: viiø7 I C: viiø7 I C: viiø7 I
###
œ œœ
#27.5.1c J.S. œœ “Lobt Gott,
œœ ihr Christen,
˙˙ .
YT: 2dxuAKSxgw0
? # #&
Figure œ Chorale
œ Bach, 342, . allzugleich”,
BWV 376
œ œ œ œ œ œ ˙.
? ### c œ œ œ œ œ
27.6 Practice Exercises œ ˙.
6 7
1. Voice leadA:each
ii vi
V7 chord ii5
to the tonic usingVeither “strict”
I
or “free” resolu-
tion as indicated by the terms incomplete (“inc.”) and complete (“comp.”).
Include key signatures.
Example
& # ˙˙ ˙˙
166
˙ ˙
?
& ˙ ˙
? a: V7 i D: V7 I e: V7 i B¯: V7 I
inc. comp. comp. inc. comp. comp. comp. comp.
2. c˜ : V
Voice lead 7
this i
circle A: V7 progression
of fifths I f: V7
involving E¯: V7 seventh
i root position I 167
inc. comp. comp. inc. comp. comp. comp.
chords. Include the key signature and analyze the figured bass symbols comp.
in order to place Roman numerals in the blanks below the staff.
&
&
?
? œœ œœ œœ œœ œœ
œœ œœ œœ
7 7 7 7 77 77 77 77 77
A: ____ ____ ____ ____ ____ ____ ˜
____ ____
b: ____ ____ ____ ____ ____ ____ ____ ____
#
3. Voice lead this circle of fifths progression involving inverted seventh chords.
&
&
?#
?
G: IM65 IVM42 viiø65 iii4 vi56 ii4 V56 IM42

2 2
Click here btob download the homework assignment for this chapter.
&
Click
b b to download the Unit 8 Practice Test.
& here
? bb
? bb
f: i42 iv56 VII42 IIIM65 VIM42 iiø56 V42 i65
#
170
Chapter
& œ
28
œ
œ œ œœ œœ
? œœ œ œ œ
8ve 5th 5th 8ve 5th
Voice Leading With Non-Chord

5th 8ve
170
œ œ œ
& œœ
Tones
C: I œœ œœ œœ V vi IV
œ œ œ œ 5th
p
?
8ve 5th 5th
& œœ œœ œ
8ve
œ œ œœ
5th 8ve
œœ œ
C: œI Voice Leading
œ
|| 5
œ œ
|| 5
? œ
n
28.1 V With Non-Chord
vi IVTones
œ p œ œ œ
& œ
œ leading. œV œ œ œ pœ œœ
Non-chord tones are common in J.S. Bach’s 371 Chorales, which are our model
viœ
for voice
C: I IV
U
œ œ
|| 5
œ œ
p
œ œ
|| 5
? œ (œ ) œ œ œ œ
n
& bœ c œ
p
œ œœ œ œœ (œ)œ œ œœ œœ œ
p sus (9 - 7) n
? c œœ œœ p œ œœ œœ (œ) œ œ œ (œ)IVœ œ œœ
p
œ ( œ) œ ( œ) U
C: I V vi
b œ
( )
œ (œ ) œ œ œ œ p œ p uœ
&b c œ
p
F: œ
I œV6 œI V6 viœœ (œ) œ
I6
œ
IV
œ
IV6
œI
p sus (9 - 7) n
? #c œœ œœ œ œœ œœ (œ) œ (œ ) œ (œ) œ œœ
œ œ ()
œœ
b# œ œœ œ
œœ 9m0RWQbSOWA
& # c œœ œ œœ œ œ œ
œœ œœ p uœœ
( )
YT:
p
Figure F:28.1.1
I V6
J.S. Bach, I V6 323,
Chorale vi “WieI6schön leuchtet
IV 6
IVMorgenstern”,
der I
œ œœ œ œ œ œ œ œ
? ### c œ œ œ œ
BWV 172
œ œ œ œ œ U
## œ œ œ
p
& # c œœ œ œœ œœ œ œ œ œœ œœ œœ
( )
œ
p
œ p œ œ p œ œ
p
(œ ) œ (œ ) œ
? ### c œ œ ( œ) œ œ œ œ ( œ) œ
œ œ
u
A: I I IV6 V ii viio6 I6 V I
YT: t5rs2a0Cvr4
Figure 28.1.2 J.S. Bach, Chorale 326, “Allein Gott in der Höh’ sei Erh’, BWV
104”, BWV 172
330
CHAPTER 28. VOICE LEADING WITH NON-CHORD TONES 331
28.2 Avoiding Objectionable Parallels

When adding non-chord tones, one must avoid creating objectionable parallels.
To avoid creating parallel 5ths and 8ves when adding non-chord tones, first
170 identify intervals of 5ths and 8ves between voices in your original voice leading.
& œœ œœ œœ œœ
? œœ œ 5th 8ve œ
5th 5th 8ve œ 5th
170 8ve
œ œ œ
& œœ œœ œœ œœ
C: I
œ 8ve V
œ 8ve œ
vi 5th 5th
? œ 28.2.1 Progression with 8ves and 5ths identified
5th 8ve œ 5th
IV
œ œ œ
p
&Avoid
œœ adding non-chord
œœ tonesœ that move
Figure
œœ by stepœ into notesœœ separated by a
5thC:orI 8ve. V vi IV
? œœ œ
|| 5
œ œ
n || 5
p
& œœ œœ œ œœ œœ œœ
œ
? œœ œ
|| 5 p
œ œ
C: I V vi n || 5 IV
œ œ œ œ
&
p
C: I V vi IV
?
&It is best to avoid adding non-chord tones in two voices on the same beat
Figure 28.2.2 Parallel 5ths and 8ves created by non-chord tones
unless they are moving in parallel 3rds or 6ths.

?
28.3 Adding Non-Chord Tones to a Chord Pro-
gression
Here are ideas for how to add non-chord tones (or “embellishments”) to one of
the voice parts of an SATB chord progression.
1. Repeated note: add upper or lower neighbor
& œ œœ œœ œœ œœ œœ
œ
n || 5
œ œ œ
repeated note n
? œœ œ œ œ œ
œ œ
œ œ œ
C: I V I V I V
Figure 28.3.1
& 2. Step down:
? (a) Add a suspension by delaying the resolution of the note
&
& œ ? œœ œœœ œœœ œ œ œœ œœœ œ œ
repeated note n || 5
œ œœ œ œ
œ œ œ
&
n || 5 TONES
? œœœœ œ œ œœ
repeated note n
œœœ œ œ œœ
CHAPTER 28. VOICE LEADING WITH NON-CHORD 332
œ œ
C: I V I V I V
4 œ œ œ(less common)
&
n || 5 sus 6 - 5
& œIœ Vœœœ œœ œœIœ œ œœ Vœœ œœ Iœœœ œ œœVœœ œœ œ

repeated note n
C: œ
?
œ œœ œ œ œ (less common)
œ
step down
& œ ?œ œ œœ
sus 6 - 5
œ œ œœœ œ œ
?œ œœ œ œ œœ œœ œœœœ œ œ œ œœœ (less
sus 4 - 3 n || 5
œ common)
repeated note n V
œ
C: I V I I V
œ œ œ6 - 5 œ
&C:œœ I C: œIV Vœ I susIœ4œV- 3 V Iœ IVœ œ V
step down sus
? œ œœ œ œ œœ œ
œ œ
Figure 28.3.2 œ œ œ
&
step down (less common)
& Iœœ stepwise

Vœ Iœ œ Iœ Vœ
sus 4 - 3 sus 6 - 5
? œœœ œœœ then
œœ œœœ movement, œœ œ œ
(b) Add an escape tone by moving by step in the opposite direction of
œ leap œœ
C: V
?
the original
step down
œ&
esc
œœ œ œ œœVœ
step down
? œœ œœ œ œœœ
C: I V I susV4 - 3 I
œ œ œ œ
esc œ
? œœ œ œœ œ œ
step down
C: I V & œI œœV œ I œœV

C: Iœstep down
? œ Iœ esc Vœ
& œœ œ œœ œ œ
V
Figure 28.3.3 œ œœ œ œœ
& (c)
? œœ
C: I
Add a double neighbor V
œ œœ
I V
œ
œ œ
? &C: œœI œ V œœ œI œ œ œœV
œ
& œœ
step down
? œœ œ œ œ œœ
dn
œœ œœ œ œ œœ
step down
? œœ œ œœI œ
C: I V dn V
Figure 28.3.4 œ œ
& C: I tone
(d) Add a chromatic passing V I V
? step down chro. p

& œœ œœ œœ b œ œœ
? œœ œ œœ œ
œ œ
C: I V I V
Figure 28.3.5
(e) Add an anticipation

step up ret
& œ WITH
œstep upœœ NON-CHORD
œœ œœ œTONES
175
CHAPTER 28. VOICE LEADING 333
ret
&? œœœ œœœ œ œ
œœœœ. œ œœœ
ant
& œœœ œœœ

step down
œ œ 175
? œ œ œœœœV œI œ
?C: œœVstep upœI œret
& œstep upœœ œ
&C:C: VœœI œœVœI œ IVœ œ œI Vœ œ
œ œ œ
dn
œ dn
? œœ œœœœ œ œ
œœ œœ œ œ œ œœœœ
step up
& œœ œœ
Figure 28.3.6
& 3. Step up: œ

(a) Add a chromatic? C: œV tone œI I œ V I œI
? œstep upœ œ dn œ
passing V
&& œœ œœI œ
œ œ œ œ œ œœI
step up chro. p
C: V
œ œ œ œœ # œ œ
V
?? œœstep up œ œ œchro. p œœ
& œœ œœœœœ œ œœ # œ œœ
œœ
?C: œV œœI œV œI
C: V I V I
œstep up œ chro. p œ
&C:& Vœ œœI
Figure 28.3.7
(b) Add an anticipation œ œœ # œ

V œœI
?? œœ œœ
œœ . œ œ
step up ant
& œœ œœ œœœœ
C: Vœ Vœ Iœ œœI
? œ
œ step up œ ant
&& Vœ œI œ . œ œI
œ œ œ œ
C: V
?? œby leaping
œ œ œœ
Figure 28.3.8
& œ œ oneœ step beyond

(c) Add an appoggiatura the note of reso-
lution, placing the appogiatura on the beat, displacing the note of
?
resolution to occurC:after
V theI beat V I
app
œ œ
step up
& œœ œ œ
œ œ œ
?œ œœ œ œœ
œ œ
C: V I V I
Figure 28.3.9
(d) Add a double neighbor

? œ œœ œ œœ
œ œ
CHAPTER 28. VOICE LEADING WITH NON-CHORD TONES 334
C: V I V I
step up dn
& œœ œ œ œ œ œ œœ
œ œ
?œ œ
œ
œ œ
œ
œ œ
C: V I V I
Figure 28.3.10
(e) Add retardation &

175
by delaying resolution of the note (rarely used)
? step up ret
& œ œœ œœ œœ œ
œ
? œ œœ œ œœ
œ œ ant
& step down
C: Vœ œI œV. œ I œ
6
& œ œ œ dn œ
Figure 28.3.11 ? step up
&?œœœœstep down
œ œ œ œœ œ œ œ
œœ œ ant œ
œI œ œV toneœ œI . œ Vœœ
4. Leap of 3rd:
?&C:aœœpassing œ œ œœ
œleap ofœ 3rd œ
(a) Fill in the 3rd with
& œœ
? œ œœ p œ
&
C: Vœ Iœ
œ V œ œ œIœ
?C: I
œ V
œ œ
I V
œ
&? leapœ of 3rdœ œ p œ
œ œœii œ œ œ
?&C: œI œI iiœ
œleap of 3rd
œ œ appœ
?
Figure 28.3.12
Add an appoggiaturaœœby leapingœœ oneœœstep beyond

œ œ œ the note of reso-
& œ œ œ beat,œ displacing the note of
(b)
lution, placing the appogiatura on the
resolution to occurC:after
I
theiibeat I ii
& œ
? leap
œ œ œ
œ of 3rd
œ œ œ
app
? œ œ œI œ œ
&
C: œI œI œ œI
? œœ œ
œ
œ
œ
œ
œ
&
? &
C: I I I I
?
Figure 28.3.13
& 5. Leaps of 4th or larger: do not embellish (for now)
? Here is a basic framework with all possibilities labeled.

&
?
&
? # 43 œ œ œ œ œœ œœ œ œ ˙ ..
œ œ Œ
G: I28.
CHAPTER ii/3rd
/3rd VOICE LEADING WITH V7
I/5th NON-CHORD I
TONES 335
#
G D Em C
44
˙˙ ˙˙
307
&# ˙˙ ˙˙
G D Em C
44
˙˙ ˙˙
307 step down step down
& ˙˙ ˙˙
repeated note
step
step down
down step down repeated note
˙ ˙ ˙˙ ˙
step down
? # 4 ˙˙
step down repeated note
˙
repeated note
˙
leap of 3rd
? # 44 ˙ ˙˙
step up
˙
repeated note
˙
leap
stepofup3rd
4
step up
step up
G: I V vi IV
G: I V
Here is one possible solution: vi IV
G D Em C
# 4
309
œ˙ œ
esc. 4-3 sus
&# 44 ˙(œ ) œ œ˙4-3 sus œ (œnt) ˙˙

G D Em nt C
309
œ˙ (œ )
(esc.
˙(œ4-3) sus œ (œ )
)
& 4 œ (œ ) ˙˙
( )
˙
4-3 sus pt
œ œ œ (œ ) œ
app
œ ˙œ œ
nt
? # 44 ˙œ
171
œ
pt
œ˙ œ (œ ) ( ) œ
œ
(app
( œ) ˙œ ˙) œ
( nt) )
? # 44# c˙ ˙ œ (œ )ant ˙
esc n sus (
& œœ # œœ V œ
G: I œœ œ
vi œ
# œœ pt IV ˙ ˙
pt
? # c œœ
sus ant
œ œ
dn
œœ œ œ
œ voices˙ on the same
G: I V p vi IV
œ
Notice that, when non-chord œ added œto different
tones are
beat, consonant intervals (3rds, 5ths,
p
6ths, or 8ves) are made. If consonant
intervals can’t be made, the voices are staggered rhythmically (as occurs on
e: ____ ____ ____ ____ ____ ____ ____
beats 3 and 4 in measure one of the example above).
## c
&
? # # cthe chordsœ with Roman numerals
œ œ
œ the blanks ˙ the staff,
1. Analyze
œ œ in below
then add the specified non-chord tones, specifying suspensions with the 171
appropriate interval numbers. ˜
# c
b: ____
esc ____ ____ ____ n ____ ____ ____
sus ant
& œœ # œœ œ œœ œœ # œœ ˙
& b c sus ˙
? # c œœ
ant
œ œ
dn
œœ œ œœ ˙
p
?b c œ œ œ
p
e: ____
F: I ____
vi ____
IV ____
V ____
vi ____
IV I ____
#
&
?#
2. Analyze the figured bass below to write Roman numerals in the blanks be-
# passing tone, (3) one neighbor tone, and (4) one anticipation.
low the staff. Then add the following non-chord tones: (1) 3 suspensions,
&
(2) one
?#
?# c œ œœ ˙ œ œ
# œ œ
n
œ œ
& c œœ
esc sus ant
œ
#œ œ œœ
˙ œœ # œœ
p
˙
? # c œœ
sus ant
œ œ
CHAPTERe:28. VOICE LEADING WITH dn
NON-CHORD TONES 336
œœ œ
____ ____ ____ p ____ ____ ____ ____
œ ˙
## c œ œ œ œ
& p
? ## c œ œ œ œ ˙
e: ____ ____ ____ ____ ____ ____ ____
œ œ
## c
& ˜
b: ____ ____ ____ ____ ____ ____ ____
3. ? # #lead
Voice the following Roman numeral progressionœ then add
c œ tones: œ (1) a œneighborœ tone during
œ beat one, (2) ˙ the follow-
ing&non-chord a neighbor
tone during beat two, (3) an appoggiatura on beat 3, ˜ (4) a suspension on
? (7)
# # a suspension on beat 7.
beat four, (5) a suspension
b: ____ ____ on beat
____ 5, (6) an
____ anticipation
____ ____ during
____ beat six,
and
&b c
? c
b
F: I vi IV V vi IV I
&b
?
b
leap of 3rd p
& œœ œœ œœ œ œœ
œ œ œ œ
? œ œ œ œ
Chapter
C: I 29
ii I ii
Voice
leapLeading Chromatic
app
Har-
œ œ œ
of 3rd
& œœ
monies œ œ œ
œ
œ œ œ œ
? œ œ œ œ
29.1 Voice Leading Secondary Chords
When voice leading secondary chords, one largely follows voice leading rules
for seventh chords:
C: I I I I
1. Resolve the 7th of a chord down by step.
7th
& # œœ œœ
? œœ œ
C: V7/V V
2. Alternate complete voicings with incomplete voicings when voice lead-
ing successive root position seventh chords . Note that with secondary
chords, the 3rd of the chord, typically a raised note, will resolve down by
half step to the 7th of the chord, which is a diatonic note that cancels
out the chromaticism of the previous note.
337
CHAPTER 29. VOICE LEADING CHROMATIC HARMONIES 338
# œ 3rd nœ #œ nœ
& c # œ 5th œ œ œ
7th 3rd 7th
Root 5th Root
? c œœ 7th # œœ nœ # œœ
œ
3rd 7th 3rd
Root Root Root Root
C: V7/iii V7/vi V7/ii V7/V

complete incomplete complete incomplete
177
3. Follow the principle for resolving vii◦7 and viiø7 when dealing with sec-
ondary vii◦7 and viiø7 chords.
& œœ 7th œœ
3rd 177
? # œœ œœ œ œœ
& œ 7th
3rd
? # œœ
C: viio7/ii
œœ
ii
(a) An important exception occurs when vii◦7 V or viiø7 V resolves

to V. If the melody requires the 7th of the chord to be voiced above

the 3rd of the chord, solve the example by writing parallel (unequal)
C: vii o7
fifths instead of the doubling of the leading tone,/ii ii
which is considered
less acceptable.
bb
œ 7th n œœ œ 7th œ
|| 5ths
& b n œ 3rd n œ 3rd œ

doubled 3rd unequal 5ths
? b # œœ # œœ
(avoid on V) (preferable)
n œœ n œœ
bb
c: viio7/V V viio7/V V
&
29.2 Voice Leading Borrowed Chords
Borrowed chords, or chords making use of mode mixture, are handled similarly
?
to their diatonic versions in terms of voice leading, e.g., iiø7 is handled similarly
to ii7 . In any of the borrowed chords with 26̂ , resolve this tendency tone down
by step whenever possible.
&b
? b
b
Principle____
29.2.1____
Voice Leading
____ Borrowed
____ I46 Chords.
V Resolve
I
26̂ down by
b
&b c
182 step when it is a chord member of a borrowed chord.
& œœ b œœ œœ œœ b œœ œœ œœ b œœ œœ
? b œc œ œ œ œ œ œ œ œ
b œ œ
? œ œ œ œ œ œ œ
Bb: ____ ____ ____ ____ ____ Fr+6 V
C: I iiø7 V C: I iv I64 C: I viio7 I
& b b 29.2.2 Resolving 26̂ down when voice leading borrowed chords
Figure
c
&Another situation where you may encounter a borrowed chord is the V –2 VI
? b
cadence, which should be handled exactly as the deceptive cadence in minor is
?c b
handled—resolve the 3rd of the V chord up by step and move the other two
voices in contrary motion to the bass.
There are no specific rules for other borrowed chords such as 2 III , 2 VII , i ,
____ ____ ____ ____ I6 V I
and v ; simply voice lead them as smoothly 4as possible while avoiding objec-
tionable parallels.
& œœ b œœ œœ œœ b œœ œœ œœ b œœ œœ
& Voice Leading the Neapolitan Chord
29.3
? œ
There œare twoœ rules for voice leading
œ œ 6 œ
œ parts: œ
?
the N chord in four
œ
1. Double theø7bass (the third)
C: I ii V C: I iv I64 C: I viio7 I
2. Resolve 22̂ down to the nearest note in the next chord.
b b œœ b œœ œœ b œœ n œœ n œœ
& b b œœ n œœ œœ œœ n œœ
œ œ œœ œ œ œ œœ œ œ œ œ
? bb œ œ œ œ œ #œ œ
b œ œ
c: i N6 V c: i N6 i6 V c: i N6 viio7/V V
Figure 29.3.1 Resolving 22̂ down when voice leading N6
&c
29.4 Voice Leading Augmented Sixth Chords
? c be helpful to review the three types of augmented sixth chords before
It may
discussing how one voice leads them.
The salient accidental in all three augmented sixth chords is 44̂ , which
almost always resolves upward to 5̂ .
183
183
not used
& # œœ # œœ # œœ # œœ # œœ # œœ
183
not used
œœ ## œœœœ
& #& # œœœ œ
# œ # œœ ##œœœœ
œ
# œœ #œ
|| 5 œ
not used
# œœ
? œœ #œ
œ œœ || 5 œ œ œ
œœ œ œœ || 5 œ
? ? œœ œœœ
œ œœ œ œœ œœ œœœ œ
œ œ
œ œ
a: It+6a: ItV+6 a: V
Fr+6 V a: Fr
a:
+6
Ger+6 V
V a: Ger +6 V
It+6 44̂ toV5̂ in resolution
Figurea:29.4.1 +6V V
a: Frto a: Ger+6 V
& # œœ œœ # œœ œœ # œœ œœ
The 44̂ scale degree also resolves to 5̂ when an augmented sixth chord re-
solves to the Cadential 64 chord.
œœ œœœ œœœœ œ œœ œœœœ

? &
# œœ œœ
œ
#œ œ #œ
? œœ œ œœ œ œœ œ
a: It+6 i46 a: Fr+6 i64 a: Ger+6 i64
œ œ œ
& # œœ n # œœ
a: It+6 i46 +6
a: Fr 6 i4 a: Ger+6 i64
? œœ
Figure 29.4.2 44̂ to 5̂ in resolution to Cadential
œ
œ 6
4
chord (abbreviated EnGer+6 ,
&
With the enharmonic German augmented sixth
a: Fr+6 V 7
containing , 1̂ , , and ), and resolve upward to members of a major
26̂ 42̂ 44̂ 42̂ 44̂
I64 chord.
###
& œœ
# # œœ
?
? # # # n œœ œœ
A: EnGer+6 I64
Figure 29.4.3 42̂ to 42̂ resolving upward when in an EnGer+6
&
The exception to 44̂ to 5̂ occurs when an augmented sixth chord resolves to
V , in which case 44̂ resolves to 64̂ , which is the 7th of the V7 chord.
7
?
a: It+6 i46 a: Fr+6 i64 a: Ger+6 i64
& # œœ n # œœ
? œœ œœ
a: Fr+6 V7
Figure 29.4.4 44̂ to 64̂ in resolution to V7
If you voice lead an augmented sixth chord to something other than V , V7 ,
or i64 , move all of the voices smoothly while avoiding objectionable parallels
and employing proper doublings.
177
Day One & œ œœ œ 7th

3rd
1. Analyze the figured bass to provide Roman numerals in the blanks
? # œœ the key
below the staff, then voice lead the progression. Include œœ sig-
178 nature.
& C: viio7/ii ii
œ & bœb b n œœ 3rd œ n œœ n œ n œœ 3rd œ

|| 5ths
? œ ˙ œ
7th 7th
œ
7 7 7 7
# œœ # œœ ____ n œœ
Ω Ω
Ω
? ____ n œœ
bbb
A¯: ____ ____ ____ ____ ____
b
& b b b œœ Add the
œœ following
2. Voice lead the following Roman numeral progression. Include the key
signature. n œœ non-chord
b œœ
c: viio7/V
œœ 1 suspension,
V
tones: œœ
viio7/V
˙˙ 1 passing
V
tone, 1 anticipation, and 3 neighbor tones. 179

œ nœ bœ nœ œœ
&
? bb b œ œ œ n œœ ˙˙
& b œ
? I V7/vi V7/ii V7/V V viio7/vi vi
A¯: ____ ____ ____ ____ ____ ____ ____
? œ œ œ œ ˙
free res.
œ œ
A: I viio7/ii
comp. inc.
ii Vcomp
4
2
I6 V65 /V V
Day Two &

7 7 6
˜ ˜
& G: ____
4
3
____ bass
____ ____ Roman
____numerals
____ in____
?the staff, then voice lead the progressions in chorale style. Include
3. Analyze the figured to provide the blanks be-
low
?
the key signatures. Include one suspension in each measure.
&
D: I V42 /IV IV6 viio7/V V viio7/vi vi
&
? œ œ ˙ œ œ #œ œ œ œ ˙ œ œ œ œ
&
? ¯ 6 ¯6 7 ˜
˜
? œ œ nœ œ nœ ˙
F: ___ ___ ___ a: ___ ___ ___ ___ G: ii7 viio7 I e: VI N6 V7 VI
œ
4+ 6 ¯7 7 Ω
Ω
&
2 ¯5
b¯: ____ ____ ____ ____ ____ ____ ____
? œ nœ nœ œ œ n˙
œ
œ œ œ bœ nœ œ
& n˙
CHAPTER?29. VOICE LEADING CHROMATIC HARMONIES 342
184 Day Three

&
Rom. num.: ____
4. Analyze
____ ____ N6 viio7/V ____ ____
the figured bass to provide Roman numerals in the blanks
Harm. func.: ton. dom. ton. ____ ____ dom. ton. prol. Include
below the staff. Voice lead the progressions in chorale style.
? œ nœ œ nœ nœ
the key signatures.
& œ #œ œ
4 6 6 6 Ω7 Ω5
Ω3 4+ 4
? œ b____
œ œ œ œ
3
œ b œ ____
E: ____
œ
____n œ b œ____œ ____ ____ œ ____
& 6
4
6 6
5
6
4
3 3
? œ œ œ œ œ
G: V43/V EnGer+6 I64 b: i6 It+6 V
œ
D: ___ ___ ___ f: ___ ___ ___
œ œ
Day Four ¯7 ¯7 ¯7
& lead the following
6 6 7 7
4 4 Ω Ω Ω
5. Voice 3 Roman numeral progression. Include the key
signature.
b¯: Add
____ the following
____ ____ non-chord
____ tones:
____ ____ an escape
____ tone,
____ a 4-3
? œ œ
suspension, an anticipation, and a passing tone.
& œ bœ œ nœ bœ œ œ bœ œ œ
A¯: vi Fr+6 V7 ¯VI N6 viio7/V V vi
Click here &

to download the first homework assignment for this chapter.
? to download the third homework assignment for this chapter.
Click here
Click here to download4 the Unit 9 Practice Test.6
f ˜: i 6 V2/Vo4 V +6 6 7
vii 3/iv IV Ger N V
bb œ œœ
& b b œœ œœ œ œ b ∫ œœ n œœ œœ . œ œ
œ
œ nœ bœ œ
? bb b œ bœ œ A b œœ œ œ
bœ
nœ
œœ œœ
b
esc, 4-3 sus, p, ant

b
186
&bb
? bb
b
E¯: I viio43/IV IV6 EnGer+6 I64 viio7/vi vi
###
& c
Chapter 30
? ### c œ œ œ nœ œ ˙
œ
Introduction to Counterpoint Ω 7 6
4
3
Ω5
3
A: ____ ____ ____ ____ ____ ____ ____
#
& c
30.1 Species Counterpoint
?seminal
# c œ composition
# œ text,
n œ Gradus
# œ through n“species
œ ˙
œ
The ad Parnassum (1725), by Johann Joseph
Fux, teaches contrapuntal composition counterpoint.” Species
counterpoint uses simple rhythmic values and teaches composers how to write
7 4+ 6 6
˜
Ω against a larger value,
one, two, three, or four notes 4
3
usually a whole note. In
this text, we will focus on writing for two voices. In a semester-long college
course e:in ____ ____ one
counterpoint, ____ ____
typically learns to____
write for____ ____ voices.
up to four
Counterpoint can be thought of as the simultaneous sounding of two or
more melodic lines. An example is shown below.
## # j
Melody 3
˙ œ œ œœ œ œ œœ œ œ œ œ œ œ œ
& # ## # c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœœ œ ‰
œ œ
œ œœœ œ œ œ œ œ œœœ
Melody 2
? # # # # # # c ‰ œJ œ œ œ œ œ J
#
Melody 1
YT: YGHj2CmNz0E
Figure 30.1.1 Bach, J.S., Well-Tempered Clavier, Book I, Fugue 3 in C-sharp
major, BWV 848
Textures made of counterpoint are called “contrapuntal” and can be con-
trasted with melody-accompaniment textures, which are called “homophonic.”
30.2 First Species Counterpoint

In first species, we will write note-against-note counterpoint in whole notes.
You will be given a melody, called the cantus firmus (abbreviated “c.f.”),
against which you will write a counterpoint.
343
CHAPTER 30. INTRODUCTION TO COUNTERPOINT 344
4 ∑ ∑ ∑ ∑ ∑ ∑
&4
& 44 w w w w w w
c.f. (cantus firmus, a pre-existing melody)
4 from ∑ cantus firmus

∑ to counterpoint:
∑ ∑ ∑ ∑
&4
Figure
Intervallic30.2.1
distance
8
style 4
Fux ____
enumerates several rules to follow to write in proper sixteenth-century
(thewstyle of Palestrina). Since this is a brief introduction to writing in
∑ ∑ ∑ ∑ ∑
& 44 w
& 4 counterpoint,
w w
w rules in a semester-long coursew in counterpoint.
w
species the rules below are slightly modified and simplified. You
4 ∑ ∑ ∑ ∑ ∑ ∑
&4
would likely follow stricter
1. 4
c.f. (cantus firmus, a pre-existing melody)
&4 w w w
Begin with an octave or unison.
4 distancewfrom cantus firmus to counterpoint: w w

&4 w w
Intervallic
w 8 w w w
4
c.f. ____
w
&distance
Intervallic 4 c.f. (cantus
from cantus ∑a pre-existing
firmus,firmus ∑ melody) ∑
to counterpoint: ∑ ∑
8 6 8
& 44 &w 44
____ ____ ____
∑ ∑ ∑ w w
Intervallic distance from cantus firmus to counterpoint:
w ∑ w w w ∑ w ∑
8
& 44 c.f.
____
w ∑ ∑ 7ˆ 8ˆ
&2. 44End w or unison. w w w

w on an octave w
&c.f.44 ____
w octave wor unison wby contrary

ww the ending 2ˆ w motion; 1ˆw
8 6 8
4
____ ____
& 4willc.f.end with 7̂ –∑8̂ while the∑ other ends∑ with w2̂ –1̂ . w
3. Approach one of the
parts
w ww
& 44 &w 44 ____ wwww 3 5 8 6 www 3 5 8 6 wwww 3 5 6 8 w6
8 6 88ˆ
w
____ ____
7ˆ ____
Intervallic distance from
10 cantus firmus
10 to counterpoint:
8
ww w w w w
8
ww
& 44 c.f.
____ ____
∑ ∑ ∑ w2ˆ
& 44 w ____
all possible consonances 1ˆ
8 w w ____ w____ w7ˆ

w
8ˆ
4 www 10 8 wwww 10 8 6 wwww 6 8 ____
&c.f.4 w4 w
8 ____ 66 88
ww
5 3 3 ____ ____
ww 3 5 ww
____ ____
& 4 &w4 www 3 w5 6 w w3 5

2ˆ 1ˆ
4
c.f. contrary “perfect”
& If44 & 4 w

motion consonance
w Dw dorian,____
all possible consonances
is win G mixolydian,
w w w wwC4, and G6w4worrespectively).
8w
w
w
(a) the
8 example A aeolian, use a
4 w w 8 w 8 ww 6 w
____ ____
&4 www 3 5 ww 3 5 w 35 w
sharp to create the
10 leading 10
tone (F 4 , 8
6
c.f.c.f. 6
#w w
Use a sharp to create the leading tone at the final cadence
#w w
& 44 &w #w w
all possible consonances
w w w w w
& w w w
c.f.
w w w
c.f. c.f. c.f.
G mixolydian D dorian A aeolian
4. Create consonant harmonic intervals in each measure (unisons, 3rds, 5ths,
nances & ∑ 7ths) are not allowed in first species

∑
6ths, and their compound versions—10ths, 12ths, 13ths, etc.). Disso-
(2nds, 4ths, counterpoint.
& ∑ ∑
4
7 8
&4 w w w w
w w
CHAPTER 30.
c.f. INTRODUCTION TO COUNTERPOINT
2ˆ 1ˆ 345
w 10 ww 10
& 44 w wwww 3 5 8 6 www 3 5 8 6 wwww 3 5 6 8 w
8 6 8
w
____ ____ ____
4
& 44 ww
8 5 all possible
3 consonances
3 6 8
& ww
____ ____ ____ ____ ____ ____
ww ww ww ww
44
c.f. contrary “perfect”
&
motion consonance
w
(a) “Imperfect” w
consonancesw(3rds and w6ths) can be
w approached
w in any
manner
c.f.
i. Do not use more than three consecutive 3rds or 6ths
#w w
Use a sharp to create the leading tone at the final cadence
# w in orderw to avoid direct 5ths wand direct

(b) “Perfect” consonances (unisons, 5ths, 8ves, 12ths) may only be ap-
& proached in contrary motion #w
8ves (you may wish to review the Types of Motion).
& thew following w leaps are allowed: 3rds,

sixths, and 8ves (review thewRules of Melody
w withw regard towdirection
5. Only 4ths, 5ths, ascending minor
changesc.f.after leaps). c.f. c.f.

G mixolydian D dorian A aeolian
6. Avoid melodically outlining a tritone by changing directions at two turn-
ing points in a melody.
4 w w w w
tritone
&4 w w w w
tritone
melody changes melody changes melody changes
& 44 w
direction on B direction on F direction on B
w w w w w w w
c.f.
7. Avoid repeating notes in order to create a flowing melody
Following these rules may seem dry and uninspired, but these rules come from
& ∑and can make any ∑composer better and more ∑aware of what
observations of note-by-note details in Renaissance masterpieces by composers
like Palestrina
they are writing.
Go to First Species Practice Exercises.
& ∑ ∑ ∑
30.3 Second Species Counterpoint
In second species, one writes two half notes against a cantus firmus in whole
notes. (Second species can also include writing three half notes against a cantus
firmus of dotted whole notes in 32 .) The rules are generally the same as first
species except that one simple dissonance is allowed in second species: the
passing tone. Please see the details below.
1. Begin your counterpoint with a half note at the octave or unison on either
the first or third beat of the measure; if starting on the third beat, put
a half rest at the beginning of the measure.
melody changes melody changes
& 44 w
direction on B direction on F direction on B
w w w w w w w
c.f.

8
w
____
w
& 44 w
c.f.
w w w
& 44 Ó ˙
∑ ∑ ∑ ∑ ∑
2. End with a whole note on an octave or unison, using one of these con-
cluding formulas:
(a) If the cantus firmus is in the lower part, approach the final octave
with intervals of a fifth and sixth (6̂ –7̂ against 2̂ in the cantus
firmus).
(b) If the cantus firmus is in the upper part, approach the final octave
or unison with the intervals of a fifth and third (5̂ –7̂ against 2̂ in
the cantus firmus).
(c) Phrygian mode has an exception: if the cantus firmus is in the upper
part, approach the final octave or unison with the intervals of a sixth
to a third (4̂ –27̂ against 22̂ in the cantus firmus).
Concluding formulas:
Int: 5 6 8 5 3 1 6 3 1
w w w w w
& ˙ #˙
c.f. c.f.
w
6ˆ 7ˆ
&w ˙ #˙ w ˙ ˙
w
c.f. 5ˆ 7ˆ 4ˆ 7ˆ
cantus firmus cantus firmus cantus firmus in upper
in lower voice in upper voice voice in phrygian mode
& (unison, 3rd, 5th, 6th, 8ve, or∑ compound interval equivalent).
3. Of the two half notes you write in each measure, the first must always be a
consonance
If the second is a dissonance, it can only be a passing tone (approached
and left by step). Otherwise, the second note must be a consonance. The
& ∑
only allowable leaps are the same as in first species.
4. When crossing barlines, apply the following:

(a) “Imperfect” consonances (3rds and 6ths) can be approached in any
manner.
& ∑ to avoid direct 5ths and direct

(b) “Perfect” consonances (unisons, 5ths, 8ves, 12ths) may only be ap-
proached in contrary motion in order
8ves.
∑
(c) Do not repeat notes across barlines
5. Avoid &8ves on consecutive downbeats and avoid 5ths on consecutive
downbeats unless there is the leap of 4th occurring after the 8ve or 5th
on the downbeat
& ∑
& ∑
4 ˙ #˙ w
consonance
&4 Ó ˙
consonance consonance
˙ ˙ ˙ ˙ ˙
˙ ˙ ˙
pt
Concluding
CHAPTER formulas:
contrary
30. INTRODUCTION contrary contrary
TO COUNTERPOINT 347
motion motion motion
Int: 5 6 8 5 3 1 6 3 1
w w w8 w
& ˙ #˙ ˙w ˙
c.f. c.f.
4 ˙
8
˙
5 8 5
w
&4
w
6ˆ 7ˆ
w ˙w ˙
P4↓
& 4 w ˙ #˙
P4↓
4
&w w w
c.f.
c.f. 7ˆ 4ˆ
5ˆ 7ˆ
cantus cantus firmus
firmus interval numbers cantus firmus in upper
Notice that dissonant (2, 4, tt, 7) are circled to highlight that
in lower voice in upper voice voice in phrygian mode
they must be handled in a special manner.
& 8 5 ___
3 6 ∑___
7 3 ___
6 8 ___
3 5 ___
3 1
w w
___ ___ ___ ___ ___ ___ ___
4 w
c.f.
w w w w
&4
& perfect ∑ perfect perfect
4 ˙ #˙ w
consonance
&4 Ó ˙
consonance consonance
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
pt
contrary contrary contrary
Go to Second Species Practice Exercises.
& Third Species Counterpoint ∑

30.4
In third species, one writes four quarter notes to each whole note in the cantus
&1. ∑
firmus. Use the following rules.
Begin on an octave or unison. Write four quarter notes to each whole
note in the cantus firmus except for the final measure.
2. End on a whole note on an octave or unison with the penultimate measure
using one of the following formulas:
& ∑
(a) If the cantus firmus is in the lower voice, the penultimate measure
of the upper voice can be:
i. 4̂ –5̂ –6̂ –7̂ , or
ii. 2̂ –1̂ –6̂ –7̂ (the cambiata—see 5.b. below)
&
(b) If the cantus firmus is in the upper part, the penultimate measure
of the lower voice is 7̂ –5̂ –6̂ –7̂ .
∑
Concluding formulas:
Int: 3 4 5 6 8 8 7 5 6 8 3 5 4 3 1
œ œ œ #œ w w
& œ œ œ #œ w
w
camb. c.f.
pt
#œ œ œ œ w
4ˆ 5ˆ 6ˆ 7ˆ 2ˆ 1ˆ 6ˆ 7ˆ pt
&w w w w
c.f. c.f. 7ˆ 5ˆ 6ˆ 7ˆ
3. Each downbeat should be a consonance.
˙ ˙ ˙ ˙ ˙ ˙ #˙ w
& 44 Ó ˙ consonances
˙ ˙ ˙
8 4 apply
4. When crossing barlines, 3 5the8following:
6 5 6 5 7 6 8
(a) “Imperfect” (3rds and 6ths) can be approached in any

sus. sync. sync. sync. sus.
& 44 w
manner.
w w w w w w
c.f.
˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
& b 42 „
w
3 5 3 34 56 5 3 8 5 tt 3 3 32 5432
∑
8 ___
5 ___
3 6 ___
7 3 ___
6 8 ___
3 5 ___
3 1
w w
___ ___ ___ ___ ___ ___
4 w w
c.f.
w w w
& 4 30. INTRODUCTION TO COUNTERPOINT
CHAPTER 348
perfect perfect perfect
& 44 Ó proached # ˙ w be ap-

consonance consonance consonance
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(b) “Perfect” consonances (unisons, 5ths, 8ves, 12ths) may only
in contrary motion in order to avoid direct 5ths and direct
8ves. pt
contrary contrary contrary
(c) Do not repeat notes across barlines
5. Allowable dissonances:
4 ˙
8
˙
5
˙
8 5
˙ w
8
&4
(a) Passing tones are allowable dissonances (but never on the first beat
of the measure).
P4↓ contour in third
(b) The cambiata (see the melodic P4↓ measure of the exam-
4
&4 w w w
ple below) is allowed but only with the second note of the measure
as the only dissonant interval.
c.f.
6. Direct 5ths and direct 8ves are not allowed and occur when an 8ve or
5th on a downbeat is approached through similar motion.
4 œ œ œ œ œœœ œ œ œ œ
œ œ
8 76 5 3 2 15 8 7 56
œ œ œ œ œ œ œ œ œ #œ w
8 5 13 5 6 78 5 4 3 4 34 5 6 8
œ
&4 œœ œ œ
pt pt pt pt
pt pt
4
camb.
&4 w w w w w w w w
c.f.
Go to Third Species Practice Exercises.
30.5 Fourth Species Counterpoint

Fourth species deals with writing suspensions (and syncopations). Because this
is only a brief introduction to species counterpoint, you will only encounter the
cantus firmus in the lower voice in fourth species in this text. See the fourth
species rules below.
1. Start with a half rest, then write a half note an 8ve above the cantus
firmus. The half note on the 3rd beat of every measure but the penul-
timate one ties across the barline to a half note on the first beat of the
succeeding measure.
2. End on a whole note at the interval of an 8ve above the cantus firmus.
3. The penultimate measure should contain a 7-6 suspension.

4. The half note on the third beat of each measure is always a consonance.
5. If the half note after a tie is a dissonance (4th or 7th), it is a suspension
and must resolve down by step.
(a) Allowable suspensions in the upper part are 4-3 and 7-6; 9-8 and
2-1 are not allowed.
6. If the half note after the tie is a consonance (1, 3, 5, 6, 8), it is a synco-
pation and can be left in any manner (by step or leap in any direction).
&w #œ œ œ œ w
w w w
c.f. c.f.
Concluding formulas: 7ˆ 5ˆ 6ˆ 7ˆ
Int: 3 4 5 6 8 8 7 5 6 8 3 5 4 3 1
œ œ œ # œ w5 w
& 4œ œ œ ˙8# œ ˙4w ˙3 w8
pt c.f.
˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ w
5 8 6 6 5 7 6
& 4 ptÓ
#œ œ œ œ w
4ˆ 5ˆ 6ˆ 7ˆ 2ˆ 1ˆ 6ˆ sync.
7ˆ pt
& 4w
sus. sync. sync. sus.
& c.f.
4 w ww w w w w ˆ ˆ wˆ ˆ w
wc.f.
7 5 6 7
c.f.
Notice that all suspensions and syncopations are labeled and all dissonant
44 Ó ˙ ˙ ˙ ˙ ∑˙ ˙ ˙ ˙ ˙ ˙ #˙ w
8 4
intervals are circled. 3 5 8 6 5 6 5 7 6 8
&
& ∑ ∑
Go to Fourth Species Practice Exercises.

30.6 Fifth Speciessync.
4
Counterpoint
&
Fifth w∑ (alsowknow as w“florid
& 4species
w w is a freew mixture
∑ counterpoint”) ∑ wof first
through c.f.
fourth species. One can observe all species in the opening of Orlande
de Lassus’ Expectatio Justorum.
& b 42 „ w ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
3 5 3 34 56 5 3 8 5 tt 3 3 32 5432
∑
& ∑ sync. ∑ p ∑
& b 42 w . ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
p
Ó
p p p
˙ œ
∑Species type: 2nd ∑ ˙ œ œ∑ œ œ œ œ œ
&
sync.
4th 4th 2nd 1st 2nd 4th 1st 2nd 3rd
& 30.6.1 Orlande∑ de Lassus, Expectatio Justorum ∑

YT: wjqd3Mv_wgs
Figure
& Invention∑ Expositions

30.7 ∑
J.S. Bach’s Two-Part Inventions were not only intended as instructional key-
board pieces but also as examples of how to compose. In this section we will
wed our species counterpoint knowledge with our knowledge of harmony in
order to write a four-measure invention exposition using Bach’s C major and
E minor inventions as models. Note the I–I–V–V–I harmonic progression.
187
m
œœœœœœœœ œ œ œ œ
5ˆ
Theme P5 higher
œ
Theme
&c ≈ œœœœœ œ œ œ œ
œ œ m 187
Theme 8ve lower than m. 3
œœ œ œ
Theme 8ve lower 5ˆ
?c Ó ≈5ˆ œ œ œ œ œ œ œ œ ThemeŒ P5 higher≈ œ œ m œ œ

œ
œ œ œ œœœœœœœœ œ œ œ œ œ
Theme
&c ≈ œ
C: œI œ œ œ œ œ œ I m V V I
œTheme P5Œhigher œ ≈œ œœ œmœ. œ œ œ œ œœ

Theme 8ve lower 5ˆ
? c# Ó ≈ œ œMœ œ œ
œ œ œm
M œ. #œ œ œ œ œ œ œœ
Theme 5ˆ
& c ‰ œ œ œ œ œ œ œ . œ YT: E8EvUmq0Zao# œ œ

FigureC:30.7.1 Bach, Invention No. 1 in V
C Major, BWV V772
œ œ œ œ œ œ Theme P5 higher œ œ # œ # œ œ œ œ
I I Theme 8ve lower than m.I 3
Theme 8ve lower 5ˆ
? # c œ Theme
Œ 5‰ œ
# œ M Mœ . œ mœ œœ œ œŒ # œ œ œ‰ œ œ mœ . œœ œ
ˆ
#
& c ‰ œ œ œ œ œ œ œ. œ œ 187
e: i i V V i
# M Theme œ œ # œ #mœ œ œ œ
Theme P5 higher
œ œ
Theme
5ˆ 8ve lower 5ˆ
? # œ œ œ
& c c≈ œœ œ Œœ œ œ ‰ œ œ œ œ œœ œ Œœ œ œ œ œ ‰œ œ
&
œ œ m
? # e: i
œ œ œ œ
i Theme 8ve lower V 5ˆ
≈ œ œ œ œ œ œ œ œ ThemeŒP5 higher ≈ œ œ œ endœon a 10th

V i
?c Ó
œ
bb b 2 œ œ œ
Theme
& C:4 I œ œ œ œ œ œ I œ œ YT: œ œ

QHDx0uYaKkYœ œ œ œ
# 30.7.2 Bach, Invention No. 7 in E Minor, BWVTheme
V V I
&
Figure
œœœ œ
778
8ve lower than m. 3
? b#b 42 M œ œ œ œ œ œ
œ œ œ
m œ
Theme 8ve lower Theme P5 higher
m
Mœ . œ œ œ .œ œ # œ œ œ œ # œ œ œ œ œ. œœ œ
Theme 5ˆ
&# bc ‰ œ œ œœœœ
?
30.7.1 How to Write an Invention Exposition
Theme altered to end on tonic
œ œ œ
In the majority of examples, I you will be given an invention
V theme in than
them.
I first
# œ œ
E¯: I V Theme 8ve lower 3
measure, which you will Theme
fifthœ higher
œ œ œ œ œthanœ the first
write 8ve
anlower 5ˆ lower in the bass
#œ œ
? # c then
octave part in the second
measure, œ a perfect
Œ ‰ œ Œ ‰
measure in the third measure,
finally,b you
œleadsendnaturally œ bass part andœ3̂ in
œ the
the fourth measure will betothe5̂ third measure transposed down one octave, and,
b b 2 œ œinterval of a 10th—tonicœ in
œ œ œ œ œ
&upper e:4part.
œ œ œ œ seei the exampleVbelow.
i œ œ Please
will on the
the V i
? b bb 42 œ œ œ œœœ œ
Theme P5 higher œ œ
œ œ œ œ œ œœ
end on a 10th
œ œ
œ œœœœœœ
Theme
& b bb 42 œ œ œ œ œ œ œ œ
does not emphasize V chord
œ œœœœœœ œ
? b b 42 œ œ œ œ
Theme 8ve lower
b œ œ œ œ
Theme altered to end on tonic
E¯: I I V V I
Figureb 30.7.3
&bb
? bb
b
e: i i V V i
œ351
end on a 10th
CHAPTER 30. INTRODUCTION TO COUNTERPOINTœ
b 2 œ œœœœœœ
Theme Theme P5 higher
& b b 4 œ œœœœœœ œ
30.7.2 Altering Themes to Fit the Harmonies
œ œI œtoœ Vœ œneeds its œ œ
? may 2 œ œ naturally from

find that a theme thatœ œleads
Theme 8ve lower
1. You
b
b b altered
contour 4 œ œ œ œ
when progressing from V to I in measures 4 to 5 in order
to emphasize the V chord and the dominant-to-tonic harmonic
Theme altered motion.
to end on tonic
Modify E¯:the Icontour to emphasize
I the VV chord at the Vend of the measure, I
altering as few notes as possible.
œ
b 2 œ œœœœœœ œ
leads naturally to 5̂
& b b 4 œ œœœœœœ œ
? b b 42 œ œœœœœœ œ œ œœœœœœ œ
b
does not emphasize V chord
œ
188 b
& b b 42 œ œ œ œ œ œ œ œ œ œœœœœœ œ
? b bb 422 œ œ œ œ œ œ œ œ œœœ œ
œ œœœ œ
188
& b bb 4 œ œ œ œ œ œ œ œ œ œœœœœœ œ
œ
b
& b b 42 œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œ œ
note changed to emphasize V chord
œ œ œ œ that land onœ3̂ on œ œ downbeat

œ œ the
188
? b b 42 you may beœ given œ œ œ

b
of theb bsecond œ œ œand
2. Additionally, themes
&
? b 2 measure, notœ the œ œ œ œ œ œ œCœmajor
in theœ Bach
b œ œ
b b 4invention expositions.œ You will neednotetochanged
5̂ that occurred
E minor altertothe
emphasize
theme V chord
at the
end of measure 2 to emphasize the I chord as well as make the first bass
? ofb the third measure 3ˆthe 5̂ scale degree.note changed to emphasize V chord
b
& bb b 43 œ œ œ œ œ œ œ œ œœœœœœœœ œ
note
œ3ˆ
b œ œ
& b 43 œ œ œ œ œ œ œ œ3ˆ œ œ œ œ œ œ œ œ œ œemphasize
does not
? b 3 œ œ œœ œ œ œ œnot
œ œ œœ œ
œ œ
V
b 4 œ œ œœœœ œ
œemphasize
does
? b 3 œ œ œdoes œ œ œTheme
œ œ œVœaltered
œ œ
b 4 œ œ œ not
œ œ œ œdoes not
3ˆ
emphasize I emphasize V to end on tonic
B¯: I I does not Vdoes not V Theme alteredI

emphasize I emphasize V to end on tonic
B¯: I I V V I
b
&b 43 œ œ œ œ œ œ œ œ œ œœœœœœœœ œ
b œ œ
&b 43 œ œ œ œ œ œ œ œœ œ œœœœœœœœ œ œ œœœœ œ œ
? b 3 œ œ œ œ œœ
b 4 œ œœœœœœœ
œ œœœœœœœ œ
? bb
43 œ œ œ œ œ œ œ œ œ œ emphasize harmonies
notes changed toœ
B¯: I I V notes changed toV I

emphasize harmonies
& b b when a theme in minor containing the 2̂ and 3̂ scale degrees in the
B¯: I I V V I
3. Finally,
b
& bdegrees 2̂ and 23̂ will be transposed to ↑6̂ and ↑7̂ . The reasoning
first two measures is transposed up a fifth in the succeeding two measures,
scale
is ?
b b tone. Another way to think of this is to use the melodic minor
that ↑7̂ is the 3rd of the V chord, and ↑6̂ is a step below, typically a
? in
passing
scale
b b the 3rd and 4th measures.
189
↑7ˆ
2 œ
& b 4 œ œœœ œœ œ œ #œ nœ œ #œ œ œ
3ˆ 2ˆ 3ˆ ↑7ˆ ↑6ˆ
#œ
œ œ œ œ #œ œ œ œ œ #œ nœ œ #œ œ œ œ
ˆ
↑7 ↑6ˆ ↑7ˆ
? b 42 3ˆ 2ˆ 3ˆ
189
189
d: i i V ˆ
V i
2 œ œ
↑7ˆ
↑7
2 œ œ # the
œ n œ œTheme #œ
# œ œ œ Statements
33ˆˆ 22ˆˆ 33ˆˆ ˆ ˆˆ
& b 4 Adding œ
↑7ˆ ↑6
↑7
œœ
↑6
30.7.3 œb œ œ Counterpoint
&œ to
œ #œ œ
↑7ˆ œ
œ œ # œ n œ œ œ œ
↑7ˆˆ ↑6ˆˆ
to accompany the# œstatements
After copying and transposing the theme throughout this four-measure ˆ inven-
?exposition,
42? b in the second,
you will needœ to
œ œadd œ
↑7 ↑7
œ third, œcounterpoint
ˆˆ 2ˆˆ ˆˆ ↑6
of theb theme
3 3
# œ and
tion 3 2 3
fourth measures. Unlike species coun-
terpoint, your counterpoint in these invention expositions must emphasize the
harmonyd: d: inii each measure.ii V
V V
V ii
A-C˜˜-E
b œ œ œ.
œ œ
not emphasizing
emphasizing A-C -E
2&
not emphasizing
emphasizing D-F-A
D-F-A not
& b 42 œ œ œ œ œ œ œ œ œ œ .
not
œ œ #œ nœ œ #œ œ œ œ
#œ
?b
œ œ œ œ #œ œ œ œ œ Œ œ #œ nœ œ #œ œ œ œ
Intervals:
Intervals: 55 88 55 66 66 77 55 33 88 33 55 88 tt
tt 66 7 6 3
66 7 6 3 3 3
? b 42 ∑
III 6
III6??
d: iib
6
&
VI
VI6??
d: ii V
V V
V ii
strong beats
beats emphasize
emphasize the
the harmony
harmony
?b
strong
2 œ. œ œ #œ nœ œ œ œ œ #œ. œ œ
& b 4 œ œ œ #œ œ œ #œ
œ œ
?b œ œ œ œ #œ œ œ œ œ Œ œ #œ nœ œ #œ œ œ œ
42& b
Intervals: 55 33 44 33 44 33 66
Intervals: 88 33 55 33 44 33 44 33 33 33
∑
?
d: i
d: i ii V
V V
V ii
b
& bthemes, such as a I–IV–I or I– vii◦6 –I progression even though the over-
You may find the need to create “microharmonies” within a measure with
some
riding harmony of the bar is the I chord. Examples are found in the first two
?b
measures of the C major invention.
d: i i V V i
m
&c ≈œœœœœœœ œ œ œ œ œœœœœœœœ œ œ œ œ œ
m
œœœœœ œ
?c Ó ≈œœœœœœœ œ œ Œ ≈œœ
C: I I (viio6) I V V (IV6) V I
“microharmonies”
YT: E8EvUmq0Zao
Figure 30.7.4 Microharmonies in the C Major Invention by J.S. Bach
Given these pieces of information, you are prepared to begin writing tonal
counterpoint in two parts.
Go to the Invention Exposition Practice Exercises.
30.8 Fugue Analysis

We will now turn to analysis of fugue. Let us set out definitions first.
• A fugue is a contrapuntal composition whose form features sections
called expositions and episodes
• A fugue exposition is a section that contains at least one full statement
of the subject of the fugue.1
• The fugue subject is the primary melodic idea and is stated by each
voice in turn in the first exposition.
• The answer, called “response” in some texts, refers to the statement
of subject in the key of the dominant by the second voice to enter in a
fugue. Sometimes this statement of the answer has intervals altered in
order to start in the tonic before modulating to the dominant. When
the intervals are altered in this manner, we call this a “tonal answer.”
In contrast, a “real answer” contains no alteration of intervals. In the
example below, notice that the third note of the subject in measure 1
descends a perfect fourth to the fourth note. In the answer in measure
3, the third note descends a perfect fifth to the fourth note.
• An episode is a section that does not contain a full statement of the
fugue subject, but instead develops the subject or other prominent ideas
through fragmentation and sequencing.
Here is the first exposition of Fugue 2 in C minor in Book I of the J.S. Bach’s
Well-Tempered Clavier. In the first exposition of a fugue, all of the voices state
1 Some authors reserve the term “exposition” solely for the first exposition and use the
term “middle entry” for later statements of the full subject. Grove Music Online includes the
following in their definition of “Exposition”: “...In German the word Durchführung is used to
refer to all groups of thematic entries in the body of the fugue, after the opening Exposition.
Because there is no equivalent word so used in English, English speakers sometimes, but by
no means universally, apply the word ‘exposition’ to these later thematic groups as well.”
193
the subject at least once. It is important to note that a answer is considered 193
equivalent to a subject because the intervallic alterations are so minute.
EXPOSITION RESPONSE
‰ œ #œ œ œœ œ œœ nœ
EXPOSITION
SUBJECT
EXPOSITION
b œ
RESPONSE
& bb b c œ n œ œ œ∑∑ œ œ œ œ œ œ œ nœ œ œ ∑ œ œ œ ‰œ œ n œœ n # œœ œ œ œœ œ n œœ
RESPONSE
œ œ œ œ œ œ n œ œ œ ∑œ œ œ œ œ œœ œ œœ
SUBJECT
œœ
SUBJECT
‰
& b b c œ nœ œ œ œ œ n œ œ œ œœ œ œ
‰ œ œ œ nœ œ
? b c
COUNTERSUBJECT 1
∑ ∑ ∑
? bb b c
COUNTERSUBJECT
COUNTERSUBJECT 1
∑ ∑
1
bb ∑
BRIDGE (can only occur within first exposition)
BRIDGE (can
(can only
SUBJECT HEAD
BRIDGE occur
occur within
SUBJECT
only HEADfirst
within exposition)
first SUBJECT HEAD EXT.
exposition)
œ œ œ œœ œ œ œ HEAD
b b œœ n œ ## œœ œœ œœ # œœ œ œ œ œ œœ œ œ œ œ œœ œ œœ œ œœ n œ œ œœ n œ œœ œ œœ n œœ œ b œœ œ œœ œ œ œ œ
4 SUBJECT
SUBJECT HEAD SUBJECT
SUBJECT HEAD SUBJECT HEAD HEAD EXT.
& bb b
HEAD SUBJECT EXT.
œ œ œ œ
b œœ n œ œ œ # œœ œ œœ œ œœ œ œœ œ œ œ≈ œ œœ œ œœ œ œ œ œ œn œœœ œ œœ n œ œ œ œœn œœ œ b œœ œ œœ œœ œ œ œ
4
&bb
4
≈œ œœ œ œ
? b
BRIDGE MOTIVE BRIDGE MOTIVE BRIDGE MOT. EXT.
∑ ∑ ∑
? bbb b
BRIDGE
BRIDGE MOTIVE
MOTIVE BRIDGE
BRIDGE MOTIVE
MOTIVE BRIDGE
BRIDGE MOT.
MOT. EXT.
∑ ∑ ∑
EXT.
b
COUNTERSUBJECT 1
b œœ œ œ œ
COUNTERSUBJECT
œœ œœ œœ œ œ œ œ
COUNTERSUBJECT 1
œ #œ
œ œ œœ
7 1
& bb b œœ œ œ œŒ œ œ œ œ‰ œœ œœ œœ œ‰ œœ œœ œ nn œœœ œœ œ œœ œœœ œ #œ

œœ
7
&bb
7
œœœœ œ œ œ œ œœœ
œ
Œ ‰ ‰
œ œ œ œ œ n œ œ22 œ œ œ œ œ œ
? b b ‰ œœ n œ œœ œ œ œœCOUNTERSUBJECT œ
œ œ nn œœ n œ
COUNTERSUBJECT 2
? bb b ‰ n œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ
COUNTERSUBJECT
b SUBJECT œ
SUBJECT
SUBJECT
b
& bbb b
& b YT: itvGdURMfbM
Figure 30.8.1 First Exposition of Fugue 2 in C minor from WellTempered
? b
? bb b
Clavier, Book I (BWV 847)
• bThe
b bridge, if it occurs, is a brief modulatory passage that only hap-
pens within the first exposition, usually to connect the answer to the
subsequent subject statement.
• bAb b countersubject is counterpoint that consistently accompanies each

& bb
& boccurrence of the subject. “Countersubject 1” is in the alto voice in
measure 3 and in the soprano voice in measure 7. The alternative to using
? bab countersubject would be for a composer to write different accompanying
bb
? bcounterpoint
isb stated.
(labeled as “CTRPT” in the examples) each time a subject
Within the bridge (bar 5 in the example above), we see motivic fragmentation
of the subject (“subject head”). Subjects, answers, and countersubjects can
be fragmented into head motives and tail motives in episodes in fugues. In
this fugue, we will see the subject, countersubject 1, and countersubject 2
fragmented.
Below is the first episode, which contains motivic fragmentation of the
subject and countersubject 1.
œ œ
? b ‰ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ nœ nœ
COUNTERSUBJECT 2
bb
CHAPTERSUBJECT
30. INTRODUCTION TO COUNTERPOINT 355
EPISODE
SUBJECT HEAD SUBJECT HEAD
j j
CTRPT
œ #œ œ ‰ œ œ n œ œ œ œœ œ ‰œ œj
CTRPT
b n œœ œœ nœ œ
& b b œœ J
œ œ œ œ œ nœ œ œ œ
‰ ‰ J
œ
CTRPT SUBJECT HEAD CTRPT
? bb œ n œ n œ œ œ œ œ œ œ œ œ œ b œ œœ œœœ
SUBJECT HEAD
œ
b bœ œ œ œœœœœœœœœ
œ œ
CTRSUB. 1 HEAD CTRSUB. 1 HEAD
CTRSUB. 1 HEAD CTRSUB. 1 HEAD
YT: itvGdURMfbM
Figure 30.8.2 First Episode of Fugue 2 in C minor from WellTempered
Clavier, Book I (BWV 847)
Below are the second exposition, the second episode, the third exposition,
and the third episode.
EXPOSITION EPISODE
EXPOSITION
EXPOSITION
SUBJECT EPISODE
EPISODE
nINV
œ œ INV œ
œ œœœ œ œœœ œ
C. SUB. 1 HEAD C. S. 1 HEAD
b œ œœœ œ œ œ œ œ œ œ œ œœ œœ œœœ œœ œœ œœ œœœ œœ œœ nn œœ
SUBJECT
œœœ
11 SUBJECT
& bbbb bb œœœ œœ œœ œœ‰ œœœœJ œœœ œœœ œœ œœœ œœ œœœ œœ œœ œœ œœ

C. S.
S. 11 HEAD
HEAD INV
INV C.
C. S.
S. 11 HEAD
HEAD
œœ œœ œœ
C.
œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ
11
194 11
& b
& b œ œ œ œ œœ
‰‰ œJJ
194
194
C. S. 2 HEAD C. S. 2 HEAD
CTRPT COUNTERSUBJECT 2
œ œ œ ‰œ‰ œ œœ 2 œœ ‰ œœ
C. S.
S. 22 HEAD
HEAD C. S.
S. 22 HEAD
HEAD
œ œœ œœ
C. C.
œœœœ œ œ œœ œœ œœ
COUNTERSUBJECT 2
CTRPT COUNTERSUBJECT
? bb œ œ b œ œ œ œ œœ œœ ‰œœ œœœœ œœœ œœœ
œ ‰‰œ œœ œœœ œœ
œœœ œœ œœœ œœœ œœ
CTRPT
œœœ œœœ œœœ œœœ

? bbb b
? b bb œ œ œ œœ œœ bb œœ œœ œœ œœœ œœ œœœ œ œœœ œœœ
œœ
COUNTERSUBJECT 1 C. S. 2 HEAD C. S. 2 HEAD
COUNTERSUBJECT 11
COUNTERSUBJECT C. S.
C. S. 22 HEAD
HEAD C. S.
C. S. 22 HEAD
HEAD
EXPOSITION
C. S. 1 HEAD
EXPOSITION 1
EXPOSITION
COUNTERSUBJECT
œ C. S. 1 HEAD INV nœ œ nœ
C. S.
S. 11 HEAD
HEAD INV
INV COUNTERSUBJECT 11
n œ œœ b œ œ œ œœ œœ nnn œœœ nn œœ œœ nn œœ nnn œœœ œœ nn œœ œ œ œ

C. S. 1 HEAD C. COUNTERSUBJECT
b b œœ C. S.œ1œHEAD
œ œ œ œ n œœ œœ
14 INV
b
& bbb b œ œ œ œ œœ œœ nn œœ œ bb œœ œœ œœ œ œ œ # œ œ n œ œœ œ œ œœœ œ œ n œœ # œ œœ œ œ œœ n œ œœ
œœœ
14
œœ ## œœ œœ œœ œ œœœ œœ œœ œœœ nn œœ œ n œœ œœ
œœœ œœ œœœ nn œœ œœœ œœœ
14
& b b œœ œœ œ œ
&
œ œœ n œœ ## œœ œ
C. S.
S. 22 HEAD
HEAD
bœ
C. S.
S. 22 HEAD
HEAD
œœ œœ
C.
? b b œœ bb œœœœ œœ
C.
œœœ œœœ œœ œœ n œœœ œœ RESPONSE ‰ œ

? b b œ
? bbb b œœ œœœ œœœ œœœ nn œœ
‰ Œ
œœœJ RESPONSE ‰ œ œ
‰‰ œœ œœ nnn œœœ ‰‰ œœ
œ œ œ œœœ œ
JJ ‰‰ ŒŒ œœ œœ œœ œœ œœ œœ œœ
RESPONSE
b
C. S. 2 HEAD COUNTERSUBJECT 2
C. S.
S. 22 HEAD
HEAD C. S.
C. S. 2 HEAD
HEAD COUNTERSUBJECT 22
C. C. S. 22 HEAD COUNTERSUBJECT
EPISODE
j ‰ ‰ # œ n œ œjjjCTRPT
CTRPT
j ‰ ‰ ‰ ‰ ‰ ‰ j ‰ ‰ j ‰
EPISODE
EPISODE
b œ œœjj ‰‰ # œ ‰‰œ n œnn œœ œœ œœjj n ‰‰œ œ n œ œ## œ nn œœ œ # œ ‰‰œ œ ‰œ‰œ b œœ n œœ œœjjj
CTRPT
& bbbb bb œ œœœ‰ ‰ œ œ ‰‰ ‰‰ n œœ œœ œœjj ‰‰ ‰‰ n œœ œœ œœjj ‰‰

17
‰ œ
œœ œ≈ œ nn œœ ## œœ œœ nn œœn œœ œ œœ nn œœ nn œœ œœ
17
nn œœ œ œ œ ## œœ œœ œœ œ bb œœœ nn œœœ œœœ œ nn œœœ œœœ œœœ n œ œ nn œœœ œœ œœœ n œ

17
& b b œœ ‰
& œ
œJœJ ‰ ≈≈ œœ n œ nœ
œœ œœ nn œœ œœ œ nn œœ
J BRIDGE MOTIVE BRIDGE MOTIVE
œ œ
? b b œœœ nn œœ œœœ œ œ œœœ œœœ œœœ n œ œ œœ œœœ œœ # œ œœ
BRIDGE MOTIVE BRIDGE MOTIVE
MOTIVE BRIDGE MOTIVE SUB HEAD SUB HEAD SUB HEAD
œ œœœœ œ œ
BRIDGE
≈ nœ œœœ
SUB HEAD
HEAD SUB
SUB HEAD
HEAD
œœ nnn œœœ œœœ œœ

SUB HEAD
HEAD SUB
? n œ œ ## œœ œ œœ nnn œœœ œœœ œœ œœ œœ œœ
SUB
b
? bbbb b œ œœ œœ nn œœ œ ≈≈ œœœ nnn œœœ nn œœ œœ œœ œœ
b œœ
SUB HEAD SUB HEAD SUB HEAD BRIDGE MOTIVE
MOTIVE BRIDGE
BRIDGE MOTIVE
MOTIVE
SUB HEAD
HEAD SUB HEAD
HEAD SUB HEAD
HEAD BRIDGE
SUB SUB SUB
b ‰
& b b EXPOSITIONœ œœ n œœ
œ SUBJECT
EXPOSITION EPISODE
EPISODE
‰ ‰
SUBJECT SUBJECT HEAD HEAD
bbbb ‰ œœ nn œœ œœ œ œœ œœœ œœ œœ œœ œ œœ nn œœ œœ œœ œ œœ œ nn œœ œœ œ œœœ œ ‰œ jj

SUBJECT
b
20
b œ nn œœœ
20
&
& œ œ œ œ œ œ
? b b œœ œ œœ œœ ‰œ œ œ œœ œœ œœ œ n œœ œ œœ œœ œœ œ œœœ
nœ œ ‰‰ nn œœJJ œ œ œœ œ œ
b J
COUNTERSUBJECT 11 SUB HEAD
CTRPT SUB HEAD
? bbb œœ ‰‰ œ‰œ‰ bb œœnnœœœ œœ œœ

CTRPT
œœ œœ œ œ
COUNTERSUBJECT
?
b bb JJ ‰
JJ œœ bb œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ
C. S. 2 HEAD COUNTERSUBJECT 2
C. S. 2 HEAD
CHAPTEREPISODE
30. INTRODUCTION TO COUNTERPOINT 356
j ‰ ‰ j ‰ ‰
CTRPT
j ‰ ‰
bbb œ œ œ n œ œ œ # œ
œ n œ œ
œ j ‰ ‰ j ‰ ‰ n œ œj ‰
17
& œ #œ œ n œ œ œ œ n œ œ œ œ œ œ œ n œœ œœ œœ œ œœ œ
œ ‰ ≈œnœ nœ nœ # œ b œ n œœ œ
J œ œ nœ œ nœ
YT: itvGdURMfbM
œ œ œ œ œ Fugue 2 œinœ œC minor

SUB HEAD SUB HEAD
n œ
SUB HEADWellTempered
œ
Figure 30.8.3 J.S. Bach, from Clavier,
? bI (BWV 847) œ œ n œ œ #œ ≈ œ œ œ œ œ œ œ œœ
Bookb b œ nœ œ œœ nœ œnœ nœ
In the four systems below, we see the fourth exposition, fourth episode, and
final exposition, which SUB
SUB HEAD includes
HEAD two subject
SUB HEADstatements separated by cadential
material.
EXPOSITION EPISODE
b ‰ ‰ j
SUBJECT SUBJECT HEAD
œ œ
& b b œ œ œœ n œœ œ œ œ œœ œ œœ œ œœ œœ n œ œœ œ œ œ œœ œ œ œ œœ œ n œ œ‰ n œœ œœ œ œ œ n œœ
20
nœ œ J
COUNTERSUBJECT 1 CTRPT SUB HEAD
œ bœ œ œ œ œœ
? bb œ ‰
b J ‰ nœJ ‰ œ œ œ œœœ œœœœœœ œœœœœ 195
œ bœ œ œ œœœ œ
195
SUBJECT HEAD CTRPT SUB HEAD SUB HEAD
b ‰ j
œ œ HEAD œSUBœ œHEAD
195
œSUB
œ œ œ œ œ nœ œ œ ˙ œ œ œ œ œ œ
CTRPT COUNTERSUBJECT 2
&bb œ œSUBJECT œ œ HEAD

23
n œ œ œœ œœ ‰ ‰ œœ
œ SUBJECT ‰ œ HEADœ œ œ œ‰ CTRPTœj ˙ œ n œœ‰SUB‰ HEAD
CTRPT
J
b
& bbb œ œ n œ œ Jœ œ œ œ n œ œ œ œ œ J J œSUBœ œHEAD
J
23
œ œ
œ ‰œ œœj HEAD œ œœœœ œ œ œ
œœ œ ‰œ CTRPT œ œ œSUBJECT ˙ œ œ œ n œ œ œ ˙œ CTRPT n œœ œ
œ œœ ‰œ œ ‰œ œœJ
‰œ œ ‰œ CTRPT
&bb
23
n œ J œ œ œ
œ œ
‰ œ œ œ œœ œ œ œ ˙ ˙œ œ œ œ œ œ œ
œœœœœ n œJœ‰ ‰ œJœ Jœœ ‰ ‰ œJ
? b J œ œ J J J≈ n œ n œ œ œ œ œ
bb œ œ œ œ œ œCTRPTœ œ œ SUBJECT
œ œ œHEAD
œ œ œ œ œ œ œ œ œ CTRPT nœ nœ œ
Œ CTRPT
œ
CTRPT œ œ œ
? b œ œ œ œ œ C. œ
C.œS.œ 1œ HEAD œœœ
œ œC.œ S.œ 1œ HEAD
œ œ œ œ œ œC.œS. 1œHEAD œ œ œS.œ1 œHEAD Œ C.≈ S.n1œHEAD
œ n œ œ INV
SUBJECT HEAD
b œ œ œ œ œ œ œ nœ nœ
CTRPT CTRPT
? bb œ œ œ œ œ œ œ œ nœ nœ
œ
Œ ≈ nœ nœ œ œ œ œ
bb œ œœœœ œ œ œœ œœ œœ œ œ œ
C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEADœ C. S. 1 HEAD C. S. 1 HEAD INV
EXPOSITION C. S. 1 HEAD C. S. 1 HEAD C. S. 1 HEAD INV
SUB HEAD COUNTERSUBJECT 1
b b b œ SUB
œ œ œHEAD œEXPOSITIONœ œ œ n œ n œ œ 1œœ œ œ ‰ œ ‰ n œj
26
& œ œ œœ œœ
œ œ ‰ ‰ œ œ œ 1 œ œ œ œ œœ œ n œœ œœ œ œœ œœ
COUNTERSUBJECT
œ ‰SUB‰HEAD COUNTERSUBJECT ‰ œj
EXPOSITION
bb b J œ œ œ Jœ Jœ œ œ œ n œ n Jœ œ œœ œ œ ‰ œ ‰ n Jœ
26
& œœ œ‰ œ œ‰ œJ œœJœ œ‰ œ ‰œ n œ œJ œ œœ œCOUNTERSUBJECT

b b b CTRPT
œ œ ‰œ œ œœ œ œ œ œ œœ œœ œœ œœ ‰ n œœj
n œœ œ œ œ œœ œœ œ œœ œœ 2œ n œœ œœ œ œœ
26
& Jœœ œ œœ œœ œœ œœ œœ
‰ ‰ ‰ ‰ nœ œ ‰‰ Jœœ
? J œ œ œ œ Jœ œ n œJ œ œ œ Jœ œ œCOUNTERSUBJECT
b b b CTRPT n œ œ œ œ œ œ œ 2œ œ œ œ œœœ JJ
? œ œ œS.œ1 œHEAD
b b b œ œ C. œ
œ œ n œ SUBJECT nœ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œCOUNTERSUBJECT œœœ
‰ œ
J
CTRPT
œ
2
? œ œ
bbb œ œ œ nœ œ œ œ
œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œœœ
‰ œJ
C. S. 1 HEAD SUBJECT
C. S. 1 HEAD SUBJECT
CADENTIAL MATERIAL SUBJECT
b n œ œ MATERIAL œSUBJECT œ n œ œ b n œœœœ œœ

29
œ œ œ œ œœ œn œœ œ œ œ œ‰ n œœ
& b bCADENTIAL œœ œœ œœœ œœ œ‰ œ n ˙˙
‰ J œœœ œ n œœœ ‰ œœ
b CADENTIAL MATERIAL SUBJECT J œ n œ œ b n œœœœ œœ Jœœ J ˙
29
& b b b n œœ œ œœ œ œœ œ œ œ œ œ œ œ‰ n œœ œœ œœ œœ œœ œœ œœ œ‰ œ n ˙˙
& b b n œœ œ œœ œ œn œœ CTRPT œ n œ œ‰ b n œJœœœ n œœœ œ ‰œ œœ
29
œ œ œ Jœ œœ œœ œœ œœ œœ œœ œ œ n ˙˙
? b b œ œ œ œ n œ œ œ˙ ‰ n œJ
w
‰ J n Jœœœw ‰ Jœœ ‰ ˙˙
b œ ˙CTRPT J J
? bb œ œ œ w w
˙CTRPT w w
? bbb œ œ œ œ ˙ w w
b œ ˙ w w
b
&bb
b
& bbb
? bb b b
&
b
? bb
? bb
bb
&œ
pt
œ œ w
2ˆ 1ˆ 6ˆ 7ˆ
#œ
4ˆ 5ˆ 6ˆ 7ˆ
w TO COUNTERPOINTœ
pt
& w 30. INTRODUCTION
CHAPTER
w w 357
c.f. c.f. 7ˆ 5ˆ 6ˆ 7ˆ
˙ ˙Fugue˙ 2 ˙in C ˙minor

˙ from
˙ WellTempered
YT: itvGdURMfbM
44 Ó J.S.
˙ Bach, ˙ ˙ # ˙ Clavier,
w
8 4 3 5 8 6 5 6 5 7 6 8
Book I&
Figure 30.8.4
(BWV 847)
sync. sync. sus.
In homework and sus. sync.you will be asked to analyze a fugue with
regard to 4expositions w
on the test,
&4 w w if it occurs),
w fragmentation. w w w
(including the bridge, episodes, subjects,
answers, countersubjects, and motivic
c.f.

b 4 „ w ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
3 5 3 34 56 5 3 8 5 tt 3 3 32 5432
& 2
Species Counterpoint: ∑ One
Day
sync. p
4 Species Exercises p
˙ ˙ ˙ ˙ ˙. œ œ œ ˙ w
& b 2 w. Ó
p p p
˙
œ œœœœ
First and Second
sync. ˙ œœœ
1. For each exercise below, write first species (note-against-note) counter-
Species type: 2nd 4th 4th 2nd 1st 2nd 4th 1st 2nd 3rd
point. Write the intervallic distance from the cantus firmus (“c.f.”) to the
counterpoint in the blanks above the staff. Remember to begin and end
with an octave or unison, to proceed to the last unison by step in both
voices, and use only consonances (1, 3, 5, 6, 8, 10).
Interval: ____ ____ ____ ____ ____ ____ ____
4
&4
& 44 w w w w w w w
c.f.
www
Interval: ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
444 www www www

Interval:
Interval: ____ ____ ____ ____ ____ ____ ____ ____
____ ____ ____
www www www www www

____ ____ ____ ____ ____ ____ ____ ____ ____
www
c.f.
c.f.
&
c.f.
&
& 44
44
&
& 444
&
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
44
Int:
Int: ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___
&
& 444
&
44 w
& 444 www www www www www ww www www www www www www www www
&
&
c.f.
c.f.c.f.
444 www www www www ww ww ww www www ww www www www www
Int:
Int: ___
___ ___
___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
Int: ___
c.f. ___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___
& w w w w
c.f.
&
& 44
c.f.
& 444
&
& 44
444 ___
Int:
Int: ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
&
&
& 44
444
&
&
& 44 www www www www www www www www www www www
c.f.
c.f.
c.f.
? 44
4
Int: ___ ___
___ ___
___ ___
___ ___ ___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
44
Int:
CHAPTER ___ INTRODUCTION
30. ___ TO
___ COUNTERPOINT ___
358
2. &
&the
For 44 exercises below, write second species counterpoint—two half notes
in each measure except the3last.3 Each downbeat must be a3 consonance.
44 c.f.
8 5 ___ 6 ___
6 ___ 5 ___8 ___ 6 ___ 3 ___
6 ___ 3 ___
1
w
Int: ___ ___ ___ ___ ___
& 4 wfromwthe wwcantusw firmus
ww ww(“c.f.”) ww ww wwin thew blanks
ww towww thewwwcounterpoint w
The only dissonance allowed is the passing tone. Write the intervallic
&
& 44c.f.the w w w w w w
w w w w ww
distance
c.f. w
above staff. Circle all dissonant numbers (2, 4, and 7) and label
& 44 w w w
w w ww w www w ww w ww w ww
passing tones with “pt.”
Int:
Int: ___
___ ___
___ ___
___ ___
___
___ ___
___ ___
___ ___ ___
___ ___
___ ___
___ ___
___ ___
___ ___
___
44 ww w w w w ww
c.f.
&
& 44
c.f.
444
Int: 1 ___
___ 2 5 ___
___ 6 8 ___
___ 6 6 ___
___ 8 6 ___
___ 8 5 ___
___ 3 1
___
&
& w w w
& 44 w w w w
c.f.
& 444 __˙ __˙ __ __˙ __˙ __ ˙__ __˙ __ __ ˙ __ __ w__

pt
˙ ˙ ˙ ˙
Int: __ __ __ __ __ __ __ __ __ __ __ __ ____ ____ __ __ __
__ ____ __
˙
Int: __ __
& 4
& 44
w
? 4444 __ww __8 w__3 __2 ww__3 __5 ww__8 __7 __ww3 __5 ww__6 __7 ww__6 __3 ww__6 __3 ww__5 __6 ww__8
?
Int:
& 44 c.f.
c.f. ˙ ˙
Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ w
w w ww w
Int: __
__ __ __ __
__ __
__pt __
__ __
__ __ __ __
__ pt__
__ __
__ __ __ __
__ __ pt __
__ __ __ __
__ __
__ ____ ____ __
__ __
? 444 c.f. w w w
Int: __ __
w w w
c.f.
& ww w w ww ww ww w ww ww ww ww
& 44 c.f.
w w
?
? 444 8 5 3 3 5 8 3 3 2 3 2 3 5 6 7 3 5 6 3 8
Int: 4 __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
& 44 w w w w w w w
c.f.
w wDaywTwo w
? 44 Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ pt˙ ˙ pt˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
Species Counterpoint:
pt
3. For each exercise below, write third species counterpoint (quarter ˙ notes).
Circle all dissonant interval numbers and label passing tones and cambiata
figures.
Int: __ __ __ __
& 44
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
? 44 w w w w w w w w
c.f.
& 44 w
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w w w w w w w
? 44
c.f.
Int: __ __ __ __
4
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
&4
w w w w
? 44 w w w w
c.f.
Int: __ __ __ __
& 44
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
? 44
c.f.
c.f.
Int:
4
Int: __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__
&4
w w w w
? 44 w w w w
c.f.
c.f.
Int:
& 44
Int: __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__
Int:
4
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
?
& 44 w
& w w w w w
w
? 4 w ww
44 ww exercisew below,wwwrite fourth ww counterpoint ww (suspensions
c.f.
? each ww ww
c.f.
4. For 4
Int:
species
4 c.f.with “sus” and syncopations with “sync.”

Int: __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ ____ __
__ __
__ __
__ ____ __
__ __
__ __
__ ____ __
__ __
__ __
__ ____ __
__ __
__ __
__
c.f.
and syncopations). Circle all dissonant interval numbers and label sus-
&4
pensions
w
Intervals: __
__ ____ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
4 ˙ ˙ w w
Intervals: __ __
Ó
& 44 wÓ ˙ w˙
?
& w w w
? 4 ww ww ww ww
? 44 ww ww ww
c.f.
ww
c.f.
4
Int:
4
__
Int: __ __
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
__ __
__ __
__ ____ __
__ __
__ __
__
c.f.
&4 w w
c.f.
Intervals: w __
Intervals: __ __ __ __ __ __ __ __ __ __ w __ __ __
w __ __
__ __ w __ __ __ w __ w
__
4
__ __ __ __ __
& 4444
&
c.f.
c.f.
?
? w ww ww ww ww
? 4444 w ww ww ww
c.f.
c.f.
Intervals: __ __
__ __ __
__ __ __
__ __ __
__ __ __
__ __ __
__ __ __
44
Intervals: __ __ __ __ __ __ __ __
&
& 44
ww ww ww ww ww
? 4444 ww
? ww ww
c.f.
c.f.
Intervals: __ __
__ __ __
__ __ __
__ __ __ __ __
__ __ __
__ __ __
4
Intervals: __ __ __ __ __ __ __ __ __
& 444
&
?
? 4444 ww ww ww ww ww ww ww
ww
c.f.
c.f.
Invention Expositions
monic3 pattern and transposing and modifying the theme accordingly.

5. Complete these invention expositions by following the I–I–V–V–I har-
& 3
& 4443 œœ œ œ œ . œ œœ œ œœ œœ œœ
190
& œ œ œœ œœ .œœ .œ œœœ œ œœ

190
190
?
? 44333
? 4
C: I I V V I
C: I I V V I
C: I I V V I
## œ œ
&
& # 44333 œœ œœ# œ## œœœ œ œ œ œœ œœ œœ
& 4 œ œ œœœ œ œ
?
? ### 4333
? 44
e: i i V V i
e: i i V V i
e: i i V V i
## # 2
& 2
& # 44 œœ œœ œœœœ œ œœ œœ œ
&
?
? ## ## 4422
?
D: I I V V I
D: I I V V I
& b# # 43 ‰ œj œ œ
&
& œ #œ œ œ œ
?
? b# # 43
?
d: i i V V i
Fugue& b
Analysis
? b 232), specify formal sections (expositions and episodes), motives

6. For this fugue from the second Kyrie eleison of Bach’s Mass in B Minor
(BWV
(subject, answer, countersubjects, and fragments thereof), and key areas
for expositions only in the table below. This fugue contains more “coun-
terpoint” (material not derived for subjects or countersubjects) than the
C minor fugue in the body of the text.
###### Alla
Alla breve.
breve.
& CC „„ „„ „„ „„
Soprano
&
# ##
Soprano
Alto & # ## CC „„
& „„ „„ „„
# ##
Alto
œ
Tenor
Tenor V # ## CC
V ∑∑ ∑∑ ∑∑ ˙˙ nn˙˙ ##˙˙.. œœ ##œœ œœ œœ œ
? ## ### C ˙˙ nn˙˙ ##˙˙.. œœ œœ œœ œœ œœ ˙˙ œœ œœ ˙˙ ˙˙ ˙˙ ˙˙ œœ ##œœ œœ œœ ##˙˙..

Ky - ri - e e - lei -
? œœ
Ky - ri - e e - lei -
Bass
Bass # C
#œ œ œ
Ky - ri - e e - lei - son, e - le - i - son, e - le - i-
˙
œ # œ œ œœ œ ˙˙œ ˙œ œ ˙ ˙ ˙˙ ˙˙ ##˙œ˙œ..# œ ˙˙ œœ # œww œœ œ œ
? ## ### ˙ n˙
? # CC ˙ n ˙˙ ##˙ww˙.. œ # œ˙˙ œ œœ ##œœ œ œœ ˙œ œ ˙ ˙ ˙ ˙ #œ
? # ####
? #
CC ˙ ww
j
œœ œœ œœ œœ œœ ˙˙ ˙˙˙ # œ œœj œœ ˙˙ œœ œ œœ ##˙˙˙.. œ œœœ
˙˙..
Piano
˙˙ ww
Piano
˙ ww ˙˙.. ˙
œœ # œ œ œ œœ
˙˙
RN in f ˜: __ __ __ __
RN in f ˜: __ __ __ __
__ __ __ __ __ __ __ __ __
__ __ __ __ __ __ __ __ __
# ##
& # ## „„ „„ „„ „„
5
5
S
&
# ##
S
A & # ##
& „„ „„ „„ „„
# ##
A
V # ## ˙˙ œœ ##œœ ˙˙ ˙˙ ˙˙ ww nnœœ œœ ˙˙ ##˙˙ ˙˙ ˙˙ ˙˙ œœ œœ ˙˙ ˙˙

T
T V
? ## ### ˙ ww ##˙˙ ˙˙.. œ - œ œ le˙˙ - ˙˙i - son,

˙˙.. œ œ œ ˙ ˙
œœ œ ##œœ œ œ
- son, e - le - i - son, e - le - i - son, e - le - i -
œœ œ œœ œ œ ˙ ˙
- son, e - le - i - son, e e - le - i -
B
B
? # ˙
son, Ky - ri - e e - le - i - son, e - lei - i -
˙˙ œ # œ ˙˙˙ ##˙˙˙ œ nœ œ ˙ ˙ ˙ ˙
son, Ky - ri - e e - le - i - son, e - lei - i -
?? ## ### ˙˙ œ˙˙ # œ ˙˙.. œœ œ ##œœ n œœ œ ˙˙ ##˙˙ ˙˙.. ˙ œœ œ˙œ œœ œœœ œœœ ˙˙˙ ˙˙˙
5
#
5
&
&
? ## ### ˙ ˙˙ ˙˙... œœ œœ ##œœ ˙˙.. œœ ww
? œœ œœ œœ œœ
Pno.
# ˙˙ ˙˙ ˙˙. œœ ##œœ œœ œœ œœ œœ ˙
Pno.
œœ œœ ##œœ œœ œœ ##œœ œœ ˙˙ ˙˙.. œœ œœ œœ œœ œœ ˙˙ ww

˙˙ œœ œœ ˙
## ˙ n˙ œ #œ œ œ œ
& # „ „ ∑ #˙.
9
###
Ky - rie - e e - lei -
& ˙ n˙ #˙. œ #œ œ œ œ ˙ œ œ ˙ ˙ ˙ ˙ œ #œ œ œ #˙ œ
.
A
## ˙ ˙ #˙ ˙ œ œ ˙ #˙
T V # #˙ ˙ œœ œœ #˙. œ ˙ ˙ ˙
˙
? ### ˙ ˙ ˙ ˙ ˙ œ œ œ ˙e w. œœ
son, e - le - i - son, Ky - ri - e - le - i -
B ˙ ˙ œ œ œ
###
# ˙œ . ˙ œ # œ˙ œ œ˙ œ
son, e - le - i - son, e - le - i - son, Ky - ri - e e - lei -
œ œœ ˙˙ œœ œœœ ˙˙ # ˙˙ ˙˙ n ˙˙˙
9
& ˙ n˙ . œ #œ œ
# ˙˙ ˙˙ # ˙œ œ n œ œ # œ˙ . œ ˙ œ œ #œ
? ### œ œ œ œ w ˙ œ œ
œ ˙ œ œ œœ ˙˙ w. œœ
Pno.
œœœ œw
˙ œœ ˙ ˙ w. œœ
˙ œœ ˙ ˙ œ
# # ˙ œ #œ ˙ ˙ w nœ œ ˙ #˙ ˙ ˙ œ #œ ˙ #˙
& # ˙ ˙
13
### w ˙. ˙
œ œ #œ œ œ ˙
& #˙ ˙ ˙ w. ˙
˙
A
## ˙ ˙. œ œ #œ œ œ œ ˙.
son, Ky - ri - e e - lei - son, e - lei - son,
œ nœ œ œ œ #œ œ #œ ˙ ˙
T V # ˙ #œ ˙ œ
? ### ˙ œ œ ˙
son, e - le - - - i - son, Kyr - ri - e e - le - i -
B
˙ ˙ Ó ∑ „ „
# # # ˙˙ œœ # œœ ˙˙ # ˙˙ ˙œ œ # ˙œ
- son, e - le - i - son,
˙ w œ n œœ œ ˙˙ ˙ ˙ œ #œ ˙ #˙
13
œœ œw ˙ œœ ˙ ˙ œ
# # ˙ œ #œ ˙ ˙ w nœ œ ˙ #˙ ˙ ˙ œ #œ ˙ #˙
& # ˙ ˙
13
### w ˙. ˙
œ œ #œ œ œ ˙
& #˙ ˙ ˙ w. ˙
˙
A
## ˙ ˙. œ œ #œ œ œ œ ˙.
son, Ky - ri - e e - lei - son, e - lei - son,
œ nœ œ œ œ #œ œ #œ ˙ ˙
T V # ˙ #œ ˙ œ
? ### ˙ œ œ ˙
son, e - le - - - i - son, Kyr - ri - e e - le - i -
B
˙ ˙ Ó ∑ „ „
## ˙ œ ˙ w œ # œ n œœ œ ˙˙ # ˙˙ ˙ œ˙ œ # ˙œ œ # œ
- son, e - le - i - son,
& # ˙˙ œœ # œœœ ˙˙ . # ˙˙ œ ˙˙ . ˙˙ # ˙˙
13
œ ˙. # ˙
œ œ # œœ ˙œ
? ### ˙ œ œ ˙ Œ œ œ #œ œ œ œ œ œ œ nœ œ œ #œ œ œœ
Pno.
˙ œ œ ˙ ˙ ˙
˙ ˙ ˙˙
## œ œ w ˙ œ œ ˙ œ œ
& # ˙ ˙ œ œœœ ˙ œ œ w ˙
17
###
son, Ky - ri - e e - lei - son, e - lei - - - son, Ky - ri - e e -
A & œ˙ œ #œ #œ ˙ ˙ #˙ ˙ n˙ #˙. œ #œ œ œ œ ˙ œ œ ˙ ˙
## œ
Ky - ri - e e - lei - son, Ky - ri - e e - lei - son, e - le - i -
V # ˙ #œ ˙ #˙ ˙ œ œ w œ œ œœ œœœ
œ #˙ w
T
˙
? ### „ „ „ „
son, Ky - ri - e e - lei - son, e - lei - i - son, e - le - i -
## w ˙˙ œœ œœ ˙˙ œ˙ œ
& # ˙œœ ˙ ˙ œ # œœ # œœ ˙œ œ ˙˙ # œ˙ œ w˙ n ˙ # œ˙ . œ œ # œ œ ˙œ œ
17
wœ œ
? # # # ˙ # ˙ ˙ # ˙ ˙ œ œ œ œ œ # œ œœ œœ œœ # œœ œœ œœ # œœ # ˙˙ n ˙w
Pno.
˙ ˙˙
## j
& # œ ‰ Œ Ó ∑
21
###
lei
YT: aVYPtNeH7IQ
A
Figure & 30.9.1
˙ J.S. Bach, Mass Óin B Minor, BWV
∑ 232, Kyrie eleison II
###
son
T V w ∑
son
B
? ### ∑
##
& # ∑
21
Pno.
? ### ∑
Table 30.9.2 Mass in B Minor: Fugue Analysis Table

FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 1 2 3 4
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 5 6 7 8
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 9 10 11 12
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 13 14 15 16
l
FORM
SOPRANO
ALTO
TENOR
BASS
KEY
Meas. 17 18 19 20
Chapter 31
Introduction to Jazz Theory
This introduction to jazz theory focuses on the types of chords encountered

in jazz, how these chords might be voiced, how to voice lead these chords in
five-part harmony, and scales associated with these chords.
31.1 Jazz Chord Basics

1. Ninth chords are common in jazz.
(a) Four of the five common seventh chord types in classical and popular
music will have ninths added to them; the exception is the fully
diminished seventh chord.
i. The ø7 chord is also labeled as m7 (25) in jazz— Cø 7 is the
44 same as Cm7 (25) .
b # b # #
E maj9( 5) B notation, b
(b) In
943
lead-sheet 7 9( 5)
adding “9” toE a chord symbol means the 7th
&
is also present.
(c) “9” is “2” an octave higher and always comes from the major scale
unless otherwise specified.
C m9( b5)
& wwwww b www b ww b b b wwwww

945 C maj9 C9 C m9
ww b www
a. b. , 4, 2, + , m,b.–) are applied c. as follows:d.
C # (add b 6) C + 7
2. Alterations (maj, ∆
C # m6 C b9 C (b 9) C 7( b 9)
w or “ ∆ ” followed by 7, 9, 11, or 13 meansb the
www not# the # b www b ∫ b www n n ww b wwww
w b w b
C Δ9
is&major,
# www9th, 11th,
# wwwor 13th.
949
#
(a) “maj” 7th of the chord
w # w # w w bw n w w
(b) Lowercase “m” or the minus sign (“–”) means minor and applies to
the 3rd of the chord. (triangle still
i. The minus sign (–) is equivalent to a w
w w
954 C mΔ7 C mΔ9
& w w
applies to 7th)
of 9, 11, or 13 (i.e., 9 and –9b w mean bthe

ww same thing). “ C4 – 6 ”
flat when placed in front
4
2
w 4 4
(equivalent to “ C m6 ”) means a C minor chord (“ C –”) with
w
ww triadwwwith the 26 added
4
C 94). “ C C(add
13 C 9(13)
the 6th from major (A –6),” which is equivalent to
“ C (add 26) ,” meanswa C4 major
956
& b ww b ww b ww
4
(c) The plus sign ( + ) can mean ww “augmented

ww ww triad” or is equivalent
to a sharp when placed in front of 9, 11, or 13. C + 7 means a C
B b7(13
b 9 seventh B b7(13
b 9 ) not a C
major ∫triad
w with a major w w
augmentedF dim7triad (“C + ”) with a dominant
F dim7 ) (“7”),
& b b www w b n www w w b b www b n www

959
7th.
364 bw bw
enharmonic respellings
A b 7( #11) A b 7( b 5) or A¯7(˜11)
b wwww b www
C6 C 7(13) C 7(11) C 7sus
& wwww b wwww b bn wwww b n www

961
w w w
44
E b maj9( # 5) B b 7 # 9(# 5) Eb
943
CHAPTER&
31. INTRODUCTION TO JAZZ THEORY 365
(d) Chromatically altered chord numbers (affecting 6, 9, 11, 13) are

C m9( bwhether
w w w ww the added
44 945
usuallyC set maj9 C9 so asC m9 5)
w b w b w b
apart by parentheses to clearly designate
& ww
E b maj9 ( # 5) B b 7the
# 9 (#minus,
ww b
b www C(29) versus bC7(
b www29).
w example, considerw
5 ) plus, or sharp, E
or flat is affecting the chord or
943 note. For C29 versus
& a. b. b. c. d.
C # m6 C # (add b 6) C +7 C b9 C (b 9) C 7( b 9)
& wwww # b www b ∫ bb wwww n bn www b b wwww

C Δ9
# # www # # # wwww
949
w # w w b w n wb w
ww3. If a chord hasb wwa 9th but no 7th, buse
ww the Cterm “add ww popular music,
945 C maj9 C9 C m9 C m9 ( 5)
& www sometimes “2”www or “add 2” is bused www instead (refer btobtobthe
(triangle
www7th) Chord Labels
still
w
9.” In
w w
954
44 C applies mΔ7 mΔ9
b
E maj9 # b # #
( 5) B 7 9 ( 5)
section). & w b w
b ww E b ww
a. 943 b. b. c. d.
+
&ww
#
4. m ∆ 7 Chord: #
In addition b to the five common seventh
C b9 C (b 9) C 7( b 9)
chord types, jazz
b ∫ bb wwww n bn www b b wwww

www haveww a ninth added as well.
# b www
C Δ9 C m6 C (add 6) C 9C 7 C 13
chordC 9(13)
& ww # # www # # # wwww
949
w
includes use of the minor-major
956 seventh (a minor triad with a
You will see the “major” &

b w
www ( ∆ )wwwwused primarily
b b www
w # w w bw n w w
major seventh). This chord will commonly
symbol w in jazz. Popular
music typically uses “maj” instead.
C m9 ( b5)
b
B 7( b 9 ) B b7( b 9 )
b wwwww to 7th) b n wwwww

13 13
www ∫w w w b b b wwwww
F dim7 F dim7
b n wwww
945 C maj9 C9 C m9
& b b www b www w w bw

959 (triangle still
b
& w b www b wwb w
954 C mΔ7 C mΔ9 applies
ww & w b ww w w bw
A b 7( #11) b b or A¯7(˜11)
ww (“11”
b 6) biswwC“4”
b.C13th
5. 11th and C 7(13)
Chords: 11thsC 7(11) C 7sus
and 13ths d. from Athe7( 5)major
always come
www ww
6
a. 961 C 9 b. C 13 c.
C # m6b ww C # (add + 7 an octave
n w C b 9 n w C (b 9)
C 9 (13)
w b C 7( b 9)
is “6” &
an w ww w ww w b b ww bw
956
www b w∫ b w bw b w b b w
scale unless otherwise specified. higher and “13”
w b w b w b w
#wwwb www are assumed.
b b wwwC9 means
n2n ww that www
C Δ9
w w w w w w
& # ww&w upwww to #the#highest
(a) All #numbers wwwwww number
949 octave higher.)
ww # w # w w bw n w w
the 7th is also included below the 9th. C13 means C–E–G–B –D–F–A—everything
B b7( b 9 ) B b7( 9 )
would be bused
w w
up to the 13th. For this reason, 13we will use C9(13)—to 13 specify
∫w
F dim7 F dim7
& b b www b n wwww b b wwww b n wwww

959 C–E–G–B2–D–A—instead of C13, which in the real
(triangle still
ww b w
world to describe these notes. In the real world, a composer or
w bw
954 C mΔ7 C mΔ9
arranger writing C13 will assume the pianist orapplies to 7th)
& b www b www

guitarist knows to
omit the unaltered 11th because it clashes with the major 3rd of the
chord. In this music enharmonic respellings
theory course we will be specific as to which
A b 7( #11) A b 7( b 5)
notes are included and left out.
or A¯7(˜11)
w w
C6 C 7(13) C 7(11) C 7sus
& www b wwww b www b ww www b bn www ww b n ww

961 C9 C 13 C 9 (13)
w& b www w
956
w w
ww b www b ww b www b ww
w w
chords: If a chord has a 6th and a 9th, call itb a 13 9 B b7(13 )
B 7( b99 ) b9
w w
6. 6 6 chord (C 6 ) instead
∫w
9 F dim7 F dim76
& b b www b n wwww b b wwww b n wwww

959 9
of a 6 chord. The major 9 uses the major third (C–E–G–A–D) while
6
the minor 9 uses the minor third (C–E –G–A–D). The “6” always comes
2
bw bw
from the major scale unless otherwise specified. (Refer to the Chord
Labels section for examples.)
enharmonic
7. Enharmonic respelling: Jazz musicians willrespellings
sometimes respell double-
flatted notes and double-sharped notes enharmonically because for some
b 7( #11than A b 7( b 5) or A¯7(˜11)
b www b www
C 6musicians theory
C 7(13) was viewed
C 7(11)
more fromCthe
7susaspect of the A
piano ) the
& wwww b www b bn wwww b n www

961 staff. This may at times include enharmonically respelling notes like B4,
ww ww
C2, E4, and F2 (although these notes sometimes will be used).
w bw bw
E b maj9( # 5) B b 7 # 9(# 5) C 13E b
www ww
C9 C 9(13)
w
956
b w b
& www TO JAZZ w b www
www THEORY
943
& 31. INTRODUCTION

CHAPTER w 366
B b7(13
b9 ) B b7(13
b9 )
www w
b b ∫ww wwww
F dim7 F dim7
bb nwwwwwww b bn wwwbwwww
C m9( b5)
b
959
& w
bw wb
945 C maj9 C9 C m9
& ww
w ww b www b ww b wb ww
a. b. b. c. d.
C #of CC#7(11)
web 6)willCC7sus+7 Abb97( #11) C (b 9)Aisb 7(theb 9)
C5)7( broot or A¯7(˜11)
whenwanalyzing chords. While wwwwslash #bchords
wwb ww (E/C, ∫tobnfor
wwww example) b ww n wb bare www used
CΔ9
8. For the 6 purposes C 7(13)m6this text, assume the Cbass note
www this chapter
C (add
& # # w w # b n
949
& ww w b w ww # b w
#www w therefore# wwwwwill not include
www w b w
bb bwwwwof nslash n w ww ww of
wb chords.
961
bw bw
in jazz, is meant as an introduction the fundamentals
jazz harmony and the use
(triangle still
w
& b wwww b wwww
954 C mΔ7 C mΔ9 applies to 7th)
31.2 Chord Symbol Specifics
1. “6” versus “13” rule: label the 6th of a chord “6” only if the 7th is not
“4”):www label theww 4th of a chord “sus” only

present; if the 7th is present,
C 9 label the
C 13 6th asC“13”
9(13)
w
956
&if the
2. “11” versus “sus” (“sus” means
b w b www
www 3rd is present, blabel
www the 4th an “11” (C7sus
if the 3rd is not present;
w w
has C–F–G–B2). (There is an exception to this in more advanced jazz
B b7(13 B b7(13
theory, which is not within the purview of this text.)
b9 ) b9 )
w w
b b ∫(because
www
F dim7 F dim7
n wwww have a chordb bwith wwww a regularb nandwww altered 5th

959
a& w you bwon’t

b ww 2–F4 a “411”
3. 25 versus 411: If the chord has a normal 5th (C–E–G–B 2–F 4), call the F4
b wthe F4 of C–E–B
“411”
at the same time). Otherwise, you can call
or a “25.” enharmonic respellings
A b 7( #11) A b 7( b 5) or A¯7(˜11)
b wwww b www
C6 C 7(13) C 7(11) C 7sus
& www b wwww b bn www b n ww

961
w w w w b ww b ww
(no 7th) (no 3rd) (no regular 5th)
31.3 Altered Dominant Seventh Chords

Typically, a dominant seventh chord is considered altered if either or both
the 5th or 9th are chromatically raised or lowered. (“G7alt” might mean a G7
with both an altered 5th and 9th, but is vague in that it doesn’t specify how
the 5th and 9th are chromatically altered.)
1. Root, 3rd, and 7th of dominant seventh chord remain unchanged.
2. 5th may be raised or lowered (45 or 25, which can also be written with
pluses and minuses as + 5 or –5) and can be respelled enharmonically (the
45 of a C745 could be written as an A2 instead of G4) for ease of reading
because the chromatic spelling agrees with B2 (the 7th of the chord)—it
is easier to read a chord where the accidentals agree (all sharps or all
flats).
3. 9th may be raised or lowered (49 or 29, which can also be written in the
lead-sheet symbol as +9 or –9). The 49 is often spelled enharmonically on
the staff as 210 for ease of reading; therefore, a dominant seventh chord
with a 49 will appear to have both a major and minor 3rd (C–E–G–B2–E2).
You may be tempted to call such a chord a minor chord with a 211, but
211 is not used because it is the major third of a chord.
CHAPTER 31. INTRODUCTION TO JAZZ THEORY 367
4. Both alterations of 5 and 9 may occur simultaneously (±9/±5).

5. 213 is the enharmonic equivalent of the 45. In this text, 45 is preferred
to 213, but you will see both on lead sheets. Also, 213 implies that the
unaltered 5th occurs in the chord, while 45 does not.
199
2. 3. 4. 5.
C 7( b 5) C 7(# 5) C 7( b 9) C 7(# 9) C 7( b13) or C7(˜5)
bw
_
C 7+
b bb www
9
b b www b b www
+_ 5
& b n b wwww b b www bw

2
¯5
ww n ww ww
¯9
w ˜5
? b b ww ˜9
n ww
respell ˜5 to agree with ¯7 respell ˜9 to agree with ¯7
∑ ∑ ∑
preferred
If you are composing or arranging and want to know when to use altered
chords, know that dominant sevenths are usually altered (with altered 5th or
6
& down by a fifth). Dominant sevenths are often unaltered when they
9th or both) when they have dominant function (i.e., when the root is going
to resolve
have tonic function, i.e., the first chord in a blues.
?
31.4 Chord Labels
The following list of chords is edited and condensed from The New Real Book
(Vol. 1),
22 published by Sher Music Co.
&
45
wwC w(add 9) b wwC wm (add 9) wwwC w w

6 6
964 C6 C m6 C (add 9) C m (add 9) C9 C m9
& wwC w6 ? b wwCwwm6 b wwCwwm

45
w w w w
wwmw(add 9)Cw9(13)Cwwww www#
6 6
964 9
& CwwC6w7 31.4.1 Triads wC 9 with added

9
wwm6 www(add 9)notes

45
w b ww w # ww C 9( # 11) b C
w w #
Cb13(
w
w wwm11)
w b wwww www#
wwCw(addb 9)wwCww9(#11) b wwCwm (add 9)b wwCww9(13)wwwCw
6 6
964970
& bwwCwwCww67 wwCwbm6wwCww9

Figure C C 9 C 9
45
w b w w #w w w w wwwb13(
wwC m11)
#
30
bwCwwww9 b wwww9(#11) CwΔ13(# 11)b Cwwww9(13)wwCwΔ7(# 5) b Cwwww13(wwCwΔ7(

C 6
&
6
964970
& bCwwCwwwwwΔ77
9 9
Cw
b w Cw w bwwwww w ww b ww #11)b 5)
w w w # w w w
Δ9(# 11)C
# w w # # w
w
www b ww www b ww www b ww # ww w
Δ9
& bwwCwwwwwwCΔ77?31.4.2 Dominant wwwC 9(#11) CwwΔ13(# 11) wwwC 9(13)CwwΔ7(# 5) b wwwwCb13(wwCwwΔ7(
970
975
wwΔ9wwwC 9 seventh wwΔ9(# 11)chords w

#11)b 5)
www b ww # w # w #
www #b ww www # b ww # ww # b wwb ww # w # w
970 Figure C C
& bCwwwwwwwwΔ7C m7
975
wwΔ9C m9 www wwΔ9( 11)w ww CwwΔ13( 11) w

ww CwwCwΔ7(m135) www CwwΔ7( w
b 5) 11)
w
wwb www # w
w
wb www # w # w
w w w # w
#bwwwwCb wwwCwΔ7(m13# 5) bbwwwwCb wwwCwΔ7(m13(
C C C m11 C m7(11) C m13(
& bwwwwCbΔ7wwCwm7 wb w #
975
bwwwC Δ9( wwm1111) bwwwC wΔ13(

981
w& wwC Δ9Cwwm9 wwm7(11) w www b 5) # 11)

w
38
wwwb ww # w w
wwwb ww C m9( b5) wwwb w # w w w
wwb Cwwwm13 # ww #
C C 11)
& bwwwwb CwwwCm731.4.3 C m11( b 5) b w

975
# w
981
wb w
m7( b 5)
w
ww w
w b w
www w w
w b w
www w
w b w
www www wwwwwm13( 11)
w
b
#
987
& b b wwwwCw?m7( b5) b www b wwb wwwCwm9( b5) b ww bb wwb wwwCwm11( b 5) b www #
Figure Major C m9 seventh C m11
chords C m7(11) C
b bwwwC m11 b wwC m7(11) b bwwwC m13

981
& b wwC m7 wwC m9 b wwC m13( 11)

w w w w wwb # ww b 9
987
& bw ww wwb Cwwwm9( b5) Cb13sus wwb Cwwwm11(

& bbCbbsuswwwwCwwwm7( b5) Cb7sus Cb9sus b w b bb b 5) b Cw13sus
981
www b ww ww w w
bw ww w bw wwwww w 9
bww
w b b
990 C 7sus
b w b w b w b w b ww b 9
987
& bwCwbwsus b www w w7sus w b w9sus

b b www w wCw13sus b
w b w7susb wwwb 9 w
Figurew31.4.4 Minor seventh chords
b w w w b
w w ww b ww13sus
w w w b w w bb#9 wCwww13susCb 97 b 9
b
990 C C C C
wbCwww7( b5) bCCwww7(7sus w# 5) C 7(bbC9)wwwb9sus wb b wwwC 7(# 9) b wCww13sus b CCwwb77sus

987 C m7( 5) C m9( 5) C m11( 5)
& bCwwbsus #9 #w9b w w

w ww wb w C7 b5
w5 w b
# wb9
5 w b5
w b
b b www bbwwCw9susb ww # b wbwwCb 13sus w b bw w b
b b wwb wCb13sus w b b wwwb 9b 9
990 C 7
& bwwCbwsuswwCw7( b5) b bbwCwwwwCw7(w7sus ww # 9 b bb wwwCww#7sus

996
9 b 9 b w b 9 ww
w w # 5) w
w w n w
w w n w
w b n w
w5w # w
w # w n Cww7 b 5
w b w w b w b b
w w b w
990
& bwwbwCwww7( b5) b b Cbwwwww7(ww# 5) b Cwww7(bb 9)wwww b n Cwww7(# 9) b wb wwwb n Cwww7 #b 59 b b bn Cwwwww7##w95 b b Cww7wbb#95 wwwwb b#n Cwwww7 bb 95
b w b w b
996 C 7( 9) C 7( 9) C 7 5 C 7 C 7 5
w wC mΔ9 w C dimb ww bCwwwo7 # 9 b b wwwC# dim(Δ7) w C 7 #119w

& b wwwC 7( b5) b wwC 7(ww# 5) wwC 7( b 9) n wwC 7(# 9) b n wwC 7 b 5 b n wwC 7w# 95 b wwCw7b#b95b b wwwb b bn wwwwC 7 bb 95
b w b w
996
b w b w b w b w b b
C mΔ7
& b wCwwwmΔ7 wb wCwwmΔ9 w b b wCwwdimb ww b # wCwwb wwwo7 bbww# Cwwwdim(Δ7)b ww n wCww7 ##b119ww
b w
996
& b bwwwww b b wwwwww b wwww b n wwww b b n wwww b b n wwwww b b wwwwb b b wwwb b# n wwww
& b CwwwmΔ7 b CwwwmΔ9 b b Cwwwdim b # Cwwwow7 b # Cwwdim(Δ7) w n b Cwww7 #119
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975
& bwwwwwC m7 ww Cbm9 www

w # www b # wwww # wwww b www
w w b
# ww
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& wwwCwΔ7 wwwC Δ9ww wwwC Δ9( # 11)w
w m7(11) w # wC m13
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w w wb www#CwwΔ7(b 5)
w w w #
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# b bwwwCwwm13(# 11)
# w # w w
wwb wwC m11( b 5) b ww# wwww
w
CHAPTER
w w w
C
wwb wC m7( b5) wwb ww w

wwb ww C m9( b5) wwb w w w
975 C m7(11)
&
& bww wwwC m7 wwwwC m9 #
bwwwwwCbm11 bwwwwwC m7(11) b wwwwwCb wwwm13 wwb wwC m13(# 11)
981
w w ww
987
b
& b b Cwwwm7 w w b w
w w
w w b w
w w #
& b wwwCwm7( b5) b Cwwwwm9 b
b Cwwm11 w
wm9( b5) b b Cwwwm7(11) b Cwwwm13 b wm11( b 5) b b Cwwwwm13(# 11)
w
981
b w
ww b wwwwb wwwseventh chords ww wwwwwb 9 # www b 9
C C
& bbCbbsusbwwwwwwwC31.4.5 Cb7sus Cb13sus b b

987
b w
981
w Cb9sus
b bww wwC m9( b5) wb ww w b bwwwwC m11( b 5) bCwwww13sus
b w w
wm7( b5) b w ww w w b wwwwb wwwb b b b wwww b
b
990 C 7sus
b www b ww b b www
Figure Half-diminished
& w w w w
987
b w
& bCwbsusCwwm7( 5) Cw7sus wb9sus b Cwwwwm9( 5) Cww13sus wb 7sus
b Cwwwwm11( ww13sus 9
w
987 b 9 5)
& bwbwCb www7( b5) bCww7(w# 5) C 7(bb 9)wwwbwb b wwwC 7(# 9) b wwww C 7 #b 59 b bCwwwb7##bw95b wwwb 9 C 7bb#95b wwww Cb79bb 95
990 C C C
& wC susw wC 7sus b w wC 9susbww wCb13sus wC 7susw b w wC 13sus

w b w b b wwwb 9b 9
996
ww b b wb Cwww7sus b ww b Cwww9susb ww b b bCwww13sus

& bCwwbwsus ww # 9 b b b wb Cww#7sus b 9b b wwb b Cw
990
& w w n w n w n w w w b 9 ww w b
w
w7( 5) Cww7( 5) Cw7( 9)ww Cw7( 9) ww Cw7 b 5
b # b w # w w w
wb ww7# 5 w7# 5b ww n wCw7 b 5
w
990 13sus
b w b w b w b w w b w b ww b w
w
9
w bw w bw wb w
Figure 31.4.6 Sus chords
& w
C C C
& bwwb wwwwC 7( b5) b b wwwCww7(# 5) b wwwwC 7( b 9)ww b n wwwwC 7(# 9) wb bwn wwwwCo 7 #b 59 b b n wwwCww7## 95 b b wwwCw7b#95 wwb b#n11wwwwC 7 bb 95
996
b w b w b w b w b w b 9 b w b9w b 9
C7 #
996
& b wwb Cwwww7( 5) b b Cwwwwww7( 5) b Cwwww7( 9)b w b n Cwww7( 9) b#bwn Cwww7 b 5 b b n Cww#7ww# 5w b b Cwww7w#b5b wwwb b# n Cwwww7 b 5
#9 #9
C mΔ7 C mΔ9 C dim C 7 C dim(Δ7)
b # b #
& bw bw b w b b ww b b wCwb wwo7 bbw w b b b www n wCw7b#b119ww
& b Cwb wwwwmΔ7 b b wwwCwmΔ9 b b wwwww Cwdim www b n www b b n wwwwCwdim(Δ7)
996
w n ww b b wwb n www
& b wwwwC mΔ731.4.7 Altered
Figure
b wwwwC mΔ9 b b wwwC dim
chords
b # wwwCwo7 b # wwwCwdim(Δ7) b n wwwwC 7 ##119
w wwmΔ9 w o7 w b b b Cwww7 ##11
&
& b ww w b ww w b
b ww w b # www b # www n b www 9
b
C mΔ7 C C dim C C dim(Δ7)
& b wwww b wwww b b www b # wwww b # wwww

b n www
& w
&&
b b b wwww
Figure 31.4.8 Other chords
&
46 One finds that almost any combination of triad or seventh chord plus any
perfect 11th with no 3rd = "sus"
&
& w Jazz Chords
alteration or combination of alterations is possible.
lowered 9th
lowered7th
major 6th is "13" when 7th is present
& How to Write

31.5 no 5th (incomplete voicing is normal)
no3rd
root
& write a jazz chord after being given a lead-sheet symbol, begin with all of
b wwww
To
the major notes up to the 13th.
& www
Let’s work through this with the following
major 13th label: Dm ∆ 11.
perfect 11th
Dm means D–F–A. The ∆ 11 means major 9th there is a major 7th, regular 9th, and
major 7th11th. Remember, D11 would mean a
regular 11th, not that there is a major
perfect 5th
D7 chord with the 9 and 11 (all chord members up to the 11th—D, F4, A, C,
major 3rd
E, G). D ∆ 11 would mean a D ∆ 7root chord with all members up to the 11 (D,
F4, A, C4, E, G).
www
D mΔ11
#
& www
"11" means 7, 9, and 11 are present
"Δ" means Δ7
"Dm" means D minor triad
411
E7 means &
Let’s try this with another chord: E7 449 .
5
we have E–G4–B–D. When we look at the altered notes, we see
45, so we add a B4, then change it to a C6 because that agrees chromatically
with the 7th, D. When we add 49, we add F5, which looks overly complicated,
so we enharmonically respell it as G6, which agrees chromatically with the D
&
(7th) and C (45). The 411 can be an A4, an augmented 2nd above the G (the
&
ww
C m7
C m7 ( b 5)
www
C m9
C m9 ( b5)
C m11
w
C m7(11)
w www
C m11( b 5)
C
&w b w b w b b ww b b www b ww
987 981
&
b b w
w w w b b w
w w
D mΔ11
b w
# www w 2 w 4 2 w
b w w b w b
w w w b ww b ww b ww
&
ww
"11" means 7, 9, and 11 are present
9), or we can respell it as a B "Δ" meansA
Δ7 and B are acceptable, although
( b5) b
w
4 . Both
(Cb D
w
aC
form"Dm"Gmeans )minor
triadtriad C 9sus are easyC to C 7sus 9
b wwww b b bbwwwwwww b b wwww

notes987 m7 57sus m9
w b b b wwww b www
the upper990 of D–G–BC2sus minor and therefore C 13sus
& #&
w b bb
sightread.
#w9
11
w w ww w
b ww C Cb ˜sus C # C˜ 7susC b CC 9sus
E7 #5
# # b
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# C b
ww b w C # CC 7#
9 9
& #&wwb&b www w˜w b b ww˜w b wwb wwww b n wwwb www b b n www b wwwb b n www b bbb wwwwwwww
b w w b w
996 990 C 13sus
b w
7( 5)11 spelled7as( B¯;
5) A is also
7( acceptable
9) 7( 9) 7 5 7 5 7
˜ 9 respelled as ¯10 on staff
ww w ww ww w w w ww
5 respelled as ¯6 on staff
E7 is E-G -B-D
#9 #
C 7( b 5) C 7(# 5) C 7( b 9) o
C 7(# 9) C7 b5 C 7#
b b www w b b b www w b b b www

& to Analyze
b b wwww b wwwwb b wwww bbb bwwwwwww
996
31.6 How C mΔ7 Jazz CChords
mΔ9 C dim C 7 C dim(Δ7)
b&
& www nbww# www n wwb # www n ww
w w w
To analyze a jazz chord, on scratch paper write out all the major chord mem-
b wwww
bers up to the 13th. These include the major 3rd, perfect 5th, major 7th,
&
major 9th, perfect 11th, and major 13th.
&&b bb wwwwwww
major 13th
ww
C mΔ7 C mΔ9
perfect 11th C dim C 7 C
b www b b www b # wwww b # www

major 9th
major 7th
w
perfect 5th
b www
major 3rd
root
& b b www
&
major
In order to analyze the following chord, determine the 13th
following:
perfect 11th
1. The quality of the 7th chord
major 9th
2. The upper structure (9, 11, and 13) major 7th
perfect 5th
w
3. Any alterations to any of the chord members major 3rd
b w
root
b w
4. If any of the notes are enharmonically respelled
& b www
b
Work through each step (see the example below). Compare this chord to
the scratch paper version with all the major notes up to the 13th. We have an
E2 dominant 7th chord. The G2 can’t be the minor third because we already
have a G6. If we consider the G2 enharmonically as an F4, we see we have a 49,
which we noted earlier is often spelled as 210 so as to agree chromatically with
the 27. The A is the 11th, but it is an A6, so it is a 411. It is not 25 because we
would not have both a perfect 5th and altered 5th in the same chord. There
is no C in the chord, so there isn’t a 13th.
b ww
& b ww
major 9th
major 7th
perfect 5th
w
major 3rd
b w
CHAPTER 31. INTRODUCTION TO JAZZ THEORY
root 370
b w
& b www
b
no 13th
raised 11th
¯10 = ˜9
lowered 7th
perfect 5th
major 3rd
root
The final label is E27 411

4
b bwwb b wwww
9 .
Let’s try another chord.
46
b ww w
46 perfect 11th with no 3rd = "sus"
&
perfect lowered 9thno 3rd = "sus"
11th with
& w
lowered7th
major 9th
lowered7th
no 5th
major 6th (incomplete
is "13" when 7thvoicing is normal)
is present
no3rd
no 5th (incomplete voicing is normal)
no3rd root
www
root
w b
b www ww
Again, work through each step. First, write all the major notes up to the
13th.
major 13th
& w w
perfect 11th
& ww w
major 13th
perfect major
11th 9th
major 9th 7th
major
perfect 5th
major 7th
major 3rd
perfect 5th
root
major 3rd
root
b b b wwww
&
Compare the “all major and perfect” 13th chord above to the chord to be
solved.
&
46
perfect 11th with no 3rd = "sus"
& &w
lowered 9th
lowered7th
no 5th (incomplete voicing is normal)
no3rd
&
root
b wwww&
We notice we don’t have an A, and we remember that we might have a sus
chord where the 4 (or sus4) substitutes for the 3rd. We see we have a B2, which
& & www

confirms this. We also do not see a C,major
but13th
we remember that it is common to
perfect 11th
omit the 5th in a chord (see Incomplete Chords).
major 9th
Therefore we have F–B2–E2,
making an F7sus chord. When we examine major 7th for upper structure notes (the 9,
perfect
11, and 13), we find a G2 (the 29 of the 5th and a D (the 13). Remember,
chord)
major
the B2 is the sus (the 4th), not the 11th, 3rd
because we have no 3rd (see 11 versus
root
Sus).
The final label is F13sus(29).
“F13” means we have root, 3rd, 5th, 27th, 9th, 11th, and 13th. “Sus” is
a modifier that means we have the 4th, which eliminates the 3rd as well as
&
the 11th because “sus” and 11 refer the same note (B2). “29” means the 9th is
lowered chromatically.
&
j j ‰ œj Œ ˙
200
& c b œœœ ... œœœ ‰ œœœ ... œœ .. œœ Ó œœœ b ˙˙ ˙˙˙ b œœ .. œj w
b œ . œ œ . œœ .. œœ ˙ b œ . n œœ ww
?c ˙ Ó j j # ˙ n œ . œœ ww 371
b˙
CHAPTER 31. INTRODUCTION TO JAZZ THEORY
c b œœ .. œjœ ‰˙ œœ .. œ . œj Ó ‰œ .œj Œ œ ˙œ . œ ˙œ . œb œœ .. Jj
19
&
b œœ .. œœ Chord œœ .. œœœ .. Voicings
œ œœœ b ˙˙ ˙˙ bJ œœ .. n œœœ www
200
. œœ ˙
31.7 Jazz
In? .± types of jazz
c section ˙ C m7 Ó F 7 . Fjm7œ . œjB b7# ˙ n œœE. b 7œœ Awwb7
˙ b5) weA˙ 7 will bdefine
24
˙
this guide tones and learn about two
&c ˙ # œ œ œ. œ J
E m7(
j ˙‰ j jŒ J
chord voicings.
c Ó ‰ j
19
& b œœœ ... œœœ œœœ ... œœœ .. œœœ œœ b ˙˙˙ ˙ b œ .

b œ b..±n œœ wwb w
œ
200
b
? c EGuideœ œ
. Tones œ . œ .. œ œ œ ˙ ˙ ˙ œ
˙ the 3rd ˙Cand
31.7.1
˙of a chord.˙ In any b ˙B 7
b
. b ˙A 7
24
˙ ˙ are
? c Tones j # ˙ ofn œbfifths
˙
b
# ˙ Ó œ
œ ww
m7( 5) A 7 m7 F7 F m7 E 7
& ˙ ii–V–I˙˙and iii–vi–ii–V) b˙ j œ . œ move by step. œ

. œ tones .
Guide 7th circle progressions
theœguide J
œ. œ
J
(including
? c G m7 C 7 ˙ b˙
˙ ˙ ˙ b˙
F maj7 A m7 D m7 G m7 C 7 F maj7
˙ ˙ ˙ b ˙
28
& b cE m7( ˙˙ b3rd ˙˙ 77th ww C m7 F 7b c ˙ 3rd

˙ B b 7 ˙ 3rd ˙E b7th
˙
±
˙ 3rd w A3rdw b7
24
˙ 7th # ˙ 3rd
3rd 7th
&c ˙
5) A F m7 7
˙
? b c ˙G m7 ˙C 7 wF maj7
7th 7th 3rd 7th 7th
b c ˙A m7 ˙D m7 ˙G m7 ˙C 7 wF maj7
?& cb c ˙˙7 3rd ˙˙ 7 7th wwM7˙ 3rd ˙ b c ˙˙ 73rd ˙ 7th
28
˙ vi˙7 3rd b ˙ ˙˙7 3rd b˙˙˙7 7th wwbM7˙3rd

F:˙ ii 7th V 3rd
˙ ˙the entire
I 7th F: iii 7th ii 7th V 3rd I 7th
33? w circle of fifths ˙ dominant˙ 7th chords (C7–F7–B w

b c
Play through
b c with
˙ ˙
27,
b hand
the&right
etc.) with Gthe m7 bass C 7 noteFin the left hand Aand m7 the D m7guide G m7tonesC 7(3rd and F maj77th) in
b cF: iii˙˙ 73rd vi˙˙7 7th ˙˙ii7 3rd V˙˙ 7 7th wwIM73rd
28 maj7
& b cfrom
F: ˙ii7 3rd ˙
˙ 7th V77th w
each˙ other. w
and observe how the 3rd and 7th are the same for bass notes a
IM7 3rd
tritone
? F 7 ˙ B b7 E b7 A b7 D b7
3rd 7th 7th 3rd 7th 3rd 7th
? bb6 c œ˙ b œ œ bwœ œ b œb c ˙ ˙ ˙ ˙
G b7
w
C7 B7 E7 A7 D7 G7
& 4 bœ œ bœ œ bœ œ b b œœ # œœ n # œœ # n œœ n # œœ n œœ
33
F: ii7 V7 IM7 F: iii7 vi7 ii7 V7 IM7
? 46 Cœ 7 Fœ7 b Bœb7 b Eœb7 A b7 b Dœ b7

3rd and 7th are enharmonically equivalent
œœ b œ œ b œ b œœ b œ b Gœ 7 n Bœ 7 œE 7 œA 7 œD 7 n œG 7
b
6 b
&4 œ bœ œ bœ œ b b œœ # œœ n # œœ # n œœ n # œœ n œœ
33
tritone
? 6 andœ 7(49)œ chords—C7(13)–F7(

b œ b œ b œ 49)–Bc 27(13)–E
35 3rd and
Also, you can7thplay
are enharmonically
through the equivalent
circle of fifths alternating between 7(13)
& 4 b œ n œ
descending chromatically. This can be repeated with œall ofœ the bass
chords
b œ nœ a
27(49)—with the right hand
œ notes
tritone away (starting on F in the left hand) and the qualities are exchanged
for?all the chords.
4
c
tritone
C 7(13) F 7(# 9) B b 7(13) E b 7(# 9) A b 7(13) D b 7(# 9) G b 7(13) B 7(# 9) E 7(13) A 7(# 9) D 7(13) G 7(# 9)
œœ b b œœ œ bœ œ nœ
& 46 b œ œ b œœ b œœ b œœ n œœ b b œœœ œ #œ nœ nœ bœ
# œœ # n œœ n # œœ # n œœ n œœ
35
? 46 œ œ bœ bœ
bœ bœ bœ nœ œ œ œ nœ
31.7.2 Jazz Chord Voicings

In this section we will examine two categories of voicings.
1. The first category (“spread” voicings) has 5-note chords with the root,
3rd, and 7th as the lowest notes with other chord members voiced above,
often in the interval of a fourth or fifth. (The root will always be the
lowest note, while the 3rd can be voiced above or below the 7th).
2. The second category (“close” voicings) has 5-note chords with the bass
note in the left hand and the other four notes in “close position” in the
right hand, usually with the 7th or 3rd of the chord as the lowest note
in the right hand. 201
“Spread” voicings “Close” voicings

201
˙˙ b ˙˙˙˙ 9th
C 9(13) C 9(13) C 9(13) C 9(13)
c ˙ voicings ˙ 13th
37
& ˙ 13th b ˙˙˙ 9th

9th
“Spread” “Close” voicings 13th 7th
13th 3rd 3rd
˙˙ b9th
˙˙ 3rd b ˙˙˙˙ 9th
C 9(13) 9th C 9(13) C 9(13) C 9(13)
& c ?˙˙ c 13th

7th
b˙ ˙ 13th 3rd
37 (lowest)
b ˙˙˙ ˙9thRoot
(lowest)
˙˙ ˙ ˙
7th
3rd 13th 7th 13th 7th
Root3rd
b ˙˙ 3rd
9th Root Root 7th
b ˙ 7th
(lowest)
? cchords
(lowest)
Some ˙˙ 3rd ˙ Root

(like sus chords) ˙ Root ˙ Root
7thdo not have a 3rd, and some do not have or a
39 C Root
6 6
7th (like or C 9 ). In those cases, voice the sus4 like you would the 3rd, and
likewise& voice the 6th as you would the 7th.
˙˙ ˙˙ sus b ˙˙˙˙sus ˙ ˙˙
6 6 6 6
C 13sus C 13sus C 13sus C 13sus C9 C9 C9 C9
& ˙˙?
39
˙˙ ˙ ˙˙˙ ˙˙ 6th
b ˙˙ ˙ 6th
? b ˙˙˙ b ˙˙ sus
˙˙
˙
˙
(lowest)
˙ ˙ ˙ ˙ ˙ ˙ ˙
3rd
7th 7th 6th
sus 3rd 6th
47 Root Root
&
Root Root
sus (4th) substituting for 3rd 6th substituting for 7th
?
43
Sometimes you will need to omit the fifth to maintain five parts.
&
31.8 Standard Chord Progressions
#9 #9
In? 7 # 5 focus only G7 #5 C 9(13) E b 9(13) D b 9(13)
& w& Bothn wwere b w in Section˙ 9.3.n ˙˙

thisC55section we Awill D m9 on the ii–V–I D 9(13)
˙ b˙
61 9(13)
w mentioned
progression and the iii–vi–ii–V
w already# ww www b n www ˙ # ˙˙˙ b n ˙˙
b www b ˙˙˙ # ˙
202
n˙
progression.
? w?II–V–I w ˙ b˙ ˙ b˙
w
31.8.1
63
w
&II–V–I
The
“Autumn
is one of most common progressions in jazz, especially in tunes like
I7 Leaves,”VI“What
7 7
Is iiThis 7alt.
ThingVCalled ¯III7
I7 “Tune-Up,”
Love,” ¯II7 Up
II7 “Pent
House,” “Lady Bird,” and “Firm Roots,” to name 3rd phrase
just a few. In major the
?
63 25)–G7alt–Cm 69 .
&
progression is Dmin9–G9(13)–C ∆ 9. In minor it is Dmin7(
67
D m9 G 9(13) C maj9 D m9 G 9(13) C maj7
& œœœœ? œœœ ˙˙˙ œœœ œœœ ˙˙˙

œ ˙
?
&œ ˙ œ œ ˙
71
œ œ œ ˙
69 ? #9 #9
D m9( b5)TheGII–V–I
7# G7 #5
b
Figure 31.8.1 Progression D m7( b 5)
in Major
6 6
& b b n œœœœ bœ
C m9 5 C m9
b n œœœ ˙
n ˙˙˙ œœœ b œœœ n ˙˙˙
? bb œ ˙ œ œ ˙
b œ œ
œ ˙
b
&bb
71
? b
bb
œ œ ˙ œœ œœ ˙˙
? œC 9(13) œ# 9 œ ˙ D 9(13) D b9(13)
œ A 7 # 5 ˙ D m9
#9
G7 #5
œ
C 9(13) E b 9(13)
n www www TOb bJAZZ wwwœ THEORY ˙˙˙ n ˙˙˙ ˙ # ˙˙˙ b n b ˙˙˙ 373
61
202
& www 31. INTRODUCTION
#w w b˙ #˙ ˙ n˙
CHAPTER
bw nw
#9 #9
? bw D m9( b5) G 7 # 5 wC m
69
D m7( b 5)
˙ b
G7 #5
˙ ˙ b˙
6 6
& b Cb 9(13)n œœœœ wb œ#œ9 w

9 9 Cm
bAn7œœ# 5 ˙
D˙m9 ˙ G7 #5 œ
#9
b œœœ E 9(13)n ˙˙D 9(13) D b9(13)
b
n wwVIw n ˙ œœ C 9(13)
˙˙˙7 ˙# II˙˙7 n ¯II
n¯III
b w b ˙
61
& w
? bbwww œ w
ww˙ w w ˙
b n ww œ b ˙˙˙ œ # ˙ ˙ ˙˙ b n ˙˙ ˙
I 7 7 ii7 V 7alt. I 7 7
202
b #w
œ œ
3rd phrase
œ ˙
? w w ˙ b ˙ ˙ b˙
w w D m9
67
D m9 G 9(13) C maj9 G 9(13) C maj7
& œœœœI731.8.2 œœThe œ 7II–V–I ˙˙˙ Progression œœœMinor œœI7œ ¯III7 ˙˙ II7 ¯II7
bb b œ VI ˙ ii
Figure in
˙
71 7 V7alt.
&
? œ œ
3rd phrase
œ III–VI–II–V˙ ˙
œ œ
31.8.2
œ becauseC˙ maj7
? iii–vi–ii–V
b
67
staticbœharmony
b
The D m9 Gprogression
9(13) C maj9 is called a turnaround
D m9 G 9(13) it replaces the
& œœœthat leads œœœ # ˙˙ œ œ
˙ œ ˙
of the I chord in the last two measures of a tune with harmonic
œ G7 #5 ˙ C m œ D m7( b5)œœ G 7 # ˙ C mto the top of
#9
to the I–VI–II–V progression. 5 ˙
69
D m9( b5)
b
motion to the 9 I chord
6 that will occur upon repetition
6
? bœ b cann œœœœ modify b b7n œœœaœ iii–vi–ii–V œ so all œfour

9 9
&One ˙ 7˙˙˙ 7turnaround ˙ ˙ are dominant

the form. This also applies
œ œ œ b œœ7œ chords
seventh chords: III –VI –IIn ˙–V (or V /vi–V 7 7
œ œœ /ii–V /V–V˙7n —E
7
˙˙ 7 –A 7 –D 7 –G 7
in ? œ
b b b employœ
œ # 9 substitutions˙ œ
œ
˙seventh chord
lead sheet symbols). Turnarounds made solely of dominant seventh chords
œ tones). #
˙ m E 7 –A 7 –D 7 –G 7
69 can them tritone (substituting a dominant
b5) G 7 #they 7 # 5 example,
b
9
a tritone away D m9(because
6
haveC m the same guide b 5) GFor 6
& b b En œœœœ–E –D b bn œœœœ

5 9 D m7( 9 C
˙
n ˙˙˙ b œœœ substitutions
n ˙˙˙
7 7 7 7
œœœ show tritone

becomes 2 –D . 2
arrows
? bEbm7 œA m9 D m9 G 9(13) E˙7 A 7 D 7 œG 7 œE 7 E b7˙ D 7 D b7
b œ œ
71
& œœœœ œœœœ œœœœ œœœ # œœ # n œœ n # œœ œn œ # œœ b n œœ ˙ # œœ n œ

œ œ œ
?œ
œ m9 Dœ m9 Gœ 9(13) Eœ7 Aœ 7 Dœ 7 Gœ 7 œ bœ œ bœ
arrows show tritone substitutions
71 E m7 A E7 E b7 D7 D b7
& œœœœ 31.8.3

œœœ œœœ œœœ # œ n œ # œ n œ
œ #Progression # œœ shown
b n œœ #with
œœ Tritone
n œœ
Figure œ Theœ III–VI–II–V
œ œ n œ inœMajor and
Substitutions
?Because
œ 2 œ of tritone
œ œ œ the 72œII479 chord can œbe substituted
b œ œ for b œ
In C, D 9(13) is oftenœ substituted for G 45 . œ
substitutions, V7 .
tritone substitution
#9
D m9 G7 #5 C maj9 D m9 D b 9(13) C maj9
& c œœœœ bœ
b n œœœ n ˙˙˙˙ œœœ bœ
b n œœœ n ˙˙˙˙
74
œ
?c
identical voicings
œ œ ˙ œ bœ ˙
Figure 31.8.4 The 2II 7 substituting for V 7 in a Tritone Substitution
31.8.3 The Blues Progression

Below are two choruses of a common jazz version of the blues progression. The
first chorus uses the first category of voicings (“spread” voicings) while the
? c ˙˙ 3rd
3rd ˙ 7th
7th ˙ ˙
Root Root
Root Root
Root
Root
Root Root
˙ b ˙˙˙˙sus (“close” ˙ ˙ 7th

66 6 6
66 6
66 6
66
C
C 13sus
13sus C
C 13sus
13sus C
C 13sus
13sus C
C 13sus
13sus C
C 999 C
C 999 C
C 999 C
C 999
& ˙chorus ˙uses the second ˙˙˙ sus category ˙˙˙the 3rd˙˙˙ or6th
39
39
˙˙ voicings
˙
39
as the ˙lowest note). b˙

second with
˙
sus sus 6th
Notice that˙ the voicings for the A7 495 and E˙ 93rd

b ˙ b ˙
6th
˙ ˙
2 6th
? ˙
4
(13) are identical (not
˙ the ˙ E (13) ˙˙is 3rd
sus (lowest)
˙ the ˙ Root ˙ Root ˙ ˙ for the

sus 3rd (lowest)
7th
7th 7th 2 9 6th
6th
counting 7th because 6th
sus roots)
sus a tritone
3rd 6th substitution
A7 495 . Root Rootis true for the G7 49 Root and theRoot
4
Root
2
The same 45 Root D 9 (13) . The Roman
numerals below sus the
(4th) staves areforsimplified.
substituting 3rd 6th substituting for 7th
sus (4th) substituting for 3rd 6th substituting for 7th
##9
C77 ##55
6
66 9
&c
43 C F C C F
43 F 9(13) C 9(13) 9(13) F
F 9(13) F 13sus F
F 9(13)
ww b b ww
43 C 999
ww ww ˙˙ ˙˙ ww
9(13) 9(13) 13sus 9(13)
9th
b ww b ww b ˙˙
5th 9th
ww b ww b ˙˙ b ww
5th
?c
9th
9th 13th
13th
w w w
6th 3rd
w ˙ ˙ w
6th 3rd
3rd
3rd 7th
7th
Root
Root Root
Root
C: 6 7 II77 II7alt. 7 7
C: II996 IV
IV7 7alt. IV
IV7 IV
IV7
1st
1st phrase
phrase 2nd
2nd phrase
phrase
##9 ##9
A 77 ##55
9
G 77 ##55
9 b 9(13)
E b9(13)
b 9(13)
D b9(13)
nw ˙
49 C
C 9(13) A D
D m9 G C 9(13) E
C 9(13) D 9(13) D
D 9(13)
b b ww ˙˙ b b ˙˙
49
& ww ww ˙
9(13) m9
w ˙ ˙
# ww nw b ˙˙ ˙
? b www ww n ww b˙
˙˙ b˙ # ˙˙ n b n ˙˙˙
w w
II77 VI
VI7
7 ii7
ii7 V 7alt.
V7alt. II77 ¯III
¯III7
7 II
II7
7 ¯II
¯II7
7
3rd
3rd phrase
phrase
##9
C77 ##55
55 C
6
66
F C C 9 F
F 9(13) C 9(13) 9(13) F
F 9(13) F 13sus F
F 9(13)
w b b bb wwww(E asrespelled
55 C 99
& www 5th b wwww b ˙˙˙˙ b ˙˙˙˙ b wwww

9(13) 9(13) 13sus 9(13)
w 9th b www
(E respelled
5th 3rd
3rd as F¯)
F¯)
? w w
9th 6th
6th
w w w w
C: 6 7 II77 II7alt. 7 7
C: II969 IV
IV7 7alt. IV
IV7 IV
IV7
1st
1st phrase
phrase 2nd
2nd phrase
phrase
#9 #9
A7 #5 G7 #5 C 9(13) E b 9(13) D 9(13) D b 9(13)
nw ˙˙˙ n ˙˙˙
C 9(13) D m9
b bn wwww # ˙˙˙˙ b n b ˙˙˙

61
& www www

# www
202
bw w b˙ #˙ n˙
? w w ˙ b˙ ˙ b˙
w w
I7 VI7 ii7 V7alt. I7 ¯III7 II7 ¯II7
3rd phrase
67
of &
Notice that the voice leading is very smooth for each part with the exception
the bass line. All voices move by step or by 3rd.
? Scales
31.9
In this section on scales, our primary concern will be understanding how
scales relate to corresponding chords in order to allow one to improvise a jazz
solo. Similarly, understanding chord-scale relationships can allow one to write
˜
& 13. B9(13) 14. G¯69 15. E¯7 ˜11

˜9
16. A¯Δ9(˜5)
5. D69 (˜11) 1. 6. B¯m9(¯5) 2. B7(˜5) 7. G3.Δ7(Em
G9sus ¯5) 9(¯5)
4. C˜m8. 11 A¯m95. D7 ¯9
¯5
?
chordal solos (like a sax soli or shout chorus in a jazz ensemble piece) where
GmΔ9come 7.
6. tones
non-chord A¯Δ9(
from the ˜11)corresponding
8. D¯69 scale.9. E¯Δ9(˜5) 10. FΔ7(¯5)
add94 œ
Scale œ
8ˆ
œ
¯7ˆ
j j
¯5 5ˆ
j
¯3
ˆ ˆ ˆ 1ˆ
œ 11. E ‰susœ ‰ b œ 12.
4
‰ D¯œ ˜˜5 ‰ j œ
31.9.1 The Blues
9. C˜mΔ7 10. F˜V 4
The blues scale is identical to the minor pentatonic scale (1̂ –23̂ –4̂ –5̂ –œ27̂ ) œ
13 7 9
&
except with an added 25̂ /44̂ (1̂ –23̂ –4̂ –25̂ –5̂ –27̂ ).
4 œ œ œ b œ 7 11
8ˆ ¯7ˆ 5ˆ ¯5ˆ 4ˆ ¯3ˆ 1ˆ
13. B9(13) 14. &69 4

G¯ œ ˜9œ œ
15. E¯ 16. A¯Δ9(˜5)
˜
2. B7(˜5) 3. Em9(¯5) 4. C˜m 5. D7 ¯9

Figure 31.9.1 The Blues Scale (Descending)11
1. G9sus
&
¯5
7. A¯Δ9(˜11) 9. E¯Δ9(˜5) 10. FΔ7(¯5)
A well-known example of the blues scale occurs in “Sunshine of Your Love”
6. GmΔ9 8. D¯69
by Cream.
4 œ œ œ œ ‰ œj ‰ b œj ‰ j ‰ j
8ˆ ¯7ˆ
¯5 4 ¯3 5ˆ ˆ ˆ ˆ 1ˆ
V4 œ œ œ œ
& 44 œ œ œ b œ œ œYT:œKWKXNoKgLQU
Figure 31.9.2 Jack Bruce and Eric Clapton, “Sunshine of Your Love”
In the blues scale, the 25̂ and 23̂ are considered to be “blue notes” because
they are not chord tones (of a major triad or dominant 7th chord). Blue notes
& are commonly used in jazz and popular music.
In terms of using the blues scale as a soloist, you will find that some players
use the blues scale over any and every chord, and that listeners’ ears often find
this acceptable.
31.9.2 The Bebop Scale

The bebop scale (known more specifically as the “bebop dominant” scale in
jazz theory texts) is identical to the Mixolydian scale except is has an added
↑7̂ . The added chromatic note (↑7̂ ) occurs in descending passages (from 8̂ –7̂
–27̂ ) as a chromatic passing tone. The bebop scale is most often used over the
dominant 7th chord. In the most rudimentary form of improvising, one can
use the bebop scale in descending eighth notes beginning on the downbeat of
a measure, starting on the root, 3rd, 5th, or 7th.
4 œ œ œ bœ
8ˆ ¯7ˆ 5ˆ ¯5ˆ 4ˆ ¯3ˆ 1ˆ
&4 œ œ œ
œ œ œ œ bœ œ
& 44 œ œ b œ œ œ œ œ œ w
Root 3rd
œœ w
œœœœœ
5th
b œ7thœ œ œ œ
œ bœ œ w œ œ nœ bw
&
Figure 31.9.3 Descending C Bebop Scale starting on Root, then 3rd, then
5th, then 7th
31.9.3 Table of Scales

The scales below are represented by scale degrees. Synthetic scales like whole
tone, diminished, and diminished-whole tone have many acceptable enhar-
monic respellings.
Table 31.9.4 Table of Scales
CLASSICAL SCALES MODES AND HYBRID MODES JAZZ AND SYNTHETIC
Major (“Ionian”) Mixolydian Blues
1̂ –2̂ –3̂ –4̂ –5̂ –6̂ –7̂ 1̂ –2̂ –3̂ –4̂ –5̂ –6̂ –27̂ 1̂ –23̂ –4̂ –25̂ –5̂ –27̂
Natural Minor (“Aeolian”) Lydian Bebop Dominant
1̂ –2̂ –23̂ –4̂ –5̂ –26̂ –27̂ 1̂ –2̂ –3̂ –44̂ –5̂ –6̂ –7̂ 1̂ –2̂ –3̂ –4̂ –5̂ –6̂ –27̂ –7̂
Harmonic Minor Dorian Bebop Major
1̂ –2̂ –23̂ –4̂ –5̂ –26̂ –7̂ 1̂ –2̂ –23̂ –4̂ –5̂ –6̂ –27̂ 1̂ –2̂ –3̂ –4̂ –5̂ –45̂ –6̂ –7̂
Melodic Minor Phrygian Whole Tone
1̂ –2̂ –23̂ –4̂ –5̂ –6̂ –7̂ 1̂ –22̂ –23̂ –4̂ –5̂ –26̂ –27̂ 1̂ –2̂ –3̂ –44̂ –45̂ –27̂
Locrian Octatonic (Half-Whole)
1̂ –22̂ –23̂ –4̂ –25̂ –26̂ –27̂ (“Diminished” scale)
1̂ –22̂ –23̂ –3̂ –44̂ –5̂ –6̂ –27̂
Locrian 42 Octatonic (Whole-Half)
(6th mode Melodic Minor) (“Diminished” scale)
1̂ –2̂ –23̂ –4̂ –25̂ –26̂ –27̂ 1̂ –2̂ –23̂ –4̂ –44̂ –45̂ –6̂ –7̂
Lydian-Dominant Diminished-Whole Tone
(4th mode Melodic Minor) (also “Altered” scale or
1̂ –2̂ –3̂ –44̂ –5̂ –6̂ –27̂ 7th mode Melodic Minor)
1̂ –22̂ –23̂ –24̂ –25̂ –26̂ –27̂
Phrygian-Dorian
(2nd mode Melodic Minor)
1̂ –22̂ –23̂ –4̂ –5̂ –6̂ –27̂
Lydian-Augmented
(3rd mode Melodic Minor)
1̂ –2̂ –3̂ –44̂ –45̂ –6̂ –7̂
Mixolydian-26̂
(5th mode Melodic Minor)
1̂ –2̂ –3̂ –4̂ –5̂ –26̂ –27̂
31.10 How to Determine Chord-Scale Relation-

ships
To discover a chord-scale relationship for almost any chord, write all of the
notes of the chord (including upper extensions and altered notes), then fill
in the thirds with the most logical choices, avoiding augmented seconds and
consecutive half steps.
In the example below, we determine the scale that best fits G∆7 (411) by
doing the following:
1. Identify the notes in the chord

2. Write all chord tones as a scale within the span of an octave
3. Fill in any gaps, avoiding augmented 2nds and consecutive half steps
4. Analyze the resulting scale 49
Identify notes
in chord Write notes as scale Fill in gaps, avoiding aug. 2nds
G maj7 ( # 11)
& # # www
within an 8ve span and consective half steps
ww œ #œ œ
3rd ˜11 5th #7th
œ œ # œ œ œ #œ œ
œ œ œ
root
(gap) w w h
w w w h
(gap)
Figure 31.10.1 How to Determine a Scale for a Chord
&
The G Lydian scale is the most correct scale to play over G∆7 (411) .
Principle 31.10.2 Determining Chord-Scale Relationships. When con-
structing the scale, avoid augmented seconds and consecutive half steps
&
31.10.1 List of Chord-Scale Relationships
Below is a list of common chord-scale relationships. When there are two scales
listed for a single chord, it is because the chord has a minor third that can
be filled with half step then whole step or whole step then half step. This
&
knowledge of chord-scale relationships ultimately becomes second nature to an
improvising jazz musician.
Table 31.10.3 List of Chord-Scale Relationships

CHORD CORRESPONDING SCALE(S)
C∆7 C major scale or C Lydian scale
C∆7 (411) C Lydian scale
C∆7 (45) C Lydian-Augmented scale
Cm7 C dorian scale or C natural minor
Cø 7 C locrian scale or C locrian 42
Cø 9 C locrian 42
C◦ 7 C Octatonic Whole-Half
Cm ∆7 C melodic minor ascending
Cm 69 C Dorian or C melodic minor ascending
C7 C Mixolydian
C7 (411) C Lydian-Dominant
C7 (45) C Whole Tone scale
C7 (25) C Whole Tone scale
C7 (29) C Octatonic (Half-Whole)
C7 (49) C Octatonic (Half-Whole)
C13 411
4
9 C Octatonic (Half-Whole)
C7 alt C Diminished-Whole Tone
This list is not exhaustive. Follow the process above (“How to Determine
Chord-Scale Relationships”) for chords not listed in this list.
Additionally, it is often important to look at the relationship of a chord to
the overall key of a tune to determine the appropriate scale. For example, the
Fmin7 at the beginning of “All The Things You Are” by Jerome Kern is the
vi7 chord in A2 major, in which case it would be inappropriate to play an F
Dorian scale because the D6 would conflict with the D2 in the key signature.
One would play an F natural minor (or Aeolian) scale instead. 49
Identify notes 49
31.11 Harmonizing
# the Bebop Scale
& # # www
Identify notes within an 8ve span and consective half steps
œ œ #œ œ
G maj7 11
( )
œ œ (1̂ –2̂#7th
œ
œ #scale 4ˆ5œ –#6̂œ–7̂ –8̂ ) with four

# 11) rootBook,
ww the bebopœ major
7th
˜118ve5thspan
# œ œ
within an and consective half stepsfor har-
&# w w w# œ h œ
In The GJazz
maj7 (Theory 3rdauthor Mark Levine provides a method
3rd ˜11 5th (gap)# œ
voices. w ww œ # œ œ w w œ w# œ h œ œ
œ
monizing – 3̂ –4̂ –5̂ –
œ each part—soprano, œ tenor, then bass.
root
(gap)
Try singing through (gap) alto, w w h
o o o o
w w w h
(gap)
& 44
C6 B 7 C6 B 7 C6 B 7 C6 B 7 C6
o o o
Cœ6 b œ www6 o
Bœ7
œ œ œ
œ # œœ n œ œ
œœœ b œœœœ n œœœ b œœœ œœ œœ œ œœ ww œ
& 44
C6 B 7 C6 C6 B 7 B 7 C
œ œ œ œœ œœœ # œœœ n œœœœ b œœœ www

œœœ b œœœ n œœœ b œœ œ œ
œ
o C m6
o
B 7 C m6
o
Figure 31.11.1 Four-Part Harmonization of the Bebop Scale in Major
C m6 B 7 B 7 C m6
o
B 7 C m6
o o o o
Bœ7 wC m6
& œœœ b œœœœ bn œœœ b œœœœ b œœœœ # œœœœ n œœœœ b œœœ b www
C m6 B 7 C m6 B 7 C m6
B 7 C m6
œ œ w
& bœ œ
œ bn œœœ b œœœœ b œœœœ # œœœœ n œœœœ b œœœ b www
b œœœ b œœœ œ
&Notice that all of the non-tonic chords are vii◦7 chords in various inversions.
Figure 31.11.2 Four-Part Harmonization of the Bebop Scale in Minor
&
CHAPTER 31. INTRODUCTION TO JAZZ THEORY 379 47
47
w # w
b ww chords #aswwpassing chords)
w in the ##following
ww
One hears a similar approach to harmonizing a scale (though without the
?
? bb b b www ## wwwww ww
## wwww ## ww
bb www
fully-diminished seventh example.
b w ww ## wwww
w w
F˜˜m
˜
E¯m 6 13sus¯9 7(11) ( 11) 9(¯5)
w
E¯m699 B sus¯9
Gm A9(˜11)
A9 F
nw w
1.
1. _____ 2. _____ 3.
3. _____
Gm7(11)
B13tnLK5lMY97s 4.
4. _____ 5.
5. _____
m9(¯5)
bb #n wwwHis Orchestra, www“London Bridgewwwwwwis Falling

_____ 2.
YT:_____ _____ _____ _____
Down” ?
? # ww
# www
Figure 31.11.3 Count Basie and
# ww bb w b
b ww
w ww bb ww ww
1.
1. _____
_____ 2.
2. _____
_____ 3.
3. _____
_____ 4.
4. _____
_____
bb www w
ww ww
& ww b
b b w w b
b ww
& Dayb ##One
www b ww
w w
w b
bb b wwww
b b
b w
Jazz Theory:
1. Given the following lead-sheet symbols, write the chords. Remember
5.
5. _____ 6.
6. _____
_____ appropriate
it is sometimes _____ 7.
7. _____ 8.
8. _____
_____ respell notes
to enharmonically _____like C2,
?
B4, F2, E4 and altered notes like 45 and 49.
?
7(˜5)
C˜˜m
9(¯5) 7 ¯9
B7(˜5)
9 11
1.
1. G
G9sus
sus 2.
2. B 3. Em9(¯5)
3. Em 4.
4. C m11 5.
5. D
D7 ¯9
¯5
¯5
&
&
Δ9(˜11) Δ9(˜5) Δ7(¯5) 199
A¯Δ9(˜11) E¯Δ9(˜5)
Δ9 6
6.
6. Gm
GmΔ9 7.
7. A¯ 8.
8. D¯
D¯699 9.
9. E¯ 10. FΔ7(¯5)
10. F
?
? C 7( b5) C 7(# 5)
2. 3. 4. 5.
C 7( b 9) C 7(# 9) C 7( b13) or C7(˜5)
bw
_
C 7+
b bb www ¯5 ¯9
9
b b wwwchords symbols.
47
b www
+_ 5
b ww followingb ww chords busing bw

2
b
Jazz Theory: Day Two
& b nthe ww ww ww n ww ww
w # w
2. Label jazz ˜5
?? b b b wwww˜ ∑
respell 5 to agree with ¯7 wrespell ˜9 to agree
# wwww ww with ¯7 b b#wwwww˜9 # wwwpreferred
& ∑ b www n#wwww ∑
& w # ww
nw ww ww
1. _____ 2. _____ 3. _____ 4. _____ 5. _____
? b w w w
6
?& # ##wwwww
w n b www # ww # www b ww b b n www b wwb # ww
w bw w
# ww w b ww w
? w # ww w w w
ww 9. _____
&
&
& w
# www b b b www ww b www
ww w F ˜˜ b b b www C
6. _____ 7. _____ 8. _____ 10. _____
b w
11
11
D˜7 9 7 9
# ww ˜
Δ9(13) 9 o7
n w
Em ¯5 E sus
& w ww
5
five voicesw
Jazz Theory: Day Three
3. Voice lead w w w wthrough-
b wthe following progressions,
b www when necessary.
maintaining
b w enharmonically
ww use “close” voicing,
&? example, b w
out. Remember to spell notes In the
bw
together asw possible. In the second example, use Root–3rd–7th or
first keeping all the upper notes as close
9. _____ always for10.the

Root–7th–3rd _____ 11.voices,
lowest three _____ then realize 12. _____ the rest
b www w
15
n b ww chords.
of the lead sheet symbol with the upper two parts (“spread” voicing).
& Root–3rd–6th
# www for 6th# wchords and Root–4th–7th
w
& b # w
Use for sus
? w #w b b www # www
You may need to omit the 5th to maintain five parts throughout.
w w
13. _____ 14. _____ 15. _____ 16. _____
&
19
&
&?
?c ˙ #w
˙ b˙ ˙ #˙
#9
Db 9 C7 #5
6
79 F 13sus B 13sus E maj9(13)
& c b b ˙˙˙ ˙ ˙ #˙ #w
b˙
? c b˙ ˙
˙ ˙ w 203
#9
A7 #5 E b 7(# 9) F # 9sus C #m 9
6
& c ˙˙
G 9(13)
b˙ ˙ #˙ #w
76
82
&
#˙
?c ˙ #w
? ˙ b˙ ˙ #˙
50 Jazz Theory: Day Four

50
#9
95
& Db 9 C7 #
#œ
50 4. Please name 6 the following scales.
?
?& #cœ b bbœ˙˙˙˙ œœ œœ ˙œœ œœ ## œœ # œ˙ ## œœ # œ˙œ
## œœ # œ n œ# w b œ œ œ
5
#œ nœ
?? # œ œ œ œ œ œ # œ # œ #œ # œ # œ n œ bb œœ œœ œœ ## œœ
œ
#œ œ 2. _________________________ # œ
?1.c_________________________
b˙ ˙ ˙
1. _________________________
1. _________________________ ˙ w
2. _________________________
bœ bœ bb œœ bb œœ bb œœ œœ bœ œœ
2. _________________________
& œœ œœ b œ bb œœ
&
bœ bœ bœ œ œœ œœ œœ ## œœ ## œœ bb œœ œ
& œ œ bœ
82 3._________________________ œ œ œ #œ #œ
4. _________________________
œœ bb œœ bb œœ
3. _________________________ 4. _________________________
&3. _________________________
œ b œ
bœ b œ œ bœ bœ bœ bœ œ
& b œ bb œœ œœ œœ b œ œ b œ b œ
4. _________________________
&
œœ bb œœ bb œœ œœ b œ bb œœ bb œœ œœ
&? b œ bœ bœ œ bœ
5. _________________________ 6. œ_________________________
5. _________________________ 6. _________________________
& write the following scales.

&
5. _________________________ 6. _________________________
&
5. Please
&&
95
?
?
?
1. E Lydian-Dominant 2. B¯ Phrygian-Dorian
&
3. F Diminished-Whole Tone 4. E¯ Octatonic (Whole-Half)
&
& Day Five
Jazz Theory:
6. List the appropriate scale for the each chord by writing the chord
& augmented seconds when constructing the scale.

tones then filling in the gaps. Avoid writing consecutive half steps
& 7( )
52
and
&1. E¯ ˜ ; Scale: ____________________________
5
&
&
&2. B¯7¯5˜9; Scale: ____________________________
&
?
&
&3. Fm7(¯5); Scale: ____________________________
&
&
1. 7(˜5)
1. E¯
E¯7(˜5);; Scale:
Scale: ____________________________
____________________________
1. E¯7(˜5); Scale: ____________________________
&
&
&
2. 7˜9; Scale: ____________________________

2. B¯ ˜9 Scale: ____________________________
?
B¯7¯5
˜¯59;; Scale:
?
2. B¯7¯5 ____________________________
?
3. 7(¯5)
3. Fm
Fm7(¯5);; Scale:
Scale: ____________________________
____________________________
3. Fm7(¯5); Scale: ____________________________
&
&
&
4. Δ7(˜5)
4. A¯
A¯Δ7(˜5);; Scale:
Scale: ____________________________
?
____________________________
?
4. A¯Δ7(˜5); Scale: ____________________________
?
?
? to
?
Click here
Click here
download the second homework assignment for this chapter.
to download the third homework assignment for this chapter.
?
Click here to download the sixth homework assignment for this chapter.
? to download the Unit 11 Practice Test.
?
Click here
Chapter 32
Impressionism and Extended

Tonality
#9
E7 #5 B b 13sus F #mΔ9 C #m 9
6
204 88 C m9 B maj9(13)
& b ˙˙˙ #˙ n˙ ˙ #˙ ˙
b˙
32.1 Impressionism
? ˙ #˙
˙ b˙
Impressionism is associated with Claude ˙ Debussy and #Maurice
˙ Ravel in
France, Ottorino Respighi in Italy, Charles Tomlinson Griffes in America, and
# 9 focus13on just 13 # 9 found
q = 40 inB bEngland.
Frederick Delius A7 b9 D7 b5 G7 #9 E b7 b 9
threeE btechniques
A7 #5
13 13 We will
c œœ the 7th œ œ ˙
91 mΔ9 13sus
& above b œ in chord œ

b œ construction
in the music of Debussy and Ravel: (1) the use of modes, (2) the use of up-
per extensions bœ in tertian harmonies (9ths,
11ths, and 13ths, which we saw in the chapter on jazz), and (3) parallelism,
? c bœœ
also known as “planing.”
1. Use of modes. Composers such as Debussy and Ravel sometimes wrote
in the church modes (Phrygian, Lydian, etc.—see Scales) as an alter-
native to the heavily chromatic music of Richard Wagner (listen to the
influential Prelude to Act I of Wagner’s Tristan œund Isolde).
&c Œ œ b œœ ˙˙ .. b œœ œœ b œœ œœœ œœ ˙ Ó
93
(a) The first #movement

œ
# œœ b œœ n œ of Debussy’s
#˙. b œStringœ Quartet inœ G bminor, ˙˙ Op.
œœœ n5̂œœœ scale ˙˙˙ ... b œœœ b œœœ # œœœ # # œœœ in œœœPhrygian.
? c on
Œ #the b b œœœ degree b ˙˙˙ (The
10, begins in Phrygian mode. Notice that the seventh chord that
occurs is half-diminished Ó
penultimate chord in this example is not in Phrygian mode.)
ø
ø
D 7/A b Bb
ø D 7/F
D 7/A b 3
ø
G m D 7/A b G m B b A b 7( b 5)
b j j j
Gm Gm
&b c œ œœ b œœ œ œ œœ œœ œ ‰
97
œœ œœ œœ œ œœ
œ œ œœ œ
j j
? bb c œ œœ œœ
j œ œœ #œ œ ‰
œ b œœ œœ œ
œ
œœ b œœ
œ œ w
g: i vø43 III vø43 vø65 i vø43 i III ¯II7(¯5) i
b
&b œœ
100
J
YT:
? b
b œ32.1.1
cEfhiCqlawI
Figure œ œ Debussy, String Quartet in G minor, Op. 10, I.
(b) The second movement (“Danse profane”) of Debussy’s Danses be-
gins in Lydian mode.
382
j j
? bb c œ œœ œœ œœ œ
j œ œ #œ œ ‰
œ b œœ œ
œœ b œœ œ œ œ w
g: i vø43
CHAPTER 32. IMPRESSIONISM vø43 vEXTENDED
IIIAND ø6
5 i vø43 ¯II7(¯5)
TONALITY
i III i 383
# Strings - . . - .j . . -
& # 43 Œ
100
˙˙ Œ #œ œœ Œ ˙ ‰ # œœœ œœœ
˙ œœ œ ˙ œœ œœ
π π ˙ #œ œ
? # # 43 ˙ . ˙. ˙.
Harp
˙.
-̇ . -̇ . -̇ . -̇ .
YT:
5YFNOsSyv3I
Figure 32.1.2 Debussy, Danses, II. Danse profane
(c) The first movement of Ravel’s Piano Trio Ravel begins in the Dorian
mode. Notice that the penultimate chord is outside of the mode. 205
. œœœ- . -
8 œœœ. œœœ .. œœ œœœ .. # œœœ œœœ œœœ. œœœ .. œœ œœœ .. œœ œj
104
&8 . #œ . J . #œ . œ n œœ œ
# œœ
π œ. œ. œ œ. œ. œ
? 88 Œ œ œ
° œ
& 43
106
205
. YT: -
8 œœœ- œœœ. œœœ .. œœ œœœ .. œœ œ. j œ
œœœ. œœœ .. œœ œœœ .. # œœœ œœœ yiaGAWuY2PE
104
& . . . .
? 843 32.1.3# œRavel, Piano
Figure J Trio, I. #œ œ n œœ # œœ
π œ. firstœ. movement œ of Ravel’s Piano œ. œ. Ravel œ trans-
? 88 the Œ theme by placing it inœ the Lydian mode. In this example, œ
(d) At the end of the Trio,
œ
forms
the °
120 final two chords are outside of the Lydian mode.
& .j -
. . . -
œ œœ .. œœ œœ .. œœ œœ œœ # œ œ œ œ œœ .. œœ œœ .. œœ œj b œœ
œ œ
106
? œ œ. #œ œ.
& J. - œ œ . # œ œ . œ n œœ n œ
. J. -
π lointain
?w ∑
128
&
? 43
108
& YT:
yiaGAWuY2PE
? 3 32.1.4 Ravel, Piano Trio, I.

4
Figure
2. Use of upper extensions in chords. Debussy and Ravel used chords con-
taining ninths, elevenths, and thirteenths, sometimes with chromatic al-
terations
128 to those upper extensions.
(a) In&bar 15 of Debussy’s “Clair de lune” from his Suite bergamasque,

2
Debussy uses an E m9 chord with the 9th of the chord in the
?
melody.
& œœ œœ . # œœœ #œœœ.
œœ . # œœœ œœ . # œ œœœ n œœ n b œœœœ n œœ # œœ
œœ œ Jœœ œœ
. . . . J. - œ
π J . - .
π lointain œ. œ. œ œ. . œ œ
?
? w8IMPRESSIONISM œ ∑ œ
CHAPTER 32. Œ 8 AND EXTENDED TONALITY 384
° œ
œœ- œœ œœ- œœ-. œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œ-
b.b b 98 ‰ œJ œ œ œœj œ - œ œ .œ œœ œœ œœ œ œœ .. . -
.
[ E¯m(add9) ]
b œœ .. 2 œ œœ .. # œœ œœ œœ œœ œœ .. œ œœ .. œœ j œ
108
& œœ b
106
&œ œπ . # œœ œ . œ J œ œ œ . # œœ 2 œ . œ n œœœ n b œœ
. - J -
?π 9 ‰ œj œ œ œ œ œ œ .œ œ œ œ œ
bb b b lointain . 205
2 2
8 œ œ œ œ œ œ œ œ œ œ œ œ œ .
? w b ˙ . œ- œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- ∑ œœ- ..
&
. -
8 œœœ. œœœ ..˙ . œœ œœœ .. # œœœ œœœ œœœ- œœœ. œœœ .. œœ œœœ .. œœ œ. j œ
104
&8 . #œ . J . # œ . œ n œ # œœ
œ
bπb[ E¯m(add9) ] œ- œ - - - - - - - - - -
b b œ œ œ
œ. œ œ. œ œœ œ œ œœ œœ œ. œœ œœœ. œœ œœ œ œœ œ- .
110
& b
? 88b b bŒb 9 ‰ œJ œ œYT:œœ œ œ œ œ œœ œœ œœ œœ œœ ..
108
& b 8 œ
? bb °2
bbb π Yecu-mJ-EZo 2
? . 9 j .j - .
Figure 32.1.5 Debussy, Suite bergamasque, III. Clair de lune
b b ‰ œ œ œ œ œ œ œ œ . -
. œ œœII jofœ his œœPre- œœ ..
œ œ œ
2 2
Bar 8œœb of .. 8 œœ &

b bœœœDebussy’s œœ .. œœ“La œ
# œœ œœPuerta
œœœ œ delœ œVino” œ œ .œ fromœ œ œBook
- 2 7œ œœJ œ-œ œ- œ- œœ œ- œœ ..œ- # œœ œ- œœ .. œ- œœœ- n œœ œ-n b œœœ œ-
106
& œ . #˙ œ . œ . œ the right œ- .

(b)
ludes, contains a D in. the- left hand with the notes in
handπalternating ˙ . between the 49 and. the 29. J. -
?w ∑
lointain
D¯ ˜
bb 2
7( 9)
& b [bE¯m ‰ nœ j Œ
3
œ-œ- œ œ-n œ œ- n œœ- . œ-œ œ œœ-œ

110
b 4 ]œ nœ-œ œœ œ œ- n œœ-
3 3
- - œœ- œœ-- œ
bb b b 9 ‰ œœJ˜9 œœ œœ ¯9œœ œ œ œœ œœ œœ œ œœ- ..
(add9)
œ œ œ œ œ œ œ œ œ. n˙
108
& b 8 n ˙ ¯7 n ˙˙ ˙˙
? b b b 42π ˙ 3rd ˙
bb
œ . j5th œ œ œ
œœ œ œ œ œ œ
œ. . œ. œ œ œ
2 2
? b b b 98 ‰ & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
2 2
b b ˙ œ- œ œ- œ- œ- œœ ..
Root
. œ- œ- œ- œ- œ- œ- œ- œ- .
˙.
b
& bb bb b b 2
114
D¯7(˜9)
& b b b 4 œ n œ œ œ n œ PuLpFaE9ZWo‰ nœ œ œ j Œ
YT:3 3
œ
110
nœ nœ. œ œ œ
3
- - - - œ
? b b
Figure 32.1.6˜9Debussy, Préludes, Book II, No. 3, La Puerto del
n ˙ n ˙˙ ˙˙ n ˙˙
¯9
? bbb bb b 42 ˙ 3rd
Vino ¯7
b b of œthe œ œ
œ piece, œ
œ . Debussyœ
œ also œ œ theœ4.11œinœ the
œ . includesœ œ
(c) In bar 70
Root
. 5thsame
right hand, in addition to the 49 and 29.
D¯7 ˜11
˜9
b
& b b b b ‰ n˜ n œœ œœ œœ n œœ
3
‰ n n œœ œœ œœ œ n n œœ .. œœ n œœ œœ œœ
114 3 3
nœ
11
- - - -
˜9
? b b b n ˙˙ 3rd
¯7 n ˙˙ ˙˙
bb œ œ œ œ œ œ
Root
œ . 5th œ œ. œ œ. œ
YT:
PuLpFaE9ZWo
Figure 32.1.7 Debussy, Préludes, Book II, No. 3, La Puerto del
Vino
CHAPTER 32. IMPRESSIONISM AND EXTENDED TONALITY 385
3. Use of parallelism (also known as “planing”). In contrast to the prohibi-

tion against parallel fifths and octaves in traditional voice leading, both
Debussy and Ravel would take a chord voicing and move all voices in
parallel motion.
(a) In Pavane pour une infante défunte, Ravel writes dominant 9th
chords in parallel motion in bar 27.
E9 D9 C9 D9 E9
206 un peu plus lent
# > > > > > U

117
& c œ j ‰ œ
œœ œœ n œœ
# œœœ œœ
œ
œ
#œ n œœœ œœ b œœ
œ œ œ # œ n n œœ # # œœ œœœ
œ
f
œœ ‰ U 7
?# c œ œœ œ
œ J œ
œ
œ
œ œœ œœ œœ œ œ
œ
> > > >
>Trumpet
# œ œ bœ nœ œ nœ bœ œ œ
Em Cm
& 44 Œ œœœ œ œparallel Œ

œ œ œvoicings
44 Horn
œ
119
#
& # 4Choir
œ œ ˙. w œœ b œœ ˙˙ .. ww
& 4 œ œ ˙. w YT: J
44
?# GEUpQ5pCSOQ 3
œœ œœ ˙˙ .. œ ˙ . défuntew
œ infante
Kor - ah, Syahd - ho,
ww œ œ ˙. w
Figure 32.1.8 Ravel, Pavane pour une
? # 4 J
44 (b) 4
At 5 bars after rehearsal number 5 in Prelude to the Afternoon of
a Faun, Debussy writes chromatically ascending
3 dominant seventh
chords.
3
Horn
& 4 bœ œ. œ. œ. œ. œ œ œ œ
48
. œ. bœ œ
G7 A¯7 A7 G7 A¯7 A7
œ-
Strings œ- b œ- œ œ bœ
& 43 œ œ bœ œ œ bœ
48
- - -
? 43 œœ b œœ n b œœ œœ b œœ n b œœ
œ bœ nœ œ bœ nœ
48
parallel voicings
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ YT:
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
50
9_7loz-HWUM
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
50
Figure 32.1.9 Debussy, Prelude to the Afternoon of a Faun
(c) At 4 bars after rehearsal number 2 in the same piece, Debussy moves
seventh chords in parallel motion. Notice that the chords are not
all?of the same quality.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
50
- bœ bœ
? 3 œœ b œœ nœ œœ b œœ nœ
4 œ bœ nœ œ bœ nœ
48

parallel voicings
. œ œ œ œ œ. œ nœ
9 œ œ œ nœ nœ œ œ œ œ œ œ
# # # # Flute
50
& 8
3 3
3 3
F˜ø7 Bm7 Am7 F˜ø7 Bm7 Am7 F˜ø7
# ## 9 j
Strings
n œœ n œ œœ œ
& # 8 n œœ # œœ œœœ œœ œœ
50
nœ œ n œœ œ œ œœ nœ
œ ..
? # # # # 98 n œ œ œ œ œ
50
œ #œ œ œ œ
J
parallel voicings
YT:
9_7loz-HWUM
Figure 32.1.10 Debussy, Prelude to the Afternoon of a Faun
32.2 Pandiatonicism
Pandiatonicism refers to the use of all diatonic notes without the need for
scale degrees or harmonies to progress or function tonally (V doesn’t need to
progress to I, 7̂ doesn’t need to resolve to 8̂ , etc.). One often hears it as
a wash of notes from the major scale, or as chords made of non-traditional
combinations of notes from a major scale, often with at least one interval of a
2nd in a chord voicing.
In the first example, notice how Stravinsky creates a wash of sound from
the notes of the major scale.
YouTube: https://www.youtube.com/watch?v=XkM4bKjggKo
Figure 32.2.1 Stravinsky, Petrushka, Fourth Tableau: The Shrovetide Fair

(Toward Evening)
In the second example, Copland uses non-traditional pandiatonic chord
shapes in non-functional harmonic progression.
?# c œ œœ ‰
œ J œœ œ œœ œœ œœ
œœ œœœœ
> œ > >
>
>
parallel voicings
### œ œ œ œ
œ œ œ œ œ
119
& œœ œœ œœ œœ œ
œ œ
œ œœ
? ### œœ œ
###
c
120
&
? ### c
YouTube: https://www.youtube.com/watch?v=WVahuS9hk_s
Figure 32.2.2 Copland, Appalachian Spring
The third example is similar to the first, with Copland creating a wash
of sound from the notes of the major scale, with no regard to the dissonant
intervals occurring in counterpoint.
32.3 Quartal, Quintal, and Secundal Harmony

Quartal harmony refers to chords stacked entirely (or mostly) in fourths.
Quintal harmony refers to chords stacked entirely (or mostly) in fifths. Se-
cundal harmony refers to chords stacked entirely (or mostly) in seconds.
Contrast these concepts with the tertian (stacked in thirds) harmony we’ve
encountered in the majority of this text. Alternative methods of stacking
chords became more common after 1900 as composers sought ways to innovate
and break with the past.
The next three examples demonstrate quartal harmony.
YouTube: https://www.youtube.com/watch?v=m_hMVzPT9f4
Figure 32.3.1 Schoenberg, Chamber Symphony No. 1, Op. 9
YT: D5-bD372v5s
Figure 32.3.2 John Parker, CHiPs Theme
YT: AQFxpN30DMU
Figure 32.3.3 Merv Griffin and Julann Wright, Jeopardy! Theme

The following is an extended example of quintal harmony.
YouTube: https://www.youtube.com/watch?v=IfOJCKN148M
Figure 32.3.4 Bartók, Piano Concerto No. 2, II.
32.4 Polychords
A polychord typically consists of two triads sounding simultaneously. A poly-
chord could also consist of two seventh chords, or a seventh chord and triad.
Additionally, a polychord could conceivably consist of more than two triads or
seventh chords, since the prefix “poly” means “many.”
Perhaps the most famous polychord is the “Rite of Spring chord,” an E2 7
chord sounding over an F2 major chord, which occurs during the “Dance of the
Adolescents.”
206 ? ### un peu plus lent
# c > > > > > U

117
& j ‰ œœ n œœAND EXTENDED œœ œ

œœœ IMPRESSIONISM
#32. œœ œœ b œœ œœTONALITY 389œ
œ œ # œ œ œ œ œ # œ n œ # œ œœœ
n n œ
œ # œ
CHAPTER
f
œ E¯7 U
?# c œ œ ‰ œœ œ
œ J œœ F¯œœ œ œœ œœ œ œœ
œ > >
120
> >
& b b œœ
>
b œœ
parallel voicings
### œ œ œ œ
œ œ œ œ œ
119
& œœ œœ œ œ
? b b œœœ
œœ œœ
? ### b b œœ œ
œœ
œœ
œ
E¯7 121
&
120 F¯
& b b œœ
b œœ
? b b œœ
?
b b œœhttps://www.youtube.com/watch?v=BKoO_3-I1dw
YouTube:
Figure 32.4.1 Stravinsky, Rite of Spring, “Dance of the Adolescents”
Polychords are notated using a horizontal line between the chords instead
of a slash. (The slash was used for slash chords.)
A¯ (horizontal line means
b b œœœ b b œœœ
121 A A¯/A (slash means chord
chord over chord)
&
over bass note)
# œœœ nœ
?
nœ
Also note that it is not necessary to specify the inversion of each of the
chords in the polychord.
In th example below, Copland voices an A major chord below an E major
chord.
53
E
A
### œ œœ
E major triad
œ
A major triad
& œ œ œœœ
œ œ œ
##
& #
In the example below, features chromatically ascending dominant seventh
chords in the left hand against a repeating three-chord cycle of G–F–C in the
right hand.
YouTube: https://www.youtube.com/watch?v=XkM4bKjggKo
Figure 32.4.3 Stravinsky, Petrushka, Fourth Tableau: The Shrovetide Fair

(Toward Evening) 207
& c œœœ .. œœœExercises

C F C F C G 7/D C/E D m/F G7 C G 7/B C
œœœ œœ œœ œ œœ œœ œ œœœ œœ œœ œœœ

123
32.5 Practice
. œ œ œœ œ œ œ
? of œ . œ œGiven œ œ and chord symbols

Day One
c modes. œ melody œ œ forœ “London
œ
œ œ
1. Use the
Bridge” in Phrygian mode, analyze the chords as lead-sheet symbols
(“LSS”) and as Roman numerals (“RN”).
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
b
& b b c œœœ .. œœœ œœœ œœ œœ œ œœ b œœ œ b œœœ œœ œœ œœœ
125
. œ œ œœ œ œ œ
? bb c œ . œ œ bœ œ
RN: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
2. Use of parallelism. Harmonize the opening of “London Bridge” so
b
each note of the melody noteø7is the 9th of a dominant
ø7 ninth
ø7 chord.
&bb
127 Cm Fm Cm Fm Cm G /D¯ Cm D¯/F G Cm G /B¯ Cm
i iv i iv i vø43 i6 N6 vø7 i vø65 i
? b
bb
? ### c ˙ œ œ ˙
RN: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
˙ ˙ Cm
˙
Fm Cm Fm Cm Gø7/D¯ Cm
˙ ˙ D¯/F G ø7 Cm Gø7/B¯ Cm
CHAPTER 32. IMPRESSIONISM
i AND
iv i EXTENDED
iv i vø4 i6TONALITY
N6 vø7 391
i vø65 i
3
RN: ___ ___ ___ ___ ___ ___ ___ ___ ___
œ œ
LSS: F9 ___ ___ ___ ___ ___ ___
œ c b œœœ œ œ œ œ
LSS: F9 ___ ___ ___ ___ ___ ___
& c b œœ & œ œ œ
133 127
nœ
? c œœœ
? c œœœ
Day Two
3. Quartal,
LSS: Quintal,
___128 and
___Secundal
___Harmony.
___ ___ analyzing
After ___ ___given
the ___ ___
& symbol, revoice it in four ways:
&c
135
chord as a lead-sheet
(a) as a six-note tertian chord stacked only in thirds
? quartal chord stacked only in perfect 4ths
?c
(b) as a six-note
(c) as a six-note quintal chord stacked only in perfect 5ths
(d)
RN:as a six-note
___ secundal
___ chord
___ stacked
___ only
___in 2nds
___ ___ ___ ___
LSS: ____ (1) in 3rds (2) in 4ths (3) in 5ths (4) in 2nds
w
139
& ww 209
b www ww
LSS: ____ (1) in 3rds (2) in 4ths (3) in 5ths (4) in 2nds
?
149
b
& w w
b w Harmonize “London Bridge” using the specified poly-
? b wRemember that the chords can be in any inversion, but should
4. Polychords.
chords.
bw
should be playable (i.e., without too big of a stretch for the hands of
the pianist).
D¯
__ E¯+
___ B¯
__ ___
Cm __
D C¯
__ ___
Dm
C¯ D¯ E¯ A B¯ F Gm
154
b œœ œ œ bœ œ bœ ˙
& c b b b b œœœœ
?c
__
D ¯ E ¯+
___ B__¯ ___
Cm __
D C¯
__ ___
Dm
b œœ b œœ n œœ b œœ œ b b œœ ˙˙
156Click here to download the second homework assignment for this chap-
& c b b b b œœœœ œœ nb œœœ n œœ # b n œœœœœ b n n œœœ b n ˙˙˙˙

ter.
b œœ
b b œ n # œœ œ
?c (lower chords can be any inversion)
158
&
?
Chapter 33
Set Theory
33.1 Set Theory

Set theory is the analytical technique we will use to analyze expressionist mu-
sic. The primary composers associated with expressionism are Arnold Schoen-
berg (1874–1951), Anton Webern (1883–1945), and Alban Berg (1885–1935).
In this text, we will associate atonal music—music that avoids traditional
harmonies and scales—with expressionism. Instead of scales and chords, in-
tervals are the building blocks of Expressionist music. Although composers
began writing atonal music in 1908, there was no widely-accepted systematic
analytical approach that could show relationships between different pieces un-
til Allen Forte published his seminal The Structure of Atonal Music in 1973, in
which Forte applied set theory mathematics to music. However, our approach
to normal form and prime form will follow the slightly-modified approach set
out by John Rahn in his Basic Atonal Theory (1980), which is the approach
followed by Joseph Straus in his well-known and widely-used Introduction to
Post-Tonal Theory.1
33.1.1 Atonal Music

Listen to the following example by Anton Webern.
YouTube: https://www.youtube.com/watch?v=ELAKF8ZxDmg
Figure 33.1.1 Webern, 5 movements for string quartet, No. 3. Sehr bewegt
Gone are the triadic structures we have studied throughout this text. In
this music, intervals are paramount. Let us examine the intervals we find.
1 Of the 208 sets that exist, only 6 are different between the Forte and Rahn methods for
prime form. See https://www.mta.ca/pc-set/pc-set_new/pages/pc-table/packed.html.
392
CHAPTER 33. SET THEORY 393
162
& n b œœ
n bn œœœ
210
nœ
m3
m3 m6
+5
? #œ œ
Look at the intervallic structure of the first two chords,2 not including
the C4 in the cello part. We see the interval of an augmented 5th below
the interval of a minor 3rd in the first chord, and the interval of a minor
sixth
163below the interval of a minor 3rd in the second chord. Notice that the
&
names we use for intervals carry tonal implications. An augmented 5th would
function differently than a minor 6th, but in atonal music, these intervals have
the same sound, are separated by the same number of half steps, and have no
tonal implications (they don’t have to resolve any particular way). Therefore,
analysts like Allen Forte used integers to represent pitches and intervals to
?
remove the tonal implications of staff notation.
33.1.2 Integer Notation for Pitches

One notable trait of set theory is that we will represent pitches with integers,
as seen in the table below.
Note name: C C4/D2 D D4/E2 E F F4/G2 G G4/A2 A A4/B2 B
Integer: 0 1 2 3 4 5 6 7 8 9 10 11
It may be helpful to remember that the C major triad (C, E, and G) consists
of integers 0, 4, and 7.
Integer notation of pitches means we assume enharmonic equivalence of
notes. For example, D, C5, and E3 are all represented as pitch integer 2. We
also assume octave equivalence, which itself presumes the notion of pitch
class. When we say Beethoven’s first symphony is in C, we refer not to any
specific C (C1 , C2 , C3 , etc.), but to the concept of the pitch class C, which
includes any and all Cs. Therefore, you would label the note C as pitch class
0, no matter the register in which it occurs.
33.1.3 Integer Notation for Intervals

We will also measure intervals using integers, with each interval represented by
the number of semitones (half steps) it contains. The following table contains
the number of semitones in each interval.
2 Some authors call atonal chords “sonorities” to differentiate them from chords in the
traditional triadic sense; we will continue to use “chord” in this text.

Table 33.1.2 Interval Integers

Interval Number of Semitones Interval Number of Semitones
m2 1 P5 7
162
n b œœ
M2 2 m6 8
&
n bn œœœ
m3 3 M6 9
210
nœ
M3 4 m7 m3
10
P4 5 m3 M7 m6
11
TT 6 +5 P8 12
162 ?
33.1.4 Pitch-Class Sets #œ œ
set &
b œœthetime
analysis.” Let us return to the example by Webern,n this
n œ
210
for pitches and for intervals. n œ n œ
In atonal music we will analyze sets of pitch classes, hence term “pitch-class
m3 with integers
bœ
m3 m6
+5
? #œ n b œœ
163
pitch-class numbers
& nœ
11 n œ nœ
10 3 semitones
3 bœ
7
2 3 semitones 8 semitones
11
8 semitones
163 ? #œ œ
10 n b œ
pitch-class numbers
& œ 3 semitones
1
2 n nofœ
œ 11 nbetween
œ
bœ
The first chord consists E , 3B,semitones
2 7
and D, or pitch integers83,semitones
11, and 2. If
11 distance,
we examine the intervallic we find 8 semitones pitch integers
8 semitones
3 between 11 and 2. Note that we are working in
?
3 and 11, and 3 semitones
#œ œ
164
&
a modulo 12 system, meaning we restart our numbering after 11 (0, 1, 2, 3,
4, 5, 6, 7, 8, 9, 10, 11, 0, 1, 2, 3, etc.). We are used to modulo 12 thinking
1
since we all deal with clocks. If a meeting ran from 11am to 2pm, it lasted 3
hours. Therefore, an interval from pitch integer 11 to pitch integer 2 spans 3
semitones. The second chord has the same intervallic construction.
?
Now, let’s look at the two chords in the second half of the third measure.
nœ b œœ
n # œœ
164
&
9
nœ
9 semitones 3 3 semitones
0 0
4
? #œ œ
We see right away that the second of these chords has the same construction
as the two chords we examined the in earlier examples (a minor 6th below a
minor 3rd). However, the first chord in this example (G4, C, A, or 8, 0, 9) ap-
165 to be different, with a diminished 4th from G4 to C (an interval spanning
&
pears
4 semitones, enharmonically equivalent to a major 3rd) below the interval of a
major 6th from C to A (spanning 9 semitones). To see the relationship of this
chord to the others, we need to learn about normal form and prime form.
?
53
E
A
# # # 33.2A major œ œœ
E major triad
Normal Form
œ
triad
& œ œ œœ
œNormal œform represents the notes of a pitch-class set (as they œœoccur in the 53
music) in their most compact form. E
A
### #œ œ œ
To determine normal form, follow E majorsteps:
triad
œ # œœ set œfrom a piece of musicœœœin
these
œ œofœ a pitch-class E œ
A major triad
œpitches.œœ œascending
53
1. Put theœ notes
& & # œ œœ œ œ # œ # œ
œ œ A
### œ œœ
numeric order (like a scale). Eliminate any
E major triad duplicate
œ
A major triad
& œ7 œ œœœ
54
œ œ nœ n >
œ .
# œ 7 œ
11 2 2 3
œ n œœ bn#œœ n œ œœ b œœ 11œ œœ
Ascending numeric order:
? œ 6 œ
& # œ &# œ 8 œ # œ n œn œœ # œ œ b
# œ b œ
œœ œœ œb œ b œb œ
2 3
#œ œ
œ œ œ #œ #œ œ
& #œ œ f
œ
œ . œ œ #œ #œ œ œ œ
n œ every œ n œ “scale” ordering
2
? 2. Examine b œ n œ nascending b œuntilœ you
11
œ # œ n œ œ bthat
of the bnotes
œ b œspans œ the
3
# œ œ bone
7
& # œfind
& the most n œ compact form—thatœis, the
possible
smallest
? n2œ n œ n œ bœ bœ bœ bœ œ
interval from lowest to highest note.
# œ Ascending # œ n œ order:
# œ n11œ œ numeric œ . œ b œ
2 3 7 7 b œ11
œ
bœ œ
3
& nœ œ 2 œ œ b œ œ
3 7 11 2 7 11 2 3 11 2 3 7
& œ11b œ œ œ œ œ œ œ
n œ 7 3 œ .b œ
bœ
& (92 semitones)
AscendingM6
n3 numeric
œ 7 11order:(11 M7 m6 m6
3 semitones)
œ forb œmost œcompact
7(8 semitones)
œ
œ b œversion)
(8 semitones)
œ (there
7 11 2 11 2 3 11 2 3 7
& œ œ œ œ œ isœ a tie

œ b œ numeric order:b œ
Ascending
3. In the 2 event
3 P5 7that11two orderings
3 7 11 have
œ
2 the7 same
œ b
11 o4interval
œ
2 3 span
œ b
11 2from3 lowest
œ œthe
7
œ 1 œ œ œ œ
M6 M7 m6 m6
& œ œ bœ œ œ
first œandb œpenultimateœbnotes.
œ is a tieœ for mostb œcompact version)
to highest note,
(7 semitones) choose the set that has the
(8(4 smaller
semitones) interval between
œ
(9 semitones) (11 semitones) semitones) (8 semitones)
&œ (there
M6 to penultimate noteM7
Measure first to break the tie: m6 m6
(9
7 semitones)
11 2(11 semitones)
3 11(8 semitones)
o 2 3 (8 semitones)
7
P5 4
(7 semitones)
œ
(there
most
bœ
(4iscompact
semitones)
a tie forismost
œ
compact
Normal Formversion)
bœ œ
&œ œ
Measure first to penultimate note to break the tie:
o4
œ
P5
& bœ 7œ
b 3œ Form
œ œ is Normal
(7 semitones) (4 semitones)
œ œmost compact
7 11 2 3 11 2
&œ
7 event 11
4. In the 2
of an absolute 3 choose the
tie, 11 set that
2 begins 3 on the7 smaller
&
&
number. We will use a different set of pitches to demonstrate a complete
most compact is Normal Form
tie. The normal form for the notes below is [2, 3, 8, 9].
bœ bœ
P5
œ bœ
bœ nœ œ œ
P5 tt
& œ bœ bœ nœ bœ bœ nœ œ
tt m2
&
m2
2 3 8 9 3 8 9 2 8 9 2 3 9 2 3 8
In the event of an absolute tie, choose the set beginning on the smaller number.
1 TheForte method for determining prime form would have measured from first to second
note to break the tie instead of first to penultimate note, which is method used Rahn’s Basic
Atonal Theory.
5. Normal form is written in square brackets with commas. The normal

form found in step 3 above was [11, 2, 3, 7].
33.3 Prime Form

Whereas normal form deals with the exact pitches as they occur in the music,
prime form is usually a transposition and possibly an inversion of the normal
form to its most essential form, much in the way an E2 major triad in second
inversion belongs to the category “major triad,” or a G 7 /F belongs to the
more general idea “dominant seventh chord.” Perhaps because of the primacy
54
>œ .
ntransposed
of C in music 11 7
theory—many 2 ideas
3 2are demonstrated in their relation to the C
n œ
6 œ b œ n >œ .
54 major scale—all prime forms are to and start on C (pitch integer
œ
11 7 2 3 2 2 3 7 11
& 8 n isœ thenprocess
œ for determining primeœ2 form.b 3œ œ7
0). Ascending numeric order:
6 œ bœ œ
Following 11
& 8 f then œnormal form—[11, 2, 3, 7] from
1. Transpose œ theb œnormalœform example
f
in the previous section—so it starts on C (pitch integer 0): 0, 3, 4, 8
11
œ2
2
bœ
3
œ7
œ
0
bœ
3
nœ
4
# 8œ
& 11œ œ # 8œ
œ bœ œ bœ nœ
3 7 0 3 4
&œ Normal form transposed to start on 0

54
n >œ .
7 Normal
2. Invert the transposed 2 form
normal 2transposed
3 form (what to start up
went on 0now goes down).
&
11
nœ
&m3↑68 b œ œ bœ 4œ
2 3 7 11
nœ nœ #œ œ
m2↑ M3↑
œ bœ
&œ œ
0 9 8
œ #œ œ
f
0 3 4 8 m3↓
m2↓ M3↓
11
œ form
2
œ
b œ in ascending
3 7
# œ one of
œ 0(4, 4b8,œ 9,8 0),n œ0then4 do
0 3 4 8
& œ
3. Write this inverted form
œ #œ œ
4 8 9 0 8 9 0 4 9 8 9
œ œ #œ
the following:
œ no ties œ œform œ œtonormal œ proceed to the
o4
P4
& œstep# œ 4. œ # œ Normal

(a) If there were when transposed
determining start on form,
0
œ tie by#measuring
œ which first
m6 m2↑ M3↑
m6
b œtie (break
ton determine
(b) If therem3↑
œ œ
were ties, put this inverted version
0 through
9 8every ascending
4
& note to penultimate note. In the example

“scale” ordering is the
œ below,
# œ we œsee that
to penultimate
most compactnote) form from
&
first
0
the second 3
ordering 4 (the “tie
8 loser” from m3↓normal form) is the most
m2↓ M3↓
compact of the reorderings of the inverted normal form.
œ
4 8 9 0 8 9 0 4 9 0 4 8 0 4 8 9
œ œ #œ œ œ #œ
& œ #œ œ œ #œ œ œ œ œ
o4
P4
m6 m6
tie (break tie by measuring first to penultimate note)
& 4. Compare the normal form (transposed to 0) to the most compact inverted
form (transposed to 0). The most compact form is the prime form. Prime
form is written in parentheses with no commas: (0148).
& œ #œ œ œ #œ œ œ œ œ œ
m6 m6
CHAPTER 33. SET THEORY
tie (break tie by measuring first to penultimate note) 397
b œ
30
n œ
4
# œ
8 8 9 0
œ
4 0 1
œ #œ
4 8
&œ #œ œ œ œ #œ
Normal Form transposed to 0 most compact inverted most compact inverted form of
form of normal form Normal Form transposed to 0
Compare: Most compact version is Prime Form
&
(a) In the event the prime form reaches pitch integers 10 or 11, use T
for 10 and E for 11; for example (013568T)
33.3.1 Application of Normal Form and Prime Form

Let’s determine normal form and prime form of the first set from the Webern
excerpt.
The first chord contained E2, B, and D (3, 11, and 2). 55
œ
bœ bœ
3 11 2 11 2 3 2 3 11
œ œ œ œ œ
55
55
& b œ33
55
œœ
bb œœ bb œœ
11 22 11 22 33 22 33 11
œœ œœ œœ
11 11 11
œœ œœ
3 11 2 11 2 3 2 3 11
&
& bb œœ
most compact form
(Normal Form)
œ bœ œ bœ nœ œ
11 normal
The mostBelow
2 form3is [11, 2, 0most
3]. compact
compact form
3 is the 4 calculation
form 0 9 8 prime
to determine
&œ œ bœ
form. most compact
(Normal
(Normal form
Form)
Form)
(Normal Form)
œœ bb œœ œœ bb œœ nn œœ œœ
11
11 22 33 00 33 44 00 99 88
& œ œœ bb œœ
11 2 3 0 3 4 0 9 8
&œ
Normal Form
Normal Form inverted
transposed to 0
Normal Form
Normal Form
bœ bœ n 9œ
Normal Form
Form 8 inverted
inverted
8 Normal9 Form 0 9Normal
Normal 0Form 0 8
œ œ œ
inverted
& b œ88 n œ9 œ9
transposed
transposed to 00
to
transposed to 0
00 00
bb œœ
88 00
bb œœ88 nn 9œ9œ
9 9 8 9
& bb œœ nn œœ œœ œœ œœ œœ
8 9 0 9 0 8 0
most compact inverted
& version of Normal Form
bœ nœ nœ
most
most compact
0 compact inverted
3 inverted
bœ
4 8 9 0 0 1 4
&œ bœ nœ œ œ
most compact
version
version of inverted
of Normal
Normal Form
Form
version of Normal Form
bb œœ nn œœ nn œœ
00 33 44 88 99 00 00 11 44
& œœ
0 3
Normal Form
4
bb œœ
8 9
nn œœ
0
most compact inverted œœ œœ
0 1
bb œœ
4
& transposed to 0 version of Normal Form version transposed to 0
Normal Form
Normal Form most compact
inverted most compact
inverted
Normal Form
transposed
transposed to 00
to most compact
version
version of inverted
of Normal
Normal Form
Form most compact
version
version inverted
transposed
transposed to 00
to
transposed to 0Compare: most of
version compact
Normalform is Primeversion
Form Form transposed to 0
œ
& # œœ œ œ #œ
8 9 0
#œ œ #œ œ œ
9 Compare: most
Compare: most compact
compact form
form is
is Prime
Prime Form
Form
œ
0 Compare: most compact form is Prime Form
8
&
The prime form is (014).
mostand
compact
primeis form for the third set we
&
Now let’s determine the normal form
Normal
encountered: G , C, and A, or 8, 0, and 9.
4 Form
œ œ bœ œ œ œ
8 9 0 0 1 4 0 11 8
& #œ œ #œ
Normal Form Normal Form inverted
transposed to 0
version ofb œNormaln œForm
& 0œ transposed to 0
bœ nœ œ
version of Normal Form œ n œ to 0
œversionb transposed
b œ33.Formn œ THEORY n œ 398
b œ inverted
3 4 8 9 0 0 1 4
&œ Compare:b œ œ is Primemost

n œ form œFormcompact
CHAPTERNormal SET most compact inverted
transposed to 0 most compact
version of Normal Form version transposed to 0
œ #œ
œ œ œ œ
most compact 8 inverted
9 0 most compact inverted
9Normal Form
& #œ #œ œ #œ œ
œ
version of Normal Form
0 transposed to 0Compare: version transposed to 0
8 most compact form is Prime Form
9œ #œ
œ œ œ
most
8 compact
9 is
0
&The 8#œ #œ œ #œ œ œ
Compare: most compact form
Normal is Prime Form
Form
œ is0 [8, 9, 0].0 81 9 4 0 0
0
8œ
œ
normal9 form
œ œ b œ œ œ œ œ # œinvert
œ
11 8
& # œ#
In 9the
œ œ
example
# œ
below, we
œ #
transpose
œ
most the
œ
normal
compact is form
œ
to zero,
#
then
œ
œ
0
it. 8 Normal Form
Normal œForm
Normal Form
b œ
8Normal Form
œ œ œ
is 0 inverted
œ #œ
9 0 0 1 compact
most 4 11 8
& #œ œ
transposed to 0
0 b œ8 Form 11 œ 0 3 4inverted
œ œ œ œ œ
8 9 0 0 1 4 0 11 8
& # œ œ œœ œ œ # œ transposed # œ to 0
œ b œ n œ œ b œ# œ œ
8Normal
11 Form
0 11 0 8 Normal 0 1 4
&In# œNormal œ
Form example, we Normal
the following put theForm inverted normal form through the
œ
inverted
# œ # œ b œ n œ œ
8 11 0
reorderings to find 11 0 8
the most transposed
0 8 110then0 compare
compact to
form, 3 4 it to 0 the
1 normal
4
œ b œ to 0
0 Normal Form
# œ8 11œversionœ œ œ œ œ
most compact transposed to
& inverted
form. transposed
# œ # œ œ 0 Compare:
œ bversion
œ n œtois0 Prime œ
0 11 0 8 0 8 11 3 4 0 1 4
# œ œversion œ œ œ œ œ bForm
œ Form
most compact
&inverted
most compact transposed Normal
transposed to 0
most compact Compare:

transposed Normal
to 0most Form
compact
inverted version version is Prime Form to 0
transposed
Compare: most compact

version is Prime Form
We see that the third set has the same prime form—(014)—as the other
sets in the opening measures of Webern’s Op 5, No. 3. Prime form can allow
us to see relationships that may not be apparent on the surface of the music.
33.3.2 Segmentation
What about the C4 in the cello part? Should it be included with the three
notes from the chords? Will another similarity be revealed? Segmentation
is the term for “segmenting” or determining which notes to group together
and analyze in a passage. Usually, segmentation is based on the music—notes
sounding together as a chord, or notes in a melodic line. However, analysts
may look at every possible combination of notes to search for deeper layers of
connection.
Below, we examine the first two chords with the C4 included in each.
(most compact)
œ #œ œ bœ
10 semitones 11 semitones 11 semitones 4 semitones
& œ œ #œ œ #œ œ
#œ œ b œ œ bœ bœ
[11, 1, 2, 3]
Normal Form
bœ nœ œ #œ œ œ
&œ œ œ bœ œ bœ bœ nœ bœ œ
0 2 3 4 0 1 2 4
NF transposed to 0 inverted inverted form inversion

ascending transposed to 0
Compare: most compact version is Prime Form

(most compact)
œ œ bœ
11 semitones 6 semitones 9 semitones 11 semitones
& #œ œ bœ nœ œ bœ nœ #œ bœ nœ #œ œ # œ
& œ œ #œ bœ œ
#œ œ œ #œ œ bœ
# œ œ bœ œ bœ (most
(most compact)
compact)
CHAPTER 33. SET THEORY 1, 2, 3]399
œœ ##1œœ œœ2 bb 4œœ

10
10 semitones 11
11 semitones 11
11 semitones [11,44 semitones
#œ #œ œ
semitones semitones semitones semitones
& #œ0œ œ2œœ b bœb3œœ n œ4œœ œœœ bb œœ œœ # œ bb œœ œœ # œ œœ

Normal Form
&
& #œ bœ œ bœ bœ nœ bœ œ #œ œ œ
0
[11,
[11, 1, 1, 2,2, 3] 3]
Normal
Normal Form
Form
œœ œœ bb œœ nn œœ œœ bb œœ œœ bb œœ bb œœ nn œœ bb œœ œœ œœ ## œœ œœ œœ
00 22 33 44 ascending 00transposed
11 22to 044
&
& Compare: most compact version is Prime Form
NF
NF transposed
transposed to
to 00 inverted
(most compact)
inverted inverted
inverted form
form inversion
inversion
œ bœ
The prime form of the first set, when including the C4 from the cello, is
œ
11 semitones 6 semitones ascending
9 semitones
ascending transposed
11 to
to 00
semitones
transposed
œ bœ nœ #œ bœ nœ #œ œ #œ
(0124).
& œ bœ nœ
Here is the second chord with the C4 added to it.
#œ
Compare:
Compare: most
most compact
compact version
version is
is Prime
Prime Form
Form
(most compact)
œœ bb œœ
(most compact)
œœ
11
11 semitones
semitones [7, 66 semitones
10, 11, 1]
semitones 99 semitones
semitones 11
11 semitones
semitones
b œ n œ b œ n œ #
# œ
œ b œ n œ #
# œ
œ # œ
œ #œ 3 6
Normal Form
& #0œ 3œœ 4b œ n6œ œœ b œ n œ

& bœ nœ 0œ 2
#œœ b œ n œ # œ œ[7, 10, 11, 1] œ œ bœ #œ
& [7, œ10,b œ11, b œ1]
Normal
Normal Form
Form
bœ bœ nœ œ
œœ bb œœ nn œœ ## œœ œœ œœ bb œœ b œ b œ bb œœ nn œœ œœ œœ œœ bb œœ ## œœ
00 33 44 66 00 22 33 66
&
& bœ bœ
NF
NF transposed
transposed to
to 00 inverted
inverted inverted
inverted form
form inversion
inversion
&
ascending
ascending transposed
transposed to
to 00
Compare:
Compare: most
most compact
compact version
version is
is Prime
Prime Form
Form
#œ œ
&œ Œ
The prime form of the second set, when including the C4 from the cello, is
(0236).
& œWe do not see any relationship between these first two sets after including
œ Œ
the C4 with each three-note set. One doesn’t know this until one examines this
&
new segmentation.
œ
& b b œœInterval Vector
Œ Ó
33.4
& & b b œœ
An interval vector (also known as “Interval Class Content”) is a list of every
? bœ #œ
possible interval occurring in a pitch-class set. Calculating an interval vector
nœ #œ
is rather straightforward. First, after determing normal form, measure from
& the first note to all the other notes. Second, measure from the second note
œ
to all higher notes (not back or down to the first note). Continue measuring
? œ
from each successive note to the notes following and you will have completed
bœ #œ
the interval vector.
Before demonstrating this, it is important to discuss the term “interval
class.” An interval class (abbreviated “ic”) is the shortest distance between
two notes measured in semitones. In the example below, C up to A is a major
6th. However, the shortest distance between C and A (measure downward) is
a minor 3rd. Therefore, the largest interval class is 6 (the tritone), because
any perfect 5th (for example, from C to G) has an interval class of 5 (a perfect
4th) because C down to G is a perfect 4th.
& œ œ
œ bœ œ œ
58
& bœ œ œ œ œ
œ œ œ
58 & œ œ œ œ œ œ
œ Perfect 5th œ
& œ b œ œ œ œ œœ
œ œ œ œ œ
Major 6th Minor 3rd Perfect 4th
(shortest distance (shortest distance
between C and A) between C and G)
With this in mind, let’sMajor 6th an intervalMinor
vector3rd Perfect 5th Perfect 4th
&
complete of the a half-diminished
œ œ
(shortestorder,
distance (shortest distance
œ œ œ œ
7th chord on G. First, arrange the notes in ascending then measure from
& œ œ
58 the first note to the second, third, and fourthbetween
notes. C and A) between C and G)
& Major œ5=ic6œ œ œ Minor 3rd

m7=ic2
b œ 6th
œm3=ic3 o Perfect 5th Perfect 4th
& œ C and A)
b œ
&œ b œ between between C and G)

œ m7=ic2 œ
& œ o
5=ic6
œ œ œ œ œ
& œ
b œ
Class: 1 P5=ic5
Intervalm3=ic3 2 3 4 5 6
b œ
Second, measure & fromœ the second note
Major 6th 0 1 1 Minor
0 03rd 1 Perfect 5th Perfect 4th
b œ to the œthird and fourth notes. We

Occurrences m3=ic3
b œ
&interval
add one tally each for œ class (ic) 3 andbetween
5.
C and A) between C and G)
&
m7=ic2
P5=ic5
œœ
o5=ic6
bb œœ
m3=ic3
& bb œœ
& œœ œ
m3=ic3 M3=ic4
bœ bœ
&œ
& Interval Class: 1 2 3 4 5 6
P5=ic5
œœ
Occurrences 0 1 M3=ic4
2 0 1 1
bb œœ bb œœ
m3=ic3
&
& œœ
Finally, measure from the third note to the fourth note, and the interval
& &
vector will be complete. We add one tally for ic4; the complete interval vector
is 012011, which tells us a half-diminished chord has zero half steps, one major
2nd (shown in this voicing as a minor 7th), two minor 3rds, no major 3rds,
one perfect 4th (shown in this voicing as perfect 5th), and one tritone.
œ
M3=ic4
&
&œ bœ bœ
Interval Class: 1 2 3 4 5 6
&
Occurrences 0 1 2 1 1 1
&
&
An interval vector always contains 6 digits. When an interval class does
not occur (the way the minor second did not occur in the G half-diminished
seventh chord), place a zero in the column for that interval class.
&
&
&
33.5 Forte Numbers

When Allen Forte created a catalog of every possible 3-, 4-, 5-, 6-, 7-, 8-, and
9-note set in Appendix 1 of The Structure of Atonal Music, he labeled each
prime form with two numbers separated by a hyphen. His labels (3–1, 3–2,
etc.) are now known as “Forte numbers,” and are seen in the tables in the
Lists of Set Classes, which include prime forms and interval vectors as well.
33.5.1 Z-Relations
“Z” in a set label (for example, 4–Z29) stands for “zygotic” (“twinned”), and
is used when different prime forms (for example, 4–Z29 and 4–Z15 have the
same interval vector—111111).
33.6 Lists of Set Classes

Below are lists of all set classes with prime form, Forte number, and interval
vectors shown. Allen Forte published the original list of set classes in The
Structure of Atonal Music in 1973. These lists use prime forms as calculated
using the Rahn method. Prime forms of sets are ordered from most packed
to the left to least packed to the left, as is found in the list of set classes in
both John Rahn’s Basic Atonal Theory and Joseph Straus’ Introduction to
Post-Tonal Theory. Sets are listed across from their complements. When
taken together, complements can complete the 12-note chromatic scale when
correctly transposed (and sometimes inverted).
Table 33.6.1 List of Set Classes for 3- and 9-note sets (Trichords and
Nonachords)
Prime Forte Interval Prime Forte Interval

Form Number Vector Form Number Vector
(012) 3–1 210000 (012345678) 9–1 876663
(013) 3–2 111000 (012345679) 9–2 777663
(014) 3–3 101100 (012345689) 9–3 767763
(015) 3–4 100110 (012345789) 9–4 766773
(016) 3–5 100011 (012346789) 9–5 766674
(024) 3–6 020100 (01234568T) 9–6 686763
(025) 3–7 011010 (01234578T) 9–7 677673
(026) 3–8 010101 (01234678T) 9–8 676764
(027) 3–9 010020 (01235678T) 9–9 676683
(036) 3–10 002001 (01234679T) 9–10 668664
(037) 3–11 001110 (01235679T) 9–11 667773
(048) 3–12 000300 (01245689T) 9–12 666963
Table 33.6.2 List of Set Classes for 4– and 8–note sets (Tetrachords
and Octachords)

(0123) 4–1 321000 (01234567) 8–1 765442
(0124) 4–2 221100 (01234568) 8–2 665542
(0125) 4–4 211110 (01234578) 8–4 655552
(0126) 4–5 210111 (01234678) 8–5 654553
(0127) 4–6 210021 (01235678) 8–6 654463
(0134) 4–3 212100 (01234569) 8–3 656542
(0135) 4–11 121110 (01234579) 8–11 565552
(0136) 4–13 112011 (01234679) 8–13 556453
(0137) 4–Z29 111111 (01235679) 8–Z29 555553
(0145) 4–7 201210 (01234589) 8–7 645652
(0146) 4–Z15 111111 (01234689) 8–Z15 555553
(0147) 4–18 102111 (01235689) 8–18 546553
(0148) 4–19 101310 (01245689) 8–19 545752
(0156) 4–8 200121 (01234789) 8–8 644563
(0157) 4–16 110121 (01235789) 8–16 554563
(0158) 4–20 101220 (01245789) 8–20 545662
(0167) 4–9 200022 (01236789) 8–9 644464
(0235) 4–10 122010 (02345679) 8–10 566452
(0236) 4–12 112101 (01345679) 8–12 556543
(0237) 4–14 111120 (01245679) 8–14 555562
(0246) 4–21 030201 (0123468T) 8–21 474643
(0247) 4–22 021120 (0123568T) 8–22 465562
(0248) 4–24 020301 (0124568T) 8–24 464743
(0257) 4–23 021030 (0123578T) 8–23 465472
(0258) 4–27 012111 (0124578T) 8–27 456553
(0268) 4–25 020202 (0124678T) 8–25 464644
(0347) 4–17 102210 (01345689) 8–17 546652
(0358) 4–26 012120 (0134578T) 1 8–26 456562
(0369) 4–28 004002 (0134679T) 8–28 448444
1 Forte prime form for 8–26: (0124579T)
Table 33.6.3 List of Set Classes for 5– and 7–note sets (Pentachords
and Septachords)

(01234) 5–1 432100 (0123456) 7–1 654321
(01235) 5–2 332110 (0123457) 7–2 554331
(01236) 5–4 322111 (0123467) 7–4 544332
(01237) 5–5 321121 (0123567) 7–5 543342
(01245) 5–3 322210 (0123458) 7–3 544431
(01246) 5–9 231211 (0123468) 7–9 453432
(01247) 5–Z36 222121 (0123568) 7–Z36 444342
(01248) 5–13 2221311 (0124568) 7–13 443532
(01256) 5–6 311221 (0123478) 7–6 533442
(01257) 5–14 221131 (0123578) 7–14 443352
(01258) 5–Z38 212221 (0124578) 7–Z38 434442
(01267) 5–7 310132 (0123678) 7–7 532353
(01268) 5–15 220222 (0124678) 7–15 442443
(01346) 5–10 223111 (0123469) 7–10 445332
(01347) 5–16 213211 (0123569) 7–16 435432
(01348) 5–Z17 212320 (0124569) 7–Z17 434541
(01356) 5–Z12 222121 (0123479) 7–Z12 444342
(01357) 5–24 131221 (0123579) 7–24 353442
(01358) 5–27 122230 (0124579) 7–27 344451
(01367) 5–19 212122 (0123679) 7–19 434343
(01369) 5–31 114112 (0134679) 7–31 336333
(01457) 5–Z18 212221 (0145679) 2 7–Z18 434442
(01458) 5–21 202420 (0124589) 7–21 424641
(01468) 5–30 121321 (0124689) 7–30 343542
(01469) 5–32 113221 (0134689) 7–32 335442
(01478) 5–22 202321 (0125689) 7–22 424542
(01568) 3 5–20 211231 (0125679) 4 7–20 433452
(02346) 5–8 232201 (0234568) 7–8 454422
(02347) 5–11 222220 (0134568) 7–11 444441
(02357) 5–23 132130 (0234579) 7–23 354351
(02358) 5–25 123121 (0234679) 7–25 345342
(02368) 5–28 122212 (0135679) 7–28 344433
(02458) 5–26 122311 (0134579) 7–26 344532
(02468) 5–33 040402 (012468T) 7–33 262623
(02469) 5–34 032221 (013468T) 7–34 254442
(02479) 5–35 032140 (013568T) 7–35 254361
(03458) 5–Z37 212320 (0134578) 7–Z37 434541
In the table below, when no set is listed across from a six–note set, it is
self–complementary (that is, it can combine with a transposed and possibly
inverted set of itself to complete a 12-note chromatic scale.
2 Forte prime form for 7–Z18: (0123589)
3 Forte prime form for 5–20: (01378)
Table 33.6.4 List of Set Classes for 6-note sets (Hexachords)

(012345) 6–1 543210
(012346) 6–2 4443211
(012347) 6–Z36 433221 (012356) 6–Z3 433221
(012348) 6–Z37 432321 (012456) 6–Z4 432321
(012357) 6–9 342231
(012358) 6–Z40 333231 (012457) 6–Z11 333231
(012367) 6–5 422232
(012368) 6–Z41 332232 (012457) 6–Z12 332232
(012369) 6–Z42 324222 (013467) 6–Z13 324222
(012378) 6–Z38 421242 (012567) 6–Z6 421242
(012458) 6–15 323421
(012468) 6–22 241422
(012469) 6–Z46 233331 (013468) 6–Z24 233331
(012478) 6–Z17 322332 (012568) 6–Z43 233331
(012479) 6–Z47 233241 (013568) 6–Z25 233241
(012569) 6–Z44 313431 (013478) 6–Z19 313431
(012578) 6–18 322242
(012579) 6–Z48 232341 (013578) 6–Z26 232341
(012678) 6–7 420243
(013457) 6–Z10 333321 (023458) 6–Z39 333321
(013458) 6–14 323430
(013469) 6–27 225222
(013479) 6–Z49 224322 (013569) 6–Z28 224322
(013579) 6–34 142422
(013679) 6–30 224223
(023679) 5 6–Z29 224232 (014679) 6–Z50 224232
(014568) 6–16 322431
(014579) 6 6–31 223431
(014589) 6–20 303630
(023457) 6–8 343230
(023468) 6–21 242412
(023469) 6–Z45 234222 (023568) 6–Z23 234222
(023579) 6–33 143241
(024579) 6–32 143250
(02468T) 6–35 060603
33.7 Transposition (Tn )

Transposition is an operation performed as Tn , where n is the number of
semitones up a set is transposed. For example, [1, 2, 4, 6] at T4 is [5, 6, 8, 10].
5 Forte prime form for 6–Z29: (013689)
59
all notes transposed up 4 semitones (T4)
& 44 œ œ #œ œ bœ bœ bœ
#œ
[1 2 4 6] [5 6 8 10 ]
When working in a modulo 12 system, remember that numbers larger than

12 have to be reduced to a number smaller than 12 by subtracting 12 from the
larger number. For example, 6, 8, 10, 11 at T9 would result in 15, 17, 18, 20,
&
which, after subtracting 12 from each number, results in 3, 5, 6, 8.
Table 33.7.1
Pitch classes: 6 8 10 11
&
at T9 : + 9 9 9 9
Result: 15 17 18 20
Make numbers modulo 12: – 12 12 12 12 59
Result: all notes 3
transposed
5 up 64 semitones
8 (T4)
& 4(Tn I) œ 4 bœ bœ bœ
33.8 Inversion #œ œ #œ œ
[1 2 4 6] [5 6 8 10 ]
Inverting a set using Tn I is a compound operation. The first step is to invert
each note below C using C as an axis. For example, E is a major 3rd above C,
so E would invert to A2, a major third below C.
59
œ
M3 above C inverts to M3 below C at T0I
˙
all notes transposed up 4 semitones (T4)
& bœ
& 44 # œinversion at T0œI bœ bœ bœ
C is axis of
#œ œ œ
& first invert E to A2 (this is T0 I), then transpose the
The[ 1second step
2 of inversion
4 is to
6 ] apply the
[ 5 Tn interval.
6 So,8 to calculate
10 ] T3 I
for the note E, one would
A2 up 3 semitones to B. (Theorist Joseph Straus simplifies the nomenclature
to In instead of Tn I, but the outcome remains the same.)
Let’s try inverting a pitch-class set, applying T7 I to [2, 4, 5] (or D, E, and
œ
M3 abovethe
C inverts
notes toto the
M3 below C at T0side
I
numbers 10, 8, and ˙7 (or B , bAœ , and G), which in ascending order is 7, 8, and
F). Inverting opposite of C using C as an axis yields pitch
&
2 2
10. Then transposing [7, 8, 10] at T7 raises each note 7 semitones, resulting in
[2, 3, 5] (or D, EC2, isand
axis F).
of
inversion at T0I
pitches: 5 4 2 inverts to 10 8 7 Then transpose:
œ œ œ œ bœ œ
int.: P4↑ M3↑ M2↑ M2↓ M3↓ P4↓ [7 8 10 ] at T7 = [ 2 3 5]
& ˙ bœ bœ œ œ bœ bœ
C is axis of Therefore, [2, 4, 5] at T7I = [2, 3, 5]
inversion at T0I
&
33.8.1 Identifying Tn I for Inversionally-Related Sets
To determine n of Tn I for two inversionally-related sets, write the second set
backward and add the notes of the two sets together. Each sum will equal n.
Let’s use our two sets from the previous example above: [2, 4, 5] and [2, 3, 5].
& œ0 2 3 4 œ b œ œ b œ b œ n œ b œ œ œ0 # œ1 2 4
œ bœ nœ œ is Prime
œcompact
& NFœ transposed to 0 œ binverted
œ œ bœ b œinverted œ œCompare:
bform
n œCompare: most œ # œmostversion
compact
(most compact)
inversion
Form
version is Prime Form
(most compact)
œœ œ b œ œ b œ
œ
NF transposed
CHAPTER 33. SET THEORY to 0 inverted 11 semitones
inverted
11 6 semitones
form
semitones inversion 9 semitones
6 semitones 11 semitones
b œ n œ b œ n œ # œ b œ
b œœ n œ œ b œ n œ # œ b œ n œ # œ n œ # œ œ # œ #œ
& # œ &œ
#œ œ
Table 33.8.1 (most compact)
œ bœ
11 semitones Compare: most compact version is Prime Form 11 semitones
œ
6 semitones 9 semitones
œ b œ n œ # œ+ b œ5 n œ3 # œ 2 œ œ # œ œ b œ
[7, 10, 11,
[7, 1]
œ b œ set
n œ backward:
(most compact) 10, 11, 1]
& Second
First
11 set in order:
semitones 6 semitones 2 9 semitones
4 Normal
5 Form 11 semitones
#œ
Normal Form
& œ b œn ofn œ Tn[7,œI: b10,œ 0n11,œ 3#1]œ 40 #b 7œœ36 n œ47 # œ67 œ #œ # œœ b œ3 # 6œ

#œ œ bœ nœ
Form œ b œ n œœ # œœ b œ œ œ œ b œ
0 2 30 62
This confirms the sets are related [7, &10, 11, &
Normal
at T7 I. 1] b œ b œb œb œb œ nbœœ b œ n œ œ œ
b œ3 n œ4 # œ6 œ NF transposed œ # œ form
b œ3 inverted
Normal Form
œ œ œ
0 3 4 6 0 2 3 6
œ b œ b œ n œ
to 0 toinverted inverted form inversion inversion
& bœ bœ
NF transposed 0 inverted
b œ n œ # œ b œ # œ
ascending ascendingtransposed transposed
to 0
œ œ œ œ œ
0 0 2 6 to 0
& NF transposed to 0 œ b œ b œ b œinverted
inverted b œ nformœ
Compare: most compact inversion
mostversion is Prime Form
#œ
ascending Compare: compact version is Prime Form
# œœ
transposed to 0
œŒ
& œ &œ Œ
Day One ascending transposed to 0
#œ œ œ
1. Put each set into normal form and prime form.
Œ œ
&œ œ& Œ& œ
#œ œœ Œ Œ
œ
(a)
&œ
œ
& œ œ b b Œœœ b b œœ Œ Ó
bœ
œ & b œŒ & b b œœ
œ Œ Ó
(b) & bœ
& bb bb œœœ Œ
?
Ó
#œ
(c) & bb b œœœ Œ b œ ? nbœ Ó n œ ##œœ # œ
? bœ #œ
nœ #œ œ
? bœ #œ ? œ
nœ #bœœ ? # œ œ
#œ œ
? œ œ b œ
? bœ #œ œ
(d)
#œ œ
bœ
57
57
œ
œ #œ œ #œ
œ &# œ œ
(e)
& œ #œ
bœ nœ
(f)
& œ #œ œ
& œ #œ œ bœ nœ
? œ bœ
bœ nœ #œ
? œ bœ nœ #œ œ œ bœ
(g)
Day Two
2. For each of the six sets&in the example below, determine the normal
& form, Forte number, and interval vector.
form, prime 211
# œ œ œ # ## œœœ # œ n n n œœœ
6
# œœ n ˙˙
1 2 3 4 5
bœ
& c # # # ˙˙˙˙ # œ b b b œœœœ n œœ b ˙˙
168
& b b œœ b b ˙˙
&
#œ # # œœœ
?c # œ ∑
&
&
Day Three
170
&
&
&
?
3. Transposition (Tn ) of Sets. Transpose the following sets as specified.

(a) Transpose [3, 6, 7] at T2 : [ , , ]
(b) Transpose [2, 4, 8, 9] at T7 : [ , , , ]

(c) Transpose [1, 2, 4, 7, 8] at T9 : [ , , , , ]
4. Inversion (Tn I) of Sets. Invert the following sets. Write your answers
in normal form.
(a) Invert [7, 10, 11] at T0 I: [ , , ]
(b) Invert [0, 2, 4] at T4 I: [ , , ]

(c) Invert [4, 6, 10, 11] at T9 I: [ , , , ]
5. Specify the interval of inversion from the first set to the second set.
(a) [2, 4, 7] inverts to [3, 6, 8] at what Tn I?
(b) [1, 2, 4, 7] inverts to [4, 7, 9, 10] at what Tn I?
(c) [6, 7, 10, 1, 2] inverts to [3, 4, 7, 10, 11] at what Tn I?
Chapter 34
Serialism
Serialism is a term that encompasses the twelve-tone technique of Schoenberg,

Webern, and Berg, who were the major figures we associated with expres-
sionism and atonality in the previous chapter on set theory. We will begin
by discussing classic twelve-tone serialism before discussing non-twelve-tone
serialism.
34.1 Twelve-Tone Technique
YouTube: https://www.youtube.com/watch?v=bQHR_Z8XVvI
Figure 34.1.1 Arnold Schoenberg, Suite for Piano, Op. 25

In a twelve-tone composition, every note can be accounted for as being a
member of the original series or one of its permutations, providing unity to the
piece as a whole. Additionally, a twelve-tone series is a repository of intervals
and can be seen as an outgrowth of atonal music with its emphasis on interval
over chord or scale. The basic premises of twelve-tone music are as follows:
1. All twelve notes of the chromatic scale must occur
2. No note can be repeated in the series until the other 11 notes of the
chromatic scale have occurred (exceptions include direct repetition of a
note, trills, and tremolos)
3. The series can be inverted, retrograded, and the inversion can be retro-
graded
4. The order of notes in a series remains fixed, without reordering.
408
CHAPTER 34. SERIALISM 409
34.1.1 Row Forms

A twelve-tone series is also commonly called a twelve-tone “row,” and we will
use the term “row” throughout this chapter.
The four types of row forms used in twelve-tone technique are prime (P),
retrograde (R), inversion (I), and retrograde inversion (RI). The prime is the
60 original row. The retrograde is the prime form backward. The inversion is
œ œ bœ œ bœ œ œ œ nœ #œ #œ #œ #œ
R1 (1 means it ends on C˜)
the original row with all intervals in the row inverted (going in the opposite
œ bœ œ #œ œ œ nœ œ
RI7 (7 means it ends on G)
direction of the original). Finally, the retrograde inversion is the inversion
& #œ #œ œ
retrograded (and therefore might have more appropriately been labeled “in-
version retrograded” since “retrograde inversion” sounds like it refers to the
backward form inverted instead of the inverted form backward).
bœ nœ œ nœ œ bœ œ bœ bœ œ
bœ œ nœ #œ #œ œ œ bœ bœ nœ œ œ
Prime (Original) Retrograde = Prime backward
60 & œ bœ
œ b œ
R1 (1 means it ends on C˜)
œ œ b œ =œInversion
œ = Prime with b œ œintervals œ # œ # œ # œ #Retrograde nœ œ
RI7 (7 means it ends on G)
œ œ ninverted œ œ # œ œ œbackward
&œ # œ # œ
œ #œ #œ œ œ #œ #œ nœ œ bœ bœ œ
Inversion Inversion
& R1 (1œ #meansœ n œ bœ

itœ endsb œonn œC˜) œ # œ nœ nœ
60
œ œ b œ œ œ œ œ n œ # œ # œ # œ #Retrograde œ #œ œ œ
RI7 (7 means it ends
œ b œbackward
on G)
Prime (Original) b œ œ # œ œ œ n œ
& b œ n œ #œ œ bœ bœ œ
œ bœ œ nœ #œ #œ œ œ bœ bœ nœ œ œ
= Prime
œ b œ n œ œ b œ
&
34.1.2 Transposition Numbers
& (Original)
Each row form can be transposed to start on any note from the chromatic
b œ n œ œ œ toœ specify
b œbackward
Prime Retrograde = Prime backward
œ b œ n œ œ b œ b œ ninteger
œ =œInversion b œ œthe
scale. We will use the same pitch integers as in set theory. For primes and
& œ œnote. For example, b œ œ n œ # œ #œœ œ œ b œ

Inversion = Prime with intervals inverted Retrograde Inversion
Pœ0#is
œ #œ 2 #œ # œ n œ œ ncase
œ
inversions, we will use P and I accompanied by a pitch
n œ œ b œ b œrow
&P3 is a# œtwelve-tone n œ starting b œ same
œ b œThe ninteger
œ œ #isœ the
starting a twelve-tone row starting on C (pitch
0), on E , and so forth.
& = Prime with2intervals inverted 5 Retrograde Inversion = Inversion backward

for row forms like I (starting on D), I (starting on F), on so forth.
b œ n œon œC)# œ # œ œ œP3# (3œ #means

Inversion
&P0 (0œ means

œ # œ nthe œ b œstarts œ n œ the œ b œstarts
œœb row œ nœ nœ
œ
bœ nœ œ nœ œ bœ œ b œ b œ # œ
œ œ bœ bœ œ nœ nœ
row on E¯)
& œ bœ bœ œ nœ #œ bœ nœ
&I 0(2 means b œ n œ œ n œstarts œ b œ b œ œ œstarts b œ bonœ F)œ n œ
P (0 means the row starts on C) P3 (3 means the row starts on E¯)
2 œ bœ œ b on
œ bD)œ bIœ5 (5
n œ
&œ œœ b œ #b œ œ œ œ b œ œ b œ b œ n œ œ # œ # œ nœœ
n œ
the row means the row
# œ n œ b œ n œ œ
& #œ nœ œ
& œ #œ œ œ bœ bœ œ œ œ bœ œ bœ bœ nœ œ #œ #œ œ
I2 (2 means the row starts on D) I5 (5 means the row starts on F)
& #œ nœ œ n œ b œ n œ
R (1 means the row ends on C˜)
œ bœ bœ bœ nœ œ #œ œ #œ #œ nœ œ bœ œ œ œ #œ #œ nœ
However, the retrograde (R) and retrograde inversion (RI) row forms use
RI (7 means the row ends on G)
œ
the 1pitch integer of the last note in the row7 to designate their transposition
&œ œ b œ n œ
level. Therefore, R1 ends on C4, and RI7 ends on G.
R1 (1 means the row ends on C˜)

œ
œ œ bœ bœ bœ nœ œ #œ #œ #œ nœ œ bœ œ œ œ #œ #œ nœ
RI7 (7 means the row ends on G)
& œ
& œ b œ n œ
&
&
&
&
œ œ RI4 (ends on 4)
Inversion = Prime with intervals inverted Retrograde Inversion = Inversion backward
& œœ œœ.# œœ #nœœ œ œb œœ bbœœ n bœœ bœœ# nœœ# œœ b œ ‰ b#œœj # œ n œ œ b bœœ bœœn œœ œœ n#œœb œn œb œn œn œ
R8 (ends on 8)
172
&
CHAPTER 34. SERIALISM
œ bœ œ 410
3
3
œ œ n œ œ b œ # œ œ n œ b œ #bœœœnœœ # œœ. b #œœ b#œœ nœœ œœ œb œœ b œ J nœœ

? ‰ bœœDetermining
bbœœ nœœ # œ œ œ . # œ Row Forms bœ œ
P (0 Imeans
11 the row starts on C) P1 3 P (3 means the row starts on E¯)
34.2
0
& œ bœ œ nœ #œ 3
œ nœ
To determine a row 3 form’s3 permutation and3 transposition,
3 examine the inter-
3
vallic composition of each row form. In the example below, each row statement
œ b œ œ œj œ b œ œ b œb œb œ nnœœ œ # œ # œb œ œn œ
is Ibased on the
(2 means the prime form
row starts on of
D) the row in the
I (5previous
means thesections.
row starts on F)
œ # œ
œœ. œ # œ œ n œœ b œ n bœœ b œ n œ b œ
2 5
œ
&& # œ n œ œ b œ œ bœ ‰ bœ œ œ bœ œ œ nœ bœ
174
œ b œ œ row b œonœ G)œ

œ # œ œends
3
R? œ . on
# œ C˜)
#b œœ œ n œ b œ # œœRIœ7œ(7##œmeans
. # œ #the
œ n row
œ œ œends
‰
b œ n œ # œ œ n œ œ J
œ b œ œ 3 œ œ # œ3 # œ n œ
1 (1 means the
œ b œ n œ œ3 œ b œ 3 œ # œ
& œ 3 3
Let’s examine the starting intervals of each row form.
P4↑ m2↑ M2↓ m2↑
bœ bœ nœ œ nœ œ bœ bœ œ nœ 0 nœ nœ bœ bœ nœ œ œ œ bœ bœ œ
P0 m2↑ m3↑
œ
R
& #œ #œ
m2↓ P4↓ m2↓ m3↓ M2↑ m2↓
œ œ #œ #œ nœ œ bœ bœ
I0
& œ nœ #œ nœ œ bœ bœ nœ œ #œ #œ œ œ #œ nœ nœ
RI0
In examining the first few notes in the upper staff in the short musical
excerpt below, we see an ascending minor 3rd followed by a descending major
&
2nd. The only row form to start with these intervals is the retrograde. To 211
# œ˙ # œ œ œ # ## œœœ # œ n n n œœœ
determine 1the transposition number, we3 look at the
4 last note5 (the 12th
6 note)
# œœ n ˙˙
2
bœ
&c b b b œœœœ œ ˙˙
in the first measure in the upper staff (A2), which gives us the transposition
n œ b
# # # ˙˙˙
168
b b œœ b b ˙˙
level (pitch integer 8), meaning this is R8 . The second measure in the upper
staff begins with a minor 3rd followed by an ascending major 2nd, making this
#œ # # œœœ
a retrograde inversion. The 12th note in this measure is an E (pitch integer 4),
?c # œ
making this RI4 . In the first measure of the lower staff, we find a descending
minor 2nd followed by a descending perfect 4th, making this I11 . Finally, the ∑
second measure in the lower staff begins on C4 with an ascending minor 2nd
followed by an ascending perfect 4th, making this P1 .
M2↑
œ œ. œ #œ œ œ bœ bœ bœ nœ œ bœ
m3↑ M2↓
‰ b œj œ œ b œ b œ œ n œ œ n œ b œ b œ n œ
m3↓
&c
170
3 2 3 4
3 1
4 8 9 10 5 6 7 8 9 10 11 12
1 2 3 5 6 7 11 12
? c ‰ œ b œ œ œ # œ œ œ . # œ # œ œ n œ b œ # œ œ œ # œ . # œ # œ n œ œ œ œ b œ œJ œ
m2↓ P4↓ P4↑
m2↑
3
1 2 3 3
3 4 5 6 7 11 12
3 3
10 4 3
8 9 11 1 2 3 5 6 7 8
9 9 10
12
The row forms are labeled in the example below.
172
&
181
? c ‰ œ b œ œ œ # œ œ œ . # œ # œ œ n œ b œ # œ œ œ # œ . # œ # œ n œ œ b œ œJ œ
m2↑ P4↑
œœ
3
3
CHAPTER1 34.
2 SERIALISM
3 4 5 6 7
3
10 3
4
3
3 11 12 411
8 9 11
12 1 2 3 5 6 7 8
9 9 10
œ œ. œ #œ
R8 (ends on 8)
‰ b œj œ œ b œ
RI4 (ends on 4)
œ œ bœ bœ bœ nœ œ bœ bœ œ nœ œ nœ bœ bœ nœ
172
&
3
3
? ‰ œ b œ œ œ # œ œ œ . # œ # œ œ n œ b œ # œ œ œ # œ . # œ # œ n œ œ œ œ b œ œJ œ
I11
P1
3
3 3 3 3
3
34.3
174 Writing Row Forms
&
To write specified row forms from a given prime form, write all four versions
of the row: P, R, I, and RI. Then, simply transpose the specified row form to
?
the correct pitch, remembering that P and I forms start on the pitch integer
(P3 and I3 would begin on E2, for example) while R and RI forms end on the
pitch integer (R3 and RI3 would end on E2).
To write I9 and RI5 if given P0 :
61
1. Write all four row forms (P, R, I, RI).
b œ n œ œ œ bœ bœ œ
œ b œ bœ œ nœ #œ #œ nœ nœ bœ bœ nœ œ œ
P0
b œ n œ
R 61
&œ
0
61
b œ n œ œ n œRIœ b œ bœ nœ œ œ œ bœ bœ œ
P0
b œ
R0
I0
& œ œ œ b œ œ n œ # œ #Rœ0 n œ n œ b œ
& œ n œ # œ n œ œ b œ b œœn œb œœb#œœn#œœ œ n œ œ# œb œ# œ n œ œ b œ b œ œ œ # œ n œ n œ b œ n œ œ œ œ b œ b œ œ
0
P0
& I0 bœ œ nœ #œ #œ nœ nœ bœ
# œ # œ œ RI œ level.
RI0
2. Transpose the specified row form to the correctœtransposition
& œ
I0 n œ # œ n œ œ b œ b œ n œ
#œ #œ nœ œ bœ bœ œ œ #œ nœ nœ
& on A (pitch class œ9).n œ œ #œ #œ œ œ #œ #œ nœ œ bœ bœ œ
#œ nœ œ bœ bœ nœ œ #œ nœ nœ
(a) In this example, transpose I0 up 9 semitones (a major 6th)0 to begin
&
I9 (begins on pitch class 9)
& œI9#(begins
œ # œ n œonœpitch # œ 9)œ # œ # œ # œ
n œ œclass
& œ # œ # œRIn œ0 up
(b) To write RI5 , transpose œ n5œ semitones œ # œ 4th) so the
œ # œ œ # œ(a# perfect
œ # œ # œ 5).
nœ œ bœ bœ œ nœ
RI5 class
(ends on pitch class 5)
bœ nœ nœ
last note is F (pitch
& RIœ 5 (ends on pitch

#œ #œ nœ œ bœ bœ œ bœ nœ nœ nœ
class 5)
&
&
34.4 Twelve-Tone Matrix
&
One tool analysts create to analyze a twelve-tone composition is a twelve-tone
matrix, which shows all 48 row forms in a 12-by-12 grid. Below is a matrix for
the row we’ve been dealing with in this chapter.
Table 34.4.1 Twelve-Tone Matrix

I0 ↓ I1 ↓ I2 ↓ I7 ↓ I5 ↓ I2 ↓ I4 ↓ I3 ↓ I10 ↓ I9 ↓ I11 ↓ I8 ↓
P0 → C D2 G2 G F D E E2 B2 A B G4 ←R0
P11 → B C F G2 E D2 E2 D A A2 B2 G ←R11
P6 → G2 G C D2 B A2 B2 A E E2 F D ←R6
P5 → F G2 B C B2 G A A2 E2 D E C4 ←R5
P7 → G A2 D2 D C A B B2 F E G2 E2 ←R7
P10 → B2 B E2 F E2 C D D2 A2 G A F4 ←R10
P8 → A2 A D E2 D2 B2 C B F4 F G E ←R8
P9 → A B2 E2 E D B C4 C G G2 A2 F ←R9
P2 → D E2 A2 A G E F4 F C B D2 B2 ←R2
P3 → E2 E A B2 A2 F G G2 D2 C D B ←R3
P1 → D2 D G A2 G2 E2 F E B B2 C A ←R1
P4 → E F B2 B A G2 A2 G D D2 E2 C ←R4
↑RI0 ↑RI1 ↑RI2 ↑RI7 ↑RI5 ↑RI2 ↑RI4 ↑RI3 ↑RI10 ↑RI9 ↑RI11 ↑RI8
To construct a matrix, write the prime form from left to right in the top
row, then write the inverted form from top to bottom in the left column.
Table 34.4.2
I0 ↓
P0 → C D2 G2 G F D E E2 B2 A B G4 ←R0
B
G2
F
G
B2
A2
A
D
E2
P1 → D2
E
↑RI0
From there, you can write the transpositions of the prime form, given the
starting notes in the left column. One would continue with each transposition
of the prime form until the matrix is complete.
34.5 Row Form Presentation in Music

In a piece of music, twelve-tone rows may not be clearly presented. One manner
of presentation is overlap, where the final note of one row is the starting note
of the next row.
64
œ œ. œ #œ œ œ bœ bœ bœ nœ bœ nœ
R8 RI
œ bœ œ œ bœ bœ œ nœ œ œbœ
4
&
3
3
1 2 3 4 5 6 7 8 9 10 11 12
1 2 3 4 5 6 7 8 9 10 11 12
&
Figure 34.5.1 Twelfth note overlapping with first note in successive row state-
ments
Rows may also be presented contrapuntally or harmonically. In the example
below, the row is separated into three tetrachords and presented contrapun-
tally.
& 1 2 3 4
œ #œ œ
P0
œ
‰ œ ‰
P0
œ bœ nœ
212
& œ b œ≈ n œ ≈ œ
bœ
176
≈ b œR ≈
& R. R
.
R
. .
1 2 3 4
œ5 œ bœ
51 2 6 73 4 8
? 0 b œœ . ‰ œ #n œ .
6 7 8
nœ
œ ‰ #œ ‰œ œ
P0
œ # œ b œ œ œ‰ b œ n œ
P
212
bœ #œ
176
& 9œ n œ 10 11œ
R ≈ R ≈ R ≈ b œR 12≈
. . . .
1 9 10 2 11 3 4 12
œ œ
534.5.26Two examples
7 8 of tetrachords5 from 6a row presented
7 8
?In the final example in this section,‰the two œrows #areœ bpresenting
b œ . œ n œ . œ nœ
Figure contrapun-
# œ
178
& ‰
tally
œ in #œ
melody-
accompaniment texture, with P containing the melody and R occurring as
?
9 10 11 12
0 0
chords.
9 10 11 12
>œ
œ œ œ œ. b œ
P0 1 2 3 4 5 6 7 8 9 10 11 12
& œ . b œ n œ.
178
œ #œ #œ n œ. # œ
# -1
œ >
#œ. .
œ7 .
202
&
? Œ 0 œœ 3 2 # œœ 64 ‰ Œ œœ 8 9 ‰ b b œœœ 10 ‰
R 5 12
J J J 11
?An analyst would first attempt to find a clear presentation of a twelve-tone
row somewhere in the composition in order to analyze harmonies.
180
& Non-Twelve-Tone Serialism

34.6
209
&
?
Serialism also includes music that is not twelve-tone but does use a series of
notes that maintains its order and employs inversion, retrograde, and retro-
grade inversion of the series. An example is found in Stravinsky’s Septet from
?
1953.1
1 See Erwin Stein, “Strawinsky’s Septet (1953).” Tempo. Spring, 1954.
209
&
?
64
œ œ. œ #œ œ œ bœ bœ bœ nœ œ bœ bœ œ nœ œ œbœ bœ nœ
R8 4 RI
& R8 œ b œ
64
œ
œ œ . œ # œ b œ bœ nœ
RI4
& 1 2 3 4 5œ œ6 b 7œ b œ8 9 n10œ 11œ b12œ œ œ b œ b œ œ n œ œ œ b œ

3
3
YouTube: https://www.youtube.com/watch?v=ijSmRoPzMaY
1 2 3 4 5 6 7 8 9 10 11 12
Figure 334.6.1 Stravinsky,
3 Septet
œ
64 1 2 3 4 5 6 7 8 9 10 11 12
#œ #œ
œ . # œ
PR4
œ œ # œ
1 2 3 4 5 6 7 8 9 10 11 12
& œœ b œ # œb œ œ n œ œœ œ b œ b#œœ n œ
RI
œœ b# œ b œ n œ n œ
8 4
& P4 œ œ œ b
œ œ œ œ b œ nœ œ
#œ # œ nœ
œ #
& œ1 2 3 4 5 œ6 #7œ 8 9 10 11 12 n œ
3
œ #œ œ #œ
œ n œ
2 3 4 5 n6œ 7 8 9 10 11 12œ
3
Figure 34.6.2 Series from Stravinsky’s 1 Septet
œ
Here
P4 is the series with pitch-class integers (abbreviated “pc” for pitch class),
& œP œœ œ œ # œ ## œœ ## œœ œ n œ ## œœ # œ n œ œœ n œ # œ œ
P0
and without registral displacement. Arrows connect repeated notes.
& œ4 œ #œ nœ #œ #œ
n œ
& œ œ œœ9 œ7 # œ6 # œ8 # œ1 11œ n œ7 #6œ # œ8 nn œœ7 œ9 n œ0 # œ8 œœ9
pc: 4 11
œ #œ
pc: 4 11 9 7 6 8 1 11 7 6 8 7 9 0 8 9
& œP0 # œ œ #œ œ œ
œ 6,Series from # œ8, œ nSeptet œ0, n œ pitches
&Weœœ notice# œœthatœB #(pitch
& œœ7, # œStravinsky’s
# œ œœ9, # œ showing
#11,œ n œ repeated #1œ ] œ
[ 4, 34.6.3
Figure
integer 11), A (9), G (7), F4 (6), and G4 (8) are
pc: [ 4,
4 11 9 series,
in the6, 7 with
6
7, 8A, G,8,
1 and
11G4 79, 6 11,8 three
7 times
9 each.
0, 0 18]Below
9 is
&
repeated occurring
the normal form of the 8 pitch classes in the 16-note series.
&œ #œ œ #œ œ œ œ #œ
[ 4, 6, 7, 8, 9, 11, 0, 1]
Figure 34.6.4 Normal form of the 8 pitches in the series from Stravinsky’s
&Such a series could imply E or A as a tonal center. Note that Stravinsky’s

Septet
Septet is not strictly serial but contains serial elements. Such an example
shows us that serialism can be employed in ways other than the strict, original
twelve-tone version.
Serialism: Day One

1. Given the prime form of the twelve-tone row in pitch integers, write
the specified row forms in the staves below.
œ #œ #œ nœ œ bœ bœ
œ bœ nœ nœ nœ
RI5 (ends on pitch class 5)
&
52
P7: 1.
7 E¯
107(˜85); 2Scale:
1 5 ____________________________
3 4 6 0 9 11 R7
& &
I7 RI
˜9; Scale: ____________________________
7
& ?
2. B¯7¯5
62
52 (a) P1 7(¯5)
3. Fm7( 5) ; Scale: ____________________________
œ bœ
P1 1.
œ nœ bœ
E¯ ˜ ; Scale: ____________________________
& &
# œ& œ œ bœ œ bœ œ
62
62
bœ œ œ nœ bœ œ bœ
62 P1
& œ œ bœ œ
# œ b œ œ œ n œ b œ œœ b œ
R4 P7Δ7(
& ?
(b)
&
1 5)
˜9;˜ Scale:
œ bœ œ
4. A¯
R42. B¯P1¯5 ; Scale: ____________________________
____________________________
? ? # œ œ
bœ bœ œ œ nœ bœ
# œ ##Rœœ4 œœ œ b œ œ n œ b œ n œ n œ
& bœ œ
n œb œ œ
(c) I8? R7(7(¯5) b œ Tone
bœ œ nœ
I8? #Rœ4˜ );;#Scale: b œ b œ œ n œ bb œœ nn œœ n œ
œE¯ Whole
œ ____________________________ nœ œ
4 5
& b œ? # œœ # œœ œ b œ b œ œœ n œ b˙œ n œ b ˙ n œ
1. Fm
E¯
# œnn œœb œ œœ
3. Scale: ____________________________
& & b#I˙œ8 # œ œ # œ œ3rd ˙ b œ n œ n œ œ # œn œ

œ œ
bIœ8 œ œ #œ œ
& b œ
Root
# œ œ b
œB¯ Diminished-Wholeœ n œ n œ
˜5th
œ #œ
¯7th
b œ
I
œ ____________________________
# œ œ bœ n œ
¯5 ˜ ; Scale:œ____________________________n œ œ ##b ˙œœ #œ œ
& œ #œ bœ œ
(d) RI ˜9; 5)
8
Tone
œ
2.10 7Δ7(
4. B¯ Scale:
RI? # œ b œ n œ
˙ nœ#œ œ nœ
A¯
? b ˙ n ˙
? b œ& b ˙œ b œ œ œ n œ¯5th œ b œ nœ bœ
10
bœ
œ ˜9th# œ nœ
¯7th
bœ
thebRIœ 10 h form œw n œrow,w œlabelb œwthen œrownn œœforms
RI10
Given ? œw of œa twelve-tone
Root
# œ
3rd
b œ 5); bScale:
œ b œ and
RI w
? 7(¯5) bofœ theœpermutations œ œ b œ

2. prime
bœ œ # œ n œ n œ nœ bœ
˜
?3. Fm ; Scale: œ____________________________
7(10 E¯ Whole hTone
˜ œ bœ
1. E¯ ____________________________
œ bœ
& bb ˙œ n œ œb œ b ˙ œ b ˙œ # bœ˙œ œ œb œ n œ ˙ b œ b#˙bœ˙ b œœ b ˙ n œ œ
transpositions F Locrian (or F given
Locrian on
˜2) the staves below.
P10
˙P10b œ b œb ˙ n œœ œ3rd
& b œ& Root œ ˙ b œœ b ˙n œ ¯7th
bPœ7109 b œ (whole œ b œ ˜b5thœ n œ # œ œ n œ
part 2 PRAC EXER
&
P
n œB¯step œ between E¯ œand Tone b œ b œ n œA¯ and# œB¯ œ n œ
& bb œœ¯5 b œ permit n œ whole œ step œ
part 2 PRAC EXER
œ #œ œ bœ nœ
F and between
b œ between F and G)
˜ Diminished-Whole
? œ œ n˙ ˙ bœ#œ nœ b˙
2. B¯ 10 ; Scale: ____________________________
& b ˙form:
part 2 PRAC EXER
b œ b ˙
or half step
part 2 PRAC EXER
(a) Row
œ 3rd
˜
œœ w# œ¯5th˙ # œw œœ œw # œ ˙ nwœ b œbbœœ

Δ7( 5) A¯ Lydian-Augmented
& # œ b ˙œ n œb œ œw ˜9th
?
4. A¯ ; Scale: ____________________________
˙
¯7th
œ
Root
& #œ h œ nœ œ œ #œ #œ
œ œ œ nœ bœ
RI10
&3. Fm
#Root
œ7(¯5); Scale: F Locrianœ(or F œLocrian
n œ____________________________ 2)# œ
œ #7th
œ
RI10 h
˜#5th
œ
& #œ œ nœ œ œ #œ #œ œ # œ nœ bœ
3rd
˜
œ b œn œ b ˙ œ
RI10
(b) Row form: b œ b ˙ b œ b ˙ œ b#˙

b œ
RI10
&
bœ ˙ b œ b ˙ n œ n œ œ œ # œ ˙ # œ# œ œ œ b œ œ b ˙
& & b œœ œœ (whole
b œ œ stepn œ between # œE¯# œand F# œand between
# œ b œ œ nnœœ
A¯ and B¯ œ
œ œ
I1
& b œ œ permit or# œ
# œ bœ œ nœ
I1
& œ nwholeœ step œ # œ # œ Fœand G) bœ œ nœ

œ œ A¯ Lydian-Augmented # œ
I1 half step between
I1
œ˙ b œ b œ
4. A¯Δ7(˜5); Scale: ____________________________
? form: œ
& œ & bœ˙ bœœœ b œbb bœœœ b œb˙œ b œb œ œb œ œ œœ n œ n œ n œn œ œ œ b œb œ œœ
(c) Row ˙
& œRoot œ b œ b 3rd œ b œ œ n œ n œ 7th
R5 R5
œ
&œ b œ bb œœ b œ ˜5th nœ nœ œ bœ œ
R5
R5
&
Serialism: &
Day &
&
Two
3. Construct a 12 by 12 matrix for the prime form of the following twelve-
tone row, given in pitch integers: 3, 7, 11, 1, 5, 0, 2, 10, 6, 4, 8, 9.
Include labels for all row forms including all transposition levels (P0 ,
R3 , I8 , RI6 , etc.). Use note names in the matrix, not integers.
Table 34.7.1
I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓ I ↓
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
P → ←
↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI ↑RI
4. For the following excerpt, determine P5 and identify each row form 213
œ. . .
and statement. This example contains overlap.
. . œ b . >
œ # œ n œœ b œ.
# œ
bœ œ nœ nœ œ. bœ œ. bœ œ#
& c ‰ œ bœ œ #œ œ w
184
p >
# . .
œ >
n œœ # œ n n œœ. > . b œ œ. . n œ. n œ. w
?c Œ ‰ J œ œ b œ œ b œ .
œ # œ
#œ œ b œ œ bœ nœ œ bœ
5. Referring to the twelve-tone row used to construct the matrix in the

practice
187 exercise above (3, 7, 11, 1, 5, 0, 2, 10, 6, 4, 8, 9), find the
& and provide an interval vector for each.
normal form and prime form for each discrete three-note set from the
row,
? Interval vector:
(a) Set 1: 3, 7, 11. Normal form: Prime form:
(b) Set 2: 1, 5, 0. Normal form: Prime form:

Interval vector:
(c) Set 3: 2, 10, 6. Normal form: Prime form:
Interval vector:
(d) Set 4: 4, 8, 9. Normal form: Prime form:

Interval vector:
ter.
Chapter 35
Minimalism
The rise of minimalism in the 1960s was a significant development in art music.
While four artists are typically associated with minimalism—La Monte Young
(b. 1935), Terry Riley (b. 1935), Phillip Glass (b. 1937), Steve Reich (b.
1936)—we will focus on just two techniques in this chapter. The first, additive
minimalism, is associated with the early minimalist pieces by Philip Glass.
The second, phase shifting, is associated with Steve Reich.
35.1 Additive Minimalism

In Philip Glass’s version of additive minimalism as found at the beginning
of his composition Two Pages (1969), he adds a repetition of a pattern but
subtracts the final note in the repetition. Each addition to the pattern is
another repetition with the final note of the previous repetition subtracted,
as can be seen in the example below. (Note: The music notation below is
a transcription and analysis meant to show the additive process and is not 65
65
necessarily how the music is written in the score.) 65
Pattern: A A + B
.. œ œœ œœ bb œœ œœ .. 855ˆ484 .. œ œœ œœ bb œœ œœ œœ œœ œœ ..
Pattern: A A + B
5
Pattern: A A + B
& 885
& .œ . 8ˆ8 .œ œ
œ .
(B
(B is
is A minus
is A
(Bfinal minus
Anote)
minus
final
final note)
note)
bb œœ œœ + œœ + Cœ œ .
Pattern: A + B + C
55ˆ44ˆ33 .. œ œ œ
Pattern: A + B + C
œ
Pattern: A B
&
& 88ˆ88ˆ88 . œœ œ
œ œœ œ œ œœ œ œ ..
(C
(C is
is B minus
is B
(Cfinal minus
B note)
minus
final
final note)
note)
Pattern: A + B + C + D
.. œ œœ œœ bb œœ œœ œ œœ œœ œœ œ œœ œœ œ œœ ..
Pattern:
Pattern: A
A +
+ B
B +
+ C
C +
+ D
D
& 55ˆ484ˆ383ˆ282
8
& 8ˆ8ˆ8ˆ8 .œ œ œ œ .
(D
(D is
is C minus
is C
(Dfinal minus
Cnote)
minus
final note)
final note)
& 88
4
&4 417
& 85ˆ48ˆ38 .. œ œ œ œ œ œ œ œ œ ..
(C is B minus
CHAPTER 35. MINIMALISM 418
final note)
bœ œ œ
& 85ˆ48ˆ38ˆ28 .. œ œ œ YT: emeykTooD9c
œ œ œ œ œ œ œ œ ..
Figure 35.1.1 Glass, Two Pages (1969) (D is C minus
final note)
The following example from Music in Fifths (1969) clearly displays additive
process on its own, but is just one of dozens of steps in an additive process.
b œ œ œ œ œ œ œ œ œ œ œ
& b b œœ œœ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ
65
Pattern: A A + B
b œ œ . 5 ˆ4 . œ œ b œ œ œ .
& 85 .. œ œ œ . 88 .œ œ œ œ .
b
&bb YT: 6V1hokSS4TU (B is A minus
final note)
Figure 35.1.2 Glass, Music in Fifths (1969)
b œ 1, œ“Train.” Each chordœ

To hear additive process
Pattern:in Glass’s well-known
A Einstein+on the Beach,
B listen
+ C
a five–chord cadential& 85ˆ48ˆ38 .. isœ gradually

œ œ lengthenedœby adding œ œ to the œ œ œ ..
to the following minute of music from Act 1, Scene in
progression
number of subdivisions given to each chord.
(C is B minus
final note)
5ˆ4ˆ3onˆ2the.. Beach
œ œ b œ œ œ œ œ œ œ œ œ œ œ ..
YT: pRerJeYmUgY
&8 8 8 8 œ
Figure 35.1.3 Glass, Einstein
(D is C minus
35.2 Phase Shifting final note)
Minimalist composer Steve Reich conceived of phase shifting in his early work
same idea went slowly outb bof phase

œ veryœ gradually
œ œ œœback œœ œphase
œœ into œœ œwhenœ œœ œ œ œ
œ œ œ
in tape music, noting that tape loops of slightly differing lengths containing the
b
& œ(seeœ It’sœ Gonna œ
œ Rain œ œfrom 1965 and Comeœ Outœ
œ œ œ œ
and
they were repeated incessantly
from 1966). Reich applied this phase–shifting process to live performance in
Piano Phase (1967), Violin Phase (1967), and Clapping Music (1972).
ã œ œ œ ‰ œ œ ‰ œJ ‰ œ œ ‰
#
& # 43 œ œ œ œ œ œ œ œ œ œ œ œ
YouTube: https://www.youtube.com/watch?v=lzkOFJMI5i8
Figure 35.2.1 Reich, Clapping Music (1972)
Below is the basic twelve–note pattern of Piano Phase along with a video
demonstrating the phase–shifting.
ã œ œ œ ‰ œ œ ‰ œJ ‰ œ œ ‰
CHAPTER 35. MINIMALISM 419
#
& # 43 œ œ œ œ œ œ œ œ œ œ œ œ
YouTube: https://www.youtube.com/watch?v=57TuvksMR70
Figure 35.2.2 Reich, Piano Phase (1967)
During the phase–shifting process, one can think of the lower voices in the
examples above as going through rotation. The example below shows rotation
of a five–note pattern. The pattern rotates one note to the left, meaning the
second note begins the pattern on the second line, the third note begins the
pattern on the third line, etc., until the first note starts the pattern again to
66
complete the phase–shifting process.
& 85 œ œ œ œ œ
1 2 3 4 5
& 85 œ œ œ œ
œ rotating pattern one note
2 3 4 5 1 to the right. 2nd note begins
pattern, then the 3rd note begins
& 85 œ œ œ œ
the pattern, until the 1st notestarts the
œ
pattern again to complete the process.
3 4 5 1 2
& 85 œ œ
œ
œ œ
4 5 1 2 3
& 85 œ œ œ œ œ
5 1 2 3 4
In a piece of music,&the process would play out similar to the manner

Figure 35.2.3 Rotation demonstrated with a five–note pattern
below, where one part maintains the original pattern while the second goes
out of phase by continually rotating the original pattern one note to the left.
In Piano Phase, Reich has the second pianist gradually increase in speed so
the patterns go slowly out of phase, while in Clapping Music, Reich has the
musicians change to the next rotation on the downbeat of a measure, without
gradually speeding up.
# œœ. # œ. 4 >
1 2 3 4 5/6 7 8/9 10/11 12
n œ . > . b œ . n œ. n œ. w
P5
n œ œ
2
?c Œ n œ
‰ J œœ65 œ 8 b b œœ œœ b œ b œ œ . # œ n œ. œ b œ
12
3 9
#œ
1
CHAPTER 35. MINIMALISM 10 420
RI10 7 11
1 23 4 5 6 7 8 9 10 11 12
187
In phase Out of phase In phase
& 85 .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. .. œ œ œ œ œ .. œ œ œ œ œ ..
12345 12345 12345 12345 12345 12345
12345 23451 34512 45123 51234 12345
first second third fourth
rotation rotation rotation rotation
Figure
193
35.2.4 A short phase–shifting process piece
&
One hears phase shifting in numerous works by Reich, including the second
movement of his Three Movements.
&
YouTube: https://www.youtube.com/watch?v=XIuJ_my4_-k
Figure 35.2.5 Reich, Three Movements, II.
It is worth mentioning that composers like Stravinsky applied rotation to
serialism, which Joseph Straus details in Chapter 6 of his Introduction to
Post–Tonal Analysis (4th edition).
35.3 Homework Assignments

Appendix A
Answers to Practice Exer-

cises
1 · Basic Concepts
1.6 · Practice Exercises
1.6.1. Answer. 1. A0, 2. F1, 3. D2, 4. G2, 5. B3, 6. E4, 7. A4, 8. G5, 9.
A6, 10. B7
1.6.2. Answer. 1. E5, 2. D6, 3. F4, 4. G3, 5. A4, 6. E4, 7. G3, 8. A2, 9.
E4, 10. E4, 11. G3, 12. C4
3 4 4 3 5 3 2 5
1.6.3. Answer. 1. G and E ; 2. D and F ; 3. G and B ; 4. G and E
2 · Major Scales and Key Signatures
2 2 2 2 2
2.4.1. Answer. 1. D E F G A B C
4 4 4
2. A B C D E F G
2 2 4
2.4.2. Answer. 1. A ; 2. A; 3. G; 4. E ; 5. F; 6. D; 7. C ;
2 2 4 2 2
8. E; 9. B ; 10. D ; 11. F ; 12. B; 13. C ; 14. G
3 · Minor Scales and Key Signatures
2 4 2
3.4.1. Answer. 1. e ; 2. b; 3. c ; 4. g; 5. f; 6. e; 7. b ;
4 2 4 4 4
8. f ; 9. a ; 10. a ; 11. d; 12. g ; 13. c; 14. d
3.4.4. Answer.
(a) f
2
(b) e
(c) E
2
(d) E
4
(e) a
2
(f) C
4
(g) d
421
APPENDIX A. ANSWERS TO PRACTICE EXERCISES 422
4 · Basics of Rhythm
4.7.1. Answer.
(a) Compound Duple (or Compound Quadruple)
(b) Simple Quadruple (or Simple Duple)
(c) Simple Triple

(d) Compound Triple
(e) Compound Duple (or Compound Quadruple
4.7.2. Answer. a. Time Signature: 12 16 ; Meter: Compound Quadruple
b. Time Signature: 32 ; Meter: Simple Triple
c. Time Signature: 38 ; Meter: Simple Triple
d. Time Signature: 42 ; Meter: Simple Quadruple
4.7.3. Answer. 1. Dotted quarter note
2. Eighth note
3. Dotted eighth note
4. Half note
4.7.4. Answer.
(a) The meter of 4
2 is simple quadruple
(b) The meter of 9
16 is compound triple
(c) The meter of 3

4 is simple triple
11
4.7.5. Answer.
Incorrect Correct
ã 43 œJ . 43 œ .
(œ œ œ œ œ œ œ œ œ œ œ œ ) (œ œ œ œ œ œ œ œ œ œ œ œ)
Example œ œ œœ œ œ. œ œ œ œ
3 (œœ œœ œœ œ œ œ œ œ œ œ œ œ)
œœ œœ 3 ( œœ œœ œœ œ œ œ œ œ œ œ œ œ)
œ œ œ œ
1. ã4 4
ã 68 œ 68 ( œœ
( œ œ œ œ œ œ œ œ œ œ œ)
œ œ œ œ œ œ œ œ œ œ œ œ)
œ œ œ. œœ œ œ œ œ œ œ œ œ
379
2.
J
6 œ˙ œ œ 68 œ .
( œ œ œ œ œ œ œ œ œ œ œ) (œ œ œ œ œ œ œ œ œ œ œ œ)
ã8 œ œ œ œ
381
3.
5 · Intervals ø7/C
? ?
Ex. D
_____ 1. ____ 2. ____ 3. ____
˜
383
& ˜˜ ˜
5.6.1. Answer. 1. 6, 2. 4, 3. 2, 4. 8, 5. 7
&
5.6.2. Answer.Ex. 1.
E: ii/3rd 1. f: V
m6, 2. M3, 3. M2, 2. D:6.IV/5th
4. P5, 5. m7, +4 3. b¯:viiº
? Upper notes: 1. D , 2. G , ?
387 1. ____ 2.2 ____ 2 4 3. ____4 24. ____
& &4
2
5.6.3. Answer. 3. A , 4. B , 5. F , 6. F
4 4 2 2
5.6.4. Answer. Lower notes: 1. G , 2. A , 3. F, 4. G , 5. F , 6. B
1. g: III 2. A: vi 3. A¯: ii 4. b: iiº
6 · Triads
? ?
391 5. ____ 6. ____ 7. ____ 8. ____
& &
5. e: viiº/3rd 6. d: VII 7. C˜: IV 8. G: I/5th
#
D ø7/C
395 _____ _____ _____ _____ _____ _____

4 2 2
6.7.1. Answer. 1. A ◦ , 2. Fsus4, 3. B + , 4. D , 5. Esus2
4 4 4 2 2 2 4 4 4
6.7.2. Answer. 1. BDF , 2. EG B , 3. A B E , 4. C E G , 5. DGA, 6.
2 2
FA C
4 . 4 2.
6.7.3. Answer. 1. Dm/F , 2. Gm/D , 3. A ◦ C , 4. F/A , 5. B F , 6.
Cm/G
4 2 2 2
6.7.4. Answer. (lowest to highest) 1. DGB, 2. DF B, 3. FA D , 4. B EG
4 4 4 2 2 2 2 2
6.7.5. Answer. 1. F A C , 2. GB D , 3. A C E
7 · Roman Numerals and Cadences
4 4 . 4
7.5.1. Answer. 1. F m , ii ; 2. D ◦ F , ii◦ /3rd ; 3. A , VII ; 4. G , V ; 5.
. 4
Bm F , ii/5th
6 6 2
7.5.2. Answer. 1. C , CE G; 2. G/D , DGB; 3. A◦ , A CE
7.5.3. Answer. a. “Columbia, the Gem of the Ocean”: 1. G , I ; 2. D , V ;
3. G , I ; 4. C , IV ; 5. G , I ; 6. D , V ; Cadence type = Half Cadence (HC)
b. “Could You Be Loved”: 1. D , I ; 2. Bm , vi ; 3. G , IV ; 4. D , I ;
Cadence type = Plagal Cadence (PC)
8 · Seventh Chords
8.4.1. Answer. 1. D7 , V7
2. G∆7 , IVM 7
4
3. D ø7, iiø7
4. Bm7 .D , iii7 3rd
4
5. C ◦7 E , vii◦7 3rd

8.4.2. Answer. 1. Bm7, B-D-F4-A

2. Aø 7 , A-C-E2-G
4
3. C ø7 , C4-E-G-B
4. G7 , G-B6-D-F
5. Emaj 7 /G4, G4-B-D4-E
2 2 2
8.4.3. Answer. a. “No Scrubs”: 1. D m7 , iv7 ; 2. A m , i ; 3. E 7 , V7 ; 4.
2
A m, i
b. Mozart: 1. C , I ; 2. G7 D , V7 5th ; 3. C , I ; 4. F/C , IV/5th ; 5. C ,

I ; 6. G7 B , V7 3rd ; 7. C , I ; Cadence type: Authentic Cadence (AC)

9 · Harmonic Progression and Harmonic Func-

tion
Day One 9.9.1. Answer. In F major:

1. F-A-C
2. IV = B2-D-F
3. viiº = E-G-B2
4. iii = A-C-E
17
5. vi = D-F-A
6. ii = G-B2-D
#### ##
bb bbb
7. V = C-E-G
& b
558 8. F-A-C
In B minor:
1. B-D-F4
2. iv = E-G-B
4.b III = D-F4-A # ###

bbbbb
563 3. VII = A-C4-E
&5.b bVIb = G-B-D b

6. iiº = C4-E-G
7. V = F4-A4-C4
w w
? # #Answer.ww 1. A3, 2. bA4, 3. wD,ww 4. C?4, 5.# G, ww6. G
568 8. B-D-F4
## w &b b w w & b # ww
9.9.2.
9.9.3. Answer. 1. 4 flats in key signature, iv, B2-D2-F
2. 3 sharps IV6key signature,2.IV,
1. E: in ø4 4-A 3. G: V6
c: iiD-F
3 5 4. d: viio6
3. 3 flats in key signature, iiº/3rd, F-A2-D
#
14
& # 44
4. 4 sharps_____ _____
in key signature, vi,_____
C4-E-G4 _____ _____ _____
www
473
572 5. 2 flats inIncorrect
signature, viiº7, F4-A-C-E2 Correct
( œ6. œ 5œsharps
œ œ œ in œ œkey
œ œsignature,
œ œ œ œ œ V7/5th,
œ )(œ œ Cœ 4œ-E-F
œ œ4-Aœ 4œ œ œ œ œ œ œ œ œ )
œ7. 1œflat in key
ã J8. 1 D:flat in keyœ . œ œ œ œ
IJ signature,
R iii iii,J A-C-E
signature, i/3rd, F-A-D
vi7 ii7/3rd V I
FUNCTION: _____ _____ _____ _____ _____ _____
574
9.9.4. Answer.
Incorrect Correct
Cadence: _______
(œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ )(œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ )
ãœ œœ œœ
≈
œ_____œ . œ œ œ œ_____
œ œ œ œ _____œ œ œ_____œ œ
≈
? b 4
479 _____ _____
b 4 ww
w
g: i VI iv iiø7/3rd V7 i
ã bDC = V-vi_____
576
9.9.5. Answer. HC = V
FUNCTION: _____ _____ _____ _____ _____
PC = IV-I Cadence: _______
b
AC = V-I _____
& b b 44
_____ _____ _____ _____ _____
www
485
9.9.6. Answer.
In F major: In E major:
1. F, I 1. C4m, vi
E¯≤: I 2. IV vi
Dm, ii7/3rd 2. A,I/5th
IV V vi
FUNCTION: _____ 3. Gm/B

_____ 2, ii/3rd
_____ 3. E,_____
I _____ _____
4. C, V 4. B, V
Cadence: _______
9.9.7. Answer.
www
F˜m
# 4
D Bm7 Em 7/G A D
www www
_____ _____ _____ _____ _____ _____
& # 4 ww ww w ww
491
w w w w
D: I iii vi7 ii7/3rd V I
FUNCTION:
ton.
_____ ton. prol.
_____ ton. prol.
_____ pre-dom.
_____ dom.
_____ ton.
_____
AC
Cadence: _______
10 · Non-Chord Tones
b
&bb
497
b
&bb
503

Non-Chord Tone Type Approached by Left by
RETARDATION same tone step up
10.13.1. Answer. ESCAPE TONE STEP leap in opposite direction
PASSING TONE step step in same direction
APPOGGIATURA leap STEP
2 2
10.13.2. Answer. Lead-sheet: B , Dm, E , F
Rom. num.: I, iii, IV, V
10.13.3. Answer. a. “Stop! In the Name of Love” example
Lead-sheet symbols: Am, G/B, F, G
Roman numerals: vi, V/3rd, IV IVM7, V
Measure 2: 7-6 suspension in voice part and in right hand of piano, appog-
giatura in left hand of piano
Measure 3: 9-8 suspension (or incomplete neighbor) in voice part and right
hand of piano
Measure 4: 6-5 suspension in voice and right hand of piano
b. Robert Schumann example
Pickup measure: appoggiatura in right hand of piano;
Measure 1: appoggiatura in left hand of piano; 7-6 suspension, appoggiatura
in right hand of piano; Roman numeral: iv/3rd
Measure 2: appoggiatura in right hand; Roman numeral: V7
Measure 3: anticipation, appoggiatura in voice part; appoggiatura in right
hand; Roman numeral: ii/3rd, V7, Lead-sheet symbol: E7
Measure 4: 4-3 suspension; appoggiatura in right hand; Roman numeral:
I, Lead-sheet symbol: A
12 · Form in Popular Music
12.6.1. Answer. She’s Out of My Life:
• 0:00–0:40, Introduction, approx. 4 bars of keyboard
• 0:40–1:25, A, 12 bars
• 1:25–2:05, A, 11 bars
• 2:05–2:35, B, 8 bars
• 2:35–3:33, A, 13 bars
Penny Lane:
• 0:00–0:20, Verse 1, 8 bars
• 0:20–0:38, Verse 2, 8 bars
• 0:38–0:54, Chorus, 8 bars
• 0:54–1:11, Verse 3, 8 bars
• 1:11–1:28, Trumpet Solo on Verse progression, 8 bars
• 1:28–1:45, Chorus, 8 bars
• 1:45–2:02, Verse 4, 8 bars
• 2:02–2:19, Verse 5, 8 bars
• 2:19–2:36, Chorus, 8 bars

• 2:36–3:02, Chorus a whole step higher, 9 bars
13 · Phrases in Combination
13.9.1. Mozart, “Ein Mädchen oder Weibchen,”The Magic Flute.

Answer. Mozart, The Magic Flute, “Ein Mädchen oder Weibchen”:
• Chords: I – V , V – I
• Cadences: HC, PAC
• No Sentences
• Melodic labels: a, b
• Form: contrasting period
13.9.2. Mozart, Piano Sonata K. 333, I. Answer. Mozart, Piano Sonata
K. 333, I:
• Chords: vii◦ – I , vi – V , vii◦ – I , V – I
• Cadences: IAC, HC, IAC, PAC
• The 2nd phrase is a sentence
• Melodic labels: a, b, a, b’
• Form: parallel double period
13.9.3. Edmond Dédé, Chicago, Grande Valse à l’Américaine. An-
swer. Dédé, Chicago:
• Chords: V , V , V , V , V – I
• Cadences: HC, HC, HC, PAC
• The 1st and 3rd phrases are sentences

• Melodic labels: a, a, a, a’
• Form: parallel double period
16 · Figured Bass
16.6.1. Answer.
• Lead-sheet: 1. C/G ; 2. B◦ /D ; 3. Dm/A ; 4. G
• Figured bass: 1. I64 ; 2. vii◦6 ; 3. ii64 ; 4. V

16.6.2. Answer.
• Lead-sheet: 1. Em7/G ; 2. G7/F ; 3. Cmaj7/G ; 4. Fmaj7
• Figured bass: 1. iii65 ; 2. V42 ; 3. IM43 ; 4. IVM7

#### ##
&b bb bbb
558
bb # # ##
bbbbb
563
&•b Lead-sheet:
b b
16.6.3. Answer. . 4
◦ ◦7
1. D /F ; 2. A G ; 3. Eø 7 ; 4. Dmaj7 F
• Figured bass: 1. ii◦6 ; 2. vii◦42 ; 3. viiø7 ; 4. IM65
ww www
? #### bb wwww
568
?# w
& b # www
16.6.4. Answer.
w & b
1. E: IV6 2. c: iiø43 3. G: V56 4. d: viio6
?
16.6.5.
572 Answer.
b
F/A G
Lead-sheet: ____
7/B
____ C
____ Dm 7/F
____ G
____ C
____ 29
& 44 œœ C
64 882
œ www œ(œ ) www œ www w

wwwww
572
˙œww
C/E C/G Am7 Am7/C Am7/E Am7/G
& ww wwœw w
w ww w
? b C:œ I
591
œ œœ œvi7 œ
9-8 susp.
? 44 C: I œ
I6 I6 vi7 vi65 vi43 vi42
w
4
œ œ I/3rd I/5th
œ œ
vi7/3rd vi( 7/5th
) vi7/7th
w
˜/A˜
b www
C E¯7 7/D
E____ F____
# wwww
____ ____
? b ww # ## ww
IV6 6 ii56
n b w
579 C: ____ V
____ I
____ ____ V
____ I
____
w
5
17 · bSecondary
b ____ ____ Dominant b
____ ____ ____Chords #____
w
b 4
884 Lead-sheet: ____ ____ ____ ____
&b·
17.7 b 44Practice
œ œ œ
œ
Exercises œ
œ œ
œ œ ˙ ˙œ (œ ) œ
œ œœ
66 C Am 7 Dm3. 7 G
œ œ˙˙
1. E¯: V/ii 2. g: V 7/VI e: V42/iv 4. A: V6/ii
& 4 Answer.
910
C˙
˙
˙ ˙
˙ ˙˙Dm ____ ˙____
˙
17.7.1.
˙
E 7 Am A 7 D7 G
? 4˙ œ#œ˙˙˙ ( œ) œœ˙˙˙˙. œ # ˙˙˙œj œœ ˙˙˙œ œ # ˙˙˙˙œ
____ ____ ____ ____ ____
w
??b b 44444˙˙˙˙œœ œœ˙ wwwœ (œ ) œ
583
b C: I ( ˙) œ ˙œ ˙œ7 œ
vi7 ii˙ V œ
I ton.
C: ____
FUNCTION: vi
V7/____ vi prol.
____
ton. ii
V7/____ ii
____ V
V7/____
pre-dom. V
____
dom.
E¯: ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
& 44 ˙˙
C A7 D7 G
˙˙
˙˙ n # ˙˙˙ ˙˙
912 1 2 7 3 4 7 5 6 7 87 9 10
˙˙‰˙ j b ˙˙ # ˙˙˙ ‰˙˙ j

C C F E Am D G
‰ j # ˙˙ ˙ www‰ j
˙
____C ____ ____D7 ____ ____ ____ ____
4 ‰ ˙
F C
# ˙˙
887
?
&? 4
4 44 ˙˙ œ ˙ .. ˙˙ ˙ œœ ˙
587
4 ˙ œœ ˙˙ . ˙ ˙ # œœ ˙˙˙˙ ... ˙ ˙ n œœœ ˙˙˙ ... w œœ ˙˙

> . ˙ œ ˙
IV > V7/____ vi> V7/____ V>
?FUNCTION:
44 C:j ton. ‰ j œ prol. ‰ Vpre-dom. ‰ jœ
I
C: ____ IV
V7/____ ____ vi ____ V ____
œ œ ˙ j
I 7
V /ii 7 /V V
œ œ œ ˙ œ œ œ ˙ œ
œ. œ.B____œ ˙ œ œ œ ˙7
ton. dom.
>7/D˜ ____ D . . œ E¯ ˙ œ œ œ ˙ œ ˜ œ.
. œb ____
˙
17.7.2. Answer.
## >
b # . . > # #
˜7/F
>
7/B¯ A/E G A¯
b w # b
____ ____ ____
#
Lead-sheet:
ww b # www bVb7/V ww # ww bI b b ww
914
& Iw ww IV
w
C:
w
w # w
? # # # w b w b b . . # w > # # # # . w. b b b w
b 4 œj ‰ œœ. ≈ œœ bœ œœ œœœ œ. œœ œ œ œ >œœ b œ ‰
892
b
& 4b: œ_____ œ
œ V43/VI œ64/V œ œE:œ_____ œ œ f: V_____ œ7/VI
.V56/iv F: _____ J
π 1 œ. 2
V/vi V V24/vi
c: _____ G: _____
? b b œœ. œ n œ b . œ. œ. > œ. œ. n >œ œ 6

œ œ J
591
œ ≈ œ œ œ œ b œœ œœ œ
3 4 5
bb 44b Answer.
?17.7.3. J ‰ ‰
71
? b
b# b U
____ ____ ____ ____ ____ ____ ____ ____
# c œ œ œ
993
&
APPENDIX A.
œ #œ œ
(
ANSWERS) TO œ œ
PRACTICE
( ) œ œ
œ œ( ) n œ n(œ ) ww
EXERCISES 428
? #b 4 œœ œœ œ
D7/F˜
œ œ œ œ (œœ) ˙ ww
Cm Fm G
& b #b c4 œ œ œ œ œ œœ œ ( œœ) œ nœœ œ œ# (.œ )# œJœ œ # œ œ u œ ˙

999
œœœ œœœ____œœœ œœœ____œœœ œœœ œœœ ____

? b e:4____ œœœ # n œœœœ œœœœ œœœœ œœœœ n œœœ œœœ œœœ œœœ
bb 4 ____ ____ ____ ____
b V56œ/V œ œ ˙
œ . # œ _____
& b b œ _____ œ œ œ œ ˙ Œ 29
995
œ œ œ œ œ œ J
i iv V
œ
Rom. num.: _____ _____
# ww w
ww www w
? #bw www
572
C C/E C/G Am7 Am7/C Am7/E Am7/G
&& b wwb w www wwww w
w
? ##
C: I I6 I64 vi7 vi65 vi43 vi42
C: I Cm I/3rd I/5th vi7 /F7˜/3rd
D7vi vi7/5thG vi7/7th
b œ œ œ œ œ 7œ œ . # œJ œ 7œ œ ˙
Fm
& b b Answer.
c œ
999
œCœ œ œ œ ˙F____
17.7.4.
˜/A˜
bw
œœœ b œœœ wwwœœœ œœœ œœœ # # n œœœœ# wœwwwœœœ œœœœ œœœœ # #n#œœœ
œœœ œœœ œœœ
____ E¯
____ E____ /D
?? b b c n œœœwww œœœ œœœ w

579
b bb b b # ww
1. E¯:_____
V/ii i g:ivV7/VI
2. _____ V3.56/V
e: V42/iv V4. A: V6/ii
Rom. num.: _____ _____
17.7.5. Answer.
. .˙
C E7 Am A7 Dm7 D7 G
˙ ˙˙œ . j ˙ œ . œ œ . œ˙˙ œ œ
____ ____ ____Dm ____ ____ ____ ____
c˙˙˙ ‰ œJ œ œ œ# ˙˙˙œ œ œ œ ‰ œJwwwœ . œ œ . œ œ œ œ

F G /B C
?&44b ˙˙ œ œ#œ˙˙˙œ ‰ ˙˙˙œJ # ˙˙n œ

583
˙ w
? c ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ
I mot.1
C: ____ vi
V7/____ vi mot.
mot. 2____ ii
V72/____
aug. ii mot. 1V7mot.
____ V 2
/____ 1Vinv.
____ 2. inv
b J J nœœœ œœ œ
C C7 F E7 Am D7 G
˙˙ # ˙˙˙˙ ˙˙
# ˙˙˙˙
____ ____ ____ ____ ____ ____ ____
? 44 b ˙˙˙ ˙˙
V7/V
ww
˙˙ ˙˙
I vi V
ww
F: _____ _____ _____ _____
˙ ˙
587
˙
# #C: ____ V /____ ____ V /____ ____ V /____
975
I 7 IV IV 7 vi vi 7 V V
& c ww
____
w
# www
70
M3
m3
18?· c # ww
# # Secondary
m3
Diminished Chords
18.5 · Practice
?
D: _____ Exercises
‹o7/E
18.5.1. Answer.
õ7 õ/E
# w # # # # ‹ ww b b b
ø7/F o7/B¯ o7/C
Lead-sheet: A C____ G E F____ A____
b b n # www b b b b ww b b b b b n ww
____ ____ ____
&591 # ww
977
# w b n ww
? bb n ww
? # # #b w w # # # # w b b b b ww
bb n w b b b w bb b b b
b
c ˜: _____
o7 o6 ø4 o4 o4 o6
D: vii
_____/vi vii /V E¯: _____
g: _____ vii 2 /IV vii 3/iii
D¯: _____ vii 2 /V A¯: _____
vii 5 /ii
1 2 3 4 5 6
# ### w
bb b b b b n ww
_____ _____ _____ _____ _____
& b b ww # ww
# ww
nw
983
4 ˙ ˙ ˙ ˙ ˙ ww
˙
b bI www A. ANSWERS
& C: ____ bIVwww ____
TO bPRACTICE
wwV7/____ wwvi V7/____
bEXERCISES
w b ww ____ b ww
w w ww b ww
V7/____ IV vi ____ V V
APPENDIX 429
591
¯VI ¯VII7
599
C: Answer.
18.5.2. iv iio iiø7 viio7
¯6 as: Root ____ õ7/A ˜ø7/C7th õ7/A
www
ˆ o7
E 3rd 5thF____ 5th F____ 7th
B____
? b b bw n w w bb # ww # wwww # ### w
# n # www
b b b ww b ww b b wwn ww b www b www b ww
& bw b w
1. A¯: viio7/vi 2. c: viio65/V 3. e: viiø43/III 4. B: viio4/ii
605 C: ¯III i ¯VI ¯VII v ¯III 2
? bb b
¯3 as: Answer. ¯7 as: Root . 3rd
595
18.5.3. Root 3rd 5th 5th
b
2 4 ◦7 4
• Lead–sheet: 1. F ; 2. Am ; 3. B ; 4. F ; 5. D F ; 6. Gm
•# Figured bass: 1. I ; 2. iii ;b w

ww3. IV ; 4. b www
611
& b www Mixturew

w w b wwww
6
vii◦7 ii ; 5. VM3

ii ; 6. ii
m3
19
600 · Mode
? b b b· Practice
m3
19.6 b G: ____ ? Exercises

A is root when
stacked in 3rds;
quality is ø7
(m3-m3-M3)
iiø65
G: ____ 31
19.6.1. Answer. A is 2ˆ (bass note is
õ7/B¯ õ7/G C˜ø7/G D/F˜
3rd of chord)
C____ C¯ A____ E¯m/G¯
? # # # b wwww n w b b b b b www # ww # # # # www b b ww
____ ____ ____ ____
b b b # n www
615628
& n ww b # ww # nw bw
viio42
D: ____ ¯III
A¯: ____ viio42/iii
G: ____ iiø43
B: ____ iv6
B¯: ____ c: V
6/V
____
A: ¯VI
616 1 2 3 4 5 6
# # b wwww____ wø7/B¯ # # w ww
____ ____ ____ ____ ____ ____
? # # # # n ww b D¯
19.6.2. Answer.
b ww b b ww____ # www b b ____ w

634
#
õ7/F
# # ww bb b b b ww n w # # b n www b bb b wwww #
Dm G 7/D B¯ G G
b
____ ____ ____
& # n www w
n www n # www b b b www
E: ____ F: ____ D: ____ E¯: ____ A: ____ B¯: ____
1
A: iv f:2V34/V D: ¯VI
3 4 iiø65
F: e: viio425/iv B¯: ¯III6
### w
622
b ## b bbb #
____ ____ ____ ____ ____ ____
& bb b b www b b
____ ____ ____ ____ ____ ____
b w w w
19.6.3. Answer.
? # w b b b ww # # # # n w b b ww # # n www
640
bb b w56/iv ww
E¯: ¯VII7 b: V A: ¯III g: viio7/V A¯: iiø4 G: iio6 3
c: ____ e: ____ B¯: ____ c˜: ____ d: ____ b: ____
1 2 3 4 5 6
### # w bbbb b w # w b bw # # b www b b ww

____ ____ ____ ____ ____ ____
n # www b b ww
646
& # ww ww w
w
f˜: ____ f: ____ e: ____ B¯: ____ D: ____ d: ____
1 2 3 4 5 6
652 ____ ____ ____ ____ ____ ____
&
2
____ ____ ____ ____ ____ ____
?
658
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
664
123 1 2 3 1 2 3 1 2 3 123 1 23 1 2 3 1 2 3 12 1 2 1 2 1 2
>
32
E¯ D o7
__________ 7 /E¯ ped A7__________
G¯__________
E¯ E¯(maj7)/D
õ/B__________
A˜____
o7/C˜
# ww œ. œ œ œ œ.
E¯7 F/A G____
?&b b b b w12
____ ____ ____ (¯5)
____
8w œJ # n www bb n ww # # # #( )‹ www( w ) b n # www œ # # # wwwwœ

74 666
bw nt pt J
N6 œ B¯: œœ ____ œœ b œc˜œœ: ____ œœ o6/V œb: ____
Fr+6 œ d: ____ viiœ
œœo65
espress. dolce
2 œ
œ 3(œ. ) œ 5 œ œ 6
Ger+6 e: ____ It+6
? b b 12
g: ____ vii
b 8____‰ œ. ____
ped pt
.œ .
1 4
# w * œ
? # # b # wwww b b b°∫ b www #* b °www # # # # n°# www b b *# n www b b w*w
____ ____ ____ ____
672
b # n w b w° b ww
I
E¯: __________ viio7/I ped
__________ I
__________ IM42
__________
D: ____ A¯: ____ G: ____ B: ____ B¯: ____ c: ____
1C7
__________ C7
2___________
3 Eo7/F ped4
____________ Fm 5
___________ 6
T b œ b œ .____ œ.
b
# œ C¯ A˜œo7____ n C˜ø7œ/G
# b b # J b # # w
____ ____ ____ ____
b b b b J n ww vii 2/iiib wwww b ii 3b ww iv# www Vb /V# n www
&&vii# 2 # wwww ¯III
678 Cõ7/B¯ /G E¯m/G¯ D/F˜ 31
w b ____ w
o4 o4 ø4 6 6
____ œ w____
____
œ
www n œœb b f:œœb____
b www # G:œœ #____
____
œœ # #g: ____ b œ œœœbb: ____
____
œ
??# # f˜:b w____ w œ F: œ____
# # 10n wwœw b b11www œb b b #œn www12
pt w
628
bb b 7 b b 8 œ. # w9w w #
ped
œ. (œ ) œ
____ G: ____ *____ B: ____ ____
D: ____ A¯: ____
° ° 4 *
B¯: ____
° *6
____
c: ____
*
684
& °
1 2 3 5
V7/ii b w
+6 w ww 5. d:b Gerb www+6
____ ____ ____ ____ ____ ____
? # #1.# #c˜:nFrww+6 2.ww

b F: It+6# w wwG: EnGer
b b ww 4. a:#vii# o65/V
# w b
634
V7/ii viio7/ii
# # w
__________ ___________ ____________ ___________
ii
b
ww Neapolitan w
w b b
3.
20 · The Chord
& 44·
Lead-sheet:
20.3 E:w
ww____
____
Practice
____ ____ D: ____ ____
Exercises ____
____ ____ ____ww B¯:____
w
?
689 F: ____ E¯: ____ A: ____ ____
20.3.1. Answer. 1 2 3 4 5 6
Rom. num.: D/F˜
?4
____ A¯/E¯ ____ C ____ ____
bwww
D¯/F o/E¯ Ao/C C
w
____ ____ ____ ____ ____ ____
? b b4 w # b ww bb b ww # # # # n ww ww w
b b ww # # n ww
640
Function: E¯: It+6
1. Tonic +6
Mode
2. a: Ger 3. D: EnGer
mixture +6
Tonic 4
4. c: V3/V 5. B¯: Fr+6
__________
b
L.S.: ____ ____
bw
________ (with ¯6) ____
____ ww____
____ ____
?
694
& www 1 6 www c˜: ____ d: ____ ww

N6 N64 iio6 N6 viio6/VI b: ____ N
w
c: ____ G: ____ B¯: ____
2 3 4 5 6
6. f: N 7. A¯: viiø7/V 8. b: Fr+6 9. F: ¯III46 10. c˜: viio42/iv
## b b b b b w # n # wwww b b b b www # # C____ ww b b w

b w/B¯
____ ____ ____ ____ ____ ____
& # # # www
646
?
ww w
20.3.2. Answer.
w F¯/A¯ ww w ____
Fõ7
w
B¯ F ø7 A¯/C
____ ____ ____ ____
? b b b ww ww # # n w b w b w #
b w____ d:b ____ b w
ww
699
bb w bw n ww b b # n www b D:ww__________
R.N.: ____ ____ ____ ____
f ˜: ____
Func.:__________ f: ____ e:
Secondary of V____ B¯: ____
__________
1 2 3 4 5 6
652
1. E¯:____
N 6 2. a:____
N ¯III
3. D:____ 4. c: viio7
____/V 5. B¯: iiø42
____ 6. G: N6
____
& · Augmented Sixth Chords

21
21.91. E¯:
·NPractice
6 2. a: N
Exercises
3. D: ¯III 4. c: viio7/V 5. B¯: iiø4 6. G: N6
2
21.9.1. Answer.
____ ____ ____ ____ ____ ____
?
658
3 + 3 + 3 + 3 + 3 + 3 + 3 + 3 +2+2 +2+ 2
A
one degree
D one degree E
### # #/C˜
## #A#˜____
32 "flatter"
775 "sharper"
? bb &
õ/B
# www
E¯7
____ F/A
____ G¯7
____ A 7(¯5)
____ G____ o7
w # n ww b b b n www # # # # ‹ www b n # www # # # wwww

666
w w
b f˜ c˜
Ger+6
g: ____ N6
e: ____ It+6
B¯: ____ c˜: ____
Fr+6 viio6/V
d: ____ viio65
b: ____
1 (relative
2 keys3with same4key signature)
5 6
? # # b # wwww b b b ∫ b www____
D¯7#
b # www # E¯# 7
w ____
# # # n n # wwwwD____
õ7b/F˜ n w ____
# b www bB¯b b wwww
34 672 21.9.2. Answer.
b b
A7(¯5) 7
# # # # ‹ www # www
____
# #w # ww
734
w
& D: ____ A¯: ____ b n w # w w b w
1 G
b ww G: ____ b ww B: ____# w B¯: ____ c: ____
major:
2 G Am
3 Bm 4 C D 5 Em 6Fõ
1. c˜: Fr+6 2. F: It+6 3. G: EnGer+6 4. a: viio65/V 5. d: Ger+6
739 # # # w # # # ww
# www b b b b n ww
#b Modulation w b b
b w w b # n www o
678
22 ·
& b
& · wPractice
22.8 D major: D b wEm Fww˜m G wA
w
w Exercises Bmb wC˜
22.8.1. Answer.
f˜: ____
####
36 f: ____ G: ____ g: ____ b: ____ F: ____
785 (a) d: F, g, A, B2, C
7 8 9 10 11 12
&# # #
36
Gõ/B Aõ7/C˜
& #
E¯7
684
785 F/A (b) 7 2 2 2 7
G¯ D : e , f, GA, A (¯5)
2 , b2
&
(c) f: A2, b2, c, D2, E2
22.8.2. Answer.
Lead-sheet symbols: ____ C7/B¯ ____
F ____ F/A ____ Dm C/E ____ Dm/F____ ____C/G ____G7 ____
C
R. N.: I ii iii IV V vi vii o
1. c˜: Fr+6
7/B¯ F/A 7
Lead-sheet F
symbols: 2.____ C G: EnGer
F: It+6____ 3.____ Dm C/E Dm/F
____ +6____4. a:
____ C/G
viio65____
/V ____G C
____
5. F: Ger +6
C I6 D ii6 EmI6 FV˜7o

Roman numerals: F: I V42 I6 vi
Roman numerals: F:G major:
I G
V42 Am
I6 viBm
C : ii
___ I
C : ii I6 ii6 I46 V7 4 I
?
689 ___
D major:____
Lead-sheet symbols:
GmGG/B____A ____ Bm
Cm Cm/E¯ CEø7õ B¯/F
____ ____ D Em
____
F7
____ ____ F ˜m
B¯
1. E¯: It+6 2. a: Ger +6 3. D: EnGer +6 4
4. c: V /V 5. B¯: Fr+6
R. N.:g: i IVV6/ivV iv viiv6 vii3o I
Roman numerals: ii iii
?
694
B¯ :
___ ii6 viiø7/V I46 V7 I
E¯ 6. f: N 6
7. A¯: vii /V 8. b: Fr ø79. F: ¯III 10. c˜: vii /iv
+6 6
4
o4
2
B
22.8.3. Answer.
####
˜ f˜F¯/A¯ B¯A F F˜ aC____/B¯ ____ Co7
A¯/C ø7
#
& # # #? b b w
F
787 ____ ____ ____ ____
b w bw
& c˜ b b b ww b www # # n n www b b b # n wwww b b www # b ww
699 787
D¯
b N 2. a:DN 3. D: ¯III 4. c: vii /V 5.dB¯: ii 6. G:FN
####
1. E¯: 6 o7 ø4 6
789
to parallel 2
&
789
#### minor
& e G g B¯
809
####
&
809
####
&
778
#&#######
&
817
817
##
? b 4 œ˙ . œ œ œ. œ œœ œ. œ ˙
b 4 ˙˙ .. ˙
b œœ n œœ b œœ n ˙˙
####
36 APPENDIX A. ANSWERS TO PRACTICE EXERCISES 432
785
& Lead-sheet
22.8.4. symbols:
Answer.
A
____ C
____ A
____ A 7/G Dm/F B¯7 Dm/A
____ A7 ____
____ ____ ____ ____ B¯
A C A A 7/G Dm/F B¯7 Dm/A A7 ____
B¯
IC7/B¯ ¯III
Lead-sheet symbols: ____ ____ ____ ____ ____
4 ____ ____ ____
Roman numerals: A: I V /IV
Lead-sheet symbols: F
____ F/A
____ ____ Dm C/E
____ ____ 2 Dm/F C/G
____ ____ G7
____ C
____
Roman numerals: A: I ¯III I V24/IV
Roman numerals: F: I V42 I6 d :V
vi ___
4 6
i Ger+6 i64 V7 VI
2
d 4
___ : V2 i6 Ger +6 i64 7 V7 VI
C :
___ ii 6 I 6ii 6 I4 V I
Gm Gm/B¯ A¯/C o7 o7
Lead-sheet symbols:Gm____ ____ B¯m/D¯
____ B¯m/D¯ ____ D
____
Do7 A¯/E¯
A¯/E¯
E____
o7 Fm ____E Fm
____
Lead-sheet symbols: ____ Gm/B¯
____ A¯/C
____ ____ ____ ____ ____ ____
Gm G/B Cm Cm/E¯ Eø7 B¯/F
Lead-sheet symbols: ____ ____ ____6 ____ ____
F7
____ ____ ____
B¯
Roman numerals: g: i 6 i 6 N 6
Roman numerals: g: i i N
Roman numerals: g: i V6/iv A¯ iv 6 iv6 66
A¯ : Iii viio7
___ : I___ ii6/V viiI64o7/V I64 viviio7/vi vi
viio7/vi
B¯ : ii6 viiø7/V I6
___ V 7 I
4
787
22.8.5. Answer.
iio ___III VI ___viio
˙ ˙˙ ˙ ___˙ ˙___ w ___
LSS: ___ ___ ___ ___ ___i ___ ___ iv ___ V___ ___
___
# ˙ ww in Dm:
&b b 44 ˙ symbols
˙ w o˙ ˙
Roman numerals: d: ___ ___ ___ ___
?Lead-sheet ( ˙) ( ˙ ___ ) ˙ A
( ˙) (w) ___ ˙) ( ˙ ) ( ˙___
E ( ˙ ) ___
822
) ( w)___
( ) )Dm (F
( Gm
___ ( ) ___ B¯ Cõ
Lead-sheet symbols in F: Dm
___ ___Eo ___ F Gm ___
___ Am ___ B¯ C ___
RN: G: ___ ___ vi ___ ___ ___ vi
vi ___ o
viiD:___ I___ ___
ii ___ ___
iii___ ___
IV___ ___
V
Roman numerals: F: ___ ___ ___ ___
HF: Ton Dom ____ PD /V Dom ____ Dom Ton PD Cad64 Dom Ton
22.8.6. Answer.
˜ /F˜ ___ õ7 ___ ˜7 Bm/D 7(¯5) Bm/F˜ F˜ Bm
# 4 ˙ ˙
o
n˙ ˙
Em D___ Em/G F/A
___ A___ B Em
___ F___ ___ G___
w ˙ #˙
795 LSS: ___ ___ ___ ___
#w ˙ #˙ ˙ #˙ w
& 4
RN: e: ___ viio6 ___
i ___ i6 N6 vii
o7
___ /V ___
V i
V7 ___
iv ___
b:___ i6 Fr+6 ___
i64 ___
V ___
i
HF: Ton Dom Ton PD
___ PD
__/ V Dom PD Dom Ton ___
____ PD Cad6 Dom Ton
4
22.8.7. Answer.
˜m A2m,EmDm,GD
˜m G ˜m
j
(a) Fm:GAm, 2m Em Em B (no 3rd)
œ 2, œB3 (or# ˙A, enharmonically)

(b) D2:# ˙F2, F, B œ œ #˙ œ. # œœ # ˙˙ ˙˙
803
?(c)42G:# B˙˙2, B, E,œœ En œœœ2 # ˙˙ œœ n œœœ # ˙˙ n œœœ ... # œœ # ˙˙ ˙˙

p J
(d) G m: Bm, B m, Em, E m
4 4 4
23 · Enharmonic Modulation
23.4.1. Answer.
42 APPENDIX A. ANSWERS TO PRACTICE EXERCISES 433
˙ b˙ ˙# ww˙˙˙
b ˙˙˙# w
˙ ˙˙
& # ˙˙˙& b ww b ˙
888
ww # ˙ w ˙ ˙˙
enharmonicallyg: Ger
+6 V
_____
bb b w ˙˙ w˙ ∫ ˙
resolve
b˙ w b b ∫b˙w
˙˙ b ˙
& b b ˙& wwb ˙˙ w˙˙ b ˙ b b ˙˙˙˙
respell
˙
892
e¯: viio43 A¯ V7 V4
__ : ____ I o6
G¯:_____
vii V43
2resolve 5
826
#
23.4.2. Answer.
& E¯:
Lead-sheet symbols: E¯
____ C¯
____ A¯
____ F
____
7
Am/E E /D C
____ ____ ˜ ____
____
7
Dm ____
E
o7
¯VI
7
Roman numerals: I IV V /V
œ bœ
a Ger +6 6 4 o7
G: V7/IV resolve 4 _____
b#b œœrespell
___: i V2 vii /iv iv V
b œœ n œœœ n œœœ œ
896
& b œ n œœ # n œœœœ n #b œœœœ œœ # n œœœ

& œ
828
104 __ : ____ _____

23.4.3. Answer. resolve
b
bb cb bœ
____ ¯ E¯7 E¯7 A¯
897 7/C
&
Gm
____ D____ Gm/B ____ Fm
____ ____ ____
œ œ
b b#bœœb
& œœ œ œœ b œœ ˙˙
# œœ b œœ
830
œ ˙
& œ
? bb c f:œ V7/VIœ œ œ
832
œ œ _____ b˙
b Vb
& b b____
respell resolve
i 4 i6 Ger+6
g: ____ 2____ ____ ____ ____ ____ 39
A ¯: V 7 vi V7 I
# # # # c œœ # œœ œœ resolveœœ
____ ____ ____ ____ ____ ____ ____
œœ ‹ # œœœ ˙˙
__ : ____ _____
838 & œ œ œ œ #œ ˙
? # # # # c&œ #b b œ
b b www www
834 23.4.4. Answer.
&# œ w œ #œ œ ˙
E¯: viio7 _____
I
b b____
E: ____ ____ ____ +6____ ____ ____ ____
n # # www____
D: Ger resolve _____
respell____ n____
# # wwww
840
b
respell
& #
836 resolve
##
#
____ ____ ____
c œ n˙
&
œœ &
œ œœ # œœ œœ o6
œ G¯] __
[or fœ ˜ : ____
œ5
vii n œœ n œœ ˙
i (or I) ˙
_____
? ## c œ
b b bœ n n wwwœ
__ : ____ resolve _____
# n nwwwœw
842
n˙
&
respell
œ
resolve
œ
b: ____ ____ ____ ____ ____
i____ ____
www
a : ____
vii o4 (or I)
__ _____
bbb
2
resolve
n www
844
respell
& w
__ viio43
c : ____ i (or I)
_____
resolve
##
846
&
_____
b: viio7 resolve _____
150 LSS: ____ ____ ____ ____ ____ ____
b œ ANSWERS œ œœœ œœ œœ œ œ œ
J J œ J EXERCISES œ œ ˙
Motives:
& b c A. œ J PRACTICE ˙
APPENDIX TO
J J 434
œDmœ œGo7œ/Dœ¯ Eœ¯7œ/Dœ¯ Aœ¯m/Cœ œo7 œ œ œ7 œ .œ . œ œ œ. œ œ œ 105

123
? b b c œ___
œ1621œC___
œõ7œ ___ œ œ /B¯ œE¯ /B¯ œA¯m œ
NCTs: Answer.
23.4.5.
___ ___ ___ ¯ G___
œ œ œ œ œ˙ ___b œ # œ___ œ
Dm
3 ˙ œ
& b 4 œœ& ‰œœ œ œœœ œ b œœœ œ b œœ bœœœ b b ˙˙˙ b œœœ n b œb ˙˙ ... œœ Œ Œ ..
œ œ ____œ ____œ œ ____ ____ b œ b ˙
RN in B¯: ____ ____
p
____œ. .œ ____ œ. ____
.œ . ____
œ .
œ .
? b 43 œ?# œ œ œœ b œœ œ œ b œ œ œ˙ œ œ b œ n œ œ Œ
150 HF: ____ ____ ____ ____ ____ ____
..
LSS: ____ ____
Œ
LSS: b b c œœ. œ œ ____
œ œ ____ œ œ____ œ.œ œ œ ____ b ˙ œ. œ˙
œ ˙ ____œ œ____
Motives:
& J J
____ J J J J
œ œviiœo7o4œ ___
Motives:
b œ œ œ œ œb 42œ œ i6œ œ œviiœ o6œ5 œœ œV4œ3 œ œi œ œ œ

i vii
d: ___ ___ i
o7 ___ ___ ___ ___ ___ ___
œ œ œœœ œ œ œœ œ œ ____ œ˙ œ œ ˙ œ
?& bbb cJ# œdiagram:
œ____
Jœ œ œA____ œ œ ____ œJ œ J____
NCTs: a ¯: vii V
#
3
Menuetto
# c œ and œœœ œ œœ œForms n œœ œ œ œn b œœœœ œ œ n ˙˙˙

____ ____
24 · & Binary
œ nœœ œœ Ternary b
/? œ____ œ œ œ Exercises œ b
œ ____œ œœ____:/: ____ œ œ n œœ œ
bB¯:œPractice
œ œ ____ œ œ œ œ ˙ :/
NCTs:
RN inb·
a
24.9 :
____
. ____ .
123
.
Trio diagram:
? #____ # b œ œ
HF: ____ ____ ____ ____ ____
c œ œ œ b œ
24.9.1. Answer.
# ____ œ ____ œ
____ œ____ œ ˙˙ # nœ ˙ œ
œ b œ____ œ____
1621 A B
& ‰ œa' ____ œ œ ____ c____ n œ____ ____ œ

œd Œ :/ Œ ..
150 RN:
LSS: ____ ____ ____ ____ ____ ____
/
HF:
LSS: ____
____
a
œ
____
œ
____
œ œ œ œ____
œ œ / œ
____
œ œ œ
____ ____
œ
b œ ˙ G: HC œ œp ˙PAC
Motives:
& b b c œG:œJm.HC œ D: PAC œ8 Jœ œ Jb œJ œ e:m.JPAC

: : :
œ
A: ____ ____ ____ ____ ____ ____ ____
J
Motives:
œ œ m.. 16 ____
b œJ œJ____ ____
&NCTs:
4
œœ. œœ.____ ____ œœœ. œJ____
m. 12
œœ. œ œJ ____
œ œb œœœ n œœ. ˙ œ. m.˙20
b b b b c? œœ œn œœ œ œœ œ œœ œœ œ œ œœ œ œ œ n œœ œ œ œ œ œœ œŒ œ œ Œ ..
? &b c bœ œ SECTIONAL
b œœœ. œ œœœ CONTINUOUS œœ .#œœ ROUNDED œ n n œœœ BALANCED
œ œ#œ œœ œBINARY œ˙˙ TERNARYœ
? b b œ œ œ œ œ œ œ œ œ œ œ œ bœœ œ œ œ œœ œ ˙œ œ œ œ ˙
NCTs:
TWO-REPRISE
? bb b c œ œ œ nœ œ œB ˙
____ . œn____
24.9.2.
RN in B¯: Answer.
bb œ œ
____ ____ ____ ____ ____ ____
œ œ œœb. bœ˙œ____œb œ # œ____a' œ œ:/ œ

œ
____ . &
123
bb œ . œ œ œ œ . œœ ____ . œœœœ
A
b
120 HF:
1590
RN: ________ ________ ____
____ ____
____ ____
____
&/:
&‰ œ œ œ œ œ
œ
:/:
œ œ ˙____ œ œ Œ Œ .
HF: ____
a 1621 ____ ____ ____
HC n œ ____ œ PAC .
a'
b¯: ____ ____ ____ ____ ____ ____
f œ œ
LSS: ____ A: HC____ ____ PAC ____ ____ ____
œ b œœœ œ œ. œœ. Bœ œ . .
b bb aœJ œœ œJ œœ a'œœ. œœœœ.
œ œ œ p
œœ Jœœ œ Jc œ œb œœœ n œœ ˙ dœ.œ ˙ n œ
œ
Motives:
œ A œœ
m. 4 m. 8 m. 12 m. 18
?&TWO-REPRISE
b
/: b ?
œ :/:
œ
b ROUNDED
œ œ Œ :/ Œ ..
. .
SECTIONAL CONTINUOUS BALANCED BINARY TERNARY
œ œ œ œ œ œ
œ œœœœ œ œ
? bb œ œ œ œ œ œ œ œ œ œ bœ œ œ
NCTs:
œ œ ˙
œ œ œ œ œ œ Uœ
24.9.3. diagram:
Answer.
œ œ
Menuetto
bb œ . œ œ œ ____ . œ œ . b œ œ
D: PAC œ
A B
& b
1594
RN: ____
Trio diagram: ____ ____ ____ ____ ____
/: :/: e: PAC b PAC :/

HF: ____
a ____
____
a' ____ ____ ____ ____
a'
G: HC G: HC
p A œ œ œ
m.A:
4 HC
m. 8 PAC m. 12 m.
HC 16 m. 20
PAC
? b a œœ œ a' œœ œb œ œB œ œ U
m. 4 m. 8 m. 12 m. poco
18 rit.
œ
/: b b :/:
TWO-REPRISE SECTIONAL c
CONTINUOUS d :/
ROUNDED BALANCED BINARY TERNARY
A B A
24.9.4. Answer.
A B
/ :/: :/
Menuetto diagram:
: diagram:a b c c' a d
Trio
B¯: IAC
G: HC F: PAC
D: PAC c: IAC B¯:
e: PAC IAC G: HCIAC PAC
PAC
m. 4 m. 8 m. 12 m. 16 m. 20
Two-Reprise Continuous Ternary, if looking at the proportion, or Two-
Reprise Continuous Rounded Binary, if you interpret the first two notes
E¯: HC PAC HC HC HC PAC
A: PAC PAC D: DC PAC A: PAC PAC

b œ œ œ œ œ œ œ . b œ œ œ œ œ œ œ U
œ 123
. . œ
in bbarb œ œ
1594
&considering that Mozart, as a Classical-era composer,

13 as being built from the first two notes in bar .1—and if you
œ œ˙ isb œlikely
.
. to composeare
œ
œ œ œBalanced # œ œ that
p ‰ œ œ œ œ ˙ œ n œ
œ œœ poco Œ ..
Œ rit.
1621
&the endings
bb b œœthe returnœœ œof the opening
?account œ œœ materialœ
œ in œbar 21. œ œ U
a rounded binary. Two-Reprise Continuous Binary is a label
p œ
describes that of the halves are the same, but doesn’t take into
.œ œ. .œ œ. .œ œ.
? œ œ bœ nœ . œ Bœ œ
A
œ œ. œ œ Œ Œ ..
24.9.5. Answer.
.
A B A
a a' /: b b' a a' :/
A B
b: IAC PAC D: IAC b: HC IAC PAC
/: Sectional
a
Ternary
a' :/: b a'
:/
24.9.6. Answer.
E¯: HC A PAC HC HC B HC PAC
/: a a'
:/:
b c a' :/
B¯: HC PAC IAC HC PAC
A: PAC PAC D: DC PAC A: PAC PAC
(final phrase could be
analyzed as two phrases)
B¯: IAC F: PAC c: IAC B¯: IAC IAC PAC
Menuetto diagram: Sectional Rounded Binary (because the motives from the
Two-Reprise
first section are used in the construction of the melody of the second sec-
Trio diagram:
tion) a a b c a a
G: HC D: PAC e: PAC G: HC PAC
a b c c' m. a16 dm. 20
25 · Sonata
m. 4
andm.Rondo
8
Forms
m. 12

A: HC PAC HC PAC
25.6.1. Answer.
m. 4 m. 8 m. 12 m. 18
(a) Haydn: Expository
(b) Beethoven: Developmental
(c) Mozart K. 576: Transitional

(d) Mozart K. 550: Developmental
(e) Mozart K. 309: Expository
(f) Haydn: Terminative
(g) Mozart K. 309: Transitional

(h) Mozart K. 576: Terminative
(i) Mozart K. 310: Terminative
(j) Haydn: Transitional

(k) Mozart K. 457: Expository
(l) Mozart K. 550, IV: Developmental
25.6.2. Answer.
? # .. ..
G: V65 I IV I V7 vi I6 V7 I
4
0:30 0:48 1:01 1:27 3:13 3:37 3:48 4:19 4:32 4:45 5:12
1:36 2:07 2:24 2:37 3:04

PT
PT transition
transition ST
ST CT
(CT) Fragmentation & RetransitionPTPT transition
transition ST (CT)CT
ST
sequencing
In major: 0:00
I 0:08
modulating 0:22
V V
0:45 1:40
V modulations V pedal 2:03I 2:11
tonicizations 2:31
I I 2:54
(2nd time) 0:51

PT = Primary Theme
0:58 1:12 1:35
ST = SecondaryTheme
CT = ClosingTheme
Figure A.0.1 Mozart, Piano Sonata K. 545, I.
PT transition ST1 ST2 CT Retransition PT transition ST1 ST2 CT
0:00 0:30 0:48 1:01 1:27 3:13 3:37 3:48 4:19 4:32 4:45 5:12 159
159
œ
2:07
(2nd time) 1:36
œ
2:24 2:37 3:04
œœ œœ œœ œœ
& œœ œœ œ œœ œœ œœ
& œœ A.0.2œœ Mozart,œœ Eine kleine œ nachtmusik, œ œ 525, I.
159
Figure K.
?œ
œœœ Leading œœœ œœ œœœ œœœ
26 ·? Voice
& œœ œ6 œ
Triads œ œ
œ6
œ
6 6
Iœ64
C: I V I C: IV I IV
? œ Answer. œ œ
4 4
œ
C: I V64 I6 C: IV IV 6
#
26.13.1.
b
C: bI b c œ œœ 5thRtRtI6 œœ 3rd œœœ 3rd I#64 c œ IV6 œ Rt
& bb c œœœ V5th œ œ œ c œœ 3rd œœ 5th # œœœ 5th œ 3rd
5th6 5th
& b œœ 3rd œœ 3rd œ œ œ

C: IV
œ 5th œ œ 5th # œ 3rd œ 3rd

3rd4 Rt
3rd 5th
œ 5th
Rt
œ 3rd œ Rt œ 3rd
Rt 5th Rt 3rd Rt 3rd
5th Rt 3rd 3rd
5th
? b c œ 5thRt œ Rt œ 3rd œ 5th # c œ 5th œ 3rd œ Rt œ 5th

Rt
Rt 3rd Rt
? bb bb cc œœœ 3rdRt œœ 5thRt œœ RtRt œœ 3rd

& # cc œœ 3rd œœ RtRt # œœ 5thRt œœ 3rd5th
b œ œ Rt œ
Rt
œ RtRt
Rt Rt
œ
Rt 5th
œ 3rd œV Rt VI
Rt
3rd 5th Rt Rt Rt
3rd
Rt Rt 3rd
? b b cE¯: œI Rt viœ
E¯: I vi IV ii
# ce: III
e: III 5th iv
œœ 5th
b œ Rt œ Rt
IV ii
œ Rt œ Rt (deceptive
iv œV Rt cadence)
(deceptive VI
b b Answer. œ Rt œ 5th œœ 3rd #

Rt Rt
cadence)
& bb b b b E¯:cc I œœœ 5th viœ œœ 3rd iiœ 3rd

Rt IVœ 5th
# e:cc IIIœœ 3rd Rt ivœ
œ Rt Vœœ 3rd VIœœ Rt
26.13.2. 3rd
& b œ
œœ 5th œœ 5th œ 3rd œ Rt œ œ œ œœ 5thRt(deceptiveœœ 3rdRt cadence) œœ 5thRt
Rt
œ
3rd 5th Rt 3rd
œœ œ œœ 5th œ 3rd
Rt 3rd Rt 5th
? bb c
Rt
œ # c œ
5th
œ œ œ
Rt 5th
œœ 3rdRt œ RtRt # cc œ RtRt œ RtRt œœ 3rd5thRt œ 3rd

5th Rt
? bb bb b cc œœ 5thRtRt œœœ 5th

3rd 5th 3rd
& œ Rt œœ 5thRt œ Rt œœ 5thRt œ RtRt œœ 5thRtRtRt

3rd
œœ Rt 3rd
Rt
5th 5th
b
Rt
Rt 3rd 3rd 3rd
Rt
G: vi 5th œii
? b b b cf: i
f: i iv
œ
VII III
# œœ œ
V
œII 3rd
b Rt œ Rt
c Rt œ œ Rt œ Rt
œœ Rt
3rd 5th
& bb cc œœ œ œœœ
iv VII III G: vi ii V
œœ œ
Rt
œ œœ œœ œ œœ
œœf: i œ iv œœVII III œœ œœ V
Rt
& œ œG: vi œ ii
œ œ œœ I
œ œ œ # œ œ
œ œ
?b c œ œœœ
œ
œœ
œ # œœœ œœ œœ œœ
26.13.3. Answer.
? b cc œœ
& œœ œ œœ œ œœœ
œ œ˜ œ
iœ
œ œ œœ #____
œœV˜ œœ œœ
? b d:d:c ____ œ œœi
iœ œ
VII
____ III
____ ____ iv VI
____ iv
____ ____
____ VII
____ III
____ ____ iv (deceptive
____ V VI
cadence)
____ iv
____ ____ i
˜
(deceptive cadence)
#
& # cc œœ
i VII III iv V VI iv i
œœ
d: ____ ____ ____ ____ ____ ____ ____ ____
œœ œœœ œœ œœœ œœ œœœ ˙˙

œœ
(deceptive cadence)
& œ œ œœœ œœ œœœ ˙˙
œ œ ˙
?# c
26.13.4. Answer.
œ
&? # cc œœ œœœ œœ œœœœ œœ
œ
œœœœ ˙˙
˙
œœ œ œ œIV ˙
? # G: œ
I V vi iii ii V
G:c ____ œ œ ˙
____ ____ ____ ____ ____ ____ ____
œ
I V
____ vi
____
(deceptive cadence) œ
iii
____ IV
____ ii
____
œ
V
____
(deceptive cadence)
I
G: ____ V
____ vi
____ iii
____ IV
____ ii
____ V
____
(deceptive cadence)
˜
i
d: ____ VII
____ III
____ iv
____V
____ VI
____ iv
____ i
____
APPENDIX A. ANSWERS TO (deceptive
PRACTICE EXERCISEScadence) 437
#
& c œœœ œœ
œ œœ œœœ œœ œœœ ˙˙
œ œ ˙
?# c œ œ œ œ ˙
œ œ
I
G: ____ V
____ vi
____ iii
____ IV
____ ii
____ V
____ 161
(deceptive cadence)
b
& b c œœ # œœ œœ # œœ w
w
? b # #c c
œ œ œ
26.13.5. Answer.
œœ ww
œœ
160
&b œ œœ œ
3
œ œœ œ
œ œ
3 5 3 5 3
R6 6 5 ˜ R R 3 œ 5
œœ œ œ
? # # c œœ œœ
viio6 i6
œ
i
g: ____ ____ ____ V
____ VI
____
œ
PRAC EX 5 R 5 5 R R
b œ
&b c œ Rœœ œœ R œœ 3 ww R 3 R
? b b cD:œœ ____ œ œ œ____ ww ii ____

(one of several
œ
I IV
____ I6 ____ viio6 solutions)
possible I
____
œ œ 161
161
26.13.6. Answer.
bb bb bcc Ton.
œœ ## œœœ
I V6 I ii6 V
& œœ ## œœ ww
B¯: ____ ____ ____ ____ ____
& b cœœ
& HF: œ œ w
____ Dom.
____ Ton.
____ Pre-dom.
____ Dom.
____
œ œœ œœ œœ ww
PRAC EX
?
? #b bb# cc œ
&?b bc œ œœœ œ œœ œœ ˙ w
˙
c œ
bg: ____ œ œ w
6
6 œ 6
66
˜
˜
? ## c
i viio6
____ i6
____ V
____ VI
____
i
g: ____ viio6
____ i
____ V
____ VI
____
& b b Answer.
26.13.7. 6 6 ˜
b D: g:____
œ ____ œœ œœ
& b HF:c ____ œœ w
____ ____ ________ ____
œ ____w
____ ____ ____ ____
? bb
#b#b#b ccœœ œ œ
____ ____ ____ ____
œ
œ œœ œœ œ œ œœ ww œ œ
(one of several
&&b c œ œ
? œœ œ œ œ œ œ
possible solutions)
( )
# c____
? #b#B¯: œ œ ____ œ œ
HW
œ
V6 ii6
œ
I I V
Ton. œ
____ ____ ____ ____
&?b HF:b ____

c œ #
b
Ton. Dom.
____ ____ Pre-dom. Dom.
____ ( )
? #b b# c Answer. œ
A: I V6 I IV6 V6 I V vi
&# œ ____ œ ____ œ ____˙ ˙

# œœ Rt œœœ Rt
26.13.8.
c œœ 5th œœ ˙
g: ____
& œ 3rd # œœœ Rt œ 5thRt œ # œœ
œ ˙˙
Rt 3rd Rt 3rd 3rd
? ## c
b
5th 5th Rt 5th
#b#b cb œc ˙
5th 3rd
&
? œ œ
3rd 5th
œ
3rd
œ 5th œ
& b D: ____ ____
5th Rt Rt
3rd 3rd
Rt
____ ____ ____ ____
˜
˙ ˙
6 6 6 6
?#b b# b œ
HW HF: ____ ____ ____ ____ 4 ____ ____
c œ passing n œ
4
? œ
bb
i
b: ____ V64
____ i6
____ iio6
____ i46
____ V
____ VI
____
4
& type:
6 chord ____ cadential
____
6 6 Ω
? ##
b
c: ____ ____ ____ ____ ____ ____
&b
? #b b
&&b #b c œ œ œ œ w
PRAC EX
& ? b c
bb
?
?
APPENDIX i iv TOi64PRACTICE
A. c:ANSWERS iv6 iio6 i64
EXERCISES V VI 438
6 chord type: ____ ____
4
c˜: V Answer.
i 7 A: V7 I f: V7 i E¯: V7 I
b b c comp.
c˜: inc.
œœ
26.13.9.
& b inc. œœ Rt œœ comp. œœ œ œœ n œœ œ
7 V i V7
A:comp. I V7 comp.
f:comp. i V7
E¯:comp. I
œ
inc. comp.
œ
5th Rt Rt Rt
5th 3rd 3rd
comp. inc. comp.
5th comp. 5th comp. comp.
œ Rt œ œ œ
5th
œ œ
3rd 5th
œ
Rt
œœ
Rt 5th
& ? b c œ 3rd œ Rt œ
3rd
œ œ œ œ
167
& bb
Rt 3rd 3rd 5th 3rd
5th 3rd 3rd 5th Rt Rt
Rt
?
& c: i œ
œ iv œ ii œ cadential
?64 chordœœtype: œ œ passing œ
iv i64 6 o6 i64 V VI
œ
____ œ consec. 1st-inv.
œ œ ____ œ Dec. Cad. œ
œ7
27? · Voice œ
171
7 œ œ7
œ Seventh œ7 œ
7 7 7 7 7 7
b b c esc ____
7Leading
œ Chords
œ
7˜
#&
7 7
____ n ____ ˜
& b: c·
b: ____ ____ ____
sus ____
ant ____
27.6 œ7 ____
____Practice
œ # œœ7
Exercises
œ
____
7œ
____ ____
7 œ
____
# œ 7 ˙
____ ____
œ
# # ˙____ ˙ ____ # ____œ ____œ ____ bbb ˙˙˙ ____˙˙
7 7
& #?˙˙A:b b____

csus˙˙ ____#ant ˙ p˙ # ˙˙ dn ˙˙
27.6.1. Answer.
# ˙ ˙˙ œ ˙˙ œ b ˙˙ ˙˙
? ## ˙˙˙c œœ ˙˙ œ
& ˙œ ˙ œ
˙ œ ˙ # ˙ ˙ ˙ ˙
˙ œ œ ˙ œ
? #˙ ˙˙ # # ˙˙ ˙ œ # # ˙˙ ˙ bb ˙ ˙˙
?
& ˙ ## p˙ # ˙ ˙ bb ˙ ˙
e:
˙
V7 ____ i ____ D: V____
7 I ____ e: V____
7 i ____ B¯: ____
V7
?#
a: I
7 7 V7 7
#
a: V
inc. i
comp. D: V I
comp. inc. e: comp. i
comp. B¯: V I
comp. comp.
& # c
inc. comp. comp. inc. comp. comp. comp. comp.
# # G: I 5 IV 2
27.6.2. Answer. M6 M4 viiø65 iii4 vi56 ii4 V56 IM42
& #b œœ
? œ œœ œœ œ œœ œ œœ œ œœ ˙
& bb b# bc œ œ œ
2 2
œ œœ
& bœ œ œ œ
? # œ œ ˜ # œ ____ œ
? b# œ œ ____ œ____ œ ____ œ ____ œ
b œ œ
b: ____ ____
? bb b
b i7
& b:b c____f: i4
iv7
____
iv6
VII7
____
VII 4
IIIM7
____
M6
VIM7
____
M4
III 5 or incomplete
iiø7
____
ø6
V7
____
VI 2 with complete)
ii 5
i
____
V42 i65
(alternate
2 complete
5 with2 incomplete,
? Answer.
b# c
27.6.3.
œœ F: I
œœ
vi
œœ
IV
œœ
V
œœ
vi
œœ
IV
œœ
I
œœ
?#
#
& M6
G: I 5 IVM42 viiø65 iii42 vi65 ii42 V56 IM42
28? ·
# Voice Leading With Non-Chord Tones
bb
& b b·
? bb b
28.4.1. Answer.
sus
# bc esc
œœ œ œœ # œ
4 - 3 ant
&
n
œ n œ œœ œ œœ œœ # œ œ ˙
˙
? # c œœ
p
œ.
sus 4 - 3 dn
œ œœ œ œ œ œ œ œ ˙
œ œ œ œ œ
ant
p
i
e: ____ V
____ VI
____ iv
____ i64
____ V7
____ i
____
œ ˙˙
sus
ant 4 - 3 sus
p
œ œ PRACTICE
9 - 8
œA. ANSWERS œ œ œ EXERCISES
4 - 3
œ œœ # œ ˙˙
sus
? ## c œ
APPENDIX
œ œ
TO
œ œ 439
28.4.2. Answer. ˜
#
n iv
& # c œœ œ œœ œ œœ
172 i
b: ____ ____ i
____ III
____ iv
____ V
____ VI
____
œœ œœ œ œœ ˙˙
&b c ant
sus
4 - 3 p
sus
œ œ
9 - 8
œ œ œ œ
4 - 3
œ œœ # œ ˙˙
sus
? # # cc œ œ œ
b œ œ
˜ 177
b: i I
F: ____ iv
vi
____ IVi
____ III
V____ ivvi
____ V
IV
____ VI
I____
#
28.4.3. Answer.
& œœ 7th œœ
&
n app
b c œ œ œ
sus 4 - 3
œ œ
ant 3rd
& œ œ œ œ œœ œ œœ œ œœ .
? œ œ˙˙ œœ
178 ?# #œ
œ œ
n
œ œ
sus 4 - 3
œ C: viioœ7/ii
sus 4 - 3
? b&c œ œ œ
œ œ
œ œ œ
ii
˙ || 5ths
#? œ b œ œ œ nœ œ ˙ œ
& F: I œ vi œ IV &Vœb b n œ 3rdvi n œ IV n œ 3rdI œ
7th 7th
29 · Voice Leading Chromatic Harmonies

b
& # · Practice Exercises œ

7 7 7 7
? Ω Ω Ω
œ
29.5 ? ____ # œ ____n œœ ____ # œ ____ n œœ
bbb
A¯: ____ ____ ____
?b bb
29.5.1. Answer.
& b b œœ œœ n œœ b œœ viio7/V œœ
c: V
œœ viio7/V
˙˙ V
#
& œ nœ bœ nœ œœ
&
? bb b
b œ œ œ
œ n œœ ˙˙
?#
? A¯: ____
I V7/vi
____
V7/ii
____
V7/V
____
V
____
viio7/vi
____
vi
____
free res.
comp. inc. comp
viio7/ii V42 I6 V65 /V
b Answer.
A: I ii V
& b# b#b
29.5.2.
n
& # c œœ œ n œœ
p ant sus 4 - 3
œœ œ # œœ . œ œ œœ œœ œ˙ œ
? bb
bb
œ œ
n
œ œ œ œ œ ˙˙
? ### c
n
œ #œ œ œ œ #œ
A: I viio7/ii ii V24 I6 V56 /V V
Notice that the chords on beats 5 and 6 are consecutive first inversion
I6 &
chords (even though one is a 7th chord), therefore the third is doubled on
to avoid parallel fifths.
?
29.5.3. Answer.
œ #œ œ
4 6 6 6 Ω7 Ω5
Ω3 4+ 4
Rom. num.: ____ ____ ____ 3N6 viio7/V ____ ____
E: ____ ____ ____ ____ ____ ____ ____ ____
Harm. func.: ton. dom. ton. ____ ____ dom. ton. prol.
& # œ œ œ˙ œ # œ nœ #œ œ
180
&b
&
œœ œœ ˙œ œ œœ b œœ # œœ œœ # œ œ œ œ œ œ œœ
? œ
œ bœ œ ˙ œ œ œ œœ œœ b œ ˙œ œ œ œ
?b
?
œ œ
œ œ œ ˙ 6 œ œn6œ# œ b œ ¯7 # #œ œ œ
œ œœ œ
bœ œ 4 4 Ω
œ œΩ7 œ œ b˙œ¯7 œ ¯7 œœ
Ω
7
¯ 3 6 7 ¯6 ˜
6
4
6 ˜ 6
5
6
b¯:___ 4
vi
F: ___ iv____V ____
3 ___ i6 N
a: ___ ____
6 viio7/V
___ ____
V
___ 3___ G: ____
ii7 viio7 ____
I ____
e: VI N____
6 V7 VI
&
D: ___ ___ ___ f: ___ ___ ___ G: V43/V EnGer+6 I64 b: i6 It+6 V
# Answer.
&# # ## œ œ
b b b b œœ œœ œœ
29.5.4.
? # œ œ
& œœ œœ # œœ œœ œ # œ # œœ
œ œ
? # A¯: vi viio7/Vœ
? # # œœ b # œœ œ
Fr+6 V7
œ œ
œ n¯VI # # œœ b œœ œ
N6
# # œœ œœ œœ
bb b b n œ b œ œ
V vi
& œ
6 6
6 6
#
4 4
5
?
3 3
&D: ___ Fr+6 ___

I ___ V IV6 Ger
f: ___
+6 i6
___ ___ 4 G: V43/V EnGer+6 I64 b: i6 It+6 V
˜: i __ V__
? # Answer.
4/V V6 viio4/iv IV6 Ger+6 N6
Int: __ __ f __ 2 __ __ __ __3 __ __ __ __ __ __ __ __ __ __7
V
& 44& b b b b œœ œ œœ
29.5.5.
œœ œ œ b ∫ œœ n œœ œ œ
œœ . œ
? 4? w#b œœ b n œœw b œœ w A b œœw œ w œ w b œ w œœ w œœ w
4 b bb w œ nœ
& c.f.
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
?#
4 Introduction w towCounterpoint
&4 w w w w w w w
c.f.
w
30 ·
w
30.9 ·esc,Practice Exercises
?4
4-3 sus, p, ant
First4and Second Species Exercises
30.9.1. Answer.
8
Interval: ____ 3
____ 6
____ 6
____ 3
____ 6
____ 8
____
& 44 w w w w w w w
& 44 w w w w w
w w
c.f.
&
&
&
4
&4 w w w w w
w w
APPENDIX A. ANSWERS TO PRACTICE EXERCISES
c.f. 441
8 3 6 6 3 6 6 6
____ 3
____ 8
____
w
Interval: ____ ____ ____ ____ ____ ____ ____
4 w c.f.
w w w w w w w w
&4
& 44 w w w w w w w w w
no more than 3 consecutive 6ths or 3rds
#w
changed direction on B (avoid changing on Fn later)
w w w w w w w w #w w
Int: 8
___ 3
___ 3
___ 5 ___
___ 8 ___
3 ___
6 ___
3 6 ___
___ 6 ___
3 ___
3 ___
6 ___
8
& 44 w w w w
& 44 w w w w w w w w w w w w w w
& c.f. 8 5 6 6 3 3 5 8 ___
6 ___
3 ___
6 3 3 ___
1
w
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
w8
Int: 4 ___ w w w w w w w w w w w
w
c.f.
& 44 ___
8 5 6 6 3 3 5 8 6 3 6 3 3 1
ww
___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
w ww w ww ww ww ww ww ww
5 6 6 3 3 5 8 ___
6 ___
3 ___
6 3 3 ___
1
ww ww ww
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___
w ww
c.f.
8 5 6 6 3 3 5 8 ___
6 ___
3 ___
6 3 3 ___
1
& 44 w w ww
w
Int: ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
w w w w w ww
c.f.
& w w w w
& 444 w
w
c.f.
& w w w
& 44 w w ww w ww
w
ww
w w w
ww
w ww ww ww
&
& 4 ww ww ww www w w
ww
w
ww ww
w w
ww
w w w w
Int: 1 ___
___ w2 ___5 ___6 8 ___
___ 6 ___
w8
6 ___ 6 ___
___ 8 5 ___
___ 3 1
___
4 w
c.f.
1 2
w5 ___
6 w
8 ___
6
w
6 ___
8
w
6 ___
8
w
5 ___
3
w
1
& 44 c.f.
Int:
30.9.2. ___ ___
Answer. ___ ___ ___ ___ ___ ___
Int:
w
1 ___
___ 2
w5 ___6
___
w
8 ___
___ 6 ___
w
6 ___
8
w
6 ___
___ 8
w
5 ___
___ 3
w
1
___
& 44 w pt w
c.f.
w w w w ww
& 444 ˙ pt˙ ˙ ˙
&
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
& 44 ˙˙ pt˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
w
&4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
&
Int: 8
__ __ 3 __
__ 2 __
3 __
5 __
8 __
7 __
3 __
5 __
6 __
7 6 __
__ 3 __
6 __
3 __
5 __
6 8
__
˙6 ˙__3 __
& 444__Ó__˙˙ __˙ __˙ __˙ __˙ __˙˙__˙ __ ˙__˙˙ __ __
˙ ˙7__ __
Int: 8 __
__ __ 3 __ 2 __
3 __ 5 __8 __7 __3 __5 __ 6 __ ˙6 ˙__3 __˙5 #__6˙ __8w
Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙__ ˙__ __˙ # ˙__ w
& ˙
& 44 Ó ˙ w˙ pt˙ ˙ ˙ ˙ ˙ w˙ ˙ ˙ ˙ ˙w ˙ ˙ ˙ ˙ # ˙ w
Int: __ __
?
&4 w pt w w
pt pt
w pt w pt w w
? 444 c.f.
w w w w w w w w w w
? 44 c.f. w w w w w w w
w w w
& c.f.
Int: __ __8 __
5 __
3 __
3 __
5 __
8 __
3 __
3 __
2 __3 __
2 __3 __
5 __6 __
7 __
3 __
5 __ 6 __
3 __
8
& 444 __c.f. w __ __

c.f.
w __ __ w __ __w __ __w __
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w__ __w__ __w__ __w__ __w__ __ __ w w
w pt w pt ˙w ww pt w w
Int:
& 44 w w w
w ˙ w
c.f.
& 4 Ów ˙ ˙w
? ˙ ˙ ˙w ˙ ˙w ˙ ˙w ˙ ˙ ˙ ˙ ˙w ˙ w˙ ˙ w
4 ˙ w
˙
? 44 Ó ˙ ˙
˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
? 44 Ó ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ w
&
&
&
&
&
&
&
Intervals: __ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__ __
__
4
Intervals: __
&4
&4
?4 w Dayw Two
? 44 wCounterpoint: w w w w w w
Species w
c.f.
c.f.
30.9.3. Answer.
œ
88 __
22 __
33 __
8 __33 __
22 __
88 __
33 __
6 __
55 __
33 __
44 __
33 __
44 __
55 __
66 __
33 __
33 __
55 __
66 __
66 __
77 __
88 __
66 __
88 __
77 __
55 __
66 88
& 44
Int: __
Int: __ __ __ 8__ __ __ __ 6__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
œ œ œ œœœ œ œœœ œœ œœ œ œ œœœ w

__ __ __
pt pt pt
œ pt
pt pt pt pt pt
? 44 w
pt
w
camb.
w w w w
camb.
w w
c.f.
c.f.
Int: __
8 __
7 __6 __
5 __3 __
4 __
6 __
5 __
3 __
8 __
2 __3 __
3 __
2 __
8 __
7 __5 __
5 __
tt __
3 __3 __
8 __
2 __
3 __
3 __
5 __
4 __
3 8
4
Int: __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
w
__
&4 w w w w w w w
? 44 œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ w
c.f.
c.f. camb.
pt pt pt pt pt pt pt
8 __
Int: __ 2 __
3 __
5 __
6 __
5 __
3 __
4 __
3 __
2 __
1 __
7 __5 __
4 __
3 __
5 __
6 __
7 __
8 __
7 5 __
4 __
3 __
5 8 __
7 __
5 __
6 8
44 œ œ œ œ œœœœ
__ __ __
œœœœ œ œœ œœ œœ œ œ œ #œ
8 __
2 __
3 __
5 __
6 __
5 __
3 __
4 __
3 __
2 __
1 __
7 __5 __
4 __
3 __
5 __
6 __
7 __
8 __
7 5 __
4 __
3 __
5 8 __
7 __
5 __
6 8
& Int: œœœœ w__8
Int: __
4 œ____88 ptœ____22 œ____33 œ____55 œœœœ

__ __ __
& Int: œœœœ œœ œœ œ œœœœ œ œ œ #œ w__8

œœ œœ
6 __
5 __
3 __
4 __
3 __
2 __
1 __
7 __5 __
4 __3 __
5 __
6 __
7 __
8 __
7 5 __
4 __
3 __
5 8 __
7 __
5 __
6
4 œ ptœ œ œ
__
œ œ œ ptœ
__ __
œwptœ œ ptœ œwptœœ œœ ptœœ wœ ptœ œ œ œwcamb.

6 __
5 __
3 pt
4 __
3 pt
2 __
1 pt
7 __5 __
4pt __
3 __
5 __
6 __
7pt__
8 __
7
pt 5 __
4 __
pt 3 __
5 8 __
7 __
5 __
6
& 444 wœ œ œ œ wœ ptœ œ œ œ œ #œ w
__
œw œ œ œ
__ __ __ __ __
?
& œ ptœ œ ptœ œwpt pt œw ptœ œ œ œwcamb.
œ œ #œ ww
? 4 w ptpt w ptpt wpt pt œw ptœ œ œ
4 w w w pt wpt pt w pt wcamb. w
? 4 c.f. w
camb.
? Int:
4 c.f.w__ __ __ __ w __ __ __ w__ __ __ w w w w
4 c.f. w
5œ __
44 c.f. œ__6 __œœ7 __œœ8 __œœ2 œ œœ __œœ __œ œ__3 __œœtt __œœ5 œœ__6 w8
__ __
œ__5 __3œœ __1œœ __2œœ

__ __ __ __ __ __ __ __
œœœœ
__ __ __ __ __ __ __ __ __
& Int: œ œ œ œœœœ w8

Int: 8 __
__ 3 __ 4 __ 5 __ 6 __7 __8 __ 2 __ 3 __ 1 __ 2 6 __
__ 8 7 6 3 __
2 __
8 __
6 6 __
5 __
4 __
3 3 __tt __5 __6
6œ __ œ66
__
œ__66 œ__55 œ__44 œ__33

__ __ __
& Int:4 œœ____88 œ____33 œ____44 œ____55 œ6 __7 __8 __2

œ 3œ __1œ __2œ œ
8 __
7 __ œœœœ
3 __
2 __
8 __
6
œ3 __tt __5 __6
w8
4 œ ptœ œ œ ptœœ œœ ptœœ œ œ ptœœ œ œwptœœ œœ œœ
__ __
œ œ ptœ œ
__
œ œ œ ptœ œwptœ œ œ w
5 __ 6 __ 8 __
7 __ 3 __
2 __
8 __
6
& 444 œw œ œ œ
__ __ __
œw œ
__
œw œ œ œ
__ __ __ __ __ __
?
& œw pt œ ptœ œ œ œ w
? 4 œw ptpt wptpt pt w pt w ptpt wpt w ptpt wpt w
4 w pt w
? 4 c.f. w w w w w wpt w
? 4 c.f. w w
4 w
30.9.4. c.f.
Answer.
w w
w w w
&
c.f.
8 7 __
6 5 __
6 3 __
5 7 6 7 __
6 7 __
6 8
˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙
Intervals: __ __ __ __ __ __ __ __ __
&4 Ó ˙˙ ˙ ˙ ˙ ˙ w
8 7 __
6 5 __
6 3 __
5 7 6 7 __
6 7 __
6 8
˙ ˙
Intervals: __ __ __ __ __ __ __ __ __
&4 Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
&
?4
?
sus. sus.
w
?4 w w w
sus.
w w
sus.
w
sync.
w w
sus. sync. sus.
? 44 w w w w w w w
c.f.
c.f.
& 44 Ó ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ # ˙ w
Intervals: 8
__ 4 __
__ 3 8
__ __ __ __ __ __ __ __ __ __ 5
__ 6 5 6 3 5 6 7 6 8
&4 Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ w
ww w sus.
w
?
? 4444 ww ww w w w w ww
sus. sync.
w
sync. sync. sync.
w
c.f.
c.f.
4 Ó ˙ ˙˙ ˙˙ ˙˙ ˙
& 444 Ó ˙˙
& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙˙ ## ˙˙ ww
w w w w w
? 44 w w w
c.f.
c.f.
&
& 44 Ó ˙ sus. ˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ sync. ˙˙ ˙ ˙ ## ˙˙ w
w w w ww ww
sus.
? 4 w w
sync. sync. sync.
w w w
sus.
w
sync. sus.
?4 w
sync. sync. sync.
APPENDIX w
4 c.f. A. ANSWERS w EXERCISES
TO PRACTICE 443
c.f.
44
Intervals: 8 __
__ 4 __
3 __4 __
3 5 __
__ 3 4 __
__ 3 8 __
__ 6 7 __
__ 6 8
__
ÓÓ ˙ ˙ ˙
& ˙˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙ # ˙ ww
Intervals: 8 __
__ 4 __
3 __4 __
3 5 __
__ 3 4 __
__ 3 8 __
__ 6 7 __
__ 6 8
__
&4 ˙ ˙˙ ˙ ˙ sus.
˙ #˙
sus. ˙ ˙
ww ww ww
sus.
ww ww ww ww ww
?
? 44
sync. sus. sync.
sus. sus. sync. sus. sync. sus.
4 c.f.
c.f.
44 ÓÓ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ##˙˙ ww
Intervals: 8 __
__ 6 __
3 4 __
__ 3 5 __
__ 8 4
__ 3
__ 6 __
__ 8 7 __
__ 6 8
__
&
&4 ˙ ˙ ˙ ˙
? ww
? 444 ww ww ww ww ww ww ww
sync. sus. sync. sus. sync. sus.
c.f.
c.f.
Invention Expositions
30.9.5. Answer.
. weakest œ parts
. ofœ beats)
œ
(downbeats
(downbeats restricted
restricted to
to chord
chord tones;
tones; non-chord
non-chord tones
tones occur
occur on
on weakest
weakest parts
parts of
of beats)
& 433 œ œ œ . œ œ œ œ œ œ . œ œ œœ œ . œ œœ œ # œ œ . œ œœ œ œœ œœ œœ . œ œœ œ œœ . œ œ
beats)
(downbeats restricted to chord tones; non-chord tones occur on
192
& 4 œ œ œ œ . œ œ œ œ œ œ . œ œ œ . œ œ # œnn œ . œpp œ œ
192
192
œ Intervals:
3œ 5 3 3 8 7œ 3œ 4œ 3œ œ
œ # œ œ . œ œ œ œ œ3 3œœ
n 8 p2
œ œœ
3 3 3 8 7 3 4 3 3 3 8 7 33 5 3 33 8877 33 44 33 33 33
5 3
?3
Intervals: 3 3 3 8 7 3 4 3 3 3 8 7 8 2
? 43 ∑ œ œ œ . œ œ œ œ Œ œ œ #œ œ.
œ œ œœ œ . œp œ œ œ œ
Intervals: 3 3 3 8 7 3 4 3 3 3 8 7 8 2
4 ∑ œ Œ
p n
p n
œ pp nn alteration
p n alteration
C:
C: II II n V
V V
V II
C: I I V V I
œœœœœœœœœœ # œ œœœ#(##œœœnn)œœœ # œ œ œ œ œ œ# œ œ # œ œœ œ
melodic minor
# œ #œ œ
melodic minor
& # œ œ # œ œ œœ œ œœ œœœ œœœœ œœ œ œ œ œ œ ## œœ ( ) œœœ ##œœ œœ œ œ ##œœ œœ œ ##œœ œœ œ

œ
& œ œœœ œ œ
œ #œ œ
Œ Œ # œ# œ œœ((##œœ))œœ œ # œ œ œœ œœ
Intervals: 3 3 4 3 3 8 6 6 5 3 8 7 (8) 3 3 43 38 6 3 3
?# ∑∑ œ œ
œœ œœ###œœœ œœ œœœœœœœœœ œœ ŒŒŒ
Intervals: 3 3 4 3 3 8 6 6 5 3 8 7 (8) 3 3 43 38 6 3 3
?# ∑ œ œœ Œ #œ œ #œ œ
œ nn œ œ œ
e: i i V
œ V
n
n alteration
alteration
i
e: i i V V i
# œ œ
& ### 422 œ œ œ œ œ œ œ . œ œ œœ œ œ œ œ œ œ œ. œ œœ œ œ
& 4 œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ
œ œ œœ œ œœ œœ œœ œœ
œ œœ œ œœ œœ œœ œ œ Œ
Intervals: 3 8 3 3 3 5 8 3 8 3 8 3 3 3 tt 3
? ##
? ## 422 ∑
∑ œ œ
œ œ
4 œ Œ
adjustment
D: I I (ii) V V 7 I
j œ œ. œ
"microharmony"
œ œ. n œ œœ .. œœ
tritone is harmonically
433 ‰‰ œœj œ œ œ œ œ
& bb œ . œœ œœ .. œ œ . œœ ## œœ œ œœ nn œœ œœ # œ œœ œœ ## œœ .. œœ œ . œ
supported in V7 chord
& 4 j œ œ œ ## œœ œ œ œ. #œ nœ
œ œ. œ #œ œ œ nœ œ œ œ #œ. œ œ. nœ œ. œ œ
&b 43 ‰ œ œ œ œ # œ œ œ œ .œœ œ . #œ œ #œ nœ œ œ
? 3
? bb 43 ∑ ‰ Jœ œœ œœ œ # œ œ œœ œœ œ Œ ‰ œJJ # œ n œ œœ ## œœ œœ œ œ
∑ ‰ J œ#œœ Œ ‰ œ #œ nœ
?b
4
‰ œJ œ œ œ # œ œ œ œ œ
œ œ#œœ œ œ
43 ∑ Œ ‰J
##
&
e: i i V V i
&
?#
D: I I (ii) V V 7 I
"microharmony" tritone is harmonically
supported in V7 chord
melodic minor
3 j œ œ. œ #œ œ œ nœ œ nœ œ. œ
œ
& b 4 ‰ œ œ œ œ #œ œ œ œ. œ œ. œ #œ œ œ #œ. œ .
p p n p
6œ 7 3
œ œ # œ n œ œ #œ œ œ œ
Intervals: 673 4 5 3 3 6 3 5 3 2 8 7 (8) 4 5 3 3 83 3
? 3 ∑ ‰ J œ œ œ #œ œ œ Œ ‰ J
b 4 œ
p alteration
p alteration
d: i i V V i
Fugue Analysis
30.9.6. Answer.
Table A.0.3 Mass in B Minor: Fugue Analysis Table

FORM Exposition 1
SOPRANO
ALTO
TENOR Subject
BASS Subject Subject Sub. Countersubject
KEY F4m C4 m
Meas. 1 2 3 4
l
FORM (Bridge)
SOPRANO
ALTO
TENOR Subject Bridge Mot. A Bridge Mot. A Bridge Mot. A
BASS Countersubject Bridge Mot. B Bridge Mot. B Bridge Mot. B
KEY
Meas. 5 6 7 8
l
FORM Exposition 1 (continues until 4th voice has subject)
SOPRANO Subject
ALTO Subject Subject Sub. Countersubject
TENOR Countersubject Countersubject C.S. Ctrpt
BASS Ctrpt Ctrpt Ctrpt Ctrpt
KEY Fm
4 C4 m
Meas. 9 10 11 12
l
FORM Episode 1
SOPRANO Subject Bridge Mot. A Bridge Mot. A
ALTO Countersubject Bridge Mot. B Mot. B Ctrpt Ctrpt
TENOR Ctrpt Ctrpt Ctrpt Ctrpt
BASS Ctrpt
KEY
Meas. 13 14 15 16
l
FORM Exposition 2
SOPRANO Cadential Ctrpt Ctrpt Ctrpt
ALTO Cadential Subject Subject Subject
TENOR Cadential Ctrpt Ctrpt Ctrpt
BASS
KEY F4m
Meas. 17 18 19 20
31 · Introduction to Jazz Theory

31.12.1. Answer.
1. G9sus 2. B7(˜5) 3. Em9(¯5) 4. C˜m11 5. D7 ¯5
¯9
¯5
&
&
203
7. A¯Δ9(˜11) 9. E¯Δ9(˜5) FΔ7(¯5)
# wΔ9(˜5)
b #bb wwww
6. GmΔ9 8. D¯69
# # ww #
10.
7. A¯Δ9(˜11) FΔ7(¯5)
? wAwww7 # 95 w
6. GmΔ9 8. D¯69
# wwww ## ## wwww C m
9. E¯ 10.
# w
#
b # www b # ww
E b 7(# 9) F # 9sus
? c w˙ ww b ˙# ww w
6
˙ b www # ˙ # w#w
G 9(13) 9
& ˙w
76
9 1. G sus 2. B7(˜5) 3. Em9(¯5) 4. C˜m11 5. D7 ¯9
? c # ˙˙w ww
2. B7(˜5) 3. Em9(¯5) 4. C˜m11
b ww w
5. D7 ¯5
¯9
www
1. G9sus
b b b w b wwww# w www
b b bbb wwwww # ˙
¯5
? # ˙ww b ˙ bb bb www ˙ ww
? bb # www bw
wΔ9 bΔ9(ww 11) 199
6. Gm 7. A¯ ˜ 8. D¯9 6 9. E¯Δ9(˜5) 10. FΔ7(¯5)
2. 6. GmΔ9 7. A¯Δ9(˜11)
3. 8. D¯69 9. 4.E¯Δ9(˜5) 5. FΔ7(¯5)
10.
? C 7( b 5) # C 7( b 9) # C 7( b13) or C7(˜5)
bw
+_ 9
? b w D b b w C 7 # 95 b b ww F 13susb b ww B 13sus b b ww ¯5E¯maj9(13)

#
C 7( 5) C 7( 9) C7 _ 47
+5
bw
2
& b w b w
& cb n bwwwb Answer. www ˙ n www # ˙
6
79
˙˙˙ ww ˙ ww
9
9
b ˙ w # w #
˜5
w
wwwith ¯7 b #wwww˜
31.12.2.
b w
?? b b b wwww˜ ∑
respell 5 to agree with ¯7 wrespell ˜9 to agree
# www w n w w # wwwpreferred
9
w ∑ b ww #
w w
w ww∑
203
&? c b˙# ˙ ˙ #
& A 7E¯m #5 6
9
E b 7(# 9)
B13sus¯9
G˙ F # 9sus Cw# m
A9(˜11)
6
F˜m9(¯5)
˙
9(13) 9
c b ˙
Gm7(11)
nw ˙ #˙ w ww
1. _____9 2. _____ 3. _____ 4. _____ 5. _____
& ˙ #w
76
b w w w w
6
?& # ##9#wwwww b w # ww w b ww b n ww b wwb # ww

A 7##˙5 w
n w # w
w F #9susb w b w
? c˙ # w ˙ E b 7(# 9) w
w C #m w
bw #w
6
b˙
G 9(13)
& ˙ ˙ww b ˙ b ˙ # w ˙˙ ˙
9
w # ˙˙ # ˙ ww# # ww w
82
? w w w
#6.˙˙ _____ b ˙ D7˜¯59 ˙ ˙˙ ww 9. _____
F ˜# w ww
b b b www˙˙w
EmΔ9(13) ˙ 7. _____
˜
? w ww # ww b
11
& ˙ # www b ˙ w
7 9 o7
b b b www
9
E sus C
w
8. _____ ˜ 10. _____
w #˙
5
b w
11
#9
&
Db 9 C7 #5
n ww F 13sus # ww wwww
w w
6
w
79 B 13sus E maj9(13)
& c Dbbb ˙˙b˙w #9 ˙ ˙ #˙ # w

31.12.3. Answer.
b˙ b www
C7 #5
b w˙
6
& b b ˙˙˙ ww
&? ˙ bw
9
b ˙˙˙ # ˙
? cb ˙ b ˙ w bbbw˙˙˙ n # ˙˙˙ # # ## wwww
˙ 10. _____ ˙ _____
? b˙
9. _____ ˙ 11. w 12. _____
˙ ˙ ˙ w w b www
15
& # w b ww
& # 9b # www # w w n
? A7 #5 w E b 7(# 9) # wG 9(13) b b www
F # 9sus C #m
# ww
w
w˙
6
& ˙˙ w b b ˙˙
9
˙ # ˙˙ # w
82
# w
b˙
13. _____ 14. _____ 15. _____ 16. _____
&? # ˙˙ ˙ ˙˙ ˙˙
#
# ww
w
19
˙ b˙ ˙ #˙
&
#9
&?
Db C7 #5
85 6
F 13sus B 13sus E maj9(13)
&2. b Fb ˙˙4˙Octatonic
b ˙˙˙˙ (Half-Whole)
9
b ˙˙˙˙ n # # ˙˙˙˙ # # ## wwww

31.12.4. Answer. 1. G 4 Diminished-Whole Tone
b˙ b
3. F Locrian 2 4
?4. Cb ˙2Whole-Tone ˙ ˙
˙ w
&
5. A Lydian-Dominant
6. C Locrian
31.12.5. Answer.
&
&
&1. E¯7(˜ ); Scale: ____________________________
5
&
&3. F Diminished-Whole Tone 4. E¯ Octatonic (Whole-Half)
2. B¯7˜9;A.
APPENDIX ANSWERS
Scale: TO PRACTICE EXERCISES
____________________________ 447
?
˜9; Scale: ____________________________
2. B¯7¯5
?
˜¯5
2. B¯7¯5
9; Scale: ____________________________
? œ œ
? œ #œ #œ #œ œ #œ
˜9; Scale: ____________________________
œ bœ bœ
2. B¯7¯5
&
bœ bœ bœ bœ œ
3.1.Fm 7(¯5); Scale: ____________________________
E Lydian-Dominant 2. B¯ Phrygian-Dorian
7(¯5); Scale: ____________________________
3. Fm7(¯5)
&
3. Fm ; Scale: ____________________________
?
&
& bœ bœ bœ œ
3. Fm7(¯5); Scale: ____________________________
∫ œ œ bœ bœ
&œ b œ b œ bœ nœ #œ œ œ bœ
4.3.A¯FΔ7( ˜5); Scale: ____________________________
Diminished-Whole Tone 4. E¯ Octatonic (Whole-Half)
?
Δ7(
4. A¯Δ7( ˜5); Scale: ____________________________
?
4. A¯ ˜ 5); Scale: ____________________________
?
4. A¯Δ7(˜5); Scale: ____________________________
&?
31.12.6. Answer.
1. E¯7( ˜5); Scale: ____________________________
E¯ Whole Tone
bb œœ
1. E¯7(7(˜55)); Scale: ____________________________
bb ˙˙
E¯ Whole Tone
œœ ˙˙
˜
& ˙˙
E¯ Whole Tone
œœ
1. E¯ ; Scale: ____________________________
& bb ˙˙ b˙ bœ
1. E¯7(˜5); Scale: ____________________________
˙
E¯ Whole Tone
& bRoot
˙ œ ˙ œ ˙5th b˙ bœ
& bRoot
˙7 9 œ ˙
3rd
3rd œ ˜5th
˜
¯7th
¯7th
3rd ¯7th
bb œœ
Root B¯ Diminished-Whole Tone ˜5th
˜ ; Scale: ____________________________
bb ˙˙
2. B¯
? ## œœ
B¯ Diminished-Whole Tone 5th ¯7th
˙˙
˜9; Scale: ____________________________
7¯5 3rd
bb ˙˙
B¯ Diminished-Whole Tone ˜
nn ˙˙
Root
bb œœ
2. B¯
? ˙
? bRoot bœ
¯5
˜9; Scale: ____________________________
b˙
2. B¯7¯5
b˙ b˜9th
˙
B¯ Diminished-Whole Tone
˜9; Scale: ____________________________
bœ n3rd
˙ ˙ #œ b˙ bœ
? bRoot
2. B¯7¯5
˙ bœ b˜9th
˙ n3rd
˙ ˙ #œ ¯7th
bRoot
˙
¯5th ¯7th
¯5th w ¯7th w
3rd ww ¯5th
w
˜9th
h w w w
w ¯7th
Root h w h w
3rd w ¯5th
w
w ˜9th h w
&
h h w w
&
h w w w
F (or F Locrian ˜2)
h
Locrian
b˙ œ b˙ œ
3. Fm7(¯5); Scale: ____________________________
& ˙ b œ bb ˙˙ bb œœ b ˙˙ bb œœ b ˙ œ ˙ œ bb ˙˙ bb œœ bb ˙˙ bb œœ b ˙ œ
b
F Locrian (or F Locrian ˜2)
3. Fm7(¯5); Scale: ____________________________
& ˙ bœ ˙ œ
?
?
(whole
(whole
step
step
between
between
E¯
E¯
and
and
F
F
and between A¯ and B¯
andbetween
betweenF A¯
permit whole step or half step andand
G) B¯
permit whole step or half step between F and G)
?4. A¯ ˜ ; Scale: ____________________________

207
˙ C G b7/Bœ C
Δ7( 5) A¯ Lydian-Augmented
?
? b œ F˙ C Gœ7/D C/E ˙ D m/F œ
? bc˙ C F C G7
& Root œœœ .. œœœ œœœ œœ3rd œœ œ œœ 5th œ œ œœ 7thœœ œœ œœœ

123
. œ œ œœ œ ˜ œ œ œ œ
32 · Impressionism and Extended Tonality
? c œ. œ œ œ œ œ œ œ œ
32.5 · Practice œ Exercises œ œ
32.5.1. Answer.
Cm Fm Cm Fm Cm ø7 Gø7 ø7/B¯ Cm
LSS: ___ ___ ___ ___ ___ G___/D¯ ___
Cm D¯/F
___ ___ Cm G___
___ ___
b
& b b c œœ .. œœ œœ œ œ œ œ
b œœ œ b œœœ œœ œœ œœœ
125
œ. œ œ œœ œœ œœ œœ œ œ
? b c œ. œ œ œ bœ œ œ œ œ
bb œ œ œ
i iv ___
i ___
iv ___ vø43 ___
i ___ i6 N6 vø7 vø65 ___
i ___ i
RN: ___ ___ ___ ___ ___
b
&bb
127
? bb
b
&c
LSS: ___ ___ ___ ___ ___ ___ ___ ___ ___
œ
? c œœ
? A. ANSWERS TO PRACTICE EXERCISES
APPENDIX
c 448
RN: ___ ___ ___ ___ ___ ___ ___ ___ ___
32.5.2. Answer.
LSS: F9 G9
___ F9
___ E¯9
___ D9
___ E¯9
___ F9
___ 209
& c (1)b œœin 3rds

œœ œœ b œœ n œœ
128
œœ b œœ
LSS: ____ (2) in 4ths (3) in 5ths (4) in 2nds
bw
& b www w
149
œ œ œ œœ n œœœ
139
& ww ? c œœ œœ œœ b b œœœ # œœœ œ

bw
?bw w
? b w ww
32.5.3. Answer.
D¯11 E¯(1) B¯ ¯
ww E¯
__ ___+ in 3rds
__ Cmin 4ths __
___ D (3) in __
C ___
Dmin 2nds
ww
Dm
w wF
LSS: ____ (2) 5ths (4)
www
C¯ D¯ B¯
ww b œ ˙ wwwwww
144
A Gm
154
& wb œœw œ wœ b œ ww œ
c
& b b b b œœœœ
ww ww ww
? w
?c w
32.5.4. Answer.
__
D ¯ E ¯+
___ __¯
B ___
Cm __
D C¯
__ ___
Dm
b œœ b œœœ n œœœ b œœ œ bœ ˙˙
b bn n œœœœ n ˙˙˙
156
& c b b b b œœœœ œ nb œœ œ # b n œœœœœ

b b œœ b œ n # n œœœ œ b ˙
?c (lower chords can be any inversion)
33 · Set Theory
33.9158· Practice Exercises
& Answer.
33.9.1.
(a) Normal form is [0, 2, 7]. Prime form is (027).
? Normal form is [1, 3, 6, 8]. Prime form is (0257).
(b)
(c) Normal form is [6, 10, 11, 1]. Prime form is (0237).
(d) Normal form is [7, 8, 0, 3]. Prime form is (0158).
(e) Normal form is [11, 0, 1, 4, 6]. Prime form is (01257).
(f) Normal form is [6, 7, 10, 11, 2]. Prime form is (01457).
(g) Normal form is [9, 10, 0, 1, 4, 6]. Prime form is (013479).
33.9.2. Answer.
Table A.0.4
Set Normal Form Prime Form Forte Number Interval Vector
1 [11, 1, 3, 5, 6] (01357) 5–24 131221
2 [5, 8, 10, 0] (0247) 4–22 021120 61
3 [9, 0, 1, 4, 5] (01458) 5–21 202420
bœ nœ œ nœ œ bœ œ bœ bœ œ
bœ œ nœ #œ #œ nœ nœ bœ bœ nœ œ œ
4 P0 [3, 5, 6, 10] (0237) 4–14 111120
& œ bœ
R0
5 [2, 3, 6, 7, 9, 10] (013478) 6–Z19 313431
6 [2, 3, 5, 6, 9, 10] (013478) 6–Z19 313431
œ œ #œ #œ nœ
I0 RI0
&(a)œ[5,n œ 8,# œ9]n œ œ b œ b œ n œ œ # œ # œ œ bœ bœ œ œ #œ nœ nœ

33.9.3. Answer.
(b) [9, 11, 3, 4]

I (begins on pitch class 9)
& œ #œ #œ nœ œ nœ œ #œ œ #œ #œ #œ
(c) 9[10, 11, 1, 4, 7]
33.9.4. Answer.
(a) [1, 2, 5]
œ #œ #œ nœ œ bœ bœ
œ bœ nœ nœ nœ
(b)RI[0,
5 (ends
2, 4] on pitch class 5)
&(c) [10, 11, 3, 5]

33.9.5. Answer.
(a) T10 I
P7: 7 10 8 2 1 5 3 4 6 0 9 11 R7
&
(b) T11 I
(c) T5 I
I RI7
34 · 7Serialism
& · Practice Exercises
34.7
34.7.1. Answer.
œ bœ nœ #œ nœ nœ œ œ #œ œ bœ nœ #œ œ bœ
P7: 7 10 8 2 1 5 3 4 6 0 9 11 R7
& œ bœ bœ œ #œ nœ œ bœ œ
œ7 œ # œ œ b œ n œ b œ b œ œ œ bœ nœ bœ œ #œ nœ œ
I
n œ
RI7
& œ œ b œ b œ bœ nœ
62
62
œ bœ
PP11
& #œ œ œ nœ bœ
& œ œ bœ bœ œ
(a)
?
œ bœ bœ
R4
œ nœ bœ nœ
R4
& #œ #œ nœ nœ œ
(b)
bœ œ #œ
II8
œ œ
œ #œ #œ
8
& œ bœ nœ nœ
? bœ bœ œ b œ nn œœ n œ bb œœ
RI10
œ
RI
œ nœ
10
& bœ bœ œ œ #œ œ bœ nœ
œ #œ œ nœ
?
R
bœ bœ œ nœ bœ nœ nœ nœ
R44
APPENDIX A. # œ œ TO PRACTICE EXERCISES

# œ ANSWERS bœ nœ œ 450
b œ8 œ #œ
II8
œ œ bœ nœ nœ #œ œ
(c)
& œ #œ
? bœ bœ bœ
œ bœ nœ nœ
RI
œ
RI10
œ nœ
10
œ #œ
(d)
34.7.2. Answer.
&
(a) RI10
(b) I1
(c) R5
34.7.3. Answer.
Table A.0.5 Twelve-Tone Matrix
I3 ↓ I7 ↓ I11 ↓ I1 ↓ I5 ↓ I0 ↓ I2 ↓ I10 ↓ I6 ↓ I4 ↓ I8 ↓ I9 ↓
P3 → E2 G B C4 F C D B2 G2 E G4 A ←R
P11 → B D4 G A C4 G4 A4 F4 D C E F ←R
P7 → G B D4 F A E F4 D B2 A2 C D2 ←R
P5 → F A C4 E2 G D E C A2 G2 B2 B ←R
P1 → D2 F A B E2 B2 C A2 E D G2 G ←R
P6 → G2 B2 D E A2 E2 F D2 A G B C ←R
P4 → E G4 C D G2 D2 E2 B G F A B2 ←R
P8 → A2 C E G2 B2 F G E2 B A D2 D ←R
P0 → C E A2 B2 D A B G E2 D2 F G2 ←R
P2 → D F4 A4 C E B D2 A F E2 G A2 ←R
P10 → B2 D G2 A2 C G A F D2 B D4 E ←R
P9 → A C4 F G B F4 A2 E C B2 D E2 ←R
↑RI3 ↑RI7 ↑RI11 ↑RI1 ↑RI5 ↑RI0 ↑RI2 ↑RI10 ↑RI6 ↑RI4 ↑RI8 ↑RI9
213
œ. . .
34.7.4. Answer.
. b . > RI5
œ
. œ œ # œ n œœ b œœ.
P5
b œ œ # œ n œ nœ œ. bœ œ . b œ #
& c ‰ œ bœ œ #œ
184
w
p 1 2 3 4 5 6 7 8 9 10 11 12 >
# œ. >
1 2 3 4 5/6 7 8/9 10/11 12
n œœ # œ. 4 n n œœ. 9 >12 . b œ . n œ. n œ. w
P10
œ
2
?c Œ œ b œ œ b œ . # œ
‰ J œ 65 œ 8 b œ œ b œ œ n œ. œ b œ
3
#œ
1
10
RI3 7 11
1 23 4 5 6 7 8 9 10 11 12
187
In phase
34.7.5. Answer. Out of phase In phase
& 85vector:
12345 12345 12345 12345 12345 12345
œ. .
.. œ œ000300 œ. . œ. . œ. . œ . œ .
œ œ . . œ œ œ œ . . œ œ œ œ . . œ œ œ œ . . œ œ œ œ . œœœœ .
(a) Set 1: 3, 7, 11. Normal form: [3, 7, 11] Prime form: (048) Interval
(b) Set 2:1 2 1,

345
5, 0. 2Normal
3451
form: [0, 1, 5]
34512
Prime form:
45123
(015)1 Interval
51234 2345
vector: 100110
(c) Set 3: 2, 10, 6. Normal form: [2, 6, 10] Prime form: (048) Interval
vector: 000300 first second third fourth
rotation rotation rotation rotation
& b b www # # # wwww # www

193
bw
b ww
? ww b ww b www bw
(d) Set 4: 4, 8, 9. Normal form: [4, 8, 9] Prime form: (015) Interval

vector: 100110
Appendix B
GNU Free Documentation Li-

cense
Version 1.3, 3 November 2008

Copyright © 2000, 2001, 2002, 2007, 2008 Free Software Foundation, Inc.
<http://www.fsf.org/>
Everyone is permitted to copy and distribute verbatim copies of this license
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Index
6 chords, 365 Crucifixus, 232

9
11th chords, 365 Kyrie II, 362
13th chords, 365 Well-Tempered Clavier, Book
1950s progression, 75 I
3–2 son clave, 164 Fugue 2 in C minor, BWV
8ve, 2 846, 354
Fugue 3 in C-sharp major,
accidentals, 3 BWV 848, 343
afterbeats, 160 Prelude 1 in C major, 72,
altered chords 94
definition of, 366 Brandenburg Concerto No. 2
alto clef, 2 in F Major, BWV 1047,
Amazing Grace, 44 I., 56
antecedent
Chorale 103, “Nun ruhen alle
definition of, 128
Wälder”, BWV 392, 317
antecedent group, 132
Chorale 106, “Jesu Leiden,
anticipation, 92
Pein und Tod”, BWV
appoggiatura, 89
245/28, 317
atonal music
Chorale 153, “Alle Menschen
definition of, 392
müssen sterben”, BWV
augmentation, 107
262, 316
augmented intervals, 30
augmented sixth chord types Chorale 204, “Wer weiß, wie
French augmented sixth nahe mir”, BWV 166,
chord, 224 318
German augmented sixth Chorale 237, “Gott lebel
chord, 224 noch”, BWV 320, 316
Italian augmented sixth Chorale 323, “Allein Gott in
chord, 224 der Höh’ sei Erh”’, BWV
augmented sixth chords, 224 104, 330
authentic cadence Chorale 323, “Wie schön
definition of, 42 leuchtet der
musical examples, 43 Morgenstern”, BWV 172,
330
Bach, J.S. Chorale 328, “Liebster Jesu,
Herz und Mund und Tat und wir sind hier,” BWV 373,
Leben BWV 147, X. 97
“Jesus bleibet Freude” Chorale 342, “Lobt Gott, ihr
(“Jesu, Joy of Man’s Christen, allzugleich”,
Desiring”), 202 BWV 376, 329
Mass in B minor, BWV 232 Chorale 4, “Es ist das Heil
459
INDEX 460
uns kommen her”, 244 13, (Pathétique), II, 130

Chorale 8, “Freuet euch, ihr Piano Sonata Op. 10, No. 1,
Christen”, BWV 40, 244 II (double period), 133
English Suite No 3 in G Piano Sonata Op. 110, I, 247
minor, BWV 808 Piano Sonata Op. 2, No. 1, I
Gavotte I., 281 sentence structure in, 124
English Suite No. 4 in F Piano Sonata Op. 2, No. 1,
Major, BWV 809, III., 255
Sarabande, 240, 242, 243, Piano Sonata Op. 2, No. 1,
245 IV, 160
French Suite No. 1 in D Piano Sonata Op. 2, No. 3,
Minor, BWV 812, I., 69
Sarabande, 97, 218 Piano Sonata Op. 53, I, 199
Invention No. 1 in C Major, Piano Sonata Op. 53, I
BWV 772, 106, 107, 111, (repeated period), 135
350, 353 Sonatina in F, Anh. 5 No. 2,
Invention No. 7 in E Minor, II. Rondo (phrase chain),
BWV 778, 350 138
Invention No. 8 in F major, Symphony No. 1, Op. 21, I,
BWV 779, 276 103
Barber, Samuel Symphony No. 2, Op. 36, I.,
Adagio for Strings, 96, 143 252
Bartók, Béla Symphony No. 5, Op. 67, I,
Piano Concerto No. 2, II., 388 226
bass clef, 1 Symphony No. 5, Op. 67, I.
beat, 20 (opening), 59
beats per minute, 20 Symphony No. 5, Op. 67, II,
Beethoven 266, 270
Moonlight Sonata, Op. 27, Symphony No. 7, Op. 92, I,
No. 2, I, 146, 221 220
Moonlight Sonata, Op. 27, binary
No. 2, III balanced, 276
Terminative function in rounded, 278
Closing Theme, 300 simple, 281
32 Variations in C minor, binary principle, 282
WoO 80, 233 Bizet, Georges
Bagatelle in A minor, WoO Carmen, Habanera (“L’amour
59, “Für Elise” est un oiseau rebelle”),
period form, 128 168
Eleven Bagatelles, Op. 119, Bo Diddley beat, 165
No. 9, 286 borrowed chords
Minuet in G, WoO 10, No. 2, definition of, 207
89 bpm, 20
Pathétique Sonata, Op. 13, I, Brahms, Johannes
269 Fünf Lieder, Op. 49
Pathétique Sonata, Op. 13, I, “Wiegenlied”, 274
closing theme, 75 Symphony No. 3 in F major,
Pathétique Sonata, Op. 13, I, Op. 90, III. Poco
Introduction, 109 Allegretto, 212
Pathétique Sonata, Op. 13,
II, 323 cadence
Pathétique Sonata, Op. 13, authentic, 42
III, 301 deceptive, 42
Piano Sonata in C minor, Op. definition of, 42
INDEX 461
half, 42 definition of, 343

plagal, 42 Couperin, Franéois
cadential six-four (cadential 64 ), 5 Pièces de Clavecin, 4. Le
184 Petit-Rien (Ordre XIV,
Calloway, Reggie, “Casanova”, 166 8) (phrase group), 137
Chopin, Frédéric
Nocturne in E-flat major, Op. Davis, Miles
9, No. 2, 219 “Tune-Up”, 62
Prelude Op. 28, No. 20, in C Debussy, Claude
minor, 132 Danses, II. Danse profane, 383
Waltz in A-flat major, Op. 34 Préludes, Book II, No. 3, La
No. 1, 74 Puerto del Vino, 384
chord, 32 Prelude to the Afternoon of a
chromatic mediants, 253 Faun, 385, 386
circle of fifths, 7 Suite bergamasque, III. Clair
circle of fifths (harmonic de lune, 384
progression) String Quartet in G minor,
diagram, 57 Op. 10, I., 382
example (Bach), 56 deceptive cadence
example (Fly Me to the definition of, 42
Moon), 59 musical examples, 45, 47
example (Handel), 56 developmental function
example (I Will Survive), 59 definition of, 299
example (Love You Like a diatonic
Love Song), 59 definition of, 40
example (Mozart), 58 diatonic common chord
example (Wagner), 58 modulation, 242
circle of fifths (major key diminished intervals, 30
signatures) diminution, 107
diagram, 8 direct modulation, 248
circle of fifths (minor key distantly related keys, 241
signatures) dot, 19
diagram, 12 double flat, 3
clef, 1 double neighbor, 91
double period
closely related keys
definition of, 132
definition of, 241
double sharp, 3
Coltrane, John
duplet, 21
“Mr. P.C.”, 229
durational symbols, 18
Columbia, the Gem of the Ocean,
50 elision, 138
common-tone modulation, 251 Ellington, Duke
complement “It Don’t Mean A Thing (If It
definition of, 401 Ain’t Got That Swing)”,
compound meter, 20 227
consequent “Take the ‘A’ Train”, 61
definition of, 128 enharmonic, 4
consequent group, 132 enharmonic equivalence, 393
continuous enharmonic modulation, 262
definition of, 275 escape tone, 90
contrasting period, 129 expository function
contrasting verse-chorus form, 119 definition of, 296
Copland, Aaron
Appalachian Spring, 387, 390 figured bass
counterpoint chromatic alterations to, 187
INDEX 462
definition of, 181 Suite No. 2 in D Major, HWV

for seventh chords, 183 349: II. All Hornpipe, 96
for triads, 183 harmonic flowchart
first inversion, 34 in major, 68
flat, 3 in minor, 68
foreign keys, 241 harmonic function
Forte number, 401 definition of, 67
Forte, Allen harmonic rhythm
The Structure of Atonal definition of, 60
Music, 392 harmonic sequence, 59
fragment, 110 harmony, 32
fugue Haydn
answer Piano Sonata in D major, H.
definition of, 353 XVI:37, III, 304
bridge String Quartet in E-flat
definition of, 354 major, Op. 33, No. 2, IV,
countersubject 305
definition of, 354 Symphony No. 104 in D
definition of, 353 major, Hob. I:104, IV,
episode 305
definition of, 353 Haydn, Joseph
exposition Piano Sonata in C major,
definition of, 353 Hob. XVI:35, I, 297
subject Piano Sonata in C Major,
definition of, 353 Hob. XVI:35, III, 91
Piano Sonata in F Major,
Giacchino, Michael
Hob. XVI:9, III
Star Trek, “End Credits”, 222
period form, 127
Giordani, Giuseppe
Symphony No. 94 in G
Caro mio ben, 327
major, Hob. I:94, II, 275
Glass, Philip
Holst, Gustav
Einstein on the Beach
The Planets, “Uranus”, 108
Act 1, Scene 1, “Train”, 418
Music in Fifths, 418
imperfect authentic cadence
Two Pages, 418
definition of, 123
Metamorphosis Two, 84
Impressionism, 382
grand staff, 2
incomplete chords, 48
Gretchaninoff, Alexander
interval class
Children’s Book, Op.98
definition of, 399
No. 13 “After the Ball”,
interval vector
291
definition of, 399
guide tones, 371
intervallic change, 107
half cadence intervals
definition of, 42 augmented, 30
Handel, George Frideric definition of, 26
Rinaldo, “Lascia ch’io diminished, 30
pianga”, 93 harmonic, 26
Xerxes, “Ombra mai fu”, 158 how to identify, 27
Gavotte, HWV 491, 288 how to write, 29
Recorder Sonata in A minor, inversion of, 29
HWV 362, I. Larghetto, major, 27
182 melodic, 26
Suite in G minor, Passacaglia, minor, 27
56 perfect, 27
INDEX 463
inversion, 106 Phrygian-Dorian, 376

inverted chord, 34 modulation
inverted triad, 34 borrowed common chord, 246
common-tone, 251
key change, 237 definition of, 237
key signature, 6 diatonic common chord, 242
Kirkland, Kenny
direct, 248
Dienda, 23
enharmonic pivot chord, 262
Kuhlau, Friedrich
Neapolitan common chord,
Sonatina in C Major, Op. 55,
247
No. 1, I, 92
secondary common chord, 245
Lassus, Orlande de sequential, 255
Expectatio Justorum, 349 Monk, Thelonious
lead-sheet symbols, 32 “Blue Monk”, 88
ledger lines, 1 motion, types of
Ligeti, György contrary motion, 311
Trio for Violin, Horn, and oblique motion, 311
Piano, II, 168 parallel motion, 311
Loesser, Frank similar motion, 311
Hans Christian Andersen, motive
“Inchworm”, 213 definition of, 103
Mozart, W.A.
M.M. (Maelzel’s Metronome), 20 Don Giovanni, K. 527, “Mi
Maelzel’s Metronome, 20 tradi quell’alma ingrata”,
Mancini, Henry 257
“The Pink Panther Theme”, Eine kleine Nachtmusik, K.
229 525, I., 47
melodic bass six-four, 186
Eine kleine Nachtmusik, K.
meter, 20
525, I. (elision), 139
compound, 20
Eine kleine Nachtmusik, K.
duple, 20
525, II., 176
quadruple, 20
Marriage of Figaro, “Voi che
simple, 20
sapete”, 45
triple, 20
Andante in E-flat major, K.
middle C, 2
15mm, 283
minor
Ave verum corpus, K. 618, 47
parallel, 11
relative, 11 Oboe Concerto in C major,
Miranda, Lin-Manuel K. 314, III., 256
“First Burn”, 23 Piano Sonata in C Major, K.
mode mixture 545, II, 113
definition of, 207 Piano Sonata in D major, K.
modes 284, III., 279
Aeolian, 376 Piano Sonata K. 279, III, 161
Dorian, 376 Piano Sonata K. 283, I., 69
Ionian, 376 Piano Sonata K. 310, I, 155
Locrian, 376 Piano Sonata K. 331, I, 289,
Locrian 42, 376 324
Lydian, 376 antecendent and consequent
Lydian-Augmented, 376 in, 129
Lydian-Dominant, 376 period form, 126, 184
Mixolydian, 376 sentence structure in, 124
Mixolydian-26̂ , 376 Piano Sonata K. 333, I, 92
Phrygian, 376 Piano Sonata K. 545, I, 149
INDEX 464
Piano Sonata K. 545, I., Perfect Authentic Cadence, 123

primary theme, 54 period
Piano Sonata K. 545, I., definition of, 125
secondary theme, 58 phrase
Piano Sonata K. 545, II, 98 definition of, 111
Piano Sonata, K. 284, I, 298 phrase chain
Piano Sonata, K. 333, I, 296 definition of, 137
sentence structure in, 125 phrase group
String Quartet K. 425, IV, definition of, 136
305 pitch, 1
String Quartet K. 428, IV, pitch class, 393
144 plagal cadence
String Quartet K. 465, IV, definition of, 42
305 musical examples, 43
Symphony No. 39 K.543, IV, polychord
305 definition of, 388
Symphony No. 40, K. 550, I. prime form
harmonic function in definition of, 396
primary theme, 72 Puccini, Giacomo
Symphony No. 40, K. 550, I. Gianni Schicchi, “O mio
(opening melody), 60 babbino caro”, 99
Symphony No. 40, K. 550, II, pulse, 20
90 Purcell, Henry
Symphony No. 40, K. 550, Dido and Aeneas, Z. 636
III, 113 “When I am laid in earth”
Symphony No. 41, K. 551, I. (Dido’s Lament), 232
Terminative function in
Closing Theme, 300 quadruplet, 21
quartal harmony
natural, 3
definition of, 387
Neapolitan
quintal harmony
definition of, 220
definition of, 387
neighbor group, 91
quintuplet, 21
neighbor tone, 88
ninth chords, 364
Rachmaninoff, Sergei
non-chord tones
Prelude in C-sharp minor,
definition of, 87
Op. 3 No. 2, 284
normal form
Rahn, John
definition of, 395
Basic Atonal Theory, 392
octave, 2 Ravel, Maurice
octave equivalence, 393 Pavane pour une infante
octave registers, 2 défunte, 385
offbeats, 161 Piano Trio, I., 383
order of flats, 7 Reich, Steve
order of sharps, 7 Clapping Music, 418
ornamentation, 109 Piano Phase, 419
Three Movements, II., 420
pandiatonicism, 386 relative minor, 11
parallel minor, 11 repeated period, 134
parallel period, 129 retardation, 98
passing six-four, 185 retrograde, 110
passing tone, 87 rhythmic change, 108
pedal point, 93 rondo form, 301
pedal six-four, 186 root, 32
INDEX 465
root position, 34 Album for the Young, Op. 68,

Rossini, Gioachino No. 17, “Little Morning
William Tell Overture, 228 Wanderer”, 131, 241
second inversion, 34
Saint-Georges, Joseph Bologne, second line drumming, 166
Chevalier de secondary diminished chord, 201
Violin Concerto No. 9 in G sectional
major, Op. 8, III., 304 definition of, 274
scale degree names, 14 secundal harmony
scales definition of, 387
Altered, 376 segmentation
bebop dominant, 375 definition of, 398
bebop major scale, 378 semitone, 393
Blues scale, 375 sentence
diminished scale, 376 definition of, 123
Diminished-Whole Tone, 376 sentence structure
Octatonic (Half-Whole), 376 example of, 124
Octatonic (Whole-Half), 376 sequence
Whole Tone, 376
definition of, 59
Schönberg, Claude-Michel
sequential modulation, 255
Les Miserables
set theory, 392
“One My Own”, 267
seventh chord
Schoenberg, Arnold
definition of, 51
Chamber Symphony No. 1,
example of 5 types, 51
Op. 9, 388
sharp, 3
Suite for Piano, Op. 25, 408
Schubert simple meter, 20
Schwanegesang, D. 957 simple verse-chorus form, 119
“Abschied”, 237, 246 slash chord, 34
“Der Atlas”, 271 slur, 19
“Frühlingssehnsucht”, 248 sonata form, 294
“Kriegers Ahnung”, 250 sonatina form, 295
“Liebesbotschaft”, 249 songs (popular)
Winterreise, D. 911 CHiPs Theme, 388
“Der Wegweiser”, 227 Jeopardy
“Die Nebensonnen”, 145 Theme, 388
“Frühlingstraum”, 324 “(Sittin’ On) The Dock of the
“Gute Nacht”, 156 Bay” (Otis Redding), 198
20 Minuets, D. 41 “All About That Bass”
No. 18 in F major, 280 (Meghan Trainor), 73
Piano Trio No. 1 in B-flat “All I Do Is Win” (DJ
major, D. 898, I., 253 Khaled), 83
Schumann, Clara “All My Ex’s Live in Texas”
Op. 13, No. 2, “Sie liebten (George Strait), 71
sich beide”, 94 “All of Me” (John Legend),
Schumann, Robert 76, 167
Album for the Young, Op. 68, “All the Things You Are”, 63
No. 16, “First Loss”, 117 “Another One Bites the
Dichterliebe, Op. 48 Dust” (Queen), 173
“Am leuchtenden “Are You Gonna Be My Girl”
Sommermorgen”, 231 (Jet), 155
“Ich grolle nicht”, 156 “As Time Goes By” (from the
“Im wunderschönen Monat motion picture
Mai”, 101 Casablanca), 62, 88
INDEX 466
“Baby Love” (The Supremes), “Dream On” (Aerosmith), 234

197 “Earth Angel” (The
“Back in Black” (AC/DC), Penguins), 75
174 “Eye of the Tiger” (Survivor),
“Back in the New York 166
Groove” (Ace Frehley), “Faith” (George Michael), 165
165 “Fancy” (Iggy Azalea
“Barbara Ann” (Beach Boys), featuring Charli XCX),
154 173
“Barbie Girl” (Aqua), 63 “Final Song” (MØ), 169
“Beautiful Day” (U2), 170 “Flashdance... What A
“Beautiful” (Christina Feeling” (Irene Cara), 77
Aguilera), 209 “Fly Me to the Moon”, 59
“Best of You” (Foo Fighters), “Forget You” (CeeLo Green),
168 191, 196
“Beyond The Sea”, 64 “Friend Like Me” (from
“Blackbird” (The Beatles), Aladdin), 230
207 “Friends in Low Places”
“Blue Moon”, 64 (Garth Brooks), 203
“Born to Run” (Springsteen), “Ghostbusters” (Ray Parker
89 Jr.), 171
“Call Me” (Blondie), 93 “Girl on Fire” (Alicia Keys),
“Can You Tell Me How to Get 33
to Sesame Street?”, 158 “Girls Just Want to Have
“Clocks” (Coldplay), 168 Fun” (Cyndi Lauper),
“Cold As Ice” (Foreigner), 159 167
“Cold” (Maroon 5), 170 “Good Times” (Chic), 173
“Colour My World” “Greatest Love of All”
(Chicago), 147 (Whitney Houston), 66
“Could You Be Loved” (Bob “Hard to Say I’m Sorry”
Marley), 50, 162 (Chicago), 37
“Creep” (Radiohead), 211 “Haven’t Met You Yet”
“Criminal” (Fiona Apple), (Michael Buble), 159
230 “Heart and Soul”, 75
“Day Tripper” (Beatles), 172 “Heartbreaker” (Pat
“Dem Bow” (Shabba Ranks), Benatar), 157
169 “Hello” (Adele), 81
“Desire” (U2), 79, 165 “Hey Jude” (Beatles), 70, 78
“Despacito” (Luis Fonsi “Hold My Hand” (Jess
featuring Daddy Yankee), Glynne), 170
169 “Hotel California” (The
“Disclosure” (Latch featuring Eagles), 77
Sam Smith), 23 “I Got Rhythm” (Gershwin),
“Don’t Know Why” (Norah 120
Jones), 190 “I Want Candy” (The
“Don’t Stop Believin”’ Strangeloves), 165
(Journey), 115 “I Want You to Want Me”
“Don’t Stop” (Fleetwood (Cheap Trick), 190, 196,
Mac), 114 202
“Don’t You (Forget About “I Want to Hold Your Hand”
Me)” (Simple Minds), 79, (Beatles), 43
151 “I Will Always Love You”
“Downtown” (Macklemore (Whitney Houston), 76
and Ryan Lewis), 173 “I Will Survive”, 59
INDEX 467
“I’ll Be There For You” (The Titanic), 89, 237, 251

Rembrandts), 74 “Never Gonna Give You Up”
“I’m Yours” (Jason Mraz), (Rick Astley), 67
164 “Never” (Heart), 151
“I’m Every Woman” (Chaka “No Scrubs” (TLC), 54, 148
Khan), 112 “O-o-h Child” (The Five
“I’m Not In Love” (10cc), 107 Stairsteps), 52
“If I Ain’t Got You” (Alicia “One Dance” (Drake), 169
Keys), 146 “One Day I’ll Fly Away”, 214
“Imagine” (John Lennon), 198 “Part of Your World” (from
“Immigrant Song” (Led The Little Mermaid), 210
Zeppelin), 173 “Party Rock Anthem”
“Interstate Love Song” (Stone (LMFAO), 114, 171
Temple Pilots), 234 “Pipeline” (The Chantays),
“Irreplaceable” (Beyoncé), 149
112 “Pompeii” (Bastille), 61
“It’s the Hard Knock Life” “Pretty Thing” (Bo Diddley),
(from Annie), 157 165
“Jar of Hearts” (Christina “Problem” (Ariana Grande),
Perri), 235 172
“Johnny B. Goode” (Chuck “Push It” (Salt-n-Pepa), 108
Berry), 121 “Raise Your Glass” (Pink),
“Joy to the World” (Three 171
Dog Night), 210 “Red Red Wine” (UB40), 163
“Just Give Me a Reason” “Reelin’ in the Years” (Steely
(Pink), 44 Dan), 79
“Just the Way You Are” “Rock ‘n’ Roll High School”
(Billy Joel), 202 (The Ramones), 76
“Let’s Get It On” (Marvin “Rolling In The Deep”
Gaye), 150 (Adele), 83
“Let’s Stay Together (Al “Roxanne” (The Police), 159
Green)”, 23 “Rude” (by MAGIC
“Lithium” (Nirvana), 211 ), 76, 164, 168
“Little Brown Jug” (Glenn “Saturday in the Park”
Miller), 172 (Chicago), 190
“Livin’ on a Prayer” (Bon “Say You Won’t Let Go”
Jovi), 237 (James Arthur), 153
“London Bridge is Falling “Secrets” (One Republic), 148
Down” (Count Basie), “See You Again (Wiz Khalifa
379 ft. Charlie Puth)”, 116
“Love Song” (Sara Bareilles), “See You Again” (Wiz Khalifa
37, 160 ft. Charlie Puth), 152
“Love You Like A Love “September” (Earth, Wind,
Song”, 59 and Fire), 66
“Love Yourself” (Justin “Shape of You” (Ed Sheeran),
Bieber), 49, 153 168
“Love on Top” (Beyoncé), 237 “She’s Got a Way” (Billy
“Love on the Brain” Joel), 158
(Rihanna), 147 “She’s Out of My Life”
“Maneater” (Hall and Oates), (Michael Jackson), 122
154 “Silly Love Songs” (Wings),
“My Girl” (The 91
Temptations), 112 “Sir Duke” (Stevie Wonder),
“My Heart Will Go On” (from 109
INDEX 468
“Smells Like Teen Spirit” “Want to Want Me” (Jason

(Nirvana), 119 Derulo), 88
“Smoke on the Water” (Deep “Warriors” (Too Many Zooz),
Purple), 155 171
“Some Nights” (fun.), 145 “We Are The World”, 118
“Someday My Prince Will “We Are Young” (fun.), 157
Come”, 120 “We Are the Champions”
“Someone Like You” (Adele), (Queen), 205
80, 148 “When I Fall In Love”, 120
“Sorry” (Justin Bieber), 169 “While My Guitar Gently
“Stairway to Heaven” (Led Weeps” (The Beatles),
Zeppelin), 82, 233 233
“Star Dust” (Hoagy “White Christmas”, 120
Carmichael), 121 “Why Do Fools Fall in Love”,
“Starships” (Nicki Minaj), 172 65
“Stop “Yesterday” (The Beatles),
In the Name of Love” (The 189, 195
Supremes), 101 “You Can’t Hurry Love” (The
“Stranger in Paradise”, 65 Supremes), 154
“Sunshine of Your Love” “You Know You Like It”
(Cream), 375 (Aluna George, DJ Snake
“Superfreak” (Rick James), Remix), 170
173 “You Really Got Me” (The
“Take Me to Church” Kinks), 173
(Hozier), 45 spacing error, 312
“Take the ‘A’ Train”, 61 species counterpoint
“That’s What I Like” (Bruno definition of, 343
Mars), 152 staff, 1
“The Long and Winding Star-Spangled Banner, 67, 145,
Road” (The Beatles), 53 185
“The Very Thought of You”, musical example, 43, 90, 216,
107, 115 217
“Theme from New York, New Straus, Joseph
York” (Liza Minnelli), 73 Introduction to Post-Tonal
“Thinking Out Loud” (Ed Theory, 392
Sheeran), 48, 150 Strauss, Richard
“Tik Tok” (Kesha), 152, 172 Also Sprach Zarathustra,
“Toxic” (Britney Spears), 110 Op.30, 208
“Treat You Better” (Shawn Stravinsky, Igor
Mendes), 167 Petrushka, Fourth Tableau:
“True Colors” (Cyndi The Shrovetide Fair
Lauper), 46 (Toward Evening), 386,
“Umbrella” (Rihanna), 82 390
“Under Pressure” (Queen and Rite of Spring, “Dance of the
David Bowie), 173 Adolescents”, 389
“Underneath It All” (No Septet, 414
Doubt), 163 subtonic triad
“Walk This Way” definition of, 42
(Aerosmith), 174 in popular music in the major
“Walking On Sunshine” mode, 78
(Katrina and the Waves), tonicization of, 194
154 sus2 chord, 36
“Walking on the Moon” (The sus4 chord, 36
Police), 162 sus9 chord, 36
INDEX 469
suspension, 95 retrograde, 409

syncopation, 22 retrograde inversion, 409
two-reprise
Tchaikovsky definition of, 276
The Nutcracker
“Miniature Overture”, 191, unequal fifths
295 definition of, 325
“Waltz of the Flowers”,
214, 265 Vejvoda, Jaromír
tempo, 20 “Beer Barrel Polka”, 161
tendency tones, 312 Verdi
tenor clef, 2 Rigoletto, “La donna è
terminative function mobile”, 69, 191
definition of, 300 Verse-Chorus form, 118
ternary form, 283 Vivaldi
compound, 285 Concerto for Two Violins and
tetrachord, 5 Cello in D minor, RV
texture, 143 565, V., 325
thoroughbass, See figured bass voice leading
tie, 19 definition of, 310
time signature, 17
tonicization Wagner, Richard
definition of, 191 Das Rheingold, Scene 3, 254
transitional function Die Meistersinger, Act II,
definition of, 297 Scene 6, 58
transposition Tristan und Isolde, Prelude to
definition of, 39 Act I, 46, 382
treble clef, 1 Webern, Anton
triad 5 movements for string
augmented, 32 quartet
definition of, 32 No. 3. Sehr bewegt, 392
diminished, 32 Williams, John
inverted, 34 Raiders of the Lost Ark,
major, 32 “Raiders March”, 222
minor, 32 Star Wars: Return of the
triplet, 21 Jedi, “Main Title (The
tuplet, 21 Story Continues)”, 254
duplet, 21 The Phantom Menace, “Duel
quadruplet, 21 of the Fates”, 255
quintuplet, 21
triplet, 21 Zimmer, Hans and Antonius Tom
turnaround, 373 Holkenborg
twelve-tone technique Batman v Superman: Dawn
inversion, 409 of Justice, “The Red
prime form, 409 Capes are Coming”, 223
Colophon
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MusicTheory Aug 2020

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Music Theory for the

August 17, 2020

I owe a huge thanks to Robert Beezer for recommending PreTeXt (formerly

Music Theory for the 21st–Century Classroom is an openly–licensed online

keyboards, and drumset in high school—both in my uncle’s home recording

2 Major Scales and Key Signatures 5

3 Minor Scales and Key Signatures 10

7 Roman Numerals and Cadences 39

9 Harmonic Progression and Harmonic Function 55

10.8 Pedal Point . . . . . . . . . . . . . . . . . . . . 93

11 Melodic Analysis 103

12 Form in Popular Music 118

13 Phrases in Combination 123

14 Accompanimental Textures 143

15 Creating Contrast Between Sections 175

16 Figured Bass 181

17 Secondary Dominant Chords 189

18 Secondary Diminished Chords 201

19 Mode Mixture 207

20 The Neapolitan Chord 220

21 Augmented Sixth Chords 224

23 Enharmonic Modulation 262

24 Binary and Ternary Forms 274

25 Sonata and Rondo Forms 294

26 Voice Leading Triads 310

27 Voice Leading Seventh Chords 323

28 Voice Leading With Non-Chord Tones 330

29 Voice Leading Chromatic Harmonies 337

30 Introduction to Counterpoint 343

31 Introduction to Jazz Theory 364

32 Impressionism and Extended Tonality 382

33 Set Theory 392

A Answers to Practice Exercises 421

B GNU Free Documentation License 452

& b w a pitchwa half step. w #w

1.5 Enharmonic Notes

Major Scales and Key Sig-

2.1 Half Steps and Whole Steps

half step whole step

2.2 The Major Scale

CHAPTER 2. MAJOR SCALES AND KEY SIGNATURES 6

Figure 2.2.2 The D major scale in treble clef

2.3 Major Key Signatures

bb bbb bbbb bbbbb bbbbbb bbbbbbb

CHAPTER 2. MAJOR SCALES AND KEY SIGNATURES 8

HW ____ ____ ____ ____ ____ ____ ____

____ ____ ____ ____ ____ ____ ____

### #### ## #### #### #

# PDF versions of the textbook, homework exercises, and practice exercises

& can be found at musictheory.pugetsound.edu

& Minor Scales w bw w w

Melodic Minor scale

3.2 Minor Key Signatures

Natural Minor scale written with major key signature

b b major when referring to a minor scale that has the same

& b&b # ## ### #### #### #### # #### #

bb bbb bbbb bbbbb bbbbbb bbbbbbb

CHAPTER 3. MINOR SCALES AND KEY SIGNATURES 13

b b minorb b band melodic

&Writingb harmonic b when b minor

Melodic Minor scale (ascending version): raise 6̂ and 7̂ in minor

& 4 b œ œ œ œ œœ œherœwedœ œ- dingœ has

b b C El -Óean - orŒRigœ-œby, œ picks

& b C Ó Œ156 incorrect rhythmic notation Œ Œ

HW

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