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A PPE N DI X 5:SEL ECTED A NSW ER S TOT E X T B O OK E X E RC I S E SThis appendix provides answers to selected exercises in the text (by chapter). Select answers are given for exercises through Chapter 24; all answers are provided for instructorsin the Instructor's Manual.EXERCISE 1A.1C. 1 2 3 4 5 6 7 1 1A major 2 3 4 5 6 7 1D majorF. 1 2 3 4E major 5 6 7 1 1 2 3 4 5 6 7A major 1 1 2 3 4 5 6 7 1B majorEXERCISE 1A.2A.Extra credit:D majorA majorA-659780199347094 37 App5 pgA65-A94.indd 6510/6/15 10:27 AM
A-66THE COMPLETE MUSICIANE.Extra credit:C majorB majorEXERCISE 1A.3Half steps are shown in bold. Step-and-a-half intervals (i.e., augmented seconds) are underlined. All othersare whole steps.)A2.B2.C2.D2.B –C–D–E –F–G–A–B A–B–C–D–E–F –G –A–G–F–E–D–C–B–AB –C–D –E –F–G –A–B E –F–G –A –B –C –D –E EXERCISE 1A.4 (Writing Scales)A2. G–A–B–C–D–E–F –G (C is 4 in G major.)B.2 B –C–D–E –F–G–A–B (D is the mediant in B major.)C2. D–E–F–G–A–B –C –D (C is 7 in D harmonic minor.)D2. E–F –G –A–B–C –D –E (The relative major of C minor is E major.)E2. F –G –A–B–C –D –E –F –E–D–C –B–A–G –F (The relative minor of A major, in melodic form,is F melodic minor.)F2. A–B–C –D–E–F –G –A (The parallel major of A minor is A major.)EXERCISE 1A.5C. 1 2 3 4 5 6 7 1C harmonic minorD. 1 2 3 4 5 6 7 1 1E minor (all three forms) 1 2 3B natural minor9780199347094 37 App5 pgA65-A94.indd 66 4 2 3 4 5 6 7 1 1G harmonic minor 5 6 7 1 2 3 4 5 6 7 1G melodic minor (ascending form) 1 2 3 4 5 6 7 1B harmonic minor10/6/15 10:27 AM
A-67Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 1A.6B. Melodic minorD. Harmonic minorEXERCISE 1A.10B. Minor seconds in B major: D–E , A–B .C. Major thirds in the C harmonic minor scale: E –G, G–B, A –C.EXERCISE 1A.11m3M6P5P4m2M7d4A5EXERCISE 1B.3A.2.beat division 3.beat division simple or compound?simple or compound?B.2.simple triple: 1 beat385.compound triple: 1 beat169EXERCISE 1B.4B.68E.42G.64EXERCISE 2.1Answers will vary.9780199347094 37 App5 pgA65-A94.indd 6710/6/15 10:27 AM
A-68THE COMPLETE MUSICIANEXERCISE 2.2A.B.climax outlines 7thsends withleaptoo conjunct (uninteresting)C.D.outlined 7thtoo much sequential repetitiond5 leapEXERCISE 2.3C. Schumann, “Wichtige Begebenheit,” from Kinderscenen, op. 15contrary8 (6)333d56368(d5)33d5863(6)83d5386EXERCISE 2.4Dbegins onincorrectpitchcounterpoint D24aug 2ndsDunrecovered leap6486CFKey: F8D55P8must end on1233P5EXERCISE 2.5B.leap todissonancedissonances on downbeatdownbeat P8unrecoveredleap84986498leaps todissonances9780199347094 37 App5 pgA65-A94.indd 6869767668868wide melodicrangeP810/6/15 10:27 AM
A-69Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 2.6D.Brahms, “Unüberwindlich,” op. 72, no. 5 (Ignore the two pitches in parentheses.)und doch6bin37ich neu46ge bo3ren, läßt sie667sich ins Au346ge schauen, läßt36primarily2ndspecies3EXERCISE 3.1D.G.J.root:DECquality:dMdmemberof chordin bass:3 rdroot3 rd6563figuredbass:EXERCISE 3.3A2. B–D –F A5. B –D–FB3. G–B –DB4. E –G –B C2. E–G–B C5. B–D–FD2. A is the third of an F major triad and the fifth of a D diminished triad.D5. F is the third of a D minor triad and the fifth of a B diminished triad.9780199347094 37 App5 pgA65-A94.indd 6910/6/15 10:27 AM
A-70THE COMPLETE MUSICIANEXERCISE m31135351EXERCISE 3.5A.2.5th5.7th7.7thEMM7do7co7B.2.5.AMm78.c o7go7EXERCISE 3.6 The second example is shown.A.A1.A2.DMm7B2.A3.B mm7A4.fdd 7A5.EMM 7fdm7D is the third of a Bdd7 chord, the fifth of a Gmm7 chord, and the seventh of an E MM7 chord.9780199347094 37 App5 pgA65-A94.indd 7010/6/15 10:27 AM
A-71Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 3.8B1. F–A –C –D B2. F–A–C–EB3. F–A –B –D B4. F–G–B –DEXERCISE 3.9B.E.F.DMm43roottypeinversionDdd42EMM65EXERCISE 3.10A.642753642type of 7th chordMmdmMmmember of chordthat is circled555member of chordin the bass717scale degree inthe bass475full figured bassF:EXERCISE 3.11C.cB :9780199347094 37 App5 pgA65-A94.indd 71oG.ii 7E:coI.iii 7f :covii710/6/15 10:27 AM
A-72THE COMPLETE MUSICIANEXERCISE 4.1A.Vivaldi, Sonata in C minor for oboeP63PP333P33PP333PPP333PPP3CMm7C MajB Maj 63B Mm7f minB Mm7c min 63E Maj1033N3Pedd73P3N3P3P6C Mm 53Pf min3PP6c min 4 G Mm7 c minEXERCISE 4.2B. Rameau, RondinoPTAPTAPTPTIVCLI9780199347094 37 App5 pgA65-A94.indd 72PTINVI10/6/15 10:27 AM
A-73Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 5.1B.PiD.iVPPPNViPVHCClara Schumann, “Les Ballet des Revenants,” from Quatre pièces caractéristique, op. 5PNPi6iPPi6VDPTiVHCEXERCISE 5.2C.F.125536E :VIPACD: VIIACEXERCISE 6.1A.PTg: iiViPT in soprano9780199347094 37 App5 pgA65-A94.indd 73NNViN in sopranoVViVN in sopranoiiPAC10/6/15 10:27 AM
A-74THE COMPLETE MUSICIANC.Ne:iPTViN in sopranoiViPT in sopranoVV HCEXERCISE 7.2Soprano SDs 1–2–3 in A minorFirst possibility:a:iTV6NSecond possibility:a: i6iTvii 6PiBass SDs 1–7–1–2–3 in c minorc:iT9780199347094 37 App5 pgA65-A94.indd 74V6Nivii 6Pi610/6/15 10:27 AM
A-75Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 7.3A. Johann Jacob Bach, Flute Sonata in C minor,B. Haydn, String Quartet in D minor,Allegroop. 76, no. 2, Andante o piú tosto allegrettoten.30( )mezza vocepizz.pizz.c:V6 V i6iiNi V6 Vii–6 VNiTipizz.ViDTPACD:IV6II6ARPTEXERCISE 8.1C.Beethoven, Violin Sonata no. 3 in E major, op. 12, no. 3, Adagio con molta espressioneV 43C: II6V6INPTI42VI6evadedcadence(DT)E. Thomas, Gavotte, from MignonAllegrettoAllegrettoG: IT9780199347094 37 App5 pgA65-A94.indd 754V2INI66V5INI4V3PI64V2NI64V2NI66V5INIVDHC10/6/15 10:27 AM
A-76THE COMPLETE MUSICIANEXERCISE 8.2D. G Major, V43F. B Major, V65H. E Major, V42EXERCISE 8.3B.Johann Helmich Roman, Flute Sonata in B minor, op. 1, no. 6, Gravee:i6viio 5i6PTV 43 iPviio7DV7iCLTIACC.Haydn, String Quartet in G minor, op. 74, no. 3, ii, Largo assaiLargo assaiten.ten.ten.ten.ten.ten.ten.ten.mezza vocemezza vocemezza vocemezza voceE:4I V2INI66V5INI4V2INI6viiø7IINT9780199347094 37 App5 pgA65-A94.indd 7610/6/15 10:27 AM
A-77Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 9.4Handel, Concerto Grosso, op. 6, no. 9, LargoB.Violino I.conc. e rip.Violino II.Viola.Tutti Bassi.F:6viioII6IVPTPDii6VDHCEXERCISE 10.1Haydn, Piano Sonata in D major, Hob XVI.4, ni, Six Duos for Violin and Cello, no. 2AdagioB b:3RPPD:PSRIPRSV 7–643P6V5SRI4–3double neighbor in bassT9780199347094 37 App5 pgA65-A94.indd 7710/6/15 10:27 AM
A-78THE COMPLETE MUSICIANEXERCISE 10.2Schubert, Waltz in C minor, no. 27, from 36 Original Dances, D. 365A.C.APPV7iINAPPINAPPV7iAPPAPPiV7iV7iiMozart, Variations on “Ah vous dirais-je, Maman,” K. 265APPVAR. I.NANNAPPAPTlegatoINAPP APTPTSPTPTSAPTPT APTSANEXERCISE 11.1135467i 536487531292e:11viioi8––––7V io6i6–5V 4–iEXERCISE 11.2A.Mozart, “In diesen heiligen Hallen,” from The Magic FluteLarghettoSarastro1. Indiesen heil genHallen kennt mandie RacheweakHCE:Iii6V7TPDD9780199347094 37 App5 pgA65-A94.indd 78IITT6ii( T PDnicht,strongHC6–—5V 4–—3D)I64V 3 I V6 IPN6–—5V 4–—3D10/6/15 10:27 AM
A-79Appendix 5 Selected Answers to Textbook ExercisesB.Türk, SerenadeAndantinoPsempre pianoF:5(3 )IV(plagal expansion)(6)IT6I45375V645375DITEXERCISE 12.1A.Bach, “O Welt, ich muss dich lassen”PRAPTB:IIV viio6 II6ii7 V7 IEPMTC.PD D TIACMendelssohn, Lieder ohne Worte (“Songs Without Words”), no. 20 in E major, op. 53Allegro non tropposehr innig33E:IT9780199347094 37 App5 pgA65-A94.indd 79333RP33333333I6CLii7V7IPDDT10/6/15 10:27 AM
A-80THE COMPLETE MUSICIANEXERCISE 12.2B.Bach, “O Haupt voll Blut und Wunden”PD:IIV I6 IV6 V65 I9–8PlagalEPMTD.Rii65VIPDDTIACMozart, Symphony no. 36 in C major, “Linz,” K. 425, Poco adagioRPF:I( 42 ) V65iiIV6II666II 5V4PDDHC783EPMTARPEXERCISE 12.3C.Haydn, Symphony no. 92 in G major, “Oxford,” Hob I.92, AdagioViolino IcantabileViolino I3764754(tonic pedal)83T9780199347094 37 App5 pgA65-A94.indd 8010/6/15 10:27 AM
A-81Appendix 5 Selected Answers to Textbook Exercises3Violino IViolino IIViolaVioloncelloContrabasso44I6V2I6V2INV7/V V7Iii6653V4EPMNPDDHCEXERCISE 13.1A. Bach, Geistliches Lied, “Beschränkt ihr delssohn, Elijah, opening of Part IEINLEITUNG.Grave.ELIAS.bass solo:d:IVi 5364T9780199347094 37 App5 pgA65-A94.indd 814253So wahr derAs God, theHerr,Lordder Gottof IsIs ra els lerael livVIV 46PDDbet,eth,vor dem ichstewhombe forehe:I stand5HC10/6/15 10:27 AM
A-82THE COMPLETE MUSICIAND.Bach, Flute Sonata in B minor, LargoFlöteKlavier(Cembalo)6b:iVIARPT(iv) iP657iiø645VPD DiTIACEXERCISE 13.2B.Wagner, “Der Augen leuchtendes Paar” (“Those eyes so lustrous and clear”)(Wotan’s Farewell), Die Walküre, act 3, scene 3(He clasps her head in his hands.)Denn so kehrtsichdir ab,iiø7VPDDespress.3e:der Go (V)iivV7deceptiveVIEPM(T – PD – D)TEXERCISE 14.1C.ARP prog.D:IT9780199347094 37 App5 pgA65-A94.indd 82iiififths prog.IVEPMii 65V 42I6V 56INIviii 6PDV7IDT10/6/15 10:27 AM
A-83Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 14.2C.Schumann, “Armes Waisenkind,” from Children’s Pieces, op. 68, no. 6Langsam.a:iV7 iiTV/ IIIIIIIII(bridge to V)iio6VPDDEXERCISE 15.1A.Mozart, Piano Sonata in B major, K. 333, Allegretto graziosoParallelinterruptedperiod4 mm.IB.aV IHC4 mm.aIPACMozart, Symphony no. 39 in E major, K. 543, AllegrettoSingle phrase4 mm.Ia4 mm.IV VaIPACEXERCISE 16.1B.Haydn, String Quartet in D minor, “Quinten,” op. 76, no. 2, Hob III.76, I, AdagioAdagioA (2 mm.)9780199347094 37 App5 pgA65-A94.indd 83B (4 mm.)10/6/15 10:27 AM
A-84E.THE COMPLETE MUSICIANChopin, Nocturne in F minor, op. 55, no. 1A (2 mm.)A (2 mm.)B (4 mm.)EXERCISE 16.2B.Brahms, Intermezzo in A minor, op. 116, no. 2Asymmetrical parallel interrupted period with nested sentencesAntecedentA (1 m.)3A’ (1 m.)ConsequentB (2 mm.)A (1 m.)A (1 m.)3B (2 mm. 1 m.)repeated cadence in 5th measure9780199347094 37 App5 pgA65-A94.indd 8410/6/15 10:27 AM
A-85Appendix 5 Selected Answers to Textbook ExercisesC.Mozart, Piano Sonata in D major, K. 576, AllegrettoSentenceA (2 mm.)A’ (2 mm.)B (4 mm.)AllegrettoEXERCISE 17.1B.Bach, Gavotte, French Suite no. 5 in G major, BWV 816D3 ( 4/ 2) 63model106copy10partial copy6C.D2 ( 5/ 4)model109780199347094 37 App5 pgA65-A94.indd 858copy10partial copy810/6/15 10:27 AM
A-86THE COMPLETE MUSICIANEXERCISE 17.2B.Handel, Trio Sonata in G minor, op. 2, no. 5, HWV 390, AllegroA2 ( 3/ 4)model536642copy56565656partial copy6EXERCISE 18.3A.Haydn, String Quartet in F minor, op. 55, no. 2, Hob III.6136A: V 5 /V9780199347094 37 App5 pgA65-A94.indd 86V10/6/15 10:27 AM
Appendix 5 Selected Answers to Textbook ExercisesD.A-87Haydn, String Quartet in E major (Finale), op. 20, no. 1, Hob III.31Presto6IE :6ii 5I/V VV5V8–7IEXERCISE 18.4A4.B1.B :47V6/iiiE :viio /viviio 3/iiAnswers may vary.viio7/Vo4vii 3/IVVIV6viio6/iiiiviio7/iiiiv6Vviio7/VViiiEXERCISE 18.5B.a:iT9780199347094 37 App5 pgA65-A94.indd 87viio65/IIIIIIbridge to VPDD10/6/15 10:27 AM
A-88THE COMPLETE MUSICIANEXERCISE 19.1A.Clementi, Prelude in A minor, op. 19tonicization of iva:6V5NiTiivV/iv6V 5/ivPDEXERCISE 19.2B.B.iv8–––––––––7V �–––deceptivemotionNote: The following chord could also beunderstood as a pivot. F: ii6d: iv6F:ITV6NIVd:viiiv6TPD6–5V 4–DiTE.B:viio6 I6N g:TI9780199347094 37 App5 pgA65-A94.indd 88ii66–5iv6V 4–iPDDT10/6/15 10:27 AM
A-89Appendix 5 Selected Answers to Textbook ExercisesG.Mozart, Piano Concerto in G major, K. 453, Allegrettoharmonized neighboron sopranoViolino I.Violino II.ViolaVioloncelloe Basso.G:V7IITii6V7IPDDTVV/vi6“bridge”viD: iiV7IviEPMii6PDV7DITEXERCISE 19.3 Handel, Concerto Grosso in B major, op. 3, no. 2, HWV 313, LargomodelViolino Ipiano per tu iViolino IIpiano per tu iViolapiano per tu iVioloncello IVioloncello IIBasso ContinuoSenza Cembalog: i9780199347094 37 App5 pgA65-A94.indd 89ViD2 (–5/ 4)10/6/15 10:27 AM
A-90THE COMPLETE MUSICIANcopy (figuration �5V 4––––––3IEXERCISE 19.4C.Possible pivot chords from i to III in G minor are:i becoming vi (G–B –D)ii 6 becoming vii 6 (A–C–E )III becoming I (B –D–F)iv becoming ii (C–E –G) XVI becoming IV (E –G–B )D.Possible pivot chords from I to V in A major are:I becoming IV (A–C –E)iii becoming vi (C –E–G )V becoming I (E–G –B)vi becoming ii (F –A–C ) XEXERCISE 19.6E.Modulation from i to v in B minorb:ivii 7ivii 6i6f : iv 69780199347094 37 App5 pgA65-A94.indd 908V6475i10/6/15 10:27 AM
A-91Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 21.1A.F:ii65ivVIB3.V 7/ VIIIIV 43 / IIIB5.E :ITIVPDV8Div— 7ITVI iv vii 7/V V64 –EPMI6–5bridge3VI iv 6 V8 – 7Idecep.TPDDTEXERCISE 21.2C.J. S. Bach, “Christus, der ist mein Leben”F: IT7–6viioP6oI6 ii 5 V8–7PDIDTD.ARPA:VVI 5 iio6decep.VIi/ IIIVIIIiio68V 7–647635IEPM(T)9780199347094 37 App5 pgA65-A94.indd 91PDDT10/6/15 10:27 AM
A-92THE COMPLETE MUSICIANEXERCISE 21.3B.plagal motion6F: IV 5/iiii6V5/IIIIIIiio 43 P64iio 65IA2 sequence (chromatic)TD.PDTChopin, Nocturne in C minor, op. 48, no. 129C:viIbass arp.iiiIIIItonic pedal6II 5V7IPDDTEXERCISE 22.1Answer the following questions.1. Given the following major-key modulations, what pivot chords are possible? III VIa. D to F ( III)iii 6ivvid. A to F ( VI)iiiivii 6 IIIVIivviii VIIVI2. Complete the following chart.In what key is the triad . . .triadsD majorC majorE majorB majorF majorA major9780199347094 37 App5 pgA65-A94.indd 92ID majorIIIB majorIVA majorVG major VIF majorE majorC majorB majorA majorG /A major10/6/15 10:27 AM
A-93Appendix 5 Selected Answers to Textbook ExercisesEXERCISE 22.2 III in A major can be I in C major ( III) or V in F major ( VI). The latter is realized here(answers may vary).A:V 6/ IIIIF:IIIVIV6(P)V56I— 5V46 —3IVIEXERCISE 23.1A.Beethoven, Bagatelle, op. 119, no. 9. Make a formal diagram.(S)APT6a: 0199347094 37 App5 pgA65-A94.indd 93II6V7iPDDTII6PDV7iDT10/6/15 10:27 AM
A-94THE COMPLETE MUSICIANEXERCISE 24.13.5.7.6c:Ger 65f:It6Fr 43a:EXERCISE 24.2A.Mozart, “Wer ein Liebchen,” from Abduction from the SeraglioDoch sie treuDo not wasteg:iT9780199347094 37 App5 pgA65-A94.indd 94sich zuyour time6Ger 5erinhalchitVten,chatschliess’ erforai6Liewochen sorgman’s likelichaein;cat,iio6V7iPDDT10/6/15 10:27 AM
EXERCISE 7.3 A. Johann Jacob Bach, Flute Sonata in C minor, B. Haydn, String Quartet in D minor, Allegro op. 76, no. 2, Andante o piú tosto allegretto 30 PAC c: i i TDT V6 i6 i i - 6 i i i i V6 VV NNV V T pizz. pizz. pizz. mezza voce ten. D: IIV6 I6 ARP EXERCISE 8.1 C. Beethoven, Violin Sonata no. 3 in E major, op. 12, no. 3, Adagio con molta espressione
