23. Auxiliary Sonorities
Interval Progressions in Tonic Expansions
Each of the exercises below shows a tonic triad expanded with an auxiliary sonority. Identify the interval progressions found between each unique pair of voices and write the size of each interval on the lines between the staves. Draw a box around any resultant intervals. The first progression has been filled in for you: the interval progression found between and soprano and alto voices in the first example is 6-4-6 and the diminished fourth between the F and B is a resultant interval.
Expanding Tonic Chords with Auxiliary Sonorities
Expand each of the tonic chords below with the specified auxiliary sonority (represented by the Roman numeral beneath the staff), following traditional voice-leading conventions as closely as possible. (Note: There may be more than one acceptable answer for each exercise.)
Expanding Tonic Chords with Auxiliary Sonorities (figured bass)
Each of the exercises below shows the figured bass for an expansion of a tonic triad. Identify the key of each of exercise and convert the figured bass line to Roman numerals. Then, fill in the upper voices of the initial tonic in SATB format and complete the progression, following traditional voice-leading conventions as closely as possible. (Note: There may be more than one acceptable answer for each exercise.)
Adding Cadential 6/4 Chords
Adjust each of the progressions below to begin with a cadential 6/4 chord, as specified by the Roman numerals provided. Feel free to add an octave leap in the bass line to underscore this alteration, as in the example exercise. (Note: Given the standard range of the bass voice, it will not be possible to include an octave leap in every exercise.)
Expanding Tonic Chords with Common-Tone Fully-Diminished Seventh Chords
Expand each of the tonic chords below with a common-tone fully-diminished seventh chord, following traditional voice-leading conventions as closely as possible. Make sure the common tone in each case is the seventh of the auxiliary sonority and the root of the reference sonority. (Note: There may be more than one acceptable answer for each exercise.)
SATB Part-Writing
Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.
Figured Bass Realization
Write the Roman numerals that correspond with each figured bass note on the lines provided. Then, complete the progression by filling in the upper voices.
Roman Numeral Realization
Complete the progression according to the given key and Roman numerals by filling in all four voices. The first chord of each progression has been provided for you.
Melody Harmonization
Write the scale degree numbers of each note in the soprano melody on the lines above the staff. Then, select a suitable chord progression which incorporates the harmonies covered in this chapter to harmonize the melody and write the appropriate Roman numerals on the lines below the staff. Finally, complete the progression by filling in the remaining voices.
Analysis (common auxiliary sonorities)
Analyze each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions. Make sure to circle and identify (P, N, Sus., Ant.) every note that does not belong to the chord indicated by the Roman numeral. Enclose all Roman numerals for auxiliary sonorities in parentheses and identify each indicated cadence by writing its type (PAC, IAC, HC, DC) in the box provided.
Analysis (excerpts with cadential 6/4 chords)
Analyze each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions. Make sure to circle and identify (P, N, Sus., Ant.) every note that does not belong to the chord indicated by the Roman numeral. Cadential 6/4 should be analyzed with a Roman numeral “V.” Enclose all other Roman numerals for auxiliary sonorities in parentheses and identify each indicated cadence by writing its type (PAC, IAC, HC, DC) in the box provided.
Analysis (excerpts with common-tone fully-dimininished seventh chords)
Analyze each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions. For common-tone fully-dimininished seventh chords, write: “(c.t.o7).” Make sure to circle and identify (P, N, Sus., Ant.) every note that does not belong to the chord indicated by the Roman numeral. Enclose all Roman numerals for auxiliary sonorities in parentheses and identify each indicated cadence by writing its type (PAC, IAC, HC, DC) in the box provided.
