Comparing Common Pre-Dominant Chords
Write out the three most common pre-dominant chords—IV, ii6, and ii6/5—in each of the specified keys. (Notice that in each case there are two tones which are common to all three chords: [latex]\hat4[/latex] and [latex]\hat6[/latex].)
Completing Progressions with Pre-Dominant Chords
Complete each of the progressions below by filling in the missing pre-dominant harmony as indicated by the Roman numerals provided. Follow standard voice-leading conventions as closely as possible and, as always, watch out for forbidden parallel interval progressions.
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.
Optional: Add a second line of analysis below the Roman numerals. Use T, PD, and D to show the location of the tonic, pre-dominant, and dominant functions, respectively. Draw dashed lines to show prolongations and put parentheses around the Roman numerals of any auxiliary sonorities.
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.
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.
Melody Harmonization (melodies from existing works)
Harmonize the following melodies taken from existing compositions in the same manner as above. Note that you do not have to harmonize every single note of the melody. Some notes might make better sense as melodic embellishments. If you do skip notes in your harmonization, be sure to identify and label any nonharmonic tones. Don’t forget to write out the Roman numerals for your selected chords below each exercise.
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. Finally, add a second, interpretive line of analysis (T–PD–D–T) below the Roman numerals to show harmonic functions and identify the cadence found at the end of each phrase.