26. Other Diatonic Sequences
Continuing Sequences (SATB)
Each of the exercises below shows the first two chords of a diatonic sequence in SATB format. Continue each sequence to fill the empty measures by transposing and repeating the bracketed notes. On the lines below each exercise, add a Roman numeral analysis and indicate the linear intervallic pattern (LIP) heard between the outer voices. Indicate the root motion found between each pair of chords by writing the direction and size of the interval in the parentheses between the Roman numerals. (For example, write “↓4” to indicate a descending fourth. With the exception of ascending fifths sequences, invert any intervals larger than a fourth.) The first repetition in the first example has been provided.
Continuing Sequences (two-voice melodic)
Each of the exercises below shows the first two chords of a descending-fifths sequence in two voices. Continue each sequence to fill the empty measures by transposing and repeating the bracketed notes. On the lines below each exercise, add a Roman numeral analysis and indicate the linear intervallic pattern (LIP) heard between the outer voices. Indicate the root motion found between each pair of chords by writing the direction and size of the interval in the parentheses between the Roman numerals. (For example, write “↓4” to indicate a descending fourth. With the exception of ascending fifths sequences, invert any intervals larger than a fourth.) The first repetition in the first example has been provided.
Continuing Sequences in a Phrase
Each of the exercises below shows the beginning of a phrase in SATB format as well as the bass line for the cadence at the end. Complete each phrase with a sequence using the bracketed notes as its basis. Complete the Roman numeral analysis for the sequence and indicate the linear intervallic pattern (LIP) heard between the outer voices on the lines below the exercise.
Analysis
Each of the excerpts below includes a diatonic sequence. Analyze each passage by adding Roman numerals to the lines below the exercise and identifying any nonharmonic tones. Chords that are part of a sequence have two additional lines below them. Indicate the linear intervallic pattern (LIP) heard between the outer voices on the top line and the letter name of each chord root on the middle line. Indicate the root motion found between each pair of chords by writing the direction and size of the interval in the parentheses between the chord roots. (For example, write “↓4” to indicate a descending fourth. With the exception of ascending fifths sequences, invert any intervals larger than a fourth.) An example analysis has been provided.
