29. Mixture

Identifying Borrowable Pitch Classes

Complete the table below by identifying the three pitch classes that may be borrowed from the parallel of each given key.

Identifying Borrowed Chords in Different Keys

Each of the following exercises presents a key and a borrowed chord. Identify each chord using a Roman numeral based on where the chord would be found in its respective key.

Converting Diatonic Chords to Mixture Chords

Each of the following exercises shows a diatonic chord with a key and Roman numeral. Add accidentals to the chords as needed to match the quality of the given Roman numeral.

Writing Borrowed Chords in Different Keys

Each of the following exercises presents a key and a Roman numeral for a borrowed chord. Write the appropriate chord on the staff provided.

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

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.

Augusta Mary Anne Holmès, Contes divins, 3 “Le chemin du ciel,” mm. 1-10

Johanna Kinkel, 6 Lieder (Op. 10), 1. “Nachgefühl”

Françoise Desfossez, Sonata in C major (Op. 3, No. 1), I. Moderato, mm. 205-216

Eugène Dédé, “Douleur et gaîté, mm. 50-57, 126-135

Johanna Kinkel, 3 Duetten (Op. 11), 2. “Das Lied der Nachtigall,” mm. 1-12

Louise Reichardt, 12 Gesänge, 2. “Der Sänger geht,” mm. 7-18

Chiquinha Gonzaga, “Ai que broma!,” mm. 9-18

Luiza Leonardo Boccanera, “Au paradis des dames,” mm. 172-192

Analysis (with tonicization/modulation)

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.

Sophia Maria Westenholz, 12 Deutsche Lieder (Op. 4), 10. “Huldigung,” mm. 13-20

Marie de Cournand, Waltz in A-flat major, mm. 151-166