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Exercises 22.8 Practice Exercises

Day One

1.

For each given key, list the five closely-related keys.

  1. d:

  2. D♭:

  3. f:

Answer.
  1. d: F, g, A, B♭, C

  2. D♭: e♭, f, G♭, A♭, b♭

  3. f: A♭, b♭, c, D♭, E♭

2.

For each progression, analyze the Roman numerals with lead-sheet symbols and specify the second key.

3.

For this excerpt from Beethoven's "Maigesang," do the following:

  • Analyze the harmonies with Roman numerals below and lead-sheet symbols above

  • Determine where the pivot chords occur and use a pivot bracket to show the Roman numerals in both keys (specify both keys)

  • Label cadences

  • Name the form of the excerpt

Figure 22.8.1. Beethoven, Eight Songs, Op. 52, No. 4, "Maigesang" (1805)

Day Two

4.

Borrowed Chord Modulation. List the closely related keys to the starting major key, then specify the parallel minor key and its closely related keys.

5.

For each progression, analyze the Roman numerals with lead-sheet symbols and specify the second key.

Day Three

6.

Determining Diatonic Common Chords. For each of the two keys in each example, list the diatonic chords as lead-sheet symbols and as Roman numerals then circle those diatonic to both keys

7.

Referring to the Harmonic Flowchart, fill in lead-sheet symbols, Roman numerals, and Harmonic Functions for the following example—be sure to put some of the chords in first inversion for variety; create a melody by adding embellishments (non-chord tones) and try to create repeating motives and/or subphrases; LSS stands for lead-sheet symbols, RN stands for Roman numerals, and HF stands for Harmonic Function

Day Four

8.

List the four chromatic mediants for each chord.

  1. Fm:

  2. D♭:

  3. G:

  4. G♯m:

Answer.
  1. Fm: Am, A♭m, Dm, D♭m

  2. D♭: F♭, F, B♭, B𝄫 (or A, enharmonically)

  3. G: B♭, B, E, E♭

  4. G♯m: Bm, B♯m, Em, E♯m

Day Five

9.

Analyze with lead-sheet symbols, motives (with numbers, noting melodic alteration when it occurs), Roman numerals, and harmonic function.

Figure 22.8.2.

Compose an eight-measure example using the motivic structure and harmonic function in the example above. Create a new melody with new motives but the same sequence of motives. You may use a different time signature, mode, and accompanimental texture.

Click here to download the first homework assignment for this chapter.

Click here to download the second homework assignment for this chapter.

Click here to download the third homework assignment for this chapter.

Click here to download the fourth homework assignment for this chapter.

Click here to download the fifth homework assignment for this chapter.

Click here to download the Unit 5 Practice Test.

PDF versions of the textbook, homework exercises, and practice exercises can be found at musictheory.pugetsound.edu