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Kosta - Workbook For Tonal Harmony - Fifth Edition - Pages 230-131

This document contains three musical excerpts for analysis. The first excerpt modulates from f# minor to Ab major through E major. The second excerpt begins in g minor. The third excerpt is from a sonata form movement, with a cadence in Eb major followed by modulations to C minor and A minor. It also contains a sonority used twice in different ways.

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Thais Cristina De Aguiar Sousa
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468 views2 pages

Kosta - Workbook For Tonal Harmony - Fifth Edition - Pages 230-131

This document contains three musical excerpts for analysis. The first excerpt modulates from f# minor to Ab major through E major. The second excerpt begins in g minor. The third excerpt is from a sonata form movement, with a cadence in Eb major followed by modulations to C minor and A minor. It also contains a sonority used twice in different ways.

Uploaded by

Thais Cristina De Aguiar Sousa
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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242 Tonal Harmony

E. Analysis. Be sure to play as much as you can of each excerpt.


1. This passage modulates from f# minor to Ab major by way of E major. The bass notes
are found above the "Ped." markings-the other notes in the bass clef are arpeggiations
into inner voices. Label all the chords, including common chords for both modulations.

• Chopin, Nocturne Op. 27, No. I

....
appassionato

#.
'.feo~·-----* '.feo.
*

* '.feo. * '.feo.
*
Student Workbook Chapter 25 243

2. This excerpt begins in g minor. Label all the chords.

"--" • Beethoven, Sonata Op. 13, I

3. This excerpt is from the end of the exposition and the beginning of the develop-
ment of a movement in sonata form (review pp. 332-334). The final cadence of
the last B theme is shown in the first few measures of the excerpt (in E~ major).
The music then leads to a modulation to C minor in the first ending and to A
minor in the second ending. Notice that the sonority first heard in m. 76 is used
again twice, each time in a different way. (Bonus question : what other sonority
in these measures is treated enharmonically?)

• Brahms, Quartet, Op. 51 , No. I, I

) " I
7 ........_ _______,___

""""-J.J~ ===-- '-=== 1==--


'II"' I

'"' ~
V•
n.
p
A·
"Ct.· t:t =
====--'

P'---' - ~==-- -- _-.._____.,,,


II -
pi zz.

-·-
p
~

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