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Chapter 12 Exercises

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68 views

Chapter 12 Exercises

Uploaded by

Jason Ferguson
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Chpt.

12 Exercises Part 2 ______________


I. Given the key, analyze each chromatic chord with the correct Roman numeral.
Be sure to indicate inversions with figured bass.

II. Given the key and Roman numeral, correctly notate the chord on the staff.
III. The first chord shown is a secondary dominant in the given key. Label each chord
with the correct Roman numeral and resolve each chord, paying careful attention to
part writing guidelines in terms of the seventh of the chord.

Analysis
Taken from the collection of twelve lieder, the following piece was written by the female German
composer Louise Reichardt. After following along in the score while listening to the excerpt,
answer the questions that follow the example.

Louise Reichardt, “Frühlingsleid” Mm. 1-8


Online Analysis Chapter 12

j œ œ
& 8 œj œ œJ
6 œ j œ œ œ
Lieblich
Singstimme b œ œ J ‰ J J J
Es färb te fich die Wie - fe grün, und um die

& b 68 Œ. œ œ œ œ
œœ œœœœœ œœœ œœ œœœœœ œœœ
Begleitung

? b 68 Œ. œ ‰ œ ‰ œ ‰ œ ‰

&b œ
œ œ ‰ œj œj œj œ œ œ œ
3

J œ J œ J J
Heck - en fah ichs blühn, tag täg lich fah ich neu - e

&b
3

œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
?b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰

œ œ œœœœ
& b J J Jœ œ. œœ œ. œ œ œ ‰ œ œ œ
6

J J J J J J J
Kraü - ter, mild war die Luft der Him - mel hei - ter, ich wufs - te

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
6

œ
œ œ œ œ œ nœ
œ. œ
?b œ ‰ œ. œ ‰ ‰ œ.

1. Using the key signature and the first few bars to help you, determine the key of this
piece.

2. Listen to the excerpt and put a star above the first measure in which you hear a
chromatic chord (a chord outside the key).

3. Now, provide a Roman numeral analysis of measures 1-8.

4. Which chord is preceded by a secondary dominant? Briefly discuss the significance


of that chord (hint: consider the key signature!)
5. For any dominant seventh chords (including secondary dominants), find the leading
tone and seventh of the chord and draw an arrow that shows the resolution of each
tendency tone.

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