Performing Arts Chapter 26 Other Applied Chordsa How You Determine What Note Should The Root

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B. Spelling Applied Dominants | 325

A. QUESTIONS FOR REVIEW

1. How do you determine what note should be the root of an applied V chord? How

do you figure out what note should be the root of an applied vii.7 or vii.6 chord?

2. What is the quality of the triad (major, minor, or diminished) of an applied V

chord?

3. What is the quality of the seventh chord (diminished, half-diminished, minor,

dominant, major) in an applied V7? In an applied vii.7? In an applied vii7?

4. In an applied dominant, what note functions as a leading tone? What special

voice-leading rules apply to this note?

B. SPELLING APPLIED DOMINANTS

1. Spell the applied V chords:

• Identify the root of the goal chord for the indicated applied chord.

• Then determine the applied chord’s root.

• Finally, notate the applied chord, making sure to use the proper accidentals.

chapter

26 Other Applied Chords

326 | CHAPTER 26 | Other Applied Chords

2. Spell the applied vii. chords:

• Identify the root of the goal chord for the indicated applied chord.

• Then determine the applied chord’s root.

• Finally, notate the applied vii.6, vii.7

, or vii7 chord, making sure to use the

proper accidentals.

3. Spell the applied dominant chords:

• Identify the root of the goal chord for the indicated applied chord.

• Then determine the applied chord’s root.

• Finally, notate the applied chord in these minor keys, making sure to use the

proper accidentals.

C. Realizing Roman Numerals | 327

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C. REALIZING ROMAN NUMERALS

1. Realize the following Roman numerals in SATB format; make sure to use

accidentals where needed.

328 | CHAPTER 26 | Other Applied Chords

2. Realize the following Roman numerals in keyboard format; make sure to use

accidentals where needed.

C. Realizing Roman Numerals | 329

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330 | CHAPTER 26 | Other Applied Chords

D. REALIZING FIGURED BASS

1. Realize each figured bass in keyboard format. Then label the Roman numerals of

the harmonies; note that there is at least one applied chord in each.

D. Realizing Figured Bass | 331

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2. Realize each figured bass in SATB format and label the Roman numerals of the

harmonies; note that there is at least one applied chord in each.

332 | CHAPTER 26 | Other Applied Chords

E. HARMONIZING MELODIES

1. Determine the key and harmonize the following melodies by providing a bass line

and Roman numeral, using at least one applied chord in each. Then fill in the inner

voices in SATB format.

E. Harmonizing Melodies | 333

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2. Harmonize the following melodies:

• Identify the key and provide a bass line and Roman numerals.

• Use an applied chord to harmonize each note that is marked with an asterisk. In

deciding which applied chords to use, it will be helpful to first think what chord

can be used to harmonize the note that follows the asterisked one (since this

will be the goal chord of the applied chord).

• Then fill in the inner voices in SATB format.

334 | CHAPTER 26 | Other Applied Chords

F. IDENTIFYING ERRORS

In the following harmonic progressions, find and circle errors of voice leading or

harmonic progression. Identify the type of error by writing above or below the staff.

G. Composition | 335

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G. COMPOSITION

1. Harmonize the following melody, using block chords, with only one chord per

measure.

• Begin by providing a bass line in dotted half notes, then adding Roman numerals.

The bass should not double leading tones or raised notes in the melody, and as

always, there should be no parallel octaves or fifths.

• Use applied dominants where suggested by the melodic line.

• Label the embellishing tones in the melody.

• Fill in the inner voices, maintaining good voice leading.

2. Provide a keyboard accompaniment for the melody in (1), using the same

harmonies and bass line, but with different time values and an accompaniment

3. Write a short composition in a key and meter of your choice, for keyboard, guitar,

or an ensemble of your choice.

• Start by filling in the harmonic outline below in four-part harmony, keyboard

H. Analysis | 337

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• Complete your composition, using the harmonic outline above.

H. ANALYSIS

Label the keys and Roman numerals in these excerpts; circle the secondary leading

tone within each applied chord. Then, locate and label the cadences.

1. Harmonia Sacra, “How sad our state by nature is!”

HC (or PAC in E)

2. J. S. Bach, Chorale 7

conharm2_ch26_wkbk_inst_325-342.indd 337 21/08/19 2:36 PM

338 | CHAPTER 26 | Other Applied Chords

3. J. S. Bach, Chorale 24 PAC

4. Mauro Giuliani, Etude for Guitar, Op. 100, No. 2

5. Marie-Charlotte Campet de Saujon, “Les regrets”

Translation: In front of witnesses, without finding a path, bitter tears fall back upon my heart.

H. Analysis | 339

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6. Jacob J. Sawyer, “Bob-o-link Mazurka”

7. Corona Schröter, “Jugendlied” (“Children’s Song”)

Also label the embellishing tones.

Translation: When I was still a boy, I was locked in. And so I remained for many years alone by myself, as if in

my mother’s womb.

340 | CHAPTER 26 | Other Applied Chords

8. Robert Schumann, “Von fremden Ländern und Menschen” (“Of Foreign Lands

and People”)

IAC

9. W. A. Mozart, String Quartet, K. 458, ii

H. Analysis | 341

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Compare the above phrase (9) with the one in (8). Which one seems more symmet-

rical and balanced, and which one has more unexpected twists and turns? Describe

some features in each that contribute to this sense.

10. Alessandro Scarlatti, “Son tutta duolo”

PAC

Translation: I am deeply sad, filled with worries, and dying from cruel pain.

11. Jean-Paul-Égide Martini, “Plaisir d’amour” (“The Pleasure of Love”)

Translation: The pleasures of love last but for a moment, [but] love’s chagrin lasts for a lifetime.

Complete a simplified harmonic model of this passage in four-part harmony, key-

board format, one or two chords per measure.