perm filename VP55.XGP[C4,LCS] blob sn#456858 filedate 1979-07-08 generic text, type T, neo UTF8
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␈↓ β⊂␈↓␈↓ 655␈↓ ∀0


␈↓"β
␈↓"β␈↓ β⊂␈↓Exercises for Chapter IV
␈↓"β

␈↓"β␈↓ β⊂␈↓␈↓ βpAnalyze␈α≠the␈α≠following␈α≠works.␈α≠ Show␈α≠the␈α≤distinctions␈α≠between
␈↓ β⊂␈↓major␈α≠and␈α≠minor␈α≤tonics␈α≠through␈α≠the␈α≠use␈α≤of␈α≠upper␈α≠and␈α≤lower␈α≠case
␈↓ β⊂␈↓numerals on the two highest levels of the analyses.
␈↓"β
␈↓"β␈↓ β⊂␈↓ 
␈↓"β␈↓ β⊂␈↓From the 371 Chorales of Bach:*
␈↓"β
␈↓"β␈↓ β⊂␈↓        1.  Chorale  11, up to the 3/4.
␈↓"β␈↓ β⊂␈↓        2.  Chorale  37, all.
␈↓"β␈↓ β⊂␈↓        3.  Chorale  47
␈↓"β␈↓ β⊂␈↓        4.  Chorale  94
␈↓"β␈↓ β⊂␈↓        5.  Chorale  223
␈↓"β␈↓ β⊂␈↓ 
␈↓"β
␈↓"β␈↓ β⊂␈↓From the Sonatas of Mozart:
␈↓"β␈↓ β⊂␈↓ 
␈↓"β␈↓ β⊂␈↓        6.  Sonata in D, K.205b (284), last movement, Variation VII.
␈↓"β␈↓ β⊂␈↓ 
␈↓"β␈↓ β⊂␈↓        7.  Sonata in a, K.300d (310), first movement, 24 bars
␈↓"β␈↓ β⊂␈↓                starting at recapitulation.  (In cases where there are
␈↓"β␈↓ β⊂␈↓                many suspensions and appoggiaturas it is usually best
␈↓"β␈↓ β⊂␈↓                to write out a chordal reduction of the passage before
␈↓"β␈↓ β⊂␈↓                working out the analysis.)
␈↓"β␈↓ β⊂␈↓ 
␈↓"β␈↓ β⊂␈↓        8.  Sonata in C, K.300h (330), second movement, first 20 bars.
␈↓"β␈↓ β⊂␈↓ 
␈↓"β
␈↓"β␈↓ β⊂␈↓From the Preludes, Op.28, of Chopin:
␈↓"β␈↓ β⊂␈↓ 
␈↓"β␈↓ β⊂␈↓        9.  Prelude  1, in C
␈↓"β␈↓ β⊂␈↓       10.  Prelude  6, in b
␈↓"β␈↓ β⊂␈↓       11.  Prelude 20, in c
␈↓"β
␈↓"β␈↓ β⊂␈↓_____________
␈↓"β␈↓ β⊂␈↓* Note that all bass lines in the Bach Chorales are probably
␈↓"β␈↓ β⊂␈↓intended to be doubled at the octave below.  Hence, even if the
␈↓"β␈↓ β⊂␈↓notation of the bass part crosses above the tenor part, the bass 
␈↓"β␈↓ β⊂␈↓part remains the true bass.