perm filename VP55.XGP[C4,LCS] blob
sn#456858 filedate 1979-07-08 generic text, type T, neo UTF8
/LMAR=0/XLINE=20/FONT#0=MBIG[HHA,LCS]/FONT#1=BMETI[HHA,LCS]/FONT#3=BMUS[HHA,LCS]/FONT#5=MBIG[HHA,LCS]
␈↓ 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.