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Music Theory I, 4b 319-351a
____/85 = ____%
Name
__________________
Date/period
__________________
1.
When connecting triads whose roots are a second apart, move all the upper voices to the nearest
chord tones in CONTRARY MOTION to the bass.
Write the soprano, alto, and tenor voices for the second chord in each case. Be sure that all the upper
voices move in contrary motion to the bass.
2.
True/False - Incorrect parallel motion is more likely to occur when the bass moves a 2nd than when it
moves a 5th. __________________
3.
Notate the intervals between the voices in the following example (the first is done for you) and then put
an X by the voices that demonstrate incorrect parallel motion.
1st chord
2nd chord
Incorrect parallel motion
a.
Bass and Tenor
M3
m3
b.
Bass and Alto
_____
_____
_____
c.
Bass and Soprano
_____
_____
_____
d.
Tenor and Alto
_____
_____
_____
e.
Tenor and Soprano
_____
_____
_____
f.
Alto and Soprano
_____
_____
_____3a.
What voices
move in incorrect parallel motion in the example below? What is the incorrect interval by which they move?
1
Voices
______________________
Interval
______________________
4.
Write the alto and tenor voices and supply the Roman numeral analysis. Use CLOSE structure for all
chords. (The soprano note, beat one, measure 2 should read C not B flat as written)
F:
5.
_____
_____
_____
_____
_____
Write the alto and tenor voices and supply the Roman numeral analysis. Use OPEN structure for all
chords.
e:
_____
_____
#
#
_____
_____
_____
2
5a.
What irregularity occurs in the second chord?
__________________________________________
6.
When the bass moves UP a second one voice may move in parallel thirds (or tenths) with the bass
resulting in a doubled third in the second chord.
Which of the examples below demonstrates the above principal? Look for a doubled third in the second
chord. _________
a.
b.
c.
6a.
Write the soprano, alto, and tenor voices for the second chord in each case. Be sure that the third is
doubled in the second chord.
6b.
Write the soprano, alto, and tenor voices for the second chord in each case. Be sure that the third is
doubled in the second chord.
b
#
#
b5
3
7.
When progressing from V to VI in harmonic minor, the second chord will usually contain a doubled
third to avoid an A2.
Write the alto and tenor voices and supply the Roman numeral analysis. Be sure that the third is
doubled in the final chord.
#
a: _____
8.
_____
_____
_____
Write the alto and tenor voices and supply the Roman numeral analysis. Remember to use irregular
doubling when moving from V to VI.
#
g:
9.
_____
_____
_____
#
_____
_____
_____
When connecting triads whose roots are a third apart retain two common tones and move the
remaining voice to the nearest chord tone.
Write the soprano, alto, and tenor voices for the second chord in each case. Be sure to retain two
common tones in the same voice.
4
9a.
Write the soprano, alto, and tenor voices for the second chord in each case. Be sure to retain two
common tones in the same voice.
10.
Write the alto and tenor voices and supply the Roman numeral analysis.
F:
11.
_____
_____
_____
_____
Write the alto and tenor voices and supply the Roman numeral analysis. (Take care to avoid having an
A2 in any voice between the last two chords.)
a: _____
11a.
_____
_____
_____
#
_____
_____
Write the alto and tenor voices and supply the Roman numeral analysis.
D: _____
_____
_____
_____
_____
5
12.
When the bass moves UP a third, one voice may move in parallel thirds (or tenths) with the bass
resulting in a doubled third in the second chord.
Write the soprano, alto, and tenor voices for the second chord in each case. (Remember: the third must
be doubled in the second chord.)
#5
12a. Write the alto and tenor voices and supply the Roman numeral analysis. (Soprano note, measure 2,
beat 1, should read as F not E as written)
C: ____
13.
____
____
____
____
Write the alto and tenor voices and supply the Roman numeral analysis. (Be alert when partwriting the
last two chords.)
#
e:
_____
_____
_____
_____
_____
6
13a.
Irregular doubling should not occur in several chords in succession. Return immediately to normal
doubling after a chord in which irregular doubling occurs.
Write the alto and tenor voices and supply the Roman numeral analysis. Irregular doubling will occur at
the asterisk. Take care that doubled tones are left in contrary motion.
*
G
14.
____
____
____
____
____
Write the alto and tenor voices and supply the Roman numeral analysis. (Irregular doubling will occur
at the asterisk. Return to normal doubling immediately.)
*
A:
_____
_____
_____
_____
_____
7