THE SINGLE LINE; EXERCISES IN ERROR DETECTION

Tell, or write below each example, the error or weakness involved. In the case of Example , use the
numbers below the staff in referring to specific points. All the examples except numbers and are
in C major.
CD A minor @ A minor
'r I r r J J] I J 11& r rr- J J II &ip J3 "' J JW J "
(i)
&J J r E11& JJ)J 11& [J fJ r Irs nr In II
;: rd. H J] I r EE fir IJ t1 r r I E" Pe:r E I a II

&e J. j J :J I ] r:J 1iJ J I J j ] [:J I II 0
@ 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
&e ESUr Ir-J r Et1r ICUfrr mg ItlJ
J
r Dr II
1
- - ~
o
i
TWO VOICES; t : t; EXERCISES IN ERROR DETECTION
Tell, or write below each example, the error or weakness involved. In the case of Exercise @>, use the
numbers above it to refer to specific points. Exercises(D- are in C major, Exercise @>in A-flat major.
CD
" "
fl
I
f. "I
I I
1'
I I
'
I
I
I I 1T ~

...

I

.

o
..
II I
" "
~
LUft
""IT
~
1' I
I
- '
I
'
I
I
t

.,..


_ ,." -e
1
.

II
"
II
,
i '
I !
1'
I I
I
I
1-
!;J";-e
<
~

~ I I - ..

..
I
.
@
2 3 4 5 6 7 8 9 10 11 12 13 14 15
" f
~ ~
I I I
I
.. -
WI'
I
~

~ ~ ~ -

HET
OHI

/


I I
,
-
I I.

n I
I

'11

\I

I I

.... TI
1\
r
,
if it l.

j
;
u
.. )
X
I .. .".

r-

1'!\;
7
.:;;

')
I I I

: ,
I \I
''MOfVW 'I : 1 :S];)IOA
E

1 1 I
-
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'it II
t
-
I \I

I
.
: :--r
(t
III
W
\j
>

(d) I
o<l{
.-.",;:
r.;;
a
(t
,
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I "
@
.
I
-,

1\

(t
1\
JL
tr "

(panuuuo.?) ::>INOl,VIG '(lOfVW 'I : I Oh\l,
TWO VOICES; I : I, MAJOR, DIATONIC (continued)
@
~ ~ " .
I
I
I
)

@
)~ "
t :
@
) ~
"
t
.1_\
-
I
I I
TWO VOICES; 1 : 1, MINOR, DIATONIC
(Raised sixth and seventh scale steps in minor do not count as chromatic alterations.)
CD
fI I I
~ ~
t
,. t'::i
I


.-.-.
t
0

-
.tl.
-
I
I
HET
OHI
6
-
-
-
-
L
I ........
~ -
.:x:::r
I ~
--.."
~
I --. l'
r-.
~ '
7
~
. ~ , , -
>
I 1 I
~ ..
....
WI
-
I I.
...
...
I
CJ
-
I I I.
il
* *
"
1
I -\
.
l ~
.1+ I
I I I
-
.....At I .1t
~
.
,
I
11 II

I'
.
I I .. 11
f'. >
I II
I I I I
i{
.
.,
1 I

f'
n
)
\,I

(P;
mu
l1
uO
:J) JIN01.VIO ''MONIW 'I : 1 :StDIOA 01\\1.
TWO VOICES; 2 : 1,3 : 1, AND 4 : 1; EXERCISES IN ERROR DETECTION
Tell, or write below each example, the errors or weaknesses involved. Use the numbers to refer to
specific points.
CD
2 3 4 5 6 7 8 9 10



I I I
J.

.
b
2 3 4 5 6 7 8 9


r-"'I""-I ............,
. .
.
... y. .. I
t
_.....
h
.
.
. .
.
.

2 3 4 5 6 7 8
1 ______
r:
JHor

r I i
l5S'
9

TWO VOICES; 2: 1, MAJOR AND MINOR, DIATONIC
CiA)
fl
(
lit.
I
I
I . ..
f


@
fI
( t.
-

!' .".

I I
Where a sequence occurs in the given voice, use one in the added voice as well.

f l ~
.
t
it.
-
~


Where a sequence occurs in the given voice, use one in the added voice as well.

fl I
~ U
-
(
-

'1'
-


@
~ " !I
I
< t.
I
I
I
..,
-4
(J ~ " - - ~
~
11


" """
iii i
o
11
NO VOICES; 2: I, MAJOR AND MINOR, DIATONIC (continued)

n
I"
Itt
'\ .1
-

(
.
\

1'\
.
.. I
.I
I
I I
(
j r r r i
@
n
-
..
..,
- ;..
u


, .....
( iii)
@
1"1
~ I ~
{.
po ~ f! .p.
~ ! . , . .p. " I'>
Where eighth notes occur in the C. F., use either a quarter note or two eighths in the added voice.

1'\ a "
~
~
.
.. ill"""" ........ I
I - ~
11

13
'l
' I t . ~
~
1
--
TWO VOICES; 2: 1, MAJOR AND MINOR, DIATONIC (continued)
-
- .. I ttY

. ..
I
-......J
TWO VOICES; 1 : 1 AND 2: 1 WITH CHROMATIC ALTERATIONS
Where chromatic inflections occur and at points marked*, imply an altered harmony - in most cases
a secondary dominant (dominant embellishing chord).
CD 1: 1
a b c
1'1 L
* t
~
,
I I ~
.
.
1 I
I
I 1 r:iI
11 "I
- ,, -
r;.;
(B- flat major) jj6
1
6 viS
IV v ~
1: 1
( *)
-
(*)
1'1 ..
*
I
f ~ :
I I
I
1
I
I
(D minor)
1: lor 2: 1
tI ~ tr
! ~
1
t ~ . ~ . 11
_ u_
~
*
'11
15
TWO VOICES; 1 : 1 AND 2: 1 WITH CHROMATIC ALTERATIONS (continued)
@ l:lor2:1
*
F::...
-
.. .,
I
2: 1
::::3
--I
--==
1\'
~
~
~
"T7
'"'"1
t'\n"
rtJ
-
~
*
.
I
~ ~ .
..
-
.......[
J
~ ~
. -
-
N
2: 1
*
, ~
< ...
I I
I
..
- ..
C1
) :
\
TWO VOICES; 2: 1 (INCLUDING CHROMATIC ALTERATIONS AS DESIRED)
Where eighth notes appear in the C. F., use either a quarter note or two eighths in the added voice.
At fermatas within a chorale melody, the motion may either continue or pause, most often the former.
Chorale Melody: Ein'/este Bllrg (portion)
CD
,....
t:\
F."
I ...... I I I
-

\
t
~ . I
.
L. l':J .. .p. ~ .. l':J

1fi"
.
17


81
J
,
........,l
,
~


I I .-..II!
,
~ ra
-

I \I


>
I I I J I I I I ra
.
.
I \I



I I I I ~
.

,
I II
I,


I'
-
/IIIIIIIi I I
ra
.,
-
......
-
11'''

(ptJnUlIuo:Jj I : Z !S3;)IOA OAli
,
>
I
TWO VOICES; 3 : 1
(Chromatic alterations may be included as desired, from this point on.)
At places where the C. F. has the triplet rhythm, the added voice may either take over the "I" role
(in the 3 : I relationship), or it may continue to move in triplets.
CD
<;
f
.1'1 L
...
..........,.

t
%
J
J J IJ F F
J
<
jJ,
I"l ~ it
~ I ; : i i
..
-

19
1
TWO VOICES; 3 : 1 (continued)
<!)
,.. I
r-3-;
..
l
.
.
-
~ v
.. ~
I I
(C minor)
_ 1-,
9 _
ft. I
r ~

It)
..
-
-
---I
-
-
q........ .. .... e
-
~ ~
==

<
*
fJ
I'"
r---3---,
I
12
~ ~
}\
I' a
.. ~
# ._.. 1
--'03.' - ft...
-tI
-It
-H
{
11
@*
{ ~
..
" ... c ___ ."..0 r-'
t ."..0 f!:. .fL R,. h. .,. .fI-'
*This C. F. is essentially the same as that used in Exercises 7a and 7b on page 11, and the counterpoint to it here
may be an elaboration of the solution there.
20
IZ
"
: ;,;.. }
'II
- -
a I I (l
J/I' J
L....
L.... ~
'-
""* it '"
-
L..--'
'II
. I{
a .. I I I
(l
,
i--e---J
L....-t:---J
-
' I I " " i 1 f ~

I
.
..
. ...,.
.
(panUl1UO:J) I : S3:>IOA OM.L
TWO VOICES; 3 : 1 (continued)


flU
'"
~ ~
{

J.I.
.

. . . ....

. .
.
.
/'lit ...
~ ~

t

.
-
. .
Il
.
.

.,..
i
Consider the possibility of imitation between the voices.

;--3---,
r--M
C ~ . -
t;;1 ;;;J
. . . . - - ~
"
~ I
'----3---l
r-3_
;:::-3:--.
..-4l
e..a::.-J ~ = 3 ~
N
~ 11
. !
22
TWO VOICES; 4 : 1
(Add a voice in sixteenth notes.)
CD
fI I .\
~ .
t :

" I
I
< t..
I


Chorale Melody: Frell' dieh seM, 0 meine Seele (first two phrases)
(;\.
.-.
I
I
VYv
CLrLi)
(Add eighths.)

~ ~ '
t .
,t
I.
,.......,
1"\ t
~ .
~


I
f:\
I
cr r r i i)
vi
(In)
23
I ~
I
I \I

11
--
--
-jt I I
{
r-.
,
it l' v

~
11
"f/I"
....
1
i l'

I
i{
(J
,
\I
(panUl1UO:J) 1 : t ~ S 3 J I O A Ohli
TWO VOICES; 4: 1 (continued)
Chorale Melody: Aile Menschen mussen sterben (first two phrases)
(j)
r., I
~ n"
~
I ~
{ ~ :
I
. -
~
=:::=i _L-
j j j i
j r j r
f.'
~ ~ ..
t:;I
(
.
.
..-
b j Li i
Continue the lower voice, using any values desired, provided an overall rhythm of sixteenth notes is
maintained.
VVv

1'1 ~
t.
-
-
t
-
fl
PI
-
-
f
-
.,
- ....
-
-
-
I(S)
V(j)
jjji"=Y i
Note: For an additional 4 : 1 exercise, see passacaglia theme no. 6 on page 31.
26
LZ
L r L i
I:t
(1 : t' 'I : E '1 : Z '1 : 1) 3SJ)lEIX3 3AISN3H3}1dWO:) OM.!