A PPE N DI X 5:

SEL ECTED A NSW ER S TO

T E X T B O OK E X E RC I S E S

This appendix provides answers to selected exercises in the text (by chapter). Select an-
swers are given for exercises through Chapter 24; all answers are provided for instructors
in the Instructor's Manual.

EXERCISE 1A.1
C.
∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1

A major D major

F.
∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1

E major A major B major

EXERCISE 1A.2
A. Extra credit:

D major A major

A-65

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 A-66 THE COMPLETE MUSICIAN

E. Extra credit:

C major B major

EXERCISE 1A.3
Half steps are shown in bold. Step-and-a-half intervals (i.e., augmented seconds) are underlined. All others
are whole steps.)
A2. B–C–D–E–F–G–A–B
B2. A–B–C–D–E–F–G –A–G–F–E–D–C–B–A
C2. B –C–D –E –F–G –A–B 
D2. E –F–G –A –B –C –D –E 

EXERCISE 1A.4 (Writing Scales)

A2. G–A–B–C–D–E–F–G (C is 4 in G major.)
B.2 B–C–D–E–F–G–A–B (D is the mediant in B major.)
C2. D–E–F–G–A–B–C–D (C is 7 in D harmonic minor.)
D2. E–F–G–A–B–C–D–E (The relative major of C minor is E major.)
E2. F–G–A–B–C–D–E–F–E–D–C–B–A–G–F (The relative minor of A major, in melodic form,
is F melodic minor.)
F2. A–B–C–D–E–F–G–A (The parallel major of A minor is A major.)

EXERCISE 1A.5
C.
∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧
1 2 3 4 5 6 7 1

C harmonic minor

D.
∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1

E minor (all three forms) G harmonic minor G melodic minor (ascending form)

∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧ ∧
1 2 3 4 5 6 7 1 1 2 3 4 5 6 7 1

B natural minor B harmonic minor

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 Appendix 5 Selected Answers to Textbook Exercises A-67

EXERCISE 1A.6
B. Melodic minor D. Harmonic minor

EXERCISE 1A.10
B. Minor seconds in B  major: D–E , A–B .
C. Major thirds in the C harmonic minor scale: E –G, G–B, A –C.

EXERCISE 1A.11

m3 P5 m2 d4
M6 P4 M7 A5

EXERCISE 1B.3
A.
2. beat = division = simple or compound?
3. beat = division = simple or compound?

B.

2. simple triple: = 1 beat

38

5. compound triple: = 1 beat 169

EXERCISE 1B.4

B.
68 G.
64

4
E. 2
EXERCISE 2.1
Answers will vary.

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 A-68 THE COMPLETE MUSICIAN

EXERCISE 2.2
A. climax outlines 7ths B.

too conjunct (uninteresting) ends with

leap

C. D. outlined 7th

too much sequential repetition d5 leap

EXERCISE 2.3
C. Schumann, “Wichtige Begebenheit,” from Kinderscenen, op. 15

contrary

8 (6) 3 3 3 6 3 3 3 8 3 3
3
d5 6 8 (d5) d5 6 8 (6) d5 6 8

EXERCISE 2.4
D
aug 2nds unrecovered leap
counterpoint D D D must end on
begins on 1
incorrect
pitch
2 4 6 6 4 8 8 5 5 2 3 3

CF P8 P5
Key: F

EXERCISE 2.5
B.
leap to
dissonance dissonances on downbeat downbeat P8
unrecovered
leap

8 4 9 8 6 4 9 8 6 9 7 6 7 6 6 8 8 6 8 wide melodic
range

leaps to
dissonances P8

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 Appendix 5 Selected Answers to Textbook Exercises A-69

EXERCISE 2.6
D. Brahms, “Unüberwindlich,” op. 72, no. 5 (Ignore the two pitches in parentheses.)

primarily
und doch bin ich neu ge bo ren, läßt sie sich ins Au ge schauen, läßt 2nd
species

6 3 6 3
7 4 6 3 7 4 6 3 6 3
6

EXERCISE 3.1
D. G. J.

root: D E C

quality: d M d
member
of chord 3 rd root 3 rd
in bass:
figured 6 5 6
bass: 3

EXERCISE 3.3
A2. B–D–F
A5. B–D–F
B3. G–B–D
B4. E–G–B
C2. E–G–B
C5. B–D–F
D2. A is the third of an F major triad and the fifth of a D diminished triad.
D5. F is the third of a D minor triad and the fifth of a B diminished triad.

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 A-70 THE COMPLETE MUSICIAN

EXERCISE 3.4
C. G. I. L.

root: E4 A 3 F5 G 3

quality: d m m m

highest: 3 1 1 3

lowest: 5 3 5 1

EXERCISE 3.5
A.
2. 5. 7.
5th 7th 7th

EMM7 do7 c o7

B.
2. 5. 8.

AMm7 c o7 go7

EXERCISE 3.6 The second example is shown.

A.
A1. A2. A3. A4. A5.

DMm7 B mm7 fdd 7 EMM 7 fdm7

B2. D is the third of a Bdd7 chord, the fifth of a Gmm7 chord, and the seventh of an E  MM7 chord.

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 Appendix 5 Selected Answers to Textbook Exercises A-71

EXERCISE 3.8
B1. F–A–C–D
B2. F–A–C–E
B3. F–A–B–D
B4. F–G–B–D

EXERCISE 3.9
B. E. F.

root D E D
type Mm MM dd
4 6 4
inversion 3 5 2

EXERCISE 3.10
A.

6 7 6
full figured bass F: 4 5 4
2 3 2

type of 7th chord Mm dm Mm

member of chord 5 5 5
that is circled

member of chord
in the bass 7 1 7

scale degree in
the bass 4 7 5

EXERCISE 3.11
C. c o G. c o I. c o

B : ii 7 E: iii 7 f : vii 7

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 A-72 THE COMPLETE MUSICIAN

EXERCISE 4.1
A. Vivaldi, Sonata in C minor for oboe
6 P P P

3 3 3
3 3 3 3 3 3 3 3
3
P P P P P P P P
P
3

C Maj CMm7 f min B Mm7 B Maj 6 B Mm7 E Maj c min 6

3 3

10 3

3 3 3
3 3
3
P P 3
P P P
3 P
N N P

6 6
edd7 C Mm 5 f min c min 4 G Mm7 c min

EXERCISE 4.2
B. Rameau, Rondino

PT APT APT PT PT

I V

CL IN

I V I

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 Appendix 5 Selected Answers to Textbook Exercises A-73

EXERCISE 5.1
B.
P P
P P P
N

i V i V V
i HC

D. Clara Schumann, “Les Ballet des Revenants,” from Quatre pièces caractéristique, op. 5

P P N P P
DPT

i i6 V i6 i V
HC

EXERCISE 5.2
C. F.
2 1 5 5

6 3

D: V I E :V I
PAC IAC

EXERCISE 6.1
A.
PT N N

g: i V i V i V i V i
PT in soprano N in soprano N in soprano PAC
i V i

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 A-74 THE COMPLETE MUSICIAN

C.
N PT

e: i V i V i
V
N in soprano PT in soprano
i V HC

EXERCISE 7.2
Soprano SDs 1–2–3 in A minor
First possibility: Second possibility:

a: i V6 i a: i6 vii°6 i
N P
T T

Bass SDs 1–7–1–2–3 in c minor

c: i V6 i vii°6 i6
N P
T

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 Appendix 5 Selected Answers to Textbook Exercises A-75

EXERCISE 7.3
A. Johann Jacob Bach, Flute Sonata in C minor, B. Haydn, String Quartet in D minor,
Allegro op. 76, no. 2, Andante o piú tosto allegretto
30 ten.
( )
mezza voce
pizz.

pizz.

c: i V6 V i6 i V6 V i–6 V i pizz.

i N i N i V i
T D T
D: I IV6 I6
PAC
ARP
T

EXERCISE 8.1
C. Beethoven, Violin Sonata no. 3 in E major, op. 12, no. 3, Adagio con molta espressione

C: I V 43 I6 V6 I V
4
2 I6
P IN evaded
T (D T)
cadence

E. Thomas, Gavotte, from Mignon

Allegretto

Allegretto

4 6 4 4 4 6
G: I V2 I6 V5 I V3 I6 V2 I6 V2 I6 V5 I V
IN IN P N N IN
T D
HC

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 A-76 THE COMPLETE MUSICIAN

EXERCISE 8.2
D. G Major, V43
F. B Major, V65
H. E Major, V42

EXERCISE 8.3
B. Johann Helmich Roman, Flute Sonata in B minor, op. 1, no. 6, Grave

6
e: i viio 5 i6 V 43 i viio7 V7 i
P P CL
T D T
IAC

C. Haydn, String Quartet in G minor, op. 74, no. 3, ii, Largo assai
Largo assai ten. ten.

mezza voce
ten. ten.

mezza voce
ten. ten.

mezza voce

ten. ten.

mezza voce
4 6 4
E: I V2 I6 V5 I V2 I6 viiø7 I
IN IN IN IN
T

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 Appendix 5 Selected Answers to Textbook Exercises A-77

EXERCISE 9.4
B. Handel, Concerto Grosso, op. 6, no. 9, Largo

Violino I.

conc. e rip.

Violino II.

Viola.

Tutti Bassi.

6
F: I viio I6 IV ii6 V
P
T PD D
HC

EXERCISE 10.1
B. Haydn, Piano Sonata in D major, Hob XVI.4, Menuetto
S R S P 3

3 R S R
P P R S
P

6–5
D: 7–6 7–6 6–5
4–3

C. Giardini, Six Duos for Violin and Cello, no. 2

Adagio R P S R
P S

B b:
6 4–3
I V 7–6 V5 I
4
3

double neighbor in bass

T

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 A-78 THE COMPLETE MUSICIAN

EXERCISE 10.2
A. Schubert, Waltz in C minor, no. 27, from 36 Original Dances, D. 365
IN
APP APP
APP IN APP APP

i V7 i V7 i i V7 i V7 i

C. Mozart, Variations on “Ah vous dirais-je, Maman,” K. 265

APP APT S PT PT
APP APP APT IN PT S APT PT APT
N N S
VAR. I. AN

legato AN

EXERCISE 11.1
1
3 5 6 7 11 12
4

2 9
8 10 13

e: 8––––7 /
6 4
7
i 53 6
4
5
3 viio i V 6––––5
4––––
i P4 i6 viio i V3 i6 viio6 i 6–5
V 4–
i

EXERCISE 11.2
A. Mozart, “In diesen heiligen Hallen,” from The Magic Flute
Larghetto
Sarastro

1. In die sen heil gen Hal len kennt man die Ra che nicht,

weak strong
HC HC

E: 6–—5 4 6–—5
I
6
ii V7 I ii
6
V 4–—3 I6 V 3 I V6 I V 4–—3
I ( T PD D) P N
T PD D T T D

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 Appendix 5 Selected Answers to Textbook Exercises A-79

B. Türk, Serenade
Andantino P

sempre piano

5
F: I IV
(6) (3 ) 6
I4
5
3 V
7
5
6
4
5
3
7
5 I
(plagal expansion)
T D T

EXERCISE 12.1
A. Bach, “O Welt, ich muss dich lassen”

P R

APT

B: I IV viio6 I I6 ii7 V7 I
EPM
T PD D T
IAC

C. Mendelssohn, Lieder ohne Worte (“Songs Without Words”), no. 20 in E major, op. 53
Allegro non troppo
sehr innig

3 3
P R

3 3 3 3 3 3 3 3
3
3 3
E: I I6 ii7 V7 I
CL
T PD D T

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EXERCISE 12.2
B. Bach, “O Haupt voll Blut und Wunden”

P R

D: I IV I6 IV6 V65 I9–8 ii65 V I

Plagal EPM
T PD D T
IAC

D. Mozart, Symphony no. 36 in C major, “Linz,” K. 425, Poco adagio

R
P

F: I ii ( 42 ) V65 I IV6 I6
6
II 5
6
V4
7 8
3
EPM
T PD D
ARP HC

EXERCISE 12.3
C. Haydn, Symphony no. 92 in G major, “Oxford,” Hob I.92, Adagio

Violino I

cantabile

Violino II

cantabile

Viola

Violoncello

Contrabasso

8 7 6 7 8
D: I IV V7 I I3 4 5 4 3
EPM (tonic pedal)
T

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 Appendix 5 Selected Answers to Textbook Exercises A-81

Violino I

Violino II

Viola

Violoncello

Contrabasso

4 4 6 5
V2 I6 V2 I6 V7/V V7 I ii6 V4 3
EPM
IN N
PD D
HC

EXERCISE 13.1
A. Bach, Geistliches Lied, “Beschränkt ihr Weisen”

Voice

Be schränkt ihr Wei sen die ser Welt

Continuo

4
A: I vi ii6 V 2 I6 IV V8–7 I
“bridge”
EPM
T PD D T
IAC

C. Mendelssohn, Elijah, opening of Part I

EINLEITUNG.
Grave. ELIAS.

So wahr der Herr, der Gott Is ra els le bet, vor dem ich ste he:
bass solo:
As God, the Lord of Is ra el liv eth, be fore whom I stand

d: i 53 6
4
4
2
5
3 VI V 46 5

T PD D
HC

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 A-82 THE COMPLETE MUSICIAN

D. Bach, Flute Sonata in B minor, Largo

Flöte

Klavier
(Cembalo)

6 6 7 6 5
5 4
b: i VI (iv) i iiø V i
P
ARP
T PD D T
IAC

EXERCISE 13.2
B. Wagner, “Der Augen leuchtendes Paar” (“Those eyes so lustrous and clear”)
(Wotan’s Farewell), Die Walküre, act 3, scene 3
(He clasps her head in his hands.)

Denn so kehrt der Go sich dir ab,

espress.
3

deceptive
e: (V) i iv V7 VI iiø7 V
EPM
(T – PD – D)
T PD D

EXERCISE 14.1
C. ARP prog. fifths prog.

D: I iii IV ii 65 V 42 I6 V 56 I vi ii 6 V7 I
EPM
T IN PD D T

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 Appendix 5 Selected Answers to Textbook Exercises A-83

EXERCISE 14.2
C. Schumann, “Armes Waisenkind,” from Children’s Pieces, op. 68, no. 6
Langsam.

a: i V7 i i V/ III III iio6 V

III
(bridge to V)
T PD D

EXERCISE 15.1
A. Mozart, Piano Sonata in B major, K. 333, Allegretto grazioso
Parallel
interrupted
period
4 mm. 4 mm.

a a
I V I I
HC PAC

B. Mozart, Symphony no. 39 in E major, K. 543, Allegretto

Single phrase

4 mm. 4 mm.

a a
I IV V I
PAC

EXERCISE 16.1
B. Haydn, String Quartet in D minor, “Quinten,” op. 76, no. 2, Hob III.76, I, Adagio
Adagio A (2 mm.) B (4 mm.)

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 A-84 THE COMPLETE MUSICIAN

E. Chopin, Nocturne in F minor, op. 55, no. 1

A (2 mm.) A (2 mm.) B (4 mm.)

EXERCISE 16.2
B. Brahms, Intermezzo in A minor, op. 116, no. 2
Asymmetrical parallel interrupted period with nested sentences
Antecedent Consequent

A (1 m.) A’ (1 m.) B (2 mm.) A (1 m.) A (1 m.)

3 3

B (2 mm. + 1 m.)

repeated cadence in 5th measure

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 Appendix 5 Selected Answers to Textbook Exercises A-85

C. Mozart, Piano Sonata in D major, K. 576, Allegretto

Sentence
A (2 mm.) A’ (2 mm.) B (4 mm.)

Allegretto

EXERCISE 17.1
B. Bach, Gavotte, French Suite no. 5 in G major, BWV 816

D3 (⫺4/⫹2) ⫹ 63
model copy partial copy

10 6 10 6

C.
D2 (⫺5/⫹4)
model copy partial copy

10 8 10 8

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 A-86 THE COMPLETE MUSICIAN

EXERCISE 17.2
B. Handel, Trio Sonata in G minor, op. 2, no. 5, HWV 390, Allegro
A2 (⫺3/⫹4)
model copy partial copy
53

5 6 5 6

6 6 5 6 5 6 6
4
2

EXERCISE 18.3
A. Haydn, String Quartet in F minor, op. 55, no. 2, Hob III.61

6
A: V 5 /V V

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 Appendix 5 Selected Answers to Textbook Exercises A-87

D. Haydn, String Quartet in E major (Finale), op. 20, no. 1, Hob III.31
Presto

6
E : I 6 I ii 5 V8–7 I
/V V
V5

EXERCISE 18.4
A4.

7 4
E : V6/iii viio /vi viio 3/ii

B1. Answers may vary.

o4
B : viio7/V V vii 3/IV IV6 viio6/ii ii viio7/iii iii

EXERCISE 18.5
B.

a: i viio65 iv6 V viio7/V V

/III III

bridge to V
T PD D

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EXERCISE 19.1
A. Clementi, Prelude in A minor, op. 19
tonicization of iv

6 6 8–––––––––7
a: i V5 i V/iv iv V 5/iv iv V 6–––––––––5 i
4–––––––––
N
T PD D T

EXERCISE 19.2
B. deceptive
B. motion

Note: The following chord could also be

understood as a pivot. F: ii6
d: iv6

F: I V6 I V vi
T N d: i iv6 V 4–
6–5
i
T PD D T

E.

B: I viio6 I6 ii6
N g: 6–5
T iv6 V 4– i
PD D T

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 Appendix 5 Selected Answers to Textbook Exercises A-89

G. Mozart, Piano Concerto in G major, K. 453, Allegretto

harmonized neighbor
on soprano

Violino I.

Violino II.

Viola

Violoncello
e Basso.

G: I V7 I ii6 V7 I V V
/vi
T PD D T

“bridge”

vi
D: ii V7 I vi ii6 V7 I
PD D T
EPM

EXERCISE 19.3 Handel, Concerto Grosso in B  major, op. 3, no. 2, HWV 313, Largo
model
Violino I
piano per tui

Violino II
piano per tui

Viola
piano per tui

Violoncello I

Violoncello II

Basso Continuo
Senza Cembalo
g: i V i D2 (–5/+4)

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 A-90 THE COMPLETE MUSICIAN

copy (figuration changes) partial

copy

iv6
6––––––5
B: ii6 V7 I I6 V 4––––––3 I

EXERCISE 19.4
C.
Possible pivot chords from i to III in G minor are:
i becoming vi (G–B–D)
ii°6 becoming vii°6 (A–C–E)
III becoming I (B–D–F)
iv becoming ii (C–E–G) X
VI becoming IV (E–G–B)
D.
Possible pivot chords from I to V in A major are:
I becoming IV (A–C –E)
iii becoming vi (C –E–G)
V becoming I (E–G –B)
vi becoming ii (F –A–C) X

EXERCISE 19.6
E. Modulation from i to v in B minor

b: i vii 7 i vii 6 i6
8 7
f : iv 6 V6 5 i
4

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 Appendix 5 Selected Answers to Textbook Exercises A-91

EXERCISE 21.1
A.

6
F: ii 5 iv VI III V 7/ VI V 43 / III

B3. B5.

E : I IV iv V8 — 7
I I VI iv vii 7/V V64 – 6–5
3 VI iv 6 V8 – 7 I
T PD D T bridge EPM decep.

T PD D T

EXERCISE 21.2
C. J. S. Bach, “Christus, der ist mein Leben”

o 6
7–6
F: I viio I6 ii 5 V8–7 I
P
T PD D T

D.

ARP

VI 5 iio6 iio6 8 7
/ III
A: V V I i V III I
V 7–6 6 5
decep. 4 3

EPM
(T) PD D T

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 A-92 THE COMPLETE MUSICIAN

EXERCISE 21.3
B.

plagal motion

6 6
F: I V 5/ii ii V5 III iio 43 P 6 iio 65 I
/III 4

A2 sequence (chromatic)
T PD T

D. Chopin, Nocturne in C minor, op. 48, no. 1

29

bass arp.
6
C: vi iii I III II 5 V7 I
I PD D T
tonic pedal

EXERCISE 22.1
Answer the following questions.
1. Given the following major-key modulations, what pivot chords are possible?
a. D to F ( III) i ii°6 III iv VI
vi vii°6 I ii IV
i III iv VI
d. A to F ( VI) iii V vi I

2. Complete the following chart.

In what key is the triad . . .
triads I III IV V VI
D major D major B major A major G major F  major
C major
E major E major C major B major A major G/A major
B major
F major
A major

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 Appendix 5 Selected Answers to Textbook Exercises A-93

EXERCISE 22.2
 III in A major can be I in C major (  III) or V in F major (  VI). The latter is realized here
(answers may vary).

A: I V 6/ III III
F: V IV6 V56 I IV V46 —
— 5
3 I
(P)

EXERCISE 23.1

A. Beethoven, Bagatelle, op. 119, no. 9. Make a formal diagram.

(S) APT

6
a: i II V7 i
T PD D T

(S)
7

5 6 5 6 5
II6 V7 i V 4 4
i
PD D T D T

(S) (S)
APT
14

II6 V7 i II6 V7 i
PD D T PD D T

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 A-94 THE COMPLETE MUSICIAN

EXERCISE 24.1
3. 5. 7.

6
c: Ger 65 f: It 6
a: Fr 43

EXERCISE 24.2

A. Mozart, “Wer ein Liebchen,” from Abduction from the Seraglio

Doch sie treu sich zu er hal ten, schliess’ er Lie chen sorg lich ein;
Do not waste your time in chit chat for a wo man’s like a cat,

6
g: i Ger 5 V i6 iio6 V7 i
T PD D T

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