Entrenamiento Auditivo - Entonación II

CAPÍTULO III MÚSICA TONAL
• introducción
La música tonal se organiza de acuerdo a un complejo sistema de relaciones denominado sistema tonal, a
partir del cual se explican desde la estructura de una melodía simple hasta las combinaciones posibles de acordes y I
el-plan formal de una obra. Es un sistema basado en el concepto de funciones, es decir, que todos los sonidos
que intervienen en una obra desempeñan un papel específico en la red de relaciones sonoras. La meta del
entrenamiento auditivo es aprender a escuchar y realizar música tonal con una conciencia plena de estas funciones
y sus procesos de estructuración.
Es imposible proporcionar en este libro toda la explicación necesaria para comprender la teoría tonal a
profundidad, y las diferentes corrientes de'pensamiento teórico existentes, por lo que se recomienda contar con
diversos libros especializados como material de apoyo para la clase. En este capítulo se abordan únicamente los
conceptos mínimos en los, cuales se sustentan los ejercicios propuestos, dejándose de lado definiciones de
conceptos básicos como escalas, acordes, armaduras, etc. los cuales tendrán que ser resueltos por el maestro. En
las explicaciones se ha optado por el criterio de usar la terminología tradicional, con e! fin de facilitar su
comprensión en alumnos y maestros que carecen normalmente de medios para actualizarse en las últimas j
corrientes de pensamiento teórico.
. . Las funciones tonales pueden dividirse en dos grupos:
a) Funciones de los sonidos

I
Todos ios sonidos que intervienen en una obra tonal tienen dos, funciones, una melódica y otra armónica. La
función melódica indica la relación existente entre cualquier sonido y el primer grado de la escala a la que
pertenecen, llamado Tónica, y reciben los siguientes nombres: ¡
I er grado Tónica
2° grado Supertónica
3er grado Mediante
4° grado Subdominante • ,
5° grado Dominante . • |
6° grado Submediante
7° grado Sensible
Los grados de las escalas diatónicas también pueden ser alterados cromáticamente, nombrándose de acuerdo a la
dirección melódica de la alteración: dominante ascendida, submediante descendida, etc.
Por ejemplo, los sonidos de la siguiente melodía de Mozart son analizados de acuerdo con^sus funciones
melódicas •
m sd d m T sd ase d m T sens. T T ase st d
Las funciones armónicas son las que cumplen los sonidos cuando se asocian a una armonía determinada. La
relación que guardan los sonidos con respecto a un acorde puede ser de dos tipos: sonidos reales, cuando son
parte de la estructura del acorde, y se nombran'de. acuerdo con el intervalo que forman a partir del sonido
fundamental: tercera, quinta, octava, séptima, etc, o bien, pueden ser sonidos de adorno, cuando no son parte
48'
MÚSICA TONAL
del acorde, nombrándose de acuerdo con la relación que guardan con respecto a los sonidos reales: nota de
paso, bordado, apoyatura, etc.
En el ejemplo siguiente, los sonidos de la misma melodía del ejemplo anterior son analizados desde la perspectiva
de sus funciones armónicas:
Ap.
3 "a a.p. 5'V 3na. F 3aa. F 3ca. n.p.
_ F P=I
r j *
r^-nrrj IL_ J*
r— f—» ,
-4
-J¿^ f-J—H_L_
*
1 * i—i +
b) Funciones de los acordes
Por su parte, los acordes pueden clasificarse de acuerdo a tres funciones básicas:
1. Tónica. Reposo, estabilidad, inicio y conclusión de una idea musical.

2. Subdominante. Esta función se puede entender de dos maneras: I) como fuerza armónica que crea un
„..
polo opuesto a Tónica, un alejamiento del punto de reposo, o 2) como fuerza que se dirige a la
Dominante.
3. Dominante. Tensión que conduce al reposo, a la estabilidad.
El encadenamiento de estas funciones da lugar a lo que en ese libro se llaman ciclos cadencíales, es decir,
curvas de tensión y distensión armónica. El ciclo cadenciaí básico -a partir del cual se explican los demás ciclos-
es: Tóntca(T)-Subdominante (S)- Dommante(D)-Tónica, cuya representación sonora mínima se construye
con los acordes de I, IV y V, llamados por esta razón acordes tonales:
A— C> r^ <.>
_^ o o R
t) o v
_i^ e " —
X €> t>
IV V
Los ciclos cadencíales se pueden presentar incompletos, es decir, omitiendo alguna de las funciones, formándose
las siguientes posibilidades: T-S-D, S-D-T, T-S-T y T-D-T, las cuales( se encadenan una y otra vez en'una obra
musical respetando siempre dos condiciones: I) la Tónica debe ser una referencia constante, y 2) la Dominante
debe anteceder a la Tónica en un porcentaje mucho más alto, que la Subdominante. Es por estas condiciones que
los ciclos cadencíales S-D y D-S no forman parte de las posibilidades usuales en la música tonal.
Las funciones pueden ser realizadas con varios acordes diatónicos y/o alterados, que sustituyen o acompañan a
j los acordes tonales. Algunos ejemplos son: .
O o ° Q o
-JL-J^- o ^ O_ . _g o
(£\)—O O " O fj ^ -g —H—H—n—§— g —
j "
x' 0 0.
- - *? Q O
V7 vi
j MÚSICA TONAL
49
De la misma manera que existen sonidos de adorno, también existen acordes de paso, bordado y apoyatura, es
decir, acordes no estructurales que se ubican entre dos acordes estructurales extendiendo las funciones tonales.
Reciben estos non^bres por las características de su conducción melódica;
T s • n T
^ e • —n
y_ o **-* s? 2 u ^ e <§ g
(O—o
•^V ^ o
j-j "
o
/' ¿-f^ ^^v^ - -^^^ : • r-j-j

* 0 « r\
* 0 °
[ Vb Ví nr ó iv n, u v [
acorde acorde acorde
de paso de paso apoyatura
El estudio del sistema de relaciones tonales debe iniciarse desde las primeras clases. Al principio, las diferentes
clases de funciones deben abordarse de manera separada en tres grupos principales:
a) funciones melódicas
b) funciones armónicas
c) funciones estructurales de los acordes
y de manera gradual integrarse en procesos de percepción auditiva y realización globales. En las diferentes
secciones que integran este capítulo se señalan los procesos metodológicos básicos de estudio de cada uno de
estas habilidades. •
• Contenido
El conjunto de ejercicios y ejemplos de la literatura musical que integran este capítulo están ordenados en 8
niveles, de acuerdo con su grado de complejidad melódica, armónica y rítmica y siguiendo en lo general el
desglose temático propuesto por Edlund:
NIVEL I Melodías construidas con los primeros, tres grados de las escalas- diatónica mayor y menor armónica
Funciones armónicas de las voces extremas en acordes mayores
Acordes tonales en estado fundamental y primera inversión
NIVEL II Melodías construidas con los grados I o , 2°, 3°, 4° y 7° de las escalas diatónica mayor y menor
armónica
Funciones armónicas de las voces extremas en acordes mayores y menores
116 y 1165, V7, Acordes en segunda inversión. Cadencia evitada
NIVEL III Melodías construidas con las escalas diatónica mayor y menor armónica completas
V65, V43 y V2. VI. II y 117. Acordes en primera inversión de paso. Progresión por cuartas. Pedal
NIVEL IV Melodías con grados alterados

VII6, VI164 y Vil apoyatura, III y 1116
En este nivel se estudiarán los grados alterados únicamente en su función de sonidos de adorno
cromáticos. Los sonidos alterados que forman parte de un acorde no diatónico se estudiarán de
acuerdo con su fundón armónica.
NIVEL V Escalas menor melódica y natural: usos melódicos y armónicos
NIVEL VI V9yVII7. Dominantes secundarias

50 \A TONAL
A partir de este nivel no se agrega una complejidad específica a la línea melódica: todos los temas
básicos ya han sido abordados. Los ejercicios y ejemplos musicales crecen en complejidad
armónica y estructural, lo que no repercute necesariamente en una mayor riqueza melódica.
NIVEL VII Modulación.
NIVEL VIII Sextas aumentadas. Acorde napolitano
Dependiendo del grado de dificultad, estos niveles están divididos en algunos de los siguientes grupos de
ejercicios:
Contornos melódicos. Secuencias, isocrónicas de entre 8 y 12 sonidos. Sirven para reforzar el desarrollo de la
habilidad de identificar la función melódica de los sonidos,
Función armónica de la soprano y Función armónica de la soprano y el bajo. Secuencias de tríadas sin
conexión tonal, cuyo objetivo-es desarrollar la habilidad de identificar las funciones armónicas de fas voces extremas.
Corales. Pequeñas composiciones a cuatro voces construidas con los enlaces de acordes ya dominados por el
alumno.
Corales de Bach. Antología de corales de Bach que ilustran cómo se usan los acordes estudiados dentro de un
. estilo particular de composición y un período histórico.
Ejercicios melódico-armónicos. Fragmentos de música compuesta o extraída del repertorio musical que
sirven para realizar diversos tipos de ejercicios, como'dictado melódico de la voz superior y/o inferior, dictado
armónico y análisis estructural auditivo.
Ejercicios adicionales. Ejercicios de RITMO de dificultad melódica y/o armónica semejante al nivel estudiado y
que pueden usarse como material adicional, :
AI inicio de cada uno de los niveles, antes de iniciar los ejercicios, se indican los siguientes aspectos:
Conocimientos teóricos. Un resumen temático de los conocimientos teóricos mínimos necesarios para
abordar el nivel correspondiente.
Modelos sonoros. Modelos que deben dominarse antes de realizar los ejercicios.
Esquemas cadencíales. Ciclos cadencíales que ejemplifican la conducción melódica y los usos más comunes de
los acordes que el alumno debe asimilar en cada nivel.
• Reconocimiento auditivo de la tónica

Como la estructuración en la música tonal se basa en las relaciones entre los grados de la escala —y los acordes
que se construyen sobre ellos- y la tónica, es imprescindible aprender a reconocer la tónica cuando se escucha
una obra, y mantenerla todo el tiempo en la mente para poder analizar auditivamente las relaciones melódico-
armónicas. La tónica siempre es determinada por el contexto, es decir, cualquier sonido puede ser considerado
como tónica en la medida que no se pongan en juego relaciones estructurales que determinen su función tonal.
Por eso, la mejor manera de abordar el tema es escuchando grabaciones de fragmentos musicales sencillos, en las
que los parámetros melódico, armónico y rítmico se dirigen hacia puntos cadencíales claros. El maestro debe guiar
la atención auditiva del alumno hacia estos puntos, claves, para identificar la tónica, y-pedirle .que la entone para que
experimente la sensación de estabilidad y reposo asociada a esta función tonal. Algunos ejemplos musicales
incluidos en este libro que pueden ser usados con este fin son:
De RITMO:
NIVEL II Subdivisiones a 4 y 3, ejercicio 2 (compases la 8)

NIVEL III Subdivisión a 8, ejercicios I (compases I a 4) y 3
Subdivisión a 6, ejercicios I y 6 (compases I a 8) x
j -....:— . . . . . . . '
MÚSICA TONAL
. . . - ..- _ ,.„ X 51:..
Subdivisiones a 8 y 6, ejercicio 6 (compases I a 7)
De MÚSICA TONAL:
NIVEL III Modo mayor, ejercicios 1, 2, 3, 5,.6 y 10

Modo menor, ejercicios 1, 3 y 5
NIVEL IV ejercicios i, 4, 5, 6, 7 y 8
Una vez identificada la tónica, ésta se debe desarrollar la capaddad de mantenerla todo el tiempo que dure un
ejercicio en el oído interno. Los ejercicios 3.1 y 3.3 son muy útiles para interiorizar (atónica. Otro ejercicio útil es
escuchar una obra completa manteniendo la tónica cantando y detectándola cada vez que aparezca.
• Reconocimiento auditivo de las funciones tonales de los acordes

La capaddad de reconocer auditivamente las fundones tonales de los acordes de una manera automática es la
base de una formación auditiva tonal sólida. Para iniciar a un alumno principiante en el desarrollo de esta habilidad,
un camino posible es escuchar grabaciones guiando su audición por medio de las sensaciones auditivas y físicas
inherentes a las funciones tonales. En contextos sencillos, es posible reconocer las funciones tonales usando las
siguientes referencias:
a) La Tónica se percibe normalmente como inicio y punto de llegada o reposo de una idea musical. Una
frase musical se construye normalmente con más de un ciclo cadencia!. Salvo en la cadencia final, los
puntos de reposo intermedios suelen tener cierto grado de tensión, originada por el contexto rítmico, la
posición de la soprano y el estado del bajo del acorde tónica, el uso de acordes secundarios o de sonidos
de adorno, situación que puede generar cierta confusión en la identificación de Tónica.
b)~"" La Dominante se escucha cómo una tensión qué demanda una resolución inmediata.
c) La Subdominante es la función más difícil de identificar, entre otras cosas porque la variedad de acordes
que la cumplen: acordes diatónicos mayores, menores, disminuidos, dominantes secundarias o acordes
alterados como el Napolitano o los acordes de Sexta Aumentada. Dependiendo del acorde usado,
puede percibirse como una tensión que no demanda un reposo inmediato, o bien como una fuerza que
se dirige a Dominante, originándose una cadena de tensiones relativas que concluye en Tónica.
Un procedimiento útil para diferenciar las funciones tonales consiste en detener la grabación en un momento
cualquiera y preguntar a los alumnos cuál es la sensación auditiva o física que experimentan.
Algunos ejemplos contenidos en este libro adecuados para iniciar la sensibilización de las funciones tonales son:
De RITMO:
NIVEL II Subdivisiones a 4 y 3, ejercicio 2 (compases I a 8)

NIVEL III Subdivisión a 8, ejercicios I (compases I a 4) y 3
Subdivisión a 6, ejercicio 3 (compases I a 5)
Subdivisiones a 8 y 6, ejercicio 3 (compases I y 2)
De MÚSICA TONAL:
NIVEL III Modo mayor, ejercicios 1, 2, 5, 6 y 10

Modo menor, ejercicios 3 y 5 *
NIVEL ÍV ejercicio I . •
NIVEL Vil -Modo mayor, ejercicio I (compases I a 16)
52
MÚSICA TONAL
El desarrollo de-la habilidad de reconocer la tónica y la funciones tonales desde el inicio del curso permite sentar
más firmemente las bases auditivas en las que se apoyará gran parte de las actividades que se realizarán en el' aula.
* Indicaciones de estudio de modelos sonoros
Los modelos sonoros explicados a continuación son las herramientas auditivas básicas para construir, transformar
y entonar imágenes tonales. Los modelos específicos correspondientes a cada nivel serán indicados al ¡nido del
mismo y deben ser dominados antes de iniciar la realización de los ejercicios.
Fórmulas de conducción a la tónica
Las fórmulas de conducción son una herramienta útil para desarrollar un oído consciente de las funciones
melódicas. Cada fórmula de conducción asocia el grado de la escala correspondiente con Ja tónica siguiendo el
camino melódico más corto:
a) Conducciones de la escala diatónica.mayor
2° grado . 3er grado 4° grado 5° grado 6° grado 7° grado
5fe
«J * 1 J J «j é
11 Í, §J Ji U
—i —9 H-4=j
1 í .. g J ^, iJ 3J i J 3—^
j— J J n
*
1 ~__ _J —_, : 1—;—| 1_^_ , : 1 r.

X 0 1 ' J
m
J *¿
—Ó
..
1i—éj
j
o
*
•
w
\
1—i 1
..... J
o •
+
ó .
V 1 i V T TV 1- V I V T IV V I V I
b) Conducciones de las escalas menores

armónica
2° grado . Ser grado 4° grado 5° grado 6° grado 7° grado
£=g
3=4
/i <->.
V I 1 V 1 IV [ V. ' 1 V I IV V 1 V I
melódica ascendente m
J
J MÚSICA TONAL
IV V ' í • • • Y: - 4
c) Conducciones de grados alterados.
Los grados alterados se pueden clasificar básicamente de tres maneras: notas de paso, bordados y apoyaturas. Sin
importar cuál sea su clasificación, los grados alterados se deben conducir previamente al grado diatónico al cual
resuelve por segunda menor, y posteriormente conducir este grado al atónica. Algunos ejemplos son:
nota de paso nota de paso

bordado descendente bordado ascendente ascendente descendente apoyatura
r-fl
(& L i—!—!—í—K=F
-As—i i i 1 H
r-^
1!
•
^
u
"'
-
.r 1
"iHhr
1 1
t—*
J J
1 1
*
1
V
(
-•^*
1
9
1
9
!
!
\
1
,
1 a 1 —1 ¡^—^-rn—1
n
l
vIL_
A 1 1 1
-7J
1
•
1
1 r
1 1
-/ TÍ
rü—; -£=i=4 4=
\
d _¿
—s—'-%— _i O ^
í— ^
1
1—£^7—*~* j i o— '
—¿_ U£ j o <y I cj- v
V I IV y 1 IV V I IV V I I V I
Se sugiere el siguiente procedimiento general para estudiar las fórmulas de conducción:
1. El maestro define una tónica tocando una cadencia l-IV-V-1 y toca las fórmulas en un teclado. Los alumnos
.deben retener la imagen sonora del conjunto total de. fórmulas y- posteriormente cantarlas
individualmente.
2. El maestro define una tónica y el alumno canta las fórmulas de conducción ordenadamente. El maestro
define una tónica, toca uno de los grados estudiados, el alumno lo conduce a tónica e indica verbalmente
el grado correspondiente.
3.. El maestro define una tónica y le pide a un alumno que cante un grado de la escala específico y lo
conduzca a tónica.
Seguir este proceso cambiando de tónica constantemente.
También es importante estudiar estas fórmulas armonizándolas desde las primeras sesiones de clase para iniciar el
estudio y sensibilización de las funciones tonales. El procedimiento de estudio indicado arriba se debe realizar
también armonizando las conducciones mientras el alumno las canta.
Los siguientes ejercidos del Apéndice I pueden usarse para estudiar las fórmulas de conducción: 2.1, 2.2 y 33.
Fórmulas de conducción a la fundamental del acorde
Para reconocer la función armónica de un sonido, Estrada recomienda utilizar las siguientes fórmulas melódicas,
que tienen como objetivo asociar un sonido a la fundamental del acorde del cual forman parte: .
3a
A " --" ~~^^
U t> f o o « |* ,n
O
*Ht-* "j
~ /^fv 1 i*
1 .
—ffi —
1
,J
54
MÚSICA TONAL
Para asimilar estas fórmulas se pueden hacer los siguientes ejercicios:
1. Tocarlas en un teclado, retener la imagen sonora y entonarlas.

2. Tocar un sonido y entonar una de las tres fórmulas.
3. Tocar un acorde y cantar las tres fórmulas a partir de la soprano, poniendo una atención especial a la
afinación de las dos fórmulas que no corresponden a la función de la soprano, .
4. Tocar de manera rápida series de acordes sin relación tonal, conduciendo ía voz superior a la
fundamental:
caatar
r-fH 0 *
_—^LJ—p *
1
1
^J
P
pF-^—
]
i HJf-^ Sr i
" H-
1 ^r^
M¿5
0
1
etc.
'^
(o) < J2_h : ^
tocar
Los ejercicios 2.1, 2.2 y 3.3 de.l Apéndice I son útiles para estudiar fórmulas de conducción.
Escaías y arpegios
El estudio de escalas y arpegios permite integrar los sonidos aislados en unidades melódicas y armónicas
coherentes, habilidad indispensable para la audición y realización de ejemplos musicales complejos con una mayor
conciencia estructural. • . . •
Para estudiar escalas se pueden hacer los siguientes ejercicios:
I. Tocar un sonido en el teclado y considerarlo un grado cualquiera de la escala. A partir de ese sonido,
cantar la escaía ascendente y descendentemente hasta llegar a tónica. Posteriormente, considerar que ese
mismo sonido es un nuevo grado y cantar la escala correspondiente ascendente y descendentemente
hasta llegar a la nueva tónica:
sol = 2° grado sol = 3er grado sol = 4° grado
—jí- ~) *
-&^> r- i o
i h-
é V*f •
m
*
*
-0—
!
cM
—fe—~*—
—. ^ ti
i
' ,-, é * TI
ij 0
* U '*
sol = 5° grado sol = 6° grado sol = 7° grado
^^=
J
2. Muchos saltos de séptima o novena en melodías diatónicas*se producen por la necesidad de cambiar de
registro un movimiento escalístico. Para ejercitarse en la entonación de estos giros, se pueden estudiar
secuencias melódicas semejantes a las siguientes:
a) saltos de séptima ascendente:
-N J etc.
j 'MÚSICA TONAL
•55-
b) saltos de séptima descendente:
UJ • ' j f r P -etc.
c) saltos de novena ascendente:
j i i irr
=» -i ^H=T
-etc.
d) saltos de novena descendente:
i i i ~
—
—d——J— —«—•— —
—*^-* f f—¡— —— 1 y i j f i*
/< etc.
• 
— !—d —i —i— j * ! !
¿ * ~ i ' v * . 1 -r V • ' 1 -
e) séptima ascendente y novena descendente:
: etc.
' J M
f) novena ascendente y séptima descendente:
-etc.
3. Cantar escalas mezclando fragmentos de diversos tonos. Esto ayuda a la lectura de melodías con
modulación (Kühn, págs. 24 y 25) Algunas variantes pueden ser:
a) considerar el último sonido del primer fragmento como cualquier grado de un nuevo tono:
Mi mayor Fa mayor La mayor Do mayor
7°g. 5°g. T 6°g.
b) combinar fragmentos escalísticos con intervalos::
La mayor y men La b mayor 3a may Fa mayor 2a rnay Mi mayor
T 3er g. 3 erg.
6°g. T
56
MÚSICA TONAL
c) cambiar de dirección melódica los fragmentos:
Re mayor . Fa# mayor Si mayor La mayor
7°g. 5°g. . 6°g. 3er g. 6°g. 7°g.
Estudiar escalas también usando los ejercicios 2.1 y 2.2 del Apéndice I.
Para estudiar .arpegios se recomienda seguir el procedimiento siguiente:
1. Practicar primero la entonación del arpegio ascendente y descendente de un acorde mayor en estado
fundamental:
-e-
Normalmente, los alumnos pueden entonar de manera intuitiva este arpegio. En caso de que aún no
hayan interiorizado la su imagen, se debe estudiar siguiendo el procedimiento señalado en el ejercicio 3.3
del Apéndice. Este arpegio se. tomará como modelo sonoro para entonar cualquiera de las variantes
indicadas en el inciso siguiente. . '
2. Para entonar los arpegios ascendentes en primera y segunda inversión, así como los arpegios
descendentes en posición de 3a y 5a, debe imaginarse (y entonarse en caso de ser necesario) el modelo
'y "recorrerlo" mentalmente hasta hallar el sonido a partir del cual se debe entonar el arpegio. Por
ejemplo, para entonar un arpegio ascendente de un acorde mayor en segunda inversión se deben seguir
los pasos siguientes:
hall.ar la
imaginar el arpegio modelo quinta • cantar
Una vez dominadas todas las variantes del arpegio, pueden realizarse los siguientes ejercicios:
Entonar cualquier variante a partir de un sonido dado previamente en un teclado, sonido que se
considerará fundamental, tercera o quinta del acorde: .
arpegio en posición de 5a arpegioen posiciónde 3a arpegio en posición de 8a
^-->.
'
Q <r"cq: é
..— ~--
i T 7»
i —— * ' i,0 1. * *' :=! ^* ~» * jhí
arpegio en 1a inversión
Si existe dificultad en crearse la imagen sonora del arpegio a partir del sonido dado, se puede recurrir a
j
las fórmulas de conducción a la fundamental del acorde explicadas en la página X para hallar mentalmente
el arpegio modelo y localizar los sonidos que se deberán entonar. Por ejemplo, para cantar un arpegio
mayor en I a inversión a partir de fa#, seguir los siguientes pasos:-
j tocar
cantar o imaginar la
conducción a la fundamental imaginar el arpegio modelo cantar el arpegio en I a inversión
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MÚSICA TONAL
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2. A partir de un sonido dado, entonar los sonidos del arpegio siguiendo un orden libre:
A i i •
-^ jhi b7 ¿>
rm c? v 9 * &
3. Entonar saltos entre los sonidos del arpegio, imaginándose siempre el o los sonidos intermedios:
salto entre 3a y 8n salto entre 5a y F ' salto entre 3a y 5a salto entre 3a y 5a

__Q , : -& 1
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4. Dar un sonido en el teclado y considerado fundamental, 3a ó 5a y, sin entonarlo, cantar otro sonido del
acorde. Por ejemplo:
a) La# es 3a de Fa# mayor. Entonar la 5a:
ESE
b) La es 3a de Fa mayor. Entonar la 5a:
Todo el procedimiento general de estudio de arpegios y los ejercicios propuestos se puede usar para estudiar
cualquier tipo de acorde: mayor, menor, disminuido, aumentado, séptima y novena de dominante y séptima de
sensible.
Para practicar la entonación de arpegios de séptima de dominante y séptima de sensible, Edlund recomienda usar
también las siguientes fórmulas, las cuales refuerzan la asimilación-de su función estructural:
VTT
v9 niay
v
58
MÚSICA TONAL
VU7d¡s V1UW
Estudiar los arpegios también usando los ejercicios 2.1, 2.2, 2.3, 2.4, 2.9, 2.10, 2.12, 3.3, y 3.4 del Apéndice I,
Los arpegios también se pueden estudiar siguiendo un plan tonal predeterminado. El procedimiento básico
consiste en escribir un cifrado armónico y entonar los arpegios correspondientes usando un patrón melódico, o
bien, hacer un coral a partir del cifrado y entonar de manera arpegiada cada una de las voces. Por ejemplo:
A , j» 1 * i —, —-1 , , i 1 1 1 1
p- -í — r¿~f~MH-J-*^rH-Jri~^— / r— |-^~ í I ••*
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• Esquemas cadencíales
Los esquemas cadencíales son breves ciclos cadencíales que ejemplifican la conducción melódica y los usos más
comunes de los acordes que el'alumno debe asimilar en cada nivel. Deben ser analizados, tocados en un teclado,
memorizados y transportados.
Para estudiar los esquemas cadencíales debe usarse un lenguaje basado en las funciones armónicas de los
sonidos, y no las alturas absolutas, lo que facilita enormemente la comprensión de su estructuración tonal y la
transportación. Por ejemplo, la descripción de las voces de la cadencia básica de la página "x" es:
Soprano: comienza en la 8a de I; permanece y se convierte en 5a de IV; desciende por salto a 3a de V y

sube por grado conjunto a 8a de I.
Contralto: comienza en 5a de I; sube por grado conjunto a 3a de IV; baja por grado conjunto a 8a de V y
permanece y se convierte en 5a de I.
Tenor: comienza en 3a de I; sube por grado .conjunto a 8a de IV; baja por salto a 5a de V y sube por
grado conjunto a 3a de I.
Bajo: comienza en la fundamental de 1 y siempre se mueve hacia las fundamentales de los acordes.
Algunos de los esquemas cadencíales que se proponen han sido tomados de Mackamul y Kraft,
• Instrucciones para resolver ios ejercicios
Es importante realizar los ejercicios de contornos melódicos y los ejercicios de reconocimiento de la funciones
de la soprano y bajo de desde las primeras clases, una vez.resueltos los tópicos de teoría básicos necesarios. El
dominio del reconocimiento de las funciones melódicas y armónicas de los sonidos será requerida para.hacer los
. .-V...-V f ... .. 59
MÚS!O\L
ejercicios melódicos-armónicos. Estos últimos deberán realizarse sólo después de que el alumno tenga cierto
dominio en la lectura de melodías con dificultad equivalente. .
En general, es conveniente comenzar el estudio del nivel siguiente mientras se está trabajando en los ejercicios
del nivel actual. La asimilación de nuevos temas teóricos y habilidades prácticas siempre tomará un tiempo
considerable, por lo que un estudio escalado de los niveles facilita la fluidez de la clase.
Para realizar los ejercicios propuestos en el libro se sugiere seguir los procedimientos siguientes:
Contornos melódicos
En la grabación, todos los contornos estarán precedidos por una cadencia l-IV-V-i, y cada sonido de la secuencia
se-escuchará 2 veces.
I
1. , Identificar la tónica a partir de la cadencia.
2. Conducir a tónica mental y oralmente todos los grados escuchados sin detener la grabación.
3. Escribirlos. . . |
Una vez que se domine la identificación logre conducir a tónica con fluidez, es posible realizar las siguientes
variantes:
1. Memorizar toda la secuencia de sonidos y escribirla posteriormente. Si resulta difícil memorizar la

secuencia entera se puede comenzar por conjunto más pequeño de sonidos. Siempre es importante
remarcar que se debe memorizar el objeto sonoro y no únicamente la secuencia numérica de los grados
de la escala. Esta indicación es válida para todos los ejercicios que demanden un esfuerzo de retención
sonora. •
2. Leer el ejercicio una vez resuelto, primero conduciendo todos los grados a tónica (oral y mentalmente),
y posteriormente sin conducirlos, dando a cada sonido un mismo valor rítmico (lectura isocrónica).
3. Leerlo en silencio.
4. Transportarlo.
Un ejercicio atractivo consiste en hacer el dictado sin escuchar la cadencia previa, es decir, sin conocer de . ! I
antemano la tónica. Esto obliga al alumno a retener la imagen total de la secuencia de sonidos y reconstruir la
escala mentalmente para poder identificar la función melódica de ios sonidos escuchados.
Los siguientes ejercicios del Apéndice 1 se pueden realizar con los contornos melódicos: 2.6, 2.12, 2.15, 2.16,
3.5,3.6,4.1 y 5.3.
• ¡
i
Fundón armónica de la soprano
Estos ejercicios consisten en secuencias de acordes a tres voces en posición cerrada encadenados sin seguir una
lógica tonal. En la grabación, cada acorde se escuchará dos veces.
En los ejercicios del NIVEL I se indican los sonidos de la soprano. En los niveles posteriores el alumno también
deberá resolver esta voz, para lo cual deberá contar con un conocimiento auditivo solvente de los intervalos de
2as mayores y menores. • I
El procedimiento para resolver estos ejercicios es el siguiente:
I. Entonar el sonido de la voz superior del primer acorde y conducirlo mental u oralmente hacía la
fundamental del acorde. Escribir la función correspondiente en la parte superior del pentagrama.
2. Deducir teóricamente el nombre del acorde y.escribirlo en la parte inferior del pentagrama. I
60
MÚSICA TONAL '-

3, Regresar a la voz superior y escuchar con detenimiento el movimiento melódico de la voz superior para
identificar el intervalo que realiza.
4. Entonar el nuevo sonido y repetir el procedimiento señalado.
Función armónica de la soprano y Función armónica de la soprano y el bajo.
Estos ejercicios consisten en secuencias acordes a 4 voces en posiciones abiertas o semiabíertas, encadenados
también sin seguir una lógica tonal. En la grabación, cada acorde se escuchará dos veces. Hay que resolver: el
contorno melódico de la voz superior y la función armónica de cada sonido; el nombre del acorde, la función
armónica y nombre del sonido inferior, y las voces intermedias.
En los ejercidos del NIVEL I se proporcionan los sonidos de la soprano, pero en los niveles posteriores el
alumno también'tendrá que resolver esta línea melódica. Como ésta no sigue una lógica tonal, deberá contar con
un conocimiento auditivo solvente de los intervalos de Zas y 3as mayores y menores, y 4as y 5as justas.
El procedimiento para resolver estos ejercidos es el siguiente:
1. • Entonar el sonido de la voz superior del primer acorde y conducirlo mental u oralmente hacia la
I • fundamental del acorde. Escribir la función correspondiente en la parte superior del sistema.
2. Realizar el mismo procedimiento con la voz inferior, deduciendo teóricamente el nombre del sonido.
3. Escribir el nombre del acorde en la parte inferior del sistema.
I 4. Regresar -a la voz superior y para escuchar el movimiento melódico de la voz superior e identificar el
intervalo que realiza* . •
• t 5, Repetir el procedimiento con el nuevo acorde.
! • • .
Estos últimos, ejercicios pueden servir también para'adiestrarse en el reconocimiento de las voces intermedias.
Para identificar la contrate) se puede cantar oral o mentalmente el sonido inmediato inferior del arpegio a partir de
i la soprano y escuchar atentamente si éste forma parte del acorde en ese. mismo registro; de no ser así, continuar
hasta hallar el sonido correcto. El mismo proceso se puede seguir para hallar el tenor a partir del sonido del bajo.
!
Corales y Corales de Bach
j ' Todas las indicaciones dadas para resolver dictados melódicos y armónicos e identificación de las voces
intermedias en las secciones anteriores deben ser usadas para realizar dictados de corales, los cuales sirven para
estudiar los usos más comunes de los acordes propuestos en cada nivel. Como el objetivo de estos ejercicios es el
j ' de profundizar en el conocimiento del lenguaje armónico, deben resolverse primero las voces extremas y el
cifrado, y dejar para el final las voces intermedias, Inclusive es recomendable resolver la voz inferior y el cifrado
antes que la voz superior. Antes de realizar los dictados deben haberse estudiado todos los conocimientos
! • teóricos necesarios y los esquemas cadencíales que se proponen para cada nivel. Los corales del NIVEL l'son
secuencias de acordes escritos sin compás y con ritmo isocrónico, para permitir al alumno principiante
concentrarse solamente en la sensibilización de las funciones tonales.
}
Ejercicios melódico-armónicos
~ Estos ejercicios están compuestos de una línea melódica y un acompañamiento simple construido con los
acordes estudiados en el nivel correspondiente, y sirven para realizar diversos tipos de ejercicios, principalmente
dictados melódicos, armónicos y análisis estructural auditivo, dependiendo de los objetivos propuestos en el plan
de clase y del nivel de los estudiantes.
En primera instancia, cuando el alumno aún no domina fas habilidades armónicas teórico-auditivas necesarias, se
debe comenzar por realizar dictados de la línea melódica. El procedimiento general a seguir es el siguiente:
•-• - . 61
MÚSICA TONAL
Para los NIVELES I y II:
/.
1. Analizar auditivamente la estructura de la melodía.
2. Retener internamente la imagen sonora de un fragmento significativo de la melodía (una frase, un motivo,
etc.)
3. Cantarlo.
4. Conducir todos los sonidos a la tónica.
5. De ser necesario, escribir primero el contorno melódico para luego concentrarse en el análisis del
esqueleto rítmico.
6. Continuar con los siguientes fragmentos hasta concluirla.
También son importantes los siguientes ejercicios:
1. Retener la imagen sonora de la melodía entera (de ser necesario aprendiéndola por fragmentos), antes
de escribirla.
2. Realizarla en el teclado o en cualquier otro instrumento después de haberla escrito.
3. Analizar la melodía internamente (toda o por fragmentos) y realizaría en un instrumento antes de
escribirla.
A medida que los conocimientos teóricos y las habilidades auditivas relacionadas con la armonía sean asimilados,
se pueden hacer los siguientes ejercicios:
a) Dictado .armónico:
• I. Identificar auditivamente las funciones armónicas (Tónica, Subdominante y Dominante),

2. Cantar la voz inferior e identificar los grados que la componen, discriminando entre sonidos reales y
extraños a la armonía.
3. Conducir a la fundamental del acorde todos los sonidos reales.
Si los conocimientos teóricos han sido asimilados correctamente, este procedimiento conduce en un porcentaje
muy alto a la identificación del cifrado armónico. Por ejemplo, si un acorde tiene función de Subdominante y la voz
inferior tiene el 6 grado con función' armónica de tercera se tratará sin duda de IV6. Sin embargo, este
procedimiento resulta incompleto cuando se trata de acordes con séptima, sobre todo cuando la séptima se
localiza en las voces intermedias. En estos casos hay que recurrir también al a identificación del color del acorde.
Los acordes con séptima más comunes en la música tonal son el W, I1Ó5 y VI17. Para reconocer si un acorde
contiene la séptima o no, hay que prestar una atención auditiva especial al sonido que completaría la séptima.
b) Analizar auditivamente las melodías desde la perspectiva de su relación con la armonía.
Es sumamente importante que el alumno desarrolle la habilidad de reconocer de manera automática la

función armónica de los sonidos de la voz superior. Esta habilidad le facilitará enormemente la resolución
de problemas de modulación complejos así como acordes o secuencias armónicas que aún no
pertenecen al conjunto de posibilidades que ha estudiado o poco comunes en la literatura musical. Si un
alumno escucha un acorde que no pertenece al conjunto de posibilidades del nivel que está estudiando,
puede resolver el problema identificando el color del acorde, grado de la escala que se encuentra en la
voz superior, y su función armónica. Así, en Re mayor, un acorde menor que tiene el ler grado de la
escala con función de 5a será el IV menor.
A partir del NIVEL III se utilizan ejemplos del repertorio musical, con los cuales se realizarán básicamente los
mismos ejercicios ya mencionados arriba, probablemente omitiendo algunos puntos del procedimiento si los
62
MÚSICA TONAL
alumnos ya han asimilado los conocimientos correctamente. Sin embargo, en la medida en que se avanza en
complejidad será necesario desarrollar otras habilidades, en particular la entonación fluida de tríadas en cualquier
inversión, posición de soprano, arpegios quebrados y fragmentos escaJísticos ascendentes y descendentes a partir
de cualquier grado de la escala. Estas habilidades permrten comprender y escuchar los sonidos que integran las
melodías en unidades lógicas en lugar de escuchar únicamente grados de la escala y funciones armónicas, y son
indispensables para resolver melodías con saltos amplios y giros escalísticos rápidos.
En general, los ejemplos de repertorio sirven para hacer dictados de las líneas superior, inferior y el cifrado. Sin
embargo, no en todos los ejemplos es posible realizar estos tres elementos, sobre todo porque la dificultad
armónica de los mismos puede exceder los conocimientos hasta el momento adquiridos por el alumno. Por el
contrario, en otros ejemplos será posible escribir una o más voces intermedias. Todas las indicaciones que
conciernen a la realización de los ejercicios están indicadas en la sección del capítulo correspondiente.
J
63 \A TONAL
NIVEL I :
MELODÍAS CONSTRUIDAS CON LOS PRIMEROS TRES GRADOS DE LAS ESCALAS DIATÓNICA
MAYOR Y MENOR ARMÓNICA
FUNCIONES ARMÓNICAS DE LAS VOCES EXTREMAS EN ACORDES MAYORES
ACORDES TONALES EN ESTADO FUNDAMENTAL Y PRIMERA INVERSIÓN
I. Conocimientos teóricos
• Estructura de la escala diatónica mayor y menor armónica

• Armaduras
• Formación y cifrado de acordes y sus inversiones
• Posición de la soprano de' los acordes
• Notas extrañas a la armonía:, nota de paso, bordado, apoyatura, anticipo, suspensión y escape
• Reglas básicas de enlaces de acordes
• Conceptos básicos de lógica estructural tonal (funciones tonales)
•' Conceptos básicos de armonización de melodías
• Usos comunes de los acordes I, IV, V en estado fundamental y primera inversión
II. Modelos sonoros
• Fórmulas de conducción a la tónica de los primeros tres grados de las escala diatónica mayor y .menor
- armónica. Ver indicaciones de estudio en la pág. X - - . . .
• Arpegios ascendentes y descendentes de acordes mayores e cualquier inversión y posición de soprano.
Ver indicaciones de estudio en la pág. X
• Fórmulas de conducción a la fundamental de acordes mayores. Ver indicaciones de estudio en la pág. X
III. Esquemas cadencíales
a) Acordes tonales en estado fundamental. Los acordes en estado fundamental se cifran con el número
romano correspondiente al grado de la escala a partir del.cual se construye la tríada. Normalmente se escriben
con la fundamental duplicada.
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MÚSICA TONAL. NIVEL I

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b) Acordes tonales en estado fundamental y primera inversión. Los acordes tonales en primera inversión
pueden ser usados en lugar o además de los acordes tonales en estado fundamental, precediéndolos o
sucediendo los. Como todos los acordes en inversión, se cifran indicando con números arábigos en la región
derecha. inferior del número romano los intervalos más significativos con respecto a la voz más grave.
Normalmente es escriben con la fundamental duplicada.
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-- 65-
MUSICA TONAL. NIVEL I
IV. Ejercicios
Consultar las instrucciones correspondientes en las páginas/x y x.
CONTORNOS MELÓDICOS
Modo mayor
1. Re mayor 2. Fa mayor 3. La mayor

4. Sib mayor 5. Mi mayor 6. Sol mayor
Modo menor
I. Sol menor 2. Si menor 3. Fa menor

4. Mi menor 5. Do menor 6. Fa# menor
FUNCIÓN ARMÓNICA DE LA SOPRANO
Se indican los sonidos de la soprano
Acordes mayores
I. do6-do6-reb6-reb-do6-do6-do#-re6-re6 2. re6-mi6-mib6-mib6-reb6-reb6-reb6-do6
3. mi6-fa#6-sol6-sol6-soi6-lab6-la6-so!6 4. fa5-sol5~la5-lstb5-sib5-si5-do6-do6
5. la5-soI5-labS-sib5-s¡5-Ia5-sib5-do6 6. mib6-re6-dq6-do#6-do6-si5-la5-lab5
7.fa#5-sol#5-sol5-fa#5~sol#5-sib5-!a5-si5 8. fa#6-sol6-fa6-mi6-fa#6-fa6-mi6-mib6
FUNCIÓN ARMÓNICA DE LA SOPRANO Y EL BAJO
Se indican los sonidos de la soprano
Acordes mayores
I. re5-mi5-re5-fa5-sol5 2. sol5-mi5-do5-fa5-soI5 3. si5-re6-m¡6-mi6-fa6 4. Ia6-fa6-lab6-s56-mi6

5. sol#6-sib6-so!6-la6-do6 6. mib6-soib6-Ia6-fa#6-sib6 7, Iab5-mi6-si5-fa6-re#6 8. sol5-si5-reb6-so!6-sib6
CORALES
l)lyV
Modo mayor
I. Do mayor 2. Re mayor 3. Sib mayor 4, Mib mayor
Modo menor
I, Mi menor 2. Do menor 3. Fa menor 4. Sí menor

II) I y IV
Modo mayor
I. Mib mayor 2. La mayor 3. Sol mayor 4. Fa mayor
Modo menor
I. Sol menor 2. Fa# menor 3. Mi menor 4. Do menor
III) I.IVy V
Modo mayor
I. Sib mayor 2. Re mayor 3. Mib mayor 4. Sol mayor
Modo menor
I. Si menor 2. Sol# menor 3. Fa menor 4. Sib menor
IV) I6 f IV6y V6
•Modo mayor
I. La mayor 2. Fa mayor 3. Mi mayot 4. Reb mayor
Modo menor
1. Si menor 2. Sol menor 3. Sol#menor 4. Fa menor
EJERCICIOS MELÓDICO -ARMÓNICOS
Modo mayor
1. Do mayor. Escribir la melodía del violoncello y el cifrado.

2. Mi mayor. Escribir la melodía de la flauta y el cifrado.
3. Fa mayor. Escribir la voz superior del piano.
4. Lab mayor. Escribir la melodía de la flauta y el cifrado.
5. Re mayor. Escribir la línea melódica del violín I y el cifrado.
6. Sib mayor. Escribir la melodía del violín y el cifrado.
j Modo menor
1. Re menor. Escribir la melodía del violoncello y el cifrado.

2. La menor. Escribir la melodía del clarinete y el cifrado,
3. Do menor. Escribir la melodía déla flauta y el cifrado.
4. Sol menor. Escribir la melodía del violín y el cifrado.
-^.67,
5. Si menor Escribir la melodía del oboe y el cifrado,
6. Mi menor. Escribir la melodía del clarinete y el cifrado.
68
MÚSICA TONAL NIVEL I

NIVEL
MELODÍAS CONSTRUIDAS CON LOS GRADOS 1°, 2°, 3°, 4° Y 7° DE LAS ESCALAS
' DIATÓNICA MAYOR Y MENOR ARMÓNICA
FUNCIONES ARMÓNICAS DE LAS VOCES EXTREMAS EN ACORDES MAYORES Y MENORES
116 y 1165. V7. ACORDES EN SEGUNDA INVERSIÓN. CADENCIA EVITADA
• Usos comunes y conducción melódica de los acordes en segunda inversión

• Usos comunes y conducción melódica de II y 116
• Construcción de los acordes de séptima y sus inversiones
• " Usos comunes y conducción melódica de V7
• Cadencia evitada • •
Modelos sonoros
• ' Fórmulas de. conducción a la tónica de los primeros grados I, II, III, IV y VII de las escala diatónica mayor y
menor armónica. Ver indicaciones de estudio en la pág. X
• Arpegios ascendentes y descendentes de acordes mayores menores en cualquier inversión y posición de
la soprano. Ver indicaciones de estudio en la pág. X
• Arpegios de los acordes V7 y 1165. Ver indicaciones de estudio en la pág. X
• Fórmulas de conducción a la fundamental de acordes mayores y menores. Ver-indicaciones de estudio en
la pág. X " - •
I I I . Esquemas cadencíales
Ver indicaciones' de estudio en la pág. X
a) Acorde de II en primera inversión. Este acorde tiene función de Subdominante y se usa casi siempre en
lugar de IV y de manera muy esporádica antecediéndolo o sucediéndolo. Se escribe normalmente duplicando la
tercera, lo cual refuerza su parentesco con IV. En algunos períodos históricos, el 116 es inclusive más usado que IV
para preceder a V .
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b) Acorde de I en segunda inversión cadencíal. Es un acorde apoyatura que se utiliza para reforzar el sentido
condusivo de una cadenda, y retarda la aparición de V, prolongando la función de Dominante. Su 3a y 8a
resuelven descendentemente a la 5a y 3a del V, respectivamente. Como en todos los acordes en 2a inversión, se
escribe duplicando su 5a, acercando más su sonoridad al V.
69
MÚSICA TONAL. NIVEL II

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d).Acorde de I I en primera inversión con séptima. Este acorde tiene exactamente la misma función y usos
que. 116. El acorde de IV está de. hecho contenido en el 1165 (en do mayor: fa-la-do-re), por lo que en muchas
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además del intervalo de séptima menor entre la fundamental y la 7a, se forma un trítono entre la 3a y la 7a,
reforzando aún más la necesidad de resolución a Tónica. La 7a siempre tiene que resolverse descendentemente
hacia la 3a de I, sin importar su ubicación, y la 3a de V, que es también la sensible, tiene que conducirse
ascendentemente hacia la 8a de I si se encuentra en una voz extrema. La conducción vocal usualnnente obliga a
omitir la 5a para duplicar la 8a.
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70 ' \A TONAL NIVEL II

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IV. V, v,
f) Acordes segunda inversión de paso, bordado y apoyatura. Los acordes en segunda inversión son
considerados en la teoría tonal tradicional como acordes disonantes, por lo que raramente representan una
función tonal, y son usados como acordes de paso, bordado o apoyatura. En todos los acordes en segunda
inversión se duplica la 5a del acorde. El siguiente esquema cadencia! ejemplifica los usos comunes de estos acordes
y sus formas básicas de conducción melódica: . . .
Acorde apoyatura
Acorde de paso • Acorde de paso ( fcadendal) Bordado
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(V. Ejercicios
Consultar las instrucciones correspondientes en las páginas x y x.
Modo mayor
\. La mayor 2. Mib mayor 3. Si mayor 4. Fa mayor

5. Re'mayor 6. Sol mayor 7. Lab mayor 8. Do mayor -
Modo menor
I. Mi. menor 2. Sol menor 3. Fa# menor 4. Do menor

5. Si menor 6. Fa menor 7. Re menor 8. Do# menor
J FUNCIÓN ARMÓNICA DE LA SOPRANO
Se indican los sonidos iniciales de la soprano
J Acordes menores
I.mi6 2.fa#5 '3. Ia5 4. si5 5. fa#5 6. do6 7. re6 8. Iab5
71
MÚSICA TONAL. NIVEL II

Acordes mayores y menores
l.s'ó 2. faS 3. reo < 4. fa#ó 5. laó ^ sib 5 7. mió 8, soí#5
FUNCIÓN ARMÓNICA DE LA SOPRANO Y EL BAJO • • .
Acordes menores
l.do#6 2. sol#5 3. mió 4. sol#5 5. fa6 ó. fa#5 7. re#ó 8. so!5
Acordes mayores y menores
l.reó 2. si5 3. mió 4, faó 5. si5 6. laó 7. si5 8. sib5
CORALES
J) lió. Ió4 cadencia!. Cadencia evitada
Modo mayor
I. Do mayor . 2. Sol mayor 3. Mib mayor 4. La mayor 5. Re mayor ó. Fa mayor
Modo menor
I. La menor 2. Re menor 3. Mi menor 4, Si menor ' 5. Sol menor ' 6. Fa menor
2) Acordes en segunda inversión, 1165. V7
Modo mayor
I. Fa# mayor 2. Mi mayor 3. Sol mayor 4. Lab mayor 5. Si mayor ó. Reb mayor
Modo menor
I. Do menor 2. do# menor 3. Sol menor 4. Fa# menor 5. Mi menor ó. Si menor
EJERCICIOS MELÓDICO-ARMÓNÍCOS
Modo mayor
1. Míb mayor. Escribir la melodía del clarinete y el cifrado,

2. Sol mayor. Escribir las tres melodía de la flauta y el cifrado.
3. Re mayor. Escribir la melodía del violín I y el cifrado.
4. Sib mayor. Escribir la melodía del violín y el cifrado.
5. Fa mayor. Escribir la voz superior del piano y el cifrado,
ó. Sol mayor. Escribir la melodía de la viola y el cifrado.
72
MÚSICA TONAL NIVEL II

Modo menor
1. Re menor. Escribir la melodía del violín y el cifrado.

2. Fa menor. Escribir la melodía del oboe y el cifrado,
3. La menor. Escribir la melodía del violín I y el cifrado.
4. Sol menor. Escribir la melodía del clarinete y el cifrado.
5. Do menor. Escribir la melodía de la flauta y el cifrado.
6. Si menor. Escribir la melodía del oboe y el cifrado.
.. 1
73
MÚSICA TONAL NIVEL II

NIVEL
MELODÍAS CONSTRUIDAS CON LAS ESCALAS DIATÓNICA MAYOR Y
MENOR ARMÓNICA COMPLETAS
V65 r V43 Y V2. VI. II Y 117. ACORDES EN PRIMERA INVERSIÓN DE PASO.
PROGRESIÓN POR CUARTAS. PEDAL
• Usos comunes y conducción melódica de V65, V43 y V2

• Usos comunes y conducción melódica de VI, II y 117
• Usos comunes y conducción melódica de los acordes en primera inversión de paso
• Usos comunes y conducción melódica de la progresión por cuartas y variantes sencillas
• Notas extrañas a la armonía: pedal
Como a-partir de este nivel se utilizan ejemplos del repertorio musical, es necesario que le maestro fomente el
estudio del período histórico en el cual fueron compuestas las obras, datos biográficos de los compositores, las
formas musicales más comunes de la época y sus características esenciales, etc.
Modelos sonoros
• Fórmulas de conducción a la tónica de todos los grados de las escala diatónica mayor y menor armónica.
Ver indicaciones de estudio'en la pág. X .
• Arpegios de V65, V43.V2 y 117. Ver indicaciones de estudio en la pág. X
• Esquemas cadencíales. Ver indicaciones de estudio en la pág. X .
a) Acordes de V con séptima en I a , 2a y 3 a 'inversión. La primera y segunda inversión de V con séptima,

V65 y V43, tienen los mismas funciones que V6 y V64, respectivamente. La tercera inversión, V2, al tener la 7a en
la voz inferior, se conduce de manera obligada aló. La siguiente cadencia resume los usos más comunes de estos
acordes;
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74
MÚSICA TONAL. NIVEL II!

b) VI. II y II con séptima. El uso más común del acorde VI en estado fundamental es continuando ía función de
Tónica iniciada con i, pero, exceptuado la cadencia evitada, casi nunca lo sustituye. Los acordes de II y 117 son
usados tanto en lugar de o después de IV, 116 ó 1165:
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c) Acordes en primera inversión de paso. Entre dos acordes separados por un intervalo de 3a es posible usar
un acorde en I a inversión de paso que, como los acordes en segunda inversión, sirve para prolongar la función
tonal:
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Los acordes en primera inversión de paso en el modo menor se estudiarán en el NIVEL V.
d) Progresión por cuartas ascendentes. Las progresiones armónicas son patrones de enlaces que se repiten
transportándose a un intervalo regular, y pueden ser entendidas como prolongaciones más complejas de una
función tonal. Los patrones -las unidades armónicas que se transportan- se construyen siguiendo también la lógica
de funciones tonales. La progresión por cuartas, es decir el encadenamiento de acordes cuyas fundamentales se
encuentran a distancia de cuarta, es ía más usada en la música porque reproduce el enlace V-I, o bien, el I-IV.
Desde el período barroco hasta el romántico, su uso es sumamente generalizado y puede adoptar variantes muy
complejas. El esquema de conducción básico es:
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75
MÚSICA TONAL. NIVEL III

Algunas variantes simples son:
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La progresión por cuartas en el modo menor se estudiará en el Capítulo V.
e) Pedal. El pedal es un sonido que permanece tenido, generalmente en la voz inferior, mientras se suceden
acordes que no necesariamente lo contienen. El pedal se usa por lo general al comienzo de una frase, y sobre él
se realiza una cadencia:
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IV. Ejercicios
CONTORNOS. MELÓDICOS
Modo mayor
1 . Re mayor 2. Sib mayor 3. La mayor 4. Reb mayor

5. Mi mayor 6. Fa mayor 7. Sol mayor 8. Do mayor
Modo menor
1 . Do menor 2. Si menor 3. Sol menor 4. La menor

5. Si menor 6. Fa menor 7, Fa# menor 8. Sib menor
76 \A TONAL NIVEL III

CORALES
i
Modo mayor • • /
I. Mi mayor 2. Do mayor 3v Lab mayor 4. Si mayor 5. Do mayor 6. Sol mayor
Modo menor
I. Re menor 2. La menor 3. Do menor 4. Fa# menor
CORALES DEJ. S. BACH
Modo mayor
I. Coral 129 (sol mayor) 2. Coral 127 (la mayor) 3. Coral 172 (sib mayor)
Modo menor
I . Coral 253 (fa mayor) 2. Coral 15 (sol menor) 3. Coral 357 (re menor)
EJERCICIOS MELÓDICO-ARMÓNCOS
Modo mayor
1. J. S. Bach, Cantata Actus tragicus, BMV 106, I en Mib Mayor, I. Sonatina, Mofto Adagio (mib mayor)
Escribir las melodías de las dos violas de gamba, el continuo y el cifrado.
2. W. A. Mozart, Misa en Do mayor, Coronación, K. 3 17, V. Benedictas (do mayor)

Escribir las melodías de los violines I y II, el contrabajo y el cifrado.
3. H. Purcell, Come ye sons of art, II. Come, ye sons ofart, come awa/(re mayor)
Escribir las voces extremas y-el cifrado.
La armonía contiene un acorde de dominante secundaria,
...J 4. F. Couperin, Lecons de Tenébres, Premiére Legón (sol mayor)
Escribir la melodía de la voz.
5. F. J. Haydn, Sinfonía N° 45 en Fa# menor, IV. Adagio (la mayor)

Escribir las voces extremas y el cifrado.
6. L. van Beethoven, Cuarteto de cuerdas op. 58 N° I en Fa mayor, L Aílegrofa mayor)

Escribir el ejemplo íntegro y el cifrado.
7. R. Schumann, Klnderscenen, op. 15 N° 1,1. Von fremden Lándem und Menschen (sol mayor)
Escribir la voz superior
• 8. F. J. Haydn, Cuarteto de cuerdas en Re mayor, op. 71 N° 2, II. Adagio cantabile (la mayor)
Escribir las voces extremas y el cifrado
9..A. Vivaldi, Nísi Dominus, RV 608, VI. Beatus vrr (la mayor)'
.77

10. F. j. Haydn, Cuarteto de cuerdas en La mayor, op. 20 N° 6, II. Adagio cantad/Je (mi mayor)
Escribirlas voces extremas y el cifrado
Modo menor
1. J. S. Bach, Concierto para clavecín en Re mayor BMV 1054, II. Adagio e piano sempre (si menor)
Escribir la voz inferior.
2. G. B. Pergoiesi, Stabat Mater, XII: Dúo: Quando Corpus morietur (fa menor)
Escribir la voz superior
3. W. A. Mozart, Cuarteto de cuerdas en Sol mayor K. 156, II. Adagio (m menor)

Escribir las voces extremas. •
4. j. S. Bach, Trauer Ode BVW 198, X. Coro final: Doch Kóning! Du stribest nicht (sib menor)
Escribir las voces extremas
5. M. Haydn, Sinfonía en Do mayor, P. 12, II. Andante (la menor)

6. H. Purcell, An eveníng Hymn, The night is come

7. G. Malher, Lieber eines. fahrenden Gesellen, IV. Die zwei blauen Augen von meinem Schatz (mi menor)
"Escribir la línea melódica de la voz.
8. F. J. Haydn, Sinfonía N° 45 en si mayor menor, Hob 1:45 Fareweil, IV. Finale: Presto(fa# menor)
•V. Ejercicios adicionales
Modo mayor
De RITMO:
NIVEL I Subdivisión a 2 -Melodía del ejercicio N° 4 (fa mayor).
NIVEL il Subdivisión a 4 -Cifrado del ejercicio N° 3 (fa mayor)

-Melodía del ejercicio N° 5 (sib mayor). La melodía tiene un grado
alterado.
Subdivisión a 3 -Cifrado del ejercicio N° I (la mayor).
Subdivisiones a 4 y 3 -Voces extremas y cifrado del ejercicio N° 1, comp. I a 8 (sol mayor).
La armonía tiene un acorde de dominante secundaria.
-Voces extremas y cifrado del ejercicio N° 2, comp. I a 8 (do mayor).
-Voces extremas y cifrado del ejercicio N° 5, comp. I a 7 (sib mayor).
NIVEL III . Subdivisión a 8 -Voces extremas y cifrado del ejercicio N° 1 comp. I a 4 (do mayor).
-Voces extremas y cifrado del ejercicio N° 3 (do mayor). La voz
superior tiene un grado alterado.
78
MÚSICA TONAL NIVEL III

-Melodía del ejerdcio N° 4 de Ritmo, comp. I a 4 (do mayor)
-Voces extremas y cifrado del ejercicio N° 5, comp. I a 6 (do mayor).
La armonía tiene un acorde de dominante secundaria,
Subdivisión a 6 -Voces extremas y cifrado del ejercicio N° I (la mayor). La
. melodía tiene un grado alterado y la armonía un acorde'de
dominante secundaria.
-Voces extremas y dfrado'-del ejercicio N° 3 (fa mayor). En los últimos
dos compases hay una moduladón a dominante.
-Voces extremas y cifrado del ejercicio N° 6 (sib mayor). La armonía
tiene un acorde de dominante secundaria y en los últimos tres
compases hay una modulación.
Subdivisiones a 8 y 6 -Voces extremas y cifrado del ejercicio N° 3, comp. I a 4 (sol mayor).
La armonía tiene un acorde de dominante secundaria.
-Voces extremas y cifrado del ejercicio N° 5 (re mayor), comp. I a 8.
La voz superior tiene un grado alterado.
-Voces extremas y cifrado del ejercicio N° 6, comp. 1 a 7 (do mayor)
De MÚSICA TONAL;
Nivel VI -Voces extremas del ejercicio N° 4, comp. I a 7 (sol mayor).

.-Voz superior del ejercicio N° 5 (la mayor). La melodía tiene un grado alterado.
Nivel Vil Modo mayor -Voces extremas y cifrado del ejercicio N° I, comp. I a 16 (la mayor).
-Línea melódica de la voz, los vidines, e! continuo y el cifrado del ejerdcio
N° 2, comp. I a -15 (fa mayor). La armonía contiene un acorde de
! dominante secundaria. .
. -Voces extremas del ejercicio N° 4, comp. I a 4 (re mayor)
-Voces extremas y cifrado del ejercicio N° 5, comp. I a 7 (sib mayor)
Nivel VIII -Voz superior del ejercicio N° I (re mayor)
Modo menor
De RITMO:
NIVEL II Subdivisión a 3 - Voces extremas y cifrado del ejercicio N° 4, comp. I a 4 (fa menor).
- Voces extremas del ejercicio N° 6 de Ritmo, comp. I a IO (si menor).
La voz superior tiene un grado alterado.
Nivel III Subdivisión a 6 - Las dos voces y cifrado del ejerdcio N° 2, comp. I a 6 (si menor). •
De MÚSICA TONAL;
Nivel VI -Voces extremas del ejercicio N° IO (mi menor). La voz superior se construye con el
violín solista y las flautas.
Nivel Vil Modo menor -Voz superior del ejercicio N° I, comp. I a 5 (la menor)
-Melodía del ejercicio N° 3), comp. I a 6 (mi menor)
j A -< . _ • ;_„•••• 79
MÚSICA TONAL. NIVEL III

80
MÚSICA TONAL NIVEL III

NIVEL IV
MELODÍAS CON GRADOS ALTERADOS
VII6, VI164 Y Vil APOYATURA. III Y 1116
• Sonidos de adorno cromáticos

• Conducción melódica y usos comunes de III, 1116, Vil y VII6.
• Construcción y usos comunes del acorde apoyatura
IL Modelos sonoros
• Fórmulas de conducción a la tónica de grados alterados. Ver indicaciones de estudio en la pág. X

• Arpegios ascendentes y descendentes del acorde disminuido en cualquier inversión y posición de la
soprano. Ver indicaciones de estudio en la pág. X
• Esquemas cadencíales. Ver indicaciones de estudio en la pág. X
IIL Esquemas cadencíales
"a) VII6. VII64. Acorde apoyatu.ra-de VIL Al contrario del acorde Vil en estado fundamental, cuyo uso es muy
escaso, VII6 y VII64, son de uso común en la música tonal, especialmente VII6. Este acorde se usa en lugar de V,
después de IV, 116 ó II, o bien de paso entre I y 16. VII64, por su parte, se usa casi siempre después de IV ó 116. En
el acorde de VII6 se duplica la 3a y en VI164 la 5a:
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El Vil es también muy usado como acorde apoyatura de I en cadencias conclusivas, aunque en este libro se cifra
indicando los movimientos melódicos en relación al:
81.
MÚSICA TONAL NIVEL IV

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b) III en estado fundamental y primera inversión. Estos acordes son poco usados en la música tonal,
especialmente el III. En-los períodos barroco y clásico es difícil encontrarlos en un contexto que no sea una
progresión, y en muchas ocasiones el contexto los define mejor como resultado de movimientos melódicos mas
que como acordes con importancia estructural. El III del modo mayor se usa después de I y V para prolongar las
funciones de Tónica y Dominante, respectivamente, pero casi nunca los sustituye ni los antecede. También puede
anteceder a 16, tanto en el modo mayor como del menor (escala armónica menor). El 1116 es un poco más
frecuentemente recurrido, sobre todo para probngar la función de Dominante y se usa antes o después de V, o
bien, reemplazándolo,-En estos casos se duplica siempre 3a, acercando más su sonoridad al V:
_S T
| 0
-t*rrf
r, í i j
]f
1 ~f a1
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í
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-O-%, rs 1 p i s' jj
• T w *l
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ir ' va
T I) T T n T s D T
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v" i?
IV. Ejercicios
Modos mayor y menor
I. La mayor 2. Sib mayor 3. Fa menor 4. Re mayor 5. Do mayor

6. Mib menor 7. Lab mayor 8. Do# menor 9. Sol mayor I Ó. Fa mayor
CORALES
Modo mayor
I. Re mayor 2. Lab mayor 3. Sib mayor 4. Mib mayor S.Reb mayor 6. Si mayor
82
MUSIÓ TONAL NIVEL IV

Modo menor
I. Re menor 2. La menor 3. Mi menor 4. Do menor
CORALES DEj. S. BACH
Modo mayor
I. Coral 9 (la mayor) . 2. Coral 27 (la mayor) 3. Coral 1 3 1 (la mayor) 4. Coral 139 (fa mayor)
5. Coral 145 (re mayor) 6. Coral 157 (sol mayor) 7. Coral 186 (la mayor)
Modo menor
I. Coral 26 (fa# menor) 2. Coral 328 (do menor) 3. Coral 352 (sol menor)
Modos mayor y menor
1. L. van Beethoven, Concierto para piano y orquesta N° 2 en Sib mayor op. 19, Allegro con brío (sib mayor)
2. F. Schubert, Sonata para violín y piano op. 137, Ñ°~ 3 en Sol menor, A/legro giusto (sol menor)
La armonía contiene un acorde de dominante secundaría
3. J. Brahms, Sinfonía N° 2 en Re mayor op. 73, Allegro non troppo (Re mayor)
Escribir las voces extremas y el cifrado .
La voz superior está construida por la flauta I y los violines I.
La armonía contiene una cadencia a V. ' .
4. W. A. Mozart, Sinfonía N° 40 en Sol menor, K. 550, Andante (mib mayor)

En los primeros 3 compases, la línea melódica superior se va construyendo con la entrada sucesiva de las violas,
los violines II y los violinés I.
La armonía contiene acordes en mixtura simple.
5. L. v. Beethoven, Sonata para piano en Sib mayor, op, 22 N° I I , Adagio mo/úa espressíone (mib mayor)
Escribir el ejemplo íntegro
La armonía contiene un acorde de dominante con novena y un acorde alterado.
6. W. A Mozart, Sinfonía N° 38 en Re mayor, K, 504 Praga, Andante (sol mayor)

7. F, J. Haydn, Cuarteto de cuerdas en Sol mayor, op. 77 N° I, Adagio(W\b mayor)

Escribir las voces extremas y el cifrado. ' •
La voz inferior se construye entre el vioíoncello y la viola.

La armonía contiene un acorde de dominante secundaría.
83
MÚSICA TONAL. NIVEL IV

Se usa una figura rítmica de septillo.
8. L. van Beethoven, Sonata para piano en Sol mayor, op. 3 I N° I, Adagio gracioso (Do mayor)
Escribir el ejemplo íntegro.
La armonía contiene un acorde alterado.
V. Ejercicios adicionales
De RITMO:
NIVEL I Subdivisión a 2 ^-Voces extremas y cifrado del ejercicio N° I (si mayor). La armonía
tiene un acorde de dominante secundaria.
-Cifrado del ejercicio N° 4 (fa mayor)
NIVEL II Subdivisión a 4 -Voces extremas del ejercicio N° 2 (la mayor)

-Voces extremas y cifrado del ejercicio N° 3 (fa mayor)
-Cifrado del ejercicio N° 5 (sib mayor)
Subdivisión a 3 -Voces extremas y cifrado del ejercicio N° I (la mayor), comp. I a 10
NIVEL III Subdivisiones a 8 y 6 Voces extremas del ejercicio N° 2 (mib mayor), comp. I a 4
DE MÚSICA TONAL:
NIVEL III Modo menor -Cifrado del ejercicio N°l (si menor)
-Cifrado del ejercicio N° 4 (sib menor)
84
MÚSICA TONAL NIVEL IV

NIVEL V
ESCALAS MENOR MELÓDICA Y NATURAL/
USOS MELÓDICOS Y ARMÓNICOS
L Conocimientos teóricos
• Secuencias armónicas comunes en la armonización de melodías construidas con las escalas menor
melódica y natural.
II. Modelos sonoros
• Fórmulas de conducción de los grados VI y Vil de las escalas menor natural y menor melódica
ascendente y descendente. Ver indicaciones de estudio en la pág. X
.Ver indicaciones de estudio en la pág. X
Los acordes representativos de las escalas menor natural y melódica ascendente y descendente son aquellos que
contienen el 6° grado ascendido o el 7° grado descendido. En este libro se cifran normalmente señalando
expresamente la escala a la cual pertenecen. 'Sin embargo, en algunos contextos complejos resulta más claro
indicar con abreviaturas la calidad del acorde: VIIM, Vldis, etc. -
a) Escala menor natural . • .
La escala menor natural es de hecho poco usada en la música tonal ya que, al carecer de sensible, no contiene
acordes con función de Dominante, por lo que no es posible construir cadencias con sentido conclusivo. Como
esta escala tiene los mismos sonidos que su relativo mayor, hay una fuerte tendencia a escuchar III como Tónica:
l i l i
e£—J*—j j i i
(] '
g*
/^ "JF—J
f ri • '—
^
"'
^): A—i—
4 J --J
_,—j—_—i-,— — ,— «! ' H 1 J r
*
V
VII III } II6 I{ V7 I .
meo. liar.
(M) V I ' .
Las progresiones en modo nrlenor se construyen básicamente con esta escala:
T s o T
- J1 . J[ dI —
1 I r r
-J J ._Jl iJ _Jl iJ J! —.—_ —J J
J?
Kp->=
2r-J
--¿3~^r~
:= —§— ::H¿ ^~ • —^ ^ 2 *( C ^ §-W ^
J • -* ^ ^ —4 -^ P-JJ- -^
i
^: £ 1* _ ^ J r • -—j ^ j -_f __j* * ,» _ 1
r-
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IV Vfl III VI
I
n v i i iv6 vii m6 vi í(6 v r
tiieti. nal.
MÚSICA TONAL. NIVEL V

_S D
-<MH—i
' —í
VsU 4 J 9 •
é s* +*
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f l< 1
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4
i t !
1 '
V! A r\\f V* VI IV V
b) Escalas menor melódica ascendente y descendente
La escala melódica ascendente se usa más frecuentemente en voces superiores, y el 6° grado suele armonizarse
con un acorde no funcional:
T S D S D T S D
, ,
J-% 1 -4- H— H
-/K fr i « áÁ r~n ^ 1 ~í
r —y
%
qp=j UJ—fjj-
rgf^" •G
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-
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—ir—
—' r— * -$--—
1— -f
H
|
i—
J V6 iJ V? i I I V V IV, Vo I fÍ6 i; Y r
1 5
La escala menor descendente, por el contrario, se encuentra principalmente en la voz inferior, y el 7° grado no
siempre es armonizado: •••• • - - • .--- . -
T. _S O T
P r-
1 j J 1 J J
H n
—L<
-fbr-^f — H í 2—-Ü-¿
* i* i
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J 7— jff -j- : •*-:
—i 1 J ^
v6 rv6 v I ,1 vi [ rv n7 v? í;
l_ i
incn. mel. dcác.. mcn. ind. dcsc..
IV. Ejercicios
Ver indicaciones de estudio en-la pág. X
I. Si menor 2. Sol menor 3. Fa# menor 4. Do menor

5. Do# menor 6. Re menor 7. Fa menor 8. Mi menor
CORALES
I. Si menor 2. Do menor 3. Fa menor 4.' Mi menor 5. La menor 6. Re menor
8.6
MÚSICA TONAL NIVEL V

I CORALES DEj. S. BACH .. ' . ,
I. Coral 83 (sol menor) 2. Coral 93 (sol menor) 3. Coral 175 (la menor) 4. Coral 7 (la menor)
j . 5. Coral 3 (mi menor) 6, Coral 109 (si menor) 7. Coral 300 (la menor)
.' j • ' EJERCICIOS. MELÓDICO-ARMÓNCOS •
I I. F. J. Haydn', Cuarteto de cuerdas en Do mayor, -op 20 N° 2, Adagio (Do menor)

Escribir el ejemplo íntegro.
{ ; 2. J. S. Bach, Oratorio de Navidad, Aria N° 4 Bereite dich Zion (la menor)

Escribir la voz superior.
'• \. L. van Beethoven, Cuarteto de cuerdas en Fa mayor, op. 59 N°, Adagio mofto e mesto (Fa menor)
Escribir las voces extremas.
i •
" | 4. G. B. Pergolesi, Miserere II en Do menor, Miserere mei (do menor)
! ' •
5. J. Brahms, Sinfonía N° 3 en Fa mayor, op 90, Poco af/egretto(do menor)
j Se usa una figura rítmica de cinquillo".
6. F. Mendeissohn, Concierto para violín y orquesta en mi Menor, op 64, Allegro mofto apasionante (mi menor)
| • Escribir las voces extremas.
7. j. Brahms, Sonata para violín y piano en re menor, op 108 N° 3, Allegro (re menor)
' j Escribir a voz superior.
. 8. G. Malher, Das Lied von der Erde, II. Dur Ensarne in Herbst, (re menor)
! Escribir la melodía del oboe.
9. M. Mussorsgky, Cuadros de una Exhibición, II vechio castello, Andantino mofto coantabile e con dolore (re
' \)
La voz superior se construye con l'a alternancia del clarinete bajo y el oboe.
']
10. G, Fauré, Pavana para orquesta y coro, op, 50 (Fa# menor)
Escribir las voces extremas y el violín 2.
...... j
. , V. Ejercicios adicionales
De RITMO:
_.J NIVEL 1 Subdivisión a 2 -Voz superior y cifrado del ejercicio N° 5 (la menor)
|
_.j NIVEL lí Subdivisiones a 4 y 3 -Voces extremas del ejercicio N° 3 (sol menor), comp. I a 4
•j ' _ '-.'- \7
MÚSICA TONAL. NIVEL V

De MÚSICA TONAL:
Nivel III Modo menor -Voces extremas y cifrado del ejercicio N° 6 (mi menor)
Nivel VI -Voz superior del ejercicio N° 1 (mi menor)
Nivel VIII -Voz superior del ejercicio N° 2 (fa menor)

-Voces extremas del ejercicio N° 3 (fa menor), comp. I a 8
MÚSICA TONAL NIVEL V

NIVEL VI
ACORDES DE V9 Y VII7. DOMINANTES SECUNDARIAS
Conocimientos teóricos
• Construcción y conducción melódica de los diversos tipos de acordes de V9 y VI17

• Concepto y función de los acordes de dominante y séptimas secundarias.
Modelos sonoros
• Arpegios ascendentes y descendentes de los acordes V9 y VII7 en cualquier inversión y posición de la

soprano. Ver indicaciones de estudio en la pág. X
• Esquemas cadencíales. Ver indicaciones de estudio en la pág. X
I I I . Esquemas cadencíales
a) Acordes de V con novena y Vil con séptima. Los acordes de V con novena y VII con séptima se forman
agregando una tercera más a V7 y Vil, respectivamente, y, al contener más intervalos disonantes, tienen una
•-tendencia a resolver a Tónica más fuerte que cualquier otro acorde con función de Dominante, La 9a puede ser
mayor o menor, y ambas variantes son usadas en modo mayor. Por el contrario, en el modo menor sób se usa V
con novena menor. Los acordes de V9 se usan principalmente en estado fundamental:
>r
"MS
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> Jf i A J J W
é /L\3 9
T
,
1
, j) • . 1 •
Í
y
•
o
1
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V9t I V9
El V1I7 también tiene dos variantes: con 7a menor y 7a disminuida. Al igual que V9, ambas variantes se usan en el
modo mayor, pero en el modo menor sólo se usa Vil con séptima disminuida:
L ^ u
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w
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n
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89
MÚSICA TONAL. NIVEL VI

b) Dominantes secundarias.
Las dominantes secundarias son acordes con función de Dominante que se dirigen hacia otros acordes que
fungen como tónica secundarias, creando con esto focos temporales de atracción tonal. En un plano estructural
más amplio, las dominantes secundarias se entienden como acordes de prolongación de las funciones tonales Es
posible tonicaltzar cualquier acorde diatónico mayor o menor, anteponiéndole cualquier variante de acorde con
función de Dominante: V, V7, V9r Vil ó VII7 en estado fundamental o en inversión, o acordes alterados como V
con la 5a ascendida o descendida. En este libro se indican uniéndolos con una flecha horizontal al acorde al cual
resuelven; si éste no es usado inmediatamente después, el acorde tonicalizado se señala debajo de una línea
diagonal colocada en la región derecha inferior del acorde de dominante secundaria. Algunos ejemplos de
dominantes secundarias son:
i i ji Jé 1 J1 J1 i 1 n i Ji i
/y L é
j J *J
A
4
| í
J
|
é
|
J
, ~" 1 > J
h V * bJ &* ~J tJ
7 i •
^ Hh* _ ? J
r i r
í m ? iJ
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lff\ m "M
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m fi
V }
4 r r r 1 r r
• 1. 1, i
"
CY 4
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f ,'
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o
^
i
x
J
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i
i
~ht ^—V : fi fi fi fi
I V VI V V7-oVI ÍV6 V I I II6 V I V7-<>ÍV Vil? I
T S D T_ _S D T T D T_ _D T D
yr /o » v* f4 j i J
? *
i*
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r fJ ?^?J J ^
f
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~ *
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•
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. ji^
1
——
.lili. íl —,.—^—
j S V -tf
^
i iv VIL i vn7t-^>n V6 I V7 III VI V"-7

xv
Es posible tonicalizar un grado anteponiendo no'solamente un acorde de Dominante, sino también un acorde de
Subdomimente, construyéndose así una cadencia secundaría, que se indica encerrándola entre corchetes:
f}
y 4^ »f
/
' Jj
J J1
é *
J1 J
é
MV í f * - u -
VS-Ü 4 f
1
J J r i
^
d-*• v4 r í
^ '
1
1
p 1
1
i
•^ - .. ,.
I [U7VlL]-i>V6 I •
Se recomienda al alumno explorar en el teclado las múltiples posibilidades de construcción de dominantes

secundarias y cadencias secundarias, usando como referencia para la conducción melódica los esquemas
cadencíales ya estudiados:
90
MÚSICA TONAL. NIVEL VI

IV. Ejercicios
CORALES
Modo mayor
I. Re mayor 2. Mib mayor 3. Do mayor 4. Lab mayor
Modo menor
I. Sol menor 2. Fa# menor 3. Re menor 4. Si menor
CORALES DE J. S. BACH
Modo mayor • ' •
I. Coral 372 (La mayor) 2. Coral 3 15 (Sol mayor) 3. Coral 69 (Do mayor) 4. CoralóO (Sib mayor)
Modo menor
I. Coral 256 (la menor) 2. Coral (361 (la menor) 3. Coral 199 (re menor)
. EJERCICIOS MELÓDICO-ARMÓNCOS
1. J. F. Haendel, Sonata para 2 violines y bajo continuo en mi menor, op. 5 N° 3, Zarabanda (mi menor)
Escribir voces extremas y cifrado. . •
2. G. B. Pérgolas!, Sabat Mater, Dúo: Sancta Mater, istud agas.(mi menor)

3. M. Glinka, Sonata para viola y piano en Re menor, Allegro (re menor)

La armonía contiene un acorde de 6a Aumentada.
4. R. Schumann, Sonata para clarinete y piano N° 2 en- Re menor, op. 121, Le/se e/nfaá} (re menor)
Escribir el ejemplo íntegro y el cifrado
5. R. Schumann, Romanza para clarinete y piano N° 2 en La mayor, op. 94, Einfach, innig
6. W. A. Mozart, Quinteto para clarinete y cuerdas en La mayor, K. 581 Larghetto (la mayor)
8. F. Schubert, Sinfonía N° 2 en Sib mayor, Largo (sib mayor)

Escribir las voces extremas y el cifrado
La armonía contiene un acorde en mixtura simple.
9. J. S. Bach, Concierto de Brandemburgo N° 4, Andante (m\)

91
MÚSICA TONAL NIVEL VI

Escribir las voces extremas y e! cifrado.
La voz superior se construye con el violfn solista y las flautas.
Ejercicios adicionales
De RITMO:
NIVEL Subdivisión a 4 -Voces extremas y cifrado'del ejercido N° 2 (la mayor)

Subdivisión a 3 -Voces extremas y cifrado del ejercicio N° 6 (si menor), comp. a 10
NIVEL Subdivisiones a 8 y 6 -Voces extremas y cifrado del ejercicio N° I (si menor)

-Cifrado del ejercicio N° 2 (mib mayor), comp. I a 5
-Voces extremas y cifrado del ejercicio N° 4 (fa mayor), comp.
I a 12
De MÚSICA TONAL:
NIVEL III Modq mayor -Voces extremas y cifrado del ejercicio N° 4 (sol mayor)
-El ejerdcio N° 7 íntegro (sol mayor)
-Voces extremas y cifrado del ejercido N° 9 (sib mayor)
Modo menor -Violines I y 2, bajo y cifrado del ejercicio N° 2 (fa menor)
-voces extremas y cifrado del ejercicio N° 3 (mi menor)
--Voces extremas y cifrado del ejercicio N° 7 (mi menor)
NIVEL V' -Voces extremas y cifrado del ejercicio N° 2 (la menor)

- Voces extremas y cifrado del ejercicio N° 3 (do menor)
- Voces extremas y cifrado del ejercicio-N° 4 (do menor) - -
- Voces extremas y cifrado del ejercicio N° 5 (do menor)
- Voces extremas y cifrado del ejercicio N° 6 (mi menor)
92
MÚSICA TONAL NIVEL VI

NIVEL Vil
MODULACIÓN
• Procedimientos básicos de modulación: por acorde común, por nota común, por enarmonización y
modulación abrupta.
II. Procedimientos básicos de modulación
La modulación consiste en transformar un sonido cualquiera en una tónica temporal, lo cual se consigue
construyendo ciclos cadencíales que lo reafirmen como nuevo centro de atracción tonal. Los procedimientos
básicos de modulación son:
a) Por acorde común. Esta modulación consiste en usar un acorde diatónico que pertenezca los dos tonos
involucrados en el proceso. Es la forma de modulación más común para modular a los tonos vecinos:
t T
S D S D
X 0 p Q f f W .
p r í ^ J'
u r i • r'
*
* f r * r*
:J : J
î
- I:J A i
f_^
p
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{5
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/ \
j^
i 1 f .
(í) V VI n o
v, v7
b) Por nota común. En esta modulación el enlace entre los dos tonos se realiza por medio de una nota diatónica
común, de tal manera que el acorde del primer tono se altera cromáticamente para convertirse en un acorde
diatónico del segundo tono:
T D
S D T D T
yn o J
/£ v
f r
J- I ; ^
9
j j
* i
u
uh í rf * h* P
1
h-
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ir
7 r*
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X... A /P
J
Á j f
©I V
c) Por enamonización. Este proceso de modulación es más complejo e involucra necesariamente acordes
alterados. Consiste en enarmonizar uno o varios sonidos de un acorde del tono inicial para entenderlo como un
acorde perteneciente al nuevo
'
tono: '
MÚSICA TONA! . NIVR Vil

T D
f\
y i \> 0 !
i i J A
i i i
rVNL/ F bH Jf * ' ^/
¿r
4 L>
ri irf • O ( $m\W M P
|
^ «
TÍ t
1
r
J
c\-**
x !'
U
r>
/^/
ír H'
j»
r
^ i ^-,
jj-J-
'
r
^ •^
•*•
i
[/ 7 4 1
^ 1 '
©I VII 6 I6
d) Abrupta. Como su nombre lo dice, la modulación abrupta consiste en cambiar de tono sin realizar un proceso
gradual de transición, como en los 3 procedimientos señalados arriba:
T D T D
(J i (7 O tf • A A \* L e3 - v • I I • C v
k J ? 1
v " C € -f
\f^\^ ^1 t * • W ^" f ' * * f
Vr-i/
^
A
. . 1
1
** 5 V
d* L i r >
^
/• iUP,1 oQ7, *•
i* ^
r f
• 1 b* *
P
f
1
P b ^ f. . c
©r v Np)l V
En este libro las modulaciones se indican con abreviaciones de los nombres de los grados de la escala que fungen
como nuevas tónicas, en mayúsculas si éstas mayores y minúsculas si son menores. Para el modo menor se usa
como referencia la escala menor natural:
Modo mayor Modo menor
T= tónica mayor t= tónica menor

st= supertónica menor
m = mediante menor M= mediante mayor
SD= subdominante mayor sd= subdominante menor
D = dominante mayor d= dominante menor
sm= submediante menor SM= submediante mayor
Subt= subtónica mayor
Es posible encontrar en los cifrados propuestos en este libro indicaciones de modulaciones construidas con la
suma de dos abreviaciones, por ejemplo mD, que significa: modulación a la mediante menor de la dominante
mayor. Se ha seguido este criterio para hacer mas explícitas las interrelaciones estructurales entre las
modulaciones, que en muchas ocasiones están más relacionadas entre sí que con (atónica original.
En los ejercicios de este capítulo se encontrarán principalmente modulaciones a tonos vecinos, pero también
aparecerán modulaciones a tonos con un grado de parentesco más lejano con respecto a Tónica. Las posibilidades
de procesos modulatorios son múltiples, e involucran tanto acordes y ciclos cadencíales explicados en los capítulos
anteriores como otros acordes alterados, como los acordes en mixtura, a los cuales no se les ha dedicado un
apartado especial en este libro. De hecho, son los pasajes en los que los compositores suelen ser más creativos.
Para escuchar conscientemente procesos modulatorios es necesario tener un dominio pleno de todas las
94
MÚSICA TONAL NIVEL VII

habilidades auditivas y conocimientos teóricos estudiados hasta ahora: reconocimiento de la calidad de los acordes,
de la posición de la soprano y estado de bajo, fundones tonales, entonación de tríadas, esquemas cadencíales,
etc., así como un conocimiento mínimo sobre las características básicas del lenguaje armónico y formal en los
diversos periodos históricos, conocimiento que ayuda a delimitar el universo de las relaciones armónicas que se
escucharán. Por ejemplo, si el extracto musical es un primer movimiento de una sonata clásica y está en modo
mayor, se sabe de antemano que es casi seguro que la primera modulación será a Dominante mayor,
probablemente precedida por un pequeño pasaje en dominante menor. También se sabe que probablemente no;
habrá otra modulación en toda la exposición.
Para resolver pasajes modulatorios más complejos, que involucran acordes no diatónicos, se recomienda seguir
el siguiente procedimiento:
Reconocer la calidad del acorde: mayor, menor, disminuido o aumentado.

2. Identificar el sonido de la soprano o el bajo del acorde no diatónico, determinando si es un sonido
, diatónico o un grado alterado.
3. Conducirlo a la fundamental del acorde para reconocer su función: 8a, 3a, 5a, 7a o 9a.
4. Deducir teóricamente el acorde. Por ejemplo: si estando en el tono de Do mayor se escucha un acorde
menor que tiene el 2° grado en ia soprano con función de 5a, el acorde será sol menor.
5. Escuchar la función tonal del acorde para encontrar el nuevo tono. Continuando con el ejemplo del inciso
anterior, el acorde de sol menor en el tono de Do mayor puede ser II de Subdominante mayor, III de
Mt, IV de st, etc.
III. Ejercicios
CORALES
Modo mayor
I. Sol mayor 2. Si mayor 3. Lab mayor 4. Re mayor
Modo menor
1. Do menor 2. La menor 3. Fa menor 4. Mi menor
CORALES DE J. S. BACH
Modo mayor
I, Coral 38 (mi mayor) 2, Coral 86 (re mayor) 3! Coral 68 (Fa mayor) 4. Coral 33 (Sol mayor)
Modo menor
I. Coral 29 (do menor) 2. Coral67 (si menor) 3. CoraI78 (la menor) 4. Coral 24 (la menor)
EJERCICIOS MELÓD1CO-ARMÓNCOS . .
Modo mayor •
I. J. Haydn, Sinfonía N° 42 en Re mayor, Andantino e cantad/Je, (la mayor) '•
j _ _
MÚSICA TONAL. NIVEL Vil

_ c
Escribir las voces extremas y el cifrado. .
2. G. B. Pergolesí, Miserere II en Do menor, Ecce enim in iniquitabus (fa mayor)

Escribir las melodías de la voz, los violines, el continuo y el cifrado.
3. J. Brahms, Sonata para violín y piano N° 2 en Re menor, op. 108, Adagio (re mayor)
4. G. F. Haendei, Concertó Grosso en Re mayor, op 3 N° 6, A tempogiusto (re mayor)

5. W. A. Mozart, Cuarteto de cuerdas en Sib mayor, K. 159, Andante (sib mayor)

La armonía contiene un acordeen mixtura simple.
6. J. S. Bach, Surte para vioíoncello en Mib mayor N° 3 Sarabanda (do menor) .

Modo menor
1. G. P. Telemann. Suite en La menor para flauta de pico, cuerdas y bajo continuo, TWV 55:a 2, Overtura (la
menor)
2. A. Corelli, Concertó Grosso N° 4, Adagio (si menor)

Escribir las voces extremas y el cifrado. . -. ... ...
3. J. Haydn, Trío para violín, vioíoncello y piano N° 44 en Mi mayor, Allégretto (mi menor)
4. R. Schumann, Sinfonía N° 2 en Do menor, op, 61, Adagio expressivo (do menor)

La voz superior se construye con los violes I y el oboe
5. J. S. Bach, Concierto de Brandemburgo N° I, Menuetto, Trio (re menor)

Escribir las melodías de los .2 oboes, el fagot y el cifrado. •
IV. Ejercicios adicionales
Modo mayor •
De RITMO:
NIVEL II Subdivisión a 4 -Voces extremas del ejercicio N° 4 (solo mayor)

Subdivisión a 3 -Voces extremas y cifrado del ejercicio N° I (la mayor)
-Voces extremas y cifrado del ejercicio N° 2 (sol mayor)
-Voces extremas y cifrado del ejercicio N° 3 (re mayor). La
armonía tiene un acorde de+117.
-Voces extremas y cifrado del ejercicio N° 5 (re mayor)
-Voces extremas y cifrado del ejercicio N° 7 (sib mayor)
96. \ • MÚSICA TONAL. NIVEL Vil
Subdivisiones a 4 / 3 -Voces extremas ya cifrado del ejercido N° i (sol mayor)
-Voces extremas y cifrado de! ejercicio N° 2 (do mayor)
-Voces extremas y cifrado del ejercicio Nl° 4 (sib mayor)
NIVEL III Subdivisión a 8 -Voces extremas y cifrado del ejercicio N° ! (do mayor)
-Voces extremas y cifrado del ejercicio N° 2 (mib mayor)
-Melodía y cifrado del ejercicio N° 4 (do mayor)
-Voces extremas'y cifrado del ejercicio N° 5 (do mayor)
-Voces extremas y cifrado del ejercicio N° 6 (la mayor)
Subdivisiones a 8 y 6 -Voces extremas y cifrado del ejercicio N° 3 (sol mayor)
-Voces extremas y cifrado de! ejercicio N° 6 (do mayor)
Modo menor
De RITMO:
NIVEL I Subdivisión a 2 . -Voces extremas y cifrado de! ejercicio N° 5 (la menor)

-Melodía y cifrado del ejercicio N° 7 (sol menor)
-Voces extremas y cifrado del ejercicio N° 8 (la menor). La armonía tiene
un acorde en mixtura simple, .
-Melodía y cifrado de! ejercicio N° 9 (do menor)
NIVEL II Subdivisión a 3 -Voces extremas y cifrado del ejercicio N° 8 (do menor)
NIVEL III Subdivisión a 6' -Las dos voces y cifrado del ejercicio N° 2 (si menor)
-Voces extremas y cifrado del ejercicio N° 4 (sí menor)
NÍVEL IV Subdivisiones a 16 y 12 -Voces extremas y cifrado del ejercicio N° I (do menor) •

- Línea melódica y cifrado del ejercicio No 3 (si menor)
MÚSICA TONAL NIVEL Vil

NIVEL ViII
SEXTAS AUMENTADAS./ACORDE NAPOLITANO
• * Origen, usos comunes y conducción, melódica de los acordes de seta aumentada y acorde napolitano.
II. Esquemas cadencíales
a) Sextas aumentadas. Los acordes de sexta aumentada son acordes con función de Subdominante cuyo origen
se encuentra en el acorde de V de V con novena menor y quinta descendida. El intervalo de sexta aumentada se
obtiene al invertir el intervalo de tercera disminuida entre la 3a y la 5a:
De este acorde surgen 3 variantes, llamadas italiana, alemana y francesa:
a) La sexta italiana es un acorde de V de V sin fundamental y con la 5a duplicada.

b) La sexta alemana es un acorde de V65 del V sin fundamental
c) La sexta francesa es un acorde de V43 del V
Se cifran convencional mente con las siglas "It", "Al" y "Fr";
T S D T T : S D T
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98
MÚSICA TONAL. NIVEL VIH

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b) Acorde napolitano. Es un acorde mayor que se construye sobre el 2° grado descendido y tiene función de
Subdominante. Se usa indistintamente en modo mayor y menor. En el siglo XVI11 se usaba principalmente en
primera inversión, de ahí que sea usual llamar a este acorde sexta napolitana, pero en el siglo XIX se puede
encontrar en estado fundamental o segunda inversión. Se conduce normalmente de la siguiente manera:
T S • T S D T
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99
MÚSICA TONAL. NIVEL VIH

I1L Ejercicios
'CORALES
Modo mayor
i. Lab mayor 2. Mi mayor 3. Fa rfiayor
Modo menor
1. Sol menor« 2. Fa menor 3. La menor
CORALES DEJ. S. BACH
I. Coral 2 (sol menor) 2. Coral 377 (la menor)
Sextas aumentadas
1. L, van Beethoven, Sonata para violín, violoncello y piano en Sib mayor op. 97, Andante cantabile mapero on
moto, (re mayor)
2. G. B. Pergolesi, Stabat Mater, Vidit suum (fa menor)

3. W. A Mozart, Sonata para piano en Fa mayor, K. 280, Adagio (fa menor)

Escribir el ejemplo íntegro y el cifrado..
Acorde napolitano
4. W. A. Mozart, Cuarteto de cuerdas en Do mayor, K. 157, Andante, (do menor)

5. G. F. Haendel, Sonata para 2 violínes y continuo en Fa mayor, op. 5 N° 6, Adagio (re. menor)
Escribir las melodías del os dos violines, el continuo y el cifrado.
6. A. Vivaldi, Concierto en Do mayor para violín, 2 violoncellos, cuerdas y continuo, RV 561, A/legro (do mayor)
100
MÚSICA TONAL. NIVEL VIII

IV. Ejercicios adicionales
i
Sextas aumentadas
De RITMO:
NIVEL II Subdivisión a 3 -Voces extremas y cifrado del ejercicio N° 4 (fa menor)

Subdivisiones a 4 y 3 -Voces extremas y cifrado del ejercicio N° 3 (sol menor)
NIVEL III Subdivisiones a 8 y 6 -Voces extremas y cifrado del ejercicio N° 2.(m¡b mayor
-Voces extremas y cifrado del ejercicio N° 4 (fa mayor) ,
DE MÚSICA TONAL:
NIVEL V -Voces extremas y cifrado del ejercicio N° 10 (la,mayor)
Acorde napolitano
De RITMO:
NIVEL II Subdivisión a 4 -Ejercicio N° 6 íntegro (do menor)
NIVEL IV Subdivisiones a I 6 y 12 -Voces extremas y cifrado del ejercicio N° 2 (si menor)
De MÚSICA TONAL:
NIVEL V -Voces extremas y cifrado del ejercicio N° 7 (re menor)
.....J
101
MÚSICA TONAL. NIVR. VIII

JR SEVEN
r
HORDS
T hus far we have examined only dominant seventh chords, but there are sev-
enth chords built on other scale degrees as well. This chapter will introduce
these seventh chords, and focus on the most common—those built on the leadingo
tone and supertonic scale degrees.
Harmonically, seventh chords can be understood as extensions of the triads on
w^hich they are based (for example, the leading-tone seventh chord sounds and
behaves similar to the leading-tone triad). The distinction between the sounds of
certain triads and seventh chords is a subtle one: the presence or absence of one
extra chord tone. Melodically, the new challenge introduced with seventh chords is
the interval formed between the root and seventh.
Seventh Chord Qualities

There are several different qualities of seventh chords used in Western tonal music.
Each has a distinct sound based on the intervals between its pitches. Particularly
important are the quality of the triad formed by the root, third, and fifth, and the
quality of the interval formed by the root and seventh.
The diagram below shows the most common types of seventh chords, written in
root position, with the third, fifth, and seventh printed directly above each root as
a stack of 3rds. To the left of each stack of 3rds, the qualities of the 3rds are shown.
To the right of each stack, the quality of the triad and the 7th above the root are
shown. You should also become familiar with the alternative names that appear in
parentheses below the chord names.
Major-major Major-minor Minor -minor Half-diminished Fully-diminished

(Major) (Dominant 7th) (Minor) (Diminished)
r-O -, -o -, ro-
o ^
M3 m3 m3 m3
io
m3
'0 )
\ f - 7/ ni3
*°1
ivl ml M3 ml m3 ml m3 d7
Major "O Major Minor Dim.
M3
~o '
triad M3 triad m3
I triad m3 m3 triad
Of these five types of seventh chords, the major-minor seventh is found most
frequently in tonal music. Note that the major-minor seventh chord is sometimes
called the dominant seventh, but this name should properly be reserved for the
chord's function and not its quality. The minor-minor, half-diminished, and fully-
diminished seventh chords are also prevalent (although not as prevalent as the
major-minor). Major-major seventh chords are found much less frequently, mostly
as a byproduct of voice-leading events.
199
200 Chapter 47 Other Seventh Chords
Two other types of seventh chords are theoretically possible but rarely used: the
augmented seventh chord (an augmented triad with a major 7th above the root),
and the minor-major seventh chord (a minor triad with a major 7th above the root).
These two structures are typically the illusory products of voice leading and rarely
function as chords themselves.
The Leading-Tone Seventh

Leading-tone seventh chords have a dominant function similar to that of leading
tone triads—they often lead harmonically to the tonic. It occurs most frequently in
the minor mode as a fully-diminished seventh chord.
In the minor mode, the leading-tone seventh chord (]7 i ti—21 re—4/fa-6/le) is
built on a chromatically raised pitch (t//#). All 3rds formed by this seventh
chord are minor, and the triad (\71 ti-21 re-^lfa) and the 7th (7/ti-6/le) are both
diminished.
In the major mode, the diatonic leading-tone seventh chord (7/ti—21 re—
4ifa—61 la) has a half-diminished quality due to the diminished triad (71 ti-21 re-Alfa)
and the minor 7th (7/ti—61 la). This chord is relatively rare compared to the form of
the leading-tone seventh found in the minor mode. The fully-diminished seventh
chord is sometimes borrowed from the minor into the major mode. Thus, you will
occasionally hear 71 ti, 21 re, 4/fa, and I b/le— with a chromatically lowered sixth
scale degree—in the major mode.
The leading-tone seventh chord shares three pitches with the dominant seventh
chord (7!ti, 21 re, and4/j&), and it also shares a similar function. Because of this, you
should be particularly mindful of chords with 7/ti, 21 re, or 4/fa as a bass note. Listen
veiy carefully to voice leading, the intervals formed by the voices above the bass, and the
chord qualities. For example, if you heard 21 re in the bass in the major mode, it
could be a leading-tone seventh chord in 5 position (21 re-4ifa-~&l la-7 i ti) or a dom-
inant seventh chord in 3 position (21 re-4ifa-^)i sol-71 ti). Listen for &lla or 5/sol
in an upper voice, the intervals above the bass (5 or 3), and chord quality (half-
diminished vs. major-minor).
The Supertonic Seventh

The supertonic seventh chord can be thought of as the product of adding the pitch
lido to the supertonic triad. This results in the syllables 21 re-4lfa-6l la-\l do in the
major mode and 21 re-4lfa-bl le-\l do in the minor mode. In the major mode, this
is a minor-minor seventh chord. In the minor mode, it is half diminished.
You can also think of the supertonic seventh chord as a kind of supertonic/
subdominant hybrid. The root, third, and fifth form a supertonic triad and the
third, fifth, and seventh form a subdominant triad.* The supertonic seventh chord
shares the characteristics of these two triads. The diagram below shows how the two
overlap in the major mode (the minor mode substitutes 61 le for <
lido
6/la
4/fa __
21 re
*It is also possible to think of the dominant seventh chord in this same way—as V and VJi°
overlapping.
A
Chapter Other Seventh Chords 201
Other Seventh Chords

In addition to V , vii 7 , and ii x , you will occasionally encounter seventh chords built
on other scale degrees. Although these chords occur from time to time in common-
practice period music, they are much more common in jazz and popular music. Be
prepared to hear and sing seventh chords built on various scale degrees.
The Seventh as Non-Chord Tone

As we saw in Chapter 32, the seventh of a chord can be heard as a passing tone in
an upper voice. This is particularly apparent when the triad is struck first, followed
by the addition of the seventh, as shown in the Bach chorale belowr:
J. S. Bach, Chorale No. 14, "O Herre Gott, dein gottlich Wort," mm. 1-2
However, if the seventh is struck with the rest of the chord, we usually tend to
call the entire verticality a seventh chord. Nonetheless, such sevenths reveal their
origins as a passing tone when they resolve down by step.
Some sevenths originate as suspensions. In the following example, the A in the
top voice is suspended into the chord on the downbeat of measure 10. Even though
this note is rearticulated, we still hear it as a voice-leading suspension.
1. S. Bach, Chorale No. 292, "Nimm,

von uns. He IT, clu treuer Gott," m. 10
, 10 ,
- H 7th as suspension
r
J: j
r
Another appearance of a seventh as a voice-leading event occurs when the II9
chord follows a root-position tonic chord. The upper voices move while the bass
voice stays on lido, so the bass voice in this second verticality can be thought of as
a suspension, which resolves in the following harmony. The voice leading of this
motion is illustrated in the diagram below (shown in the major mode).
202 Chapter Other Seventh Chords
5/W
3/mi
-(suspension)-— VI
The middle chord in the diagram can be interpreted as a \\\r a suspension. This
progression can also move to a .V 5 chord instead of Vll* by substituting 5/W for
61 la in the final chord.
EXERCISES
1. List all the diatonic seventh chords in the major mode and identify each by
its quality. Memorize these. Repeat this exercise in the minor mode.
2. Identify the seventh chords whose quality is affected by changing the natural
minor to the harmonic minor. Identify these changes in quality. What
changes would melodic minor cause?
3. When given a pitch, be able to arpeggiate any of the five common seventh-
chord qualities in root position starting with the given pitch. For example, if
given an Ff and told to arpeggiate a minor-minor seventh chord, you would
sing Ff-A-Ci-E.
4. Once you have established a key, be able to arpeggiate a root-position seventh
chord from any given scale degree. Be able to name the quality of each of
these chords.
5. Learn to identify the qualities of seventh chords by listening to seventh chords
played melodically (heard as separate pitches) and harmonically (with all
pitches sounded at once). Work on them in two ways:
• Sing the pitches that make up the seventh chord and identify the compo-
nent intervals;
• Listen to the overall effect and affect of each seventh chord and learn to rec-
ognize each seventh-chord quality as a whole.
6. Listen to a variety of compositions, particularly those that are homophonic in
texture (chorales, pop music, etc.), and identify 7 the quality of seventh chords
at any given point. Be aware that context can be very deceptive. Some listen-
Chapter Other Seventh Chords 203
ers who can identify seventh chord qualities in isolation have difficulties when
those seventh chords are surrounded by other chords and function within a
key.
7. Prepare the following arpeggiations in the manner presented in previous
chapters.
a. I V 7 vii*7! ii vii06 E I
°7 i V6 vii°4 1/4 i6
c. I ii7 V i ii^ V 7 I
d. i iv ii07 \Z| i6 ii°6 V7 i
e. I HI X7:6 T vi7 ii| ¥ 7 I
f. i ¥\7 i M_\6 iv7 N.. i
g. I IV7 \ I7 iii7 vi7 ii7 ¥_ 7 I
h. i H VI7 i 57 i
LISTENING
Listen to excerpts 47.1—47.12 and write out the bass line for each. Then supply the
appropriate Roman numerals and figured bass symbols to represent each chord.
Your instructor may also choose to have you write out the top ("soprano") voice as
well.
Harmonic Dictation
Bottom number
Exercise Tonic in meter sign
47.1 C 2
47.2 A!> 8
47.3 F 4
47.4 B 8
47.5 C Use <J5 as the meter sign

47.6 G 4
47.7 D 4
47.8 D 4
47.9 El> 4
47.10 B 4
47.11 D Use ^ meter (first note = j.)

47.12 G 4
(What is unusual about the use of the seventh chord in this excerpt?)
204 Chapter 47 Other Seventh Chords
READING AND SIGHT SINGING
Prepare the following excerpts, singing on syllables while conducting. Some of these
melodies clearly outline specific seventh chords, whereas others merely emphasize
particular skips within certain seventh chords (for example, 7Iti up to 61 la from the
leading-tone seventh). Some of these skips might even have been harmonized in
their original contexts by other chords (for example, a skip to 7Iti harmonized by a
dominant triad). Nonetheless, all these melodies offer opportunities to practice
skips among these scale degrees.
Excerpts for reading and sight singing

from the
Anthology for Sight Singing
573-6O8
I n Chapter 1 1, when we moved the major scale from C to other pitches, we saw
that the tonic and all the intervals in the diatonic collection could be transferred
to a new pitch level — a process called transposition. This chapter will investigate Transferring music with all its
more about transposition, with special attention to the knowledge and skills neces- intervals to a new pitch level is
sary for transposing at sight. called transposition.
Moving Music to a New Pitch Level

Any music can be replicated — interval by interval — at a different pitch level. When
music is transposed, all the pitch structures, relationships, and functions are trans-
ferred to the new pitch level. For example, consider the following melody by
Schumann, presented below in its original key and transposed to a lower key:
Robert Schumann, Myrthen, Op. 25, No. /, "Die Lotosblume," mm. 1-5 (1840)
Ziemlich langsam.
P
i ! | |
Die Lo - t o s - b l u - me an2 - stigt sich vor der Son - ne Pracht,
Ziemlich langsam.
p\t Schumann, Myrthen, Op. 25, No. /, "Die Lotosblume, 1 ' mm. 1—5 (1840)
:z£
Die Lo - tos-blu - me an» - stigt sich vor der Son - ne Pracht,
Every pitch has been lowered by a major 3rd—C in the original becomes A!> in
the transposed version, B!> becomes Q>, and so on. In addition, every relationship
having to do with pitch has been lowered by this same distance. For example, the
overall tonic has moved from F to D!> and the raised 2 in measure 2 has moved from
Gj? to Eb. In fact, the entire system of scale-degree functions has been shifted down
to the new pitch level.
Concert Pitch
An essential means by which we understand transposition is the point of reference Concert pitch is the standard-
known as concert pitch. This is the standardized system for naming pitches as they ized system of naming pitches
sound or as they are notated for non-transposing instruments (C instruments, such as they sound or as they are
notated for non-transposing
as the piano). Concert pitch serves as our absolute point of reference, by which we
instruments.
understand transposing instruments and music that is transposed to other keys.
205
206 Chapter 48 Transposition
The Need for Transposition

Musicians are called upon to perform different kinds of transpositions in a variety of
situations. Among the more common kinds of situations are the following: (1) moving
a piece from one key to another; (2) reading from instrumental scores; (3) playing a
transposing part on a C instrument (or on an instrument with yet another transpo-
sition); and (4) composing or arranging music for transposing instruments.
The Basic Transposition Tasks

Transposition tasks that you may be called upon to perform can he categorized into
one of five different types, as outlined below (with each type followed by a couple
of representative tasks):
1. Transpose the given music from one key to another key
• Sing this melody-—originally in E—in the key of G
• Transpose "The Star-Spangled Banner" from D major down to Bl> major I
2. Transpose the given music up or down by a specific interval
• Play this melody a major 3rd higher
• Transpose "Fur Elise" down a perfect 4th
3. Perform, at concert pitch, a part written for a transposing instrument

• Play the Et-clarinet part from the last movement of Berlioz's Symphonic
Fantastique on piano at concert pitch
• Sing a B Interior-saxophone part on letter names at concert pitch
4. Perform, on a transposing instrument, a part written at concert pitch

• Sing the pitches, on letter names, you would finger on a D trumpet in
order to play written concert pitches
• Perform, on an A clarinet, the melody from Chopin's Piano Prelude in E
minor, Op. 28, No. 4, so that it sounds at concert pitch
5. Perform, on a transposing instrument, a part written for an instrument with

a different transposition
• Sing the pitches, on letter names, you would finger on an A clarinet in
order to play pitches written for Bt clarinet
• Perform, on a French horn in F, the part for cornet in A at the opening of
Stravinsky's L'histoire du soldat
Interval of Transposition
The interval between one pitch Before transposing, you must be certain of the proper interval of transposition—
level and the transposed pitch that is, the exact interval (including direction) to move from one pitch level to
level is known as the interval
another. In the first type of transposition above, this information is easily deduced,
of transposition.
and in the second type, it is given overtly as part of the task.
The other three types demand a bit more attention on your part, because they
involve at least one transposing instrument. Before proceeding with any task involv-
ing a transposing instrument, you must know the interval of transposition for that
instrument (see "Transposing Instruments," below). For instance, you must know
that an English horn is a transposing instrument in F, sounding a perfect 5th lower
than its notated pitches.
Chapter 48 Transposition 207
Once you know the key of a transposing instrument (horn in F, clarinet in B!>,
etc.), you need to understand the relationship between (1) the notated pitch for (or
fingered and played on) that instrument, and (2) concert pitch, or sounding pitch.
A player of a transposing instrument

'transposing part or reads, thinks, fingers, and plays the
notated pitch" notated pitch but produces the con-
cert pitch. The relationship between
these two for any instrument can be
derived from the pitch of its transpo-
sition: When players of a transposing
instrument read, think, finger, and
play a C, they produce the concert
pitch of that instrument's pitch of
transposition (for example, alto sax in
El>, trumpet in D, etc.).
"sounding pitch"
or
"concert pitch"
When a player of a transposing instru-
ment reads, thinks, fingers, and plays a C,
they produce the concert pitch of that
instrument's pitch of transposition.
In the drawing above, the B!>-clarinet player reads, fingers, and plays a C in order
to produce concert Bk This kind of relationship is true for all transposing instru-
ments. For example, an El-clarinet player fingers and plays a C to produce a
concert El>, and a player of the modern French horn (in F) fingers and plays a C to
produce the concert pitch F.
You must also pay special attention to the direction of transposition. For example,
the Bb clarinet sounds a whole step below the notated pitch. This works both ways.
The Bt-clarinet player must play a whole step above concert pitch in order to sound
at concert pitch. This relationship can be rendered graphically:
Transposition for B[> clarinet
notated pitch (finger & play)
M2 up M2 down
concert pitch (actual sound)

208 Chapter 48 Transposition
Transposing Instruments
Some instruments include their transposition in their names, particularly when
there are two or more transposing versions of the same instrument, such as the Bl>
clarinet and A clarinet. Others, such as the English horn and alto saxophone, do not
bear a label that telegraphs their transposition. To help you memorize the transpo-
sitions of all transposing instruments, the following chart has been organized by let-
ter name of transposition. It groups all descending step transpositions together, all
descending 3rds together, and so on, regardless of octave. In this way, you can use
a similar method for transposing all instruments in a single group. For example, all
A and At instrument parts can be read at concert pitch by sighting down a 3rd; all
E\> parts can be read by substituting bass clef, and so on. (See the following section
for these and other strategies.)
Interval of transposition
Instrument Written C4* sounds as (from written to concert pitch)
B[> Piccolo Trumpet E\A up m7
Bl? Clarinet B^3 down M2
Soprano Saxophone B^3 down M2
Bl> Trumpet Bk3 down M2
Cornet Bk3 down M2
Flugelhorn B3 down M2
Bass Clarinet Bt2 down M9
Tenor Saxophone Bl>2 down M9
Ellphonilim (in treble clef only) Bt2 down M9
Bass Saxophone Btl down M 16 (15 ma + M2)
A Piccolo Trumpet A4 up M6
Oboe d'Amore A3 dowrn m3
A Clarinet A3 down m3
Sopranino Clarinet At4 up m6
Alto Flute G3 down P4
French Florn (modern) F3 down P5
English Horn F3 down P5
Basset Horn F3 down P5
Et Clarinet E\>4. up m3
Et Trumpet E\A up m3
Alto Clarinet Ek3 down M6
Alto Saxophone E!>3 down M6
Baritone Saxophone Et2 down M13 (8va + M6)
D Trumpet D4 up M2
*This book uses the International Standards Organization (ISO) system of octave designation. In
this system, each octave (beginning with each C) is labeled with a number. CO is four octaves below
middle C. Middle C is C4. Therefore, the D immediately above middle C is D4, and the B imme-
diately below middle C is B3, and so on.
Chapter 48 Transposition 2O9
You may also encounter other transposing instruments, but—with the exception
of a few very unusual ones—they should all be labeled with the pitch of transposi-
tion (for example, "Horn in D"). For further reference, most good books on orches-
tration or notation include information on instruments and their transpositions.
Strategies for Transposition

There are various methods for transposing. What follows is a discussion of the most
widely used ones.
Transposition by Sighting
One strategy for transposition is known as sighting. Its procedure is outlined below:
• Determine the target key and visualize the new key signature
• Determine the number of lines and/or spaces between the written music and
that to be performed (in other words, determine the interval number of
transposition—2nd, 3rd, etc.)
• Perform pitches at this fixed distance ex tempore (using the new visualized
key signature)
• Adjust for accidentals using the interval method (see "Transposition by
Interval," below) or the perfect 5ths method (see "Adjusting for Acci-
dentals," below).
Ludwig van Beethoven, Symphony No. 3, Op. 55
("Eroica"), mvt. 1, mm. 631-638 (1803)
Allegro con brio J • = so
x-•-P- p-
Corno in Es
-£=l -•^n;»—i
^•
^~
P;
3
~r—
p-f-i A •— ^""-••j
E
1
•
p
In order to transpose the Beethoven excerpt above to concert pitch using sight-
ing, you should imagine the appropriate key signature at the beginning of each sys-
tem, and see the actual notation but perform pitches a 3rd above (as indicated on
the following staff by Xs):
1 St I*
Because the horn in Et transposes down, the necessary octave adjustment has to
be made as well.
In practice, sighting is generally easiest for transpositions involving 2nds or 3rds.
Many musicians find it much more difficult to transpose by 4ths and 5ths via sighting.
Transposition by Interval
The strategy of transposing by interval requires that you calculate transposed
pitches by constructing the exact interval of transposition from each notated pitch.
Thus, you would look at the excerpt from Beethoven's Third Symphony above and
transpose each pitch down a major 6th (or up a minor 3rd and down an octave).
210 Chapter 48
r O Transposition
e=£i
M6 M6 M6 M6
iM6M6 M6 M6 M6 M6 M6 M6 M6 M6 M6 M6
i EF
In practice, transposition by interval alone requires constant calculation on the

part of the reader, and is best reserved for (1) adjusting for accidentals when trans-
posing tonal music by sighting and (2) transposing atonal music.
Transposition by Tonal Function

One of the most effective strategies for transposing tonal music takes advantage of
the fact that all of the tonal functions remain intact and are transferred to the new
key. Therefore, if you know the tonal functions of the pitches as notated, you can
reproduce those functions in the new key. In the excerpt from Beethoven's Third
Symphony, the EHiorn part contains the following scale degrees (as notated in the
key of C):
+ E^=3EÊt i-f^1 1
<ez.
Corno in Es ^^=73^ ^~^L^ •r-P-i CLi
1
--—^
+—
3
1 5 1 5 i 3 5 5 2 4 2 5 2 4 5 5
do mi do sol do mi sol ^/ re fa 7Y-* j<?/ re fa. sol sol
If you transfer those scale degrees to concert pitch—the key of El? major-—then
you will have made this transposition using tonal function.
This strategy goes well beyond transferring mere scale degrees from key to key.
Your ability to recognize configurations such as scalar passages, sequences, triadic
outlines, harmonic function, chromatics, and the like will bear directly on your flu-
ency in using features of the tonal system itself as a tool for transposition.
With its reliance on tonal function, this strategy is not really suitable for music
that is tonally vague or ambiguous, or for atonal music.
Transposition by Clef
This strategy for transposition takes advantage of your facility in reading or think-
ing in several different clefs. Because a change in clef appears to "rename" the lines
and spaces, it is possible to transpose by substituting a different clef for the original
one. To transpose by clef, use the following procedure:
• Determine the target key and visualize the clef that will cause the notated
pitches to appear on the appropriate transposed letter names
• Visualize the new key signature
• Read in that new clef and key signature, making appropriate octave adjust-
ments as necessary
• Adjust for accidentals using the interval method (see "Transposition by
Interval," above) or the perfect 5th method (see "Adjusting for Accidentals,"
below).
Using the horn part from Beethoven's Third Symphony, you would look at the
original notation, knowing that your target key is El> major. Then you would ask
yourself which clef, when substituted for the notated treble clef, would allow you
to read the letter names E—G—E—B, etc.
Ludwig van Beethoven, Symphony No. 3, Op. 55

("Eroica"), mvt. 1, mm. 631-638 (1803)
Allegro con brio J • = <
Corno in Es
p
The answer is bass clef. Visualize the bass clef, along with the key signature of the
new key, and you can read the original printed notes as if they were in that new clef
and key (adjusting the octave as necessary).
Imagine this clef and key signature
All seven vocal clefs—treble, bass, alto, tenor, soprano, mezzo-soprano, and
baritone-—will cover the seven possible letter-name conversions that transpositions
require. (Look ahead to Chapter 64, which presents all clefs in detail.) To account
for all transpositions from any clef (not just from treble clef), you should memorize
the following "circle of clefs":
Chapter 48
rO Transposition
The following process will help you determine the appropriate clef for any
transposition:
• Determine the number (but not quality) and direction of the interval of
transposition
• Observe the printed clef in the music you are to transpose
• Find that clef on the circle of clefs
• Counting that clef as "1," count the number of the interval of transposition
—clockwise for ascending intervals, counterclockwise for descending
intervals—to arrive at the appropriate transposing clef.
The horn part from Beethoven's Third Symphony requires a transposition down
a 6th, and it is written in the treble clef. Begin counting there on the circle of clefs
and move counterclockwise (to transpose down) six clefs to arrive at the bass clef,
the appropriate clef to transpose treble clef down a 6th.
The circle of clefs will account for transpositions from any starting clef, not just
treble clef. Just remember to count your starting clef as "1" (just as we count the
starting note of an interval) and to move clockwise to transpose up and counter-
clockwise to transpose down.
Although changing the clef produces the appropriate letter names, you must also
change the key signature to adjust for sharps or flats, thereby fixing the quality of
the interval of transposition. For example, if you substituted alto clef for treble to
transpose up a major 2nd from C major, you would need a key signature of two
sharps (D major), but to transpose up a minor 2nd, you would need a signature of
five flats (Dt major).
This strategy requires extensive prior study of clefs, but once you have learned all
the necessary clefs, this method of transposition is by far the most effortless of all.
Adjusting for Accidentals

In order to transpose by cither sighting or clef, you must have some way to account
for accidentals. One way is to revert to the interval method, as described above. A
slightly quicker method is to note whether the accidental raises or lowers the pitch
and by how much. Then apply that same adjustment in the new key.
Another method that systematically accounts for all accidentals in all transposi-
tions in both tonal and nontonal music is sometimes called the "perfect 5ths
method" because it relies on calculating the interval of transposition in terms of per-
fect 5ths. It seems complicated at first, but, once you learn it, you will find it to be
completely reliable. Flere is how it works.
First, visualize the new key signature and transpose letter names
by sighting or substituting another clef.
Af Second, calculate the interval of transposition by using the col-
Df umn of perfect 5ths (shown to the left), where every pitch is a per-
Gf fect 5th above the one below it. To calculate any interval of trans-
Cf position in terms of perfect 5ths, find the original pitch or key and
Ft then find the transposed pitch or key in the column. Then count
B
from the original pitch to the transposed pitch. The result is the
E
number (and direction) of perfect 5ths in that interval.
A For example, to transpose from the key of E major to the key of
D Bl? major, you start with E and count six perfect 5ths down the
G
column.
C You can also use this for a general interval of transposition, not
F restricted to any particular pitches or keys. For example, if you
Bt know that you want to transpose something down a minor 3rd,
B you can pick any two pitches a minor 3rd apart—C and A, for
A\> example—and calculate that this transposition goes up three per-
fect 5ths. This is the same for any minor 3rd. (Try it.)
O Third, take that number and direction and find its correspon-
ding column in the following chart in order to discover which acci-
dentals must be altered and how they should be altered.
transposing down this many P5s transposing up this many P5s

7 6 5 4 3
0
9 1 1 2 3 4 5 6 7
is the same as transposing these intervals is the same as transposing these intervals
iAl iA4 Tm2 IM3 Tm3 IM2 tP4 iP4 TM2 Im3 TM3 im2 TA4 TAI
Td8 Td5 iMy Tm6 IM6 Tm7 4P5 TP5 W TM6 im6 TM7 id5 ids
and yields these "altered" letter names and yields these "altered" letter names
B B B B B B B F F F F F F F
E E E E E E C C C C G C
A A A A A G G G G G
F) D D I) D D D D
G G G A A A
C C E E
F B
Accidentals that appear before any of Accidentals that appear before any of
these "altered" notes must be read as these "altered" notes must be read as
one half step lower: one half step higher:
turn x into j* turn U> into l>
turn | into h turn l> into ^
turn b into I? turn t} into #
turn 1> into i turn # into x
Chapter 48 Transposition
If you were transposing something from C to A, you would find the appropriate col-
umn (up three perfect 5ths), and you would know that if you saw any alterations of F,
C, or G in the transposed version, you would have to read them one half step higher
(for example, an Ff would become an Fx). All other accidentals remain unaltered.
Franz Schubert, German Dance D. 89, Trio II, mm. 1-4 (1813)
Let's try this on the excerpt printed above. To transpose it up a major 3rd, first
visualize the new clef (bass) and key signature (four sharps). Then calculate that
transposing up a major 3rd is the same as transposing up four perfect 5ths. Using
the accidentals chart find that this transposition requires you to alter accidentals
before the new pitches F, C, G, and D by reading them one half-step higher. This
results in the following transposition:
The sharp on the fourth note must be read as a double sharp when transposed
because it falls on an F in the new key (one of the four "altered" notes), but the
sharp on the note in measure 2 remains unaltered because it falls on an E (not one
of the "altered" notes).
Follow the transposition instructions for each of the following exercises. Be sure
to understand which type of transposition task is required before you begin each
exercise.

from the
6O9-615
Continue to study transposition in various ways. Some suggestions: I

1. Return to various melodies you've already sung in this Manual and from the
Anthology for Sight Singing. Transpose and sing them using various criteria (for
example—up a major 3rd, or as from a part for B!> trumpet, etc.).
2. Transpose music at sight on your instrument.
3. Transpose music at sight on the piano.
Although this manual focuses on tonal music, and therefore the major and minor
modes, you should have some experience working with other modes as well. These
other modes (Dorian, Phrygian, Lydian, and Mixolydian) originated in Medieval
and Renaissance music, long before the development of the major and minor
modes. You can, however, apply the tonal aural skills you have already developed to
these older modes as well.
Relative Modes
There is an entire complex of modes—each with its own name—related to one
another by specific intervallic distances within any diatonic collection. The follow-
ing figure shows all the modes in any given diatonic collection, along with the inter-
vallic distance from the major mode to each of the other modes:
P5 Mixolydian
P4 O Lydian
M3 - O Phrygian
M2i O Dorian
^0 Major (Ionian)
m^ O Locriaii
m3
In scalar structure, Ionian is identical to the major scale, and Aeolian is identical
to the natural minor scale, but the use of these names is usually reserved for
Medieval and Renaissance music.* For music of the common practice period and
beyond, we use the names "major" and "minor." In addition, the Locrian mode,
which has been dimmed in this figure, appears so rarely that we will not cover it in
any detail in this text.
This complex of modes can be moved into any diatonic collection. Let's begin
with the no-sharp/no-flat collection, in which the major mode tonic falls on C and
the minor mode tonic falls on A. In addition to those two tonics, other diatonic
pitches can serve as finals, which for now we will define as the modal equivalent to
tonics. The diagram below shows how these tonics and finals project across the
no-sharp/no-flat collection.
* Medieval and Renaissance music does not behave in the functional ways we associate with major
and minor keys and is therefore more appropriately labeled with these old modal names.
215
216 Chapter 49 The Modes: Relative Approach
Lydian
Phrygian
Because the modes in any given diatonic collection all share the same key signa-
Relative modes share the same ture, they are called relative modes. Thus—in the same way that we know C major
diatonic collection, and there- and A minor are relative major and minor keys—D Dorian, E Phrygian, F Lydian,
fore the same key signature.
and G Mixolydian are also relatives of C major and A minor because they all share
the no-sharp/no-flat key signature.
White-Key Modes
A lot of modal music is written using the no-sharp/no-flat diatonic collection,
which is frequently referred to as the white-key collection because its pitches corre-
spond to the white keys on the piano. Modes written using only the white keys are
often called white-key modes or church modes (because of their use in Medieval
church music).
Transposed Modes
Early music primarily used the white-key or untransposed church modes. However,
music from later eras and folk music transcriptions often use modes that are trans-
posed through the use of key signatures. A new key signature creates a new diatonic
collection. If the diatonic collection changes, all of the modes move to new loca-
tions, but they retain their positions relative to one another. For example, when we
change from the white-key collection to the three-sharp diatonic collection, all of
the tonics and finals shift down a minor 3rd:
Just as you can calculate a relative minor key signature or tonic by referring to its
relative major, you can calculate modal signatures and finals. The complex of keys
and modes can be transposed to any of fifteen different diatonic collections through
the use of key signatures. As long as you remember the distances between the major
Chapte ,49 The Modes: Relative Approach 217
tonic and the various relative modal finals, you'll be able to calculate the transposed
modes and their corresponding "key" signatures.*
Relative Solmization
Since relative modes share the same diatonic collection, we can simply leave the
syllables on the pitches to which they apply in the major mode and recognize a final
on a pitch other than do (in a manner similar to the relative-minor solmization we
used in Chapter 17). Using a relative approach, the major tonic rests on do, the
minor tonic rests on lay and each of the other modes rests on a unique syllable as its
final. Leaving do where the major tonic would be in any given diatonic collection
leaves the two diatonic semitones on mi—fa and ti— do. The chart below shows the
seven modes and their tonic or final syllables in relative solmization:
Modes and tonic or final syllables (relative approach)
Mode Tonic or final syllable
I Mixolydian
Lydian
Phrygian
sol
fa
mi
Dorian re
Major do
Locrian ti
Minor la
The two melodies below are written in the two-sharp collection with relative syl-
lables. Do remains where the major tonic would be (on D), leaving all other sylla-
bles in their relative positions (note in particular that mi-fa remains on F|-G and
ti-do remains on Cf-D). The first excerpt is in the major mode because it tonicizes
do, but the second excerpt is in the Dorian mode with a final on re (using the rela-
tive approach).
"Old Kine Cole," English folk •
,
^£^^^~
ttt=^=^
|^™^ 1. ... ,. .4. . I j...
=^=_ J_
-m :
do d9 sol so / so I la la la sol sol sol do do do re ti dt7 do
\ r fli J—J_d=t Jm Jlm ~J

m |
<pi
|=F
!—^—
mi m i mi do d( diJ nli mi mi do mi mi sol sol sol fa re do
*"Key" is determined by both diatonic collection and tome. The term "key" signature is somewhat of
a misnomer since a key signature determines only diatonic collection, not tonic or final.
"The Rocky Road to Dublin," Irish folk song, chonii
^1—r—*—
Xftui>
gj> ™ ft n*—P~^—iiS—If
\ r 1—
J> J h<^—J1 J1 J1 | r^
^ ff L_|
f —*
p r
Y. 1 1
J
/# //z W ??2/ re al re re re mi fa sol la do ti re do la
I i i 'H 1 .
.^ If Ll ! L i
-/Si—ft—iJ K—1 > J J J (• f\ j
*r J^J J •> * tp f) *—Û UgU J

fa sol la la sol
With relative solmization, each mode will require you to associate the scale
degrees with different sets of syllables. The first note of the Dorian scale is lire, the
first note of the Phrygian scale is II mi, the first note in the Lydian scale is IIfa, and
the first note of the Mixolydian scale is IIsol.
RCISES
In order to learn to read, hear, and think in the various modes using a relative
approach, you should practice modal scales on relative syllables and memorize cer-
tain pitch patterns in each mode.
1. Sing each modal scale, starting and ending on its final syllable. Learn each
scale at a brisk pace, ascending and descending, from bottom to top and back,
and from top to bottom and back.
Dorian lire-lire
Phrygian IImi-llmi
Lydian llfa-llfa
Mixolydian llsol-llsol
2. Learn the following pitch patterns by heart. Be able to sing them at any time,
in any order.
Dorian
la. lire ^ mi * l/?r Ib. l/?r ^ lire
5/la
2a. l/;r 2//»/ ^ ^' J /?r 2b. 1/r^ l/;r
lire lire
3a. "'tt< 5//^ 3b. 5/^
3/fe O/*M; A 3//^ 3/> * 31 fa

4a. z/w/ l/?r y 4b. " l/?r J
Chapter 49- \3 The Modes: Relative Approach 213
^lla 4/sol */£ A 5/£* 5//^ 5//^

5a. ' 2/mi' 1/n? 5b. 1/rf
r
6a. $lla 4/W 31
i/rfa 5//^ 6b. '^ '" 3/>
V o//v 4/W ^ Îfl

7b. dlfa ' ^ 3//^
8a. 5//^ ^/ri "^ 5//^ 8b. ylla 5/la
Phrygian
,, i/, , ^ ^ i/» Ib.

, . 3/W ,
\lmi \lmi
jlti
?/^ 3/W 4// ^ ^ ,;
2a. l/?r// !JU I/mi 2b. ilmi 11 mi
11 mi Ilmi
3ci. 5/ri 3b. §/ri
3/3Y;/ îr A 3/^/ 3/W A 3/W

4a. / 11 mi 4b. 1/iw/
^1 La ysoi î^ A
5//-/ $/ri
5b. umi
51 ti , 51 ti
6a. ^ ^ 4/^ 3/W 6b. 3/W
5//7
7a. 3/W ^///? ^ ^ 3/W 7b. §/5e?/ " 3/sol
1 1 mi
, . 6/^; ^ /;Y i/m î • 8b. 5/^/ 5//"/
220 Chapter 49
r ^3 The Modes: Relative Approach
Lydian
o/ /
la. I/fa 2/W ^ i/fa ib. i/> a '^ i//«
V/ /7 4/ti $ldo *>ldo

2a. I/fa ** Ma Ufa 2b. l//a ]//»
I//?/ \lfa
3a. {'fa ^ *"• »* i/fa 3b. " 5/^
/r 3/Az » f / , 3/Az
4a. ^ 2/"/ i/fa *"* 4b. l//d
ydo 5/do
5a. ^° 4/tt ^ 2/sol
LlsoL
>Ufa
lf "ld° 5b. 1//&
5/«fo , 5/^
6a. 5/^ 4/^ 3//, 5/^ 6b. 3/Az
7a. 3//, 4/rf 5/^ 3/7, 7b. 31 la ^ ^" 3///7
>/ 7/;r;/ 1(^ , i//a

8a. 5/^ 6/;Y 5/^ 8b. 5/do ' $ldo
Mixolydian
la. (/»/ ^ ^lti I/sol Ib. \lsol 3tl \lsol
\i 4ido ^lre 5/re

2a. i/W 2//rt -y" I/,,/ 2b. \lsol I/ sol
11 sol f/f ; . 1/W 11 sol I /so/

3a. f 6/mf 5 1 re 3b. 5/rc-
3/ri . 3/»
4a. ^'U ** i/sol ^ 4b. I/ sol
Chapter 49 The Modes: Relative Approach 221
, 51 re 5/ re
3/ri
5a. 5b. l/.W
5/r. .
6a. 6b. 3/ri
5/n? ,
7a. 3/r/ 7b. 3/ft 3/ft
i/w
8a. 5/r, 5/r, 8b. 5/re 5/re
LISTENING
Melodic Dictation
Listen to excerpts 49.1-49.8 and write out the pitches and rhythms for each, fol-
lowing the given instructions.
Final or Bottom number

Exercise Clef tonic in meter sign
49.1 treble C 4
49.2 bass B 4
49.3 bass C 2
49.4 treble E\> 2
49.5 bass D 2
49.6 treble C 4
49.7 tenor E 2
49.8 alto D 2
Prepare the following melodies, using relative solmization syllables while conduct-
ing. Determine the mode or key of each melody, and be prepared to explain your
conclusion using your knowledge of key signatures, diatonic collections, tonics, and
finals.

from the
616-642
Parallel Modes
Modes that use different diatonic collections but share the same tonic or final are Parallel modes share the
known as parallel modes. The two melodies below have the same tonic or final (C), same tonic or final, but not the
same diatonic collection.
but their key signatures, and thus their diatonic collections, arc different.
J. S. Bach, Chorale No. 239, "Den Vater dorr obcn," mm. 5-8
"Hajtjak a fekete kecsket," Hungarian folk song, mm. 1-6
J J
The Bach chorale has a tonic of C, and uses no sharps or flats—it is in C major.
The Hungarian folk song has a final of C, but uses the one-flat collection—it is in
C Mixolydian.
It is helpful to compare scale degrees in parallel modes (just as we did with par-
allel major and minor keys). Comparing the parallel major and Mixolydian modes
above, we see that scale degrees 1, 2, 3, 4, 5, and 6 (C, D, E, F, G, and A) are the
same in both modes, but scale degree 7 is a half-step lower in the Mixolydian mode
(Bl>) when compared to the major mode (Btj). This difference in the seventh scale
degree is true of all parallel major and Mixolydian scales.
Modal Types
Musicians classify modes according to the quality of the interval formed between
the tonic or final and third scale degree. This creates two broad categories of modes:
those with a major 3rd above their tonic or final, and those with a minor 3rd. We
shall refer to the first as "major-type" modes, and the second as "minor-type"
modes:
Major- type Minor-type

Major Minor
Lydian Dorian
Mixolydian Phrygian
223
224 Chapter 50 The Modes: Parallel Approach
You can view these categories by placing the corresponding common-practice

mode—major or minor—in between the other two parallel modes in each category.
As shown in the diagram below, the parallel modes radiate outward in opposite
directions in the circle of fifths, adding or subtracting one sharp or flat in each
direction. (Review the circle-of-fifths arrangement of the key signatures in Chapter
no
Add one fiat or Common-practice Add one sharp or
subtract one sharp mode subtract one flat
Mixolydian Lydian
Phrygian Minor Dorian
These relationships are demonstrated below, using the modes that share the tonic
or final C (major-type modes) and A (minor-type modes).
7
C Lydian
C Major
o
C Mixolydian
*>
2 5 6 7
A Dorian
~o~
A Minor
t
~0~
XT
A Phrygian
~0~
You can also view parallel modes by comparing specific scale degrees in the common-
practice modes and each of their parallel category members. Referring to the modes
as they are notated above, you can isolate the differences by looking at the arrows.
In the major-type category, Lydian differs from the major mode in having a raised
Chapter vj w50 The Modes: Parallel Approach 225
fourth scale degree, while Mixolydian differs from the major mode in having a low-
ered seventh. In minor-type modes, Dorian is like the natural minor mode with a
raised sixth, and Phrygian is like minor with a lowered second scale degree.
Major-Type Modes
Lydian is like the major mode with a raised 4
Mixolydian is like the major mode with a lowered 7
Minor-Type Modes
Dorian is like the minor mode with a raised 6
Phrygian is like the minor mode with a lowered 2
Parallel Solmization
Parallel modes share the same tonic or final and other scale-degree functions, all of
which can be represented by using parallel solmization. If you label the tonic or
final in all parallel modes as \l'do, similar syllables will reflect similar functions. For
instance, \ldo-^lsol will represent the tonic dominant or final-dominant relation-
ship in all parallel modes.
The chart below shows the syllables for the major-type modes. Syllables that are
altered from the major mode appear in bold:
1 2 3 4 5 6 7 8
parallel Lydian do re mi fi sol la ti do
Major do re mi fa sol la ti do
parallel Mixolydian do re mi fa sol la te do
A similar chart shows the minor-type modes. Note the introduction of a new syl-
lable for the second scale degree in the Phrygian mode—2Ira (pronounced "RAH"),
which is a half step lower than 21 re.
i 2 3 4 5 & 7 8
parallel Dorian do re me fa sol la te do
Minor do re me fa sol le te do
parallel Phrygian do ra me fa sol le te do
Modes Notated with Accidentals

One way of notating modal music has developed from these two categories—
major-type and minor-type modes. This method uses the key signature of the
modes corresponding major or minor key, and then uses accidentals to make the
alterations necessary for that particular mode (raised 4, lowered 7, etc.).
For example, Bartok used the one-sharp signature (associated with G major) for
the Mixolydian melody below, and he lowered all seventh scale degrees by writing
in an accidental, in this case, a natural.
226 Chapter 50 The Modes: Parallel Approach
Bela Bartok, First Term at the Piano, No. 16, "Peasant's Dance" (1913)
Allegro moderate.
m f-r-N^--«
A A
5 A u
- Jf ft
|
'— ff
A
A• A
s> —9—
!
!
k
p (^
-(& J— *
:;^!;—
"^ y * *-^—
_*_J-»
--_ —H^—^ ^ II
EXERCISES
1. Learn to sing each modal scale starting and ending on Mdo. Perform each
scale at a brisk pace, ascending and descending, from bottom to top and back,
and from top to bottom and back.
2. Learn the following pitch patterns by heart. Be able to sing them at any time,
in any order. Note that the patterns printed in bold arc those that deviate
from the common-practice mode for that mode's type.
Lydian
o/^ 31 mi
la. Mdo 2lu Mdo Ib. \ldo
5/sol
a. \ldo *» lido 2b. 1/V/r; 1/V&
3b.
31 mi 9/_ A ?>l mi 31 mi A , 3/??2/

4a. Ll>i Mdo 4b. Mdo
5/sol A . 51 sol 51 sol 51 sol

31 mi .
5a. lido 5b.
51 sol 2i.fi A 51 sol 5/W A .

6a. 4/ > 3lmi 6b. 31 mi
Chapter O \J The Modes: Parallel Approach 227
A Zif; 51 sol A 5/.w/

7a. 3/»« 4/^ 3/»« 7b. 3/0« 3/;w;
; 7/ r - i/<afo i/^
8a. 5/W 6//" 7 5/W 8b. 5/W 51 sol
Mixolydian
\l
la. \ldo *» *mi\ldo lb. i/^& 3 mi lldo
a/ • 4/fa ^ls°l 5/sol

2a. t/4 2/- ^/W" ^ i/4 2b. l/^ lldo
lldo lldo
^^ 7/te / / / A ^^
3a. 6//a 5/W 3b. 5/.W
3/mi A f 3/»i/
4a. ^ ton lldo l/m 4b. lldo
5/sol 5/sol
1)1501 Ufa 3/>ni 2/re • , 5/"W/
5a. 2/ '^ l/^ 5b. 1/^fo
5/W i/r, A , 51sol

6a. 4/ > 3/w/ 6k *' 3/», 5/W
?. //• 5/W .
7a. 3/w/ 4/ / rf 3/m/' 7b. olmi 3/mi
/// 77 te ^° A lldo
8a. 5/50/ ^ //rt 51 sol 8b. 5/W 5/sol
Dorian
A ^/ Wf? A
la. 1/4 2/r, ^ lldo lb. lldo " 1/^7
4 1 fa 5/W 5/^/
2a. 1/4^ 3/"" J 1/4 2b. 1/^7 l/^
22S Chapter The Modes: Parallel Approach
i/A 7ltf »,. lido

3a. ^ 5/W 3b. 5/W
ty me o/^x, A y me y -me A 3/^2^'

4a. * 2/7 ' 1/dfo 4b. l/^&
5/W 4/^ . 5/W 5/W 5/^/

5a. ' 3/^ 2/ - I/A 5b. 1/î?
5/W %/ra , 5/sol 5/W A 5/W

6b. 3/me
- $lsol A7
7a. 3//r/^ *v* 3//^<? 7b. 3//?^ j 3/w^
^. i/ /y f\„ 71 te Liao A 1/^/r;

8a. 5/W b/ ^ 5/W 8b. 5/W 5/W
Phrygian
,, 1,* »/« *"" !/,„ Ib. \fdo " /L l/^
A 4/^z 5/*o/ 5/W

2a. i/A 2lra " W/t ' i/A
lido jjtc > lido

3a. 6// ' z 5/W 3b. 5/W
3/ /?'/<? A 3/771^
4a. "" I/ do 4b. l/^
5/sol îfa A 5/W 51 sol 5/sol

•/ 3/me % i• ,- A
5a. 2/ '^ I/ A 5b. 1/^9
5/W 4 / / V . 5/W 5/W A, 5/W

6a. *±//« 31 me 6b. 31 me
Chapter 50 The Modes: Parallel Approach 229
A A Iff, 5/-W *
7a. 31 me •' 31 me 7b. 31 me 3/me
lite , lido
8a. le 5/sol Sb. 51 sol 5/W
Melodic Dictation
Use the dictation exercises from Chapter 49 (49.1—49.8), but apply the parallel
approach you learned in this chapter, Write out the pitches and rhythms for each,
following the given instructions. Write some using the parallel major or minor key
signature, inserting accidentals to make the necessary alterations for the appropri-
ate mode.
Prepare the following melodies (same as those for Chapter 49), using parallel
solmization syllables while conducting.

from the
616-642
W e have studied the one-beat triplet, which divides the beat into three parts
in simple meters. This same principle can be used to divide durations
other than the beat into three parts. Two kinds of triplets appear frequently in sim-
ple meters: half-beat triplets and two-beat triplets.
Half-Beat Triplets
In simple meters the half beat is usually divided into halves itself, which creates
quadruple beat divisions. However, it is possible to divide the beat into three parts
using a half-beat triplet.
1 st half-heat 2nd half-beat
Duple division of the half heat
1st half-beat 2nd half-beat
Triple division of the half beat
Triple division of successive half beats results in sextuple division of the beat sim-
ilar to that we have observed in compound meters. The Takadimi syllables for sex-
tuple division that we learned in Chapter 28 (Ta-va-ki-di-da-ma), can also be used
in simple meters.
In order to squeeze three notes in the place of two, half-beat triplets are written
using the note value that normally represents quadruple division of a beat. For exam-
ple, in the excerpt by Tchaikovsky below, the sixteenth note normally represents a
quadruple division of the beat, so the half-beat triplet is notated with three sixteenth-
note triplets.
Peter Ilich Tchaikovsky, Symphony No. 4, Op. 36, mvt. 1, mm. 1-2 (1878)
Andante sostenuto
perform: —
The excerpt above also illustrates the underlying feel of the half-note divisions.
You must feel this division first in order to perform half-beat triplets. This is par-
ticularly important when the triple divisions of the half beat are not immediately
23O
Chapter 51 Advanced Triplets 231
preceded by half-beat divisions. Practice "turning on" this internal sense of half-beat
divisions any time half-beat triplets occur. You should also practice dividing each
half beat into threes and switching between duple and triple divisions of the half
beat.
Two-Beat Triplets
It is also possible to divide a two-heat span in simple meters into three equal parts.
The symbol for this is the two-beat triplet, which is written using the note value
that normally represents one beat, but squeezing three of those in the place of two,
as illustrated below.
Duple division of two beats
Triple division of two beats I —j— ——
Since two-beat triplets divide two beats into three equal parts, each of those
triplets lasts two-thirds of a beat (2 divided by 3). In order to perform two-beat
triplets, you must feel the underlying subdivisions of each beat into three parts (or,
6W-beat triplets).
Hugo Wolf, "Harfenspieler II," mm. 5-6 (1888)
Langsam, aber nicht zu schleppend

5
i' /~v. —1~~
t): rU—-3— • f1 0^—
3
—* 0
perform: J b FA
J 4
An die Tii - ren will ich schlei - chen,
feel:
un t crrtETtrrtcr
3 3
fc,_^fc_j »_^__j
3
fc_^_^
3
fc_^fc_^ A
3 3
"LULU
3 3
Each two-beat triplet lasts as long as two notes of the one-beat triplet, as illus-
trated in the diagram below.
One-beat triplets
Two-beat triplets
232 Chapter 51 Advanced Triplets
Once you feel the underlying one-beat triplets, you achieve the two-bait triplets
by tying together pairs of those one-beat triplets:
r
equals
rr
You can practice easing into two-beat triplets in much the same way we
approached syncopation (see Chapter 31). Let's walk through this process using the
two measures from Wolfs "Harfenspieler II" (shown above). First, articulate each
of the one-beat triplets:
_q. i, A r
-£-!»-,-?
-=r r =i j 3
_ _^
taa t aa taa taa taa taa t aa t aa t aa t aa taa taa

Ta fa Ta Ta Ta ki cla 1fa d cJa Ta Ta
Then sing only a soft articulation (such as "haa") on the second of each pair of
one-beat triplets:
-j—
—„ ,.— r— i 1
3
= U d
taa taa taa taa taa - haa taa - haa taa - haa taa taa
Ta Ta Ta Ta Ta - (i) da - (a) ki - (a) Ta Ta
Finally, perform the passage without rearticulating the second note of each pair.
This will yield the original two-beat triplet rhythms.
When a two-beat triplet is preceded by dupie division of the beat, it makes
preparing for the triplet more difficult. You must develop your ability to switch to
triple-beat divisions immediately when needed to execute two-beat triplets.
1. Set a metronome at 60. Conduct each click using any conducting pattern
(repeat this exercise with several different patterns). Pretend that each beat is
a quarter note, and chant eighth notes. Change to chanting sixteenth notes
and then back to eighth notes and then to sixteenth-note triplets. Finally,
practice changing directly from sixteenth notes to sixteenth-note triplets and
back again.
2. Set a metronome at 90. Conduct each click using any conducting pattern
(repeat this exercise with several different patterns). Pretend that each beat is
Chapter Advanced Triplets 233
a quarter note and chant quarter notes. Change to chanting eighth-note

triplets and then back to quarter notes. Change to quarter-note triplets, then
back to quarter notes, and then to eighth notes. Finally, practice changing
directly from eighth notes to quarter-note triplets and back again.
LISTENING
Melodic Dictation
Bottom number
Exercise Clef Tonic in meter sign
51.1 treble G 4
51.2 bass Dt 8
51.3 treble E 2
51.4 bass Of 4
51.5 treble B 4
51.6 bass B 2
51.7 alto F 8
51.8 tenor B 4
Prepare the following melodies, singing on syllables while conducting. As you pre-
pare, think of the appropriate beat divisions (and subdivisions) necessary for each
triplet rhythm.

from the
643-656
I n addition to the chromatic pitches we have encountered in the major and minor
modes—lower chromatic neighbors, and "\6Ila and \llti in the minor mode (as
borrowed from major)—chromatic pitches are also used as passing tones.
Chromatic Connections between Diatonic Pitches
Joseph Haydn, Lo Spczialc (Der Apothcker), Act I, scene 4,
Allegro assai
fl £jf 17 ,-\ _|_, —
-T^T^T—n i \_j ^ m1 m ±^~^±^
m %m F
n i
"a1
i>;
i
—^— <» | -jp—p
r
X 1
1
i
^™*
I
|
i
i
: !
i !
^ <C
f^*~i
9
^ i
\ } 4
9 *
N r
• ' J-
9
=^=*
P,M'
"" ^
c\\\p*\ ITI ni'il (\i - m
1 f
:i en \/i ^/nc"*]
^^
rl<»l
i— _i
i'f 1 .- ("i
*
li;ir - IT,
*
rev
In the excerpt above, the Aif at the end of measure 17 serves as a connector be-
A chromatic passing tone is tween two diatonic pitches, A and B. We call this a chromatic passing tone.
a chromatic note that connects Structurally, a chromatic passing tone is subordinate to the two diatonic pitches
two diatonic pitches and is on either side of it. You can get a good sense of the pitch structure of a passage with
approached and left by half
step all in the same direction.
chromatic passing tones by singing only its diatonic pitches. Pay careful attention
to the intonation of the diatonic pitches surrounding any chromatic passing tone
since they are the anchors between which the chromatic pitches pass.
The figure on the next page shows the syllables used to represent both diatonic
and chromatic pitches. The left-hand column shows the major mode. The middle
column shows the minor mode using a parallel approach. The right-hand column
shows the minor mode using a relative approach. The diatonic pitches are printed
in heavy boxes (to indicate their status as "anchors") and the chromatics are printed
between them (with enharmonic equivalents occupying the same horizontal space).
If you follow the ascending arrows up the left side of each column, you'll see the
spellings and functions for ascending chromatics. If you follow the descending
arrows on the right side of each column, you'll see the spellings and functions for
descending chromatics.
Not all composers, arrangers, and editors are consistent in chromatic spellings,
particularly in spelling descending chromatic passing tones. The most common
exception is a nearly universal one: The chromatic passing tone from 5/Wdown to
41 fa is usually spelled as a raised4/^2 instead of a lowered 51 sol.
A tetrachord is a stepwise In the parallel approach, some musicians think of the upper tetrachord in m i n o r
succession of four pitches, (the notes between 51 sol and \ldo) as an exact replication of that in the parallel
usually a four-note segment of
major—with 67///and 7/fr'as diatonic pitches and IGIle and l/Y/âs chromatic ones.
a scale.
In this case, the upper tetrachord of the center column would be identical to the
major-mode one in the left column.
234
I Chapter Chromatic Passing Tones 235
Major mode Parallel minor Relative minor
tflti
\r7lte
T5/« 161 le
t4/n
tl/// 127»
K
Some of these chromatics are used more frequently than others. In the relative-
minor column, the syllables written in brackets are rarely found in music. In the
parallel-minor column, no syllables are given for a lowered II'do, lltey and 41 fa
because they rarely occur. Chromatic passing tones below these notes take the form
of the enharmonic ascending note. For example, the passing tone from \ldo to lite
is \Ilti> not \\lde. If you find yourself trying to apply the syllables III de, VJlta, or
14/fe, you've almost certainly misinterpreted the functions of the notes, or the music
has modulated to another key.
236 Chapter 52 Chromatic Passing Tones
The most common chromatic passing tones, both ascending and descending, are
shown in the table below:
Ascending Descending
lido—nidi—5.1 re
At first, practice singing music that contains a single chromatic passing tone
between two diatonic pitches. After you master singing such isolated chromatic
passing tones, you can progress to music that strings several of them in a row, such
as the bass line below, which connects the diatonic pitches in the descent from 1 to
5 with chromatic passing tones:
Li
The Chromatic Scale

If you string a series of half steps together, all moving in the same direction span-
A chromatic scale is a series ning an octave, the result is called a chromatic scale. An ascending chromatic scale
of pitches spanning an octave beginning and ending on C is shown in the example below. Since we are still deal-
wherein all adjacent pitches
ing with chromatics in the context of tonal music, the tonic; and other diatonic
are separated by half steps.
pitches should remain important points of reference in your singing and listening.
For this reason, the diatonic pitches (in the major mode) have been connected by
stems and beams, while the chromatic ones that pass between them have been left
as stemless noteheads.
1. For each of the following familiar tunes, determine the scale degrees of its
pitches so that you can sing each tune on its proper syllables. Do the work
entirely in your mind, without the aid of any instrument or writing.
Be especially sensitive to where chromatic passing tones occur in these
melodies. Identify unequivocally the scale degrees surrounding any chromatic
Chapter 52 Chromatic Passing Tones 237
passing tones, then work out the syllable of the chromatic pitch between
them.
• Rubber Ducky (first twenty-five notes)
• White Christmas
• Scott Joplin, "The Entertainer" (first eighteen notes)
Memorize each of these tunes on the proper syllables.
2. Learn the following chromatic passing-tone sequentials on syllables. Memo-

rize the pattern for each, then learn it without looking at the notation.
Imagine these sequentials in various keys as you sing them.
The descendingO part
1
of the major-mode
/
version has been written entirely/
with descending chromatics for the sake of consistency and to familiarize you
with all the descending syllables. You will encounter many pieces that descend
5/sol—141 ft—4lfa and 61 la— 1^1 si—51 sol, so you should practice the major-
mode chromatic passing tone sequential with those syllables as well. You
should also practice the minor-mode version with
Major mode:
Minor mode:
3. Give yourself a starting pitch on the piano or other instrument and sing an
ascending chromatic scale. Pay careful attention to the intonation of the dia-
tonic pitches (especially 1 and 5). When you reach the octave, check yourself
against the starting pitch. If you have difficulty ending on the proper pitch,
try singing the chromatic scale from 1 up to 5, then check yourself against 5.
Once you can do that, then work on singing up from 5 up to 1 in the same
manner. Then finally piece the two scale segments together.
Repeat this procedure with a descending chromatic scale.
238 Chapter 52 Chromatic Passing Tones
LISTENING
Melodic Dictation
Listen to excerpts 52.1—52.11 and write out the pitches and rhythms for each.
Listen closely for chromatic passing tones. Focus on the diatonic pitches surround-
ing these chromatics, especially the notes to which they resolve. Notate ascending
chromatics as raised pitches and descending chromatics as lowered pitches (except
45, which you should write as T4). Note that some of these require a grand staff for
two- and three-part dictation.
Bottom number
52.1 bass B 8
52.2 alto 2
^
52.3 treble E 8
52.4 treble F 4
52,5 vocal tenor* F 4
52.6 bass Bl> 4
52.7 bass A 4
52.8 bass D 4
52.9 grand staff (2 voices) B 4
52.10 grand staff (2 voices) Bt 4
52.11 grand staff (3 voices) A 2
MMBiBMMBMaHl
Prepare the following excerpts, singing on syllables while conducting. Sing them
first replacing the chromatic passing tones with rests, and then reintroduce the
chromatic pitches. Pay special attention to the intonation of the diatonic pitches on
either side of the chromatic ones.

from the
657-7O7
*Vocal tenor clef (review Chapter 8) looks similar to the treble clef but sounds one octave lower
than written.
W e have encountered diatonic pitches that function as incomplete prefix
neighbors to other diatonic pitches, as when a skip to / I t i i s a prefix neigh-
bor to lido. (Review Chapters 14 and 27.) Chromatic pitches can also function as
prefix neighbors, and skips to various chromatic pitches can be understood as pre-
fix neighbor notes that resolve to diatonic pitches. The most common chromatic
prefix neighbor notes are lower neighbors, but you will occasionally find upper
chromatic prefix neighbors as well.
Chromatic Prefix Neighbors

In previous discussions of neighboring notes, we found it useful to rethink prefix
neighbors in two ways: (1) as a complete neighboring note; and (2) by eliminating
the prefix neighbor entirely. These two approaches can also be used for skips to
chromatic pitches as prefix neighbors.
In measure 4 of the following excerpt, the second note—the chromatic pitch
t4///—is approached by skip from 21 re.
Gesangvoll, mit innigster Empfindung Ludwig van Beethoven, Piano Sonata No. 30,
Andante molto cantabile ed espressivo Op. 109, mvt. 3, mm. 1-4 (1820)
me~~a voce
3
We can recomposc this as a complete neighbor, so that the chromatic pitch is sur-
rounded by 5/'sol, a pitch you know quite well.
After having learned this recomposed version—internalizing T4/// as a complete

lower neighbor to 5/W—try singing the original.
We can also recomposc this measure by eliminating the chromatic prefix neigh-
bor altogether, which focuses our attention on the target note at its point of arrival.
Once again, learn the passage this way, then return to the original.
239
24O Chapter 53 Skips to Chromatic Pitches as Prefix Neighbors
As in our earlier work on prefix neighbors, you will find that certain contexts
demand only one or the other of these tvvo approaches depending on the specific
pitches and rhythms they employ.
Embellished Chromatic Passing Tones

When a leap to a chromatic prefix neighbor occurs closely following the diatonic
version of that pitch, the chromatic pitch functions as part of an embellished
chromatic-passing-tone figure. Two such instances occur in the following excerpt:
Johannes Brahms, Serenade No. 1, Op. 1 1, Minuet I, mm. 1-8 (1858)

Menuetto
J.'T7rlaJ
£
The Gjj at the downbeat of measure 2 can be heard as a chromatic passing tone
between the G in measure 1 and the A in measure 2. A similar figure appears in
measures 3—4, connecting A and B using Af. A simplified version of this process
might be written this way:
a
Chromatic Prefix Neighbors in Apparently
Linear Contexts
A chromatic prefix neighbor can occur in what appears to be a linear (stepwise) con-
text, but which is nonetheless heard more appropriately as only a prefix neighbor
to the diatonic pitch to which it resolves. For instance, in the example below, the
Cf at the end of measure 11 would seem to be part of a stepwise progression from
Bko D.
Aclolphe Adam, SiJ'etais roi, Act II, "Vous m'aimez, clites-vous," mm. 1 1—15 (1852?)
Moderate. (* = 98)
Vous m'aim-ez elites vous, ah! votre majes - te Vent se jouer i - ci de ma cre-du-li - te
However, no matter what linear connection we might feel (if any) between 11 do
and t2/n, it is most musical and practical to think of \zlri as a prefix chromatic
neighbor to 3/mi. This is similar to the motion 61 le— \llti— \ldo in the minor mode,
for which we found it useful to think of t/Yti'as a prefix neighbor to lido. No mat-
ter what note precedes a chromatic prefix neighbor, you should think of it as
appended to the diatonic pitch to which it resolves.
Chapter 53 Skips to Chromatic Pitches as Prefix Neighbors 241
Sequentials
Learn the following major-mode sequentials on syllables. Memorize the pattern for
each, then learn it without looking at the notation. Imagine these sequentials in var-
ious keys as you sing them.
Construct similar sequentials for the minor mode.
Midi
T2/n
jaiJjji-'jji'1!
T4//9
S £ a
P
T5/37
£
242 Chapter 53 Skips to Chromatic Pitches as Prefix Neighbors
to/// (This one is especially difficult because the lower chromatic neighbor to 71ti
tends to efface the original tonic)
*~ '- - ^ "" ^ " T • I I &
$jj^^^
12/m
2*^
+•
I7/^ (This one is especially difficult because the repetition of [71 te tends to efface
the original tonic)
Melodic Dictation
Listen to excerpts 53.1—53.8 and write out the pitches and rhythms for each. Listen
closely for chromatic pitches. Focus on the diatonic pitches surrounding these chro-
matics, especially the notes to which they resolve.
Chapter 53 Skips to Chromatic Pitches as Prefix Neighbors 243
Bottom number
53.1 bass E 4
53.2 treble At 4
53.3 treble G 8
53.4 treble Ei> 4
53.5 treble G 4
53.6 treble B 8
53.7 treble F 4
53.8 treble (two staves) G 2
Melodic Transcription
Transcribe excerpts 53.9-53.10. Take as many listenings and as much time between
them as necessary, but be certain to write down as many aspects of the performances
as you can, including timbre, tempo, articulation, rubato, and so forth.
Bottom number
53.9 vocal tenor* C

53.10 treble & bass
(two staves)
Write out melody
and bass line.
Prepare the following excerpts, singing on syllables while conducting. Practice them
using one or both of the approaches we have learned: (1) using a complete neigh-
bor figure, and (2) eliminating the chromatic pitches approached by skip. Then,
reintroduce the skips to chromatic pitches while paying special attention to the
intonation of the diatonic pitches on either side of the chromatic ones.
Which of the chromatics in these excerpts can be heard as embellished chromatic
passing tones?

from the
708-746
*Vocal tenor clef (review Chapter 8) looks similar to the treble clef but sounds one octave lower
than written.
1
C hromatic pitches occur not only in the melodic contexts we have studied (as
embellishments to diatonic pitches), but also in harmonic contexts, when
the chromatic pitch becomes part of a chord. The origins and functions of chro-
matic harmony are examined in great detail in your harmony textbook. This book
will focus primarily on the aspects of chromatic harmony specific to sight reading
and listening.
The Applied Leading Tone

The raised fourth scale degree (T4//7) has appeared thus far in this book in three dif-
ferent melodic contexts: (1) as a lower chromatic neighbor to 5/W, (2) as part of the
chromatic passing-tone figure 41 fa—^41ft—^1sol, and (3) as an incomplete
neighbor to 5/sol. (See the example below.*)
lower neighbor passing tone incomplete prefix neighbor
In all of these, T4/// leads directly to 5/W by half step. Because of this, we can see
and hear T4//9' as a kind of leading tone to 5/sol. A leading tone that is created
An applied leading tone is a through being chromatically raised to within a half-step of another pitch is called
note raised chromatically to an applied leading tone.
serve as a temporary leading
tone to the diatonic note a half
step above it.
Chords Applied to the Dominant

In the same way that the diatonic leading tone (71 ti) can serve as the root of a leading-
An applied leading-tone tone chord, an applied leading tone can serve as the root of an applied leading-tone
chord is a chord with an chord (also called a secondary leading-tone chord). Thus, T4/// can become the
applied leading tone as its root, root of the chord ^4lfi—6!la—\ldo. Occasionally, 3/mi or l'3/me will be added to
this, creating; a seventh chord.
*For the sake of simplicity, generic examples will be printed in the key of C.
244
I Chapter 54 Chords Applied to the Dominant 245
In the same way that the diatonic leading tone (//**) can serve as the third of a
dominant chord, an applied leading tone can also serve as the third of an applied An applied dominant is a
dominant chord (also called a secondary dominant chord). Thus, T4/// can pitch a perfect 5th above (or a
perfect 4th below) the pitch to
become the third of a chord built on 21 re: 2lre-mfi-6lla (with the option of
which it is applied.
adding \l do to create a seventh chord).
An applied dominant chord is
a chord whose root is an
applied dominant and whose
quality is the same as a domi-
The root of this chord (lire) functions as the dominant of the root of the chord nant chord.
to which it is applied (51 sol). An applied dominant is a pitch a perfect 5th above
(or a perfect 4th below) the pitch to which it is applied. An applied dominant chord Some texts use the term "sec-
(or secondary dominant chord) is a chord whose root is an applied dominant and ondary" (as in "secondary
whose quality is the same as a dominant chord—a major triad or major-minor dominant") instead of "applied."
Do not confuse this with the
seventh chord. Although you could think of this chord built on 2/?r as a supertonic term "secondary triad;' which
chord with a raised third (H|), this does not account for its function as an applied is used to distinguish the super-
chord. tonic, mediant submediant
To fully represent the function of an applied chord and its relationship to the and leading-tone triads from
the so-called "primary triads"
chord to which it is applied, we label it with two symbols separated by a slash. The —tonic, subdominant, and
first symbol represents the kind of chord it is (X/ for applied dominant, VM° for dominant.
applied leading tone). The second symbol represents the chord to which it is
applied. Both types of applied chords are shown below:
XT fT 72 ~~- •^ ^ * m G•
__^
j ^ 3
-^5~4
— ^~f —•— : \^ --m-- ~"~i • P~ ...10r _^
U
_._ --[--•
m
r
U
ntr
*
MI* - - - -|r - —
^r i, JJ f*
£V Q
*)• O
/ 5?
i
i
i
J
!
9 J0
j
f
»
r ir p
i
i &•
C: I V
Here are the chords applied to the dominant:
V / V ....
\JJ 0 7 /\
\ii° 7 /V
In all these chords, the characteristic tendency tone is T4//7, which resolves up
and by step to ?/W. In the vii o 7 /V, another tendency tone is \l]3/me, which
resolves down by step to 21 re
246 Chapter O ^" Chords Applied to the Dominant
Although only one chromatic pitch (HI ft) is needed for all these chords in the
major mode, two chromatic pitches (T4/// and To////) are needed in the minor
mode. The pitch Islme is chromatic in the major mode.
Implications for Reading and Singing

We have encountered skips to T4///, which all resolved immediately to 5/W. We will
now begin to encounter skips away from T4//7, particularly to other members of the
_\Z/X/ and vii°/AZ chords. For example, in measure 74 of the following excerpt, the
skip to and from F| forms part of a i/./A/, chord:
Allegretto tranquillo, poi piii agitato Ecivard GrieS' "AuAhrt," °P- 9> No. 4, mm. 72-75 (1866)
«//" 72 . i k , k I \k Lr— k k (— r—H *
Er - fill - lung nun ward ih-rem hoeh-sten Be-gehr,_ sie soil - te die Schon-heit er - schaun,_
As the arrow indicates, the resolution of T4/// (F|) to 51 sol (G) is delayed until
after the entire 5Z/5Z chord has been arpeggiated.
Implications for Listening

The only new material for melodic dictation presented here will involve skips away
from T4//5. However, the addition of \L/\L and vii°/\ introduces quite a few new
possibilities for chords above certain scale degrees in harmonic dictation. The chart
below shows the bass notes above which chords applied to the dominant may
appear and discusses the inversion of each chord associated with each bass note.
Keep in mind that you are adding these chords to all the harmonic possibilities you
have learned in previous chapters.
21 re When you hear 21 re in the bass voice, it could now also be the root of a
¥/\ chord (2ire-îfi-&ila) or V 7 /V (21 re-^lfi-6ila-\ldo). The pres-
ence or absence of lido in some upper voice makes the difference.
T4//I When you hear a chord supported by T4//7, it could point to a first-
inversion applied dominant chord (V6/.V. or \/J/\ )• Listen for the pres-
ence or absence of\ldo in an upper voice. It could also be an applied leading-
tone chord (vii°/V, which is rare, or VJi 0 / /.V.). The presence or absence of
31 mi(0) or [l>]3/me(°) in an upper voice makes the difference. Note that
vii 0/ 7\ is not used in the minor mode.
61la When you hear a chord supported by &/la, it could be an applied domi-
nant ( V I / V , which is rare, or \ 1/V). Listen for the presence or absence
of II'do in an upper voice. It could also be an applied leading-tone to V
(vii° 6 /V or V J J f / ¥ ) . The presence or absence of 31 mi (0) or [i]3/me(°) in
an upper voice makes the difference. Note that vii^/X/ is not used in the
minor mode.
\ldo When you hear a chord supported by IIdo, it could be a V \l\l , which typ-
ically resolves to V 6, due to voice leading in the bass. It could also be an
54
Chapter \J *• Chords Applied to the Dominant 2*7
applied leading-tone to V (vii°4/\£, which is rare, or vii°1/V ). Listen for

3/rni ( y J ) or [l]3/rne(°) in an upper voice. Note that VJi "I/V is not used in
the minor mode.
31 mi On very rare occasions, 31 mi or [l]3/me might support a leading-tone sev-
I3/'me enth chord in ] position applied to the dominant.
The most important: voice-leading event to listen for involves the resolution of
the chromatic tendency tone T4///. If you hear T4//7 in one chord resolving to 51 sol
in the next, you are probably hearing an applied chord resolving to the dominant.
Chords applied to the dominant are frequently used to intensify the approach to
a half cadence. One typical but striking implementation of this involves the use of
T4//7 to approach 51 sol in the bass.
1. Be able uo sing skips from any pitch to any other within applied leading-tone
and dominant of .V_.
2. Practice singing stepwise to T4///' and then skipping to various other diatonic
scale degrees.
3. In each of the following preliminary exercises for chord arpeggiation, sing
each chord one after the next. Think of these as symbol-reading, solmization,
and singing exercises, not as actual chord progressions.
a. I ii V/Y£ V 1 b. i ii° :V/:V \ i
c. I ii 6 WV V. I d. i ii°6 V 6 /V :Y i
e. I IV vii°/y V 1 f. i iv vii°/X/: I/ i
g. I ii" Y.W V: I h. i ii 07 ¥ 7 /V \L i
i. i H6 .\^/y_ :v_. i j. i ii^ vf/v y i
4. Learn to arpeggiate the following chord progressions.
c. i i 6 V/V 'V i
c. J IV 6 vii° 6 /V V I
i. i y/' v|/:v: \L j.
j. I V1/V V 6 1 ii^ V? 1
k. 1 l f i ii 6 .V^/y Vî^ I
1. i III VI i$ \I1/V \ Vi i6
5. Learn to play the above progressions on the piano (or similar keyboard).
248 54
Chapter w Chords Applied to the Dominant
LISTENING
In the following dictations and transcriptions, pay special attention to the appear-
ances of chords applied to the dominant, and work at hearing not only the
individual pitches that make up these harmonies but also the holistic result they
produce. (For example, can you hear a \//X/ in real time and immediately sense
"Mia!Theold¥/X/r?)
Melodic Dictation
Bottom number
54.1 treble D 4
54.2 treble D 4
54.3 treble Efr 4
54.4 treble C 4
Listen to excerpts 54.5—54.8 and write out the pitches and rhythms for each. Also
supply any other appropriate performance indications.
Bottom number
54.5 treble G 4
54.6 treble D|> 4
54.7 treble El> 4
54.8 treble F 4
Harmonic Dictation
Listen to excerpts 54.9-54.13 and write out the bass line for each. Then supply the
well.
Bottom number
54.9 A 4
54.10 A 4
54.11 E 4
54.12 G 4
54.13 C 4
Chapter 54 Chords Applied to the Dominant 249
Harmonic Transcription
Listen to excerpts 54.14—54.16 and write out the bass line for each. Then supply
the appropriate Roman numerals and figured bass symbols to represent each chord.
well.
Bottom number
54.14
54.15 G
54.16 G
Prepare the following excerpts, singing on syllables while conducting. Pay special
attention to areas that state or imply chords applied to the dominant. Work at inter-
nalizing the sound and feel of each entire chord as you sing its pitches. Spend half
your practice time accompanying yourself with block chords on the piano or other
chord-producing instrument, so that the sounds of applied harmonies become part
of your inner hearing.
Some of these excerpts clearly outline chords applied to the dominant, whereas
others merely emphasize skips to T4//7. Some of these appearances of T4/// might
even have been harmonized in their original contexts by other chords. Nonetheless,
all these excerpts offer opportunities to practice skips to and from T4/// in various
guises.

from the
747-759
D ominant and leading-tone chords can be applied to the subdominant in both
the major and minor modes.
Chords Applied to IV in the Major Mode

A dominant of the subdominant is built on lido, but, in the major mode, a major
triad built on IIdo would simply be a tonic chord. Therefore, to give it a non-tonic
or applied function, this chord must become a major-minor seventh chord. The
chromatically altered seventh ([71 te) turns the tonic triad into a i^7/JV.
The leading-tone chord applied to the subdominant can appear as a triad
(vii°/fiZ) or a seventh chord (\/ii 07 /lV_ or vii° 7 /lV).
Here are the chords applied to the subdominant in the major mode:
¥ 7 /IY \ldo-3lmi4lsol-tfite
V'ii°/L\ 3/mi-§/sol-l7/te
In all these chords, the characteristic tendency tone is l/lte. It resolves down and by
step to o/la. In the vii 0/ /EZ, Iz/ra is also an important tendency tone, which
resolves down by step to \ido. The diatonic pitch 31 mi'functions in all these chords
as the secondary leading tone to4/fa.
Chords Applied to iv in the Minor Mode

In the minor mode, the only alteration needed to change a tonic triad into a dom-
inant of the subdominant is raising the third from 3/meto \olml> thereby changing
the quality of the triad from minor to major (\l do-J\3lmi—c)l sol). However, this
chromatically altered triad built on 1 can also serve as a tonic chord with a Picardy
third (see Chapter 39), which you will hear as a cadential point of arrival at the end
of a harmonic progression. On the other hand, if it leads harmonically and rhyth-
mically to a subdominant chord, then you will recognize it as a V / I V .
25O
Chapter O O Chords Applied to the Subdominant 251
In the minor mode, the applied dominants and leading-tone chords are identi-
cal to those in the major mode, with two important distinctions. In the minor
mode, T3/772/ is a chromatically raised pitch (from the diatonic 3 /me), and lite is a
diatonic pitch.
Here are the chords applied to the subdominant in the minor mode:
\7 7 /iv ...
vii°7/iv
There are several characteristic tendency tones in these chords. In all of them, V^
resolves up by step to 4/fa. In all but X/ /JV, 7 1 te resolves down and by step to 61 le.
And in vii°'7iv, [21 ra resolves dowrn by step to II 'do.

We will now begin to encounter some applied harmonies containing skips to and
from [7 1 te. For instance, in measures 23—24 below, Dl> (\7 1 te) is approached and
left by skip. As we observed with T4//7, the resolution of such tendency tones can
be delayed. Here, V/lte (Dl>) resolves to 61 la (C) on the downbeat of measure 25.
I- S. Bach, Cantata No. 102, "Herr, deine Augen sehen nach clem Glaubcn," No. 4, Arioso, mm. 23—2/ (1 /26)
Vivace
23
Ver - ach - test du den Reich turn sei ner Gna
In the minor mode, we will also now encounter skips to and from T3//7//, which
is a chromatic pitch. It tends to resolve up to 4/fa, the root of the subdominant
chord.

from 17/te. However, the addition of chords applied to the subdominant introduces
quite a few new possibilities for chords above certain scale degrees in harmonic dic-
tation. The chart below shows the bass notes above which chords applied to the
subdominant may appear and discusses the inversion of each chord associated with
each bass note. Add these chords to all the harmonic possibilities you have learned
in previous chapters.
252 .55
Chapter \J O Chords Applied to the Subdominant
\ldo When you hear \ldo in the bass voice, it could now also be the root of a
_V7/GZ chord (llJo-[\]$lmi-$/sol-[l]7/te) or V / I V (IIdo-^lmi-^/sol)
in minor.
3/mi When you hear a chord supported by 3/mi, your choices depend slightly on
the mode of the music in which it appears. In the major mode, it could
support VJ/IV . It could also support an applied leading-tone chord as a
triad, VJi°/LV, which is rare, or seventh chord, vii 07 /IV( or vii° 7 /IV. Listen
for 21 re or [21 ra in an upper voice. In the minor mode, \$lmi (now a chro-
matic pitch) can also support the simple triad V 6 /JV . Listen for the pres-
ence or absence of 71 te to distinguish between _V. 6 /iv and V ^ / J V . If [21 ra
is present in minor, the chord will be V'ii° /\\ Note that vii 0 / 7iv is not used
in the minor mode.
51 sol When you hear a chord supported by 5/sol, it could be V / y l V , which is

rare, or V 1/IXZ. The presence or absence of [[}7lte in an upper voice makes
the difference. It could also be an applied leading-tone to IV (vii° 6 /IV,
vii 0 6 /I\L, or \). Listen for 2/reot [21 ra in an upper voice to deter-
mine the quality of the seventh chord. The parallel harmonies applied to IV
are possible in the minor mode, but note that VII 5/1V is not used in minor.
71 te When you hear a chord supported by [[}7ltey it could be V i / I V , which

typically resolves to IV 6 , due to voice leading in the bass. It could also be
an applied leading-tone to IV (V'ii^/lV, which is rare, VJP1/IV, or
vii°1/IV). Listen for 2/reot [21 ra in an upper voice. The parallel harmonies
applied to IV are possible in the minor mode, but note that Y iPl/iv is not-
used in minor.
21 re On very rare occasions, 21 re or [21 ra might support a leading-tone seventh

[21 ra chord in \n applied to the subdominant. Note that virl/iv is not
used in minor.
The most important voice-leading events to listen for involve the resolutions of
the two tendency tones [[}7/te (resolving to bllalle) and [T]3/;r//' (resolving to4/fa).
In the major mode, the chromatic pitch l7/teis particularly important. If you hear
[71 tern one chord resolving to 6/la in the next, you are probably hearing an applied
chord resolving to the subdominant. In minor, listen for the chromatic pitch \$lmL
If you hear it resolve to 4/fa, it is probably functioning as part of an applied chord
resolving to the subdominant.
1. Be able to sing skips from any pitch to any other within the applied leading-tone
and applied dominant of IV. Pay particular attention to skips to and from
[[}7/te (in major and minor modes) and T3/;?7/ (in the minor mode).
2. In each of these preliminary exercises for chord arpeggiation, sing each chord
one after the next. Think of these as symbol-reading, solmization, and singing
exercises, not as actual chord progressions.
Chapter 55 Chords Applied to the Subdominant 253
a. I V 7 /IV IV. ¥ I e. 1 I 6 iii V f / I V ]£ V I

b. I iii vii°/IV IV V. I £ 1 ii 6 iii 6 vii° 6 /l\ LV ¥ I
c. i V/iv iv ^Z i
d. i III vii°/iv iv V i
a. 1 VIA/ V 1 X/ 7 /JV N. ^7 I
b. i v vi/iv :iv i 6 ii6 v 7 i
c. ! Vi/LV IV6 V|/.V V 7 [
d. i _V.^/iv i\V V. i
e. i VI Vi/iv iv \\ i
£ i Vi/iv iv 6 ii°6 VI i 6
LISTENING
ances of chords applied to the subdominant, and work at hearing not only the
produce.
Melodic Dictation
Listen to excerpts 55.1-55.4 and write out the pitches and rhythms for each.
Bottom number
55.1 treble G 4
55.2 bass F 2
55.3 tenor Dt 4
55.4 treble E 4
Listen to excerpts 55.5-55.6 and write out the pitches and rhythms for each. Also
Bottom number
55.5 treble D 4
55.6 treble G
254 Chapter O O Chords Applied to the Subdominant
Harmonic Dictation
well.
Bottom number
55.7 F 4
55.8 F 4
55.9 C 4
55.10 C 4
55.11 C 4
55.12 A 4
appropriate Roman numerals and figured bass symbols to represent each chord. Your
instructor may also choose to have you write out the top ("soprano") voice as well.
Bottom number
55.13
Prepare the following excerpts, singing on syllables while conducting. Analyze the
implied or outlined harmonies, and pay close attention to applied harmonies, par-
ticularly those applied to the subdominant. Work at internalizing the sound and feel
of each entire chord as you sing its pitches. Spend half your practice time accompa-
nying yourself with block chords on the piano or other chord-producing instrument,
so that the sounds of applied harmonies become part of your inner hearing.
Some of these excerpts clearly outline chords applied to the subdominant,
whereas others merely emphasize skips to and from i//£<?and T3/;??/'. Some of these
pitches might even have been harmonized in their original contexts by other chords.
Nonetheless, all these excerpts offer opportunities to practice skips to these pitches.

from the
76O-769
c hords other than the dominant and subdominant may take applied domi-
nant and leading tone chords. One such chord is the supertonic.
Chords Applied to ii — Only in the Major Mode

Composers apply chords to the supertonic almost exclusively in the major mode,
since the supertonic is a diminished triad in the minor mode and diminished triads
rarely take applied harmonies. Therefore, we w7ill examine these chords only in the
major mode.
Here are the chords applied to the supertonic:
\/7ii . . .
\\ldi-%l mi -*>l sol-til te
In all these chords, the characteristic tendency tone is \\ldi. It resolves up by step
to 21 re. In \ i i ° /ii, 17/te is another important tendency tone, which resolves down
by step to 6/7/7.

Chapter 53 introduced skips to \\ldi, but they all resolved immediately to 1.1 re.
Even when implying chords applied to the supertonic, many instances of Midi in
Western music still resolve immediately to 21 re. We will now begin to encounter
some applied harmonics containing skips to and from \\ldL In the example below,
D^ (\\l di] in measure 3 is approached and left by skip. As the dotted arrow sug-
gests, its resolution to Ep (21 re) is only implied^ shown by the X). As Ap (jlsol)
resolves to Cit> (4/fa), you can auralize Di^ (^H di) resolving up to Ep (21 re).
Robert Schumann, Twelve Pieces for Piano Four Hands,

Op. 85, No. 12, "Abendlied," mm. 1-6 (1849)
Ausdrucksvoll und sehr gehalten.
255
56
Chapter O W Chords Applied to the Supertonic

from \\ldi. In harmonic dictation, the addition of \/1\d \/ii°/ii introduces quite
a few new possibilities for chords above certain scale degrees. The chart below shows
the bass notes above which chords applied to the dominant may appear and dis-
cusses the inversion of each chord associated with each bass note. Add these chords
to all the harmonic possibilities you have learned in previous chapters.
61 la When you hear o/'la in the bass voice, it could be the root of a V./ii chord
(6/la—1l/di—3/mi) or \Z/7ii (6/la—^l/di—3/mi—5/sol). The presence or ab-
sence of 5/sol in an upper voice makes the difference.
I \l di When you hear a chord supported by \\ldi, it will be a chord applied to II.
It could be an applied dominant chord (\/ 6 /ii or NZJ/ii). Listen for the
presence or absence of j/sol in an upper voice. It could also be an applied
leading-tone chord (Vll°/ll, which is rare, or \/ii 0 / /ii). The presence or
absence of \7lte in an upper voice makes the difference. Note that vii 07 /il
is not used.
31'mi When you hear a chord supported by 31 mi, it could be an applied domi-
nant to ii (V4/ii, which is rare, or V 1/ii). Listen for the presence or absence
of 51 sol in an upper voice. It could also be an applied leading-tone to ii
(VII /li or VJi°5/ii). The presence or absence of \71te in an upper voice
makes the difference. Note that VII |/ll is not used.
51 sol When you hear a chord supported by 5/W, it could be a V 7/li, which typ-
ically resolves to ii 6 due to voice leading in the bass. It could also he an
applied leading-tone to ii (vii 0 ^/ii, which is rare, or VJi°1/ii). Listen for lllte
in an upper voice. Note that \/ii 0 ^/ii is not used.
I7lte On very rare occasions, \7lte might support a leading-tone seventh chord
in 7 position applied to the supertonic.
The most important voice-leading event to listen for involves the resolution of
the chromatic tendency tone Ml di. If you hear \\ldi in one chord resolving to Lire
in the next, this is a good indication of an applied chord resolving to the supertonic.
and applied dominant of ii. Pay particular attention to skips to and from \\ldi.
a. I vii°/ii ii ¥f I c. 1 Ef/ii ii ^L\

b. I vi V./ii ii X/ I d. 1 V/'/ii ii7 \L\
Chapter O O Chords Applied to the Supertonic 257
3. Learn to arpeggiatc the following chord progressions.

a. I
V 6 V' 7 /ii ii Vf I
b. I
X/t I 6 Vl/ii ii VJ I 6
c. I
¥<j I 6 vii° 6 /ii ii6 VI/W IY V 7 I
d. I
Y V 42 /ii ii 6 Yi/Y Y I
e. I
vii° 6 /ii ii Y 6 /Y Y Y1 Y|/ii ii Y 7 I
f. I I6 Y 7 /ii ii X7l/ii VI I6 vii°6/ii ii7 Y1\
LISTENING
ances of chords applied to the supertonic, and work at hearing not only the
produce.
Melodic Dictation
Bottom number
56.1 bass B^ 8
56.2 treble F# 4
56.3 tenor D 8
56.4 alto At 2
Listen to excerpt 56.5 and write out the pitches and rhythms. Also supply any other
appropriate performance indications.
Bottom number
56.5 treble El? 8
Harmonic Dictation
well.
258 Chapte r 5 6 Chords Applied to the Supertonic
Bottom number
56.6 D 2
56,7 Bt 4
56.8 C 4
56.9 C 8
Listen to excerpt 56.10 and write out the bass line and supply the appropriate
Roman numerals and figured bass symbols to represent each chord. Your instructor
may also choose to have you write out the top ("soprano") voice as well.
Bottom number
56.10 C
Prepare the following excerpts, singing on syllables while conducting. Analyze

implied or outlined harmonies and pay close attention to applied harmonies, par-
ticularly those applied to the supertonic. Work at internalizing the sound and feel
of each entire chord as you sing its pitches. Spend about half of your practice time
accompanying yourself with block chords on the piano or other chord-producing
instrument, so that the sounds of applied harmonies become part of your inner
hearing.
Some of these excerpts clearly outline chords applied to the supertonic, whereas
others merely emphasize skips to and from \\ldi. Some of these appearances of
\\ldi might even have been harmonized in their original contexts by other chords.
Nonetheless, all these excerpts offer opportunities to practice skips involving \\ldL

from the
770-783
A nother chord that may take applied dominant and leading tone chords is the
submecliant. We must examine these chords separately in the major and
minor modes, because their roots and tendency tones are different.
Chords Applied to vi in the Major Mode

Here are the chords applied to the submediant in the major mode:
V/vi . . . . 3/W/-T
¥ 7 /VJ . . . 3
Vii° 7 /Vi
In all these chords, the characteristic tendency tone is T5/37. It resolves up by step to
61 la. In the \ i i ° /vi, 41 fa also functions as an important tendency tone, which
resolves down by step to of mi
Chords Applied to VJ in the Minor Mode

In the minor mode, a dominant of the submediant must be built on 31 me. However,
a major triad built on 31 me would simply be a diatonic mediant chord, so to give it
a dominant function requires an added seventh ([21 ra). This turns the mediant
triad into a V 7 / V l .
The leading-tone chord applied to the submediant in minor can appear as a triad
(vii°/X/I) or as a seventh chord, usually only in the half-diminished form (VJi 07 /M).
Here are the chords applied to the submediant in the minor mode:
vii07/V[
vii°7/\/l
In all these chords, 5/sol is the applied leading tone, which resolves up to 61 le. On
occasion, you may find vii 0 / /VI, but it is usually associated with modulation to
another key. Its lowered seventh (14) has never been given a standardized name in
movable-^? solmization. We will call it 141 fe. In the vii°7/51, [ 41 fe is also an
important tendency tone, which resolves down by step to 31'me.
259
260 Chapter 57 Chords Applied to the Submediant

Harmonic motion applied to the submediant introduces the possibility of skips to
and from T5/#in the major mode, and [21 ra (and occasionally 141 fe) in the minor
mode. The following example features skips to and from T5/37:
Ludwig van Beethoven, Symphony No. 5, Op. 6/, rnvt. 2, mm. 1-6 (1808)
Andante con moto
pdolce
The Ft] (T5/37) at the downbeat of measure 4 is the first note in a three-note
arpeggiation of Et|-G—C (o/si—7/ti—3/mi): a V./VJ chord. The applied leading tone
Etj does eventually resolve to F in the following measure. This F is not part of VI but
of V /ii (a chromatically altered VJ), which creates a chain of applied dominants.
Implications for Listening in the Major Mode

The only new material for melodic dictation in the major mode presented here will
involve skips away from To/51. However, the addition of chords applied to the sub-
mediant introduces several new possibilities for chords above certain scale degrees
in harmonic dictation. The chart below shows the bass notes above which chords
applied to the submediant may appear in the major mode, and discusses the inver-
sion of each chord associated with each bass note. Add these chords to all the har-
monic possibilities you have already learned.
31 mi When you hear 31 mi in the bass voice, it could be the root of a V i\\d
(3/m/-t5/37-7//-/) or V. 'VV'i (3/m-i~^5/si~7/t'i-2/re). The presence or absence
of 21 re in an upper voice makes the difference.
When you hear a chord supported by t5/w, it will be a chord applied to \1.
It could be an applied dominant chord (V 6 /\ or V.f/Vl). Listen for the
presence or absence of 21 re in an upper voice. It could also be an applied
leading-tone chord (vii°/vi, which is rare, or \0 7\. The presence or
absence of 41 fa in an upper voice makes the difference. Note that v i P 7 / \
is not used.
71 ti When you hear a chord supported by 77/7, it could be an applied dominant
(\L\N\, which is rare, or .\/._1/\/i). Listen for the presence or absence of 21 re
in an upper voice. It could also be an applied leading-tone (\ii o ( ) /\ or
\/ii°5/vi). The presence or absence of 41 fa in an upper voice makes the dif-
ference. Note that VII 5/VI is not used in the major mode.
2lr*e When you hear a chord supported by 21 re, it could be V \l\l\, which typi-
cally resolves to VJ due to voice leading in the bass. It could also be an
applied leading-tone (VH°4/vi, which is rare, or \. Listen for 41 fa in
an upper voice. Note that VN^/vi is not used in the major mode.
4lfa On very rare occasions, 41 fa might support a leading-tone seventh chord in
2 position applied to the submediant.
Chapter Chords Applied to the Submediant 261
The most important voice-leading event to listen for involves the resolution of the
chromatic tendency tone T6/5/. If you hear 16/5** in one chord resolving to 61 la in the
next, this is a good indication of an applied chord resolving to the submediant.
Implications for Listening in the Minor Mode

The only new material for melodic dictation in the minor mode presented here will
involve skips away from [21 ra. However, you will encounter several new possibili-
ties for chords above certain scale degrees in harmonic dictation. The chart below
shows the bass notes above which chords applied to the submediant may appear in
the minor mode and discusses the inversion of each chord associated with each bass
note. Add these chords to all the harmonic possibilities you have learned in previ-
ous chapters.
3/me When you hear 31 me in the bass voice, it could be the root of a V 7 VI
chord (3/me-5/sol-7l te-42/ ra).
51 sol When you hear a chord supported by jl$ol> it could be a first-inversion
applied dominant seventh (5Z|/53). It could also be an applied leading-
tone (\, which is rare, or \/ii 7 /VI); listen for 4/fa(0) or U/fe(°) in an
upper voice.
71 te When you hear a chord supported by 71 te, it could be an applied dominant
(V1/VI) or an applied leading-tone (vii° 6 /VI or VJif/VI); listen for
41 fa('J) or [4lfe(°) in an upper voice.
21 ra When you hear a chord supported by [21 ra, it could be \ 2/.X/I, which typ-
ically resolves to VI6. It could also be vii 0 ^/VI, which is rare, or vii|/X/I.
The presence or absence of 41 fa ( 0 ) or [41 fe (°) in an upper voice makes the
difference.
41 fa On very rare occasions, 41 fa or [41 fe might support a leading-tone seventh
4:1 fe chord in '] position applied to the submediant.
In the minor mode, the most important voice-leading event to listen for involves
the resolution or the chromatic tendency tone [21 ra. If you hear [21 ra in one chord
resolving to \l do in the next, this is a good indication of an applied chord resolving
to the submediant.
EXERCISES
and applied dominant of the submediant. Pay particular attention to skips to
and from T5/37 and [21 ra.
Chapter 57 Chords Applied to the Submediant
a. I iii V/vi vi IV6 V 7 I

b. i m v7/vi vi iv6 v7
1
a. I vi V 6 /vi vi ii6 M7 I
b. I ii6 27/yj vi ¥4/V: V I
c. I vi Wvi vi \77ii ii Vi I
d. I VW IV6 15; V. I
e. 1 _V:-l/vi vi6 V
f. I vii°6/vi vi V ii V7 I
g- ' VJ ii°6 _v_ i
h. i V 6 i V
i. i \ vii°6/T/I VI r/ Viv iv6 V7
VI6 VI
LISTENING
ances of chords applied to the submediant, and work at hearing not only the
produce.
Melodic Dictation
Bottom number
57.1 bass B 4
57.2 treble
9 8
57.3 tenor Fj> 4
57.4 alto Bt 2
Bottom number
57.5 treble E
Chapter 57 Chords Applied to the Submediant 263
Harmonic Dictation
Bottom number
57.6 C 4
57.7 F 4
57.8 A 4
57.9 Bt 4
Bottom number
57.10 C
57.11 El,
A
57.13
Prepare the following excerpts, singing on syllables while conducting. Analyze the
implied or outlined harmonies and pay close attention to applied harmonies, par-
ticularly those applied to the submediant. Work at internalizing the sound and feel
of each entire chord as you sing its pitches. Spend half your practice time accom-
panying yourself with block chords on the piano or other chord-producing instru-
ment, so that the sounds of applied harmonies become part of your inner hearing.
Some of these excerpts clearly outline chords applied to the submediant, whereas
others merely emphasize skips to and from of si or [21 m. Some of these pitches
might even have been harmonized in their original contexts by other chords.
Nonetheless, these excerpts offer opportunities to practice these skips.

from the
784-788
T he mediant chord also may take applied dominant and leading tone chords.
As with chords applied to the submediant, we must examine these chords sep-
arately in the major and minor modes, because their roots and tendency tones are
different.
Chords Applied to iii in the Major Mode

Although chords are only rarely applied to the mediant in the major mode, we will
explore the theoretical possibilities of these chords.
Here are the chords applied to the mediant in the major mode:
V/iii . .
In all these chords, the characteristic tendency tone is T2/n, which resolves up by
step to olmL In the V I I 0 / / I I I , \ldo is also an important tendency tone, which resolves
down by step to 71 ti.
Chords Applied to III in the Minor Mode

In the minor mode, the diatonic third scale degree is 3 /me. A major triad built on
its dominant, 71 te (71 te— 21 re—41 fa), would be the diatonic sub tonic chord (VII). The
sub tonic often functions as an applied dominant of the mediant in the minor mode.
Adding a seventh (61 le) to this chord turns the triad into the .V 7 / I I I .
The vii°/m is actually a diatonic supertonic triad. Although it sometimes func-
tions as a vii°/in, we almost always label it as a ii°. The same is true for the applied
leading-tone half-diminished seventh of HI (2lre-4lfa-6/le-\/do). It does indeed
progress to III from time to time, but we usually label it as a N 0 7 .
Here are the chords applied to the mediant in the minor mode:
V/IJI ........ 7ite-2lre-4lfa

\77/III
2/re-4/fa-6/le-ll/de
264
Chapter 58 Chords Applied to the Mediant 265
In all these chords, z,/reis the applied leading tone, which resolves up to 31 me. On
occasion, you may find v i i ° / I I I . This is usually associated with modulation to
another key, so its lowered seventh ( i l ) has never been given a standardized name
in movable-^? solmization. We will call it lllde. In the vii° 7 /IIl, lllde is also an
important tendency tone, which resolves down by step to lite.

Harmonic motion applied to the mediant introduces the possibility of skips to and
from T2/n in the major mode, although these are very rare. In the minor mode,
skips to and from IIte are commonly associated with V/III, as shown in the fol-
lowing excerpt:
"Do Not Scold Me and Do Nor Reproach Me," Russian folk song
ci _
^
The C (7lte) in measure 4 begins an arpeggiation of C-E-G-Bl?
(7/te-2/re-4/fa-&/le): a V //III chord. Note how this chord projects a powerful
sense of dominant function applied to I I I , even though the melody only briefly
touches on the mediant pitch A in measure 6, before the E at the end of that mea-
sure makes I I I an impossibility. Sing this excerpt, being careful to make the skip to
7/tefrom measure 3 to measure 4, and to arpeggiate the \ /III with the proper syl-
lables and pitches.
Implications for Listening in the Major Mode

Keep in mind that chords applied to \\\n the major mode are relatively rare. The
only new material for melodic dictation in the major mode presented here will
involve skips away from T2/V/. In harmonic dictation, the addition of \ i\\\d
vii°/iii introduces quite a few new possibilities for chords above certain scale
degrees. The chart below shows the bass notes above which chords applied to the
mediant may appear in the major mode and discusses the inversion of each chord
associated with each bass note. Add these chords to all the harmonic possibilities
you have already learned.
7lti When you hear 71 ti in the bass voice, it could be the root of a V / i i i chord
(t/**-t2/r/-t4//?) or of V 7 /iii (71 ti-^21 ri-îfi-Gi la). The presence or
absence of 61 la in an upper voice makes the difference.
T2/r/ When you hear a chord supported by T2/n, it will be a chord applied to I I I .
It could be an applied dominant chord (\l 6/\\\r X / ^ / i i i ) . Listen for the
presence or absence of 61 la in an upper voice. It could also be an applied
leading-tone chord (\, which is rare, or Vll° 7 /ill). The presence or
absence of lido in an upper voice makes the difference. Note that vii 0 7/iii
is not used in the major mode.
266 58
Chapter O O Chords Applied to the Mediant
t 4/fi When you hear a chord supported by t4///, it could be X^/iii, which is rare,
or X^l/ili. Listen for the presence or absence of 61 la in an upper voice. It
could also be an applied leading-tone (vii° 6 /iii or Vl'i°f/iii). Listen for \l do
in an upper voice. Note that VII 5/ill is not used in the major mode.
61la When you hear a chord supported by 61 la, it could be V 1/iii, which typi-
cally resolves to Hi 6 . It could also be \/ii 0 ^/iii, which is rare, or \/ii°l/iii. Listen
for \ldo in an upper voice, which makes the difference. Note that VH I/HI
is not used in the major mode.
\ldo On very rare occasions, \ldo might support a leading-tone seventh chord in
2 position applied to the mediant.
The most important voice-leading event to listen for involves the resolution of
the chromatic tendency tone t2/n. If you hear t2/n in one chord resolving to 31 mi
in the next, you are probably hearing an applied chord resolving to the mediant.
Implications for Listening in the Minor Mode

The only new material for melodic dictation in the minor mode presented here will
involve skips to and from lite. However, the addition of 5Z/HI and vii°/TH intro-
duces several new possibilities for harmonic dictation. The chart below shows the
bass notes above which chords applied to the mediant may appear in the minor
mode and discusses the inversion of each chord associated with each bass note. Add
these chords to all the harmonic possibilities you have learned in previous chapters.
71 te When you hear lite in the bass voice, it could be the root of a ..5 /III chord
(7/te-2/re-4/fa) or Y7/\R chord (71 te-2lre4lfaille). The presence or
absence of6/le in an upper voice makes the difference.
21 re When you hear a chord supported by 21 re, it could be an applied dominant

(\//YlIl or VJ/HI). Listen for 6/lem an upper voice, which makes the dif-
ference. It could also be an applied leading-tone chord ( v i i ° 7 / l l l ) . You
should also be aware of the possibility of ii° or ii 0 .
4//Ji When you hear a chord supported by 41 fa, it could be .V.4/111, which is
rare, or Vi/ITI. It could also be VM^/III, but be aware of the possibility of
61le When you hear a chord supported by 61 le, it could be V^/UI, which typ-
ically resolves to ID 6 , or it could be vii 0 1/III. Be aware of the possibility of
ii°^ (rare) or N 0 |.
\ldo On very rare occasions, IIdo or l\lde might support a leading-tone seventh
i \lde chord in \n applied to the mediant.
EXERCISES
1. Be able to sing skips from any pitch to any other within the chords applied to the
mediant. Pay particular attention to skips to and from 7/£f and T2/n.
Chapte ,58 Chords Applied to the Mediant 267

a. i V7/T[I III ii°6 \\ i
b. i ii07 V m vi iv v| i
c. i ii°6 V in s> i
2 6
d. i V42/iv Vl/ffl m 6 M il V7 i
e. i v|/i\ Vl/111 m i 6 V! i
f. i Vf V 2/ JJ-i in v i \/{
g. i vii o77/lll
vii° /(l III VI ii°6 V
h. I V 6 XV/iii VI
Vt/iii vi V|/V V 7 I
LISTENING
ances of chords applied to the mediant, and work at hearing not only the individ-
ual pitches that: make up these harmonies but also the holistic result they produce.
Melodic Dictation
Bottom number
58.1 treble rt 8
58.2 tenor F 2
58.3 bass E 4
58.4 alto Bl> 8
Harmonic Dictation
well.
Bottom number
58.5 8
58.6 R
58.7 D
58.8 D
268 Chapte r 5 8 Chords Applied to the Mediant
well.
Bottom number
58.9 C
58.10 A
attention to the areas that state or imply chords applied to the mediant. Work at
internalizing the sound and feel of the entire chord as you sing its pitches. Spend
half your practice time accompanying yourself with block chords on the piano or
other chord-producing instrument, so that the sounds of applied harmonies
become part of your inner hearing.
Some of these excerpts clearly outline chords applied to the mediant, whereas
others merely emphasize skips to and from 31 me and lite. Some of these pitches
Nonetheless, all these excerpts offer opportunities to practice skips to these pitches.

from the
789-796
I n addition to applied dominants and applied leading-tone chords, several other
chromatic chords appear frequently in tonal music. One of these chords involves
the lowered second scale degree (42/ra). It is known as the Neapolitan chord
because of its association with the so-called Neapolitan school, a group of 18th-
century composers from Naples.
12.1 ra and the Neapolitan

The following excerpt features a Neapolitan chord in measure 3. Sing the right-
hand part (transpose it up a 5th or 6th) and pay special attention to the appearance
of Dt] (121 ro) in measure 3.
Ludwig van Beethoven, Piano Sonata No. 14, Op. 27,
No. 2 ("Moonlight"), mvt. 1, mm. 1-5 (1801)
Adagio sostenuto
Si deve suonare tutto questo pezzo delicatissimamente e senza sordino
hfc-ttjfr-^— —pn i i =F=| J

'
=T=I
| J =^^
r* g ' - « * ' :
i j i
se nip repp e sc nzci sordino : •m ~m
£\ W tt i
j gtarffi o _^%
The triad that includes the Dt] in the second half of measure 3 is an example of
the Neapolitan chord. Note the following three things about this triad:
• It is supported by 4/fa (Fjf) in the bass

• [21m (Dt]) may be thought of (and heard) as the root
• The triad is a major mÂ—&lra—&lfa-&lIt (Dt|-F$-A)
269
270 Chapter 59 The Neapolitan Chord
The Neapolitan chord is almost always found in first inversion. In fact, it is fre-
The Neapolitan chord is a quently referred to as the Neapolitan sixth chord because of the 6th between 41 fa
major triad with i2/ra as its in the bass voice and 12/m in some upper voice.
root. It often appears in first
Some textbooks focus on 121 m as the root of the chord and label it as i l l 6 (or
inversion, with 4/fa in the
bass, when it is called the HI6 or t]Il6). On the other hand, the strong presence of 4/fa as the supporting bass,
Neapolitan sixth chord. coupled with its tendency to move to V (just as 1\ and H 6 do), make this harmony
feel more like a subdominant-type chord. To acknowledge the distinctive function
of this chord, we will give it a unique label: N (for Neapolitan 6th).
The Neapolitan in the Minor Mode

In the minor mode, the Neapolitan chord involves the use of only one chromatic
pitch: [21 ra. In the minor mode, 121 ra is a closely related chromatic, created by
moving once in the "flat" direction on the circle of fifths—by adding one flat or
removing one sharp. (Review the circle-of-fifths arrangement of the key signatures
in Chapter 11.) We have encountered [21 ra previously as part of chords applied to
.~\ZI in the minor mode (for example, V 7 /X/I = '51 me—51 sol—71 te—[21 ra).
The Neapolitan in the Major Mode

In the major mode, the Neapolitan chord consists of the exact same pitches as in
the parallel minor: 41 fa in the bass and what are now two chromatic pitches—Ib/le
(a lowered 61 la) and [21 ra. Both io/ând 121 ra are not closely related to the major
key in which they occur. For this reason, the appearance of the Neapolitan chord in
the major mode is a less frequent occurrence.

In close position, with 4/fa as the supporting bass pitch, the members of the
Neapolitan sixth chord are as follows:
[21 ra
([\6ile
4/fa,
In singing arpeggiations, when you see the symbol N6, you will arpeggiate those
pitches from the bottom up: 4lfa-6lle—[2!ra—6lle—4lfa.
In melodies, you will encounter [21 ra as a chromatic upper neighbor to \ldo> in
stepwise passages between \ldo and 31 me, and in a variety of skips implying or out-
lining the Neapolitan chord. In the major mode, you will also need to watch for
16/Zf as a chromatic pitch in addition to [21 ra.

In listening harmonically, you must now become aware of the Neapolitan 6th as a
possibility above 4/fa in the bass. The Neapolitan typically functions as a pre-
dominant harmony, in a manner similar to IV and ii 6 . In fact, the principal har-
monic possibilities when you hear 4/fa approach 5/Win the bass will now be IV ,
Chapter The Neapolitan Chord 271
H , and N 6 (leading to some kind of dominant harmony). To hear the differences

among these three chords, listen for the presence ofildo, 21 re, or [21 ra, respectively,
in an upper voice. If it is the Neapolitan, you can usually trace a voice from lido or
21 re in the preceding harmony, to [21 ra in the Neapolitan, and then to [T]7/# or
21 re in the dominant.
In rare cases, you may hear the Neapolitan chord in root position—with [21 ra
in the bass. Although atypical, this occurrence is a dead giveaway since the
Neapolitans characteristic pitch appears clearly in the bass.
Another harmonic relationship involving the Neapolitan in the minor mode is
the function of VI as a kind of applied dominant to the Neapolitan, preceding and
leading to it. (In rare cases, IVI serves this same function in the major mode.)
1. Be able to sing skips from any pitch to any other within the Neapolitan chord.
Pay particular attention to skips to and from 121 ra in both major and minor
modes and to [61 le in the major mode.
2. In each of these preliminary exercises for chord arpeggiation, sing each chord one
after the next. Think of these as symbol-reading, solmization, and singing exer-
cises, not as actual chord progressions.
a. i iv N 6 i<j V i c. i ii^ N6 i^ V i
b. i ii° 6 N6 YZ V i d. I IV N6 1^ V I
a. i V 7 /VI VI N6 E i
b. i N6 VI i6 ii*f V i
c. i \/f/ffl ffl N6 i^ V 7 i
d. I I 6 N6 V Vf/vi vi ii6 V 1
LISTENING
Melodic Dictation
Bottom number
59.1 bass F 8
59.2 treble q 4
59.3 alto A 2
59.4 treble C 4
272 59
Chapter vj t/ The Neapolitan Chord
Bottom number
59.5 treble Cjf 2
Note: The tempo in this excerpt is very slow.
Harmonic Dictation
well.
Bottom number
59.6 G 8
59.7 C 4
59.8 F 4
59.9 A 4
Listen to excerpt 59.10 and write out the bass line. Then supply the appropriate
Roman numerals and figured bass symbols to represent each chord. Your instructor
may also choose to have you write out the top ("soprano") voice as well.
Bottom number
59.10 C| 2
attention to the areas that state or imply Neapolitan chords. Spend half your prac-
tice time accompanying yourself with block chords on the piano or other chord-
producing instrument.
Some of these excerpts clearly outline the Neapolitan chord, whereas others
merely emphasize skips to and from 41 fa, [i]o/fe or [21 ra. Some of these pitches
Nonetheless, all these excerpts offer opportunities to practice skips to these scale
decrees and the use of 12/ra in various guises.
Chapter 57
) • The Neapolitan Chord 273

from the
797-814
r^/~-\U
T here is a family of chromatic chords that derive their function from two simul-
taneous voice leading events: (1) [i]6/le moving to 51 sol, and (2) T4//? mov-
ing to 51 sol. When [l]6/le in the bass voice combines with T4//? in some upper
voice, they span the interval of an augmented sixth. Therefore, such chords are
Augmented sixth chords are called augmented sixth chords.
formed when [i]6//e in the bass
voice combines with t4//y in
some upper voice. [4]6//e and T4/fi as Tendency Tones
The following excerpt illustrates the approach to and resolution of an augmented
sixth chord. Sing each of the outer voices separately, then play the two outer voices
together on the piano. Sing one outer voice while someone else sings the other, and
finally, sing all the voices with a group.
W. A. Mozart, String Quartet K. 465, nivt. 4, mm. 13—16 (1785)
Allegro molto
The first half of measure 14 forms a IV6 chord (61 la-\! do-4:lfa}. In the second
half of the measure, the outer voices are both chromaticized: in the bass voice, 61 la
becomes 161 le, and in the top voice, 41 fa becomes T4//7. These voices expand chro-
matically outward toward 51 sol, which they reach in the next harmony. The pitches
46//f and T4///are sometimes referred to as "tendency tones" because of their strong
tendency to resolve. Note that in the major mode, both 46/^f and T4///are chromatic
pitches, whereas in the minor mode, T4//5 is chromatic and 61 le is diatonic.
Three Types: Italian, German, and French Sixth Chords

There are three different types of augmented sixth chords. In all three types, the ten-
dency tone [l]6/le nearly always appears in the bass voice. The other tendency tone
274
60
Chapter \J w The Augmented Sixth Chords 275
t4//7 may appear in any upper voice, not just in the top one. The type of aug-
mented sixth chord depends on which note or notes are added to 467le and T4///.
The Italian Sixth Chord

Adding \ldo to [i]6//ând t4///results in a three-note chord commonly referred to
as the Italian sixth chord, abbreviated as It i 6 . The Italian sixth contains [l]6lle in
the bass voice, with some combination of \ldo and T4/// in the upper voices. In
close voicing, starting with [l}6!le'm the bass, we arpeggiate the Italian sixth chord
as [4]6//^-l/^>-t4//l
In the minor mode, G!le and \ldo are diatonic pitches and T4/// is chromatic. In
the major mode, only \ldo is diatonic, while both 4o/le and T4///' are chromatic.
Note the tritone formed between \ldo and the tendency tone t4///.
The German Sixth Chord

Adding \ido and either [\>]3/me or T2/n to the tendency tones [l]6/le and T4//Z,
creates a four- note chord commonly known as the German sixth chord, abbreviated
as Gr t 6 . Note that [Ip/fliând T2/n are enharmonically equivalent spellings of the
same pitch. Although German augmented sixth chords can be spelled either way,
the spelling that uses [l]3/me is more common.
The German sixth contains [i]6//f in the bass voice, with some combination of
\ldOy [l]3/meor t2/n, and T4//7 in the upper voices. In close voicing, starting with
[l]6/le in the bass, we arpeggiate the German sixth chord as [\}6I le-\l do-
[l}3/me^4/fi or [4]6//î/^t2/r/-t4//}'.
In the minor mode, 61 le, \ldo and 3/meiU'e diatonic pitches (they form the sub-
mediant triad) and T4/// is chromatic. In the major mode, only \ldo is diatonic
while l&lle, 13/me and t4///' are chromatic. In both modes, t2/n is a chromatic
pitch (although it appears extremely rarely in the minor mode because it is enhar-
monically equivalent to the diatonic pitch 3/'me).
An interesting feature of the German augmented sixth chord is that its structure
is enharmonically equivalent to a major-minor seventh chord (the dominant-
seventh-type chord). For example, compare the pitches of the Gr +6 chord in C
major with those of the V ' in Dl> major:
3
Gr i ( ) in C major 5Z.7 in Dl> major
Nonetheless, the German sixth chord functions and resolves differently from a
dominant seventh chord. In particular, compare the two tendency tones of the
German sixth ([i]6//<?and T4//?) to their enharmonic equivalents, the root and sev-
enth (5/Wand 4//#) of a dominant seventh chord:
276 Chapter 60 The Augmented Sixth Chords
The French Sixth Chord

When \ldo and 21 re are added to the tendency tones [l]6lle and T4//7, the result is
a four-note chord commonly referred to as the French sixth chord, abbreviated as
Fr 6 .
The French sixth contains [i]6/le in the bass voice, with some combination of
\ldOy 21 re, and T4/// in the upper voices. In close voicing, starting with [i]6/le in
the bass, we arpeggiate the French sixth chord as [l]6l le—\l do-21 re-^lfi.
In the minor mode, 61 le, \l doy and 21 re are diatonic pitches and T4//? is chro-
matic. In the major mode, \!do and 21 re are diatonic while 161 le and T4/// are
chromatic.
The Augmented Sixth Family

All of these augmented sixth chords are based on the interval of the augmented 6th
formed between [i]6//f and t4///. Other similarities are shown in the following figure:
A6 (interval) Italian sixth German sixth French sixth

chord chord chord
T4//A U/ft
]/ \ Jn \ [l]3/me /
\ or T2/n \ J* i
lire
/ I 1 / ,-/,-,
[i]6lle
The IVI Triad in the Major Mode

The submediant triad in the minor mode (SL: 61 le-\l do-51 me) shares three of the
four pitches in the German augmented sixth chord (Gr : vlle-lldo-slme-^wfi).
If you hear the submediant in minor, don't confuse it with the German sixth,
because the key tendency tone T4//7 is missing.
However, composers sometimes borrow this chord into the major mode, creat-
ing a major triad built on the lowered sixth scale degree. (453: 161 le— \i do-^lme).
If this chord does not contain T4///, we will label it I V I . (You might see it labeled
!>VI, but 6 can be lowered by accidentals other than the flat sign.) Once T4/// is
added, it becomes a Gr+6.

Melodies rarely outline the pitches of an augmented sixth chord. Instead, they
emphasize the relationship between [i]6//?and T4///, or feature 161 le or 13/me in
the major mode. Pay particular attention to melodic skips between [I]61 le and T4//Z
60
Chapter \J\J The Augmented Sixth Chords 277
in both modes, and to 161 le or I3lme in the major mode. Skips from t4/// up to
[i]6//f or from [l]6//?down to T4///are particularly important. These pitches form
the interval of a diminished 3rd (the inversion of an augmented 6th), which is
enharmonically equivalent to a whole step, both pitches of which surround 5/Wby
half steps.
Since the German augmented sixth chord is enharmonically equivalent to a
major-minor seventh chord, you may want to think about forming a structure sim-
ilar to V. when practicing arpeggiation. Keep in mind the different syllables, func-
tions, and resolutions of these two chords.

All augmented sixth chords share three common pitches and a similar function as
chromatic chords that lead to the dominant. You may be asked to label all aug-
mented sixth chords with a generic label, such as A6 or Aug6, or to make the
distinction among It , Gr , and Fr . In any case, you must learn to recognize
augmented sixth chords as a generic type (hearing the peculiar pull of the tendency
tones [i]6//f and T4///), and then to make distinctions among the three types.
If you hear [l]6/le in the bass, you must now consider whether it supports an
augmented sixth chord. In the minor mode, 6lle could be part of the diatonic
chords VI or i\, so you must learn to distinguish between the particular sound,
voice leading, and quality of those in contrast to the augmented sixth chords. In the
major mode, the only chords we've encountered containing l6//âre the augmented
sixth chords, so—at present—the appearance of 161le in the bass should be a dead
giveaway.
EXERCISES
1. Be able to sing skips from any pitch to any other within the augmented sixth
chords. Pay particular attention to skips to and from and [l]bl le and T4/// in
both major and minor modes and to \olme in the major mode.
2. In each of these preliminary exercises tor chord arpeggiation, sing each chord one
after the next. Think of these as symbol-reading, solmization, and singing exer-
cises, not as actual chord progressions.
a. i VI Gr 6 It +6 Fr 6 V i
b. i iv 6 It' 6 Fr 6 Gr 6 i^ V7 \. I .IV6 vii° 6 /V it+6 V I
d. I V|/V Fr+6 V 7 I
a. i Y<( i6 ii°6 111 Gr+6 if 5Z i
b. I Vi Gr +6 14 V. 1
c. i y;c> i it- 6 it v7 i
d. I ii 6 Gr6 V \/f/vi vi X/f I 6
278 Chapte r 6 0 The Augmented Sixth Chords
Harmonic Dictation
Bottom number
60.1 E 4
60.2 G 4
60.3 C 4
60.4 Q 8
Bottom number
60.5
60.6 C
60.7
60.8 C
Where you hear only single pitches, mark no chords.
What harmonies are implied^ these spots?
attention to the areas that emphasize [l]6//f and T4///.
In the multi-voice excerpts, note the places where the confluence of the voices
creates augmented sixth chords. Label these chords by type.
Although few melodies blatantly outline any of the augmented sixth chords, you
will find places where [i]6/le and T4/// occur either next to one another or are
closely juxtaposed. The skip from [l]6/le directly to T4/// is particularly character-
istic. The single-voice excerpts that follow feature this juxtaposition.
60

from the
815-822
T his chapter introduces a few of the more common chords that don't fit neatly
into the categories
o
we've studied so far.
Borrowed iv and iP7 in the Major Mode

Two chords may be thought of as borrowed from the m i n o r mode into the major
mode by chromatically lowering 61 la to 161 le: \\d II . 1 he diatonic subdomi-
nant triad in the major mode is major: 41 fa—61 la—\ do (IV). Lowering the third
chromatically changes it to minor: 41 fa—I6/le—lido (JV). T h i s chord appears fre-
quently in the progression IV—JV — I , in which the salient; voice leading is
61 la—161 le—51 sol. The pitch 61 la can also be chromatically lowered to io//?as the
fifth of the supertonic seventh chord, changing the quality of this chord from
minor-minor (II7) to half-diminished (il 7).
V. of MI (on7/te) in the Minor Mode

One applied chord \ve have not covered is the dominant of the diatonic seventh
scale degree in the minor mode. The triad built on lite is a major triad labeled VJI,
sometimes called the subtonic (review Chapters 19 and 58). The applied dominant
of this chord (\//\/ll or \Z 7 /ML) is a major triad or major-minor seventh chord
built on 41 fa (4/fa-i6/la-l/do-[3/me]) and it resolves to the subtonic triad,
7lte-2lre-4lfa.
Harmonically, the 1Z/3ZU creates a very "major" feel similar to that created by
\/ ; /III and X/./XZI. Melodically, it tends to emphasize the relationship between4/fa
and lite (the applied dominant to the subtonic), and between \6lla and lite (the
applied leading tone to the subtonic).
The Minor v in the Minor Mode

So much Western tonal music in the minor mode uses the major dominant—with
its chromatically raised third \llti—that it can be easy to overlook the diatonic ver-
sion of this triad. When the third of the dominant in the minor mode is left u n a l -
tered (as lite), the strong tonal function of \llti'is missing, which results in a more
"modal" feel. We label this triad with a lower-case Roman numeral (V) and call it a
minor dominant, although it does not have the strong d o m i n a n t function of the
major dominant.
The minor dominant appears most frequently in first inversion as part of the fol-
lowing progression: i~V 6 -iv 6 -\i. This is a harmonization of the descending bass
line \ldo-llte— 61 le—51 sol, a common pattern in the passacaglia, chaconne, and
ground bass.
28O
Chapter 61 Other Chords 281
When it appears in root position, especially when directly juxtaposed with the
tonic, the minor dominant often seems very modal. (Note that the subtonic lite
appears not only in the minor dominant, but also in Dorian, Phrygian, Mixolydian,
and Aeolian modes). Because of this, some composers have used the minor domi-
nant to evoke a primitive mood.
EXERCISES
1. Be able to sing skips from any pitch to any other within JV, JJ 0 7, 5Z/.XZH, and V.
Pay particular attention to skips to and from io/Af in the major mode, and lite
and T6/7// in the minor mode.
a. I IV i\6 V 1
b. I ii7 ii 07 >Z1 I
c. I \ v \\ I
d. 1 ii s f V [
e. i i 6 iv V 7 /VH Y/n V^ i ¥ 7 i
f. i v. v.f/\/n vii v:7/ni m xzi ii0f ¥ i
g. i v 6 iv6 V i
h. i v VI ii°6 V<ji5 i
Melodic Dictation
Listen to excerpts 61.1—61.6 and write out the pitches and rhythms for each.
Bottom number
61.1 bass D 8
61.2 vocal tenor* B^ 4
61.3 treble E 4
61.4 treble C 4
61.5 alto A 2
61.6 tenor c# 8
Listen to excerpts 61.7—61.8 and write out the pitches and rhythms for each. Also
*Vocal tenor clef (review Chapter 8) looks similar to the treble clef but sounds one octave lower than
written.
282 61
Chapter w I Other Chords
Bottom number
61.7 treble G *>
61.8 treble G 8
Harmonic Dictation
Listen to excerpts 61.9-61.12 and, for each, write out the bass line, then supply the
well.
Bottom number
61.9 E 2
61.10 F 4
(Note: This excerpt begins on an upbeat.)
61.11 R 4
61.12 F 4
Listen to excerpts 61.13-61.14 and, for each, write out the bass line, then supply
the appropriate Roman numerals and figured bass symbols to represent each chord.
well,
Bottom number
61.13 E 4
61.14 G 4
Harmonic and Melodic Transcription

Listen to excerpts 61.15-61.16 and, for each, write out the bass line and the melody,
then supply the appropriate Roman numerals and figured bass symbols to represent
each chord.
Bottom number
61.15 grand staff C 4
(Try to account for the fermata toward the end of this excerpt.)
61.16 grand staff C 4

I Chapter 61 Other Chords
attention to the use of 161 le in the major mode and 71 te in the minor mode. Look
for instances of JV and \\ in the major mode and for V and X//V11 in the minor
mode.

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CAPÍTULO III MÚSICA TONAL

. . Las funciones tonales pueden dividirse en dos grupos:

a) Funciones de los sonidos

m sd d m T sd ase d m T sens. T T ase st d

b) Funciones de los acordes

1. Tónica. Reposo, estabilidad, inicio y conclusión de una idea musical.

j los acordes tonales. Algunos ejemplos son: .

/' ¿-f^ ^^v^ - -^^^ : • r-j-j

NIVEL IV Melodías con grados alterados

NIVEL V Escalas menor melódica y natural: usos melódicos y armónicos

NIVEL VI V9yVII7. Dominantes secundarias

NIVEL VII Modulación.

NIVEL VIII Sextas aumentadas. Acorde napolitano

• Reconocimiento auditivo de la tónica

NIVEL II Subdivisiones a 4 y 3, ejercicio 2 (compases la 8)

NIVEL III Modo mayor, ejercicios 1, 2, 3, 5,.6 y 10

• Reconocimiento auditivo de las funciones tonales de los acordes

NIVEL II Subdivisiones a 4 y 3, ejercicio 2 (compases I a 8)

NIVEL III Modo mayor, ejercicios 1, 2, 5, 6 y 10

* Indicaciones de estudio de modelos sonoros

Fórmulas de conducción a la tónica

a) Conducciones de la escala diatónica.mayor

2° grado . 3er grado 4° grado 5° grado 6° grado 7° grado

1 ~__ _J —_, : 1—;—| 1_^_ , : 1 r.

b) Conducciones de las escalas menores

nota de paso nota de paso

Se sugiere el siguiente procedimiento general para estudiar las fórmulas de conducción:

Seguir este proceso cambiando de tónica constantemente.

Fórmulas de conducción a la fundamental del acorde

1. Tocarlas en un teclado, retener la imagen sonora y entonarlas.

Para estudiar escalas se pueden hacer los siguientes ejercicios:

sol = 5° grado sol = 6° grado sol = 7° grado

a) saltos de séptima ascendente:

c) saltos de novena ascendente:

d) saltos de novena descendente:

e) séptima ascendente y novena descendente:

Mi mayor Fa mayor La mayor Do mayor

7°g. 5°g. T 6°g.

b) combinar fragmentos escalísticos con intervalos::

La mayor y men La b mayor 3a may Fa mayor 2a rnay Mi mayor

Re mayor . Fa# mayor Si mayor La mayor

7°g. 5°g. . 6°g. 3er g. 6°g. 7°g.

Para estudiar .arpegios se recomienda seguir el procedimiento siguiente:

i —— * ' i,0 1. * *' :=! ^* ~» * jhí

salto entre 3a y 8n salto entre 5a y F ' salto entre 3a y 5a salto entre 3a y 5a

a) La# es 3a de Fa# mayor. Entonar la 5a:

b) La es 3a de Fa mayor. Entonar la 5a:

Soprano: comienza en la 8a de I; permanece y se convierte en 5a de IV; desciende por salto a 3a de V y

• Instrucciones para resolver ios ejercicios

1. Memorizar toda la secuencia de sonidos y escribirla posteriormente. Si resulta difícil memorizar la

El procedimiento para resolver estos ejercicios es el siguiente:

MÚSICA TONAL '-

Función armónica de la soprano y Función armónica de la soprano y el bajo.

El procedimiento para resolver estos ejercidos es el siguiente:

También son importantes los siguientes ejercicios:

• I. Identificar auditivamente las funciones armónicas (Tónica, Subdominante y Dominante),

b) Analizar auditivamente las melodías desde la perspectiva de su relación con la armonía.

Es sumamente importante que el alumno desarrolle la habilidad de reconocer de manera automática la

• Estructura de la escala diatónica mayor y menor armónica

II. Modelos sonoros

III. Esquemas cadencíales

Ver indicaciones de estudio en la pág. X

MÚSICA TONAL. NIVEL I

i —— * ' i,0 1. * ' :=! ^ ~» * jhí