Chapter 9 Answer Key Applications Exercises 1. Analyze the following chorale by J. S. Bach. Label each chord with a Roman numeral and any necessary inversion symbol. Circle and label all nonchord tones. (In m. 5, consider the A in the tenor voice to be a chord tone.) b EXAMPLE 9-8 J. S. Bach, “Schmücke dich, o liebe Seele,” mm. 1–5. *In m. 1, the passing tone in the tenor voice, A , forms the seventh of V7. The b passing seventh is described in Chapter 12. © 2019 Taylor & Francis 2 Chapter 9 Answer Key 2. Analyze the progression below by labeling each chord with a Roman nu- meral and any necessary inversion symbol. Then, add nonchord tones to the progression. (You might consider copying the progression onto staff paper.) Strive to incorporate a variety of nonchord tones in different voices (how- ever, do not add too many simultaneous nonchord tones in multiple voices). Brain Teaser Label the chords below. Is it possible to add a passing tone in the soprano voice? Why or why not? Answer: A voice leaping by third will often afford an opportunity to incorporate a passing tone, or “fill in the gap.” However, it is not possible to do so in this sit- uation because the passing tone would create parallel P5 between the tenor and soprano voices. © 2019 Taylor & Francis Chapter 9 Answer Key 3 Exploring Music Listen to the chorale in Example 9-8 (Exercise 1). How does the presence of non- chord tones—and the eighth-note activity occurring with the nonchord tones— in multiple voices impact your experience of the music? Discussion A voice that moves relative to other voices attracts our attention. When one voice moves in shorter note values than other voices, our ears focus on that more active voice. In textures like that of Example 9-8, our focus might shift among the four voices as it follows (or “tracks”) the eighth-note activity. A similar perceptual effect occurs in vision: our visual field encompasses a vast periphery, but we are truly able to focus on only one object at a time. A moving object in the field of vision attracts our attention, and our focus is directed to that object. If a different object moves in the periphery, our focus might be diverted to that object. Thinking Critically In Example 9-6, how should the final chord be labeled? How do we account for its presence—where does it come from? What effect does this chord have on the end of this Fugue in C minor? (This type of chord will be examined in Chapter 17.) Discussion This is a major tonic chord, labeled I. The effect of aminor-mode work ending on a major tonic chord is known as the Picardy third. This device involves raising the third of the tonic triad (with an accidental) to convert its quality from minor to major or “borrowing” the major tonic chord from the parallel key of C major. The Picardy third is common to music of the Baroque period but is encountered in music from many different time periods and styles. It is thought that the Picardy third provides a greater sense of resolution at the end of a work. It might also impart a “happy ending” to a work in minor by serving as a “light at the end of the tunnel.” © 2019 Taylor & Francis.