ejercicios polifonia

7/27/2019 ejercicios polifonia

1/20

THE SINGLE LINE; EXERCISES IN ERROR DETECTION

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

&e J. j J :J I ] r:J 1iJ J IJ j ] [:J I II@ 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 &e ESUr Ir-J r Et1r ICUfrr mg ItlJ J r Dr II

1

-oi


2/20

TWO VOICES; t : t; EXERCISES IN ERROR DETECTION

Tell, or write below each example, the error or weakness involved. In the case of Exercise @>, use thenumbers above it to refer to specific points. Exercises(D- are in C major, Exercise @>in A-flat major.

CD " "

fl

If. " I I 1'- I I ' I II I 1T ~ ... I .o

..

II I " "LU f t

""IT

~1'- I I - ' I '- I It .,.. _ ,." -e1 .

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

@ 2 3 4 5 6 7 8 9 10 11 12 13 14 15" f

~ I I I I .. - WI' I ~ ~ ~ -


3/20

/I I ~~ : ,- I I.

n I~ I. ~'11~ ,

\I I I

~ I ).... TI 1\

r ,if it l. j;.. - )X

I .. ." . r-W ~

1'!\;

7.:;; ')I I I ~ U: ,

I \I

; ) I N O ~ V I O ''MOfVW 'I : 1 :S];)IOA O M ~


4/20

E : ' ~ I (1 1 I - .".. 'i t IIt- I \I

I.: :--r

( tII IW

\j

>

(d) I o


5/20

TWO VOICES; I : I, MAJOR, DIATONIC (continued)

@

I I I) @) ~ " t :

@

) ~ "t

.1_\ -I I I

TWO VOICES; 1 : 1, MINOR, DIATONIC

(Raised sixth and seventh scale steps in minor do not count as chromatic alterations.)CD

fI I I

~ ~t ,. t'::i I .-.-.

t 0

-

.tl.- I I6


6/20

- --L

I ........ ~ - .:x:::r- . . " ~ I --. l'r-.~ '

7~. ~ , , ->

I 1 I ...... WI - I I... ...

I CJ - I I I. il * " 1I -\

..1+ I I I I - .....At I .1t ~. ,

I 11 II I '.

I I .. 11 f' . >I II

I I I I i{, 1 I f 'n )\,I

(P;mul1uO:J) JIN01.VIO ''MONIW 'I : 1 :StDIOA 01\\1.


7/20

TWO VOICES; 2 : 1,3 : 1, AND 4 : 1; EXERCISES IN ERROR DETECTION

Tell, or write below each example, the errors or weaknesses involved. Use the numbers to refer tospecific points.

CD 2 3 4 5 6 7 8 9 10 ~ t I I I J. .b

2 3 4 5 6 7 8 9) ~ " ' r-"'I""-I ............, . . ... y. .. It _..... h. . .. .~

2 3 4 5 6 7 8 1 _ _ _ _ _ _ ~

l ' I ~ J 3 r r: JHor I E r o - r t : ~ h r E f r I il5S'

9

~


8/20

TWO VOICES; 2: 1, MAJOR AND MINOR, DIATONIC

CiA)fl(

lit. I I I . ..f

@

fI

( t . - !' ." . I IWhere a sequence occurs in the given voice, use one in the added voice as well. .ti t . -

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

~ U -( - '1'- -@ " !I I

< t. I I I .., -4 (J11

" """iii o

11


9/20

NO VOICES; 2: I, MAJOR AND MINOR, DIATONIC (continued)

nI "Itt'\ .1 - .\ '\ .

.. I .I I I I

(j r r r

@n -

.. .., - ;.. u , ..... ( i i i )@1"1

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

1'\ a " .

.. ill"""" ........ I I - ~11

13

' I


10/20

--

TWO VOICES; 2: 1, MAJOR AND MINOR, DIATONIC (continued)

-- . . I ttY . .

I

-......J

TWO VOICES; 1 : 1 AND 2: 1 WITH CHROMATIC ALTERATIONS

Where chromatic inflections occur and at points marked*, imply an altered harmony - in most casesa secondary dominant (dominant embellishing chord) .CD 1: 1 a b c1'1 L *

, ..1 I I I 1 r:iI 11 "I - ,,- - r;.;

(B - flat major) jj 6 16 viSV

1: 1 ( *)- (*)'1 . . *If ~ : I I I 1 I I

(D minor)

1: lo r 2: 1tI tr

1

t ~ . ~ . 11 _ u_ ~ *'11-

15


11/20

TWO VOICES; 1 : 1 AND 2: 1 WITH CHROMATIC ALTERATIONS (continued)

@ l : l o r2 :1 *F::... -

.. ., I

2: 1::::3-I --==1\' ~~ T7'"'"1t ' \n"rtJ- ~.I~ ~ . .. -......[J~ ~. - - N 2: 1 *

< ... I I I .. - .. C1) :\

TWO VOICES; 2: 1 (INCLUDING CHROMATIC ALTERATIONS AS DESIRED)Where eighth notes appear in the C. F., use either a quarter note or two eighths in the added voice.At fermatas within a chorale melody, the motion may either continue or pause, most often the former.

Chorale Melody: Ein'/este Bllrg (portion)CD ,.... t :\F." I ...... I I I -

\

t I

. L. l':J .. .p. ~ .. l':J 1fi".17


12/20

81

I I .-..II! , ra- I \I

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

I \I

I I I I ~. , I II

I,I'

- /IIIIIIIi I I ra., - ...... - 11'''(ptJnUlIuo:Jj I : Z !S3;)IOA OAli

,

I


13/20

TWO VOICES; 3 : 1

(Chromatic alterations may be included as desired, from this point on.) At places where the C. F. has the triplet rhythm, the added voice may either take over the "I" role (in the 3 : I relationship), or it may continue to move in triplets.

CD


14/20

TWO VOICES; 3 : 1 (continued)

..

l..

- ~ v .. I I(C minor)

_ 1-, 9 _ft. I

r ~ t) ..-

---- I--q. . . . . . . . .. .... e-~ ~ ==

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ejercicios polifonia