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Anthology questions

Chap. 1
Tonic triad
Chap. 2
Chap. 3
Dominant 7th
Chap. 4
Chap. 5
I 6/4
Chap. 6
1st inversion
Chap. 7
Chap. 8
V7 inversions
Chap. 9
Linear 6/4
Chap. 10
Chap. 11
Chap. 12
Chap. 13
Chap. 14
Chap. 15
All 7ths
Chap. 16
Chap. 17
V/V etc.
Chap. 18

Chapter 10
Mediant and Sub-mediant

#85 & 86

  1. How are the sub-mediant chords approached and resolved?
  2. Find the retrogression in #86.


  1. What type of suspensions does Bach use in this chorale?
  2. How about that sub-mediant? How is it used?
  3. Notice how Bach uses inversions in this chorale. Be prepared to comment!


  1. How does Mozart use the sub-mediant chord?
  2. What kind of cadences do you find in this excerpt?
  3. How do the text and music work together?


Listen: .mp3

  1. Describe the phrase relationships in this excerpt.
  2. Does Mozart use the sub-mediant chord in a conventional or unconventional way here?
  3. What's up with the c#'s?


  1. Wow, real figured bass! In real practice, the score would include an additional treble staff for the keyboard player. The treble staff shown would be played by the flute only. The keyboard player would improvise the accompaniment using the figured bass like a "lead sheet". For extra credit, "realize" (write out) the figured bass in keyboard style (block chords in the right hand).


  1. How does Verdi use the mediant and sub-mediant chords in this example? Normal functional progression? Or retrogression?
  2. Identify cadences and phrase structure.
  3. What type of 6/4 chord do you find in m5?


Listen: .mp3

  1. Great symphony - go listen to it! Check out how Brahms uses the mediant and sub-mediant chords in this example.
  2. Look at the cadence - it's not one of the expected types we've studied.

#96 Sonata, K. 283

Listen: .mp3 .midi

  1. Analyze in detail.
  2. What does the K. 283 mean in the title?
  3. Can you find a sequence?
  4. In line three there is a passing 6/4 chord (actually 4/3). Can you find it?
  5. What would you call the c#'s that appear in the third line? How about the g# and a# in the previous line?
  6. What kind of non-chord tones does Mozart use in the last line of this excerpt?