ENIGMA BINARY FILEFinale(R) 98 Copyright (c) 1987-1998 Coda Music TechnologyFINMACgFINMAC q1&c 2&c 3&c 4&c 5&c 6&c 7&c 8&c 9&c 6&d7&d1&k2&k3&k4&k5&k6&k7&k8&k9&k0102pS03040506wWn07b#.j08J091011nb#1213K14 `U 15 16pS1718  19cC20T<21 22232..242424 24 24  24  24 24  24 $242424242424 24  24  242424 25h 25026  26 2626 26 262602626 26  26262627v28&29B30B31?3233V34 t35?3637 38NAa39#dn40404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404040404142||43|4445N 46nb#505152$U U*52`UH53 56560&5658oo59o606162<63q64oo656667v68 69v~`70o 7100072o737475sS7677 ` dp77pp77p877H7777777778#"78d2#78db78"d78(n"78d<78d7879 80 8182d8384 84 848485858585860  86086086868787AnAng|mnApApBCBCDBCDBCBC BCBCDBCDBCBC BCBCDBCDBCBC BCBCDBCDBCBC BCBC[BC[BCBCBC[BC[BCBCBC[BC[BCBCBC[BC[BC BC  BC[ BC[ BC BC  BC[ BC[ BC BC  BC[ BC[ BC BC  BC[ BC[ BC BC  BC[ BC[ BCBCBCBCBCBCBCBCBCBCBCBCBCBCBC[BC[BCBCBC[BC[BCBCBC[BC[BCBCBC[BC[BCCSDAH`DA$DADA$DA$DA*DA*UDA0VDA0DA<DA<DAHDAHDATDATUDA`VDA`DAlDAx DADADCDODODODODODODO(DO ( DO  DO  DO DO DODODODODODODODODODTXDTfXDTKDTFKDTeDTeDTrDTrDTDTDT1DTp1DT>DTP>DT$DT$ DT DT DT  DT  DT DT DT DT DT( DTAdagioDTPDTModeratoDTxDTAllegroDTDTDT DT DTDTDT 0DTaccel.0DT 0DTrit.0DT DTADT DTBDT DTCDT DTDDT DT*DT DTdmi:DT DT(Use 3 halveDTs here)DT DT(Use 3 quartDTers here)DT DT(sequence baDTr 1 in bar 2DT)DTDTVDT DTiv6 DT  DTVI!DT !DT(N6)"DT "DTE Ma: DY(DY,DcStaff List 1EB FI FI FI@ FI$o o FIFMFM FMFMFMFMFM#'FM++FM/2FM55FM99FM==FM@@FMDDFMHKFMOTFMXXFM\\FMaaFMehFMloFMrrFMuyFMFMFMFNFNPetrucciFNFNChicagoFNFNSymbolFNFNTimesFNFNSeville FN FNHelveticaFRFR$FRSTlFR>?mFR^anFRbeoFRfipFRjjqFRkmrFRnpsFRqstFRttuFRuwvFRxzwFR{}xFR~yFRzFR}FR~FRFRFRFRFRFRIKIKIKIKIKIKIKIK IK IK IK IK IKIKIKIKIKIKIKIKIKIK IK IK IKIKIKIKIKIKIK IK!IK"IK#IK$IK%IK&IK'IK(IK)IK*IK +IK ,IK -IK.IK/IK0IK1IK 2IK3IK4IK5IK6IK7IK8IK9IK:IK;IKIK?IK@IKAIKBIKCIKDIK EIK FIK GIK HIK IIKKIKLIKMIKNIKOIKISISISISISISIUIUIVM IVa* IVjH IVm IVi( IVn3 IVa IVu IVg9 IVd IVi IVm IV IVm IVi( IVn2 IVP IVs IVu IVs0 IVJ IVM IVa* IVjH IVV  IVm IV)  IV(E IV#X  IVp  IV) IVa IVu IVg8 IVV  IV IVo IV  IVM IVa* IVjH IVY IV IV IV7 IV( IV#.IV1G IV1_ IV){ IV IV( IVb2 IV9L IV)j IV+$IV IVm IV( IV(H IVb[ IV5t IV) IVd IVi IVm IVN IVm IVi( IVn2 IVP IV IV IVm IVi( IVn0 IV N IVO IV IVs IVu IVs0 IVH IVM IVm IVM IV& IVm IV( IVM IV(  IVm IV( !IV( !IVa !IVd, !IVdH !IV9c !IV) "IV( "IVa "IVd, "IVdH "IV2c "IV) #IVM #IV7( #IV(C #IVT #IV) $IV $IV( $IV( @$IV)Y %IVM %IV7( %IV(C %IVT  %IV) &IVM &IV7( &IV(C &IV T @&IV) 'IVM 'IV9( 'IV(G 'IVX 'IV) (IVM (IV9( (IV(H (IVX  (IV) )IVM )IV9( )IV(F )IV X @)IV) *IVM *IV ( +IVM +IV ( +IV(g +IVx +IV) ,IVM ,IV ( ,IV(c ,IV r @,IV) -IVm -IV(- -IVa7 -IVdT -IVdp -IV2 -IV) .IVm .IV(- .IVa; .IVdX .IVdt .IV9 .IV) /IVm /IV9( 0IVm 0IV ( 1IVm 1IV ( 2IV( 2IVo 2IVm, 2IViT 2IVt_ 2IVr 2IV) 3IVm 3IV(, 3IVm; 3IVac 3IVj 3IV 3IV) 4IVm 4IV ( 4IV(F 4IVmX 4IVa 4IVj 4IV 4IV) 5IVm 5IV( 5IV(C 5IVaT 5IVdp 5IVd 5IV 5IV) 6IVm 6IV( 6IV(E 6IVaX 6IVdt 6IVd 6IV 6IV) 7IV 7IVs 7IVu4 7IVsJ 7IVg 8IV7 8IV( 8IV, 8IV)_ 9IV7 9IV( 9IV , @9IV)a :IV7 :IV( :IV , @:IV)t ;IV7 ;IV( ;IV, ;IV ] ;IV j ;IV) IV  >IV(7 >IV H >IV){ ?IV  ?IV(7 ?IV H @?IV)| @IV  AIV9 AIVs AIVu4 AIVsJ AIV4g BIV9 BIV( BIV0 BIV)c CIV9 CIV(# CIV 4 @CIV)| DIV DIVs; DIVuP DIVsf DIV4 EIV EIV(? 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Add harmonic interval numbers between the staves and a Roman numeral analysis below. Major Keys - No chromaticism^end^block(2)^size(12)^font(Times)^efx(plain)Add a counterpoint to the given parts in first species (1:1). Add harmonic interval numbers between the staves. Minor Keys - No chromaticism other than using leading tones.^end^block(3)^size(12)^font(Times)^efx(plain)Add a counterpoint to the given parts in second species (2:1). Add harmonic interval numbers between the staves. Major and minor Keys - No chromaticism. Use only chord tones, neighboring tones and passing tones.^end^block(4)^size(12)^font(Times)^efx(plain)Harmonize each of the following melodies in four parts with good voice leading. All of them will require at least one secondary dominant or dominant 7th chord. The asterisk (*) denotes spots where a secondary dominant seventh may (= should) be used. Use very few NCT's and analyze your harmonizations.^end^block(5)^font(Times,4096)^size(12)^efx(plain)Name: _______________________^end^block(6)^font(Times)^size(12)^efx(plain)-^page(0)-^end^block(7)^font(Times)^size(20)^efx(plain)First Species - Major Keys Worksheet^end^block(8)^font(Times,4096)^size(18)^efx(plain)First Species Exercises - Major & Minor^end^block(9)^font(Times)^size(18)^efx(plain)Counterpoint Assignment #3^end^block(10)^font(Times)^size(12)^efx(plain)*use half notes at these points^end^block(11)^font(Times)^size(18)^efx(plain)Counterpoint Assignment #4^end^block(12)^font(Times)^size(18)^efx(plain)Music Theory II Homework^end^block(13)^font(Times)^size(12)^efx(plain)Add a counterpoint to the given parts in first species (1:1). Add harmonic interval numbers between the staves and Roman numerals beneath. Major Keys - No chromaticism^end^block(14)^font(Times)^size(14)^efx(plain)1:1 in MinorKeys^end^block(15)^font(Times)^size(18)^efx(plain)Second Species (2:1) in Major and Minor^end^block(16)^font(Times)^size(12)^efx(plain)Add a counterpoint to the given parts in second species (2:1). Add harmonic interval numbers to all notes between the staves and Roman numerals beneath. No chromaticism except in minor as usual.^end^block(17)^font(Times)^size(12)^efx(plain)Use the numbers above the staff to identify errors in this second species counterpoint. There are six.^end^block(18)^font(Times)^size(18)^efx(plain)Second Species (2:1) Worksheet^end^block(19)^font(Times)^size(12)^efx(plain)Add a counterpoint to these lines in a 2 vs. 1 relationship. Most are in minor keys. Please add interval numbers between the staves, Roman numerals are optional.^end^block(20)^font(Times)^size(12)^efx(plain)For this one add 8 eighth notes in the missing measures. ^end^block(21)^font(Times)^size(18)^efx(plain)Second Species with Chromaticism^end^block(22)^font(Times)^size(12)^efx(plain)Add a counterpoint in second species to these lines. Add interval numbers and Roman numerals.^end^block(23)^font(Times)^size(12)^efx(plain)This is in a minor key. At the beats marked with an asterisk use a secondary dominant of the following chord. At these two points remember to use a chord tone in the counterpoint that is outside of the key. Use of the Neapolitan 6th near the end is optional.^end^block(24)^font(Times,4096)^size(12)^efx(plain)Wksht. 2^end^block(25)^font(Times)^size(12)^efx(plain)Add a counterpoint to each of these in second species. Write ^efx(plain)^efx(underline)all^efx(plain) interval numbers between the staves and Roman numerals beneath the staves. If you use any appogiaturas or escape tones circle and label them.^end^block(26)^font(Times)^size(12)^efx(plain)This one modulates from gminor to Bb Major, with a common chord in bar 2. At the asterisks use secondary V7 chords in Bb Major.^end^block(27)^font(Times)^size(18)^efx(plain)More Second Species with Chromaticism^end^block(28)^font(Times)^size(18)^efx(plain)3rd Species - 3:1 exercises^end^block(29)^font(Times)^size(12)^efx(plain)Please use a secondary dominant chord at the asterisk^end^block(30)^font(Times)^size(12)^efx(plain)Add counterpoints to these cantus firmi (Wow! - Latin...) in three notes against one.^end^block(31)^font(Times)^size(12)^efx(plain)Continue this problem in 3:1. Sequence (most of) bar 1 in bar 2.^end^block(32)^font(Times)^size(12)^efx(plain)Add continuous 16th notes (4:1) to this bass in bars 1 and 2.^end^block(33)^font(Times)^size(12)^efx(plain)Add 8th notes (4:1) to this soprano line until the last bar.^end^block(34)^font(Times)^size(18)^efx(plain)Second Worksheet on Third Species^end^block(35)^font(Times)^size(12)^efx(plain)Add a treble part to this which is not all 16ths, but results in a composite rhythm of steady 16th notes with the bass.^end^block(36)^font(Times)^size(18)^efx(plain)Fourth Species Worksheet No. 1^end^block(37)^font(Times)^size(12)^efx(plain)Add four syncopated quarters and a whole note to each of these to create suspension chains. Add all interval numbers.^end^block(38)^font(Times)^size(12)^efx(plain)In each incomplete measure add a syncopated quarter followed by an eighth note. In the bars marked "sus" choose notes that produce a good suspensions relative to the given notes. In the bars marked "CT" choose notes that are chord tones relative to the given notes. In either case the interval heard on the second half of the each beat must be a consonance. Add all interval numbers.^end^block(39)^font(Times)^size(12)^efx(plain)Add a treble part with numerous syncopated chord tones or suspensions. Add all interval numbers^end^verse(1)^font(Times)^size(14)^efx(plain)A. B. C. C. D. E. ^size(12)1 2 3 4 5 6 7 8 9 10 11 * * * ^end