Primo Theory

Level 11

How to Use this Book

Although some of the levels in this series have interactive capabilities, each level was designed to serve perfectly well as a stand-alone text. The interactive web apps are an enhancement, not a requirement for the completion of the exercises. They serve to reinforce and solidify ear training skills.

The Solo Ear Training Exercises

Many of the ear training exercises are designed for solo practice by the student. However, the teacher should first work with the student on these exercises until the student becomes familiar with the procedures. Afterward, the teacher should regularly observe the student perform them to ensure that the student is maintaining correct practice. The student may discontinue any exercise that can be executed easily and consistently. The exercises should be practiced as the student continues working through different sections in the book.

The Dictation Exercises

The rhythmic and melodic dictation exercises are designed so that the student can work through them with an interactive web app or with the teacher playing the dictation melodies. The teacher can fill in the missing measures with materials of his or her choice, or go to www.primotheory.com to find the complete melodies.

The QR Codes
The QR codes found throughout this series can only be read by using a smart phone or pad which has a QR code reader app installed. If you dont have a QR code reader and dont know where to get one, just follow these directions: Step 1 With your mobile device, open your App Store (iPhone), Market (Android), Marketplace (Windows Mobile), or App World (Blackberry). Step 2 Search for QR reader and download and install any one of the apps available. There are free or paid versions. Read the reviews and star ratings to decide which is best for you. Once installed, its ready to go. Step 3 To scan a QR code, activate the app and center the QR code in the viewfinder as if you are going to take a picture of it. Adjust the distance if necessary. Some code readers scan the code automatically when its in view, and some require you to press a button. Step 4 The app should load in a few seconds. If you want to bookmark the app in your web browser for later use, follow the instructions on your particular code reader on how to switch to your web browser. If, after you read these instructions, you are still unsure what to do, dont give up! Just go to www.primotheory.com for a video tutorial or email robert@primopublishing.com

Online Resources
Be sure to visit www.primotheory.com or www.mytheoryapp.com to find links to an ever-growing list of supplemental materials for each level. Throughout the text you will find directions given as follows: PrimoTheory.com Resources Level 7 Page 10

This means to go to the website primotheory.com where you will be taken to a page containing a Resources link. From there just follow the linksclick on Resources, which will take you to a menu with all the volume levels; click on Level 7, which will take you to a page listing Level 7 resources by page number; finally, click on Page 10 to find the desired resource.

Contents
Section 1 Section 2 Section 3 Section 4 Section 5 Section 6 Section 7 Section 8 Section 9
Rhythm and Meter Keys and Scales Intervals Chords Sight Singing Harmonic Analysis The Melodic Line

page 4 9 15 24 31 37 50 55 57

Melodic Dictation Definitions

Section 1 Rhythm and Meter

beat unit division

Simple and Compound Time

There are two basic types of beat divisions: In simple time the beat is divided into two equal parts. A time signature in simple time has 2, 3 or 4 as its top number. 2 4 3 4 Examples: 4 4 2 2 In compound time the beat is divided into three equal parts. A compound time signature has 6, 9, 12, or 15 as its top number. 9 12 6 8 Examples: 8 8 12 16
.

beat unit division

The lower number of a compound time signature represents the largest possible division of the beat. The top number indicates how many of those divisions are in a measure.

For example, in ^8time the dotted quarter note q.is usually perceived as the beat which is divided by three eighth notes.

1.

Each example represents one beat. Circle the correct description: simple (S) or compound (C) time.
=

S or C S or C S or C S or C S or C S or C
. .

= = = = = =

S or C S or C S or C S or C S or C S or C
.

= = = = = =

S or C S or C S or C S or C S or C S or C

= = = = =

Meter
The Meter is the pattern of strong and weak beats in a measure. Every time signature indicates a certain pattern of strong and weak beats. Duple Meter consists of one strong and one weak beat.

2 4 1 3 4 1

2
weak

Strong

Triple Meter consists of one strong and two weak beats.

Strong

weak weak

Quadruple Meter is a combination of two duple meter patterns in which the first beat is stressed more strongly than the third. Asymmetrical meter is a combination of duple and triple patterns which create an irregular pulse, such as quintuple meter (five beats per measure) or septuple meter (seven beats per measure).

duple 4 4 1 2 STRONGEST

duple

3
Strong

4
weak

weak

5 4 1

duple

triple

2
weak

3
Strong

4
weak

5
weak

STRONGEST

A full classification of time signatures includes the following: a) The division of the beat (compound or simple), and b) the number of beats per measure (duple, triple, etc.).
2 duple-simple 4

@4 ryry\ ryry\
duple compound

simple

6 duple-compound 8 ^8 rryrty\ rtyrty\

duple

3 triple-simple 4 9 triple-compound 8

#4 ryryry\ ryryry\
triple

simple

98 rryrtyrty\ rtyrtyrty\
triple

compound

Important Note:
The terms duple, triple, quadruple, and quintuple refer to the number of beats per measure. The terms simple and compound refer to the manner in which beats normally are divided.

2.

Classify the following time signatures. Write the complete time classification. Ex. duple-simple

3.

At the beginning of each measure, write the correct time signature. The measures are written in simple time, compound time or asymmetrical meter.

q qq q. q

Simple

q q q q q q e qq qq q
Compound

q q q qq q h
Asymmetrical

Compound

qq qq q q q

qq qq q e
Simple

q qq q q q q
Asymmetrical

Simple

Compound

q q q

qq

Simple

Reading Rhythms
4.
1

@4 ryq \ dffgq \ dgyry\ rdgq \ q. e\ eq e\ dffgq @4 ryq \ dffgq \ dgyry\ rdgq \ q. e\ eq e\ dffgq #4 q. eq \ q. er.g\ r.g q. e\ dffgq. e\ eq q e\ r.g dgyq
$4 q dt gq dt g\ q. dgq. dg\ dy. q dy. q \ q. dgdy. ry\ w

Clap the rhythms as you count aloud.

@2 h h \ h. q \ q q Q q \ q Q ryq \ h q ry\ H rtty\ ryq h #2 h h q q \ rttyh q q \ Q q h rtty\ h. qQ q \ w h

^8 q. q. \ q eq e\ rty rdgy\ rdffgdffgy\ dgtyq. ^8 q. q. \ q dgq e\ r.gy rdgy\ rdffgdffgy\ dgtyq.

98 rtyq eq e\ E ryE dgy S dfgy\ q eS dfgyq dg\ h. q. %8 rtyry\ rtyry\ rtydffg\ rtyrdg\ q. Ee\ q. E dg\ q. q

10

More Rhythm Practice

On your PC, take the following route to find more rhythm exercises:
PrimoTheory.com Resources Level 11 Page 7

Ear Training: Rhythmic Dictation

Scan the QR code to access the rhythms to be dictated: On your PC, take the following route:
MyTheoryApp.com Level 11 Rhythmic Dictation: Assignment 5

Rhythmic Dictation
5.
A

Using the web application given above, listen to the rhythms and write the notation on this sheet.

More exercises beyond the assignment on this page are available. Scan the code: On your PC:
MyTheoryApp.com Level 11 Rhythmic Dictation: Extra Rhythms

Section 2 Keys and Scales

The sharps or flats in a key signature will always appear in the same order.

`44454 `44454 144454 144454

F CGDAE B BE A DGCF

Order of Sharps

Order of Flats

Major SHARP Key Signatures To find the name of a major key with sharps in the key signature: a) Find the last sharp of the signature. b) Go up a *diatonic half step from the last sharp to find the tonic (keynote). Major FLAT Key Signatures For key signatures with flats, the next-to-last flat in the key signature names the tonic.

`464644 `464644
E Major Ab Major
7 8 (1) 2 3 4 5 6 7

wE (tonic) w Ab (tonic)

The Relative Minor Key

Every major key has a relative minor key which uses the same key signature. The sixth scale degree of the major scale is the same as the tonic of the relative minor key. C Major

`444444445-= `444444445-=
1
8 (1)

w w w w w w w w w w w w w a minor w w w
1 2 3 4 5

C major and A minor are relative keys because they share the same key signature. Another way to find the relative minor key: From the tonic of a major key, go down three half steps to find the tonic of its relative minor.

`44 `444444 `44

G Major

w ()
G

w
E

half steps

e minor

*A diatonic half step is a half step which consists of two different letter names.

10

1.

For each key signature, name the relative major and minor keys. Use uppercase letters for major and lowercase letters for minor. Example: G Maj, eb min.

Major: minor:

`4456-4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-4456-=
Major: minor:

Parallel Major and Minor Keys

Parallel keys are the major and minor keys that share the same tonic, or keynote. Parallel keys do not share the same key signature. Some examples of parallel keys:

`4456-4456- `4456-4456A Major a minor Bb Major bb minor 2.

Write the key signatures for the parallel major and minor keys.

G Major

g minor

E$ Major

e$ minor

E Major

e minor

D Major

d minor

F# Major

f# minor

F Major

f minor

The Minor Scales

There are three basic forms of minor scale: natural, harmonic and melodic.

11

Natural Minor Scale

Follows the key signatureno altered tones. Keeps the same form whether ascending or descending. Whole and half step pattern: W H W W H W W a minor

Harmonic Minor Scale

The seventh scale degree is raised a half stepaccidentals are used. An augmented 2nd (three half steps) occurs between scale degrees 6 and 7. Keeps the same form whether ascending or descending.
7

a minor
Aug 2nd

Melodic Minor Scale

In ascending form, scale degrees 6 and 7 are raised a half stepaccidentals are used. In descending form, the scale reverts to the natural minor form.
6 7 7 6

() ()

a minor

(natural minor form)

Ear Training: Scale Identification

Scan the QR code to practice distinguishing between the three basic forms of minor scale:
MyTheoryApp.com Level 11 Scales

12

3.

For each line, the name of the minor key is given: a) Write the harmonic minor scale, ascending form only. Use whole notes. b) Add accidentals where needed.

`44444444444444-= 144444444444444-= `44444444444444-= 144444444444444-=

f harmonic minor f# harmonic minor b harmonic minor
4.

eb harmonic minor

Write the melodic minor scale, ascending then descending.

a melodic minor

c# melodic minor

g melodic minor

c melodic minor

The Chromatic and Whole-Tone Scale

The Chromatic Scale
A chromatic scale is a twelve-tone scale made up of half steps. The notation of this scale varies according to the context, but the simplest notation uses sharps for notes that go up and flats for notes that go down.

13

ascending

descending

The presence of a key signature will affect the spellings used in a chromatic scale. Notice the use of natural signs in the following examples.

In general, the chromatic scale is usually notated such that no scale degree is used more than twice in succession. For example, Db - D - D# should not be used.

5.

On each staff, write an ascending chromatic scale from the note given. End the scale on the note one octave higher than the starting note.

6.

On each staff, write a descending chromatic scale from the note given. End the scale on the note an octave lower than the starting note.

14

The Whole-Tone Scale

The notes of a whole-tone scale are separated by whole steps (W).

`444444445-=
A variety of different spellings can be used for the same scale: or When this whole-tone scale is transposed up a half step, you find the second fundamental form of the whole-tone scale, which is also subject to a variety of spellings: or This scale is considered a synthetic, or artificial scale. All the tones in this scale are the same distance apart; no single tone stands out. As a result of this, a strong sense of tonic is lacking. Some composers, such as Debussy, used this scale to evoke an elusive, floating quality.
7.

On each staff, write an ascending whole-tone scale from the note given. End the scale on the note one octave higher than the starting note.

8.

On each staff, write a descending whole-tone scale from the note given. End the scale on the note one octave lower than the starting note.

Section 3 Intervals
Intervals are classified by type and size. The following abbreviations will be used when describing the type of intervals: perfect (Per), major (Maj), minor (min), augmented (Aug) and diminished (dim). Intervals of an octave or less are called simple intervals.

15

Major and Perfect Intervals

Using the tones of the major scale, intervals built above the tonic (keynote) form major or perfect intervals.

type: size:

Per Prime (Unison)

ww

Maj 2nd

ww

Maj 3rd

w w

Per 4th

w w

Per 5th

w w

Maj 6th

w w

Maj 7th

w w

Per 8ve

w w

Major and Minor Intervals

A major interval becomes a minor interval when decreased in size by a half step.

Maj 2nd

ww

min 2nd

ww

Maj 3rd min 3rd

w w

w w

Maj 6th min 6th

w w

w w

Maj 7th min 7th

w w

w w

Augmented Intervals
Perfect and major intervals become augmented when increased in size by a half step.

Maj 2nd Aug 2nd

ww

ww

Per 4th Aug 4th1

w w

w w

Per 5th Aug 5th

w w

w w

Maj 6th Aug 6th

w w

w w

Diminished Intervals
Perfect and minor intervals become diminished when decreased in size by a half step.

min 3rd dim 3rd

1

w w

w w

Per 4th

w w

dim 4th

w w

Per 5th

w w

dim 5th

w w

min 7th dim 7th

w w

w w

The augmented 4th or diminished 5th is also called a tritone.

16

How to build an interval above a given note: You already know to use the major scale to find perfect and major intervals, and that you can alter these intervals to find minor, augmented, and diminished intervals. This works well when you are working with keys that are familiar to youjust think of the bottom note as tonic and apply the appropriate accidentals according to the key signature. But when the tonic tone calls for keys that are not familiar, you can find any interval easily if you know the following three intervals very well: the perfect 5th, major 3rd, and major 2nd. You can use these intervals to piece together other less familiar intervals. The following symbols will sometimes be used to indicate intervals: capital letters will represent major and augmented intervals; lowercase letters will represent minor and diminished intervals; a simple number will represent the interval size. For example, M2 for major 2nd, d5 for diminished 5th, and so on. The perfect 5th is the easiest to recognize on the staff.

`544444444444 `4444
no accidentals only sharps only flats

The exception to this is the perfect 5th starting on B and Bb.

The perfect 4th follows a similar pattern.

`544444444444 `4444
no accidentals only sharps only flats

The exception to this is the perfect 4th starting on F# and F.

The major 2nd should always be spelled as a diatonic whole step; the two tones should be spelled as two consecutive letters of the alphabet.

`444-444 `444-444
diatonic whole steps same pitches INCORRECT spelling

You can combine the perfect 5th and major 2nd to find the perfect 4th or the major 6th.

`44 `44
Perfect 4th? Major 6th?

Start with a perfect 5th, then go a major 2nd down from the top note.

Start with a perfect 5th, then go a major 2nd up from the top note.

`44444 `44 `44444 `44

=
P5 M2 down Perfect 4th

P5

M2 up

Major 6th

17

1.

Build an interval above each note. Watch for double sharps and double flats.

`564-44-44-44-44-44-44-44-= 1564-44-44-44-44-44-44-44-= `564-44-44-44-44-44-44-44-= 1564-44-44-44-44-44-44-44-=

Maj 3rd Aug 3rd min 3rd dim 3rd Per 5th Aug 5th dim 5th min 2nd Maj 3rd Aug 3rd min 3rd dim 3rd Per 4th Aug 4th dim 4th min 2nd Maj 7th min 7th dim 7th dim 7th Per 4th Aug 4th dim 4th Maj 6th Per 5th Maj 6th Aug 6th min 6th Per 5th Aug 5th dim 5th Maj 2nd 2.

Identify the intervals by type and size. Use abbreviations. Example: dim 3rd, Aug 6th.

`4565-4556-4556-4556-4556-4556-4556-4556-= 14565-4556-4556-4556-4556-4556-4556-4556-= `4565-4556-4556-4556-4556-4556-4556-4556-= 14565-4556-4556-4556-4556-4556-4556-4556-=

w w w w w w w w w w w w ww w w w w w w w w w w w w w w w w w w ww w w w w w w w w w w w w w w w w

w w

w w

ww

w w

w w

w w

w w

18

Inverted Intervals
Simple intervals are intervals spanning an octave or less. Simple intervals can be inverted by taking the lower note and moving it up one octavethe upper note of the original interval (a) is now the lower note of the inverted interval (b). The original interval and its inversion are called complementary intervals. (a) (b)
Per 5th

w w

w w

Per 4th

You get the same result by taking the higher note and moving it down an octave.

Per 5th

Per 4th

Find the inversion of the given intervals: 3. For each pair of measures, take the bottom note of the interval in the first measure and write it one octave higher in the second measure.

4.

-44-44- -44-44- -44-44- -44-44-44-44- -44-44- -44-44- -44-44-44-44- -44-44- -44-44- -44-44-44-44- -44-44- -44-44- -44-44Example

Invert each given interval as above. Write both notes of the second interval of each pair.
Example

For each pair of measures, take the top note of the interval in the first measure and write it an octave lower in the second measure.

Example

Invert each given interval by moving the top note down. Write both notes of the second interval.

Major and minor complements major intervals invert to minor minor intervals invert to major

Maj 2nd

w
min 7th

min 2nd

w
Maj 7th

19

Augmented and diminished complements augmented intervals invert to diminished diminished intervals invert to augmented

Aug 2nd

w
dim 7th

Aug 6th

w
dim 3rd

Perfect complements A perfect interval

inverts to another perfect interval.

Per Prime

w
Per 8ve

Per 5th

w
Per 4th

The sum of two complementary intervals is always 9. You can use the rule of nine to find the numerical size of an inverted interval. For example, to find the inversion of a 3rd, subtract 3 from 9 and the answer is 6a 3rd inverts to a 6th. Now you can find the inversion of any given interval. Just remember, its a two-part process: First you invert the interval type (major to minor or vice-versa, augmented to diminished or vice-versa, and perfect stays perfect), then you invert the size using the rule of nine.
[9 -] 3

The Rule of Nine:

Maj 3rd

w w

min 6th

w w
6

[9 - ] 6

or

min 6th

w w

Maj 3rd

w w

5.

Fill in the blanks below to complete each statement. Major intervals invert to Minor intervals invert to Augmented intervals invert to Diminished intervals invert to Perfect intervals invert to intervals. intervals. intervals. intervals. intervals.

20

6.

For each interval given, name the inverted interval. Use abbreviations. Maj 2nd Maj 7th Per 8ve min 6th Aug 2nd Maj 3rd Per 5th min 2nd min 7th Aug 4th Maj 6th Per 4th min 3rd Per Prime dim 7th

7. Complete each interval and invert it:

a) In the first measure, write the indicated interval above the given note. b) In the second measure, invert the interval in the first measure. c) Identify the inverted interval by type and size.
a) b) min 6th Maj 3rd Aug 6th

Per 5th c) Per 4th

min 2nd

Per 4th

min 7th

dim 4th

min 3rd

dim 7th

Aug 2nd

Per 5th

Maj 6th

Maj 2nd

dim 5th

Maj 7th

Aug 2nd

min 7th

min 3rd

Aug 6th

21

How to build an interval DOWN from a given note: So far you have learned how to build an interval up from a given note, but what if you are asked to build an interval down from a given note? If you have a total mastery of all the major and minor keys and scales, you could simply assume that the given note is on the scale degree of the same number as the interval size, then deduce the bottom note of the interval as the tonic. Or, you can use inverted intervals to find the bottom note. Use the process outlined below to find an interval down from a given note. w Question: What is the note a major 6th down from C#? ? Step 1: Find the inversion of the interval given. (major inverts to minor) (Rule of Nine: 9 - 6 = 3) The inversion of a major 6th is a minor 3rd.

`44

Step 2: Build the inverted interval UP from the given note. This is familiar territorya minor 3rd up from C# is E. Step 3: Take the upper note of this interval down one octave. Now it is the lower note. And so, a major 6th down from C# is E.

`44 `44-44
w
Maj 6th

w w

Sometimes all this is not necessary. For example, the perfect 5th and major 2nd down from a given note should be easy enough to find. You can also use those two intervals in combination to find the major 6th.
8.

Construct the named intervals below the given notes. Use whole notes.

Per 5th

Maj 6th

Per 4th

Per 5th

Maj 6th

Per 4th

Maj 6th

Per 4th

Maj 6th

Maj 2nd

Per 4th

Maj 6th

Maj 2nd

Per 4th

min 6th

min 7th

min 6th

Maj 3rd

Aug 4th

min 6th

Maj 3rd

Aug 4th

Aug2nd

Aug 2nd

22

Interval Reference
List your own song references for recognizing melodic intervals:

Perfect 8ve Major 7th minor 7th Major 6th minor 6th Perfect 5th Tritone Perfect 4th Major 3rd minor 3rd Major 2nd minor 2nd Perfect Unison

ascending ascending ascending ascending ascending ascending ascending ascending ascending ascending ascending ascending

descending descending descending descending descending descending descending descending descending descending descending descending

Ear Training: Interval Identification

Scan the QR code to practice identifying major, minor, and perfect intervals:
MyTheoryApp.com Level 11 Intervals

23

Ear Training Drills: Intervals

The following exercises are designed to develop your skill in recognizing and intoning all simple intervals above or below a given tone. Your singing range should be noted on the keyboard provided on this page. Solo Drill: Singing Intervals This drill is designed for solo practice. Check your progress from time to time by recording a session and listening to that recording critically, or by performing this drill in the presence of your teacher. Be sure that you are forming the intervals correctly on the keyboard.
Students singing range:

1)

Decide on an interval in your singing range. Pick from any below:

Maj 2nd min 2nd Maj 3rd min 3rd Per 4th Per 5th Maj 6th min 6th Maj 7th min 7th Per 8ve Unison tritone

Find and prepare both tones on the piano, but dont play them. For ascending intervals, start with the lower tone. For descending intervals, start with the higher tone.
2)

Play the top or bottom tone of the interval on the piano. Sing the tone. Hear the second tone above or below your chosen interval with your inner ear. Sing the second tone. Sing both tones of the interval until you are satisfied. Test by playing the interval on the piano. Then, sing the interval as you play it. Repeat the process using a different interval. Repeat with different intervals and focus your efforts on the more difficult ones.

3) 4)

Teacher/Student Drill: Recognizing Intervals Your teacher will play major, minor, or perfect intervals above or below a given note. All intervals will be an octave or smaller. Identify and name each interval by type and size. For example, say major 3rd. Or, you may write down the intervals played on a piece of paper. Your teacher will play six major, minor, or perfect intervals above or below a given note. Write the intervals down on a piece of paper. Classify each interval by type and size. Use abbreviations (ex., MAJ 6th, PER 5th, min 3rd).

24

Section 4 Chords
perfect fifth
5th 3rd root

The MAJOR triad contains a major third with a minor third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth.
minor thirdthree half steps MAJOR thirdfour half steps

The MINOR triad contains a minor third with a major third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth.
perfect fifth
5th 3rd root

MAJOR thirdfour half steps minor thirdthree half steps

The DIMINISHED triad consists of two minor thirds. The distance from the root to the 5th of the triad is a diminished fifth.
diminished fifth
5th 3rd root

minor thirdthree half steps minor thirdthree half steps

The AUGMENTED triad consists of two major thirds. The distance from the root to the 5th of the triad is an augmented fifth.
augmented fifth
5th 3rd root

MAJOR thirdfour half steps MAJOR thirdfour half steps

1.

Build a triad on each note.

.
Maj Aug min dim min dim Maj

Aug

dim

Maj

min

Aug

min

dim

Aug

Maj

dim

min

Maj

Aug

min

25

Ear Training Drills: Triads

The following exercises are designed to develop your skill in hearing and producing the tones of the major, minor, augmented and diminished triad. Note your singing range on the keyboard provided on this page. Solo Drill: Singing Triads This drill is designed for solo practice. Check your progress from time to time by recording a session and listening to that recording critically, or by performing this drill in the presence of your teacher. Be sure that you are forming the triads correctly.
1)

Decide on a triad type: major, minor, augmented, or diminished. Pick a starting tone in your singing range. This tone will be the root of the triad.

Students singing range:

2)

Play the root. Sing the root. Hear the tones of your chosen triad with your inner ear. Sing the 3rd and 5th of the triad. Sing all the tones of the triad until you are satisfied. Test by playing the tones of the triad on the pianoone at a time. Then, sing the tones as you play them. Repeat the process using a different tone and different triad. Repeat with different triads as often as is necessary and focus your efforts on the more difficult onesthe augmented and diminished.

3) 4)

Teacher/Student Drills: Recognizing Triads Your teacher will play major, minor, augmented and diminished triads. Identify and name each interval by type. For example, major or diminished. Or, you may write down the triad played on a piece of paper. Your teacher will play five triads played in blocked and arpeggiated form. Write the intervals down on a piece of paper. Identify with abbreviations: major (MAJ), minor (min), augmented (AUG) and diminished (dim).

App Drills: Triads

Scan the QR code to practice identifying major, minor, and diminished triads:
MyTheoryApp.com Level 11 Triads

26

REVIEW: Diatonic Triads

Uppercase roman numerals are used for major and augmented chords; lowercase roman numerals are used for minor and diminished chords. Augmented chords will have a + sign to the right of the roman numeral; diminished chords will have a o sign to the right of the roman numeral. The chords formed by the major scale:

The chords of the harmonic minor scale:

`4444444446-= `4444444446-=
C Maj: I ii iii IV V vi vii a min: i

w w w w w w w

w w w w w w w
ii III+ iv

V VI vii

2.

On each staff below: a) b) c) d) E Major

Write the key signature (the key is given). Write an ascending scale, one scale note per measure. Construct a triad on each note of the scale. Label each triad as MAJ, min, AUG, or dim.

f harmonic minor

3.

`445-455-455-455-455-455-455-4566-= 1445-455-455-455-455-455-455-4566-= `554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-=

In each measure, the major key signature is given. Write the roman numeral for each triad.

w w w w w w

w w w w w w

w w w w w w

w w w w w w

w w w w w w

27

4.

`554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-=
w w w w w w w w w w w w w w w
5.

In each measure, the harmonic minor key signature is given. Write the roman numeral for each triad.

w w w

w w w

w w w

w w w

w w w

For each key, write the key signature and the tonic, subdominant and dominant triads. E Major f minor
I IV V i iv

Eb Major

A Major

`445-455-455-= `445-455-455-= `445-455-455-= `445-455-455-= `445-455-455-= `445-455-455-=

V

g# minor

IV

iv

g minor

IV

iv

6.

Spell the tonic, subdominant and dominant root position triads of each key given. Subdominant Tonic Dominant C Major e harmonic minor G Major

c harmonic minor B Major f harmonic minor

28

7.

Write the indicated triad in root position, first inversion and second inversion in each measure. F Major
root first second position inversion inversion

d minor

G Augmented

f# diminished

Ab Augmented

Bb Major

f minor

E Major

g diminished

8.

In each measure, a chord and key are given. Below each chord, write the roman numeral and, if applicable, the arabic numeral(s) indicating the inversion.

Major Keys

Minor Keys

`554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-= `554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-=

B$ : E:

w w w

w w w

D:

w w w

A$:

w w w

F:

w w w

w w w

B:

w w w

D:

E$ :

w w w

C:

w w w

A:

w w w

c:

w w w

b:

w w w

w w w

d:

w w w

f:

w w w

w w w

c :

w w w

g :

g:

w w w

a:

w w w

w w w

e:

29

The Dominant Seventh Chord

Seventh chords in root position are indicated by an arabic number 7 placed to the right of the roman numeral. The dominant seventh chord is a type of seventh chorda major triad plus a minor 7th above the root. The dominant seventh chord is found on scale degree 5 of a major or minor scale. In a minor scale, the third of the V chord must be raised to form a dominant seventh chord.
5 6 7 w w w w w w w w w w 1 2 3 4

`4444444446-= `4444444446-=
C:

V7

c:

5 6 7 w w w w w w w w w w 1 2 3 4

V7

Inversions of the Dominant Seventh Chord

Seventh chords can be arranged in four basic positions: root position, with the root in the bass; first inversion, with the 3rd in the bass; second inversion, with the 5th in the bass; and third inversion, with the 7th in the bass.

`444444444446
root position 7 C: V first inversion second inversion third inversion

w w w w

w w w w

w ww w

w w ww

V6 5

V4 3

V2

The arabic numerals used for these inversions name only those intervals absolutely needed to identify the chord. For example, a first inversion seventh chord really contains a 3rd, 5th and 6th above the bass, but it is not necessary to include the 3rd when labeling the inversion. The only arabic numerals used in labeling inverted seventh chords are those needed to identify the root and 7th above the bass.

`444444444446
C:

V7

w w w w

the dotted lines point to the 7th of the chord

V6 5

w w w w

w ww w

w w ww

V4 3

V2

the solid lines point to the root of the chord

The arabic numerals progress in countdown-like fashion from root position to third inversion:

V7
7 6

V6 5
5 4

V4 3
3

V2
2

30

9.

For each measure, write the name of the major key in the blank. Use an uppercase letter. Write the dominant seventh chord (V7) in root position.

`5446-4464-4446-4464-4464-=
: V7 : V7 : V7 : V7 : V7

10.

For each measure, write the name of the minor key in the blank. Use a lowercase letter. Write the dominant seventh chord (V7) in root position. (Hint: one note in each chord will require an accidental.)

15464-4464-4464-4464-4644-=
: V7 : V7 : V7 : V7 : V7

11.

The key is given for each staff. Write the V7 chord in root position in the first measure. Write the three inversions in the remaining measures. root position first inversion second inversion third inversion

f# minor

Ab Major

e minor

`44464-44466 6-446646-446646-= 144446-44466 6-44466 -44466 -= `44446-4466 46-446646-446646-= 144446-44466 6-44466 -44466 -= `44446-4466 46-446646-446646-=
Bb Major g minor

Section 5 Sight Singing

Solfege in a Minor Key
There are two ways to sing in minor keys using movable do: la is tonic in la-based solfege and do is tonic in do-based solfege. The syllables and pronunciations are listed below for the three standard forms of minor. A Natural Minor
scale degrees:

31

Do-based minor: Do La-based minor: La

A Harmonic Minor

Do-based minor: Do La-based minor: La

A Melodic Minor (ascending only)

Do-based minor: Do La-based minor: La

144444444444445-= 144444444444445-= 144444444444445-=

Re Ti Me Do Fa Re Sol Mi Le Fa Te Sol Do La Re Ti Me Do Fa Re Sol Mi Le Fa Ti Si Do La Re Ti Me Do Fa Re Sol Mi La Fi Ti Si Do La

The pronunciation of the syllables: Re, Me, Le, and Te rhyme with say Mi, Fi, Si, Li, and Ti rhyme with tee Fa and La rhyme with ah Do as in doh or doe; Sol as in sohl How to Practice These Exercises The following drills are designed for solo practice. Perform these exercises for your teacher to make sure you are doing them correctly. These exercises should be practiced as you proceed with the other sections of this book; discontinue these drills only when you can perform them easily and accurately. The numbers used in the exercises in bold font represent the scale degrees. 1 is tonic, 2 is scale degree 2, and so on. Sing using scale degree numbers or solfege, preferably La-based minor. Transpose these exercises to any key in your comfortable singing range. Boxes are provided that will allow you or your teacher to list these keys. As you sing the exercises, play a scale or chord figure from time to time to establish the key.

32

Assignment
Use the procedure for assignment 1 to practice the singing exercises given below. Follow these steps for each exercise: 1. Decide on a key and prepare with an arpeggio or scale. a) Play the starting tone of the exercise on the piano. b) Sing and match the starting tone. c) Sing the exercise as you play it. d) Sing the exercise without playing it. You might find it helpful to play the tonic triad intermittently as you sing the exercises. This will help your intonation when singing the 3rd scale degree in particular. From time to time, you should hold the 3rd scale degree for a few extra moments as you play the tonic triad.

Exercises
Use the following exercises for assignment 1. Your teacher will notate the appropriate range of keys and note it in the box provided.. In the three standard forms of minor scale, the minor pentachord (scale degrees 1 - 5) is the same.

`44444444-=
a min:
1 2 3 4 5

Students singing range:

List the minor keys to use:

The lower tetrachord (scale degrees 1 - 4)

1 1 1 1 2 2 3 3 3 3 2 1 2 2 3 3 1 3 1 1 1 1 1 1 1 2 2 4 4 3 3 3 1 4 4 2 4 3 2 1 3 4 1 1 1 1 1 1 1 4 3 2 4 3 2 1 1 4 4 3 3 1 2 3 1 1 4 1 1 2 1

The minor pentachord (scale degrees 1 - 5)

1 1 1 1 1 1 1 2 3 2 3 3 2 5 3 5 3 2 2 3 4 4 3 5 1 4 2 5 5 1 3 3 3 3 4 4 3 2 1 2 5 5 4 3 1 1 3 4 5 1 2 1 3 3 3 5 5 5 5 2 4 2 4 4 3 3 1 5 3 3 3 1 4 3 3 1 2 4 2 2 5 1 4 1 3 3 3 4 2 3 2 2 4 1 3 3 4 3 3 5 2 2 5 4 3 2 1 4 5 2 1 - 1

33

The upper tetrachord (scale degrees 5 - 8) changes with each form of minor: upper tetrachords natural

harmonic

1444444444444-= 1444444444444-= 14444444444444445-=

a:
1 2 3 4 5 6 7 8 H A2 H

(lower tetrachord)

a:

melodic

a:

The upper tetrachords that occur in the three forms of minor are: phrygian tetrachord - H W W (natural minor) harmonic tetrachord - H A2 H (harmonic minor) major tetrachord - W W H (melodic minor, ascending)
2. Sing the following exercises using the same procedure as assignment 1.

Sing the scale degrees of each exercise using all three forms of minor. Firmly establish the fifth scale degree, the starting tone of the upper tetrachord, by stepping up to it and playing the tonic minor.
List the minor keys to use:

5 6 5 5 6 7 8 7 6 5 5 8 7 6 5 6 7 8

5 8 7 8 5 8 7 6 7 8 5 8 5 6 7 8

8 7 8 5 8 8 5 8 7 8 8 7 6 5 8 7 8

The stable tones and active tones of the harmonic minor scale are the same as those of the major scale. The stable tones are scale degrees 1, 3 and 5the tones of the tonic triad. The active tones are 2, 4, 6 and #7 and have a tendency to resolve to a neighboring stable tone.
#7

8(1) 5 3 1

6 4 2

34

Active and Stable Tone Exercises Scale degrees 2, 4, and 6 resolve down a step and #7 resolves up to tonic. In the following exercises, a fermata is placed over some active tones. Pause on these notes to get the full effect of their active quality. Just as importantly, notice their resolution to the neighboring stable tone. To enhance this effect, play the chords indicated by the roman numerals as you sing.
3. Sing the exercises according to the directions given above.

Avoid playing the melody on the piano as you sing but you may play the tonic triad throughout. Change to another chord only at the points indicated by roman numerals.
List the minor keys to use: range

d minor

`5tyuioiuyt-6tuout-6tyuiout6-= `5tyuouyt-6tuioiut-6tuo]out6-= `56tuo][p56o]opoiuy5tuytr5t6-= `5ot][pop5oiuiop[5]poiuyt6-= `5tuoop[][]op5opoiuti5uyt6-=

iv i iv i V i iv i V i iv i iv i
List the minor keys to use:

f minor

range

`664uruo[]56[ouruy66uroiuoi5u6-= `664uytrtyuiou[up56oiuoiyru6-=
iv i V i V i iv i

35

Sight Singing Four-Measure Melodies in Minor Keys

4.
1

`444464-45444-44544-44544-= `444464-45444-44544-44544-= `444464-45444-44544-44544-= `444464-45444-44544-44544-= `444464-45444-44544-44544-= `444464-45444-44544-44544-= `444464-45444-44544-44544-= `444464-45444-44544-44544-=

2

Sing each four-measure melody using solfege or scale degree numbers. Transpose these exercises to any key in your comfortable singing range. a minor

a minor

c minor

c c

c minor

d minor

3 4 3 4

d minor

e minor

6 8 6 8

e minor

36

Sight Singing Eight-Measure Melodies in Major Keys

The following eight-measure melodies are in major keys and will consist of two distinct phrases: the antecedent, ending in a half cadence, and the consequent, ending in an authentic cadence. In preparation for this assignment, you may first sing the drills in assignment 4, transposing from minor to parallel major. 5. Sing each four-measure melody using solfege or scale degree numbers. Transpose these exercises to any key in your comfortable singing range. 1 F Major

. . . .

C Major

3 4
.

3 4 .
.

. .

Section 6 Harmonic Analysis

Harmony is the study of chordshow they are formed, how they interact with each other and how they interact with other musical elements such as melody, rhythm and form.

37

The term four-part harmony refers to music written in four parts, or voices, each of which retains its identity as a distinct melodic line to some degree. Such music, which has two or more distinct melodic lines playing a more or less equal role in the creation of the musical expression, is known as polyphonic music. The four parts, from the highest to lowest, are the soprano, alto, tenor and bass. In four-part harmony, the voices may be arranged on the grand staff two different ways: (a) The bass and tenor are on the bass staff; the alto and soprano are on the treble staff. This arrangement of voices is sometimes referred to as choral style. (b) The soprano, alto and tenor are on the treble staff; the bass voice is on the bass staff. This arrangement of voices is sometimes referred to as keyboard style. (a) (b)

`44455 144455

w w w w

w w w w

soprano alto tenor bass

`44455 144455

w w w w

soprano w w w alto tenor

w bass

In four-part writing, chords may appear in either open or close harmony, also known as open position or close position: Open harmonythe distance between the soprano and tenor part is an octave or more. Close harmonythe distance between the soprano and tenor part is less than an octave. A cadence is generally defined as the last two chords of a musical phrase. The cadence functions as a musical punctuationa point of rest, or repose, separating musical phrases. There are two basic types of cadence. The first type ends on the tonic chord; it closes a phrase with a sense of completion, and creates an effect similar to that of a period at the end of a sentence. The various forms of authentic cadence are examples of this type: VI(i), or viioI(i). The second type of cadence ends on a chord other than the tonic; it closes a phrase with the sense that more is to come, that the pause in only momentary. The effect of this type of cadence can be likened to that of a comma. The various forms of half cadence are examples of this type: I(i)V, IV(iv)V, and iiV.

38

The basic voice-leading for the V7I cadence: (a) The seventh of V7 goes down a step 4 resolves to 3. (b) The fifth of V7 moves down to tonic 2 resolves to 1. (c) The third of V7 moves up to tonic 7 resolves to 1. (d) The root of V7 moves to the root of I 5 to 1. (a)

The V7-I Authentic Cadence

`4444-4444-4444-4444C: V
7

w w w

(b)

w w w

(c)

V7

w w w

(d)

V7

V7

w w w

Use the graphic to the right to easily remember the resolution of the V7 chord. Notice that the fifth of the I chord (G) is omitted. This will be discussed in more detail later in this section.

`444
C: V
7

Writing the V7-I Authentic Cadence

In exercises 13, you will be asked to write only one note of the I chord for each example. But if you feel you have sufficient understanding to write all the notes of the I chord, then by all means do so.
1.

In each example, the top three voices are written on the treble staff. a) Circle the seventh of the V7 chord (scale degree 4). b) Above the roman numeral I, write the one note to which the seventh (of V7) resolves. (optional: write all the notes of the I chord.)

`44455 `44455 `44455 144455 144455 144455

C: V7 I D: V7 I B$ : V 7
1

At certain times the scale degrees will be represented by a caret symbol ^ on top of an arabic number. For example, 6 and scale degree 6 mean the same thing. So, the phrase, scale degrees 6 and 7 are raised can now be expressed as 6 and 7 are raised.

w w w

w w w

w w w

39

2.

In each example, the top three voices are written on the treble staff. a) Circle the fifth of the V7 chord (scale degree 2). b) Above the roman numeral I, write the one note to which the fifth (of V7) resolves. (optional: write all the notes of the I chord.)

`44455 `44455 `44455 144455 144455 144455

C: V7 I D: V7 I B$ : V 7
3.

Note: in each example, the tenor and bass voices are written on the bass staff. a) Circle the third of the V7 chord (scale degree 7). b) Above the roman numeral I, write the one note to which the third (of V7) resolves. (optional: write all the notes of the I chord.)

`44455 `44455 `44455 144455 144455 144455

C: V7 I D: V 7 I B$ : V 7
4.

The tenor and bass voices in these examples are on the bass staff. Write all the notes of the I chord. Follow the voice-leading procedures.

C: V7

a: V7

b: V7

g: V7

w w w

D: V 7

B$ : V 7

w w w

w w w

`44455 144455 `44455 144455

w w

w w w

`44455 144455 `44455 144455

w w w

`44455 144455 `44455 144455

I i

w w w

w w w

w w w

w w w

w w w

w w w

w w w

40

Voice-Leading Exceptions
You might have noticed that, in following the voice-leading procedures outlined, the I chord has no fifth and three tonic notes. This is perfectly acceptable, especially when the leading tone occurs in the soprano.

`4446 14446
w w w w w
I I C: V7

tonic notes

In some instances when the leading tone is in the alto or tenor, a unison occurs in the I chord (e), which should be avoided. In these cases, the leading tone (the third of the V7 chord) should move down a skip to the fifth scale degree, as in example (f). This will maintain a four-part texture.

C: V7

V7

B$ : V 7

Writing the V7-I with Alternative Voicing

The following examples are written in keyboard style. Be sure to maintain this when you write your chords. Each key signature has two V7I cadences. The V7 in each measure is given.
5.

`4444544445444454444545 144455544445444454444545
A$ : V7 I V7 I E: V7 I V7

For each example, resolve the V7 chord to the tonic chord. Write all chords in root position.

w w w

w ww

w ww

If the root of the V7 chord is doubled, leave out the fifth of the V7 chord (scale degree 2) and repeat the common tone when progressing to I.

`44455 144455
doubled root

w w w

w w

w w

(e)

`4445544444 14445544444
w w
I

w w

not good

(f)

w w

GOOD

no fifth (C)

w w w

w w w

`4444544445444454444545 144455544445444454444545 `4444544445444454444545 144455544445444454444545

f: V7 i V7 i c : V7 i D: V7 I V7 I c: V7 i V7

The Plagal Cadence IV-I

The Plagal Cadence, commonly referred to as the Amen cadence, is the progression IVI (ivi for minor). This cadence often follows immediately after an authentic cadence and acts as a means of elaborating or prolonging the tonic chord. A typical example of this occurs at the final Amen at the end of a hymn in some Christian churches. The voice-leading rules for the plagal cadence: Both chords are in root position. The root of each chord is doubled in another voice. The common tone is repeated in the same voice. The remaining voices move down a step.
6.

`44454 144454
common tone

w w w w

C: IV

Complete the plagal cadences below. The key and chords are given. Use proper voice leading.

`44454 `44454 `44454 144454 144454 144454

w w w w
A: IV I Eb: IV I Bb : IV I

w w w w

w w w w

ww w

w w w

w w w

V7

w w w

w w w w
I

w w w

ww w

w w w

w ww

41

42

Writing Extended Four-Part Harmonic Progressions

You will now write a complete four-voice harmonic progression of more than two chords in length. The following exercises will be written in keyboard style. You will be given only the notes of the first chord:

`444544444444445 1444544444444445
G Major: I
I vi IV ii V I

4 4 4 4

First, write the bass line. All the chords will be in root position, so simply write the notes which match the scale degrees indicated by the roman numerals. Two things to remember when writing the bass part: dont write intervals larger than a fifth (g), and dont write consecutive leaps such as 4ths (h) or 5ths (i) going in the same direction. Each example below shows a better way to write the bass line.

1444544444566=444444446= 144454444456
G: IV

(g)

avoid

GOOD

(h) consecutive 4ths

ii V I

GOOD

ii

IV

ii

ii

(i)

consecutive 5ths

GOOD

G: ii

ii

So, keeping all that in mind, your bass line should look like the following:

`444544444444445 1444544444444445
G: I I vi IV ii V I

4 4 4 4

The next step is to complete the upper three voices.

43

Part-Writing Exercises
The following exercises are designed to show you step-by-step how to compose the upper three voices of four-part harmonic progressions. There are only a few basic intervals by which a chord may move: unison, 2nd, 3rd, and 4th. The other intervals may be regarded as inversions of these. Lets take IV in the key of C major as an example. The root movement C-G may be viewed as a perfect 5th if C goes up to G, or the root movement may be viewed as a perfect 4th if the C goes down to G. In general, the same rules of voice-leading will apply in both situations. You will practice writing chord progressions moving both up and down by each of these intervals. Only major keys will be used. Note: All the chords will be written in root position. Repeated Root: (unison) The bass note repeats. The upper voices go up or down to the nearest chord tone.

`44455 `44455 144455 144455

G: I I G: I
7.

Complete the second chord: a) The bass note repeats. b) The top three voices move up to the nearest chord tone.

`4445444444444444445 14445444444444444445
F: I I ii ii V V
8.

Complete the second chord: a) The bass note repeats. b) The top three voices move down to the nearest chord tone.

`4445444444444444445 14445444444444444445
C: I I vi vi IV IV

w w w

w w w

w w w

w w w

w w w

w w w

q
I

4 q q 4 q 4 4

q q q

or

4 q q 4 q 4 4

q q q

w w w
vi

vi

w w w
ii

ii

44

Root Movement by Step:

The bass moves up or down by step. The upper voices move in contrary motion to the bass to the nearest chord tone. Same rules as with the IV to V half cadence.

G: I

ii

G: ii

9.

Complete the second chord: a) The bass voice moves up. b) The top three voices move down to the nearest chord tone.

`4445444444444444445 14445444444444444445
Bb: I ii V vi IV V
10.

Complete the second chord: a) The bass voice moves down. b) The top three voices move up to the nearest chord tone.

11.

`4445444444444444445 14445444444444444445 `4445444444444444445 14445444444444444445

w w w
iii G: V IV vi V ii I

Complete the second chord. First determine if the bass moves up or down.

C: V

vi

IV

ii

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w
iii

w w w

vii

q
I

`44455 144455
q q

4 q q 4 q 4 4

q q q

Or the reverse: the bass goes down, the upper voices go up.

`44455 144455

4 q q 4 q 4 4

q q q

w w w

IV

ii

45

Root Movement by 3rds

The bass moves up or down a 3rd. The fifth of the first chord moves a step in contrary motion to the bass. The other two voices repeat the common tones.
Or the reverse: the bass goes up, the upper voices repeating common tones or moving in contrary motion.

`44455 144455
G: I vi
12.

4 4 4 4

`44455 144455
G: vi I

4 4 4 4

Complete the second chord. Move the bass down.

`4445444444444444445 14445444444444444445
w w w
iii D: I vi IV ii vi IV

13.

`4445444444444444445 14445444444444444445
F: vi I IV vi ii IV

Complete the second chord. Move the bass up.

14.

`4445444444444444445 14445444444444444445
G: IV ii vi IV I vi

Complete the second chord. Move the bass up or down a 3rd.

w w w

w w w

w w w

w w w

w w w

w w w

w w w
I

w w w

w w w

w w w

iii

w w w

IV

vi

46

Root Movement by 4th or 5th

The 4th and 5th as intervals of chord movement are interchangeable, which means that, whether the bass goes up a 4th or down a 5th from a given note, the second note will be spelled with the same letter. For example, a 4th up from D is G; a 5th down from D is Gthe same scale degree. The context will determine which movement is better. As much as possible, try to move the voices in contrary motion.

`44455444444 144455444444
G: V I G: V I

4 4 4 4

acceptable

more effective

The voiceleading follows the same procedure as the authentic cadence: The bass may move up or down as discussed The common tone is repeated in the same voice The two other voices move stepwise to the nearest chord tone.
15.

16.

`4445444444444444445 14445444444444444445 `4445444444444444445 14445444444444444445

Eb: V I ii V iii vi

Complete the second chord. The bass should move up.

Complete the second chord. The bass should move down.

A: I

vi

iii

ii

vi

w w w

w w w

w w w

w
I

w w w

w w w

w w w

w w w

IV

w w w

IV

47

Assignment: Writing Progressions in Four-Part Harmony

You are now ready to write extended four-part harmonic progressions in keyboard style. As you might have realized by now, given the constraints created by the guidelines you followed, this type of four-part writing allows for very little flexibility and creativity. You will find that the exercises practically write themselves.
17.

`444544444444445 1444544444444445 `444544444444445 1444544444444445 `444544444444445 1444544444444445 `444544444444445 1444544444444445

F: I V I vi ii V I

Write the indicated chord progressions in four-part harmony. All chords should be written in root position. F Major

4 4 4 4

C Major

4 4 4 4

C: I

IV

vi

IV

G Major

4 4 4 4

G: I

vi

vi

ii

V7

D Major

4 4 4 4

D: I

ii

vi

IV

V7

48

Analyzing Four-Voice Chords on the Grand Staff

For the following assignment you will analyze chords written in four-part harmony on the grand staff. Now there are four notes for each chord instead of three notes. Also, the notes are spread out between two staves. Suppose you are asked to identify the following chord with a roman numeral:

C Maj: ?

First, name the notes,

D F A D

eliminate one of the doubled notes,

D F A D

take the three remaining notes and arrange them so that they form a root position triad.
A F D

The chord is a D minor chord.

C Maj:

C Maj:

Next, identify which scale degree the triad is built on to find the roman numeral. It is built on scale degree 2 of C major, the ii chord: Finally, determine the inversion.

C Maj: I

`4444444446-=
ii iii IV V vi viio

And so, the answer:

C Maj: ?

D is the lowest note, which is the root of the D minor chord.

C Maj: ii

49

Analyzing Harmonic Progressions

The following harmonic progressions contain any chord of the diatonic major scale and will include inverted chords.
18.

`444544444444444444445 1444544444444444444445 `444544444444444444445 1444544444444444444445 `444544444444444444445 1444544444444444444445 `444544444444444444445 1444544444444444444445

h h h h h q q q q h q q q q q q
G Major B$ Major D Major

Write the appropriate roman numeral under each bass note. Indicate inversions where appropriate. C Major

4 q q q q q q q 4 q q q q 4 4

q q h q q q q h h

q q q q q q q q q q q q

h h

q q

q q q q

h q q

q q

4h 4h h 4 4
h

q q q q q

q h h q q h q q q

q q q q q q q q q q q q

h q q

q q q q

q q q q

4q q q q q q q 4q q q q 4 4

h h h

h h h

q q q q q q q q q q q

q q h q q q q h h

q q

q q q

h q q

q q q q

4q q q q q 4q q q q q q q 4 4

h q q q q h q q h

q q q q q q q q q q q q

q q h q q q h h h

q h q q q q h q h

50

Section 7 The Melodic Line

Scale Degree Symbols

It is common among music theorists to use shorthand when discussing scale degrees. The symbol used to denote scale degrees is a caret symbol ^ on top of an arabic number. For example, 6 and scale degree 6 mean the same thing. So, the phrase, scale degrees 6 and 7 are raised can now be expressed as 6 and 7 are raised.

The Minor Melody

When writing melodies in minor keys, special consideration should be given to 6 and 7. Sometimes 7 is raised, sometimes its not; sometimes 6 is raised, sometimes its not; sometimes 6 and 7 are raised, and so on. In general, use the melodic minor scaleraise 6 and 7 when ascending (a) and use natural 6 and 7 when descending (b).

a minor

`4444455-445- `4444455-445q q qq
q

1(8)

This is especially the case when you are writing an unaccompanied melody, a monophonic texture. But there are exceptions to this general guideline if there is an accompaniment, or if there is an underlying harmony to be taken into consideration. For example, if the descending form of melodic minor (natural 6 and 7) were used over a V chord, the natural 7 would clash with the 3rd of the V chord (c). In this situation the ascending form (raised 6 and 7) is used even though the melodic line is descending (d). (c)

`444445-444- `4444455-44414444456444- 144444564445`444445-444144445644455a: V

c qqq qq conflict w w w

natural 6 and 7 (incorrect use)

Sometimes the opposite is the casethe natural minor form is better when ascending. For example, the iv chord in the key of A minor is a D minor chord, which contains the natural 6. An ascending melodic line written above the iv chord must contain the lowered 6 in order to agree with iv (e).

a: iv

q qqqq w w w

(a)

raised

(b)

c q q qq q
1(8) 7 6 5

natural minor

w w w w
i

(d)

c qq q qq q w w w
a: V

raised 6 and 7 (correct use)

w w w w
i

(e)

natural 6 and 7 (correct use)

w w w w
V

51

The Use of the Harmonic Minor Scale

The harmonic minor is often used in melody writing as well, but is more problematic because of the augmented 2nd, which occurs between 6 and 7. This interval of three half steps sounds awkward in scale passages. d harmonic minor

`44444444444-=
Aug 2nd cross carefully!
Aug 2nd

The best practice is to use the section of the scale spanning #7-1-2-3-4-5-b6 as a pocketa safe areain which you can freely roam, so long as you do not try to step across 6 and 7. However, if you are moving by skips along the tones of a chord, you can safely skip past the augmented 2nd between 6 and 7.
move freely move freely

d:

#7

b6

#7

It is only when the scale moves from 5-6-7-8 or 8-7-6-5 that the melodic form of minor is used. Figure (f) sounds effective if you keep the natural 6 while figure (g) is an ineffective use of minor. Play the indicated chords with each example to hear the difference. (f)

`4444455-44- `4444455-44a: V i a: V i
7 7

(g)

The same principle is involved when 7 is used. In general, always raise 7 unless the melody is going to continue down the scale. Play the indicated chords with each example to hear the difference.

`4444455-44- `4444455-44a: i V a: i V

qqqq

qqqq

correct

ineffective use of minor

qqqq

qqqq

q
3

q q q q q

q q
7

b6

52

1.

Assignment In each example the 6th and 7th scale degrees are labeled. Add accidentals to these tones, if needed, so that the melody is in agreement with the harmonies indicated by the roman numerals. The melodic and harmonic forms of minor are used, sometimes both in the same example.

`4444455-44- `44444655-44a: V i a: V

qqqq
D

`4445445-44455- `444544e: i iv V e: i V

`4445456-44455-444446-44446-6
d: i iv V i

`444-544-4466-46446-644466-655
d: i V

3 8

`4444456-4444-444466-444466-6
7 7 6 7 6

c:

3 4

`444445-44445-44445-444457

3 8

d: i

3 4

iv

vii

3 4

q q q
6

3 4

J.S.Bach, Minuet BWV Anh.132

J.S.Bach, Concerto for 3 Harpsichords BWV 1036

7 6 7

J.S.Bach, Menuet, French Suite in C Minor

J.S.Bach, Invention in D Minor

q q q
7

qqqq
6

qqqq w
7

w
i

vii

53

Assignment: Writing a Four-Measure Antecedent Phrase

In the following exercise, write an antecedent phrase (question phrase) leading to a half cadence. 2. Complete each phrase by ending with a half cadence. The examples are in B minor. Demonstrate the use of melodic minor. (a) In measure 2, write a melodic sequence of measure 1. (b) End the phrase on a note of the dominant chord. b minor
1

`4444545-44454-44544-45446-= 14444546-44454-445446-45446-= `4444546-44454-445446-45446-=

3 4 6 8
V V V
1

Writing a Four-Measure Consequent Phrase

The consequent phrase (answer phrase) continues after the momentary pause of the antecedent phrase and completes the period with an authentic cadence. 3. Complete each four measure phrase in the minor key indicated. You may use the melodic or harmonic form of minor. Demonstrate rhythmic imitation (rhythmic imitation) of measure one. (a) In measure 2, demonstrate rhythmic imitation of measure 1. (b) End the phrase on the tonic note. e minor

a minor

c minor

`444454-44454-44544-45446-= 1444454-44454-44544-45446-= `444454-44454-44544-45446-=

i

3 4

6 8

This is a requirement for certain state tests. Otherwise, you may write a sequence anywhere in the phrase, or use whatever compositional device you prefer.
1

54

Writing an Eight-Measure Minor Melody

Finally, you will compose melodies eight measures in length consisting of an antecedent phrase ending on a half cadence (measure 4), followed by a consequent phrase ending on an authentic cadence (measure 8). 4. Complete each eight-measure melody in the minor key indicated. (a) In measure 2, write a melodic sequence or rhythmic imitation of measure 1. (b) In measure 4, end the antecedent phrase on a note of the dominant chord. (c) In measure 8, end the consequent phrase on tonic. (d) Demonstrate the ascending and descending form of melodic minor.

`444464-45444-44544-445466`444464-45444-44544-44546-=
a minor

d minor

1444464-45444-44544-4454661444464-45444-44544-44546-= `444464-45444-44544-445466`444464-45444-44544-44546-=
c

3 4

g minor

Section 8 Melodic Dictation

Complete the melodic dictation exercises in this section by using a web application on your smart device or on your PC. Scan the QR code and you will be taken to a menu listing all the melodies for Assignment 1:
MyTheoryApp.com Level 11 Melodic Dictation: Assignment 1

55

1.
1

`444464-45444-44544-445446`444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-=

.
2

Complete each eight-measure melody. Fill in the blank measures. G Major

F Major

A Major

56

`444464-45444-44544-445446`444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-=

More Melodic Dictation Practice
To access more melodies for dictation practice: Scan the QR code:
MyTheoryApp.com Level 11 Melodic Dictation: Extra Melodies
6 5

Eb Major

3 4

C Major

3 8

E Major

3 8

Section 9 Definitions
ad libitum alto aria asymmetrical meter

57

Freedom to improvise or vary the tempo The second highest voice in four-part harmony A composition for solo voice The combination of two simple meters where the pulse cannot be divided into 2, 3 or 4 beats per measure augmented interval A perfect or major interval that has been increased by a half step augmented second An interval of a second having three half steps (C - D#) augmented triad A triad made up of two major thirds ballet A theatrical dance bass The lowest voice in four-part harmony bi-tonal The use of two different keys at the same time cadenza A section in a composition that allows the performer to improvise or that is written in the style of an improvisation chromatic scale A twelve-tone scale built only of half steps church modes Seven diatonic scales comprised of different arrangements of whole and half steps close harmony Four-part harmony with less than an octave between the soprano and tenor compound meter A meter in which the beat can be subdivided into groups of three con moto With motion counterpoint The use of two or more melodic lines simultaneously diatonic scale A scale with seven different tones diminished interval A perfect or minor interval that has been decreased by a half step diminished triad A triad made up of two minor thirds dominant 7th chord A major triad with a minor 7th added above the root, found on scale degree 5 duet A musical composition written for two performers. first inversion A triad that has its third as the lowest pitch triad half cadence Any cadence which ends on the dominant triad (V) homophonic music Melodic interest is concentrated in one line supported by an accompaniment. interval inversion Turning an interval upside down so that the lower tone becomes the higher tone or the higher tone becomes the lower tone invention A short contrapuntal piece based on one theme meter The organizing pattern of strong and weak beats minor interval An interval which is a half step smaller than the corresponding major interval monophonic music A single line of melody without any additional parts or accompaniment open harmony Four-part harmony with an octave or more between the soprano and tenor

58

opera oratorio overture parallel keys perfect interval phrase plagal cadence polyphonic music prelude rondo form second inversion triad semplice sempre senza simple meter soprano subito tenor trio transposition troppo voice leading whole tone scale

A theatrical drama that is sung and set to music A sacred theatrical drama that is sung but performed without action, costumes or scenery An orchestral composition used to introduce a large dramatic work Major and minor keys that share the same tonic The set of intervals in the major scale using scale degrees 1-1, 1-4, 1-5, 1-8 Part of a melody which pauses or ends with a cadence A cadence consisting of the subdominant progressing to tonic, IV - I (iv - i) Music in which two or more melodies are heard at the same time A small composition that is usually followed by a larger composition in the same key A composition in which the first theme returns repeatedly (ABACAD etc.) A triad that has its fifth as the lowest pitch To play simply, without ornament Always Without A meter in which the beat can be subdivided into groups of two The highest voice in four-part harmony Suddenly The second lowest voice in four-part harmony A musical composition written for three performers. The performing or writing of music in a key other than the original key Too much The the procedures governing the movement of voices in chord progressions A six-tone scale built only of whole steps

Definitions: Online Flash Cards

Scan the QR code:
PrimoTheory.com Level 11 Definitions

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