11 12 see 64,55, G6 CHAPTER 1 INTRODUCTION TO TRIADS, CHORDS & CADENCES NAMES OF THE DEGREES OF THE SCALE i.e. the names given to the notes of any scale, regardless of pitch or major / minor key. Note of scale Key note 2nd Eg 110 3rd 4th sth 6th need 1 Ct eM fr ‘4 CHORDS AND TRIADS yese a) These are a number of notes sounded together [three or more]. b) _A Triad is the simplest form of chord - three notes. c) It can be based on any degree of a major or minor scale. d) A triad consists of: the root - i.e. the degree on which it is based. the 3rd - major or minor, above the root. the 5th - __ perfect, diminished or augmented, above the root. e) Triads canbe: major ae } Concordant diminished augmented f Discordant aCHAPTER 1 INTRODUCTION TO TRIADS, CHORDS & CADENCES 13 f) major triad + consists of the root, major 3rd & perfect Sth above the root. 8) Aminor triad + the root, minor 3rd & perfect Sth per above the root. hb) Adiminished triad : the root, minor 3rd & diminished Sth above the root. i) Am augmented triad + the root, major 3rd & augmented Sth above the root. J) Triads are described by the degree on which they are based, and are referred to by Roman numerals, as in Eg. 1.3(i) below, ¢.g. tonic triad (1), supertonic triad (II), etc. K) Melody notes are identified by Arabic numerals, e.g. tonic note (1), supertonic note (2), ete. TRIADS IN A MAJOR KEY Fe.130 (C major) MB © = pinay = secondary I 0 m Vv vooM vil major minor minor major_~—major_- minor _ diminished a) Primary triads are those based on the keynote or tonic (1), subdominant (IV), dominant (WV) ofascale b) Secondary triads are those on the other degrees of a scale. ©) Imamajorscale, _—the primary triads © LIV&V are major. the secondary triads 11, III and VI. are minor, vil is diminished. @EXERCISE 1 — TRIADS OF MAJOR KEYS | Tt ay ep 1, Write the following triads with key signatures. > a ie a 2. Aim for speed of response. ty ws 5” Gy Dd 2 x ¢ 4) Vo. F maj. 3 Db maj. 9) I &M1 of B maj. 2) PR IV&llof Ab maj. 21) VL IV, V of IL IV, V of A maj. 9 10) r Bb maj. FH maj. 2 ° waver IV XV of AV &vot D maj. B maj. E maj. n) IVE yor 1 Vor Alifaj. D mj. I& Wot Dba, VI& Hof E maj. 2) VI, I, V of Pf maj. 26) VI, II, Vof Eb maj. W&Vot IV & VIof F maj. Eb maj. VL IV, Hof 1 VL IV of D maj. E maj. 2 28) V, VI, Hof 01, V, VIL ‘Db maj. Ff maj. @INTRODUCTION TO TRIADS, CHORDS & CADENCES 1.4 TRIADS IN A MINOR KEY @) The number of triads is greatly increased in minor keys because the submediant @and leading note (7) are different in the harmonic and melodic forms of the minor scale, >) The 6th and 7th degrees are raised by a semitone in an ascending melodic minot scale, but follow the key signature in a descending scale, Eg. 14g) = SSS SSS = = ‘sed indess SP 3 4 8 8T ge 7 8 7] jméewe | 6 ©) This gives two choices for every minor key triad except I: Bg. 1.40) (Aminor) —— ® ® ® ® @ @ min dim. min. maj, aug. min. maj. min, maj. maj, dim. maj, dim, 1 1 mm IV v VL vi iv i eo vey VOY we @ _ identifies triads used in the harmonic minor scale, t marks chords used in the ascending melodic minor. 4 indicates chords used in a descending melodic minor. @CHAPTER 1 INTRODUCTION TO TRIADS, CHORDS & CADENCES 4) Bg, 1.4) A minor Teen ean eed tan) NB. J. The raised 6th and 7th of A minor in bar 1(F# & Gi). ‘They are harmonised by the major chords of IV and V, [as shown by f in Eg. 1.4Gi)] 2. Inbar 2, the lowered 6th and 7th of A minor (Ft & Gt) are in a falling melody. They are harmonised by the minor chords of V and IV. 3. ‘The phrase ends on the dominant, which must be the major V chord, so that A minor tonality (with Gt as the LN) is preserved. ©EXERCISE 2 — TRIADS OF MINOR KEYS 1. Write the following triads with key signatures. (The harmonic form of the minor scale should be used.) 2. Aim for speed of response. » 2 9 9 VI, Vof V1, IV of VI, IV of IV, Vof Ff min. Amin. B min. Gf min. 13) » 15) 1) oe oe _ IV, Vof VI, IV of VI, IV of Vi of Amin, Ch min. Bb min, Emin. i? 18) 19) 20) ov é Ivof Viof IV, Vof IVof Ff min. B min. D min. F min, 2) 2) 23) 24) 7 "3 . 2 BE ee 4] & & Viof VI, Vof VI, Vot VI, IV of Bb min, C min, F min. G min 25) VI, V of VIL IV of I, of IHL, I of B min. D min, Bb min. Ff min. ©EXERCISE 3 — MAJOR AND MINOR TRIADS 1. Complete the triads. Use accidentals. ‘The given note is the root, 3rd or Sth of a MAJOR triad. D 2 3) 4 Ca 723 9 10) u) 2) 23) 4) 1s) 16) ‘The given note is the root, 3rd or Sth of a MINOR triad. 17) 18) 19) = — fh. . i | — oo —— oe oe 21) 22) 23) 24) 30) 3) 32)CHAPTER 1 INTRODUCTION TO TRIADS, CHORDS & CADENCES 1.5 CHORDS 8) When the three notes of a triad are increased by repeating one or more note at a different Octave, the result is called a chord. Chord derived from Triad “0 6] a — ©) When writing a chord in 4 pars, the best note to double (repeat) is usually the root, ©) Like triads, chords are described by the degree ofthe scale on which they are based, ©.8. tonic chord (1), submediant chord (V1), etc. 4) Chords are described, also, by the name of the root of the chord, ©-g. The chord in Eg. 1.5(i) above is the chord of C major. ) Acommon chord is one which is major or minor. €g, Ina major key, chords I to VI inclusive are common chords, Ina minor key, the primary chords I, IV, V are common chords, 5) _ Ina minor key, the secondary chords may or may not be common chords. It will depend on whether the melodic or harmonic form of the scale is being used. ¢-g. InFig. 1.4(i), II (harmonic) is diminished; however, II (melodic) is minor & therefore a. common chord. 8) _ VII, a diminished chord, is not a common chord, h) More elaborate chords will be covered later. 1.6 CHORD PROGRESSIONS 4) Chords do not stand in isolation. They are related to each other within the traditional framework of tonality in Western music, and are used in progressions which are harmonically satisfying. >) The implied relationship of chords to each other within a major or minor tonality is reflected by referring to some chords as Primary and the others as Secondary. (Refer to §§1.3a, b,c). ®INTRODUCTION TO TRIADS, CHORDS & CADENCES 1.7. CADENCES a) b) 9 ) Written music consists of phrases and sentences, built up into longer sections. Certain chord progressions are used during or at the end of phrases, to indicate points of rest. In this, they are similar to punctuation marks. ‘They are called cadences. Each cadence consists of two chords. There are four differen ors of cadence: cant a ‘ek ——> Perfect, “Plagal, Imj fect and Interrupted. vz Wl By - VWI PERFECT CADENCE V-r Vis followed by I at the end of a phrase. weak — strong weak = — strong wos os v 1 v 1 v 1 (@ _Itisa strong final cadence, the musical equivalent of a full stop. (i) The rhythm needs to be V (weak beat) to I (strong beat). (iii) This characterised by the rise of LN—1, and is at its strongest when the LN is the top note in V. Gv) LN must rise a semitone to the root of . fe: Me wet PLAGAL CADENCE Iy-1 Ki a Z —_ strong w ‘a wiles) IV is followed by I at the end of a phrase. weak vO Vv 1 Vv I (Tis another strong final cadence — a musical full-stop. (i) Rhythm again needs to be IV on a weak beat to I on a strong beat. o8). INTRODUCTION TO TRIADS, CHORDS & CADENCES te ttennennn X-V ‘The first chord is usually 1, IV, If or VI. ‘The second chord of the cadence must be V. a) 1 v 1 v Vv v VI v (@ It isa weaker cadence than the Perfect or Plagal cadence. (ii) It is sometimes called a half-close. Gif) Rhythm can be strong - weak, or weak - strong, INTERRUPTED CADENCE V is followed by VI at the end of a phrase. Nc VI v (@ _ Itisnot a strong cadence. ii) Rhythm can be strong - weak, or weak - strong. Gi) The 3rd of V1 is usually doubled in this chord progression. NB. Since the main concern of Chapters 1~ 5 is to make the student fel confident in the use of chord rogressions, the only rules of part-writing which should be insisted on in these chapters are: @ correct resolution of the LN wherever it occurs. @) avoidance in the outer parts of consecutive/parallel and hidden Sths and ves. (Ref. pg-20] Certain rules about doubling need to be followed, also, (do)SS EXERCISE 4 — CADENCES PERFECT CADENCES 1. Complete the following perfect cadences. NB. 1, Write 2or3 notes onthe treble stave and 1 on the bass stave. Complete the bass or top part frst, then add the remaining notes. ‘Avoid moving the melody and bass part in consecutive/hidden Sths or Sves. IN should rise, Indicate this with line (see example). Do not double the major 3rd in Tand V. ‘When the melody moves 2— 1 in this cadence, the LN rises andthe Sth i omitted (see example). Indicate your chords with Roman numerals, RovaeEe 1) Example: C major 2 3) 4) ~ 2 1 10) um) 2) 13) 4) 1s) 16) ayCHAPTER 1 EXERCISE 4— CADENCES 2. Write perfect cadences in the keys of G, F, Bb, Ab major, & F¥, B & C# minor. Write the bass part first. (a2)CHAPTER 1 EXERCISE 4— CADENCES PLAGAL CADENCES 1, Complete the following plagal cadences. NB. 1. Add the bass pat first, when its omitted. Write 3 notes on the treble stave and 1 on the bass stave. ‘Avoid moving the melody and bess parts in consecutive or hidden Sths or Bves. “Avoid doubling the major 3rd in I and IV. Identify your chords with Roman numerals. 1 2. 3, 4. 5 1) Example: C major 2 9» 10) mu) 12) 13) 1) 15) 16) 7) 18) 19) «3CHAPTER 1 EXERCISE 4— CADENCES 2 Write plagal cadences inthe keys of Db, Gb and F¥ major, and Ct, B and F# minor. ‘Write the bass part first. a4)CHAPTER 1 EXERCISE 4— CADENCES IMPERFECT CADENCES 1. Write the following imperfect cadences. NB. 1. Add he bass part first, when it is mite. Write 3 notes on the treble stave and 1 on the bass stave, "Avoid moving the melody and bass parts in consecutive or hidden Sths or Bves.. (Outer parts moving in opposite directions wil give strength. Remember the raised LN in minor keys. Move tot from a higher note (se example). Double the 3rd of VI Indicate your chords with Roman numerals, 1) Example: (C minor) 2 3 4 9) 10) Mm) 2) 13) 14) 13) 16) as)CHAPTER 1 EXERCISE 4— CADENCES 2. Write various types of imperfect cadences in the keys of A, Db and B major, and E>, Ct and B minor, (16)(CHAPTER 1 EXERCISE 4— CADENCES INTERRUPTED CADENCES 1. Complete the following interrupted cadences. NB. 1, Add the bass part first, when its omited. 2. Write 3 notes on the treble stave and 1 on the bass stave. 3. Avoid moving the melody and bass pars in consecutive or hidden Sths or 8ves. ‘4. Outer parts moving in opposite directions will give strength. ‘5, However, V—V1 is often written with the top part moving in 3rd with the bass. Tn that case, ‘the other notes must move downwards, with the 3rd of VI doubled. Study the example. Remember tha the LN rises in V—VI; mark it with line, Indicate your chords with Roman numerals. 1) Example: B major 2) 3) » 10) nm) 2) 13) ~ 4) 15) 16) an(CHAPTER 1 EXERCISE 4— CADENCES 2. Write interrupted cadences in the keys of F#, E and Bb major, and C, G? and Bb minor. a8)