US Army Music Course - Traditional Harmony I

EDITION A TRADITIONAL HARMONY I Primary Triads and the Dominant Seventh Chord Subcourse Number MU 3310 U.S. Army Elemen...

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EDITION A

TRADITIONAL HARMONY I Primary Triads and the Dominant Seventh Chord Subcourse Number MU 3310 U.S. Army Element, School of Music Little Creek, NAB, Virginia 23521-5170 29 Credit Hours Edition Date: September 1987

SUBCOURSE INTRODUCTION This subcourse is designed to show how four-voice chords are constructed and connected in the traditional style. Contained within this subcourse is instruction on the basic skills of part writing primary triads and the dominant seventh chord. Part writing (or voice leading) is the connecting of the parts (voices) of one chord to the parts of another chord. For good part writing, each part should move smoothly, without error, and be easily singable. The ability to read music in bass and treble clef and the knowledge of scales, intervals, and triads are prerequisites to this subcourse. You can take subcourses MU 1300, Scales and Key Signatures, and MU 1305, Triads and Intervals to obtain the prerequisite knowledge to complete this subcourse.

TERMINAL LEARNING OBJECTIVE ACTION:

Connect four-part primary triads and the dominant seventh chord smoothly and without error in treble and bass clef from a given bass line.

CONDITION:

Given the information in this subcourse.

STANDARD:

Demonstrate competency by achieving a minimum of 70% on the subcourse examination.

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TABLE OF CONTENTS Section Subcourse Introduction Table of Contents Administrative Instructions Grading and Certification Instructions Lesson 1:

Preliminary Knowledge and Skills

Part A

Placement of Voices

Part B

Voice Motion

Part C

Figured Bass and Analysis

Practical Exercise Answer Key and Feedback Lesson 2:

Primary Triads in Root Position

Part A

Overview

Part B

Part Writing Primary Triads (Major)

Part C

Part Writing Primary Triads (Minor)

Part D

Repeated Triads

Part E

Cadences

Practical Exercise Answer Key and Feedback

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Lesson 3:

Primary Triads in First Inversion

Part A

Overview

Part B

Part Writing First Inversion Primary Triads

Part C

First Inversion Progressions

Part D

Cadences


Primary Triads in Second Inversion

Part A

Overview

Part B

Types of Second Inversion Triads


The Dominant Seventh Chord

Part A

Overview

Part B

Part Writing the Dominant Seventh Chord to Tonic

Part C

Part Writing the Subdominant Triad to the Dominant Seventh Chord

Part D

Melodic Preparation of the Seventh of the Dominant Seventh Chord

Practical Exercise Answer Key and Feedback Examination

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ADMINISTRATIVE INSTRUCTIONS 1. Number of lessons in this subcourse: Five 2. References: TC 12-41, Basic Music, and TC 12-42, Harmony. 3. Supervisory requirements: None. 4. Tasks supported by this subcourse:

Soldier’s Manual Tasks 514.469.3001

Arrange Music for a Combo

514.469.3220

Score Music for the Marching Band

514-441-3501

Train the Section for Performance in a Marching/Ceremonial Setting

514-441-3702

Train the Section for Performance in a Non-Marching/Non-Ceremonial Setting

514.455.4501

Train the Ensemble for Performance in a Marching/Ceremonial Setting

514.455.4502

Train the Ensemble for Performance in a Non-Marching/Non-Ceremonial Setting

514.455.4723

Lead the Stage Band in Performance

Warrant Officer Bandmaster Tasks 02-4407.00-0005 Conduct the Concert Band in Performance 02-4407.00-0007

Rehearse the Concert Band

02-4407.00-0012

Prepare a Musical Score

S2-4409.00-0001

Compose/Arrange/Transpose Marches and Organizational Songs

S2-4409.00-0002

Compose/Arrange/Transpose Openers and Fanfares

S2-4409.00-0008

Compose/Arrange/Transpose Ensemble music

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GRADING AND CERTIFICATION INSTRUCTIONS Examination: This subcourse contains a performance-based multiple-choice and true/false examination covering the material in the five lessons. Complete the examination after you study the lessons and work through the exercises. Point and click on the small circle to left of your choice for each question. NOTE: You may select only one choice for each question. We recommend you print out your completed examination before submitting. This will give you a record of your answers in case you need to resubmit due to problems with the electronic transmission. NOTE: Some older browsers may not support this function. To submit your exam for grading, point and click on SUBMIT. You will receive an interim examination score by electronic mail. You will receive 29 credit hours for successful completion of this examination.

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Lesson 1 PRELIMINARY KNOWLEDGE AND SKILLS INTRODUCTION LESSON DESCRIPTION: In this lesson, you will learn voicing, ranges, doubling, spacing, open and close positions, types of voice motion, objectionable voice motion, figured bass, and analysis. TERMINAL LEARNING OBJECTIVE: ACTION:

After completing this lesson, you will: 1. Name and identify the ranges of the four voices. 2. Write voice doublings. 3. Write correct voice spacing in open and close position. 4. Identify voice motions. 5. Identify crossed voices, overlapping voices, parallel voices, and hidden voices. 6. Write figured bass and analysis.

CONDITION: Given the information contained in this lesson. STANDARD: In accordance with (IAW) the information contained in this lesson. REFERENCES: The material contained in this lesson was derived from the following publications: TC 12-41, Basic Music, and TC 12-42, Harmony.

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PART A

PLACEMENT OF VOICES

1. Voice Names. a. The four voices in traditional four-part writing are soprano, alto, tenor, and bass. These are often abbreviated as SATB. The soprano is the highest voice and is notated in the treble clef staff with its stems up. The alto is the second highest voice and is notated in the treble clef with its stems down. The tenor is the third highest voice and is notated in the bass clef with its stems up. The bass voice is the lowest voice and is notated in bass clef with its stems down (Figure 1-1).

Figure 1-1. SATB Notation b. When the soprano and alto or tenor and bass are in unison (sounding the same pitch), the stems go up and down on the same note head (Figure 1-2).

Figure 1-2. Stemming Shared Note Heads NOTE: The soprano part is often called the melody. The alto and tenor parts are called the

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inner voices. The bass part is called the bass line. 2. Voice Ranges. The normal singing range for the soprano, tenor, and bass voices is an octave and a sixth (Major 13th). The alto range is an octave and a fifth (Perfect 12th). Figure 1-3 shows the notes of each voice range. Avoid using the extreme range (the highest or lowest note or two) of each voice unless dictated by the voice leading.

Figure 1-3. SATB Ranges 3. Voice Doubling. In four part writing, the three-note triad must have one of its tones duplicated. When the triad is in root position (bass voice has the root of the chord), the bass voice and one of the three upper voices will have the same letter name note. This doubling can be at the unison or any octave relationship. Doubling does not change the harmonic structure of the chord, but it may alter its color and resonance (Figure 1-4).

Figure 1-4. Voice Doubling SELF REVIEW EXERCISE 1. Write the inner voices of each triad. Use one third and double the root. The alto voice should have a note higher than the tenor voice (Figure 1-5). Stay within the voice ranges.

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CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. 4. Voice Spacing. a. The distance between the soprano and the alto voices must be a simple interval of an octave or less. b. The distance between the alto and tenor voices must also be a simple interval. c. The distance between the tenor and the bass voices can be either a simple or a compound interval. However, there are restrictions on certain simple intervals between the tenor and bass voices. These restrictions, called low interval limits, dictate how low some intervals may be voiced. The restricted intervals are the minor sixth, the tritone, the third (Major or minor), and the second (Major or minor). There are no limits on the other intervals within the bass voice range (Figure 1-6).

Figure 1-6. Low Interval Limits d. Figure 1-7 shows incorrect and correct voice spacing.

Figure 1-7. Incorrect and Correct Voice Spacing SELF REVIEW EXERCISE 2. Correct the improperly spaced voicing. Reposition the alto and tenor voices. Do not change the soprano voice (Figure 1-8). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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NOTE: The term chord is often used when referring to a triad.

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5. Open and Close Position. a. Triads can be written in either open or close positions. In open position, the distance between the soprano and the tenor is a ninth or more. In close position, the distance between the soprano and the tenor is an octave or less (Figure 1-9).

Figure 1-9. Open and Close Position Triads b. The bass voice is not considered in determining open or close position. SELF REVIEW EXERCISE 3. Rewrite the following triads in open position. Use one root, one third, and one fifth of each chord to complete the exercise (Figure 1-10). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. SELF REVIEW EXERCISE 4. Rewrite the following triads in close position. Use one root, one third, and one fifth of each chord to complete the exercise (Figure 1-11). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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PART B

VOICE MOTION

6. Voice Motion. Good part writing depends on the smooth connection of the individual parts and their independence of motion. The term “motion” is used to describe the relative change in pitch of two or more voice parts. Voice motion is usually described in simple intervals. The four types of motion are similar, parallel, contrary, and oblique. a. Similar motion occurs when two voices move in the same direction but produce different numerical interval names (Figure 1-12).

Figure 1-12. Similar Motion b. Parallel motion occurs when two voices move in the same direction and produce the same (numerical) interval name (third, sixth, etc.). Interval quality (perfect, Major, minor, augmented, or diminished) is not considered in determining parallel motion. A Major third to a minor third is parallel motion (Figure 1-13).

Figure 1-13. Parallel Motion NOTE: When voices move in the same direction, the motion can be called direct motion. Similar and parallel motions are direct motion.

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c. Contrary motion occurs when two voices move in opposite directions (Figure 1-14).

Figure 1-14. Contrary Motion d. Oblique motion occurs when one voice sustains or repeats while the other voice moves (Figure 1-15).

Figure 1-15. Oblique Motion NOTE: When voices move in dissimilar directions, the motion can be called indirect motion. Contrary and oblique motions are indirect motion. SELF REVIEW EXERCISE 5. Write the type of voice motion in the corresponding blanks provided below the measures. On the second line write whether the motion is direct or indirect. The first measure has been done for you (Figure 1-16). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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7. Objectionable Voice Motion. a. Crossed Voices. Crossed voices occur when the soprano does NOT have the highest pitch, the alto the second highest, the tenor the third highest, or the bass the lowest pitch. Do not write crossed voices (Figure 1-17).

Figure 1-17. Crossed Voices b. Overlapping Voices. Overlapping voices occur when two adjacent voices move in similar or parallel motion and the lower voice ascends to a pitch above that just left by the upper voice. Overlapping voices also occur when the upper voice descends to a pitch below that just left by the lower voice. Do not write overlapping voices (Figure 1-18).

Figure 1-18. Overlapping Voices NOTE: Measure 1 of Figure 1-18 also has a spacing error between the alto and tenor voices.

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c. Parallel Voices. (1) Parallel perfect primes, perfect fifths, perfect octaves, and dissonant intervals (seconds, sevenths, augmented, and diminished) should be avoided. Do not write parallel primes, fifths, octaves, and dissonant intervals (Figure 1-19).

Figure 1-19. Objectionable Parallel Voices NOTE: Parallel perfect fifths and parallel perfect octaves are usually called parallel fifths and parallel octaves. Repeated notes are not considered parallel fifths or octaves. (2) A hidden fifth or octave occurs when two voices approach a fifth or an octave in similar motion. A hidden fifth or octave is objectionable only when it occurs between the soprano and bass voice, and the soprano is approached by a leap (Figure 1-20).

Figure 1-20. Objectionable Hidden Fifth and Octave (3) Parallel fifths and octaves by contrary motion occur when two voices move by contrary motion from one interval to the same interval. An octave to unison has the same effect. Do not write parallel fifths or octaves by contrary motion (Figure 1-21).

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Figure 1-21. Objectionable Parallels by Contrary Motion SELF REVIEW EXERCISE 6. Correct the crossed voices. Use only the exact pitch (octave) indicated to complete the exercise (Figure 1-22). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. SELF REVIEW EXERCISE 7. Draw a solid line to indicate the overlapping voices and draw a dotted line to indicate the overlapped voices in each measure. Write the names of the voices overlapping and the notes that overlap. There may be more than one overlapping voice in each measure. The first one has been done for you (Figure 1-23). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. SELF REVIEW EXERCISE 8. Draw a line to indicate the objectionable parallel motion in each measure. Label parallel fifths with a bracket and the number 5 and parallel octaves with an 8. The first one has been done for you (Figure 1-24). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. SELF REVIEW EXERCISE 9. Draw a line to indicate the objectionable hidden motion in each measure. Label hidden fifths with a 5 and hidden octaves with an 8. The first one has been done for you (Figure 1-25). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. SELF REVIEW EXERCISE 10. Draw brackets to indicate the parallel voices by contrary motion in each measure. Label parallel fifths by contrary motion with a 5 and parallel octaves by contrary motion with an 8. The first measure has been done for you (Figure 1-26).

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CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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PART C

FIGURED BASS AND ANALYSIS

8. Figured Bass. Figured bass is a shorthand method of indicating harmonic accompaniment for a bass line. Arabic numbers placed under the bass note designate the intervals (usually reduced to simple intervals) above the bass note. The figured bass does not indicate which voice (soprano, alto, or tenor) has which part (root, third, or fifth) of the chord. The intervals stay within the key signature unless chromatically altered (lesson 2). Figured bass does not indicate open or close position (Figure 1-27).

Figure 1-27. Figured Bass Examples SELF REVIEW EXERCISE 11. Write the notes above the bass note that are indicated by the figured bass numbers. The first measure has been done for you (Figure 1-28). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

9. Roman Numeral Analysis. a. Roman numerals written under the staff indicate chord analysis. They are not used below the bass note except for analysis. The Roman numeral identifies the corresponding scale degree on which the triad is built. Upper case numerals represent Major triads. Lower case numerals represent minor triads. Uppercase numerals with a plus sign (+) indicate an augmented triad. A lower case numeral with a circle (o) indicates a diminished triad (Figure 1-29).

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Figure 1-29. Quality of Triads b. The root of the triad, not necessarily the bass note, is indicated by the Roman numerals whether the triad is in root position or in an inversion (Figure 1-30).

Figure 1-30. Root in Relation to Bass Note NOTE: Roman numeral analysis can be combined with figured bass to show a complete analysis (triad root, triad inversion). SELF REVIEW EXERCISE 12. Write the Roman numeral analysis below the bass clef staff. The exercise is in Major and minor keys (Figure 1-31). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE FOR LESSON 1 PRACTICAL EXERCISE. CLICK HERE FOR LESSON 1 PRACTICAL EXERCISE ANSWERS. CLICK HERE TO PROCEED TO THE NEXT SECTION. CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

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LESSON 1 PRACTICAL EXERCISE The following items will test your understanding of the material covered in this lesson. There is only one correct answer for each item. When you complete the exercise, check your answer with the answer key. If you answer any item incorrectly, review that part of the lesson that contains the portion involved. CLICK HERE FOR ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION. 1. In good part writing, the voices of one chord move smoothly to the voices of another chord. A. True B. False 2. When two voices approach a fifth in similar motion, A. B. C. D.

a hidden fifth occurs. parallel fifth occur. it is always objectionable motion. None of the above answers are correct.

3. What term is used to describe the relative change in pitch of two or more voices? A. B. C. D.

Motion Spacing Voicing Positioning

4. Chord analysis is written with

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A. B. C. D.

Roman numerals under the staff. Arabic numerals under the staff. Roman numerals above the staff. Arabic numerals above the staff.

5. Two stems can be placed on the same note head when the A. B. C. D. 6. is

soprano and the tenor have the same pitch. alto and the tenor have the same pitch. tenor and the bass have the same pitch. alto and the bass have the same pitch.

When the distance between the soprano and the tenor is the interval of a ninth, the chord A. B. C. D.

incorrectly spaced. in open position. in oblique motion. out of the range of the tenor.

Figure 1. Question 7 7. The voice motion in Figure 1 is A. B. C. D.

oblique. similar. parallel. contrary.

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Figure 2. Question 8

8. What type of error occurs in Figure 2? A. B. C. D. 9.

Incorrect voice spacing Crossed voices Closed voicing Overlapping voices

Which of the following are direct motions? A. B. C. D.

Similar and oblique motions Oblique and contrary motions Parallel and similar motions Both A and C are correct.

10. The Roman numeral V represents A. B. C. D.

a chord built on the fifth of the triad. a Major triad built on the fifth scale degree. a minor triad built on the fifth scale degree. None of the above answers are correct.

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11. The distance between the __________ and tenor can be a compound interval. A. B. C. D.

alto bass soprano Both B and C are correct

12. The bass note of the triad is always indicated by the Roman numeral. A. True B. False

Figure 3. Question 13 13. Which chords in Figure 3 are in open position? A. B. C. D.

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

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Figure 4. Question 14 14. Figure 4 is an example of A. B. C. D.

crossed voices. open voicing. overlapping voices. incorrect alto voice range.

15. Which statement is correct? A. In open voicing, the upper three voices are spaced in less than an octave. B. Overlapping voices occur when one voice moves to a pitch lower than the previous pitch in the next lowest voice. C. The tenor voice should be written in the treble clef if the part is in the extreme high range of the voice. D. Figured bass indicates which voice has which part of the chord.

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Figure 5. Question 16 16. The bass voice should NOT be written above the note in measure _________ of Figure 5? A. B. C. D.

1 2 3 4

Figure 6. Question 17 17. The voice motion between the bass and the alto voices in Figure 6 is A. B. C. D.

contrary motion. parallel motion. oblique motion. similar motion.

18. Which of the following statements is NOT correct? A. B. C. D.

Avoid using the extreme range of each voice unless dictated by the voice leading. The distance between the soprano and the alto voice must be a simple interval. The interval of an octave can occur between the alto and tenor voices. Voices move in the same direction in oblique motion.

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Figure 7. Question 19 19. What type of error occurs in Figure 7? A. B. C. D.

Crossed voices Incorrectly spaced chords Overlapping voices Parallel octaves

Figure 8. Question 20 20. The range of the tenor voice is identified in measure _____ of Figure 8. A. B. C. D.

1 2 3 4

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LESSON 1 PRACTICAL EXERCISE ANSWER KEY AND FEEDBACK CLICK HERE TO PROCEED TO THE NEXT SECTION. Item

Correct Answer and Feedback

1.

A True (Subcourse Introduction)

2.

A a hidden fifth occurs. (Part B, paragraph 7c(2))

3.

A Motion (Part B, paragraph 6)

4.

A Roman numerals under the staff. (Part C, paragraph 9a)

5.

C tenor and the bass have the same pitch. (Part A, paragraph 1b)

6.

B in open position. (Part A, paragraph 5a)

7.

A oblique. (Part B, paragraph 6d)

8.

A Incorrect voice spacing (Part A, paragraph 4b and 4d)

9.

C Parallel and similar motions (Part B, paragraph 6b, NOTE)

Item


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10.

B a Major triad built on the fifth scale degree. (Part C, paragraph 9b)

11.

D Both B and C are correct. (Part A, paragraph 4c; Part A, paragraph 5a)

12.

B False (Part C, paragraph 9a)

13.

B 2 and 3 (Part A, paragraph 5a)

14.

A crossed voices. (Part B, paragraph 7a)

15.

B Overlapping voices occur when one voice moves to a pitch lower than the previous pitch in the next lowest voice. (Part B, paragraph 7b)

16.

D 4 (Part A, paragraph 2)

17.

B parallel motion. (Part B, paragraph 6b)

18.

D Voices move in the same direction in oblique motion. (Part B, paragraph 6d)

19.

C Overlapping voices (Part B, paragraph 7b)

20.

B 2 (Part A, paragraph 2)

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 1. Write the inner voices of each triad. Use one third and double the root. The alto voice should have a note higher than the tenor voice (Figure 1-5). Stay within the voice ranges. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-5. Voice Doublings

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LESSON 1 SELF REVIEW EXERCISE ANSWERS SELF REVIEW EXERCISE 1. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-5. Voice Doubling

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 2. Correct the improperly spaced voicing. Reposition the alto and tenor voices. Do not change the soprano voice (Figure 1-8). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-8. Correct Voice Spacing

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Figure 1-8. Correct Voice Spacing

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 3. Rewrite the following triads in open position. Use one root, one third, and one fifth of each chord to complete the exercise (Figure 1-10). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-10. Triads in Open Position

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Figure 1-10. Triads in Open Position

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 4. Rewrite the following triads in close position. Use one root, one third, and one fifth of each chord to complete the exercise (Figure 1-11). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-11. Triads in Close Position

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Figure 1-11. Triads in Close Position

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 5. Write the type of voice motion in the corresponding blanks provided below the measures. On the second line write whether the motion is direct or indirect. The first measure has been done for you (Figure 1-16). CLICK HERE FOR THE ANSWERS TO THIS LESSON. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-16. Identify Voice Motion

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Figure 1-16. Identify Voice Motion

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 6. Correct the crossed voices. Use only the exact pitch (octave) indicated to complete the exercise (Figure 1-22). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-22. Correct Crossed Voices

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Figure 1-22. Correct Crossed Voices

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 7. Draw a solid line to indicate the overlapping voices and draw a dotted line to indicate the overlapped voices in each measure. Write the names of the voices overlapping and the notes that overlap. There may be more than one overlapping voice in each measure. The first one has been done for you (Figure 1-23). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-23. Identify Overlapping Voices

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Figure 1-23. Identify Overlapping Voices

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 8. Draw a line to indicate the objectionable parallel motion in each measure. Label parallel fifths with a bracket and the number 5 and parallel octaves with an 8. The first one has been done for you (Figure 1-24). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-24. Identify Objectionable Parallel Motion

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Figure 1-24. Identify Objectionable Parallel Motion

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 9. Draw a line to indicate the objectionable hidden motion in each measure. Label hidden fifths with a 5 and hidden octaves with an 8. The first one has been done for you (Figure 1-25). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-25. Identify Objectionable Hidden Motion

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Figure 1-25. Identify Objectionable Hidden Motion

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 10. Draw brackets to indicate the parallel voices by contrary motion in each measure. Label parallel fifths by contrary motion with a 5 and parallel octaves by contrary motion with an 8. The first measure has been done for you (Figure 1-26). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-26. Identify Parallel Voices by Contrary Motion

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Figure 1-26. Identify Parallel Voices by Contrary Motion

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 11. Write the notes above the bass note that are indicated by the figured bass numbers. The first measure has been done for you (Figure 1-28). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-28. Figured Bass

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Figure 1-28. Figured Bass

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LESSON 1 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 12. Write the Roman numeral analysis below the bass clef staff. The exercise is in Major and minor keys (Figure 1-31). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-31. Roman Numeral Analysis

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Figure 1-31. Roman Numeral Analysis

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Lesson 2 PRIMARY TRIADS IN ROOT POSITION INTRODUCTION LESSON DESCRIPTION: In this lesson, you will learn about primary triads in root position. This lesson includes doubling, figured bass, and basic principles for part writing root position primary triads in Major and minor. TERMINAL LEARNING OBJECTIVE: ACTION:

After completing this lesson, you will: 1. Identify root position triads. 2. Write voice doublings. 3. Write figured bass and analysis. 4. Part write root position primary triads in Major and minor. 5. Identify authentic, plagal, and half cadences.

CONDITION: Given the information in this lesson. STANDARD: IAW the material in this lesson. REFERENCES: The material contained in this lesson was derived from the following publications: TC 12-41, Basic Music, and TC 12-42, Harmony.

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PART A

OVERVIEW

1. Primary Triads. a. The primary triads are triads built on the tonic, subdominant, and dominant scale degrees. They establish the tonal center (Figure 2-1).

Figure 2-1. Primary Triads NOTE: The tonic, subdominant, and dominant scale degree notes (scale steps) are called primary or tonal notes. The supertonic chord is a secondary triad, but the supertonic scale degree can function as a primary note. b. The primary triads are built on the same scale degrees in both Major (I, IV, V) and minor (i, iv, V) keys (Figure 2-2).

Figure 2-2. Primary Triads in Major and Minor NOTE: In a minor key (harmonic minor), the dominant triad is Major. The third of the triad is raised with an accidental to create a leading tone.

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2. Root Position. A triad is in root position when the root of the triad is in the bass voice (Figure 2-3).

Figure 2-3. Root Position Triad 3. Doubling of Root Position Triads. When a triad is in root position, the root of the chord (the bass note) is doubled. This doubled note may be in any of the upper voices (Figure 2-4).

Figure 2-4. Root Position Doubling 4. Figured Bass. a. The numerals , , 5, or 3 indicate a triad in root position. NOTE: The 3 represents the note an interval of a third above the bass note (the third of the triad). The 5 represents the note the interval of a fifth above the bass note (the fifth of the triad). The 8 represents the note that is the doubled root of the triad (Figure 2-5).

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Figure 2-5. Figured Bass b. Usually these numerals are omitted. A bass note with no numerals is understood to represent a triad in root position (Figure 2-6).

Figure 2-6. Root Position Figured Bass NOTE: The figured bass is a complete figured bass when all upper voices are represented in the bass figuring (including doublings). Essential figured bass is that numbering (or chromatic sign) which is needed to represent the triad. Figure 2-5 is complete figured bass. Figure 2-6 is essential figured bass. c. Chromatic alterations are indicated by accidentals placed below the bass line. d. The chromatic sign is the accidental (#, , or ) necessary to raise or lower the note being altered within the key. It does not have to be a # to raise or a to lower. e. A chromatic sign used in the figured bass refers to the note a third above the bass if no number accompanies the chromatic sign (Figure 2-7). f. A slash through a number means to raise the note of that interval a half step (Figure 2-7).

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Figure 2-7. Chromatic Alteration in Figured Bass 5. Basic Principles for Part Writing Triads. a. Keep the common tone. b. Connect the remaining voices to the nearest available chord tones. First, look for half step movement. Next, look for whole step movement. Finally, connect any remaining intervals. c. Check your part writing for objectionable voice motion.

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PART B

PART WRITING PRIMARY TRIADS (MAJOR)

6. Part Writing the I Chord to the V Chord. a. The root of the triad is in the bass voice (Figure 2-8). The root of the dominant chord can be either up a perfect fifth or down a perfect fourth from the bass note of the tonic chord.

Figure 2-8. Bass Note b. One note in the tonic chord is also found in the dominant chord. This note is common to both triads and is called the common tone. When connecting the tonic to the dominant chord, keep the common tone in the same voice (Figure 2-9).

Figure 2-9. Common Tone c. To achieve the smoothest part writing, move voices the smallest distance. Move the remaining two voices down by step to the nearest chord tone. First, connect the half step movement and then the whole step movement (Figure 2-10).

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Figure 2-10. Descending Movement by Step d. The scale pattern for connecting the I chord to the V chord (Figure 2-11).

Figure 2-11. I to V Scale Pattern NOTE: Remember that Arabic numbers indicate scale degrees not triad numbers. 7. Part Writing the V to the I Chord. The scale pattern for connecting the V to the I is the reverse of the I to the V connection (Figure 2-12).

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Figure 2-12. Connecting V to I

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SELF REVIEW EXERCISE 1. Part write the following I to V and V to I progressions (Figure 2-13).

CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. 8. Part Writing the I to IV Chord. a. The root of the triad is in the bass voice (Figure 2-14). The root of the subdominant chord can be either a Perfect fourth up or a Perfect fifth down from the root of the tonic chord.

Figure 2-14. Bass Note b. Keep the common tone in the same voice (Figure 2-15).

Figure 2-15. Common Tone c. Move the remaining two voices up by step to the nearest chord tone. First, connect the half step movement, and then connect the whole step movement (Figure 2-16).

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Figure 2-16. Ascending Movement by Step d.

Scale pattern for connecting the I chord to the IV chord (Figure 2-17).

Figure 2-17. Connecting I to IV 9. Part Writing the IV Chord to the I Chord. The scale pattern for connecting the IV to the I chord is the reverse of the I to IV chord connection (Figure 2-18).

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Figure 2-18. Part A: Connecting IV to I

Figure 2-18. Part B: Connecting IV to I SELF REVIEW EXERCISE 2. Part write the following I to IV and IV to I progressions (Figure 2-19. Part A and Part B). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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10. Part Writing the IV Chord to the V Chord. a. The root of the triad is the bass note (Figure 2-20). The root of the dominant chord is a Major second above the root of the subdominant chord.

Figure 2-20. Bass Note b. There is no common tone. Move the upper three voices down to the nearest chord tones in contrary motion to the bass voice. First, connect the half step, next connect the whole step, and then connect the minor third movement (Figure 2-21).

Figure 2-21. Contrary Motion to Bass

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c. The scale pattern for connecting the IV chord to the V chord (Figure 2-22).

Figure 2-22. Connecting the IV to V d. When connecting the IV to V, failure to move the upper voices contrary to the bass voice causes motion problems of parallel fifths and octaves (Figure 2-23).

Figure 2-23. Objectionable Parallel Fifths and Octaves

SELF REVIEW EXERCISE 3. Part write the following IV to V progressions (Figure 2-24). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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11. Part Writing the V Chord to the IV Chord. The dominant chord is usually not connected to the subdominant chord. However, the dominant can progress to the subdominant when it immediately goes back to the dominant chord. The upper three voices move contrary to the bass voice (Figure 2-25).

Figure 2-25. Connecting V to IV to V

PART C

PART WRITING PRIMARY TRIADS (MINOR)

12. Part Writing the i Chord to the V Chord and V to i. Connecting tonic to dominant and dominant to tonic in minor is similar to connecting tonic to dominant and dominant to tonic in Major keys. The root is in the bass voice. Keep the common tone. Connect the remaining two voices by half step to the nearest chord tones. Remember to raise the third of the dominant chord in minor (Figure 2-26).

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Figure 2-26. Connecting I to V and V to I

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SELF REVIEW EXERCISE 4. Part write the following i to V and V to i progressions (Figure 2-27. Part A and Part B). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

13. Part Writing the i Chord to the iv Chord and iv to i. Connecting tonic to subdominant and subdominant to tonic in minor is similar to connecting tonic to subdominant and subdominant to tonic in Major. The root is in the bass voice. Keep the common tone. Connect the remaining two voices by step to the nearest chord tone. First, connect the half step movements, and then connect the whole step movement (Figure 2-28).

Figure 2-28. Connecting i to iv and iv to i

SELF REVIEW EXERCISE 5. Part write the following i to iv and iv to i progressions (Figure 2-29. Part A and Part B). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

14. Part Writing the iv Chord to V Chord. a. Connecting the subdominant to dominant in minor is similar to connecting subdominant to dominant in Major. The root is in the bass voice. Move the three upper voices down to the nearest chord tones in contrary motion to the bass voice. First, connect the two voices with half step movements, and then connect the minor third movement (Figure 2-

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30).

Figure 2-30. Connecting iv to V b. When connecting the iv to V, avoid the melodic augmented second between the sixth scale degree and the raised seventh scale degree. This interval should not appear in the same voice (Figure 2-31).

Figure 2-31. Melodic Augmented Second c. Connect the upper three voices contrary to the bass to avoid the augmented second.

SELF REVIEW EXERCISE 6. Part write the following iv to IV progressions (Figure 2-32). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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15. Part Writing the V Chord to the iv Chord. The dominant chord is usually not connected to the subdominant chord in minor. However, the dominant can progress to the subdominant (minor) when it immediately goes back to the dominant. The upper three voices move contrary to the bass (Figure 2-33).

Figure 2-33. Connecting to V to iv to V 16. Picardy Third Ending. The final tonic chord of a composition in a minor key is occasionally made Major. The raised third of the triad is borrowed from the parallel Major and is known as the Picardy third. The Picardy third usually occurs when connecting the dominant to tonic chord at the final cadence (Figure 2-34).

Figure 2-34. Picardy Third Ending

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NOTE: Use an upper case Roman numeral I for analysis when using the Picardy third because of the Major quality of the tonic chord.

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PART D

REPEATED TRIADS

17. Any triad can follow itself. When triads repeat, you can reposition the voices within the chord. a. Move the upper three voices in similar motion up or down to another chord tone (Figure 2-35). Voices should not overlap.

Figure 2-35. Upper Voice Repositioning b. Reposition two of the upper voices so that the triad changes position from open to close or from close to open (Figure 2-36). The third voice has a common tone.

Figure 2-36. Changing Triad Position c. The bass voice can either remain on the same pitch or jump an octave (Figures 2-35 and 2-36).

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NOTE: When repositioning a triad, you do not have the problem of hidden or parallel fifths or octaves. You still must make sure voices do not overlap, cross, or violate voice range and interval limits.

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PART E

CADENCES

18. Authentic, Plagal, and Half Cadences. a. Authentic Cadence. The V to I or V to i chord progression at a phrase ending is called an authentic cadence. It is a perfect authentic cadence when both triads are in root position and the tonic scale degree appears in the soprano of the tonic triad. Otherwise, it is called an imperfect authentic cadence. Authentic cadences create the feeling of full stop and are commonly found at final cadences (Figure 2-37).

Figure 2-37. Authentic Cadences b.

Plagal Cadence. The IV to I or iv to i chord progression at a phrase ending is called a plagal cadence. It is a perfect plagal cadence when both triads are in root position and the tonic scale degree appears in the soprano voice of both triads. Otherwise, it is known as an imperfect plagal cadence. The plagal cadence, commonly called the Amen cadence, lacks the directional drive of the authentic cadence and provides a less final ending (Figure 2-38).

Figure 2-38. Plagal Cadences

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c. Half Cadence. When any chord, regardless of inversion, moves to the V chord at a phrase ending, a half cadence occurs. A phrase that ends with a half cadence does not have a feeling of repose. It creates a feeling of suspense that is usually resolved in the next phrase with a final cadence (Figure 2-39).

Figure 2-39. Half Cadences d. Plagal Half Cadence. When the I (i) chord moves to the IV (iv) chord at a phrase ending, a plagal half cadence occurs. As with a half cadence, the plagal half cadence creates a feeling of suspense. This is usually resolved in the next phrase with a final cadence (Figure 2-40).

Figure 2-40. Plagal Half Cadences

SELF REVIEW EXERCISE 7. Part write and analyze the following progressions. Write the name of each cadence in the space provided (Figure 2-41. Part A and Part B).

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CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE FOR LESSON 2 PRACTICAL EXERCISE. CLICK HERE FOR LESSON 2 PRACTICAL EXERCISE ANSWERS. CLICK HERE TO PROCEED TO THE NEXT SECTION.

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LESSON 2 PRACTICAL EXERCISE The following items will test your understanding of the material covered in this lesson. There is only one correct answer for each item. When you have completed the exercise, check your answer with the answer key. If you answer any item incorrectly, review the part of the lesson that contains the portion involved. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION. 1. The primary triads are tonic, submediant, and dominant triads. A. True B. False 2. A triad is in root position when the __________ voice has the root of the chord. A. B. C. D.

soprano bass tenor alto

3. Which voice should double the bass voice in a root position triad? A. B. C. D.

Alto Soprano Tenor Any of the upper three voices can double the bass.

4. The part writing principles are the same for the primary triads in root position regardless of whether the triads are Major or minor in quality. A. True B. False 5. If you are part writing in the key of e minor and wish to show the raised third of the dominant triad in the figured bass, which chromatic sign would you use?

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Α. B.

#

Χ. D. It is not necessary to use any sign. 6. What is the most frequently used figured bass for a chord in root position? A. B. C. No numerals written below the bass note. D. None of the above is correct.

Figure 1. Question 7 7. Which voice should have a common tone in Figure 1? A. B. C. D.

Soprano Alto Tenor No voice should have a common tone.

8. In an I to IV progression, the bass voice can move a perfect fourth down or a perfect fifth up. A. True B. False 9. What objectionable motion(s) occur(s) if all voices move in the same direction when part writing IV to V chords? A. Hidden fifths and octaves

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B. Parallel fifths and octaves C. Augmented 2nd interval between the third of each chord D. There is no objectionable motion.

Figure 2. Question 10 10. The alto note in the second chord of Figure 2 should be a/an A. D. B. F. C. B . D. None of the above is correct. 11. Which of the following is correct concerning the upper voices when the tonic chord progresses to the subdominant chord in a Major or minor key? A. One tone is common, one voice moves by half step, and one voice moves by whole step. B. One tone is common, two voices move by whole step. C. One tone is common, two voices move by half step. D. None of the above is correct for both Major and minor keys.

12. Where should the third of the dominant triad resolve when the dominant triad progresses to the tonic triad? A. Up a half step to the third of the tonic triad. B. Up a whole step to the root of the tonic triad.

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C. Down a half step to the root of the tonic triad. D. Up a half step to the root of the tonic triad.

Figure 3. Question 13 13. The soprano note in the second chord in Figure 3 should be a/an A. G. B. E. C. C. D. None of the above is correct.


14. What is the complete figured bass for the chord in Figure 4? A. B.

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C. D. It is not necessary to show any numerals for the complete figured bass.

Figure 5. Questions 15 – 18 15. The cadence in measure 1 of Figure 5 is a/an __________ cadence. A. B. C. D.

perfect authentic imperfect authentic half perfect plagal

16. The cadence in measure 2 of Figure 5 is a/an __________ cadence. A. B. C. D.

perfect authentic imperfect plagal plagal half half

17. The cadence in measure 3 of Figure 5 is a/an __________ cadence. A. B. C. D.

half perfect authentic imperfect plagal plagal half

18. The cadence in measure 4 of Figure 5 is a/an __________ cadence. A. plagal half B. authentic C. plagal

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D. half 19. Which of the following is true when a triad? A. B. C. D.

is written beneath the bass voice of a root position

The third of the chord is raised a half step. The note a third above the bass is raised a half step. The third of the chord is omitted. Both A and B are correct.

Figure 6. Question 20 20. Which of the following is the correct chord analysis and figured bass for the chords in Figure 6? A. B. C. D.

V V# V# V

i# i# I# I

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1.

B False (Part A, paragraph 1a)

2.

B bass (Part A, paragraph 2)

3.

D Any of the upper three voices can double the bass. (Part A, paragraph 3)

4.

A True (Part A, paragraph 5)

5.

C (Part A, paragraph 4d)

6.

C No numerals written below the bass note. (Part A, paragraph 4b)

7.

B Alto (Part B, paragraph 6b)

8.

A True (Part B, paragraph 6a)

9.

B Parallel fifths and octaves (Part B, paragraph 10d)

10.

A D. (Part B, paragraphs 6c and 6d)

Item

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11.

A One tone is common, one voice moves by half step, and one voice moves by whole step. (Part B, paragraph 8c; Part C, paragraph 13)

12.

D Up a half step to the root of the tonic triad. (Part B, paragraph 7)

13.

B E. (Part B, paragraphs 10b and c)

14.

C (Part A, paragraphs 4a and 4b NOTE)

15.

A perfect authentic (Part E, paragraph 18a)

16.

B imperfect plagal (Part E, paragraph 18b)

17.

A half (Part E, paragraph 18c)

18.

D half (Part E, paragraph 18c)

19.

D Both A and B are correct. (Part A, paragraph 4f)

20.

C V# I# (Part C, paragraph 16)

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 1. Part write the following I to V and V to I progressions (Figure 2-13).

CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-13. I to V and V to I Progressions

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Figure 2-13. I to IV and V to I Progressions

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 2. Part write the following I to IV and IV to I progressions (Figure 2-19. Part A and Part B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-19. Part A. I to IV and IV to I Progressions

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Figure 2-19. Part B. I to IV and IV to I Progressions

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Figure 2-19. Part A and Part B. I to IV and IV to I Progressions

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 3. Part write the following IV to V progressions (Figure 2-24). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-24. IV to V Progressions

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Figure 2-24. IV to V Progressions

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 4. Part write the following i to V and V to i progressions (Figure 2-27. Part A and B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-27. Part A. i to V and V to i Progressions

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Figure 2-27. Part B. i to V and V to i Progressions

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Figure 2-27. Part A. i to V and V to i Progressions

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Figure 2-27. Part B. i to V and V to i Progressions

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 5. Part write the following i to iv and iv to i progressions (Figure 2-29. Part A and B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-29. Part A. i to iv and iv to i Progressions

Figure 2-29. Part B. i to iv and iv to i Progressions

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Figure 2-29. Part A and B. i to iv and iv to i Progressions

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 6. Part write the following iv to IV progressions (Figure 2-32). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-32. iv to V Progressions

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Figure 2-32. iv to V Progressions

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LESSON 2 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 7. Part write and analyze the following progressions. Write the name of each cadence in the space provided (Figure 2-41. Part A and B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-41. Part A. Root Position Progressions

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Figure 2-41. Part B. Root Position Progressions

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Figure 2-41. Part A. Root Position Progressions

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Figure 2-41. Part B. Root Position Progressions

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Lesson 3 PRIMARY TRIADS IN FIRST INVERSION

INTRODUCTION LESSON DESCRIPTION: In this lesson, you will learn the primary triads in first inversion. This lesson includes doubling, figured bass, analysis, part writing procedures, and cadences. LEARNING OBJECTIVE: ACTION:

After completing this lesson, you will: 1. Identify first inversion primary triads. 2. Write voice doublings. 3. Write figured bass and analysis. 4. Part write first inversion primary triads in Major and minor. 5. Identify imperfect cadences.

CONDITION:

Given the information contained in this lesson.

STANDARD:

IAW the information contained in this lesson.

REFERENCES: The material contained in this lesson was derived from the following publications: TC 12-42, Harmony, and TC 12-41, Basic Music.

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PART A

OVERVIEW

1. First Inversion Triads. a. A triad is in first inversion when the third of the chord is in the bass voice. The fifth and the root are voiced above the third (Figure 3-1).

Figure 3-1. First Inversion Triad NOTE: The root of the triad remains the root (scale degree upon which the triad is formed) regardless of its position in the triad. b. First inversion triads allow for smooth voice leading of the bass voice and provide harmonic variety. 2. Doubling of First Inversion Triads. a. When the primary triad is in first inversion, double the root or fifth of the chord (Figure 3-2). The upper three voices will have one root and two fifths or two roots and one fifth.

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Figure 3-2. First Inversion Doubling

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b. You will determine which note to double by the voice leading necessary to make the voices connect smoothly. NOTE: It is better to double the soprano with an inner voice than to double the two inner voices. However, both are correct (Figure 3-3).

Figure 3-3. Doubling Alternatives 3. Figured Bass for First Inversion Triads. a. The numerals indicate a triad in first inversion (Figure 3-4). NOTE: The 3 represents the note an interval of a third above the bass note. That note which is the third above the bass voice is the fifth of the triad. The 6 represents the note the interval of a sixth above the bass note. That note is the root of the triad.

Figure 3-4. First Inversion Figured Bass

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b. A first inversion triad can also be indicated by the numbers and . The added number dictates the doubled note. This is usually not done in bass figuring (Figure 3-5).

Figure 3-5. Complete First Inversion Figured Bass c. Usually, only the 6 appears under the bass note. The interval of the third is understood. You determine which note (root or fifth) to double (Figure 3-6).

Figure 3-6. Essential First Inversion Figured Bass NOTE: First inversion triads are called six (6) chords. You should not confuse this with the added 6th chords (a triad with the note a Major sixth above the root of the triad added) in popular harmony. The 6, when used with an alphabet letter, represents a four-note chord. When used with a Roman numeral, the 6 represents a triad (three-note chord) with the third as the lowest note (Figure 3-7).

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Figure 3-7. Added 6th Chord and 6 Chord 4. Analysis of First Inversion Triads. The Roman numeral indicates the scale degree upon which the chord is constructed (the root of the triad). In a first inversion triad, the bass note is not the root of the chord. However, you can determine the root of the chord from the bass note. Since the bass note is the third of the chord, the root is the interval of a third below the bass note (or a sixth above the bass note). The number 6 identifies the interval that is the root of the chord (Figure 3-8).

Figure 3-8. Root Identification

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PART B

PART WRITING FIRST INVERSION PRIMARY TRIADS

5. The procedure for part writing first inversion triads is identical to part writing root position triads. a. Keep the common tone. b. Connect the remaining voices to the nearest available chord tones. First, look for half step movement. Next, look for whole step movement. Finally, connect any remaining intervals. c. Check your part writing for objectionable voice motions and other mistakes. NOTE: In part writing root position triads, you followed specific scale patterns for each progression. However, when part writing first inversion triads, you must make choices that are not set patterns. Your choices are determined by the smoothest (generally the closest) voice leading. 6. Apply the part writing procedure to a progression with a first inversion chord (Figure 3-9).

Figure 3-9. Progression with First Inversion a. First, keep the common tone. Place a C in the tenor voice (Figure 3-10). NOTE: The second chord is a C triad (I chord) in first inversion. The notes of the chord are C, E, and G. The fourth (doubled) note can be either a C or a G. The E (the third of the chord) is

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already present in the bass voice. You should not use the E in any of the upper voices. The C is common to both chords.

Figure 3-10. Common Tone b. Connect the half step movement. The only note of the triad left to voice before determining the doubled note is the G. (The C and the E have already been voiced.) The G is not a half step from either the soprano A or the alto F (Figure 3-11). Go to the next step of the procedure.

Figure 3-11. No Half Step Movement c. Connect the whole step movement. The G is a whole step from both the soprano A and the alto F. You can place the G in either the soprano or alto voice (Figure 3-12).

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Figure 3-12. Choose Whole Step Movement

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d. The last voice (soprano or alto) can be either a C or a G. Remember, in first inversion triads you can double either the root or the fifth of the chord. (1) If you placed the G (from step c) in the soprano voice, you must decide which doubled note (the G or C) is smoother voice leading for the alto voice. The G is a whole step from the previous alto note. The C is a fourth from the previous alto note. Therefore, the G is the better note to double (Figure 3-13). A skip of a fourth in an inner voice, when you have a closer voice to lead to, is poor part writing.

Figure 3-13. Alto Voice Movement NOTE: If the alto voice moves down to a C, the two inner voices are doubled. Remember, it is best to double an inner voice with the soprano in first inversion triads when you have a choice (Figure 3-14).

Figure 3-14. Poor Voice Leading (2) If you placed the G (from step c) in the alto voice, you can place either a G or a C in the soprano voice. The G produces smoother voice leading and is the best alternative at this time (Figure 3-15). However, the C produces a melody line (soprano) with a

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skip. (This can be important in keeping the melody line interesting for exercises in the next lessons.) Both movements are correct.

Figure 3-15. Soprano Voice Movement e. Check your part writing for mistakes.

NOTE: Understanding how to part write first inversion triads is essential to basic part writing skills because you must make decisions that are not set patterns. You must determine which note is the best to use for each upper voice. When you part write root position triads (and second inversion triads in Lesson Four), each voice follows a set pattern. 7. Follow the procedure again. NOTE: Until you become proficient at part writing, you can, if you wish, spell the chord below the bass line. Place possible doublings in the spelling at the end (in parentheses). Cross off each letter (note) as it is voiced (Figure 3-16). (Cross off the third of the chord as you spell the chord because it is already in the bass voice.)

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Figure 3-16. First Inversion Progression a. Keep the common tone. The common tone (G) is in the tenor voice (Figure 3-17). (Cross off the letter G below the staff.)

Figure 3-17. Common Tone in Tenor Voice b. Connect the half step movement. The D is not a half step from E or C. Therefore, there is no half step movement (Figure 3-18). Go to the next step.

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Figure 3-18. Look for Half Step Movement c. Connect the whole step movement. The D is a whole step from either the soprano or alto note. The D can be placed in either voice (Figure 3-19). (Cross off the letter D below the staff.)

Figure 3-19. Soprano or Alto Whole Step Movement d. The last voice (soprano or alto) can be either a G or a D. (1) If you placed the D (step c) in the soprano voice, the best voice leading for the alto voice is a D (Figure 3-20).

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Figure 3-20. Alto Voicing (2) If you placed the D in the alto voice, the best voice leading for the soprano part is a D (Figure 3-21). Doubling the D is better than doubling the G (a second instead of a fourth).

Figure 3-21. Double the D in Soprano e. Check your part writing for any mistakes.

8. Part Writing Repeated Triads. a. When a triad in first inversion follows a root position triad with the same root, move the third (of the root position chord) to the root or the fifth of the triad in first inversion (Figure 3-22).

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Figure 3-22. Movement of the Third of Triad b. You can change position of the upper voices (Figure 3-23).

Figure 3-23. Change Upper Voices Positions NOTE: When you have a choice between the soprano and an inner voice, you should normally maintain the common tone in the inner voice and not in the soprano. Keep the inner voices as smooth as possible (Figure 3-24).

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Figure 3-24. Choose Common Tone Voice 9. Checking Your Part Writing. a. After you have completed your voice leading, study your work. Remember, the principle of part writing is connecting the parts of one chord smoothly to the parts of the next chord (without errors). The smooth connection of voice movement is especially important for the inner voices. The melody can (and should) have disjunct motion (skips) as well as conjunct motion (stepwise movement). On occasion, moving one voice by a small interval (for example, half step) will cause another voice to move by a large interval (fourth). This may not be the best overall part writing if the fourth is an inner voice (Figure 3-25).

Figure 3-25. Large Movement Inner Voice b. If the soprano had been an octave above the alto, the same part writing is better because the disjunct motion can be in the soprano voice (Figure 3-26).

Figure 3-26. Disjunct Motion Soprano Voice c. To avoid the large interval skip in the inner (alto) voice (Figure 3-25), move the root of

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the I chord up a whole step (to the D) instead of down a half step (Figure 3-27). You can then keep the common tone in the alto voice and skip a third in the soprano. This connection creates acceptable part writing for all parts.

Figure 3-27. Smooth Part Writing I6 to V

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NOTE: The above progression has a hidden fifth between the tenor and bass. This hidden fifth is acceptable because it is between the bass and an inner voice. See Lesson 1, paragraph 7c(2). SELF REVIEW EXERCISE 1. Write the note in the second chord that is common to a note in the first chord. Analyze each chord (Figure 3-28). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

SELF REVIEW EXERCISE 2. Write the note in the second chord that is a half step from a note in the first chord. If no note is a half step movement, leave the example blank. Analyze each chord (Figure 3-29). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

SELF REVIEW EXERCISE 3. Write the note in the second chord that is a whole step from a note in the first chord. Analyze each chord (Figure 3-30). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

SELF REVIEW EXERCISE 4. Write the best note for the missing voice. Choose the best note of the chord to double. Analyze each chord (Figure 3-31). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

SELF REVIEW EXERCISE 5. Complete the part writing of Self-Review Exercises 1,2, and 3 (Figures 3-28, 3-29, and 3-30). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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PART C

FIRST INVERSION PROGRESSIONS

10. Tonic and Dominant Triads. a. Connecting the I6 and the V; the i6 and the V (Figure 3-32). The first inversion tonic chord is one of the most useful of the first inversion triads. It provides relief from the finality of the tonic chord in root position when the tonic triad is written within the phrase.

Figure 3-32. Connecting I6 and V; i6 and V NOTE: The figured bass for the V in minor can also be written with a chromatic sign instead of . In C minor, use a natural sign (Figure 3-33).

Figure 3-33. Chromatic Sign in the Figured Bass b. Connecting the I and the V6; the i and the V6 (Figure 3-34). The dominant triad in the first inversion has the leading tone in the bass voice. This creates a strong melodic significance to the bass line. The bass voice usually resolves up a half step. The tonic chord in root position usually follows the first inversion dominant triad.

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Figure 3-34. Connecting I and V6; i and V6 NOTE: When the chromatically altered note is in the bass voice, no chromatic sign is placed in the figured bass. c. Connecting the I6 to the V6; i6 to the V6 (Figure 3-35).

NOTE: The V6 does not resolve to the I6 because the bass note usually resolves up a half step.

Figure 3-35. I6 to V6; i6 to V6 SELF REVIEW EXERCISE 6. Part write the following first inversion progressions (Figure 336. Part A, Part B, and Part C). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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11. Tonic and Subdominant Triads. a. Connecting the I6 and the IV; i6 and the iv (Figure 3-37).

Figure 3-37. I6 and IV; i6 and iv b. Connecting the I and the IV6; i and iv6 (Figure 3-38).

Figure 3-38. I and IV6; i and iv6 c. Connecting the I6 and the IV6; i6 and iv6 (Figure 3-39).

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Figure 3-39. I6 and IV6; i6 and iv6

SELF REVIEW EXERCISE 7. Part write the following tonic and subdominant first inversion progressions (Figure 3-40; Part A, Part B, and Part C). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

12. Subdominant and Dominant Triads. a. Connecting the IV6 and the V; iv6 and the V (Figure 3-41).

Figure 3-41. IV6 and V; iv6 and V b. Connecting the IV6 and the V6 (Figure 3-42). (1) The V6 does not usually resolve to the IV6 because the bass voice of the V6 should resolve upward by half step.

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(2) The V6 does not resolve to a iv6 (minor) and the iv6 does not resolve to V6 because an augmented second would occur in the bass voice.

Figure 3-42. IV6 and V6 NOTE: Be careful of parallel fifths in the IV6 to V6 progression. If the alto and tenor voices are reversed in Figure 3-42, parallel fifths occur.

SELF REVIEW EXERCISE 8. Part write the following subdominant and dominant first inversion progressions (Figure 3-43). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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PART D

CADENCES

13. Imperfect Cadences. a. An imperfect cadence occurs under either or both of the following conditions: (1) One or both triads are inverted. (2) The soprano note of the second chord is not the tonic scale degree. b. The imperfect authentic cadence occurs when the dominant triad (V or V6) moves to the tonic triad (I or I6; i or i6) at a phrase ending, and one of the triads is inverted or the tonic scale degree is not in the soprano voice for the I chord. The imperfect authentic cadence is less final than the perfect authentic cadence (Lesson 2, paragraph 18a) and is normally used at cadence points other than the final cadence (Figure 3-44).

Figure 3-44. Imperfect Authentic Cadence c. The imperfect plagal cadence occurs when the subdominant triad moves to the tonic triad at a phrase ending and one of the triads is inverted or the tonic scale degree is not the soprano for both chords. The imperfect plagal cadence is less final than the perfect plagal cadence (Lesson 2, paragraph 18b) and is usually used at cadence points other than the final cadence (Figure 3-45).

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Figure 3-45. Imperfect Plagal Cadence

SELF REVIEW EXERCISE 9. Analyze and part write the following first inversion progressions. Write the name of each cadence in the space provided (Figure 3-46. Part A and Part B). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

CLICK HERE FOR LESSON 3 PRACTICAL EXERCISE. CLICK HERE FOR LESSON 3 PRACTICAL EXERCISE ANSWERS.

CLICK HERE TO PROCEED TO THE NEXT SECTION. CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

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LESSON 3 PRACTICAL EXERCISE The following items will test your understanding of the material covered in this lesson. There is only one correct answer for each item. When you have completed the exercise, check your answers with the answer key. If you answer any item incorrectly, review that part of the lesson that contains the portion involved. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION. 1. A triad is in first inversion when the _________ of the chord is the bass note. A. B. C. D.

root third fifth sixth

2. First inversion triads allow for smooth voice leading of the __________ voice. A. B. C. D.

soprano alto tenor bass

3. The root of a first inversion triad should be in which voice? A. Soprano B. Alto C. Tenor D. Any of the above is correct. 4. What note should be doubled for first inversion triads? A. Root B. Third C. Fifth D. Either A or C is correct. 5. The procedure for part writing first inversion triads is identical to that for part writing root

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position triads. A. True B. False 6. In the progression, iv6 to V, one upper voice has the common tone and the other two upper voices move by step. A. True B. False 7. When a triad in first inversion follows a root position triad with the same root, where must the third (of the root position triad) move? A. B. C. D.

To the root Stay on the third (keep the common tone) To the fifth Either A or C is correct.

8. Which of the following is the most common chord progression? A. B. C. D.

V to IV V6 to i6 iv6 to V6 V6 to I


9. Which part writing in Figure 1 is acceptable?

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A. B. C. D.

1 2 Both 1 and 2 are equally acceptable. Neither 1 nor 2 are acceptable.

10. Which of the following progressions will automatically result in bad voice leading? A. B. C. D.

I IV6 V I IV6 V6 I iv6 V3 i iv6 V6

I I I i

Figure 2. Question 11 11. What is wrong with the voice leading in Figure 2? A. B. C. D.

Incorrect doubling Hidden fifth Parallel fifths Nothing is wrong with the voice leading.


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12. Which voice has a part writing error in the progression in Figure 3? A. B. C. D.

Soprano Alto Tenor Bass

Figure 4. Question 13 13. What cadence is shown in Figure 4? A. B. C. D.

Perfect authentic Imperfect authentic Perfect plagal Imperfect plagal

Figure 5. Question 14 14. Which is the best note for the alto voice in the first chord in Figure 5? A. G

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B. E C. C D. A

Figure 6. Question 15 15. What is the complete figured bass for the chord in Figure 6? A. B. C. D.

Figure 7. Question 16 16. The chord in Figure 7 is incorrectly voiced because the soprano voice is NOT doubled. A. True B. False

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Figure 8. Question 17 17. What cadence is shown in Figure 8? A. B. C. D.

Perfect authentic Imperfect authentic Perfect plagal Imperfect plagal

18. What should be considered first when choosing the note to be doubled for a first inversion chord? A. B. C. D.

Smooth voice leading Doubling the inner voices Doubling the soprano Doubling the bass


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19. What note should the soprano voice have in the second chord in Figure 9? B or E (moving down to the E ) B or E (moving up to the E ) B or G (moving down to the G) D. Any of the above notes is correct.

A. B. C.

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Figure 10. Question 20 20. Identify the progression in Figure 10 that has incorrect voice leading. A. B. C. D.

1 2 3 They are all correct.

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1.

B third (Part A, paragraph 1a)

2.

D bass (Part A, paragraph 1b)

3.

D Any of the above is correct. (Part A, paragraph 2a)

4.

D Either A or C is correct. (Part A, paragraph 2a)

5.

A True (Part B, paragraph 5)

6.

B False (Part C, paragraph 12a)

7.

D Either A or C is correct. (Part B, paragraph 8a)

8.

D V6 to I (Part C, paragraphs 10b, 10c NOTE, and 12b(2); Lesson 2, Part B, paragraph 11)

9.

B 2 (Part C, paragraph 10a; Lesson 1, Part B, paragraph 7c(2))

10.

D i iv6 V6 i (Part C, paragraph 12b(2))

11.

C Parallel fifths (Part C, paragraph 12b NOTE) MU 3310 1

Item


12.

D Bass (Part C, paragraph 12b(2))

13.

B Imperfect authentic (Part D, paragraph 13b)

14.

A G (Part A, paragraph 2b NOTES)

15.

B (Part A, paragraph 3b)

16.

B False (Part A, paragraph 2b NOTE)

17.

D Imperfect plagal (Part D, paragraph 13c)

18.

A Smooth voice leading (Part A, paragraph 2b)

19.

B B or E (moving up to the E ) (Part A, paragraph 2a; Lesson 1, Part B, paragraph 7b)

20.

D They are all correct. (Part C, paragraph 10a)

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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 1. Write the note in the second chord that is common to a note in the first chord. Analyze each chord (Figure 3-28). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-28. Part Write Common Tones

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LESSON 3 ANSWERS TO SELF-REVIEW EXERCISES SELF REVIEW EXERCISE 1. CLICK HERE TO PROCEED TO THE NEXT SECTION.


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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 2. Write the note in the second chord that is a half step from a note in the first chord. If no note is a half step movement, leave the example lank. Analyze each chord (Figure 3-29). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-29. Part Write Half Steps

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LESSON 3 ANSWERS TO SELF-REVIEW EXERCISES SELF REVIEW EXERCISE 2. CLICK HERE TO PROCEED TO THE NEXT SECTION.


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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 3. Write the note in the second chord that is a whole step from a note in the first chord. Analyze each chord (Figure 3-30). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-30. Part Write Whole Steps

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LESSON 3 ANSWERS TO SELF-REVIEW EXERCISES SELF REVIEW EXERCISE 3. CLICK HERE TO PROCEED TO THE NEXT SECTION. Note: Your part writing may differ from this solution and still be correct.


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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 4. Write the best note for the missing voice. Choose the best note of the chord to double. Analyze each chord (Figure 3-31). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-31. Part Write Missing Voices

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Figure 3-31. Part Write Missing Voices

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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 5. Complete the part writing of Self-Review Exercises 1,2, and 3 (Figures 3-28, 3-29, and 3-30). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.



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Figure 3-30. Part Write Whole Steps MU 3310 1

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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 6. Part write the following first inversion progressions (Figure 336. Part A, Part B, and Part C). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-36. Part A. First Inversion Tonic and Dominant Progressions 1

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Figure 3-36. Part B. First Inversion Tonic and Dominant Progressions

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Figure 3-36. Part C. First Inversion Tonic and Dominant Progressions

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Figure 3-36. Part A. First Inversion Tonic and Dominant Progressions

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Figure 3-36, Part B. First Inversion Tonic and Dominant Progressions

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Figure 3-36. Part C. First Inversion Tonic and Dominant Progressions

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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 7. Part write the following tonic and subdominant first inversion progressions (Figure 3-40; Part A, Part B, and Part C). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-40. Part A. Tonic to Subdominant First Inversion Progressions 1

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Figure 3-40. Part B. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part C. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part A. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part B. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part C. Tonic to Subdominant First Inversion Progressions

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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 8. Part write the following subdominant and dominant first inversion progressions (Figure 3-43). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-43. Subdominant and Dominant Progressions 1

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Figure 3-43. Subdominant and Dominant Progressions

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LESSON 3 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 9. Analyze and part write the following first inversion progressions. Write the name of each cadence in the space provided (Figure 3-46. Part A and Part B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-46. Part A. First Inversion Progressions

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Figure 3-46. Part B. First Inversion Progressions

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Figure 3-46. Part A. First Inversion Progressions

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Figure 3-46. Part B. First Inversion Progressions

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Lesson 4 PRIMARY TRIADS IN SECOND INVERSION

INTRODUCTION LESSON DESCRIPTION: In this lesson, you will learn the primary triads in second inversion. This lesson includes doubling, figured bass, part writing, analysis, and identification of types of second inversions. LEARNING OBJECTIVE: ACTION:

After completing this lesson, you will: 1. Identify second inversion chords. 2. Write voice doublings. 3. Write figured bass and analysis. 4. Identify the four types of six-four chords. 5. Part write second inversion primary triads.

CONDITION: Given the information contained in this lesson. STANDARD: IAW the material contained in this lesson. REFERENCES: The material contained in this lesson was derived from TC 12-41, Basic Music, and TC 12-42, Harmony.

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PART A

OVERVIEW

1. Second Inversion Triads. a. The triad is in second inversion when the fifth of the triad is the bass note. The root and third of the triad are voiced above the fifth (Figure 4-1).

Figure 4-1. Second Inversion Triad b. Second inversion triads are harmonically unstable. They tend to function more as decorations or links between other chords rather than actual chords in the basic harmonic progression. 2. Doubling of Second Inversion Triads. Always double the fifth (bass note) of second inversion triads (Figure 4-2). The doubled note can be in any other voice.

Figure 4-2. Second Inversion Doubling

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3. Figured Bass for Second Inversion Triads. a. The numerals

indicate a triad in second inversion (Figure 4-3).

Figure 4-3. Figured Bass Intervals NOTE: The 4 represents the note the interval of a fourth above the bass note. That note a fourth above the bass note is the root of the triad. The 6 represents the note the interval a sixth above the bass note. That note is the third of the triad. b. A second inversion triad can also be indicated by the numerals . The number 8 refers to the doubled bass note (Figure 4-4).

Figure 4-4. Complete Figured Bass NOTE: Two sets of numerals can occur under the same bass note. Using correct part writing procedures, move the notes represented by the first set of numerals to the notes represented by the second set of numerals (Figure 4-5). Give each note one-half the rhythmic value of the bass note.

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Figure 4-5. Two Sets of Bass Figures c. Usually, only the appears under the bass note. The interval of the octave is understood because the bass note should always be doubled on a second inversion triad (Figure 4-6).

Figure 4-6. Second Inversion Figured Bass NOTE: Second inversion triads are called six-four chords.

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4. Analysis of Second Inversion Triads. The Roman numeral indicates the scale degree upon which the chord is constructed (the root of the triad). In a second inversion chord, the bass note is not the root of the chord. However, you can determine the root of the chord from the bass note. Since the bass note is the fifth of the chord, the root is the interval of a fifth below (or a fourth above the bass note). The number 4 identifies the root of the chord (Figure 4-7).

Figure 4-7. Root Identification

PART B

TYPES OF SECOND INVERSION TRIADS

5. Cadential Six-four Triads. a. When a tonic six-four triad precedes a dominant chord at a cadence, it is called a cadential six-four. This is one of the more common of the second inversion triads. The cadential tonic six-four enhances and decorates the dominant chord. The six-four occurs on a strong beat. It resolves to the dominant chord. The dominant occurs in a weaker rhythmical position (Figure 4-8).

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Figure 4-8. Cadential Six-four Triad b. The pattern for the cadential six-four is the same for all cadential six-four triads. (1) The bass and one upper voice keep the common tone. (The bass voice can be identical pitches, one sustained pitch, or two pitches an octave apart.) (2) The other two upper voices descend either by half step or whole step. SELF REVIEW EXERCISE 1. Analyze and part write the following cadential six-four progressions (Figure 4-9). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

6. Passing Six-four Triads. a. The passing six-four triad functions as a linking chord to allow for smooth voice leading between a triad in root position and that same triad in first inversion (or a triad in first inversion and that same triad in root position). A passing six-four triad must occur in a weak rhythmical position (Figure 4-10).

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Figure 4-10. Passing Six-four Triads b. The pattern for the passing six-four is the same for all passing six-four triads. (1) (2) (3) (4)

The bass voice moves by step. One upper voice keeps the common tone. Another voice descends and then ascends either by half step or whole step. One voice moves by step in contrary motion to the bass movement.

NOTE: The root of the passing six-four chord is a fifth above the root of the chord it precedes and follows. SELF REVIEW EXERCISE 2. Analyze and part write the following passing six-four progressions (Figure 4-11). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

7. Auxiliary Six-four Triads. a. Auxiliary six-four triads are used to decorate two identical chords in root position. An auxiliary six-four chord should occur in a weak rhythmic position (Figure 4-12).

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Figure 4-12. Auxiliary Six-four Triads b. The pattern for the auxiliary six-four is the same for all auxiliary six-four triads. (1) The bass voice and one upper voice keep the common tone. (2) The other two upper voices ascend by either half step or whole step and then descend by the same interval.

Note: The root of the auxiliary six-four chord is always a fourth above the root of the chord it proceeds and follows. SELF REVIEW EXERCISE 3. Analyze and part write the following auxiliary six-four triads (Figure 4-13). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

8. Arpeggiated Six-four Triads. a. The arpeggiated six-four triad occurs when the bass voice moves through notes of the same triad. The arpeggiated six-four triad is immediately preceded or followed by the same triad in first inversion or root position. Arpeggiated six-four triads are normally, but not always, found in weak rhythmic positions (Figure 4-14).

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Figure 4-14. Arpeggiated Six-four Triads b. To part write an arpeggiated six-four chord, observe the rules of chord repositioning and doubling for triads in their respective inversions. SELF REVIEW EXERCISE 4. Analyze and part write the following arpeggiated six-four progressions (Figure 4-15). NOTE: All six-four triads can be correctly part written by observing the basic part writing procedures in Lesson 2. The patterns discussed in this lesson aid in this process and help you identify the four types of six-four chords. CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Write the name of each six-four triad on the line provided below the figured bass (Figure 4-16). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE FOR LESSON 4 PRACTICAL EXERCISE. CLICK HERE FOR LESSON 4 PRACTICAL EXERCISE ANSWERS. CLICK HERE TO PROCEED TO THE NEXT SECTION. CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

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LESSON 4 PRACTICAL EXERCISE The following items will test your understanding of the material covered in this lesson. There is only one correct answer for each item. When you have completed the exercise, check your answers with the answer key. If you answer any item incorrectly, review that part of the lesson that contains the portion involved. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION. 1. A triad is in second inversion when the __________ of the triad is the bass note. A. B. C. D.

root third fifth sixth

2. The cadential, passing, auxiliary, and articulated six-four are the four types of six-four chords. A. True B. False 3. How do second inversion chords tend to function harmonically? A. B. C. D.

As decorations of other chords As basic harmonic chords As links between chords Both A and C are correct.

4. Double __________ on second inversion triads. A. B. C. D.

the soprano voice the bass voice the root of the chord any of the upper three voices

5. Which six-four chord links a root position chord and its first inversion in stepwise bass

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movement? A. B. C. D.

Cadential Passing Auxiliary Arpeggiated

Figure 1. Question 6 6. What note should be in the soprano voice in Figure 1? A. G B. B C. D D. Any of the above is correct. 7. The most common bass figuring for second inversion triads is A.

.

B.

.

C.

.

D.

or depending on the doubling.

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8. The complete bass figuring for a second inversion triad is A.

.

B.

.

C.

.

D.

.

9. Which six-four chord usually occurs on a strong beat? A. B. C. D.


10. Which six-four chord precedes the V at a cadence? A. B. C. D.


11. Which six-four chord decorates two root position chords that have the same root? A. B. C. D.


12. Which six-four chord is used before or after its root position chord? A. B. C. D.


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Figure 2. Question 13 13. What chord will be formed on the second half of the measure in Figure 2 when the soprano and alto notes are written? A. B.

C. D.

14. Second inversion triads are harmonically unstable. A. True B. False 15. In a six-four chord, the 4 of the figured bass represents the root of the triad and the 6 represents the third of the triad. A. True B. False

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Figure 3. Question 16 16. The progression in Figure 3 has a/an __________ A. passing six-four. B. arpeggiated six-four. C. auxiliary six-four. D. None of the above is correct.

Figure 4. Question 17 17. The progression in Figure 4 has a/an __________ six-four. A. B. C. D.

cadential auxiliary passing arpeggiated

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Figure 5. Question 18 18. What note should the alto voice have for the second chord of Figure 5? A. G B. E C. C D. None of the above is correct.

Figure 6. Question 19 19. What note should the alto voice have for the third chord of Figure 6? A. D B. F C. B D. None of the above is correct.

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Figure 7. Question 20 20. What note should the alto voice have for the second chord (beat three of the first measure) of Figure 7? A B. F C. D D. None of the above is correct. A.

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1.

C

fifth (Part A, paragraph 1a)

2.

B

False (Part B Introduction)

3.

D

Both A and C are correct. (Part A, paragraph 1b)

4.

B

the bass voice (Part A, paragraph 2)

5.

B

Passing (Part B, paragraph 6a)

6.

C

D (Part A, paragraph 2)

7.

B

. (Part A, paragraph 3c)

8.

A (Part A, paragraph 3b)

9. Item

A

Cadential (Part B, paragraph 5a)


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10.

A

Cadential (Part B, paragraph 5a)

11.

C

Auxiliary (Part B, paragraph 7a)

12.

D

Arpeggiated (Part B, paragraph 8a)

13.

C

V (Part B, paragraphs 3b NOTE, 5a, and 5b)

14.

A

True (Part A, paragraph 1b)

15.

A

True (Part A, paragraph 3a NOTE)

16.

D

None of the above is correct. (Part B, paragraphs 6, 7, and 8)

17.

C

passing (Part B, paragraph 6a)

18.

B

E (Part B, paragraph 7a)

19.

C

B (Part B, paragraph 6)

20.

D

None of the above is correct. (Part B, paragraph 5)

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LESSON 4 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 1. Analyze and part write the following cadential six-four progressions (Figure 4-9). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 4-9. Cadential Six-four Progressions

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LESSON 4 ANSWERS TO SELF REVIEW EXERCISES SELF REVIEW EXERCISE 1. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 4-9. Cadential Six-four Progressions

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LESSON 4 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 2. Analyze and part write the following passing six-four progressions (Figure 4-11). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 4-11. Passing Six-four Progressions

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Figure 4-11. Passing Six-four Progressions

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LESSON 4 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 3. Analyze and part write the following auxiliary six-four triads (Figure 4-13). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 4-13. Auxiliary Six-four Progressions

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Figure 4-13. Auxiliary Six-four Progressions

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LESSON 4 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 4. Analyze and part write the following arpeggiated six-four progressions (Figure 4-15). NOTE: All six-four triads can be correctly part written by observing the basic part writing procedures in Lesson 2. The patterns discussed in this lesson aid in this process and help you identify the four types of six-four chords. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 4-15. Arpeggiated Six-four Progressions

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Figure 4-15. Arpeggiated Six-four Progressions

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LESSON 4 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Write the name of each six-four triad on the line provided below the figured bass (Figure 4-16). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

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Figure 4-16. Six-four Progressions

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Figure 4-16. Six-four Progressions

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LESSON 6 THE DOMINANT SEVENTH CHORD

INTRODUCTION LESSON DESCRIPTION: In this lesson, you will learn the dominant seventh chord. This lesson includes doubling, root position chords and inversions, figured bass, and part writing the dominant seventh chord. TERMINAL LEARNING OBJECTIVE: ACTION:

After completing this lesson, you will: 1. Identify the dominant seventh chord. 2. Write doublings. 3. Write root position and inversions. 4. Write figured bass. 5. Part write the dominant seventh chord.

CONDITION: Given the information contained in this lesson. STANDARD: IAW the information contained in this lesson. REFERENCES: The material contained in this lesson was derived from the following publications: TC 12-41, Basic Music and TC 12-42, Basic Harmony.

PART A

OVERVIEW

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1. Dominant Seventh Chords. a. The dominant seventh chord is a Major triad with the note an interval of a minor seventh above the root of the triad added to the Major triad (Figure 5-1). The dominant seventh chord, a four-note chord, is built on scale step five.

Figure 5-1. Dominant Seventh Chord Structure b. In a minor key (harmonic minor), the dominant seventh chord is identical in structure to the dominant seventh chord in a Major key. They are both Major triads with a minor seventh interval from root to seventh (Major minor seventh chords) (Figure 5-2).

Figure 5-2. Minor Key Dominant Seventh Chord NOTE: The term dominant seventh is used to denote the structure of the seventh chord as well as the scale degree location because the Major triad/minor seventh structure is only found on the dominant scale degree. 2. Doubling of Dominant Seventh Chords. Since the dominant seventh is a four-note chord, there is no doubling of a note. All four notes of the dominant seventh chord are normally used in part writing. There is one exception discussed in paragraph 6b(1).

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3. Root Position and Inversions. a. Root Position. The dominant seventh chord is in root position when the root of the chord is the bass note (Figure 5-3). The third, fifth, and seventh of the chord are voiced in the upper three voices.

Figure 5-3. Root Position Dominant Seventh b. First Inversion. The dominant seventh chord is in first inversion when the third of the chord is the bass note (Figure 5-4). The root, fifth, and seventh are voiced in the upper three voices.

Figure 5-4. First Inversion Dominant Seventh

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c. Second Inversion. The dominant seventh chord is in second inversion when the fifth of the chord is the bass note (Figure 5-5). The root, third, and seventh of the chord are voiced in the upper three voices.

Figure 5-5. Second Inversion Dominant Seventh d. Third Inversion. The dominant seventh chord is in third inversion when the seventh of the chord is the bass note (Figure 5-6). The root, third, and fifth are voiced in the three upper voices.

Figure 5-6. Third Inversion Dominant Seventh

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4. Figured Bass for Dominant Seventh Chords. a. Root Position. The complete figured bass for the dominant seventh chord in root position is . This indicates the intervals of a third, fifth, and seventh above the bass note. Usually, only the number 7 is written below the bass note. The third and fifth are understood and are included in the voicing even though they are not written in the figured bass (Figure 5-7).

Figure 5-7. V7 Figured Bass NOTE: In a minor key, you must notate the leading tone by using a chromatic sign (or a slash through the number 3) in the figured bass (figure 5-8).

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Figure 5-8. Minor Key Leading Tone Notation b. First Inversion. The complete figured bass for the dominant seventh chord in first inversion is . Usually, only the is written under the bass note. The interval of a third (the fifth of the chord) is understood and is included in the voicing even though it is not written in the figured bass (Figure 5-9).

Figure 5-9. V Figured Bass NOTE: In minor, the first inversion dominant seventh chord does not require a chromatic alteration in the figured bass (Figure 5-10). The third of the dominant seventh (the leading tone)

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is the bass note. The accidental to create the leading tone is written on the staff. The figured bass for the first inversion dominant seventh chord in minor is identical to the first inversion dominant seventh chord in Major.

Figure 5-10. Minor Key V Figured Bass c. Second Inversion. The complete figured bass for the dominant seventh chord in second inversion is . Usually, only the is written under the bass note. The interval of a sixth (the third of the chord) is understood and is included in the voicing even though it is not written in the figured bass (Figure 5-11).

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Figure 5-11. V Figured Bass NOTE: In minor, the complete figured bass is required for the second inversion of the dominant seventh chord. It is needed to indicate the leading tone of the scale. The chromatic alteration can be shown by making a slash through the 6 or by placing a chromatic sign before the 6 (Figure 5-12).

Figure 5-12. Minor Key V Figured Bass d. Third Inversion. The complete figured bass for the dominant seventh chord in third inversion is . Usually, only the is written below the bass note. The interval of a sixth (the fifth of the chord) is understood and is included in the voicing even though it is not written in the figured bass (Figure 5-13). Sometimes only a 2 is notated as the figured bass for a third inversion dominant seventh chord.

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Figure 5-13. V Figured Bass NOTE: In a minor key, the leading tone is notated by marking a slash through the 4 or by placing a chromatic sign in front of the 4 (Figure 5-14).

Figure 5-14. Minor Key V Figured Bass 5. Tritone Resolution. There is a tritone (abbreviated as TT) interval (diminished fifth or augmented fourth) between the third and the seventh of the dominant seventh chord. This interval requires specific movement in the resolution of the dominant seventh chord. a. Regular Resolution. The diminished fifth resolves to a Major third in a Major key or a minor third in a minor key. The augmented fourth resolves to a minor sixth in a Major

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key or a Major sixth in a minor key (Figure 5-15).

Figure 5-15. Regular Tritone Resolution NOTE: Regular resolution is the most common resolution of the tritone because it resolves the harmonically unstable, dissonant tritone interval to the stable, consonant interval of a third (or sixth). The regular resolution satisfies the melodic pull of the subdominant and the leading tone tendency tones (Figure 5-16).

Figure 5-16. Tendency Tones b. Irregular Resolution. An irregular resolution of the tritone occurs when the seventh of the dominant seventh chord does not resolve downward to the third of the tonic chord but moves up by step to the fifth. The bass voice moves to the third of tonic chord. This occurs when the dominant seventh chord progresses to the tonic chord in first inversion (Figure 5-17).

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Figure 5-17. Irregular Tritone Resolution

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PART B

PART WRITING THE DOMINANT SEVENTH CHORD TO TONIC

The dominant seventh chord normally resolves to the tonic chord. 6. Root Position Dominant Seventh Chords. a. Connecting the V7 chord to the I (complete V7). (1) The root of the tonic chord is the bass note (Figure 5-18).

Figure 5-18. Bass Note, V7 to I (2) Resolve the Tritone. Connect the third (leading tone scale degree) up a half step to the root of the tonic triad. Then connect the seventh (subdominant scale degree) down a half step to the third of the tonic triad (Figure 5-19).

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Figure 5-19. Tritone Resolution, V7 to I (3) Connect the fifth down a whole step to the root of the tonic triad (Figure 5-20). You cannot drop the fifth of the dominant seventh chord to the fifth of the tonic triad. Parallel fifths between the tenor and bass will result. You must omit the fifth and triple the root of the tonic triad.

Figure 5-20. Tripled Root (4) Scale pattern for connecting complete V7 to I (Figure 5-21).

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Figure 5-21. Scale Pattern to Connect Complete V7 to I b. Connecting the V7 chord to the I (Incomplete V7). (1) Instead of voicing the V7 with a root, third, fifth, and a seventh, you can omit the fifth and double the root in an upper voice (Figure 5-22). This is called an incomplete dominant seventh chord.

Figure 5-22. Incomplete Dominant Seventh Chord (2) The root of the tonic chord is the bass note (Figure 5-23).

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Figure 5-23. Bass Note, V7 to I (3) The root of the dominant seventh chord (doubled in an upper voice) is a common tone with the fifth of the tonic chord. It remains in the same voice (Figure 5-24).

Figure 5-24. Common Tone Incomplete V7

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(4) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tone scale degree) up a half step to the root of the tonic chord. Connect the seventh (subdominant scale degree) down a half step to the third of the tonic triad (Figure 525).

Figure 5-25. Tritone Resolution Incomplete V7 (5) Scale pattern for connecting an incomplete V7 to I (Figure 5-26).

Figure 5-26. Scale Pattern to Connect Incomplete V7 to Complete I NOTE: Remember, the complete dominant seventh chord resolves to an incomplete (tripled

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root) tonic chord. The incomplete dominant chord resolves to a complete tonic chord (Figure 527).

Figure 5-27. Complete and Incomplete V7 c. Connecting the V7 to the I6. (1) The third of the tonic chord is the bass note (Figure 5-28).

Figure 5-28. Bass Note, V7 to I6 (2) Resolve the Tritone. Connect the third (leading tone scale degree) up a half step to the root of the tonic triad. Connect the seventh (subdominant scale degree) up to the

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fifth of the tonic chord (Figure 5-29).

Figure 5-29. Tritone Resolution, V7 to I6 NOTE: This is the irregular resolution of the tritone. The parallel fifths that result are unequal fifths (a diminished fifth followed by a perfect fifth). The fifths are acceptable in this irregular resolution of the dominant seventh. (3) Connect the fifth of the dominant seventh chord down a whole step to the root of the tonic chord (Figure 5-30).

Figure 5-30. Connect the Fifth, V7 to I6

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(4) Scale pattern for connecting the V7 to I6 (Figure 5-31).

Figure 5-31. Scale Pattern to Connect V7 to I6 d. Connecting the Cadential I to the V7 (Complete). (1) The fifth of the tonic six-four chord remains in the bass voice. It becomes the root of the dominant seventh chord (Figure 5-32).

Figure 5-32. Bass Note, I to V7 NOTE: Jumping the octave in the bass voice at a final cadence is common because it adds to

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the feeling of finality. (2) Resolve the cadential six-four. Move the root of the tonic chord down a half step to the third of the dominant seventh chord. Move the third of the tonic chord down to the fifth of the dominant seventh chord (Figure 5-33).

Figure 5-33. Resolve Cadential Six-four NOTE: Moving scale step three to scale step two instead of to scale step four is necessary to resolve the cadential six-four correctly. (3) Connect the fifth of the tonic chord down a whole step to the seventh of the dominant seventh chord (Figure 5-34).

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Figure 5-34. Connect the Fifth, I to V7 NOTE: If the soprano and alto voices were reversed, parallel unequal fifths would occur. These are acceptable. (4) Scale pattern for connecting cadential I to complete V7 (Figure 5-35).

Figure 5-35. Scale Pattern to Connect Cadential I to Complete V7 NOTE: The bass holds the common tone and the upper three voices descend by step (whole or half) in a I to complete V7 progression.

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SELF REVIEW EXERCISE 1. Analyze and part write the following root position dominant seventh chord progressions (Figure 5-36. Parts A, B). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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7. First Inversion Dominant Seventh Chords. a. Connecting the V to the I. (1) The root of the tonic chord is the bass note (Figure 5-37).

Figure 5-37. Bass Note, V to I (2) Keep the common tone (Figure 5-38).

Figure 5-38. Common Tone, V to I

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(3) Resolve the Tritone. Connect the seventh (subdominant scale degree) down a half step to the third of the tonic chord. The other note of the tritone is resolved in the bass voice (Figure 5-39).

Figure 5-39. Tritone Resolution, V to I (4) Connect the fifth down a whole step to the root of the tonic chord (Figure 5-40).

Figure 5-40. Connect the Fifth, V to I

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b. Scale pattern for connecting V to I (Figure 5-41).

Figure 5-41. Scale Pattern to Connect V to I SELF REVIEW EXERCISE 2. Analyze and part write the following first inversion dominant seventh chord progressions (Figure 5-42). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

8. Second Inversion Dominant Seventh Chords.

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a. Connecting V to I. (1) The root of the tonic chord is the bass note (Figure 5-43).

Figure 5-43. Bass Note, V to I NOTE: The V should function as a passing chord between the I and the I6. (2) Keep the common tone (Figure 5-44).

Figure 5-44. Common Tone, V to I

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(3) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tone scale degree) up a half step to the root of the tonic chord. Connect the seventh (subdominant scale degree) down a half step to the third of the tonic triad (Figure 545).

Figure 5-45. Tritone Resolution, V to I (4) Scale pattern for connecting V to I (Figure 5-46).

Figure 5-46. Scale Pattern to Connect V to I b. Connecting the V to the I6. (1) The third of the tonic chord is the bass note (Figure 5-47).

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Figure 5-47. Bass Note, V to I6 (2) Keep the common tone (Figure 5-48).

Figure 5-48. Common Tone, V to I6 (3) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tone scale degree) up a half step to the root of the tonic triad. Then connect the seventh (subdominant scale degree) up to the fifth of the tonic triad (Figure 5-49).

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Figure 5-49. Tritone Resolution, V to I6 NOTE: This is an irregular resolution of the tritone and is acceptable in this progression. (4) Scale pattern for connecting V to I6 (Figure 5-50).

Figure 5-50. Scale Pattern to Connect V to I6

SELF REVIEW EXERCISE 3. Analyze and part write the following second inversion dominant seventh chord progressions (Figure 5-51). CLICK HERE FOR PRINTABLE VERSION.

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CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

9. Third Inversion Dominant Seventh Chords. a. Connecting the V chord to the I6. (1) The third of the tonic chord is the bass note (Figure 5-52).

Figure 5-52. Bass Note, V to I6 (2) Keep the common tone in the same voice (Figure 5-53).

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Figure 5-53. Common Tone V to I6 (3) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tone scale degree) up a half step to the root of the tonic chord. The lower note of the tritone is resolved in the bass voice (Figure 5-54).

Figure 5-54. Tritone Resolution, V to I6 (4) Connect the fifth of the dominant seventh down a whole step to the root of the tonic chord (Figure 5-55).

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Figure 5-55. Connect the Fifth, V to I6 b. Scale pattern for the V to I6 (Figure 5-56).

Figure 5-56. Scale Pattern to Connect V to I6 NOTE: The V only resolves to the I6. SELF REVIEW EXERCISE 4. Analyze and part write the following third inversion dominant seventh chord progressions (Figure 5-57). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

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PART C

PART WRITING THE SUBDOMINANT TRIAD TO THE DOMINANT SEVENTH CHORD

10. Part Writing the Subdominant Triad to the Dominant Seventh Chord. a. Connect the IV to the V7. (1) The root of the chord is the bass note. The root of the dominant seventh chord is a Major second above the root of the subdominant chord (Figure 5-58).

Figure 5-58. Bass Note, IV to V7 (2) Keep the common tone in the same voice. This is the preparation of the seventh of the dominant seventh chord (Figure 5-59).

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Figure 5-59. Common Tone, IV to V7 (3) Move the remaining two voices down to the nearest chord tone in contrary motion to the bass voice (Figure 5-60).

Figure 5-60. Contrary Motion to Bass NOTE: The V7 is incomplete when IV progresses to V7 in order to avoid parallel fifths. b. Connecting the IV6 to V7. (1) The root of the chord is the bass note (Figure 5-61).

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Figure 5-61. Bass Note, IV6 to V7 (2) Keep the common tone (Figure 5-62).

Figure 5-62. Common Tone, IV6 to V7 (3) Move the remaining two voices by step to the nearest chord tone (Figure 5-63).

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Figure 5-63. Step Movement, IV6 to V7 NOTE: The V7 is complete when IV6 progresses to V7. c. Connecting IV7 to the V . (1) The third of the chord is the bass note (Figure 5-64).

Figure 5-64. Bass Note, IV6 to V

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(2) Keep the common tone in the same voice. This is the preparation of the seventh of the dominant seventh chord (Figure 5-65).

Figure 5-65. Common Tone, IV6 to V (3) Move the remaining two voices to the nearest remaining chord tones. First connect the ascending whole step movement and then connect the descending perfect fourth movement (Figure 5-66).

Figure 5-66. Remaining Two Voices NOTE: The root position subdominant triad does not connect with the first inversion dominant

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seventh chord. This connection would have the objectionable tritone interval in the bass voice (Figure 5-67).

Figure 5-67. Objectionable Tritone Interval

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d. Connect IV to V . (1) The seventh of the chord is the bass note. The bass note is the common tone. Keep the common tone in the bass voice. This is the preparation of the seventh of the dominant seventh chord (Figure 5-68).

Figure 5-68. Bass Note, IV to V (2) Move the remaining three voices by step to the nearest chord tones. First connect the half step movement, then the whole step movement, and finally the minor third movement (Figure 5-69).

Figure 5-69. Movement By Step, IV to V

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PART D

MELODIC PREPARATION OF THE SEVENTH OF THE DOMINANT SEVENTH CHORD

11. Preparing the seventh of the V7 chord. The seventh of the dominant seventh chord, although a chord member, functions as a dissonance. It must be carefully prepared and resolved. There are three ways to approach the seventh of a V7 chord: common tone, by step, or by leap. a.

Keep the common tone. If the chord preceding the V7 chord has the fourth scale degree, keep the common tone (Figure 5-70).

Figure 5-70. Keep the Common Tone b. Approach by step from above or below. If no common tone is present, the seventh of the V7 chord can be approached by step from above or below it (Figure-71).

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Figure 5-71. Approach by Step c. Approach by leap from below. The seventh of the V7 can be approached by a leap from below (Figure 5-72). This is not used as frequently as the other two methods listed.

Figure 5-72. Approach by Leap From Below NOTE: Never approach the seventh by a leap from above. SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Use an incomplete V7 chord when indicated. Identify each cadence on the line provided below the

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figured bass (Figured 5-73. Parts A, B). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

CLICK HERE FOR LESSON 5 PRACTICAL EXERCISE. CLICK HERE FOR LESSON 5 PRACTICAL EXERCISE ANSWERS. CLICK HERE TO PROCEED TO RETURN TO THE TABLE OF CONTENTS.

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LESSON 5 PRACTICAL EXERCISE The following items will test your understanding of the material covered in this lesson. There is only one correct answer for each item. When you have completed the exercise, check your answers with the answer key. If you answer any item incorrectly, review that part of the lesson that contains the portion involved. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO RETURN TO THE TABLE OF CONTENTS. 1. A dominant seventh chord is a four-note chord built on the fifth scale degree. A. True B. False 2. The dominant seventh chord consists of a Major triad with a note an interval of a Major seventh above the root added to the triad. A. True B. False 3. An irregular resolution of the dominant seventh chord’s tritone interval occurs when the seventh of the dominant seventh chord moves up to the root of the tonic chord. A. True B. False 4. A dominant seventh chord in a minor key is identical to the dominant seventh chord in the parallel Major key.

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A. True B. False

5. The regular resolution of the dominant seventh chord’s tritone interval satisfies the melodic pull of what two scale degree tendency tones? A. B. C. D.

Subdominant, submediant Subdominant, subtonic Supertonic, subtonic Subdominant, leading tone

Figure 1. Question 6 6. Which of the chords in Figure 1 is a dominant seventh chord structure? A. B. C. D.

1 2 3 4

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7. The figured bass identifies a dominant seventh chord in A. B. C. D.

root position 1st inversion 2nd inversion 3rd inversion

8. When both chords are in root position, A. B. C. D.

a complete dominant seventh chord should resolve to an incomplete tonic chord. an incomplete dominant seventh chord should resolve to a complete tonic chord. Both A and B are correct. Neither A nor B is correct.

9. The __________ of the dominant seventh chord is a common tone with the fifth of the tonic chord. A. B. C. D.

root third fifth seventh

10. You should double the root on a complete dominant seventh chord. A. True B. False

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Figure 2. Question 11 11. Which progressions in Figure 2 have incorrect bass figuring? A. B. C. D.

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

Figure 3. Question 12 12. What note should the alto voice have for the second chord in Figure 3?

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B B. F C. D D. None of the above is correct. A.

Figure 4. Question 13 13. The tritone in the dominant seventh chord in Figure 4 will resolve to what interval in the tonic chord? A. B. C. D.

Major 6th Minor 6th Major 3rd Minor 3rd

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Figure 5. Question 14 14. The tenor voice in the second chord in Figure 5 should be a/an F#. B. D. C. B. D. None of the above is correct. A.

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Figure 6. Question 15 15. What is the correct figured bass for the chord in Figure 6? A. B. C. D.

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16. What is incorrect with the part writing in Figure 7? A. B. C. D.

The leading tone does not resolve properly. There is improper doubling in the tonic chord. There is an objectionable hidden octave present. All of the above.

Figure 8. Question 17 and 18

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17. What note should be in the tenor voice on the first chord in Figure 8? A. F B. A C. B D. D 18. Which voice should have an F in the first chord in Figure 8? A. B. C. D.

Soprano Alto Either A or B is correct. Neither A nor B is correct.

19. In a minor key, the figured bass for a dominant seventh chord in third inversion is A.

.

B.

.

C.

.

D.

.

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Figure 9. Question 20 20. What is incorrect with the part writing in Figure 9? A. B. C. D.

The dominant seventh chord should have a doubled root. The fifth should never be omitted from the tonic chord. There is an objectionable hidden octave. There is nothing incorrect with the part writing.

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LESSON 5 PRACTICAL EXERCISE ANSWER KEY AND FEEDBACK CLICK HERE TO RETURN TO THE TABLE OF CONTENTS. Item


1.

A True (Part A, paragraph 1a)

2.

B False (Part A, paragraph 1b)

3.

B False (Part A, paragraph 5b)

4.

A True (Part A, paragraph 1b)

5.

D Subdominant, leading tone (Part A, paragraph 5a NOTE)

6.

B 4 (Part A, paragraph 1a)

7.

B 1st inversion. (Part A, paragraph 4b)

8.

C Both A and B are correct. (Part B, paragraph 6b(5) NOTE)

9.

A root (Part B, paragraph 6b(3))

Item


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10.

B False (Part A, paragraph 2)

11.

A 1 and 2 (Part A, paragraph 4a NOTE and 4b NOTE)

12.

B F (Part B, paragraph 6c(2))

13.

C Major 3rd (Part B, paragraph 6a(2))

14.

C B. (Part B, paragraph 6a(3))

15.

D (Part A, paragraph 4c NOTE)

16.

D All of the above is correct. (Lesson 1, Part B, paragraph 7c(2); Lesson 3, Part A, paragraph 2a, and Part C, paragraph 10b)

17.

C B (Part B, paragraph 6b(3))

18.

D Neither A nor B is correct. (Part B, paragraph 6b(1))

19.

D

20.

C There is an objectionable hidden octave. (Part B, paragraph 7a(2); Lesson 1, Part B, paragraph 7c(2))

. (Part A, paragraph 4d and NOTE)

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LESSON 5 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 1. Analyze and part write the following root position dominant seventh chord progressions (Figure 5-36. Part A and Part B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 5-36. Part A. V7 to I Progressions

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Figure 5-36. Part B. V7 to I Progressions

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Figure 5-36. Part A. V7 to I Progressions 1

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Figure 5-36. Part B. V7 to I Progressions

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LESSON 5 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 2. Analyze and part write the following first inversion dominant seventh chord progressions (Figure 5-42). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 5-42. V Progressions

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LESSON 5 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 3. Analyze and part write the following second inversion dominant seventh chord progressions (Figure 5-51). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT SECTION.


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LESSON 5 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 4. Analyze and part write the following third inversion dominant seventh chord progressions (Figure 5-57). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT LESSON.


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LESSON 5 ANSWERS TO SELF REVIEW EXERCISES SELF REVIEW EXERCISE 4. CLICK HERE TO PROCEED TO THE NEXT LESSON.


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LESSON 5 SELF REVIEW EXERCISE SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Use an incomplete V7 chord when indicated. Identify each cadence on the line provided below the figured bass (Figured 5-73. Part A and Part B). CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. CLICK HERE TO PROCEED TO THE NEXT LESSON.

Figure 5-73. Part A. V7 Chord Progressions

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Figure 5-73. Part B. V7 Chord Progressions

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Figure 5-73. Part A. V7 Progressions

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Figure 5-73. Part B. V7 Progressions

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