Primo Theory

Level 9

How to Use this Book

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

The Solo Ear Training Exercises

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

The Dictation Exercises

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

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

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

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

Contents
Section 1 Section 2 Section 3 Section 4 Section 5 Section 6 Section 7 Section 8 Section 9 Section 10 Section 11
Rhythm and Meter Keys and Scales Intervals Chords Harmonic Analysis The Cadence Transposition Sight Singing Melodic Dictation Composition: The Melodic Line Definitions

page 4 11 22 32 38 45 53 55 59 61 66

Section 1 Rhythm and Meter

Note and Rest Values

The graphic below shows a hierarchy of note values. Each note or rest divides naturally into two equal parts called divisions. The whole note divides into two half notes, the half note divides into two quarter notes, and so on. Rests are divided the same way.
whole note half note quarter note eighth note sixteenth note whole rest

half rest quarter rest eighth rest sixteenth rest

A dot placed after a note or rest increases the length of the note or rest by one-half of its original value. A dotted note or rest can divide into three equal parts.
. = . = . = . = . =

QQQ

. =

. =

1.

Fill in the correct number in each blank. A A A An A An An

. .

note equals note equals note equals

notes. notes. notes. notes. rests. rests. rests.

A A A A A A A
.

note equals note equals note equals note equals note equals rest equals rest equals

notes. notes. notes. notes.

Q rest equals
rest equals rest equals

note equals

Q rests. Q rests.

notes.

Simple and Compound Time

There are two basic types of beat divisions: In simple time the beat is divided into two equal parts. The top number of a time signature in simple time is 2, 3 or 4. 2 4 3 4 Examples: 4 4
beat unit

Simple
.

division

In compound time the beat is divided into three equal parts. The top number of a time signature in compound time is 6, 9 or 12. 6 9 12 6 8 Examples: 8 8 4

beat unit division

Compound

In compound time, the numbers of the time signature are usually interpreted differently than those of the simple time signature. The upper number of a compound time signature does not directly indicate the number of beats per measure. To find the number of beats per measure, divide the upper number by three.

6 8 6 8

2 beats per measure with the q note as the beat.

The lower number of a compound time signature represents the largest possible division of the beat.
The eighth note eis the division of the beat.

2.

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

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

= = = = =

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

= = = = =

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

= = = =

Meter is the pattern of strong and weak beats in a measure. Every time signature indicates a certain pattern of strong and weak beats. Duple meter has two beats per measure; one strong beat and one weak beat. Example: @4 Triple meter has three beats per measure; one strong beat and two weak beats. Example: #4 Quadruple meter has four beats per measure; two duple meter patterns with the first and third beat as the strong beats. Example: $4

2 4 1

Duple Meter
2
weak Strong

3 4 1

Triple Meter
2 3
weak weak

Strong

4 4 1

Quadruple Meter
duple

2
weak

duple

STRONGEST

Strong

weak

Asymmetrical meter is a combination of duple and triple patterns which create an irregular pulse, such as quintuple meter (five beats per measure) or septuple meter (seven beats per measure). Two common asymmetrical meters are those with 5 or 7 as the top number. Example: %4 &8 The combination of meter and beat divisions is shown here: 4 6 4 8 . . beat unit beat unit
1
divided by 2 Simple time
2 3

divided by 3 Compound time

Triple meter

Duple meter

3.

2 4

Fill in the correct answers. Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________
. . .

6 8 . 9 8 .

Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________ Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________

5 4 3 4

Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________ Duple (D), triple (T), quadruple (Q) or asymmetrical (A) meter? ________ Simple (S) or compound (C) time? ________

4.

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

qq q q qq q
Simple

q q q q q q.
Compound

qqqq h

Simple

qq q.

q qq

Simple

q. q q q q q e
Compound

eq e h q q
Asymmetrical

q qq q
Simple

Compound

q qqq q q q q
Asymmetrical
5.

qq qqqqq
Compound

Simple

q. q q

Simple

q e

Below each arrow, write the one note that completes the measure.

3 h 4 6 8 q qq q 5 e 8

q. q

qq

e qqqq

qqqq q q

q q q. q

qqqe q q q qq qq q qqq q e q.

q q q

qqqqq qqqq

Reading Rhythms
6. Clap the rhythms as you count aloud.
1

Watch the time signatures.

@4 ryq \ dgyq \ dffgry\ rdgry\ dgydgy\ rdgrdg\ dffgq @4 ryq \ dgyq \ dffgry\ rdgry\ dgydgy\ rdgrdg\ dffgq #4 r.gryq \ rdgr.g q \ dgydgyry\ q r.gr.g\ dffgdffgq #4 q. edffg\ q. edgy\ q. er.g \ q. erdg\ q. er.g\ dffgr.g q $4 ryEedffgry\ EeEer.g q \ q. eEedgy\ E dgdgE rdgq $4 dgydgyS dfgS dfg\ ryS dgS ryS dgS \ EeE dgEeE dg\ w
^8 q. q. \ q erty\ q eq e\ rtyq e\ eq rty\ q eq. ^8 q. q. \ q erty\ q eq e\ rtyq e\ eq rty\ q eq.

10

98q. rtyq e\ rdgyrtyq e\ rrdg rdffgrty\ Eeeq. q. 98q. E ryq e\ E dgyE ryq E\ q dg E dffgrty\ rtyq. q.

11

More Rhythm Practice

On your PC, take the following route to find more rhythm exercises:
PrimoTheory.com Resources Level 9 Page 8

Ear Training: Rhythmic Dictation

The rhythms for assignment 7 may be played by the teacher or the student can complete this assignment alone by using web applications on a mobile device or PC. Scan the QR code to access the rhythms to be dictated: On your PC, take the following route:
MyTheoryApp.com Level 9 Rhythmic Dictation: Assignment 7

You may also use this address to access the app on your mobile device.

Rhythmic Dictation Exercises

7.
A

Using the web application given above, listen to the rhythms and write the notation on this sheet. You will hear four measures of rhythmic dictation. The first measure is given.

3 qqqq q 4 3 q. 4 4 4 qqq q 4 4 q. 6 q. 8 6 q 8

eq q q q. e

qq qqqq q q q q

eqqqq q

More exercises beyond the assignment on this page are available. Scan the code: On your PC:
MyTheoryApp.com Level 9 Rhythmic Dictation: Extra Rhythms

10

The Thirty-Second (32nd) Note and Rest

A thirty-second note is 1/32 the value of a whole note. It consists of a note head, stem and three flags or beams. The thirty-second rest denotes silence for the same duration. Listed here are some common thirty-second note groupings and their single-note equivalents:
= = =

Eight 32nd notes are in one quarter note Four 32nd notes are in one eighth note Two 32nd notes are in one sixteenth note

8.

Write the correct number in each blank. An e note equals A q note equals A w note equals notes. notes. notes. A e. note equals A h note equals A q . note equals notes. notes. notes.

9.

Under each arrow, write the one note needed to complete the measure.

2 4 4 4
10.

3 4

6 8 3 8 9 8
.

Under each measure of exercise 9, label the meter as simple, compound or asymmetrical.

Section 2 Keys and Scales

The major scale is a series of eight successive tones arranged in the following ascending order of whole steps (W) and half steps (H):

11

H W W W H C Major: W W The tone that begins and names the scalethe first scale degreeis called the tonic or keynote.
The sharps or flats in a key signature will always appear in the same order known as the order of sharps and the order of flats.

`44444444444645-=
1

Tonic

w
5

w
6

w
7

8 (1)

`44454 `44454 144454 144454

F CGDAE B BE A DGCF

Order of Sharps

Order of Flats

Major SHARP Key Signatures To find the name of a major key with sharps in the key signature: a) Find the last sharp of the signature. b) Go up a *diatonic half step from the last sharp to find the tonic (keynote). Major FLAT Key Signatures For key signatures with flats, the next-to-last flat in the key signature names the tonic.
1.

`464644 `464644
E Major Ab Major

wE (tonic) w Ab (tonic)

Name the major key for each key signature. Example: A Maj, Bb Maj, etc.

`4456-4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-4456-=
*A diatonic half step is a half step which consists of two different letter names.

12

The Relative Minor

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

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

`444444445-= `444444445-=
1
2 3 4 5 6 7 8 (1)

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

8 (1)

`44 `444444 `44

G Major

w ()
G

w
E

half steps

e minor

2.

Name the minor key represented by each key signature. Use abbreviations and lowercase letters (e min, bb min, etc.).

`544-444-444-444-444-4441544-444-444-444-444-444`544-444-444-444-=

The Circle of Fifths

The Circle of Fifths is a schematic representation that is used to illustrate the relationships among various key signatures and the major and minor keys associated with them. In the illustration below, the major keys are represented by the uppercase letters outside the circleC, Bb, etc. The minor keys are represented by the lowercase letters inside the circlea, f#, etc.

13

`45`466`456`456`456`465`4566`455`46456`464`4566 - `4645- `4456`4456C a F G Bb d e D g b Eb c f# A f c# Ab a# bb d# eb g# ab E C# Db F# Gb B Cb

`45-

Moving clockwise around the circle of fifths, notice that (1) sharps are added to the signature one at a time, and (2) each new key begins a perfect 5th higher than the previous key. Moving counter-clockwise around the circle of fifths, notice that (1) flats are added to the signature one at a time, and (2) each new key begins a perfect 5th lower than the previous key. The relative major and minor keys are paired and share the same key signature. Some sharp and flat keys will overlap at the bottom of the circle. These keyscalled enharmonic keysare two

different ways to notate the same pitches, or scales.

14

Parallel Major and Minor Keys

Parallel keys are the major and minor keys that share the same tonic, or keynote. For example, C major is the parallel major of C minor. Parallel keys do not share the same key signature. Examples of parallel major and minor key signatures:

`4456-4456-= `4456-446-=
Bb Major bb minor A Major a minor The Three Accidental Rule: In the above examples, notice that there is a difference of three accidentals between parallel keys. The key of Bb major has two flats; Bb minor has five flatsa difference of three flats. The key of A major has three sharps; A minor has no sharpsa difference of three sharps. Use the circle of fifths to find a parallel key of a major or minor key:

MAJOR to minor
Starting from a major key, go three key signatures counterclockwise to find the parallel minor.
1$ 2$ 3$ 0

minor to MAJOR
Starting from a minor key, go three key signatures clockwise to find the parallel major.
1$ 2# 3# 4# 2$ 3$ 4$ 0

C Maj

1#

a min

1# 2#

c min
7# 5$ 5# 7$

A Maj
7# 5$ 5# 7$

3#

4$

4#

6# 6$

6# 6$

In this example, start at C major and go three keys counterclockwise to find its parallel minor, which is C minor.

In this example, start at A minor and go three keys clockwise to find its parallel major, which is A major.

At times you will cross over from sharps to flats and vice versa. For example, G major (one sharp) and G minor (two flats) are parallel keys. If you were to start at G minor, you will pass over the following key signatures: (G minor)2b1b0b1#(G major)

3.

15

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

`444544444 1444544444 `444544444 1444544444 `444544444 1444544444 `444544444 1444544444 `444544444 1444544444 `444544444 1444544444
A Major a minor B Major b minor F Major f minor G Major g minor

`444544444 1444544444 `444544444 1444544444 `444544444 1444544444 `444544444 1444544444 `444544444 1444544444 `444544444 1444544444
C Major c minor D Major d minor E Major e minor

16

The Minor Scales

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

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

Natural Minor Scale

Harmonic Minor Scale

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

a minor
Aug 2nd

Melodic Minor Scale

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

() ()

a minor

(natural minor form)

Important note: When altering the 6th or 7th scale degrees, natural signs are used when raising flatted notes a half step.

Some ascending melodic minor scales will have a natural sign and a sharp sign.
6 7

`5444444444-= `5444444444-=
f melodic minor (ascending) d melodic minor (ascending)

17

4.

`5444444444444444444-= 15444444444444444444-= `5444444444444444444-=

c harmonic minor e harmonic minor
5.

On each staff: a) Write the key signature for the minor scale given. b) Write the named harmonic minor scale, ascending then descending. Add accidentals as needed. g harmonic minor

15444444444444444444-= `5444444444444444444-= 15444444444444444444-=

d melodic minor c# melodic minor

On each staff: a) Write the key signature for the minor scale given. b) Write the named melodic minor scale, ascending then descending. Add accidentals as needed. b melodic minor

Ear Training: Scale Identification

Scan the QR code to practice distinguishing between the three basic forms of minor scale:
MyTheoryApp.com Level 9 Scales

18

The Chromatic and Whole-Tone Scale

The Chromatic Scale

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

ascending

descending

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

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

6.

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

7.

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

19

The Whole-Tone Scale

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

`444444445-=
A variety of different spellings can be used for the same scale: or When this whole-tone scale is transposed up a half step, you find the second fundamental form of the whole-tone scale, which is also subject to a variety of spellings: or This scale is considered a synthetic, or artificial scale. All the tones in this scale are the same distance apart; no single tone stands out. As a result of this, a strong sense of tonic is lacking. Some composers, such as Debussy, used this scale to evoke an elusive, floating quality.
8.

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

9.

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

20

REVIEW: Section 2
Name the major key for each key signature. Use abbreviations. Example: A Maj, Bb Maj.

1.

`4456-4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-4456-=
Name the minor key for each key signature. Use abbreviations. Example: a min, f# min.

2.

`544-444-444-444-444-445-= 1544-444-444-444-444-4466-=
Write the key signatures for the parallel major and minor keys.

3.

`444544444 1444544444 `444544444 1444544444

E Major e minor Ab Major ab minor

`444544444 1444544444 `444544444 1444544444

Bb Major bb minor B Major b minor

21

4.

`5444444444444-= `5444444444444-=
e harmonic minor
5.

On each staff: a) Write the key signature for the minor scale given. b) Write the named harmonic minor scale, ascending only. Add accidentals as needed. g harmonic minor

`5444444444444444444-= 15444444444444444444-=
f# melodic minor
6.

On each staff: a) Write the key signature for the minor scale given. b) Write the named melodic minor scale, ascending then descending. Add accidentals as needed. c melodic minor

Write a one-octave chromatic scale from the given notes. ascending

descending

7.

`5444444444444444444-= 15444444444444444444-= `54444444444-=

Write a one-octave ascending whole-tone scale from the given note.

22

Section 3 Intervals

Chromatic and Diatonic Half Steps

The two tones of a chromatic half step are spelled with the same letter name. On the staff, the notes will appear on the same line or space.

`44444445
both spaces

w w
F

F#

w w
both lines B

Bb

The diatonic half step consists of two different letter names. On the staff, the two notes appear as space-to-line or line-to-space.

`44444445
space to line

w w
F

line to space

Gb

w w
E F

1.

Name the pitch a chromatic half step down from each given pitch.

A2.

BB-

CC-

DD-

EE-

FF-

Name the pitch a chromatic half step up from each given pitch.

A3.

4.

5.

`544-444-444-444-444-4466 -= 1544-444-444-444-444-4466 -= `544-444-444-444-444-4466 -=

Write a chromatic half step down from each given note. Use eighth notes. Write a diatonic half step up from each given note. Use quarter notes.

Write a chromatic half step up from each given note. Use eighth notes.

6.

`544-444-444-444-444-4466 -= 1544-444-444-444-444-4466 -= 1544-444-444-444-444-4466 -=

Write a diatonic half step down from each given note. Use quarter notes.
D# E$ B# C

23

When two notes share the same pitch but are spelled differently, they are enharmonic. Every key on the piano has at least two different spellings.

`4444444
w w
B$ C

w w

On the keyboard, a given key can sometimes have three different spellings when double sharps or double flats are used.

`44444555555555555
B C# D$ A#

w w w

w w w

7.

`5446445-444444-4444466 -= 15446445-444444-4444466 -= `5446445-444444-4444466 -=

w w w w w w w

In each measure, write two enharmonic equivalents of the given note.

24

Major and Perfect Intervals

Intervals built above the tonic tone of a major scale are either major intervals or perfect intervals.
All intervals are classified by type and size.

type: Perfect size: Unison

`44444444444444444444-=
ww
(Prime) Major 2nd

ww

Major 3rd

w w

Perfect 4th

w w

Perfect 5th

w w

Major 6th

w w

Major 7th

w w

Perfect 8ve

w w

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

`544444444444 `4444
no accidentals only sharps only flats

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

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

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

25

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

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

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

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

`44444 `44 `44444 `44

=
P5 M2 down Perfect 4th

P5

M2 up

Major 6th

8.

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

`5566 6-4566 -4566 -4566 -4566 -4566 -4566 -= 15566 6-4566 -4566 -4566 -4566 -4566 -4566 -= `5566 6-4566 -4566 -4566 -4566 -4566 -4566 -= 15566 6-4566 -4566 -4566 -4566 -4566 -4566 -= `5566 6-4566 -4566 -4566 -4566 -4566 -4566 -=
Per 5th

w w

Maj 6th

w w

Per 4th

w w

Per 5th

w w

Maj 6th

w w

Per 4th

w w

Maj 3rd

w w

Per 5th

Maj 6th

Per 4th

Per 5th

Maj 6th

Per 4th

Maj 3rd

Per 5th

w w

Maj 6th

w w

Per 4th

w w

Per 5th

w w

Maj 6th

w w

Per 4th

w w

Maj 3rd

w w

Per 5th

Maj 6th

Per 4th

Per 5th

Maj 6th

Per 4th

Maj 3rd

Maj 3rd

Maj 3rd

Maj 3rd

Maj 3rd

Maj 3rd

Maj 3rd

Maj 3rd

26

Minor Intervals
A major interval made one half step smaller becomes a minor interval. The minor intervals are as follows: minor 2nd, minor 3rd, minor 6th, and minor 7th.

`4565-4556- `4565-4556`4565-4556- `4565-4556Major 2nd

ww w w

minor 2nd

ww w w

Major 3rd

w w w w

minor 3rd

w w

Major 6th

minor 6th

Major 7th

minor 7th

w w

Be sure to use the correct spellinga minor 6th should be spelled or notated as a 6th. For example, a minor 6th above C is Ab, not G#.

`45656-55544455655Maj 6th min 6th NOT a 6th

w w

w w

same pitches

w w

9. In each measure, construct the indicated interval up from the given pitch.

Use half notes.

Maj 3rd

h h h

min 3rd

h h h

Maj 6th

min 6th

Maj 2nd

min 2nd

Maj 3rd

min 3rd

Maj 2nd

min 2nd

Maj 7th

min 7th

Maj 7th

min 7th

Maj 3rd

min 3rd

Maj 6th

min 6th

h h

h h

`44-446-= 144-446-= `44-446-= 144-446-=

Maj 3rd

min 3rd

`44-446-= 144-446-= `44-446-= 144-446-=

Maj 6th

min 6th

`44-446-= 144-446-= `44-446-= 144-446-=

Maj 7th

min 7th

27

Diminished Intervals
Perfect and minor intervals become diminished when decreased in size by a half step. When labeling diminished intervals, the abbreviation dim will sometimes be used.

`45655-45556- `45655-45556`45655-45556- `45655-45556w w

minor 3rd diminished 3rd

w w w w

w w
Perfect 4th

Perfect 5th

diminished 5th

diminished 4th

w w w

minor 7th

diminished 7th

When a perfect or minor interval becomes diminished, the interval size (2nd, 3rd, etc.) will remain the same but the interval type (major, augmented, etc.) will be different. Sometimes this requires the use of a double sharp ( ), which raises a pitch a whole step, or a double flat ( ), which lowers a pitch a whole step.

`445-55555444556min 3rd

w w

dim 3rd

w w

same pitches

NOT a 3rd

ww

`45556-45556-45556-45556-45556-45556-= 145556-45556-45556-45556-45556-45556-= `45556-45556-45556-45556-45556-45556-=

dim 7th

h h h

dim 4th

h h h

dim 3rd

dim 5th

dim 4th

dim 3rd

dim 3rd

dim 5th

dim 7th

h h

dim 3rd

dim 4th

h h

dim 5th

dim 7th

dim 5th

dim 4th

dim 3rd

dim 7th

dim 4th

h h h

10.

Construct diminished intervals up from the given pitches. Use half notes.

28

Augmented Intervals
Perfect and major intervals become augmented when increased in size by a half step. When labeling augmented intervals, the abbreviation Aug will sometimes be used.

`45655-45556- `45655-45556`45655-45556- `45655-45556w w

Major 2nd Augmented 2nd

w w w w

w w
Perfect 4th

Augmented 4th

w w w

Perfect 5th

Augmented 5th

Major 6th

Augmented 6th

The augmented prime is a half step between two notes of the same letter name. For example, C-C# is an augmented prime but C-Db is not.

`45655- `45556Perfect Prime

w w

Augmented Prime

w w

When a perfect or major interval becomes augmented, the interval size (2nd, 3rd, etc.) will remain the same but the interval type (major, augmented, etc.) will be different.

`45556-45556-45556-45556-45556-45556-= 145556-45556-45556-45556-45556-45556-= `45556-45556-45556-45556-45556-45556-=

Aug 6th

h h h

Aug 4th

Aug 2nd

Aug 5th

Aug 2nd

Aug 4th

Aug 5th

Aug 6th

h h

Aug 2nd

Aug Prime

Aug 6th

Aug 5th

Aug 4th

Aug 2nd

Aug 3rd

Aug 4th

11.

Construct augmented intervals up from the given pitches. Use half notes.

Aug 3rd

h h

Aug 5th

REVIEW: Section 3
1.

29

2.

3.

`544-444-444-444-444-4466 -= 1544-444-444-444-444-4466 -= `54464465-4444464-4444466 6-=

Write a diatonic half step down from each given note. Use quarter notes. In each measure, write two enharmonic equivalents of the given note.

Write a chromatic half step up from each given note. Use eighth notes.

`55656 6 -4566 -4566 -4566 -4566 -4566 -4566 -= 1556656 6-4566 -4566 -4566 -4566 -4566 -4566 -= `5566 56 -4566 -4566 -4566 -4566 -4566 -4566 -= 15566 56 -4566 -4566 -4566 -4566 -4566 -4566 -=
Maj 7th

4.

In each measure, construct the named interval above the given pitch. Use whole notes.

w w

Maj 6th

w w

Per 4th

w w

Maj 3rd

w w

Maj 2nd

w w

Per 8ve

w w

Per 5th

w w w

Per 5th

min 6th

min 7th

Per 4th

min 7th

min 2nd

Per 4th

dim 4th

dim 3rd

dim 5th

dim 7th

dim 5th

dim 4th

dim 7th

Aug 5th

Aug 4th

Aug 5th

Aug 6th

Aug 4th

Aug 6th

Aug 5th

30

Ear Training Drills: Intervals

The following exercises are designed to develop your skill in recognizing and intoning major and perfect intervals above or below a given tone. Your singing range should be noted on the keyboard provided on this page.

Solo Drill: Singing Intervals

This drill is design for solo practice. Check your progress from time to time by recording a session and listening to that recording critically, or by performing this drill in the presence of your teacher. Be sure that you are forming the intervals correctly on the keyboard.
1)

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

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

Students singing range:

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

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

3) 4)

Teacher/Student Drill: Recognizing Intervals

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

31

Interval Reference
For each interval, list two melody references - one for the ascending form and one for the descending form.

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

(ascending) (ascending) (ascending) (ascending) (ascending) (ascending) (ascending)

(descending) (descending) (descending) (descending) (descending) (descending) (descending)

Ear Training: Interval Identification

Scan the QR code to practice identifying major and perfect intervals:
MyTheoryApp.com Level 9 Intervals

32

Section 4 Chords

A chord is made up of three or more different tones sounded simultaneously. Chords may be implied when the tones are sounded one at a time (broken chord). A triad is a type of chord that has only three tones stacked in thirds (skips). The MAJOR triad contains a major third with a minor third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth.
perfect fifth root
5th 3rd

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

The difference between a major and minor triad is found in the 3rd of the chord.

`464
G Major

w w w

w w w

w w w

minor thirdthree half steps MAJOR thirdfour half steps

MAJOR thirdfour half steps minor thirdthree half steps

3rd is lowered a half step

(( = 555-= `464-4555g minor D Major

w w w

w w w

d minor

w w w

1. Construct a major triad from each note.

2. Construct a minor triad from each note.

`4444444444444444445-= 14444444444444444445-= `4444444444444444445-= 14444444444444444445-=

w w w w w w w w w
w w

w w

w w

33

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

minor thirdthree half steps minor thirdthree half steps

If you lower the 5th of a minor triad by a half step, it becomes a diminished triad.

`464-4555-=
d minor d diminished .

w w w

w w w

`4444444444444444456-= 14444444444444444456-=
w
w

3. Construct a diminished triad from each note.

w w

w w

w w

w w

w w

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

MAJOR thirdfour half steps MAJOR thirdfour half steps

If you raise the 5th of a major triad by a half step, it becomes an augmented triad.

`464-4555-=
F Major F Augmented .

w w w

w w w

`4444444444444444456-=
w

4. Construct an augmented triad from each note.

34

14444444444444444456-=
w
5.

Spell major triads from each given root. Use uppercase letters. Example: G - B - D F# Ab BDb Spell minor triads from each given root. Use lowercase letters. Example: g - bb - d eb ff# bSpell diminished triads from each given root. Use lowercase letters. Example: g - bb - db agcf# eg# bdb -

6.

7.

8.

Spell augmented triads from each given root. Use uppercase letters. Example: G - B - D# FAb EEb ABb BGb -

9.

Which major triads can be spelled without any accidentals?

10. Which minor triads can be spelled without any accidentals? 11. Which diminished triad can be spelled without any accidentals? 12. Fill in the blanks below with one of the following: Major, minor, Augmented, diminished

a) When the 5th of a major triad is raised by a half step, the triad becomes b) When the 5th of a minor triad is lowered by a half step, the triad becomes

35

Ear Training Drills: Triads

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

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

Students singing range:

2)

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

3) 4)

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

App Drills: Major, Minor, and Diminished Triads

Scan the QR code to practice identifying major, minor, and diminished triads:
MyTheoryApp.com Level 9 Triads

36

Chord Inversions
When the root of a chord is the lowest tone, the chord is in root position. If the root is not the lowest tone of a chord, the chord is inverted. A chord may appear in the following positions: Root position: The root is the lowest tone. First inversion: The 3rd is the lowest tone. Second inversion: The 5th is the lowest tone.

`444444444545-=
root position first inversion second inversion The chords shown above are all F major chords. As long as the tones F-A-C are used, they can be arranged in any order and the name of the chord will remain F major.
13.

w w root w

w w w 3rd

w w w 5th

`4444456-444444-444444-= 14444456-444444-444444-= `4444456-444444-444444-= 14444456-444444-444444-=

root position first inversion second inversion

In each measure, write the named triad in root position, first inversion and second inversion. C Major e minor D Augmented

a diminished

bb minor

d minor

Eb Augmented

c# diminished

A Major

e diminished

f# minor

37

How to find the root of an inverted chord: A basic chord in root position (triad) will appear as a stack of thirds. A basic chord in inversion will contain the interval of a 4th. The top note of the interval of the fourth is the root of the chord.

`44-445-445- `44-445-4454th
root

first inversion

w w w

w w w

w w w

second inversion

w w w

w w w

4th

w w w

root

14.

`445-445-445-445-445-445-445-446-= 1445-445-445-445-445-445-445-446-=
w w w w w w w w w w w w

Name the root of each chord.

w w w

w w w

w w w

w w w

w w w
w w w

w w w w w w

w w w w w w

w w w

w w w

15.

The following chords are in root position, first inversion or second inversion. Identify each chord by name and type. Use abbreviations. Example: C Maj, a min, f dim, E Aug.

`4456-4455-4455-4455-4545-4455-= 14456-4455-4455-4455-4545-4545-= `4456-4455-4455-4545-4545-4455-=

w w w w w w w w w w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

38

Section 5 Harmonic Analysis

Harmony is the study of chordshow they are formed, how they interact with each other and how they interact with other musical elements such as melody, rhythm and form. These various elements combine to express musical ideas and to make musical statements. Our study of harmony will focus on the practice of composers of Western Europe between the years 1600 and 1900. This period encompasses the Baroque, Classic and Romantic periods of music, and is referred to as the common practice period. A diatonic scale is a seven-note scale made up of five whole steps and two half steps for each octave. The standard major and minor scale are examples of diatonic scales. A chord may be built on any tone of the major or minor scale. When analyzing the chord of a major or minor key, roman numerals are used to identify (1) the scale degree the chord is built on and (2) the quality of the chord. Uppercase roman numerals are used for major and augmented chords; lowercase roman numerals are used for minor and diminished chords. Major chorduppercase roman numeral (I,V) Minor chordlowercase roman numeral (i,iv) Augmented chorduppercase roman numeral with + sign (III+) Diminished chordlowercase roman numeral with sign (vii )
o o

The triads formed by the major scale:

`4444444446-=
C Maj: I ii iii IV V vi viio

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

How to Find the Roman Numeral of a Chord When analyzing a chord on a single staff, use the following checklist to find the roman numeral of that chord. Make it a habit to go down this list in order: 1) Identify the key. 2) Identify the root of the chord in question. If the chord is inverted, find the root note. 3) Identify scale degree of the root note. 4) Identify the chord type (major, minor, etc.) How to Write Roman Numerals For uppercase roman numerals, draw a border along the top and bottom For lowercase roman numerals, write them smaller and dot the ones +

39

1.

C Major:

Eb Major:

`44444444444444446-= `44444444444444446-= 144444444444444446-=

ii

For each line a major key is given. Write the correct roman numeral under each triad.

w w w

w w w

D Major:

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

The Roman Numerals for Harmonic Minor

In minor keys, the roman numerals vary according to the form of minor. The triads formed by the harmonic minor scale are shown here.

`4444444446-=
a min: i

w w w w w w w
iio III+ iv V VI

viio

2.

b minor:

f minor:

c minor:

`44444444444444446-= `44444444444444446-= 144444444444444446-=

w w w

For each line a minor key is given. Write the correct roman numeral under each triad.

w w w

w w w

w w w

w w w

w w w w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

40

3.

Roman numeral:
4.

`554446-4446-4446-4446-4446-= 1554446-4446-4446-4446-4446-=
Roman numeral: Major key:

Each measure contains a major key signature and a triad. Name the key and identify the roman numeral of each triad according to the key. Major key:

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

w w w

Roman numeral: Minor key:

Roman numeral:
5.

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

Each measure contains a minor key signature and a triad. Name the key and identify the roman numeral of each triad according to the key. Minor key:

w w w

w w w

w w w

w w w
w w w

w w w

w w w

`4446-4446-4446-4446-4446-= `4446-4446-4446-4446-4446-=
Bb Maj: I G Maj: ii Ab Maj: IV D Maj: V F Maj: vi eb min:
i

In each measure, a key is identified and a roman numeral is given. Write the appropriate triad above every roman numeral.

c# min: iv

a min: iio

bb min: V

g# min: VI

41

Inversions and Arabic Numerals

In harmonic analysis, chord inversions are indicated by arabic numerals placed to the right of the roman numerals. For example, I6. The arabic numerals represent some or all of the intervals found above the bass (lowest chord tone) in the most compressed possible arrangement of the chord.

`4454444444444-=
I I6
F Maj:

w w w

w w w

w w w

I6 4

root position

first inversion

second inversion

Even though the first inversion has two intervals above the bass, the 3rd and 6th, it is the general practice to omit the arabic numeral 3 when indicating first inversion.

6.

In each measure a different major or minor key signature is given. a) Below each chord, write the appropriate roman numeral. b) Write the arabic numeral(s), if applicable, indicating the inversion.

`456446-4446-4446-4446-4446-= 1445646-4446-4446-4446-4446-= `445646-4446-4446-4446-4446-= 1445646-4446-4446-4446-4446-=

Eb Maj:
6 4

w w w

w w w

w w w

f# min:

Ab Maj:

D Maj:

w w w

d min:

w w w

w w w

c# min:

w w w

w w w

C Maj:

B Maj:

c min:

w w w

b min:

w w w

w w w

g min:

w w w

G Maj:

w w w

f min:

b min:

w w w

F Maj:

w w w

w w w

E Maj:

w w w

a min:

w w w

g# min:

Bb Maj:

w w w

e min:

w w w

42

Four-Part Harmony
The term four-part harmony refers to music written in four parts, or voices, each of which retains its identity as a distinct melodic line to some degree. In its simplest form, the voices all move with the same rhythm, such as you would find with a simple church hymn. However, in the more advanced compositions in this style, such as the chorales of J.S. Bach, there is a considerable variety of rhythm and melodic contour among the voices. Such music, which has two or more distinct melodic lines playing a more or less equal role in the creation of the musical expression, is known as polyphonic music. The four parts, from the highest to lowest, are the soprano, alto, tenor and bass. In four-part harmony, the voices may be arranged on the grand staff in two different ways: (a) The bass and tenor are on the bass staff; the alto and soprano are on the treble staff. (b) The soprano, alto and tenor are on the treble staff; the bass voice is on the bass staff. (a) (b) soprano w w w soprano w w w alto w w alto w w tenor w w w tenor w w bass w bass

`44455 144455

`44455 144455

7.

Under each chord indicate which voice has the black note head (soprano, alto, tenor, bass).

`4445444444444444455 14445444444444444455 `4445444444444444455 14445444444444444455

43

Analyzing Four-Voice Chords on the Grand Staff

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

C Maj: ?

First, name the notes,

D F A D

eliminate one of the doubled notes,

D F A D

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

The chord is a D minor chord.

C Maj:

C Maj:

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

C Maj: I

`4444444446-=
ii iii IV V vi viio

And so, the answer:

C Maj: ?

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

C Maj: ii

44

8.

The key is given for each example. Identify each chord by roman numeral. Indicate inversions with arabic numerals if needed. (Extra staves are provided below...)

`44454 144454 `44454 144454 `44454 144454 `44454 144454

A Maj:

w w w w w w w w

F Maj:

w w w w w w w w

b min:

B Maj:

`44454 144454 `44454 144454 `44454 144454 `44454 144454

d min:

w w w w w w w w

g min:

w w w w w w w w

C Maj:

eb min:

`44454 144454 `44454 144454 `44454 144454 `44454 144454

f# min:

w w w w w w w w

Ab Maj:

e min:

w w w w w w w w

Bb Maj:

Section 6 The Cadence

A cadence is generally defined as the last two chords of a musical phrase. The cadence functions as a musical punctuationa point of rest, or repose, separating musical phrases.

45

There are two basic types of cadence. The first type ends on the tonic chord; it closes a phrase with a sense of completion, and creates an effect similar to that of a period at the end of a sentence. The second type of cadence ends on a chord other than the tonic; it closes a phrase with the sense that more is to come, that the pause in only momentary. The effect of this type of cadence can be likened to that of a comma. And how do we know that a phrase has reached a cadence point? Play these two phrases from Frolicking by Berens. As you play the melody with the right hand, play the chords indicated by the roman numerals with the left hand.

`44445-44445-44445-444456`44445-44445-44445-444456C Maj: I V I V temporary pause I V I V

I conclusive ending

The first phrase comes to a short pause in measure four, but the pause is only temporarythere is a sense that more is to come. It is not until the end of the second phrase in measure eight that we sense that we have reached a definite end to the musical thought. In this section you will study harmonic cadences and learn how to write them.

A Quick Note...
Interchangeable Chord Symbols When using roman numerals, figures such as I(i) or iv(IV) will be used from time to time to indicate that a major or minor chord can be used interchangeably in the chord progression being discussed. For example, I(i) - V means the same as I - V or i - V. Shorthand for Key Indications From time to time, major and minor keys will be indicated by the following shorthand: a single uppercase letter plus a colon to indicate a major key; a single lowercase letter plus a colon to indicate a minor key. For example: C: (also, C Maj:) for C Major, or c: (also, c min:) for c minor.

46

The Authentic Cadence

The term authentic cadence encompasses all varieties of VI(i) or viioI(i) progressions occurring at the end of a phrase or composition. Any of the chords my be inverted. The Authentic Cadence

VI

In minor keys, the 3rd of the dominant chordthe leading toneis usually raised a half step, making the dominant chord major. The authentic cadence is the most common of the cadence types and the most frequently used to end compositions. This is because the V and viio chord contain scale degrees 7 and 2, both of which have a strong tendency to resolve to scale degree 1 (tonic). There are two types of authentic cadencethe perfect authentic cadence and the imperfect authentic cadence.

The Perfect Authentic Cadence

The perfect authentic cadence is a VI(i) cadence with the following characteristics: The tonic tone (scale degree 1) is in the soprano and bass of the final I chord. The root of each chord is in the bass.

`44454 144454
C: V
root

w w w root w

w w w w
I

tonic tone

tonic tone

The perfect authentic cadence is the most conclusive sounding of all cadences.

The Imperfect Authentic Cadence

The imperfect authentic cadence is also a VI(i) cadence but one or both of the chords may be inverted, or the tonic tone is not in the soprano in the final chord. If only one of the conditions of a perfect authentic cadence is not met, the cadence is considered to be imperfect.

`44454 144454
not the root

C: V6

w w w w

w w 3rd scale degree, not tonic w w

I

47

Voice Leading Principles for the Cadences

In four-part harmony, the aim is to create a texture in which each voice forms a distinct melodic line that blends in good harmony with the other voices. The musical and logical progression of each voice from one chord to the next is known as voice leading.

Voice Leading Rules for the Authentic Cadence

Both chords are in root position. The root of each chord is doubled. The common tone is repeated in the same voice. The remaining voices move up a step: Scale degree 2 moves up to 3 Scale degree 7 moves up to 1 (tonic)

`44454 144454
to 3 common tone
C: V

w w
7

to

w w

w w
1

w w
I

The procedures outlined above may or may not produce the perfect authentic cadence. In a perfect authentic cadence, the tonic note of the second chord must be in the soprano, as it is in the above example.
1.

The key is given for each authentic cadence below. Complete questions A, B, C, and D. For A and B, answer soprano, alto, tenor or bass.

`44454 144454 `44454 144454 `44454 144454

C Maj: V

w w w w w w w w

w w w
I

A. The common tone is in the . B. The leading tone and its resolution are in the . C. The leading tone proceeds to (name of note). D. This authentic cadence is: perfect or imperfect (circle one). A. The common tone is in the . B. The leading tone and its resolution are in the . C. The leading tone proceeds to (name of note). D. This authentic cadence is: perfect or imperfect (circle one). A. The common tone is in the . B. The leading tone and its resolution are in the . C. The leading tone proceeds to (name of note). D. This authentic cadence is: perfect or imperfect (circle one).

G Maj: V

a min: V

w w w w

w w w w
i

w w w w
I

48

`44454 144454 `44454 144454 `44454 144454

Bb Maj: V D Maj: V

w w w w

w w w w
I

A. The common tone is in the . B. The leading tone and its resolution are in the . C. The leading tone proceeds to (name of note). D. This authentic cadence is: perfect or imperfect (circle one). A. The common tone is in the . B. The leading tone and its resolution are in the . C. The leading tone proceeds to (name of note). D. This authentic cadence is: perfect or imperfect (circle one).

w w w w w w w w

w w w w
I

c min: V

w w w w
i

A. The common tone is in the . B. The leading tone and its resolution are in the . C. The leading tone proceeds to (name of note). D. This authentic cadence is: perfect or imperfect (circle one).

2.

Complete the authentic cadences. The key and chords are identified. a) Write the root of each chord in the bass. b) Write the upper three notes of the I(i) chord on the treble staff. c) Above each example, indicate whether the cadence is perfect or imperfect.
imperfect

Example:

`44454 144454 `44454 144454

A Maj: V I

w w w

w w w

F Maj: V

`44454 144454 `44454 144454

d min: V i

w w w

w w w

g min: V

`44454 144454 `44454 144454

f# min: V i

w w w

w w w

Ab Maj: V

49

The Half Cadence

In the broadest sense, a half cadence ends on any chord other than the tonic. Most half cadences end on the V chord, which can be preceded by any other chord. Some common half cadences: I(i)V, IV(iv)V, and iiV. Unlike the authentic cadence, which marks a definite end to a phrase, the half cadence ends in a momentary pause and creates a sense that the music will continue (and ultimately end conclusively with an authentic cadence).

Voice Leading Rules for the IV(iv)V Half Cadence

Both chords are in root position. The root of each chord is doubled. The upper three voices move down to the nearest chord tone of V, in contrary motion to the bass.

`44454 144454
root

w w w w

upper voices move down

w w w w
V

root

C: IV

3.

Complete the half cadences below. The key and chords are identified. a) Write the root of each chord in the bass. b) Write the upper three notes of the V chord on the treble staff.

`44454 144454 `44454 144454

G Maj: IV V

w w w

w w w

Bb Maj: IV

`44454 144454 `44454 144454

b min: iv V

w w w

w w w

E Maj: IV

`44454 144454 `44454 144454

Eb Maj: IV V

w w w

w w w

C Maj: IV

50

Voice Leading Rules for the iiV Half Cadence

Both chords are in root position. The root of each chord is doubled. Keep the common tone in the same voice, the other two voices move up a step.

These voice leading rules only apply to the iiV cadence in a major key.

`44454 144454
C: ii

remaining voices go up a step

w w

w root

common tone w w

w w w

root

Note: The bass may move up or down to the root of the V chord.

4.

Complete the half cadences below. The key and chords are identified. a) Write the root of each chord in the bass. b) Write the upper three notes of the V chord on the treble staff.

`44454 144454 `44454 144454

G Maj: ii V

w w w

w w w

B$ Maj: ii

`44454 144454 `44454 144454

D Maj: ii V

w w w

w w w

E Maj: ii

`44454 144454 `44454 144454

E$ Maj: ii V

w w w

w w w

C Maj: ii

The Plagal Cadence IVI

Commonly referred to as the Amen cadence, the Plagal Cadence is the progression IV-I (iv to i in minor). This cadence often follows immediately after an authentic cadence and acts as a means of elaborating or prolonging the tonic chord. A typical example of this occurs at the final Amen at the end of a hymn in some Christian churches. This cadence will be studied in greater detail in level 11.

51

Cadence Voice Leading Rules: Some Final Thoughts

So far you have studied voice leading principles for various authentic and half cadences. In writing the VI authentic cadence and the iiV half cadence, you may have realized that they both share certain traits. In these cadences: Both chords are in root position. The root of each chord is doubled in another voice. The common tone is kept in the same voice and the other voices move up a step. Compare the half cadence in C major to the authentic cadence in G major.

`44454 `44454 144454 144454

C: ii

Half Cadence

w w w
w

w w
w w

Authentic Cadence

w w w
w

w w
w w
I

G: V

The voice leading is exactly the same, the only difference lies in the context. For example, there is an F# in the authentic cadence in G major and an F in the half cadence in C major. The voice leading rules for the IVV half cadence stem from one basic principleall the voices should not go the same direction.

`44454 `44454 144454 144454

C: IV

w w w w

w w w w
V

w w w w

w w w w
V

C: IV

bad part-writing All the voices are moving in same direction.

GOOD The bass is moving in the opposite direction.

Why is it undesirable for all the voices to move in the same direction? The aim of four-part writing is to convey not only a vertical structure, as with chords, but also a horizontal progression of four independent voices. The movement of all the voices in the same direction generally tends to negate that principle.

52

Cadence Review
The first chord of each cadence is given. Write the second chord following the voice leading rules outlined in this unit.
5.

Complete the authentic cadences. The key and chords are identified.

`44454 144454 `44454 144454

A Maj: V I F Maj: V

w w w w w w w w

`44454 144454 `44454 144454

d min: V

w w w w w w w

g min: V

`44454 144454 `44454 144454

w w w w w w w w w

w w w

6.

Complete the IV(iv)-V half cadences. The key and chords are identified.

`44454 `44454 `44454 144454 144454 144454

G Maj: IV

w w w w

b min: iv

w w w w

7.

Complete the ii-V half cadences. The key and chords are identified.

`44454 `44454 `44454 144454 144454 144454

w w w w w
E Maj: ii V C Maj: ii V

w w w

w w w w

Section 7 Transposition
Transposition is the playing or rewriting of music in a key that is different from the original key. When music is transposed, all the intervals in the music will remain the same. Play the first phrase of Im a Little Teapot, written in C Major.

53

Now play the same phrase, transposed to the key of D Major.

`44444444444 `44444444444
q qqqq h h
Transposing a Melody

Suppose you are asked to transpose a melody from C Major to F Major on the staff: 4 4 4 qqq q 4 ? q C Major F Major

`444444-6 `444444-6
`45444
C Major
original key GOOD range

First, determine if it is better to transpose the melody up or down to F Major. Keep in mind the range of the melodyits highest and lowest note.

Find the interval between the original key and the new key. The interval between C major and F major is a perfect 4th. The intervals between the notes of the original and transposed melodies should be maintained throughout.

Consequently, the intervals between the notes of each melody will be maintained. C Major

`444444-6
steps 4th

F Major

`4444446-6
steps 4th

q q

original melody

4 4 qqq q q

q q

4 4 qq qq q

4 4

`454446 `454446 `45444 `4444446-6

F Major F Major
4th

too low

The note heads of both melodies.

4 4

transposed

4 4qqqq

54

1.

Transpose the melody in C Major to the keys of F Major and A Major.

F Major

2.

C Major

D Major

`444544445444444444445-= `444544445444444444445-= 1444544445444444444445-= `444544445444444444445-= `444544445444444444445-= 1444544445444444444445-=

. .

c . c

A Major

Transpose the melody in G Major to the keys of C Major and D Major.

c c

3.

Transpose the melody in D minor to the keys of C minor and B minor.

c minor

b minor

`444544445444444444445-= `444544445444444444445-= 1444544445444444444445-=

3 4 3 4

3 4

Section 8 Sight Singing

Sight singing is the singing of a melody from the score, without having seen it before. It involves knowing how a melody should sound before it is sung or performed.

55

The singing exercises in this section serve as preparation for the singing of melodies written on the staff. The ultimate goal of all sight singing practice is (1) to develop the ability to look at a score and hear it inwardly, with the inner ear, without having to sing it out loud or play it, and (2) to develop the ability to hear a melody and notate it without the aid of an instrument.

Solfege in a Major Key

If you are using solfege, it is recommended that you use movable Do, that is, the tonic of any key is always Do, the second scale degree is Re, and so on.
scale degrees: 1 Do-based Major: Do
2 3 4 5 6 7 8

Re

Mi

Fa

Sol

La

Ti

Do

The pronunciation of the syllables: Re rhymes with say Mi and Ti rhyme with tee Fa and La rhyme with ah Do as in doh or doe; Sol as in sohl

How to Practice These Exercises The following drills are designed for solo practice. Perform these exercises for your teacher to make sure you are doing them correctly. Absent a teacher, record yourself and listen to ityou will likely hear things in the recordings that slipped your notice. These exercises should be practiced as you proceed with the other sections of this book; discontinue these drills only when you can perform them easily and accurately. The numbers used in the exercises in bold font represent the scale degrees. 1 is tonic, 2 is scale degree 2, and so on. Sing using scale degree numbers, solfege, or any neutral syllable. Transpose these exercises to any key in your comfortable singing range. Boxes are provided that will allow you or your teacher to list these keys. As you sing the exercises, play a scale or chord figure from time to time to establish the key. For example, or
C Maj:
1 3 5 8(1)

56

Assignment
Use the procedure for assignment 1 to practice singing exercises 1 through 4 in this section. Follow these steps for each exercise: 1. Decide on a key and prepare with an arpeggio or scale. a) Play the starting tone of the exercise on the piano. b) Sing and match the starting tone. c) Hear the exercise with your inner ear. d) Sing the exercise as you play it on the piano. When the exercises are easy to sing with the aid of the piano, use this alternative for step d). d) Sing the exercise without the piano. Test accuracy by playing the drill on the piano after you sing. If necessary, play the tones as you sing them. Remember: record yourself and listen. Many people who sing off-pitch dont realize until they hear themselves on a recording.

Exercises
Use the following exercises for assignment 1. Your teacher will notate the appropriate range of keys and note it in the box provided.
Students singing range: C Maj: List the major keys to use:

`5rtyuiuytr-6ryiyr-6rtyuiyr66-= `5ryiuytr-5rtyiytr-5ryuiuyr-= `5ryi[poiop[iyr5-55riyiri[56-= `5riuytrioi[poi5-5[ioiuyir6-=

57

`5irtyrioi[p[5-55[rtyiyoi[56-= `5yuirioi[p[4-4ytryi[pop[6-=
Singing and Writing Assignment
2.

Each line in the following exercises is divided into three groups of notes separated by a fermata. Each group of notes is made up of seven notes. Sing each line, pausing for an extra beat at each fermata so that the rhythm of each line might sound something like this: $4qqqq\ qqh \ qqqq\ qqh \ qqqq\ qqh \|

`5reroiuy56yuiruyt56tyutytr-= `5ytyroui56ieruyti56ityuytr-= `5iyoi[p[56[iouiyu56uteuytr-=

3.

Take a 7-note group from one of the lines directly above. a) On a separate sheet of staff paper, transpose the notes, originally in C major, to two other keys. b) Repeat this with other 7-note groups.

For step a) you may write the notes out in rhythms instead of just whole notes. See if you can make each 7-note group fit in the space of two measures. Use any time signature. Heres an example of how this might be done. The first 7-note group

when transposed and treated with different rhythms, the 7-note group might look like c or c

`5reroiuy `444464-45445-= `444564-45445-=

58

Singing the Four-Measure Phrase

The melodies for assignment 4 are in three different major keys. Note the location of the tonic triad notes, especially the tonic. Before you sing each exercise, prepare the ear by playing a scale or chord and the starting note. Sing each four-measure melody using solfege or scale degree numbers. Transpose these exercises to any key in your comfortable singing range. E Major
4.

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

E Major

c c

D Major

D Major

C Major

C Major

Section 9 Melodic Dictation

The act of writing on the staff the notes of a melody that is performed is called melodic dictation. Two things to keep in mind: Develop a good musical memory; always try to quickly memorize what you hear. Keep the sound of the tonic in mind; refer to it with your inner ear when needed. Although you might be tempted, do not begin writing immediately. At first, just relax and listen carefully to the entire phrase.

59

Ear Training: Melodic Dictation

Complete the melodic dictation exercises in this section by using a web application on your smart device or on your PC. Scan the QR code and you will be taken to a menu listing all the melodies for Section 9:
MyTheoryApp.com Level 9 Melodic Dictation: Assignment 1

1. Complete each eight-measure melody.

1

Fill in the blank measures.

`444464-45444-44544-445446`444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-=
2

C Major

F Major

60

`444464-45444-44544-445446`444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-= 1444464-45444-44544-4454461444464-45444-44544-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-=

. .
4

D Major

G Major

Bb Major

3 4

G Major

To access more melodies for dictation practice: Scan the QR code:

MyTheoryApp.com Level 9 Melodic Dictation: Extra Melodies

3 4

More Melodic Dictation Practice

Section 10 Composition: The Melodic Line

61

A melody is typically made up of smaller parts known as melodic units. The smallest type of melodic unit is the motive, or motif, which consists of three to eight notes that form a distinct musical idea. A motive may repeat itself in various forms within a melody. For example, J. S. Bachs Brandenburg Concerto no. 3 begins with a three-note motive that appears five times on different scale degrees.

4 4

motive

motive

A phrase is a larger melodic unit, typically four to eight measures in length, which conveys a complete musical thought. Think of a phrase as a complete musical sentence. Two phrases may combine to form a period. The motive, phrase and period are all different types of form. In this section, you will learn to write an eight-measure melody consisting of two four-measure phrases. These two phrases will work together in a question and answer fashion. You have learned about harmonic cadences. Now you will see how melody and harmony are inextricably entwinedthey move together along the same plan, reinforcing each other. When you study, and hear, the melodic expression of the cadence, the meaning of cadence will become clear.

The Antecedent and Consequent Phrase

The antecedent phrasethe question phraseis a phrase which ends on a temporary cadence. The end of this phrase creates an expectation that another phrase will follow. In your writing exercises, the half cadence will be used because it most clearly creates this effect. The consequent phrasethe answer phrasecontinues after the momentary pause of the first phrase and completes the period with a more conclusive ending. The authentic cadence will be used here with the tonic as the last tone in the melody. These two phrases will form a contrasting period. .Once again, play the following melody by Berens with the right hand and the chords indicated by the roman numerals with the left hand. Notice the question effect at the end of the antecedent phrase and the answer which concludes the consequent phrase.

`44445-44445-44445-444456`44445-44445-44445-444456C Maj: I

c c

antecedent phrase half cadence

consequent phrase

authentic cadence I

62

Some General Principles of Melodic Writing

A phrase should have a balance between the elements of variety and repetition. The key word is balance. If there is too much repetition the result tends toward dullness; if there is too much variety the result might sound like a confused, aimless jumble. So, always aim to reconcile these two opposing elements in a natural way. A melody should have a sense of direction, which can be easily achieved by rising to a high note,

Christ is Alive, T. Williams

or by descending to a low note. 2 4

Joy to theWorld, Handel

It is common for a melody to have a high point, or apex, usually the highest note (circled), after which the notes fall to conclude the phrase.

Judas Maccabaeus, Handel

The three examples shown above are all examples of a four-measure phrase. A melodic sequence is the repetition of a melodic idea, or motive, repeated at different pitch levels, often in a stepwise progression.

Angels We Have Heard on High, French Carol motive recurrence recurrence

Rhythmic imitation, or rhythmic repetition, occurs when a rhythm is repeated but the melodic material does not sequence. For example, the dotted rhythm in (a) is repeated in every measure while the melodic line runs free in no fixed pattern. The rhythmic imitation may involve longer fragments of a few measures each, such as in (b). (a) rhythm repetition repetition 3 8 (b)
2 4
rhythm repetition

63

Assignment: Writing Melodic Sequences

1.

Write an ascending melodic sequence three measures in length. The motive is given. Repeat the motive in each measure beginning on the black note head.

`5444454-444544-444544-64
2.

c c

Write a descending melodic sequence three measures in length. The motive is given. Repeat the motive in each measure beginning on the black note head.

`5444454-444544-444544-64
In exercises 3 and 4, write a sequence at any interval that seems appropriate. Check what you wrote by singing or playing it. 3. Write an ascending two-measure melodic sequence. The motive is given. In measure 3, write a passage which leads smoothly to the dotted half note in the last measure.

`5444455-444545-444545-6455-=
4.

3 4

Write a descending two-measure melodic sequence. The motive is given. In measure 3, write a passage which leads smoothly to the dotted half note in the last measure.

5.

15444455-444545-444545-6455-= 45444455-444545-444545-6455-=
Write a sequence on an original motive. Choose your own key and time signature.

3 4

In exercise 6, you will choose the direction and interval of the melodic sequences that you write. Keep in mind these two points: (1) The interval of the sequence should be a 2nd or 3rd. Avoid other intervals until you are more experienced. (2) Consider various options. Some motives may sound better ascending than descending and vice-versa. Dont settle for the first thing you try.

64

The Antecedent Phrase: Leading to a Half Cadence

6.

Write a four-measure phrase which includes a melodic sequence. End each phrase on the dominant note (scale degree 5). Play each finished phrase. How does it sound? Does it lead to the dominant note smoothly? Eb Major
1

G Major

C Major

`544444-44444-44444-44444-= 1544444-44444-44444-44444-= `544444-44444-44444-44444-= 1544444-44444-44444-44444-=

V

3 4

6 . 8 3 8

The Consequent Phrase: Leading to an Authentic Cadence

7.

F Major

C Major

`544444-44444-44444-44444-= `544444-44444-44444-44444-= 1544444-44444-44444-44444-=

I

Write a four-measure phrase which includes a rhythmic imitation. End the phrase on the tonic note (scale degree 1). Play each finished phrase. How does it sound? Does it lead to the tonic note smoothly? D Major 3 .

c . 3 8

The fifth scale degree is required for certain state tests. Otherwise, these phrases may end on the second scale degree, or any member of the dominant triad.
1

65

The Eight-Measure Melody In this last assignment of Section 8, you will now compose an eight-measure melody consisting of an antecedent and consequent phrase. 8. Complete each eight-measure melody. The major key is indicated. The first measure is given. Use a melodic sequence and/or rhythmic imitation. a) End the first phrase on the dominant note (scale degree 5). b) End the second phrase on the tonic note (scale degree 1). c) End each phrase on a strong beat. F Major
1

D Major

Eb Major

`444545-44544-44454-445446`444545-44544-44454-44544-= 1444545-44544-44454-4454461444545-44544-44454-44544-= `444464-45444-44544-445446`444464-45444-44544-44544-= 1444464-45444-44544-4454461444464-45444-44544-44544-=

A Major

4 4

1 The fifth scale degree is required for certain state tests. Otherwise, these phrases may end on the second scale degree, or any member of the dominant triad.

3 4

qqq q q

q q q q

4 4 h

3 4 q

eq

66

Section 11 Definitions
Increasing in tempo gradually Freedom to improvise or vary the tempo The second highest voice in four-part harmony A composition for solo voice The combination of two simple meters where the pulse cannot be divided into 2, 3 or 4 beats per measure A perfect or major interval that has been increased by a half step An interval of a second having three half steps (C - D#) A triad made up of two major thirds A cadence consisting of the dominant progressing to tonic, V - I (V - i) The lowest voice in four-part harmony A resting point in the music In a singing style A twelve-tone scale built only of half steps A meter in which the beat can be subdivided into groups of three The mixing of sounds that blend well A half step spelled using two different letter names - a minor second (C - Db) A perfect or minor interval that has been decreased by a half step A triad made up of two minor thirds The mixing of sounds that do not blend well together, that produce a discord A triad that has its third as the lowest pitch Any cadence which ends on the dominant triad (V) Two tones played or sung at the same time A minor scale in which scale degree 7 is raised a half step Any authentic cadence (V-I) which is not perfect Turning an interval upside down by transferring the lower tone up an octave or the upper tone down an octave A short contrapuntal piece based on one theme The intervals found in a major scale using scale degrees 1-2, 1-3, 1-6 and 1-7 Marked, emphasized A minor scale in which scale degrees 6 and 7 are raised one half step when ascending and which takes the natural minor form descending

accelerando ad libitum alto aria asymmetrical meter augmented interval augmented second augmented triad authentic cadence bass cadence cantabile chromatic scale compound meter consonance diatonic half step diminished interval diminished triad dissonance first inversion triad half cadence harmonic interval harmonic minor scale imperfect authentic cadence interval inversion invention major interval marcato melodic minor scale

67

melody meter minor interval minor second minor third natural minor scale opera parallel keys perfect authentic cadence perfect interval phrase piu mosso plagal cadence prelude relative keys root position triad second inversion semplice sempre seventh chord simple meter soprano subito tenor transposition voice leading whole-tone scale

An organized group of tones which makes a musical statement, a tune The organizing pattern of strong and weak beats An interval which is a half step smaller than the corresponding major interval An interval of a second having one half step (C - Db) An interval with three half steps, spelled as a skip A scale using the following whole and half step pattern: W-H-W-W-H-W-W A theatrical drama that is sung and set to music Major and minor keys that share the same tonic Any authentic cadence (V-I) which has the root of both chords in the bass and the tonic of the I chord in the soprano The set of intervals in the major scale using scale degrees 1-1, 1-4, 1-5, 1-8 Part of a melody which pauses or ends with a cadence More motion, quicker A cadence consisting of the subdominant progressing to tonic, IV - I (iv - i) A short composition that is usually followed by a larger composition in the same key Major and minor keys that share the same key signature A triad with its root as the lowest pitch A triad that has its fifth as the lowest pitch To play simply, without ornament Always A four-tone chord produced by adding another third on top of a triad A meter in which the beat can be subdivided into groups of two The highest voice in four-part harmony Suddenly The second lowest voice in four-part harmony The performing or writing of music in a key other than the original key The procedures governing the movement of voices in chord progressions A six-tone scale built only of whole steps

Definitions: Online Flash Cards

Scan the QR code:
PrimoTheory.com Level 9 Definitions

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