part ii—melodic third edition - oxford university press...
TRANSCRIPT
1
Part II—Melodic Reading Chapter 1.2 Page: 203 • Determine the numerical number and position (line or space) of each note.
203CHAPTER 1. TONIC PENTACHORD MAJOR
1.2. Symbolic Association: Diatonic Steps
Score NotationThe visual representation of music is called score notation. Its main purpose is to indicate the pitch and duration of each tone.
Notation of PitchPitch is notated on a staff, which consists of five parallel horizontal lines and four inter-vening spaces. The lines and spaces are numbered from the bottom to the top, from lower to higher pitch.
12
34
5
12
34
Lower Pitches
Higher Pitches
NotesA note is a musical symbol which, when placed “on a line” or “in a space,” indicates a specific pitch. A note is “on a line” if the line runs through the center of the note and a note is “in a space” if the outside of the note touches the surrounding lines.
œ œSpace NoteLine Note
• Determine the number and position (line or space) of each note.
œ œ œ œ œ œ œ œ1._________ 2. _________ 3. ______ 4. ______ 5. ______ 6. ______ 7. ______ 8. ______2nd line 3rd line
• Tonal syllables can be used to name the notes. Using tonal syllables, sing the following patterns, first following the tonal syllables and then following the notes on the staff.
■ ! Tonic Keynote (do)
–– œ œ œ œ
do re mido
œ œ œ œ3 2 1 3
œ œ œ œdo re mi fa
œ œ œ œ œ5 4 3 2 1
IntervalsAll intervals are identified numerically by counting both of the tones and the lines and spaces spanned by the two tones. On the staff, a second moves from a space to a line or a line to a space; a third moves from a space to the next space or a line to the next line; a fourth moves from a space to a line or a line to a space skipping a line; a fifth moves from line to line or space to space skipping a line or space, respectively.
œ œ œ œSecond
œ œ œ œThird
œ œ œ œFourth
œ œ œ œFifth
AUTHOR: OK as set?
9780199395163_0199-0215_P2CH01.indd 2039780199395163_0199-0215_P2CH01.indd 203 5/11/16 3:16 PM5/11/16 3:16 PM
1. 2nd space 2. 3rd line 3. 1st line 4. 2nd space 5. 4th line 6. 5th line 7. 3rd space 8. 1st space • Determine the quantity (number) of each of the following intervals.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. Third 2. Third 3. Second 4. Fifth 5. Second 6. Fourth 7. Fifth 8. Fourth Chapter 1.6 Page 209 • Determine the position of each triad tone. Write R for root, 3rd for the third, or 5th for the fifth of the
tonic triad. Sing each pattern using tonal syllables. – œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. R 2. 3rd 3. 5th 4. R 5. 5th 6. 3rd 7. R 8. 5th 9. R 10. 3rd 11. R 12. 5th 13. 5th 14. 3rd 15. 5th 16. R
– œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 17. R 18. 3rd 19. 5th 20. R 21. 5th 22. 3rd 23. R 24. 5th 25. R 26. 3rd 27. R 28. 5th 29. 5th 30. 3rd 31. 5th 32. R Chapter 2.2 Page 219 • Consult the tonic keynote and then write (a) the scale degree number, (b) the scale degree name, and
(c) the tonal syllable for each of the notes. Sing each pattern using tonal syllables. Degree # 1 7 6 5 1 7 1 1 2 1 7 5 6 7 8
Syllable do ti la so do ti do re do re do ti so la ti do Name T LT SM D T LT T ST T ST T LT D SM LT T
Page 219 • Determine the quantity (number) of each of the following intervals. Remember to count both tones
and the lines and spaces spanned by the two tones. Sing each of the following intervals using tonal syllables.
1. Third 2. Fifth 3. Seventh 4. Sixth 5. Third 6. Second 7. Fourth 8. Octave
9. Second 10. Second 11. Third 12. Third 13. Fourth 14. Fourth 15. Fifth 16. Fifth
2
Chapter 2.6 Page 224 Major Key Signatures For each key signature, (a) determine the major key name and (b) notate the tonic triad.
& # b # # # b b b b b b b b # # # # # # #œœœ œœœ œœœ œœœ œœœ œœœœœœ
1. G Major 2. F Major 3. A Major 4. E♭ Major 5. C Major 6. D♭ Major 7. C♯ Major ? bb # # b b b b # # # # b b b b b b # # # # # #œœœ œœœ œœœ œœœ œœœ
œœœ œœœ
8. B♭ Major 9. D Major 10. A♭ Major 11. E Major 12. G♭ Major 13. F♯ Major 14. C Major Page 225 Scale Degrees Numbers and Names • Consult the key signature, locate the tonic keynote and then write (a) the scale degree number, (b) the
scale degree name, and (c) the tonal syllable for each of the notes. Sing each of the patterns using tonal syllables.
Degree # 1 5 6 7 1 1 3 1 5 6 7 1 3 5 1 1 7 6 5 3 1
? ### # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Syllable do so la ti do do mi do so la ti do mi so do do ti la so mi do Name T D SM LT T T M T D SM LT T M D T T LT SM D M T Intervals from Tonic in the Major Scale • Consult the key signature, locate the tonic keynote, and then determine the quantity (number) of each
of the following intervals. Sing each of the intervals using tonal syllables.
& bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. Second 2. Fourth 3. Third 4. Third 5. Fifth 6. Fifth 7. Second 8. Prime Page 226 Inversion of Triads • Consult the key signature and then (a) draw a square around the tonic keynote, (b) draw a triangle
around the lowest sounding pitch, (c) circle the position or inversion of the triad, and (d) circle the type of triad: harmonic or melodic. Sing each of the triads using tonal syllables.
1. Root 1st 2nd
2. Root 1st 2nd
3. Root 1st 2nd
4. Root 1st 2nd ? b ## # # # # b b bœœœ œ œ œ œ œ œ œœœ
Harmonic or Melodic Triad Harmonic or Melodic Triad Harmonic or Melodic Triad Harmonic or Melodic Triad
Chapter 3.2 Page 235 Minor Key Signatures • For each key signature, (a) determine the minor key name and (b) notate the tonic triad. ? # b # # # b b b b b b b b # # # # # # #œœœ œœœ œœœ œœœ œœœ œœœ œœœ
1. e minor 2. d minor 3. f♯ minor 4. c minor 5. a minor 6. b♭ minor 7. a♯ minor
3
& bb # # b b b b # # # # b b b b b b # # # # # #œœœ œœœ œœœ œœœ œœœ œœœ œœœ
8. g minor 9. b minor 10. f minor 11. c♯ minor 12. e♭ minor 13. d♯ minor 14. a minor Page 236 Natural Minor Scale • Consult the key signature and determine the tonic keynote. Write (a) the scale degree number, (b) the
scale degree name, and (c) the tonal syllable for each of the notes. Sing each of the patterns using tonal syllables.
Degree # 1 3 5 4 3 7 6 5 4 3 2 1 5 6 7 8
1. & bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
do based do me so fa me te le so fa me re do so le te do la based la do mi re do so fa mi re do ti la mi fa so la Name T M D SD M SubT SM D SD M ST T D SM SubT T Degree # 1 7 5 4 3 2 1 5 3 4 5 6 1 3 2 1
2. ? ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
do based do te so fa me re do so mi fa so le do mi re do la based la so mi re do ti la mi do re mi fa la do ti la Name T SubT D SD M ST T D M SD D SM D M ST T Page 236 Intervals from Tonic in the Natural Minor Scale • (a) Determine the quantity (number) of each of the following intervals. Remember to count both tones
and the lines and spaces spanned by the two tones. (b) Using tonal syllables, sing each of the following intervals.
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. Third 2. Fifth 3. Second 4. Third 5. Second 6. Seventh 7. Fourth 8. Fourth ? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
9. Fifth 10. Third 11. Fourth 12. Fifth 13. Sixth 14. Seventh 15. Seventh 16. Octave Page 237 Inversion of Triads • Consult the key signature and then (a) draw a square around the tonic keynote, (b) draw a triangle
around the lowest sounding pitch, (c) circle the position or inversion of the triad, and (d) circle the type of triad.
1. Root 1st 2nd 2. Root 1st 2nd 3. Root 1st 2nd 4. Root 1st 2nd
& ## bb b b b bœ œ œ œœœ œ œ œ œ œ œ
Harmonic or Melodic Triad Harmonic or Melodic Triad Harmonic or Melodic Triad Harmonic or Melodic Triad
4
Chapter 4.2 Page 245 Scales • Consult the key signature and determine the tonic keynote. Write (a) the scale degree number, (b) the
scale degree name, and (c) the tonal syllable for each of the notes. Degree # 1 7 6 5 1 3 5 1 5 4 5 6 1 3 2 1 Major &
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Syllable do ti la so do mi so do so fa so la do mi re do Name T LT SM D T M D T D SD D SM T M ST T Degree # 1 2 3 4 5 3 1 5 6 7 1 2 3 5 3 1 Minor
? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
do based do re me fa so me do so le te do re me so me do la based la ti do re mi do la mi fa so la ti do mi do la Name T ST M SD D M T D SM SubT T ST M D M T Page 245 Intervals from Tonic in a Minor Scale • (a) Determine the quantity (number) of each of the following intervals. Remember to count both tones
and the lines and spaces spanned by the two tones. (b) Using tonal syllables, sing each of the following intervals.
Minor & ## # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. Fourth 2. Fourth 3. Second 4. Second 5. Fifth 6. Third 7. Seventh 8. Octave Intervals from Tonic in a Major Scale • (a) Determine the quantity and quality of each of the following intervals. Remember to count both
tones and the lines and spaces spanned by the two tones. (b) Using tonal syllables, sing each of the following intervals.
Major
? bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. M6 2. m2 3. P4 4. P4 5. M7 6. m3 7. P5 8. M3 Tonic Triads in Major and Minor • Consult the key signature and (a) determine the mode (major or minor), (b) draw a square around the
tonic keynote, (c) draw a triangle around the lowest sounding pitch, and (d) circle the position or inversion of the triad.
1. Major Minor 2. Major Minor 3. Major Minor 4. Major Minor Root 1st 2nd Root 1st 2nd Root 1st 2nd Root 1st 2nd
& bb b # # # # # # b b b b bœ œ œ œœœ œ œ œ œœœ
5
Chapter 5.2 Page 257 Intervals of a Third in the Major Scale
• Label the quality of each third and then sing the interval using tonal syllables. ? bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. M3 2. m3 3. m3 4. M3 5. M3 6. m3 7. m3 Tonic ? bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8. m3 9. m3 10. M3 11. M3 12. m3 13. m3 14. M3 Tonic Page 257 Intervals of a Fourth in the Major Scale
• Label the quality of each fourth and then sing the interval on tonal syllables. ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. P4 2. P4 3. P4 4. A4 (tri-tone) 5. P4 6. A4 (tri-tone) 7. P4 8. P4 Page: 258 Triads Built on Each Scale Degree in the Major Scale • Label the Roman numeral (N) and quality (Q = M, m, or d°) of each triad and then sing the melodic
triad.
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. N I Q M 2. N iii Q m 3. N ii Q m 4. N IV Q M 5. N vii° Q d° 6. N vi Q m 7. N V Q M Page: 258 Intervals from Tonic in the Major Scale • Determine the quantity and quality of each interval and then sing the interval using tonal syllables. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. P4 2. m3 3. M7 4. m7 5. M3 6. P4 7. M6 8. m6 Chapter 6.2 Page 269 Natural Minor Scale • Consult the key signature and determine the tonic keynote. Verbally label the scale degree name prior
to singing each pitch using tonal syllables. ? ### # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T ST M SD D SM SubT T T SubT SM D SD M ST T Page 269 Intervals from Tonic in the Natural Minor Scale • Determine the quantity and quality of each interval and then sing the interval on tonal syllables.
& bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. P5 2. M2 3. m6 4. m7 5. M2 6. M3 7. P4 8. P8
6
Page 270 Intervals of Major and Minor Thirds in the Natural Minor Scale • Determine the quality of each third, and then verbally label it prior to singing the interval using tonal
syllables. ? ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. M3 2. m3 3. m3 4. M3 5. m3 6. m3 7. M3 8. M3 Page 270 Intervals of a Fourth in the Natural Minor Scale • Determine the quality of each fourth, and then verbally label it prior to singing the interval using tonal
syllables.
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. P4 2. A4 3. P4 4. P4 5. P4 6. P4 7. P4 8. P4 Page 271 Triads Formed on Each Scale Degree in the Natural Minor Scale • Determine the Roman numeral (N) and quality (Q = M, m, or d°) of each triad and then sing each triad.
& bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. N i Q m 2. N III Q M 3. N ii° Q d° 4. N iv Q m 5. N VII Q M 6. N VI Q M 7. N v Q m
Chapter 7.2 Page 280 Harmonic Minor Scale • Consult the key signature and determine the tonic keynote. Verbally label the name of the scale degree
prior to singing each pitch on tonal syllables.
& # œ œ œ œ œ œ œ# œ œ œ# œ œ œ œ œ œ
T ST M SD D SM LT T T LT SM D SD M ST T Page 281 Intervals from Tonic in the Harmonic Minor Scale • Determine the quantity and quality of each interval and then sing the interval using tonal syllables. ? bb b b œ œn œ œ œ œ œ œn œ œ œ œ œ œ œ œ 1. m2 2. P4 3. m6 4. M7 5. M3 6. P4 7. P4 8. P8 Page 281 Intervals of Major and Minor Thirds in the Harmonic Minor Scale • Determine the quality of each third and then sing the interval on tonal syllables.
& ## # œ œ œ œ œ# œ œ œ œ œ œ œ# œ œ# œ œ
1. m3 2. m3 3. M3 4. m3 5. M3 6. M3 7. m3 8. M3
7
Page 281 Intervals of a Fourth in the Harmonic Minor Scale • Determine the quality of each fourth and then sing the interval using tonal syllables.
? ### # œ œ œ œ# œ œ œ œ œ œ# œ œ œ œ œ œ
1. P4 2. A4 3. P4 4. A4 5. d4 6. P4 7. P4 8. P4 Page 282 Triads Formed on Each Scale Degree in the Harmonic Minor Scale • Determine the Roman numeral (N) and quality (Q=M, A+, m or d°) of each triad and then sing each
triad using tonal syllables.
& bb b œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œn œ œ œ œ
1. N i Q m 2. N iv Q m 3. N III+ Q A+ 4. N ii° Q d° 5. N VI Q M 6. N V Q M 7. N vii° Q d° Chapter 7.6 Page 289 Melodic Minor Scales • Consult the key signature and determine the tonic keynote. Verbally label the scale degree name prior
to singing each pitch on tonal syllables. ? b œ œ œ œ œ œn œ# œ œ œN œA œ œ œ œ œ
T ST M SD D SM LT T T SubT SM D SD M ST T Raised Page 290 Intervals in the Melodic Minor Scale • Determine the quantity and quality of each interval and then sing the interval using tonal syllables.
& ## # œ œ# œ œ œ œ œ œ# œ œ œ œ# œ œ# œ œ
1. m2 2. m3 3. P5 4. M6 5. m7 6. M7 7. m3 8. P4
Page 290 Intervals of Major and Minor Thirds in the Melodic Minor Scale • Determine the quality of each third and then sing the interval using tonal syllables. ? ### # œ œ# œ œ# œ œ œ œ œ# œ œ œ œ# œ œ# œ
1. m3 2. M3 3. m3 4. m3 5. m3 6. M3 7. M3 8. m3 Page 290 Intervals of a Fourth in the Melodic Minor Scale • Determine the quality of each fourth and then sing the interval using tonal syllables.
& bb b b b œ œ œn œ œn œ œ œ œ œ œn œ œn œ œ œ
1. P4 2. d4 3. A4 4. A4 5. P4 6. A4 7. P4 8. P4
8
Chapter 8.2 Page 298 Major Key Signatures • For each key signature, (a) determine major key name and (b) notate the harmonic tonic triad.
& ## bb b b # # # # # b b b b b b b b # # # # # #œœœ œœœ œœœ œœœ œœœ œœœ œœœ
1. D Major 2. A♭ Major 3. B Major 4. B♭ Major 5. C Major 6. G♭ Major 7. F♯ Major ? b # b b b # # # b b b b b # # # #œœœ œœœ œœœ œœœ œœœ œœœ œœœ
8. F Major 9. G Major 10. E♭ Major 11. A Major 12. D♭ Major 13. E Major 14. C Major Page 298 Intervals in the Major Scale • Determine the quantity and quality of each of the following intervals and then sing each using tonal
syllables.
& ## # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. P4 2. m2 3. M2 4. P4 5. M7 6. m3 7. P5 8. P5 Page 299 • Determine the quality of each third and then sing the interval using tonal syllables. ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. m3 2. M3 3. M3 4. M3 5. M3 6. m3 7. m3 8. M3 Page 299 • Determine the quality of each fourth and then sing the interval using tonal syllables.
& bb b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. P4 2. P4 3. P4 4. A4 5. P4 6. A4 7. P4 8. P4 Page 299 Triads Built on Each Scale Degree of the Major Scale • Using tonal syllables, sing each melodic triad and then determine its Roman numeral (N) and quality
(Q = M, m, or d°).
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. N I Q M 2. N viii° Q d° 3. N iii Q m 4. N vi Q m 5. N IV Q M 6. N ii Q m 7. N V Q M
9
Chapter 8.6 Page 307 Natural, Harmonic, and Melodic Minor Scales • Sing each of the following scales on tonal syllables and then determine the form.
? ## œ œ œ œ œ œ# œ# œ œ œN œN œ œ œ œ œ? ## œ œ œ œ œ œ œ# œ œ œ# œ œ œ œ œ œ? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. Melodic Minor Scale
2. Harmonic Minor Scale
3. Natural Minor Scale
Page 307 Minor Key Signatures • For each key signature, (a) determine the minor key name and (b) notate the harmonic tonic triad. ? ### b b # b b b b b b b b b b # # # # #œœœ œœœ œœœ œœœ œœœ œœœ œœœ
1. f# minor 2. g minor 3. e minor 4. f minor 5. a minor 6. e♭ minor 7. g♯ minor
& b # # # # b b b # # b b b b b # # # # # #œœœœœœ œœœ œœœ œœœ œœœ œœœ
8. d minor 9. c♯ minor 10. c minor 11. b minor 12. b♭ minor 13. d♯ minor 14. a minor Page 307 Intervals from Tonic in the Natural, Harmonic, and Melodic Minor Scales • Determine the quantity and quality of each of the following intervals and then sing each using tonal
syllables.
? # œ œ œ œ œ œ# œ œ œ œ# œ œ# œ œ œ œ
1. P4 2. P5 3. m2 4. P4 5. M7 6. m3 7. P5 8. M2 Page 308 Intervals of a Third in the Natural, Harmonic, and Melodic Minor Scales • Determine the quality of each of the following intervals and then sing each using tonal syllables.
& bb b b œ œ œ œn œ œ œ œ œ œ œn œ œ œn œ œ
1. M3 2. M3 3. M3 4. m3 5. m3 6. m3 7. M3 8. m3 Page 308 Intervals of a Fourth in the Natural, Harmonic, and Melodic Minor Scales • Determine the quality of each of the following intervals and then sing each using tonal syllables. ? bb œ œ œ œ œ œ œ œ œ œ# œn œ œ œ œ œ#
1. P4 2. P4 3. P4 4. A4 5. d4 6. A4 7. P4 8. A4
10
Page 308 Triads Formed on Each of the Scale Degrees in the Natural and Harmonic Minor Scales • Using tonal syllables, perform the melodic triads indicated and then name its Roman numeral (N) and
quality (Q = M, A+, m, or d°).
? b œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ 1. N i Q m 2. N VI Q M 3. N V Q M 4. N vii Q m 5. N III+ Q A+ 6. N ii° Q d° 7. N III Q M Chapter 9.2 Page 317 Dominant Triad (V) Melodies contain chord tones and nonharmonic tones. The most common types of nonharmonic tones are passing tones (connects two different chord tones by step) and neighbor tones (connects two chord tones of the same pitch by step. • Label chord (CT), neighbor (NT), and passing (PT) tones in the following melodies and then sing each
melody using tonal syllables.
1. & b 43 œ I-Chord Tones˙ œ œ
NT
œCT
œV-Chord Tonesœ œ œ œ Œ
CTœ NT˙ CTœ CTœ PTœ CTœ CT.˙
& b Œ I-CTœ PTœ I-Chord Tones˙ œ œ NT
œI-CTœ V-Chord Tones˙ œ ˙ œ NT˙ CTœ PTœ I-CTœ PTœ I-CT.˙ ˙
2. ? ## 43
I-Chord Tonesœ œ .œ NTJœ I-CTœ PTœ I-Chord Tonesœ œ œ V-Chord Tonesœ œ œI-Chord Tonesœ œ œ, œ I-CT.œ NTJœ CTœ PTœ
? ## I-Chord Tonesœ œ œ V-Chord Tonesœ œ œ I-CT˙ œ, V-Chord Tonesœ œ œI-Chord Tonesœ œ œ V-Chord Tonesœ œ œ
? ## I-Chord Tonesœ œ œ, œ .œ NTJœ I-CTœ PTœ I-Chord Tonesœ œ œ V-Chord Tonesœ œ œ I-CT˙
Page 317 First Inversion Triads Built on Each Scale Degree of the Major Scale • Determine the Roman numeral (N) and quality (Q = M, A+, m, or d°) of each triad and then sing the
triads. ? ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ
1. N ii6 Q m 2. N IV6 Q M 3. N vi6 Q m 4. N iii6 Q m 5. N V6 Q M 6. N vii6° Q d° 7. N I6 Q M
11
Chapter 9.6 Page 326 Dominant Seventh Chord (V7) • Label chord (CT), neighbor (NT), and passing (PT) tones in the following melodies and then sing each
one using tonal syllables. 1. & # c
I-Chord Tonesœ œ œ .œ NT
JœI-CTœ V-Chord Tones˙ œ œ œ .œ NT
Jœ
& #V-CT
œI-Chord Tones
˙ œ, œ œ .œ NT
JœI-CTœ V-Chord Tones
˙ œ œ œ œ œI-CT
.˙
2. ? bbb c
I-CTœ PTœ I-Chord Tonesœ œ œ œ PTœ I-Chord Tonesœ œ œ œPTœ I-CTSœ œ œ œ NTœ œ I-CTSœ œ V-Chord Tones.˙ œ, PTœ? bbb
V-Chord Tonesœ œ œ œ PTœ V-Chord Tonesœ œ œ œ V-Chord Tonesœ œ œ œ œ œ œ œ I-CT.˙
Page 327 Second Inversion Triads Built on Each Degree of the Major Scale • Determine the Roman numeral (N) and quality (Q = M, A+, m, or d°) of each triad and then sing each
triad using tonal syllables. ? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. N V6 Q M 2. N iii6 Q m 3. N vi6 Q m 4. N IV6 Q M 5. N ii6 Q m 6. N vii6° Q d° 7. N I6 Q M 4 4 4 4 4 4 4
Chapter 10.2 Page 345 Dominant Triad (V) • Label chord (CT), neighbor (NT), and passing (PT) tones and type(s) of cadences in the following
melody and then sing the melody using tonal syllables.
? # 43i-Chord Tonesœ œ œ œ NTœ i-CTœ PTœ CTœ PTœ i-Chord Tonesœ œ ˙ œ œ ˙ V-Chord Tones
œ, œ# œ œ
? # i-Chord Tonesœ œ œ œ V-Chord Tonesœ œ ˙ œ œ ˙ i-CTœ, PTœ i-CT˙ i-CTœ PTœ i-CT˙
Page 345 First Inversion Triads Built on Each Scale Degree of the Harmonic Minor Scale • Determine the Roman numeral (N) and quality (Q = M, A+, m, or d°) of each triad and then sing the
triads using tonal syllables.
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. N i6 Q m 2. N iv6 Q m 3. N VI6 Q M 4. N VII6 Q M 5. N v6 Q m
& b œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ œ
6. N III6 Q M 7. N vii6° Q d° 8. N ii6° Q d° 9. N III6+ Q A+ 10. N V6 Q M
12
Chapter 10.6 Page 355 Dominant Seventh Chord (V7) • Label chord (CT), neighbor (NT), and (PT) passing tones in the following melodies and then sing each
one using tonal syllables.
& bb b 43 i-CTS
œ œi/v-CTœ i/V-CTSœn œ i-CTSœ œ III-CTœA i-CTSœ œ œ œ V7-CTSœ œ
i-CTS
œ œ Œ
& b b bi-CTS
œ œNT
œi-CT
œV7-CTS
œ œi-Chord Tones
œ œ œ NTœn i-Chord Tonesœ œ œ œV7-CTS
œ œi-Chord Tones
œ œ œ Page 355 • Determine the Roman numeral (N) and quality (Q = M, A+, m, or d°) of each triad and then sing each
triad using tonal syllables. ? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ
1. N i6 Q m
4 2. N v6 Q m 4
3. N III6 Q M 4
4. N vii6° Q d° 4
5. N iv6 Q m 4 ? bb b œ œ œ œ œ œ œ
œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œn œ œ
6. N ii6° Q d° 4
7. N VII6 Q M 4
8. N III6+ Q A+
4 9. N VI6 Q M 4
10. N V6 Q M 4
Chapter 11.2 Page 369 Chromatic Intervals • Determine the quantity and quality of each interval and then sing the interval using tonal syllables. ? œ œ# œ œ# œ œ# œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ
1. A4 2. A1 3. A6 4. P5 5. M2 6. A2 7. A5 8. M3 9. M7 10. P4 ? œ œb œ œ œ œb œ œ œ œb œ œb œ œ œ œb œ œ œ œ
11. M3 12. P4 13. M7 14. m2 15. M6 16. A4 17. m7 18. M2 19. m6 20. m3
Page 369 Root and Inverted Triads • Determine the Roman numeral, quality, and inversion of each melodic triad and then sing the triad
using tonal syllables.
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1. I 2. ii6 3. vi6 4. IV6 5. vii6° 6. IV6 7. iii6 4 4 4 4
Page 369 Dominant and Dominant Seventh Chords • Determine the missing Roman numeral, quality, and inversion and then sing the succession of pitches
using tonal syllables. ? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
1. I — V6 2. I —V6 3. I6—V7 4. I — V6 5. I — V4 6. I6—V4 7. I6—V 5 5 2 3
13
Chapter 12.2 Page 391 Chromatic Intervals • Determine the quantity and quality of each interval and then sing the interval.
& # œ œ# œ œ œ œ# œ œ# œ œ œ œ œ œ# œ œ# œ œ œ œ
1. A1 2. M3 3. A4 4. A2 5. P5 6. P4 7. A5 8. A6 9. M2 10. M7
& # œ œ œ œb œ œb œ œ œ œn œ œb œ œ œ œb œ œ œ œ 11. m2 12. M3 13. M6 14. P4 15. M2 16. M7 17. m3 18. A4 19. m7 20. m6
Page 391 Minor Scales • Determine the form (Natural, Harmonic, Melodic) of each scale and then sing the scales. 1. Harmonic Minor Scale ? ## œ œ œ œ œ œ œ# œ œ œ# œ œ œ œ œ œ
2. Melodic Minor Scale ? bb œ œ œ œ œ œn œ# œ œ œN œA œ œ œ œ œ
3. Natural Minor Scale ? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Page 392 Root and Inverted Triads Built on Each Scale Degree of the Minor Scales • Determine the Roman numeral, quality, and inversion of each melodic triad and then sing the triads. ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ
1. i6 2. III6 3. iv6 4. v 5. vii6 4 4
? # œ# œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6. III+6 7. V6 8. ii° 9. VI6 10. VII6
4
Page 392 Dominant and Dominant Seventh Chords • Determine the missing Roman numeral, quality, and inversion and then sing the succession of pitches.
& bb b b œ œn œ œ œ œ œ œn œ œ œ œ œ œn œ œ œ œn œœ œ œ œ œ œn œ œ œœn œ œ œ œ œ œn
1. i—V6 2. i—V4 3. i6—V7 4. i—V 5. i—V6 6. i6—V6 7. i6—V4 2 5 4 3
14
Chapter 15.2 Page 435 Major, Minor, Augmented, and Diminished Triads • Determine the quality and position of each triad and then sing the triad using tonal syllables.
? œ œ œ œ œ œb œ# œ œ œb œ œb
1. F M 2. fm6 3. F+6 4. f°
4
& œ œ œ# œ œ œN œ# œ# œ œN œb œ
5. D6 6. d6 7. D+ 8. d6° 4
? œb œb œ œb œN œ œb œb œb œ∫ œb œb
9. A♭6 10. A♭6+ 11. a♭ 12. a♭6°
4 4
Chapter 16.1 Page 455 Comparison of Clefs • Transcribe the following melodies into the indicated C clef. Notice that the use of C clefs can
minimize the need for ledger lines. Practice singing each melody using tonal syllables. 1. Bass Clef to Alto Clef
2. Treble Clef to Tenor Clef
Chapter 17 Page 465 Subdominant Triad (IV) • Examine the melodies that follow and label (a) chord (CT), neighbor (NT) and passing (PT) tones; (b)
I, IV, and V chords; and (c) types of cadences—authentic, half, or plagal (IV-I). Sing each melody using tonal syllables.
1. & ## 43
I-Chord Tones
œ >̇ œ œ>NT
œI-CT
œIV-Chord Tones
>̇ œ >̇ œ V-Chord Tones
>̇ œ >̇PT
œV-CT
Half Cadence
.>̇& # # Ó
I-Chord Tones
œ œ> œ œ œ>NT
œI-CT
œIV-Chord Tones
>̇ œ >̇ œ V-Chord Tonesœ> œ œ œ>PT
œV-CT
œI-CT
Authentic Cadence.>̇ ∑
15
2. ? b c
I-Chord Tones
œ œ œ œPT
œI-CT
œIV-Chord Tones
œ ˙ œ,V-Chord Tones
œ PTœ œ œ PTœ œHalf Cadence.˙
I-Chord Tonesœ, PTœ œ PTœ œ PTœ œ
? bV-Chord Tones.œ PTJœ œ PTœ œ IV-Chord Tonesœ œ NTœ œNTœ I-CT
Plagal Cadence
w I-Chord Tonesœ, œ NTœ œ V-Chord TonesœPTœ œPTœ œ I-CTœ IV-Chord Tonesœ œ NTœ œPTœ I-CT
Plagal Cadence
.˙
Major, Minor, Augmented, and Diminished Triads • Determine the quality and position of each triad and then sing the triad using tonal syllables.
& ## œ œ œ œ œn œ œ œ œ# œ œn œ œ œn œb
1. D6 2. d6 3. D6+ 4. d6 5. d°
4 4
Page: 465 ? bb œ œb œb œ œ œb œ œ# œ œ œ œ œ œ# œ
6. b♭6° 7. b♭ 8. B♭6+ 9. B♭6 10. B♭+
Chapter 18.2 Page 497 Subdominant Triad (iv) • Examine the melodies that follow and label (a) chord tones (CT), neighbor (NT) and passing tones
(PT); (b) i, iv and V chords; and (c) types of cadences—authentic, half, or plagal (iv-i). Sing each melody using tonal syllables.
1. ? bbb b 44
V-CTœi-Chord Tones.œ jœ œ PTœ .œ PTJœ œ V-CTœ i-Chord Tones.œ NTJœ. œ.
PTœ. German (adapted)
Authentic Cadence
˙ œ œ
? bbb biv-Chord Tones.œ> Jœ œ
Plagal Cadence
œ i-Chord Tones.œ> Jœ œV-Chord Tones
œ.PT
œn . œn .iv-CTœ. œ i-Chord Tones˙
PT
˙Authentic Cadence
.˙
2. & ci-Chord Tones
V-CT
œ œ œ NTœ œ Jœ .œ ˙V-Chord Tones
œ œ jœ# .œi-CT
Authentic Cadence
.˙ V-CT
œi-Chord Tonesœ œ NTœ œ Jœ .œ ˙
V-Chord Tones
œ œ jœ# .œAmericani-CT
Authentic Cadence
.˙ Œ
&iv-Chord Tonesœ œ .˙ œ œ .˙ i-Chord Tones˙ .œ NTJœ œ œ NTJœ
Plagal Cadence
.œ i-Chord Tonesœ œ .˙ œ œ .˙ V-Chord Tones
Authentic Cadence
œ œ jœ# .œi-CT.˙
16
Chapter 19.2 Page 513 Diatonic Seventh Chords • Determine the Roman numeral (N) and quality (Q = M, Mm, m, d°, d°) of each triad and then sing the
triads using tonal syllables.
1. I7 2. iii7 3. vii°7 4. ii7 5. vi7 6. IV7 7. V7 M7 m7 fully dim. 7th m7 m7 M7 Mm7 (dom. 7th Chapter 19.6 Page 526 Diatonic Seventh Chords • Determine the Roman numeral (N) and quality (Q = M, Mm, m, d°, d°) of each triad and then sing the
triads using tonal syllables.
1. ii°7 2. VII7 3. i7 4. VI7 5. III7 6. iv7 7. v7 half-dim. M7 m7 M7 M7 m7 m7 circle with line 19.