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2 Ho to Use This Book This is a uniue orkbook. From these pages, the student can directly access learning materials available on the internet ith the simple sipe of a mobile device. The revised Primo Music Theory Series no offers this interactive capability in all grade levels. These online supplementary materials include interactive eb applications, alkthroughs, videos, and donloadable exercises. This orkbook series utilizes the advantages of modern technology to enhance and accelerate the student s learning experience. The Ear-Training Exercises There are various ear-training exercises provided in the appendix hich can be practiced ith the teacher or by the student alone. These exercises largely consist of singing drills aimed at sharpening the listening skills of the student. The teacher should first ork ith the student on these exercises until the student becomes familiar ith the procedures. Afterard, the teacher should periodically observe as the student performs them to ensure that the student is maintaining correct practice. The student may discontinue any exercise that can be executed easily. The Dictation Exercises The rhythmic and melodic dictation exercises are designed so that the student can ork through them alone using interactive eb applications or ork through them ith the teacher playing the dictation melodies. The teacher can fill in the missing measures ith materials of his or her choice or use the materials provided at.primotheory.com. The QR Codes The QR codes found throughout this series can only be read using a smart mobile device hich has a QR code reader app installed. If you don t have a QR code reader and don t kno ho to get one, follo these instructions: Step 1: With your mobile device, open your app marketplace (App Store, Google Marketplace, etc.). Step 2: Search for QR reader and donload and install any one of the apps available. You can choose beteen free or paid versions. Do a bit of research to decide hich app is best for you. Once installed, it s ready to go. Step 3: To scan a QR code, activate the app and center the QR code in the viefinder as if you are going to take a picture of it. Adjust the distance if necessary. Some code readers ill scan the code automatically hen it s in vie. If you are still unsure hat to do, go to the.primotheory.com Help page or info@primopublishing.com. Online Resources Throughout the text of this series you ill find directions given as follos: primotheory.com Y Resources Y Level 7 Y Page 10 This means to go to the ebsite primotheory.com, here you ill be taken to a page containing a Resources link. From there, follo the links click on Resources, hich ill take you to a menu ith all the volume levels; click on Level 7, hich ill take you to a page listing Level 7 resources by page number; finally, click on Page 10 to find the desired resource. But please note that, hile this orkbook cannot continue to gro once printed, the resources found online ill continue to gro. All added resources ill be listed ith references to the orkbook page numbers. Be sure to visit.primotheory.com to find links to an ever-groing list of supplemental materials for each level.

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

4 4 Section 1 Rhythm and Meter Note and Rest Values The graphic belo shos a hierarchy of note values. Each note or rest divides naturally into to eual parts called divisions. The hole note divides into to half notes, the half note divides into to uarter notes, and so on. Rests are divided the same ay. hole note half note uarter note eighth note Q hole rest half rest uarter rest eighth rest sixteenth note thirty-second note sixteenth rest thirty-second 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 eual parts.. =. =.. =. = Q =. =.. = = Q Q Q 1. Write the correct number on each blank. A note euals notes. A note euals notes. A note euals notes. An note euals notes. An note euals notes. A note euals notes. A note euals notes. A note euals notes. A note euals notes. A note euals notes. A note euals notes. A note euals notes.

5 5 Compound Time Signatures: ^8and 98 In compound time signatures such as ^8 and (8, the basic beat is naturally divisible by three. The dotted uarter note is usually perceived as the beat, hich is divided into three eighth notes. The numbers of the compound time signature are usually interpreted differently: The upper number does not directly indicate the number of beats per measure. To find the number of beats per measure, divide the upper number by three = 2 beats per measure The loer number represents the largest possible division of the beat The eighth note e is the division of the beat = 3 beats per measure Compare ^8 and Z4 time: & 2 & 2. Clap the rhythms as you count aloud. Practice each group until you can clap and count at a steady pace h h e e e e (2) (5) 6 +

6 6 Simple and Compound Time There are to basic types of beat divisions: In simple time, the beat is divided into to eual parts. The top number of a time signature in simple time is 2, 3, or 4. Examples: Simple beat unit division In compound time, the beat is divided into three eual parts. The top number of a time signature in compound time is 6, 9, or 12. Examples: Compound beat unit division 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 = 2 beats per measure ith the.note as the beat. The loer number of a compound time signature represents the largest possible division of the beat. 6 8 The eighth note eis the division of the beat. 3. 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

7 7 Meter refers to the pattern of strong and eak beats in a measure. Every time signature indicates a certain pattern of strong and eak beats. Duple meter has to beats per measure; one strong beat and one eak beat. Example: Z4 Triple meter has three beats per measure; one strong beat and to eak beats. Example: #4 Quadruple meter has four beats per measure; to duple meter patterns ith the first and third beat as the strong beats. Example: $4 Duple Meter Triple Meter Quadruple Meter 2 3 duple duple Strong eak Strong eak eak STRONGEST eak Strong eak Asymmetrical meter is a combination of duple and triple patterns hich create an irregular pulse, such as uintuple meter (five beats per measure) or septuple meter (seven beats per measure). To common asymmetrical meters are those ith 5 or 7 as the top number. Examples: %4 &8 The combination of meter and beat divisions is shon here: Triple meter beat unit divided by 2 Simple time Duple meter beat unit divided by 3 Compound time 4. 4 Write the correct anser on each blank. Duple (D), triple (T), uadruple (Q) or asymmetrical (A) meter? Simple (S) or compound (C) time? 3 4 Duple (D), triple (T), uadruple (Q) or asymmetrical (A) meter? Simple (S) or compound (C) time? Duple (D), triple (T), uadruple (Q) or asymmetrical (A) meter? Simple (S) or compound (C) time?

8 Duple (D), triple (T), uadruple (Q) or asymmetrical (A) meter? Simple (S) or compound (C) time? Duple (D), triple (T), uadruple (Q) or asymmetrical (A) meter? Simple (S) or compound (C) time? Duple (D), triple (T), uadruple (Q) or asymmetrical (A) meter? 5. Write the correct number on each blank. A rest euals Q rests. A Q. A. rest euals Q rests. An A rest euals rests. A. A Q rest euals rest euals rest euals Q rest euals rests. A rest euals rests. rests. rests. rests. 6. At the beginning of each measure, rite the correct time signature. The measures are ritten in simple time, compound time or asymmetrical meter. e e h. Compound Simple Compound Asymmetrical Simple x e h. e Compound Simple Simple h Simple Compound Simple

9 9 1 Reading Rhythms 7. Clap the rhythms as you count ry \ dffg \ rdgry\ dgy \ r.g \ r.gr.g\ dffg ry \ dffg \ rdgry\ dgy \ r.g \ r.gr.g\ dffg #4. e \. edgy\ dgy. e\ rdg. e\ r.gdgydffg\ h $4 e e. dg\ e ee e\ e ee e\. dg. dg\ h h $4. edgyee\ rys dfg ry\ S dfgryeeee \. edffg %4. e ryee\. dg dgye dg\. dgr.grdgdgy\ h. h #8. \ rty\ e\ rty\ dg\ rty\ rdgy\ rty\ dgty\. #8. \ rty\ e\ rty\ dg\ rty\ rdgy\ rty\ dgty\. ^8. Q. \ E rye dgy\ Q e e\ rdffg E dgy \ dffgy. 98. Q edgty\ E dffg ee dgy\s dfgyr.gye dffg\ h r.gys dty\ S dfgyr.gydg \ S dtys dfgy dffgy More Rhythm Practice On your PC, take the folloing route to find more rhythm exercises: PrimoTheory.com Resources Level 10 Page 9

10 10 The Half Note Beat The term alla breve is used to described time signatures here 2is the bottom figure, hich means that the half note gets one beat. An example of this kind of time signature is Z2, or cut time, also indicated by the symbol C. Other common time signatures of this type are $2 or #2. The folloing rhythms are euivalent: or The double hole note is used to fill a measure of four counts in $2 time The double hole rest is used to indicate a full measure of rest in $2 time. 8. Rerite the folloing rhythms using the half note \ ry \ h \ h \ rrty\ \ ry\ h $4 Q Q ry\. e h \. E E e\ ryh \ #4 h \ dffgry\ Q dgy \ rtty\ eeeerdg \ h.

11 11 Ear Training: Rhythmic Dictation To complete the folloing assignments alone, scan the QR code on the right or take the folloing route: primotheory.com Y Level 10 Y Rhythmic Dictation: Assignment 9 A B C D E F G Rhythmic Dictation 9. Using the eb application given above, listen to the rhythms and rite the notation on this sheet More rhythmic dictation exercises are available online: primotheory.com Y Level 10 Y Rhythmic Dictation: Extra Rhythms

12 12 Section 2 Keys and Scales A major scale is a series of eight successive tones arranged in the folloing ascending order of hole steps (W) and half steps (H): ` = C Major: 1 Tonic W W H W W W H The tone that begins and names a scale the first scale degree is called the tonic or keynote. 8 (1) The sharps or flats in a key signature ill alays appear in the same order knon as the order of sharps and the order of flats. Order of Sharps ` F C G D A E B Order of Flats ` B E A D G C F Major SHARP Key Signatures To name a major key ith 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 ith flats, the next-to-last flat in the key signature names the tonic. ` E Major E (tonic) ` Ab (tonic) Ab Major 1. Name the major key for each key signature. Use abbreviations (e.g. A Maj, ` = Bb Maj) = *A diatonic half step is a half step hich consists of to different letter names.

13 13 The Relative Minor Key Every major key has a relative minor key hich 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 ` = ` = a minor (1) (1) C major and A minor are relative keys because they share the same key signature. Another ay to find the relative minor key: From the tonic of a major key, go don three half steps to find the tonic of its relative minor. `44 G Major ` ( ) G half steps E `44 e minor 2. For each key signature, name the relative major and minor keys. Use uppercase letters for major and loercase letters for minor (e.g. G Maj, e min). ` = Major: minor: = Major: minor:

14 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: ` ` A Major a minor Bb Major bb minor ` D Major d minor 3. Dra the key signatures for the parallel major and minor keys. ` ` A Major a minor ` B Major b minor ` ` F Major f minor ` `

15 15 The Circle of Fifths The Circle of Fifths is a schematic representation used to illustrate the relationships among various key signatures, and the major and minor keys associated ith them. In the illustration belo, the major keys are represented by the uppercase letters outside the circle C, Bb, etc. The minor keys are represented by the loercase letters inside the circle a, f#, etc. `45- `45- F C G `466- `456- `456- Eb Bb c g d a e b f# D A `456- `465- f C# a# bb `455- `464- `4456- Gb d# eb g# ab `4566- Ab ` ` Db F# `4645- `4456- B c# Cb E Moving clockise around the circle of fifths, notice that: (1) sharps are added to the key signature one at a time, and (2) each ne key begins a perfect 5th higher than the previous key. Moving counterclockise around the circle of fifths, notice that: (1) flats are added to the key signature one at a time, and (2) each ne key begins a perfect 5th loer than the previous key. Some sharp and flat keys ill overlap at the bottom of the circle. These keys share the same tonic tone spelled as a sharp and as a flat. They are called enharmonic keys.

16 16 The Minor Scales There are three basic forms of minor scale: natural, harmonic, and melodic. Natural Minor Scale Follos the key signature no altered tones. Keeps the same form hether ascending or descending. Whole and half step pattern: W H W W H W W a minor Harmonic Minor Scale The seventh scale degree is raised a half step accidentals are used. An augmented 2nd (three half steps) occurs beteen scale degrees 6 and 7. Keeps the same form hether ascending or descending. a minor 6 7 Aug 2nd Melodic Minor Scale In ascending form, scale degrees 6 and 7 are raised a half step accidentals are used. In descending form, the scale reverts to the natural minor form ( ) ( ) a minor (natural minor form) Important note: When altering the 6th or 7th scale degrees, natural signs are used hen raising flatted notes a half step. ` = 6 7 f melodic minor (ascending) Some ascending melodic minor scales ill have a natural sign and a sharp sign. ` = 6 7 d melodic minor (ascending)

17 17 4. On each staff, rite the key signature for the minor scale named above the staff. Write the harmonic minor scale, ascending then descending. Add accidentals as needed. e harmonic minor g harmonic minor f# harmonic minor 5. On each staff, rite the key signature for the minor scale named above the staff. Write the melodic minor scale, ascending then descending. Add accidentals as needed. d melodic minor c melodic minor b melodic minor Ear Training: Scale Identification Scan the QR code to practice distinguishing beteen the three basic forms of minor scale: primotheory.com Y Level 10 Y Scale Identification

18 18 Chromatic Scales Chromatic and Whole-Tone Scales A chromatic scale is a telve-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 don. ascending descending The presence of a key signature ill affect the spellings used in a chromatic scale. Notice the use of natural signs in the folloing examples. In general, the chromatic scale is usually notated so that no scale degree is used more than tice in succession. For example, Db - D$ - D# should not be used. 6. On each staff, rite an ascending chromatic scale from the note given. End the scale on the note one octave higher than the starting note. 7. On each staff, rite a descending chromatic scale from the note given. End the scale on the note an octave loer than the starting note.

19 19 Whole-Tone Scales ` = The notes of a hole-tone scale are separated by hole steps. A variety of different spellings can be used for the same scale: or When this hole-tone scale is transposed up a half step, you find the second fundamental form of the hole-tone scale hich 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 uality. 8. On each staff, rite an ascending hole-tone scale from the note given. End the scale on the note one octave higher than the starting note. Use hole notes. 9. On each staff, rite a descending hole-tone scale from the note given. End the scale on the note one octave loer than the starting note.

20 20 type: size: Per Prime (Unison) Maj 2nd Maj 3rd Major and Minor Intervals A major interval becomes a minor interval hen decreased in size by a half step. Per 4th Section 3 Intervals An interval is the distance in pitch beteen to tones. Intervals are classified by type and size. The folloing abbreviations are sometimes used hen describing the type of intervals: perfect (Per), major (Maj), minor (min), augmented (Aug), and diminished (dim). Intervals of an octave or less are called simple intervals. Major and Perfect Intervals Intervals built above the tonic tone of a major scale are either major intervals or perfect intervals. Maj 2nd min 2nd Maj 3rd min 3rd Maj 6th min 6th Maj 7th min 7th Per 5th Maj 6th Maj 7th Per 8ve Augmented Intervals Perfect and major intervals become augmented hen increased in size by a half step. Maj 2nd Aug 2nd Per 4th Aug 4th1 Per 5th Aug 5th Maj 6th Aug 6th Diminished Intervals Perfect and minor intervals become diminished hen decreased in size by a half step. min 3rd dim 3rd Per 4th dim 4th Per 5th dim 5th min 7th dim 7th *The augmented 4th or diminished 5th is also called a tritone.

21 21 Ho to build an interval above a given note: You already kno to use the major scale to find perfect and major intervals, and that you can alter these intervals to find minor, augmented, and diminished intervals. This orks ell hen you are orking ith keys that are familiar to you just think of the bottom note as tonic and apply the appropriate accidentals according to the key signature. Hoever, hen the tonic tone calls for keys that are not familiar, you can find any interval easily if you kno the folloing three intervals very ell: the perfect 5th, major 3rd, and major 2nd. You can use these intervals to piece together other less familiar intervals. The perfect 5th is the easiest to recognize on the staff: ` `4444 no accidentals only sharps only flats The exception to this is the perfect 5th starting on B and Bb. The perfect 4th follos a similar pattern: ` no accidentals only sharps only flats `4444 The exception to this is the perfect 4th starting on F# and F. The major 2nd should alays be spelled as a diatonic hole step; the to tones should be spelled as to consecutive letters of the alphabet. ` ` diatonic hole steps INCORRECT spelling `44 Perfect 4th? `44444 M2 don `44444 You can combine the perfect 5th and major 2nd to find the perfect 4th or the major 6th. `44 Major 6th? Start ith a perfect 5th, then go a major 2nd don from the top note. Start ith a perfect 5th, then go a major 2nd up from the top note. P5* P5 M2 up = = `44 Perfect 4th `44 Major 6th *At times, abbreviations ill be used to indicate major and perfect intervals. For example, M2 or Maj 2nd indicates a major 2nd, P4 or Per 4th indicates a perfect 4th, and so on.

22 22 1. Construct the named intervals above the given notes. Use hole notes. Per 5th Maj 6th Per 4th Per 5th Maj 6th Per 4th Maj 6th Per 4th Per 5th Maj 6th Per 4th Per 5th Maj 6th Per 4th Per 5th Per 5th Maj 6th Aug 6th min 6th Maj 7th min 7th dim 7th Maj 3rd Aug 3rd Maj 3rd min 3rd dim 3rd Maj 3rd min 3rd dim 3rd min 7th dim 7th ` = 2. Identify the intervals by type and size. Use abbreviations (e.g. dim 3rd, Aug 6th). Watch = the clef! ` = =

23 23 Ear Training Drills: Intervals The folloing exercises are designed to develop your skill in recognizing and intoning major and perfect intervals above or belo a given tone. Your singing range should be noted on the keyboard provided on this page. Solo Drill: Singing Intervals This drill is designed for solo practice. Check your progress from time to time by recording a session and listening to that recording critically, or by performing this drill in the presence of your teacher. Be sure that you are forming the intervals correctly on the keyboard. 1) Decide on an interval in your singing range. Pick from any belo: Student s singing range: 2) 3) 4) Unison Per 5th Maj 2nd Maj 6th Maj 3rd Maj 7th Per 4th Per 8ve Find and prepare both tones on the piano, but don t play them. For ascending intervals, start ith the loer tone. For descending intervals, start ith the higher tone. Play the top or bottom tone of the interval on the piano. Sing the tone. Hear the second tone above or belo your chosen interval ith your inner ear. Sing the second tone. Sing both tones of the interval until you are matching the pitches accurately. Test by playing the interval on the piano. Then sing the interval as you play it. Repeat the process using a different interval. Repeat ith different intervals and focus your efforts on the more difficult ones. Teacher/Student Drill: Recognizing Intervals Your teacher ill play major or perfect intervals above or belo a given note. All intervals ill be an octave or smaller. Identify and name each interval by type and size. For example, say major 3rd. Or, you may rite don the intervals played on a piece of paper. Your teacher ill play six major or perfect intervals above or belo a given note. Write the intervals don on a piece of paper. Classify each interval by type and size. Use abbreviations (e.g. MAJ 6th, PER 5th).

24 24 Interval Reference List your on song references for recognizing ascending and descending melodic intervals: Perfect 8ve Major 7th ascending ascending descending descending Major 6th Perfect 5th Perfect 4th Major 3rd Major 2nd Perfect Unison ascending ascending ascending ascending ascending descending descending descending descending descending Ear Training: Interval Identification The folloing eb application ill play major and perfect intervals: primotheory.com Y Level 10 Y Interval Identification

25 25 Section 4 Chords A chord is made up of three or more different tones sounded simultaneously. Chords may be implied hen 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 ith a minor third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth. perfect fifth 5th 3rd root minor third three half steps MAJOR third four half steps The MINOR triad contains a minor third ith a major third stacked above it. The distance from the root to the 5th of the triad is a perfect fifth. perfect fifth 5th 3rd root MAJOR third four half steps minor third three half steps The DIMINISHED triad consists of to minor thirds. The distance from the root to the 5th of the triad is a diminished fifth. diminished fifth 5th 3rd root minor third three half steps minor third three half steps The AUGMENTED triad consists of to major thirds. The distance from the root to the 5th of the triad is an augmented fifth. augmented fifth 5th 3rd root MAJOR third four half steps MAJOR third four half steps ` = The difference beteen a major and minor triad is found in the 3rd of the chord. G Major g minor Raise the 5th of a major chord to form an augmented chord. ` = G Major G Augmented Loer the 5th of a minor chord to form a diminished chord. ` = g minor g diminished *Abbreviations ill sometimes be used to indicate chord types: Maj for major, min for minor, Aug for augmented, and dim for diminished.

26 26 ` ` min ` = 1. ` Build the triad indicated on each note. Maj Aug min dim Maj Aug min dim = Maj Maj Maj Aug Aug min dim dim Note the clef! Double sharps and double flats ill be needed in some of the folloing triads. Maj Maj Maj Maj Aug Aug Aug Aug Aug min min min min min dim dim dim dim dim Maj Maj Maj Maj Maj Maj Aug Aug Aug Aug Aug Aug min min min min min min dim dim dim dim dim dim

27 27 2. Identify the folloing triads by name and type. Use abbreviations (e.g. E Maj, eb min). 3. Identify the folloing triads by name and type. Note the key signature for each line.

28 28 Ear Training Drills: Triads The folloing exercises are designed to develop your skill in hearing and producing the tones of the major, minor, augmented, and diminished triads. 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) 2) 3) 4) Decide on a triad type: major, minor, augmented, or diminished. Pick a starting tone in your singing range. This tone ill be the root of the triad. Play the root. Sing the root. Hear the tones of your chosen triad ith your inner ear. Sing the 3rd and 5th of the triad. Sing all the tones of the triad until you are matching the pitches accurately. Test by playing the tones of the triad on the piano one at a time. Then, sing the tones as you play them. Repeat the process using a different tone and different triad. Student s singing range: Repeat ith different triads as often as is necessary and focus your efforts on the more difficult ones the augmented and diminished. Teacher/Student Drills: Recognizing Triads Your teacher ill play major, minor, augmented, and diminished triads. Identify and name each interval by type. For example, major or diminished. Or, you may rite don the triad played on a piece of paper. Your teacher ill play five triads played in blocked and arpeggiated form. Write the intervals don on a piece of paper. Identify ith abbreviations: major (MAJ), minor (min), augmented (AUG), and diminished (dim). Ear Training: Triad Identification The folloing eb application ill play major, minor, augmented, and diminished triads: primotheory.com Y Level 10 Y Triad Identification

29 29 Roman Numeral Analysis A diatonic scale is a seven-note scale made up of five hole steps and to 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 uality of the chord. Uppercase roman numerals are used for major and augmented chords; loercase roman numerals are used for minor and diminished chords. Major chord uppercase roman numeral (I,V) Minor chord loercase roman numeral (i,iv) Augmented chord uppercase roman numeral ith + sign (III+) Diminished chord loercase roman numeral ith o sign (viio) The triads formed by the major scale: ` = 1 C Maj: I ii iii IV V vi viio 4. On each staff belo: a) b) c) d) Write the major key signature (the key is given). Write an ascending scale, one scale note per measure. On each note of the scale, construct a triad (root position). Label each triad ith a roman numeral. D ` = Major G = Major ` = Eb Major

30 30 In minor keys, the roman numerals vary according to the form of minor. The triads formed by the harmonic minor scale are shon here. ` = 1 a min: i ii III+ iv V VI vii a) b) c) d) 5. On each staff belo: Write the minor key signature (the key is given). Write an ascending scale, one scale note per measure. On each note of the scale, construct a triad (root position). Label each triad ith a roman numeral. d ` = harmonic minor = f# harmonic minor c ` = harmonic minor Major and Minor Keys 6. In each measure, the major or minor key is given. Write the triad represented by each roman numeral. ` = = G Maj: ii E Maj: IV c min: iv D Maj: V a min: V I f min: III+ B Maj: vi d min: ii A Maj: iii

31 31 7. In each measure, a major or minor key and a diatonic triad is given. Write the roman numeral for each triad. ` = = G Maj: E Maj: c min: D Maj: a min: f min: B Maj: d min: A Maj: Inversions and Arabic Numerals Chord s are indicated by arabic numerals placed to the right of the roman numerals. For example, I6. The arabic numerals represent the intervals found above the bass (loest chord tone) in the most compressed possible version of the chord. ` = I I6 I6 4 root position first second Even though the first has to intervals above the bass, the 3rd and 6th, it is general practice to omit the arabic numeral 3 hen indicating first. 8. In each measure, rite the named triad in root position, first, and second. ` = C Major E Major f minor root position first second = g diminished ` = A Major F Major D Augmented

32 32 Shorthand for Key Indications From time to time, major and minor keys ill be indicated by the folloing shorthand: a single uppercase letter plus a colon to indicate a major key; a single loercase 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. 9. The key of each exercise is given. Write the correct roman numeral for each chord. If the chord is inverted, include the appropriate arabic numeral(s). C ` = Major e ` = minor Bb = Major 10. In each measure a chord and key are given. Write the roman numeral for each chord and, if applicable, the arabic numeral(s) indicating the. ` = A: E: = Eb: Ab: C: G: b: d: g#: g: e: a: ` = Bb: D: F: F#: Db: C#:

33 33 The Seventh Chord A seventh chord is a triad ith an additional tone added a seventh above the root. On the staff, a basic root position seventh chord ill appear as four notes stacked in thirds triad add another skip The parts of a seventh chord: seventh chord or seventh chord Inversions of the Seventh Chord Seventh chords can be arranged in root position and three s. First Inversion 3rd in the bass ` G root position first interval of a 7th from root to top 11. ` = Write the first of each seventh chord given. first 7th 5th 3rd root G first `4444 root Visual aid: first position first first Second Inversion 5th in the bass ` G B root position B G second `4444 root Visual aid: position second 12. ` = Write the second of each seventh chord given. second second second second

34 34 Third Inversion 7th in the bass ` root position third Write the third of each seventh chord given. 13. ` = third G B D D B G third `4444 root Visual aid: third position third third Just remember this: First Inversion = Second Inversion = Third Inversion = take one note up an octave take to notes up an octave take three notes up an octave 14. ` = Each arro is pointing to the root, 3rd, 5th, or 7th of each chord. Write the correct choice. 15. For each example: a) b) first third ` second ` first third ` second ` ` Construct a 7th chord from the given note. Write the indicated of that chord in the second measure. ` ` second ` first ` third

35 35 The Dominant Seventh Chord (V7) The dominant seventh chord is a seventh chord constructed on the fifth scale degree of a major or minor scale. It is a major triad ith a minor 7th above the root. All seventh chords in root position are indicated by the number 7 placed to the right of a roman numeral. ` = C: V7 To rite a V7 chord, follo these steps: a) b) c) d) Identify the key. Find the fifth scale degree. Construct a seventh chord on the fifth scale degree. In minor keys, raise the 3rd of the seventh chord (scale degree 7) one half step. 16. For each major key signature, rite the key name in the blank. Use uppercase letters. In each measure, rite the V7 chord in root position. ` = = : V7 : V7 : V7 : V7 : V7 : V7 : V7 : V7 : V7 : V7 17. For each minor key signature, rite the key name in the blank. Use loercase letters. In each measure, rite the V7 chord in root position. NOTE: an accidental (# or $) ill be needed for every chord. ` = = : V7 : V7 : V7 : V7 : V7 : V7 : V7 : V7 : V7 : V7

36 36 Seventh Chord Inversions and Arabic Numerals When arabic numerals are used to indicate seventh chord s, they represent the interval of the chord notes above the bass in the most compressed possible version of the chord. As is the case ith s of normal triads, not all of the intervals are given only those necessary to identify the. ` root position C: V7 first second V6 5 V4 3 third V2 18. The major or minor key is given for each line. Write the root position V7 chord in the first measure. Write the three s in the remaining measures. root position first second third ` = = ` = = ` = e minor b minor V7 V6 5 V4 3 V2

37 37 REVIEW: Section 4 1. Write a root position triad on each note. Abbreviations are given for the triad type. Maj Aug min dim Maj min Aug = Identify the folloing triads by name and type. Use abbreviations (e.g. E Maj, eb min). 3. Identify the folloing triads by name and type. Use abbreviations. Note the key signature. 4. In each measure, the major or minor key signature is given. ` = Write the triad represented by each roman numeral. 5. F Maj: ii A Maj: IV g min: iv e min: V C Maj: V In each measure, a major or minor key and a diatonic triad is given. Write the roman numeral of each triad = E Maj: c min: D Maj: a min: 6. In each measure, rite the named triad in root position, first, and second. ` = D Major B minor d# diminished root position first second

38 38 7. The chords in the folloing exercise are found in the key of A minor. Identify each chord ith a roman numeral. If the chord is inverted, include the appropriate arabic numeral(s). a ` = minor 8. In each measure a major or minor key is given. Belo each chord, rite the roman numeral and, if applicable, the arabic numeral(s) indicating the = f#: c: Ab: c#: C: e: 9. For each staff belo: a) b) c) Name the major or minor key according to the key signature. Use appropriate uppercase and loercase letters. Write the V7 chord in root position in the first measure. Write the three s in the remaining measures. root position first second third V7 V6 ` = Major 5 V4 3 V = minor ` = Major = minor

39 39 Section 5 Harmonic Analysis Harmony is the study of chords ho they are formed, ho they interact ith each other, and ho they interact ith 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 ill focus on the practice of composers of Western Europe beteen the years 1600 and This period encompasses the Baroue, Classical, and Romantic periods of music, and is referred to as the common practice period. The term four-part harmony refers to music ritten in four parts, or voices, each of hich retains its identity as a distinct melodic line to some degree. In its simplest form, the voices all move ith the same rhythm, such as you ould find ith a simple church hymn. Hoever, 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, hich has to or more distinct melodic lines playing a more or less eual role in the creation of the musical expression, is knon as polyphonic music. The four parts, from the highest to loest, are the soprano, alto, tenor, and bass. In four-part harmony, the voices may be arranged on the grand staff in to different ays: (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) ` soprano alto tenor bass (b) ` soprano alto tenor bass In four-part riting, chords may appear in either open or close harmony, also knon as open position or close position: Open harmony the distance beteen the soprano and tenor part is an octave or more. Close harmony the distance beteen the soprano and tenor part is less than an octave. Open Harmony ` C: V I Close Harmony ` C: V I

40 40 Analyzing Four-Voice Chords on the Grand Staff For the folloing assignment you ill analyze chords ritten in four-part harmony on the grand staff. No there are four notes for each chord instead of three. The notes are also spread out beteen the to staves. Suppose you are asked to identify the folloing chord ith a roman numeral: C Maj:? First, name the notes, D F A D C Maj: eliminate one of the doubled notes, C Maj: D F A D take the three remaining notes and arrange them so that they form a root position triad. `45 A F D The chord is a D minor chord. Next, identify hich 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: ` = C Maj: 1 I ii iii IV V vi viio Finally, determine the. And so, the anser: C Maj:? D is the loest note, hich is the root of the D minor chord. C Maj: ii

41 41 Assignment: Analyzing Chord Progressions 1. Write a roman numeral belo each chord. All chords ill be in root position. The chords used in these examples are: I, IV, V, ii, or vi. Above each bracket, rite HC if the to chords form a half cadence; rite AC if the to chords form an authentic cadence. ` G Major h h h 4 h h h ` F Major h h h 4 h h h ` D Major h h h 4 h ` h h h 4 h h h h

42 42 Homophonic Music Up to this point you have practiced analyzing harmonies arranged as chords, that is, ith all the notes sounded at the same time. Sometimes, hoever, the harmony is expressed ith the tones sounding one at a time. A simple example of this is the arpeggio, hich occurs hen you take the tones of a chord and play them as shon: C Major a minor The arpeggiated figures shon on the top staff can be vieed as elaborations of a simple triad or chord, shon on the bottom staff. These kind of patterns are most freuently found in homophonic music. In homophonic music, the melodic interest is concentrated in one part, hich is supported by arpeggiated chords, solid chords, or other figures hich play a subordinate role in essence, a melody and accompaniment. Compare this to music of the polyphonic style here each part contributes more or less eually in the creation of the musical fabric. To identify the harmony behind an arpeggiated figure, take inventory of the notes, disregard any duplicates, and arrange them in triad form (stacked in thirds). 2. On the staff belo each arpeggio, rite the chord of the arpeggio figure in triad form. Name the chord. Use abbreviations (B Maj, eb min, etc.) =4444=4444=4444-= 14444=4444=4444=4444-= 14444=4444=4444=4444-= 14444=4444=4444=4444-=

43 43 3. Write the appropriate roman numeral in the blank belo each chord. Pick from the folloing: I(i), ii, IV(iv), V, or vi Eb Major D Major F Major b minor 2

44 44 Section 6 Sight-Singing Sight-singing is the singing of a melody from the score, ithout having seen it before. It involves knoing ho a melody should sound before it is sung or performed. The singing exercises in this section serve as preparation for the singing of melodies ritten on the staff. The ultimate goal of all sight-singing practice is to: (1) develop the ability to look at a score and hear it inardly, ith the inner ear, ithout having to sing it out loud or play it, and (2) develop the ability to hear a melody and notate it ithout 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 alays Do, the second scale degree is Re, and so on. scale degrees: Do-based Major: Do Re Fa Sol Mi La Ti Do The pronunciation of the syllables: Re rhymes ith say Mi and Ti rhyme ith tee Fa and La rhyme ith ah Do as in doh or doe ; Sol as in sohl Ho to Practice These Exercises The folloing 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 it you ill likely hear things in the recordings that slipped your notice. These exercises should be practiced as you proceed ith the other sections of this book. Discontinue these drills only hen 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 ill allo 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: C Maj: or G Maj:

45 45 Assignment Use the procedure for Assignment 1 to practice singing exercises 2 and 3 in this section. Follo these steps for each exercise: 1. Decide on a key and prepare ith 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 ith the inner ear. d) Sing the exercise as you play it on the piano. When the exercises are easy to sing ith the aid of the piano, use this alternative for step d). d) Sing the exercise ithout the piano. Test accuracy by playing the exercise on the piano after you sing. If necessary, play the tones as you sing them. Exercises Use the folloing exercises for Assignment 1. Your teacher ill notate the appropriate range of keys and note it in the box provided. Student s singing range: C Maj: List the major keys to use: `5rtyuiuytr-6ryiyr-6ryi[iyr66-= `5ryi[poi4iop[iyui5iytrer-= `5ruytryi666i[ioiuy56ytruytr-= `5ryirioi4irtyri4i[p[oi[5-= `5iyroiuy4ytroiop[4[iroi5-=

46 46 `5r[poi5iuyi[riuy56uytreir6-= `5rtyrioui56uytroi5[poiop[6-= `5i[ioiyuirty4yui[iyuter66-= 2. The folloing exercises explore a different part of the major key. List the major keys to use: F Maj: `5uruo[][5[ouruyu5urou[ou6-= `5uytrtyuo[5[ourtyu5uytyu6-= `5[ouiyruio5ouiyutyrtiuyu-= 3. In the folloing exercises, fermatas occur over active tones.* As you sing, play the chords here indicated by the roman numerals. Stop on the notes and chords ith fermatas listen to the sense of expectation, feel the unresolved tension. Just as importantly, learn to sense the resolution of this tension as you sing and play the folloing note and chord. `5uruoi5uiop[u]566[po[poi5u6- V I IV I V I `5[oiup4op[uyt4rtyupiy4u6-= IV I IV I V I *Active tones are those scale degrees that have a strong tendency to resolve to a neighboring scale degree.

47 47 Sight-Singing: The Authentic Cadence in Melody The folloing sight-singing exercises are designed to familiarize you ith the effect of the authentic cadence. Before you sing, be sure that you are aare of the location of the notes of the tonic triad on the staff. Before each exercise prepare the ear by playing a scale or chord and the starting note. Important: Play the chords indicated by roman numerals as you sing the melody. Be sure to observe the fermatas hold these notes long enough to feel their unresolved tension; notice the feeling of resolution hen you finally sing and play the last note and chord. It is very important that you develop a sense of the cadence as used to mark points of arrival. 4. Sing each four-measure melody using solfege or scale degree numbers. a) Sing the melody. Play the chords at the points indicated by the roman numerals. b) After you sing, test accuracy by playing the melody on the piano. F Major: scale degree 2 resolving to V 6 5 I V I. F Major: scale degree 7 resolving up to 1. 3 c.. V I 4 c.. V I

48 48 G Major: scale degree 2 resolving to 1. 5 c V 6 5 I 6 c. V I G Major: scale degree 7 resolving to 1. 7 c V I 8 c V I D Major: scale degree 2 resolving to 1. 9 c V I C Major: scale degree 7 resolving to V I

49 49 Ear Training: Melodic Dictation To complete the folloing assignments alone, scan the QR code on the right or take the folloing route: primotheory.com Y Level 10 Y Melodic Dictation: Assignment 5 5. Complete each eight-measure melody. Write the blank measures. G Major 1 2 ` F Major c ` = ` c. ` = ` D Major c ` =. 3

50 50 4 Bb Major ` F Major 4 3 ` = ` ` = ` E Major 4 3. ` = 5 6 More Melodic Dictation Practice More melodic dictation exercises are available online: primotheory.com Y Level 10 Y Melodic Dictation: Extra Melodies

51 51 Section 7 The Melodic Line A melody is typically made up of smaller parts knon as melodic units. The smallest type of melodic unit is the motive, or motif, hich consists of three to eight notes that form a distinct musical idea. A phrase is a larger melodic unit, typically four to eight measures in length, hich conveys a complete musical thought. Think of a phrase as a complete musical sentence. To phrases may combine to form a period. The motive, phrase, and period are all different types of form. A cadence is generally defined as the last to chords of a musical phrase. The cadence functions as musical punctuation a point of rest, or repose, separating musical phrases. There are to basic types of cadence. The first type ends on the tonic chord; it closes a phrase ith 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 ith the sense that more is to come, that the pause in only momentary. The effect of this type of cadence can be likened to that of a comma. The term authentic cadence encompasses all varieties of V I(i) or viio I(i) progressions occurring at the end of a phrase or composition. Any of the chords my be inverted. In minor keys, the 3rd of the dominant chord the leading tone is usually raised a half step, making the dominant chord major. The authentic cadence is the most common of the cadence types and the most freuently used to end compositions. This is because the V and viio chord contain scale degrees 7 and 2, both of hich have a strong tendency to resolve to scale degree 1 (tonic). A half cadence ends on any chord other than the tonic. Most half cadences end on the V chord, hich can be preceded by any other chord. Some common half cadences: I(i) V, IV(iv) V, and ii V. Unlike the authentic cadence, hich marks a definite end to a phrase, the half cadence ends in a momentary pause and creates a sense that the music ill continue (and ultimately end conclusively ith an authentic cadence). The Antecedent and Conseuent Phrase in a Melody The antecedent phrase the uestion phrase is a phrase hich ends on a temporary cadence. The end of this phrase creates an expectation that another phrase ill follo. In your riting exercises, the half cadence ill be used because it most clearly creates this effect. The conseuent phrase the anser phrase continues after the momentary pause of the first phrase and completes the period ith a more conclusive ending. The authentic cadence ill be used here ith the tonic as the last tone in the melody. In the folloing section you ill compose single-line (monophonic) phrases and melodies employing all the elements just discussed.

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