TABLE OF CONTENTS Lesson 1: Major and Minor Key Signatures.. 1 Lesson 2: Sales 17 Lesson : ntervals... 29 Lesson : Modes... 9 Lesson 5: Triads and nversions... 51 Lesson 6: Primary and Seondary Triads. 6 Lesson 7: Seventh Chords. 77 Lesson 8: The Seondary Dominant and The Seondary Leading Tone Chord...89 Lesson 9: Cadenes... 99 Review: Lessons 1-9...111 Lesson 10: Melodi Devies... 115 Lesson 11: Phrase Struture 127 Lesson 12: Ornaments and Nonharmoni Tones 19 Lesson 1: Harmoni Funtion... 15 Lesson 1: Toniization and Modulation... 167 Lesson 15: Altered Chords and Suspensions.. 179 Lesson 16: ntrodution to Four Part Harmony.. 185 Lesson 17: Doubling... 19 Lesson 18: Harmoni Progression.. 20 Lesson 19: ntrodution to Voie Leading.. 21 Lesson 20: Poor Voie Leading.. 221 Lesson 21: Realizing Figured Bass. 227 Lesson 22: Four Part Writing.. 25
Review: Lessons 10-22...21 Lesson 2: nterpreting Lead Sheets... 25 Lesson 2: Form and Struture... 25 Lesson 25: The Fugue..... 277 Lesson 26: Rhythm and Meter.... 285 Lesson 27: Texture.. 299 Lesson 28: Performane Terms.. 1 Lesson 29: nstrumental Terms... 21 Lesosn 0: Genre 27 Lesson 1: Voal Terms. Lesson 2: Jazz and Pop Terms.. 1 Review: Lessons 2-2... 7 Answer Key...5 Blank Staff Paper...8 Referenes...87 ndex...89 Ear Training and Listening CD (MP Format)...nside Bak Cover
2 To determine whih Major key a group of sharps represents, find and name the last sharp (the sharp furthest to the right), then go up a half step from that sharp. The note whih is a half step above the last sharp is the name of the Major key. Three sharps: F, C, G Last sharp is G A half step above G is A Key of A Major To determine whih sharps are in a Major key, find the sharp whih is a half step below the name of the key. Name all the sharps from the Order of Sharps up to and inluding that sharp. Key of D Major A half step below D is C Name all sharps, from the Order of Sharps, up to and inluding C F and C f a key signature has FLATS, they will be in the following order, written on these lines and spaes. This is alled the ORDER OF FLATS. b b b b b b b BEADGCF b b b b b b b The Order of Flats an be memorized this way: THE ORDER OF FLATS BEAD Gum Candy Fruit f a key signature has one flat, it will be Bb. f it has two flats, they will be Bb and Eb, et.
7 1. What is the sale degree name for the V hord a. Submediant b. Subdominant. Subterranian d. Submerged 15. Whih Roman numeral represents the Dominant a. V b. V. vi d. 16. What is the quality of the Roman numeral V a. minor b. Augmented. diminished d. Major 17. Using the major key, what is the Roman numeral and figured bass for this hord w a. iii 6 b. 6 6. V d. vii o 18. What is the sale degree name for the ii hord a. Leading tone b. Dominant. Supertoni d. Mediant
56 n atual musi, triads are rarely in their simplest positions. To determine the root and quality of a triad within a piee, follow these steps: a. b.. d. Put the triad in its simplest root position form by plaing the letter names so that there is one letter between eah (for example, F-C-F-A beomes F-A-C). Add all sharps or flats from the key signature, or from earlier in the measure, to the letter names. Determine the root and quality of the triad. Determine the inversion of the triad by looking at the lowest note on the lowest staff. Example (From Minuet in G by Beethoven):.. G Major 6 a. b.. d. Notes are B-D-D-G. Simplest root position form is G-B-D. G Major Triad. B is the lowest note (in the bass lef), so the triad is in first inversion ( 6 ). e. G Major 6 6 (or G Major ). Name eah irled triad in the examples below by giving the root, quality, and figured bass. a. From Ballade, Op. 118, No., by Brahms. b b b b C C n.... >.... n b >.. Œ.. >.. n.. >.. Œ...
92. Label the irled seondary hords and their resolutions using Roman numerals and figured bass in eah of the following exerpts. a. From Romanze, Op. 118, No. 5, by Brahms. Key of: Major b b 6 6 n n / b. From ntermezzo, Op. 118, No. 2, by Brahms. Key of: Major.. n /.. j j /
126 EAR TRANNG DENTFYNG MELODC DEVCES Listen to Examples 96-100. Eah example will be played three times. Chek the melodi devie that is used in eah example. Example 96: Retrograde Rhythmi Transformation Augmentation Example 97: Trunation Repetition Extended Version Example 98: Melodi nversion Sequene Augmentation Example 99: Diminution Trunation mitation Example 100: Sequene Rhythmi Transformation Otave Displaement Listen to Examples 101-105. Eah example will be played three times. Notate the final two measures of eah melody. Example 101: 2 Example 102: 8 Example 10: b b b b Example 10: bc Example 105: b. J
1 Appoggiatura Antiipation j. Ornament and Nonharmoni tones referene hart Lower Neighbor Upper Neighbor Double Neighbor Esape tone / / (ehappee) Neighbor group, ambiata, hanging tones, or hanging notes Passing Tone Unaented Passing Tone Preparation ŸTrill Aented Passing Tone. Suspension Chromati Passing Tone b n Reartiulated Suspension ṁ MMordent Turn Pedal Point w Retardation w. Ostinato Suspension Chain Appoggiatura r. Grae Note r 1. Name the nonharmoni tone or ornament that is irled in eah example. a. From Sonata, Hob. XV:5, by Haydn.. Œ Œ b. From Sonata, Hob. XV:50, by Haydn. b. Œ b Œ
21 When the voies move in the same diretions but the interval between the voies hanges, they are moving in SMLAR MOTON. The lines in this example show similar motion between the soprano and bass voies. Similar Motion Similar Motion Similar Motion When the voies move in opposite diretions, they are moving in CONTRARY MOTON. The lines in this example show ontrary motion between the tenor and bass voies. Contrary Motion When one voie stays the same and the other voie moves, they are moving in OBLQUE MOTON. The lines in this example show oblique motion between the tenor and bass voies. Oblique Motion When two voies move in the same diretion and the interval between them stays the same, they are moving in PARALLEL MOTON. The lines in this example show parallel intervals of 6ths between the soprano and alto voies in the first meausre, and parallel rds between the tenor and bass voies in the seond measure. Parallel 6ths Parallel rds
V V ii V b b ii V7 ii V 25 1. Add the alto voie to this example. 2. Add the alto voie to this example.. Add the tenor voie to this example.. Add the tenor voie to this example. LESSON 22 FOUR PART WRTNG Complete eah of the examples in this lesson, based on the guidelines taught in Lessons 16 to 21. 6 6
0 b b b 2 EAR TRANNG Listen to Example 175. The example will be played four times. Notate the soprano and bass parts, and provide the Roman numerals indiating eah hord and its inversion. The first notes and Roman numeral are given. W.B. Bradbury: Abends b b b b b b b b b 2 E: LSTENNG Listen to Example 176, whih is from Symphony No. 5, Opus 67 by Beethoven. The example will be played four times. Cirle the orret answer for eah of these questions about the musi. 8. Whih of the following does NOT our in the exerpt a. Literal repetition b. Appoggiatura. Sequene d. Changing meter 9. Whih of the following represents the sale degrees of the opening melody a. 1 - - 5 - - - 2-1 - 2-1 b. 1 - - - - - 2-1 - 2-1. 1-2 - 5 - - - 2-1 - - 1 d. 1 - - 5 - - - 2-1 - 2-1 10. What type of adene ends the example a. Plagal b. Half. Perfet authenti d. mperfet authenti 11. Whih term desribes the end of the example a. Coda b. Codetta. Reapitulation d. Cadential extension