Pitch and Pitch Class Assignment 1.1 I Identifying letter names from the keyboard A. Count letter nares above the pitches labeled on the keyboard (eg, 3 above C). Be sure to count the sven note (C-D-E), Write the eter name ofthe n pitch (E) onthe appropriate key and in the blank provided 2 (0) sabovec (@ sabove a (9) below (@) Gabe _ (© BaboeD © stelowB B. Write the ltter name for each numbered white o black key inthe Blank. Choose either enharmonic nme for back ey @ Berdt @ co ©Il, Identifying whole and half steps at the keyboard Locate ah psi ofpithason the aoa low ay te. Weer ames on wie hey bone in the blank provide, write W Gwhole step), H (half step), orN (neither) abe © FE © Gra a Bec (© Ghat Do @nd wen 0) Gad _ @ cbt an © Ach ) BCH @nr (© Abad II. Enharmonic pitches Cirle any pair of pitches that arena enharmonic one Bec OMB OR OGF © Dtb oun AeG @ DeE |) CD BCH) Anh Pert T Elements of Mus@ Assignment 12 I Idontifying wholo and half steps at the keyboard mach exercise below tart withthe Key indicated and move your finger long the path ofhalf and whole steps given, In the blank, write the name ofthe pitch where you en. (4) Begin on C: down W, down H jown W, up H, up H = () Begin om E: up W, up H, up W, down H, up W, up W (©) Begin on i: down W, dow W, up H, down W, down H, up W = (@) Begin on Ab up W, up W, up W; down H, up Wy upW= i (©) Begin on CE down W, up H, up W, up W, up H, up H = © @ © Beginon B: up H, up H, down W, down H, down W, down W Begin on D: up H, down W, down W, down H, down H, up W: (Begin on Ek: down W, down W, down H, down W, up H, up H IL, Staff notation Wiite the eter name ofeach pitch in the blank below: A. Treble and ass eles o ® © © © © ® @ @ m a) a) ano) OH) oD Daw Chapter 4 Pitch and Pitch Case Sar IlB. Aland tenor ets o ® © oo © @ ® ® om wm as) 09, 0) an a) a) @) GD a) a UL. Half and whole steps from staff notation For each pitch pair below, write W (whole step), H (half step) oN (neither) in the blank, Qe © ® @ ®@ © IV. Analysis: Purcell, “Music for a While,” mm. 19-21 (vocal part) ‘ite W whole step), H (half step, oFN (neither inthe blank below the shaded pte, ——_ hae oer @_H » © © © moet eter Pere Hlmsots of Music@ Assignment 1.3 I. Writing whole and half steps on the staff For each given note: ‘¢Drawa stem to make a half note; be sue that tho stem is on the correct side ofthe note and extends inthe comet direction ‘+ White a second half note a whole o half step above or below the given note as indicated by the arrow: ‘+ Choose a spelling forthe second note that has a diferent etter name from the given pitch @ © ‘ ® @ o ™ cy © © @ ® HY wt ut rn ut wh IL. Identifying pitches with and without ledger lines ‘Wit the letter name of each pitch in the blank provided, © » © @ Ce) Chapter Pech and ich ClosII. Identifying pitches in C-clets For each pitch onthe let, rite the Clef equivalent on the right. Then label every ptch withthe corset the octave Jette name and octave number in the lank Dont cha ® ©» © @ @ IV. Analysis, Inthe following melodies, write W or H for each bracketed pai of pitches in the blank below. ‘A. Joel Philips, “Blues for Norton? mm, 20-24 (bas ine) OWA _O_ #6. 6. o_ 1B. Mocart, Variations om Ah, ous dra, Maman". 164-168 (left hand) oO O_o O_ ©_m C. Joplin, “Pine Apple Rag," mm. 1-4 (right hand) o_®_o_@ D. Wille Nelson, "Om the Road Again’ mm. 11-14 () es Oe Gee wee Part Elements of Musio@ Assignment 1.4 L. Identifying pitches in mixed clefs ‘Wtetheletername and octave mumber of each ith below Oe oe ee Go a ® © o m2 © oa ® IL, Writing half and whole steps in mixed clefs Tn the following exercises, choos a speling that has a different letter name fom the give pitch D6 Wiser wheat street grat o @ ® o © © B. Witea whole step below each given note @ o o © © © C. Write a distonic half step above cach given note (wth diferent eter nam). © @ ® a © . Write diatonic half step below each given note (with diferent leter nam). @ o ® o o © Chapter 4 Poh and ich CasoIIL Identifying pitch and register in musical contexts Tithe excerpts below; write the letter name and oetave numberof the shaded pitch inthe Blank that core- spond with Uhe auunbers marked on the core ‘A. Haydn, String Quartet in D Minor, Op. 76,No.2 (Quinten) mv, 3, men 1-11 | ts et. ots eee ys oO 5 @ ° © o © ill HB) ant Benenssof Mao@ Assignment 1.5 1 Arranging Rewrite each exerpt onthe blank staff provided, according tothe inividal instruction. Use ledge lines ‘encoded. Remember to change the stem direction where necestary inthe new actave. Copy note heads, stems, and other symbol s shown (you lean more about them in Chapter 2). ‘A. Foster, "Jeanie with the Light Brown Hii mm. 6-8 ©) Rewrite one octave lower in the has cle, faa See 1B. Purcell, “Musie fora While? mm. 21-29 () Reverie this ine for bassoon in the tenor clef dont change the octave ° spebeeer ‘C. Mozart, Symphony No, 41 in © Major, mvt, 4, mm. 407-411 (vila) 2) ‘Reverie this viola part for violin in the treble clef; dont change the octave s07 408 109 a0 on Chapter 4 Poh and Piet Cee11 Composing meloios A Cnt staves below, compose two melodies of mostly whole and hal steps in any masicl syle you choose. ‘+ Choose a diferent “hom” pitch for each melody. Begin and end on Write at east ten pitches foreach, using only adjacent etter names (es Write two to thre times as many whole stops as half steps | 1 Notate all acidentals even naturals 1 Notate your melody with rhythm ifyou wish, o use filled and hollow note heads as shown below (ollow note heads last cea long as filled). Sample melody 1 Sample melody 2 AL Malody B. MelodyAssignment 2.4 I. Notation basics {A Gree any notation eos on the thn ett entire eee comet onthe ight ee ——————— BB. Foreach rhythmic value or rest notated on the ist ine, notte te coresponding rest or note on the second line. IL, Identifying meter Wirite the meter signatures and mete ype (eg, simple duple) for each of the following melodie. A ach, Minuet I from Cela Suite No. Lin G Major, mm. 1-8 Meter: Meter type: 'B. Clara Schumann, Liebst du um Sehinbeit? mm. 3-6 io ae Lebeau um Sehae © kk mich be - bet Meter: Meter type:Meter Meter ype III. Counting rhythms Foreachshythm provided, add the mising bat lines and write the counts below the score. Then perform, the rhythm. (@) Lionel Richie, “Three Times a Lady? mm. 11-4 we the end of oar ran = bow 1 @ (2) Bono and U2, “Miracle Drug,’ mm. 29-32 (last measure is incomplete) fete ee Fee - dom bas a wat he the top of a new-bom ba Dy ead ows Olt 1 FA Sa on TO OA A. ows FAA AAT 1. Ae op ee) ee ey op il 1) cara ony op THI OITA Oo. aaf Assignment 2.2 I. Understanding dots Wit the appropri note a in cach empty box ofthe chart provided ee lade ole oe |e a f=] J f+ ele Be lee) a + fe +] 4 IL. Counting rhythms with beat subdivisions ‘A. Ada the missing bar ines to each shythm, and waite the counts below: Then perform the rythm. Oe ee ee | 1@ omlI TAT FA A. 4s FR on F FA FI Ta a oe eee BB. Ateach postion marked by an arrow, ad one not to complete the measure inthe mete indicate. Ifyou write an eighth o siteenth note, beam or ag it propery wage tft _h J —_ 9 F.4d} a age I Ae ee wg TTI dD ITs FIA. 4 (Chapter 2 Simple MetreIII. Counting rhythms with rests Revie each shythm and melody onthe blank staf provided, supplying the missing bar ines and Correcting the beaming wo rele the beat The Schumann melody begins with an anaeris, a shown donot recopy the ext Pare Elonnts of MusicAssignment 2.3 I. Beaming to reflect the boat Rewrite each ofthe fllowing rhythms with correct beams to reflect the beat unit. Add the counts beneath ‘the rhythm and read the rhythm aloud aq SOM 4 ye. wt dae nap TO, ORAS yy 4+ cae an oof Dy uf ies ecaaeaaaea IL. Counting rhythms with dots and ties oe n3 cca Chapter 2 Simple Meterscapt yy 43—— a IL Syneopation ‘Syncopated rhythms are widespread in music written for popular song, the movies, and musical theater. fn each of the following tunes, draw an arrow above the staff hat pints toa syncopation, and write the counts forthe entre chythm beneath ‘A. Carole King, You've Got a Friend’ mm. +5 ©) ES : hea jot dara sd wor Hed andyon need somelore and ao a4 BB. Jonathan Larson, "Seasons of Lave” mim. 4-44 be (©. James Horner, Burry Mann, and Cynthia Wei, “Somewhere Out There"mm.27-28 () $5 e it het think we might ke wish ate he ane Sr D. Shania Twain, “You'e Stil the One mm. 18-16 ‘They sad, “I bet theyll never make it” But st look atts holding NM me een ete ee@ Assignment 2.4 I. Reading meter signatures | ‘A. Fillin the empty boxes in the chart with ameter or not value Simple duple i 3 Simple duple cae ‘Simple tiple a ‘Simple wiple = ‘Simple quadruple 4 - ‘Simple quadruple 1 BB. Write the meter signature and meter type (simple dupe foreach ofthe given works. (0) Core Preludio, om Tro Sonata in D Minor, Op. 4,No. 8, mim. 1-7 Dries ster pe (@) Orlando Gibbons, Song 46, mm. 1-4 Qast measure i incomplete) () Scarlatti, Sonata in G Major, L388, mm.1-6 : A 2 oe ‘ Meer: Meter type Chapter 2 single Moves TITLE neanPteII, Reading and writing in different meters A ‘ed by an arrow, write the appropriate note value, you write an eighth or in 1 fo je dd ped ow OL 4, 4 A opt Lj. joy omy ba ky wage tits js ded oe B. Renotate the ellowing Haythms with is instead of doted note. w ag-+—1i4) dda 14 ee oe eo Renotated 4 ~ Spee dives een Renotated AEB,®@ Assignment 2.5 4 I. Understanding meter signatures Foreach meter given, write the bea unit onthe staff (on any line or space), and the meter type (dupe, ‘wile or quadruple in the blank. ple IL, Writing in different meters ‘A. Renotate Schumanns melody (not the tet on the bank staves, in. When beaming the rhythms use ‘moder instrumental” ssl athe than yea notation. gq Steere Widnes, mm.15-25 Do it von Himmel e-achiod en Daw du mich Tihs sche mich mie werk, din ck hat mich vor mie werk, du ett mich 1s 1» 2» a cape Since Mees'B. Renotte the following shythms without tes. Then perform each rhythm LA Fi yphp dU ented 44§j-2 $2 b » eA y re es Renotated HE © apt Loyd yp ey sets : €. Compete the following rhythms by adding one orto rests to complete any measure marked by an srrowe Then perform each rhythm. ope add og dh jorTa a {4 jo—_d—_} FI Fd : * ' 1 1 Pert Blreots of MusicI. Anacrusis notation ‘composer us to il the final measure of the eompostion (not shown) tale the anacrasis? ‘Write this vale inthe Blank provided, ‘A. Bach, Passacaglia in © Minor, mm. 1-7 'B. Haydn, Scher, from Piano Sonata No 9 in F Major, mm. 1-4 . Assignment 2.6 40 | Each ofthese melodies begins with an anaerass. What note value (or note value plus rest) should the | | } | | Final note vale: (G. “Wayfaring Stranger," mm.1-4 Tom Spoor mayfiring sean Actran-ting through word of woe, —— inal ot vale: smeriean Pie? mm. 1-3 == a ‘A Tong log tine s-go Tan tll remen-ber how tat asc and make me se inal note vale: IL. Composing a rhythmic canon ‘Compose a rhythmic canon in four parts to perform with classmates. ‘+ Begin by performing the following canon as an example, with classmates divided into four groups. Bach _sroup stars at the bogining, entering when the preceding group reaches rears number 2: Group enters when Group 1 reaches rehearsal number 2, an so onjust ike"Row, Row, Row Your Boat” * Fora more labora rhythmic composition, listen to Ernst Tochs Geographical Fugue, whose te is ‘based on names of places: “Trinidad, and the big Mississippi andthe town Honolua... Ty writing Asmar text with the names of your classmate, buildings on campus, oF counties ofthe world, @ Bellin and nenpations Ue syns tat empha diferent ets or pars ofthe eat and sed contrasting dynamics to each line to create an interesting and musical effect in performance. Chapter 2 Simple Mote [8 Se(UBD re memes oe mano biAssignment 3.4 I. Writing scales ‘A. Beginning on the pitch given build an ascending major sale by adlng flats or sharps where needed, {ollowing the corect pattern of whole and half steps. 0 2) wwhw ww nh B. Write the major scales indicate, beginning withthe speifd pith, () Dt ascending 2) Pas ascending (9) Asa descending (8) Bis ascendingTT (©) Bs ascending (6) Fa descending (DG descending (6) PA ascending (©) Dis ascending (10) Bi9 descending (i) Ces ascending (02) Cotascending (©. Wite chromatic sales, using th following steps + Writes majors wth hollow noe hed, ascending or escending a specif, starting withthe rene, «+ Labet each itch th ts ele- degre mabe, and mark whole and nf steps Leave a space (le terween th whol tops ad aot eben, + Thenilin a eps th led ne eds as ned to maka chromatic se ©) Ascending : i 2 aa SS Ww Wena (2 Desending ee —<$$_$_____ | | (0) Desegnding ] j i (4) Ascending i aaa SSS (| @ (OBR rarer ements or Music IAssignment 3.2 1. Key signatures ‘A. On the following staves, write the key signature foreach major key indicated. Be sue thatthe sharps sand las appear in the corret order and octave, Oy ® @ © Amajor Bs major Dimajor Pe major © ©, o © Es major Fmajor G major Bmajor @ 0 a 2) G major ‘Ab major Emajor major as) os) as) a) B B B B Dimgjor Ei major major Armajor BB, Identify the name of the major key assorated with each ofthese key signatures. ® o © © © 6 o ® ite ees o an om a), ) 0, on or) «ap a ae 9 ae Ca a Chapter 3 Pitch Cletons, Selon and Mace Kaye (HlIL. Scale-degree analysis of melodies ‘These voea melodies include prominent scale passages or segments. For each meld (1) mark sale ti 4 seqments (five note orlonge) with a bracket, 2) write the name ofthe ey in the blank below the melody, ‘then (3) write the appropriate seale-degree numbers o solfge syllables (frst eter only above each not, ‘Finally, sing on seale-degree numbers or solftge ‘A. “Come, Follow Me” (anonymous); perform asa round () ee of tt tt ee St Come, Bl = Low fl = Dom, = low Dow, m= owe Whiter shal Tf = tom, f= tom, Tom, Whither ahll 1 fl = tow, f= tow thee? ‘To thegreen-wond, to the peen-wood, To the gren-wond, grn-weod tee Key 'B. Richard Rodgers and Oscar Hammerstein, “The Sound of Musie? mm. 9-5 ear wants slog ew =ity wong hea (RB ree romeo rate( 2 Assignment 3.3 I. Seale and seale degree A. Given the sale degree notated on the left, write the major seleto which it belongs. Regin by writing ‘whole notes on each tine and space, then iln the neessary accidentals. Write the sele-degree number or ‘name beneath the given note in your sale, to check our answer a dominant 7 BB Complete the table by writing the requested major key, scale degree, or pitch name, oF 7 comes] gaa @ os ee @ Fm - a @) é FR @® & 3 (10) 6 [o z @ |[a@ ec median le aga fe [os ¢ n |IL. Seale and key analysis Eachof he flowing pies tres prominent se or sae semet Witethesaleorsementonthe (| @ sla below. It ehromatic or major? If major, name the tote A. Mozart, Piano Sonata, K. 999, mvt. 8-10 Seale ype or major key: __ | B. Joplin, "The Ragtime Dance mm. 61-64 eee _ fi —— ee | ©. Handel, Chaconne, mm, 49-51 Seale type or major key; ¢ PIER) mn ener ae | | Ls oo | Assignment 3.4 I. Key signature review a, o 9 © @ © 9 ® ® | ‘A. Identify the major key indicated by cach key signature. | | | | 1B. Waite the key signature fr each major key specified Place sharps or ats inthe correct order and octave @ ® ®), @ ©, © o © ® 0) | G major Es major: Amajor ‘Dé major Emajor | I Identifying seale degrees A. Write the appropriate note on the staff indiated bythe major key and scale degre @ 2 o @ ©), © EG BG Ad Fea Be 6 BG B. Each ofthe following sequences of scale degrees and solfege syllables represents a wellknown melody. (Solfoge is notated with just the est etter of the syllable) An undeslined symbol shows pitch below the toni. ‘On the top staf, write oat the major sale specified, and label with seal degrees or sole ‘Use these labels to write out the melody (with core key signature) onthe lower save (aythm is optional) ‘+ Ifyou know the name ofthe tune, write inthe blank provided (optional, Chapter 3 Pech Colton, Sales, snd Malor Kev l Se(A major tea @ldir blair Name of melody = @)Bb maior i -i-8-8-4-8-2-4-4-8-8-4-4-5 d-d-rom-f-m-+-d-¢-¢-L-¢-¢-€ Name ofmeody: II Pentatonie seale ‘Write the following major pentatonie sales ({-5-8-8-8, or do-re-mi-sa- la), @ @, ® @2 Assignment 3.5 1 Seale review ‘Writ the scales requested, boginning with the given pitch Add accidentals before each note as needed, rather than using a key signature, A. Seales ascending and descending (Major (2) Chromatic ———————————————————————————— (@) Major | (4) Chromatic SS (Major 5S B. Scales ether ascending or descending (2) Major pentatonic, ascending (2) Major, descending (3) Major pentatonic, ascending (@) Major pentatonic, ascending (8) Major, ascending (6) Major, descending |{Me IL. Analysis of scale type ‘Look at the key signature and melodic eves from the being and end ofeach given melody to determine the key. Write the mame ofthe major key (or “not an. If major, label the seal degrees of ‘ach note below the staff to confirm tha they it well in dhe key you have esen, A. "Hush, Little Baby! mm.1-8 eta by, dont sy a word, Mavis gong to hay you a mock-ing bin Key: B. Schubert, “Der Lindenbaum? mm.9-12 ‘Am Brun = en vor dem Tho - dk athe in Lin = den - Baum ‘dt: ye fontaine he le there td and oa ©. ate in the al cet am. 2-80) SSS SS rong fom o = ver mm Andy me Tym pe been DH. Worthington Loomis, "The Frog in the Bog” mm. 1-5 ‘Thee coe was fing who | Hrmd in a bog and payed a Sd-dle im the middle of a pad-dleWhst a mod-d— Keys BL Mozart, Kye eleison, fom Ragu, mm. 15 (bass par) 2S SS Sa arerre Kye ee es tno ee key: ‘Pert 1 Elements of MasiAssignment 44 L Understanding simple and compound meter signatures A. From the information given, compete te following chart. [Compound duple 4 4 vad = {Compound dupe m ‘Simple tiple 2 Compound wipe g a Simple quadruple > (Compound quadruple w [B, ach ofthese melodies is taken from a keyboard prelude in Bachis Well-Tempered Clavier, Book. Provide the correct simple or compound meter signature, hen write the meter type (compound tiple) and beat unit (eg) in the blanks provided. (The inal measure of the excerpt may be incomplete) (2) Prelude in A Mino, mm. 14 (left hand,m,4sincompete) ©) Meter: Mter pe: Beat unit (2) Prelude in Ab Major, mm. 1-5 (ight hand) Q) Meter Meter type: Beat unit(@) Prelude in GE Minor mm, 1-4 (cight hand) Meter:__ Meter types (® Prelude in Ct Minor, mam. 1-4 (ght hand) Meter: Meter ype: _ est unit (6) Prelude in Bh Minor mm. 14 (right hand) () Meter: Meter type: Beat unit: (© Prelude in Major, mm. 1-3 (efthand) © Meter: Motor type: _ Beat unit (P Prelude in Ct Major, mm. 1-7 (ight hand) Q) Meter Meter type: Beat unit: _ (8) Prelude in F Major, mm. 1-2 (left hand) () Meter: Meter type:_ Best unt: (fl et nrAssignment 4.2 1. Understanding simple and compound meter signatures For each meter signature given fl inthe missing information, Compound wipe Z IL Compound meters with +. beat units |A. Ateach postion marked by an arrow add one note value that completes the measure inthe meter indi- ‘ated, Then writ the counts below the staf ous dt 41 11 CAA 1 He Chapter 4 Compound Matereoagci sats ag TT dl 14 | omg tT ppd A ~{- oe ee eee 4 oO Oy bb 4 oegd 11, SAL yb td 4 oO ao dy qT 14ae Assignment 4.3 I. Understanding compound meters For each melody, provide the missing bar line that correspond withthe meter signature given. The inal reasure may be incomplete. |A. Besthoven, String Quartet in F Major, Op. 18, No. 1m. 2 (call part adapted) B. Hensel “Schwanenlid” (adapted) C. ark, String Quartet No.2, mv. 1 (cll) IL. Understanding rests _Ateach positon mated with an arrow, ad one rest to complete the measure in the meter indicated. Weite ‘the counts below the rhythm enclose counts in parenthessif they fall on a rest. aap Ly Mt w eagle 28110. aaa + nag Bd) oy An bey (Chapter 4 Compound Moraes7 i $j‘ Q TF II. Beaming to reflect the meter ‘os manips in oder eos is often writen with ag tht corepondtomabesfthesmng (| ut tea), replasing lags with beams to reflect the meter text. Copy the va lines on the lank staves and boat unitinstead Copy the rests exactly ‘A. Handel, “How beautiful are the feet of them,” from Messiah, mm. 5-9 How bes = Aefal are the fst of thom that promt the gar pel of peace How ‘ati ac the fit, Bow Beth ae the rt of them that pach he gone of prac SS B. Mozart, “Lacrimosa,’ from Requiem, mm. 9-10 (soprano part) on, as ad . Schumann, “eh ab’ im Traum geweinet rom Dicherlib, mm. 10-13 lon mach von der Wan = ge her = ah 1h ba? im Tham ge = we = et,Assignment 4.4 1. Compound meters with 4. and «). beat units ‘Use proper beaming and stem direction (0) “Agincourt Song mm. 1-4 | ‘A. We counts beneath cach my Ten revit elo oth word) a tetas ete ‘© love, low deep, bow broad how high, How pas ~ ing thought and fant - oh ee eae a (2) “The Prety Gie Milking Her Cow mm. 3-8 (9) “When Johnny Comes Marching Home” mm. 1-4 When John-ny comes marching home pln, Har rabl———— Har ht —_—_——_—_————— ed (8) Ralph Vaughan Wiliams, “The Call? mm. 2-6 Pp 2 ‘ : Come, my Win, my Truth my Life Suh Way, ae ghee bra C0 Se. (Chapter 4 Compmund Metreplete the measure in the meter final bat. 7 a ong Fb) Ek 4 ogee dT I Ry compl pe 4 tk by ows 7S A) A ay add one ie of an a wg 3d ys IL, Rhythmic ducts Compose a second ine to go with each ofthe fllowing rhythms, Write notes and ress that complement (and dont overpower) the frst ine. Make ure that each measures complete Prepare your duet for performance with a classmate vapid Joe i dy Le on t t nf 4S A, aa yy “iAssignment 4.5 1. Reading and writing triplets ‘A. Ineach ofthese dythmns, provide the missing bar ines that correspond with the meter signature given om DA), Aca oe ee ea | on Tht, , Paranal y ee ee ee 'B, Renotate each of those shythms and inser triplet in place ofthe bracketed beat. Write the rhythm ‘counts beneath your answer. Then perform the rhythm you have writen. o aft 1, OO 4 sity 4 onal to oe ee , Renotated HB © ag AFR AL Sy ] Renotated (Chaptse 4 Compound MotorsIL. Syncopations A. Rewrite each rhythm, adding es or accent matks to create syncopstions. Be prepared to perform each syncopated rhythm. oa, SL Ay a sy Be owed tl 3) SS oy —— [B, Compose a syncopated compound-meter rhythmic canon for performance with classmates. Begin by performing the following three;part canon as an example, Divide nto three groups; each ne group begins ‘when the previous group has reached. In your composition: ‘+ Make the thre nes dsintve, ncudng rhythms that emphasiae diferent beats or feats fr contrast. ‘+ Adda text and contrasting dynamis and accents in each line to create an interesting and musical ‘effet in performance. decch cpt pte °* ig) | J ao Your comes ® Pare Bement ot MusicAssignment 4.6 1. Analysis ‘Name the meter ype fr eich excerpt. The, below the staff write the counts where indeate. Finally newer the question below the excerpt with one orto sentences pr cous: ST Thiet, dah fom counts Meter type iow does this setting fer from the one in your anthology? Which version do you think simpler to sing, snd why? B. Schubert, Eslkonig” mm, 15 Wer ni tt mit ard Nacht und Wind? ‘Counts for fret Meter pe ‘With so many triplets, Schubert might have chosen to wnt the plano accompaniment in what compound meter? Meter Chapter 4 Compound Mevors(On the staff, write the veal par for measures 15-19 in that compound mtr, E——— ©. Andrew Loyd Webber and Tim Rie, "Don't Cry for Me Argentina, mm.3-8 ‘Write the counts forthe melody line above the staf as though in meter (eu time), ‘Counts in Eee 0) a 2k | ame | i ' ae | pe ee ad ace o oc SSS SSS | Poe eee Maer ‘Some popular songs are notated in but performed in sucha quick tempo thatthe meter fels more like cut time alla breve) oF 8, How does acuttime interpretation help with performance ofthe pet in measure 8? ‘What other notational features suggest et time?Assignment 5.1 L Writing minor scales A. Foreach major key requested, write the key signature and major scale inthe let column, Circle sale Aegree 6. Then, in the right column, wete is relative natural minor and name tas shown. o, at == Emgjor Relatveminor: __C#minor ® Bh major , Relative minor Dinajor ®, Relative minor: Lean! Relative minor: Bimajor Relative minor: © G major Relative minor:B, Onthele bid the aceding natural minor ce specif by adding ats or sharps in oat of the pitches given. On the right writ they sgnatre ofthe elatve mor, and name the ey. Then ite the Complete mao sexe | @ FF minor Relativemajor: A major ® minor Relative major: ® Bminor olatve major: “, Ct minor Relative major: minor Relative major: Il, Identifying relative and parallel keys | Filia the Blanks, identifi the hey okey signature, | (@) Relative minor of Ebmajor: __C minor ___(@) Relative major of D minor: () Parallel major of (9 Parallel majo of Eminor has how many? minor has bow many fs? (© Relative maor of (© Relative minor of Bmajor: F minor has how many x? Gene @) Relative minor of D major: Ph minor has how many ts? Part Hlemenssof MisoAssignment 5.2 1. Key signatures A. For each signature given, identify its majo key inthe tp row of blanks and its relative minor ky inthe ‘ttm row, as shown. Use alowerease letter for minor keys ® ® @ © PP pe a Major _A. = Minor: fi Major Minor (aor: 1B. White the requested key signature. ® 2 o @ 6, © Bmninor Fiminor —— Cminor o ® ) ao) an ay minor © Daninor Emajor Demajor ——Aminor ctminor © Amajor minor Bmajor a) os) a, a) an os) Ebminor ——-Emajor Ctmajor——Bhminor_——Fminor Diminor {Chapter 8 Minor Keys an tho Distonle Modes ahe 1. Seato dogroos in minor A. Ghende ele depeche we he mie oie that ple eng eg he tone is equested (indicating melodic a harmonic minor; in these two cases, indicate in the blank which se ‘Spree ten ein yw wile ton helio and pc en in be cay wel ® @ Saleype ® » = anh subimediant } ca . | { raised leading } ‘on = | Sale pe Sale pe | B. Complete thle by wing the lh, sae depres okey eq a ieee ee tee ee rnin | epee @ woeus |e @) Eminor 43 (8) Ebminor 4 @) 46 De @ ‘raised submediant| ce © Tetiogtoe [Gt | [07 Grnor| Tetng tne © Fn A] [om Bier "| (/® (© Cimino | saboninan 02) fants | Perel Hlements of Music es | a,Assignment 5.3 1. Forms of the minor soale _O' the blank staves provided, wit the correct key signature foreach minor key indicated. Then wrt the scale requested, ascending and desending, altering scale degrees 6 and 7 as needed, Provide acidentals both ascending and descending. () Ct harmonicminor (6) G# harmonieminor (4) Emeodie minor (©) BY natural minor (6) Dodie minor SSS (D) Gharmonie minor Se (8) Df natural minor SSS eet Mowe naeIL, Seale and seale-degree analysis Each ofthe following excerpts features a prominent sale or scale segment, Name the major or minor hey minor, specify the type of minor sale (eg, melodie minor) ‘A. Jean Baptiste Locillet, Sonata, Op. 3, No. 10, mt. 4, min. 1-4 Key Seale type if sino) B. Handel, Chaconne, mm, 89-56 Seale ype tif minor) ©. Mozart, Sting Quartet, K.421, 10.3, mm. 5-8 ee ee f Key: Seale type (ifminor: ? D. Alan Menken and Tim Rice, “A Whole New World” from Aladdin, mm. 34-37 O) iat now Ta 8 whole mew wed wth yo — Key: __ Seale ype if minor) EE. Corll, Sarabanda, rom Sonata, Op, No 8, mm. 2-24 () Key: Seale type fino IIL Finding parallel and relative keys For each pair of excerpts in the previous exercise, circle the appropriate relationship, (0) Mandel and Corel relative keys parallel keys (2) Lilet and Menken & Rice relative keys parallel keys (@) Morartand Menken & Rice relative keys parallel heys Part Blemenesof Muse@ Assignment 5.4 LL Writing molodios from scale degrees Each sequence of slfgesllables and scale-degree numbers given represents a minor-key melody. An underlined syllable or number indicates pitch below the tone. On the ist staf write the scale specified (along withthe Key signature), and label with slfge and sale-degree numbers. Then we these to write the ‘melody on the second staf hythm is optional fyou know the name ofthe tune, write tin the blank, A. Dnatural minor 2 8 deme i i 8 6 48 2 i #@ it B 4 8 do do wl wl fa me we do i do mw me fe sol Name ofmelody: B. Fharmonie minor 8S SSS SS Name of melody pS ‘a Bie Be he Bh (a ©. Cfnatural minor Is | CGhaptar 5 Minor Keys untdial do do doe meme me fe wah meta Nameofmelody: IL Writing pentatonic scales ‘Write the pentatonic scales requested (ascending form ony). SSS ti ® — IIL Composing a melody ‘On your own paper or on these staves, compose a fll-like melody in a minor or minor pentatonic key, taking the melodies inthe chapter as examples. Notte your tune in treble or bass let, simple or compound ‘ete. Fora minor melody, use a key signature with accidental for 6 and 7 as needed, Use scale segments ‘where possible, keeping the melody simple enough that you can sing it.©} @ Assignment 5.5 L Writing mixed types of scales write the following sales as specified, starting fom the given pitch, Write acedentals before each note (eather than key signatures). A. Major ascending 1B. Natural minor, descending _ C. Melodic minor, ascending and deseending . moni cng amon esending © coma mings decoding (ue cnet CF mor) SSS SS G. Major, descending HE Harmonie minor, descending T. Natural minor, descending J. Major pentatonis, ascending K, Minor pentatonic, ascending 1L. Minor pentatonic, ascending SS EES (Chapter & Minor Keys sn the Danie MedsIL. Analyzing keys in musical contexts (Write the 4 ey in the blank provided. i ‘For each bracketed portion ofthe melody write the sale type suggested bythe meladicline, A. Bach, Invention No.2,mm.1-2 Key: B Bach, Invention No.11,mm.1-3 . Bach, Invention No.13,mm.1-3 Key D Bach, Invention No.7, mm. 1-3 Key: EE. Inasentence or two, explain how the melody for Invention No.7 doesnot conform tothe sale types considered inthis chapter. WER met rene ot at |Assignment 5.6 1. Writing the diatonic modes ‘A. Asscales: Beginning on tho given pitch, write the made requested, alding acidental before the pitches as needed @) cPheygian (2) FADorian| (@) PMiaoydian (@ Botydian (© BDorian (6) APhrygian Ab tyaan (8) DMiaobyian () C#Dovian (0) B tydian 'B. With key signatures: Write the corect key signature forthe mode requested o, @ @ @ © Bi Minolydin ©, @ © 0) = E Phrygian (Chapter Minor Keys and the Diatnio ModeIL Analyzing modal melodies Ply or sing each of these melodies, Then on the Blank provided, indicate the mode (og, Phrygia). A. “Scarborough Fai” £ Mode: ‘B. “Pange Lingua” (Sarum plainchant, abridged) Mode: ©. Toms Luis de Vetoria,“O magnum mysterium'mm. 5-9 | = | Fructu woo ges me ah Re he wo am | | 5 | 2a ae eee oe =e Mode: D, “Swallowtal Jig? mm. 1-8 moe beAssignment 6.1 : Li Identifying interval size ‘A. White the number that represents the sizeof each interval inthe blank below. a o @ wo, @ © © @ © » @ 'B, Inthe numbered blanks tht coerespond with each eed melodic interval, write the interval ize. Mozart, Sonata in © Majo, K. 545, mt, mm. 1-+ o ® o ® © ©. The circled intervals given may be simple or compound In the fist row of blanks, write the simple interval size (eg, 3 n0t10) Inthe second row, writea C for any compound interval and an S for any simple | Anonymous, Minuet in D Minor, from the Anna Magdalena Bach Notebook, mam. 9-16 ©} Imerval se: _3 CCompoundjsimple: _C Interval size: {Compoundsimple: IL. Writing interval sizes ‘Wiitea whole note onthe coret line or space to make each interval sie speified, Dont ad sharps oats. ‘A. Wirte the specitiod melodic interval above the given note. C @ ® w o © o © a 5 3 7 ‘ 6 7 8 [B. White the pected melodic interval below the given note oO @ © ® © © @, ® 7 5 2 8 7 4 6 2 (C. Wit the sposfed harmonic interval above the given note, o @ @ @ © © o © 2 6 5 3 2 8 ‘ D. Wirte the specified harmonic interval below the given note 0 @ @ @ © © @ © es@ Assignment 6.2 I. Identifying intorvals ‘A, For each harmonie itera, writ the size and quality. a @ 2 © © © © © ©. o 29) 0) Cm a ee 2) on) aw BB. For each circled interval rite the size and qulity in the corresponding blank. (You identified the size ofthese intervals in Assignment 6:1.) “Mozart, Sonata in C Major, K.545, mvt. 1, mm.1-4 o @ ® ® ® © o® wa w a) @_ @ @ ® © o_o ® ® 0) on oa) Chapter 6 Intervals©. Inthe blanks provided below the staf, write the sve and quality ofthe melo intervals indicated ‘Webern, ‘Dies ist ein ei fom Fl Lider aus ‘Der sebente Ring” Op. 8, No.1, ma (melody only) Dore Mor = gen = em Klgt sip tamer al Bein ee ee SS = Se rae a eee ooo ‘mon: Oo eas."Thscagh mma edna Ah ig On rp ann I. Writing intervals A. ‘Wiite the following harmoni intervals at whole notes, above the given pitch o ®@ © © © © @ © © 0 rss My M2 MSPs M2 oma Ps a 2) as) a) ws) as) i i =m omy Mm om OMS OMS OMS PSs | BB. Write the following melodic intervals as whole notes, above the given ite, 0 ® ® o o © o © ® a aD a) as) aw) Ps ma a7" Me m6 Ps as m2 WE) Part Haementsof Musi =[ Assignment 6.3 | Ps Ma Ma omé Poms MG M2 'B. Wiite the melodic intervals, as whole nots, below the given pitch Oy ® © w © o o @ @ o as) Ms ome Ps ms My m6 milo I. Writing major, minor, and perfect harmonic intervals ‘A. Write the harmonic interval, as whole notes, above the given pitch o ® @ o o © o © Mom oM2 ma 0 mG Oo ao a oO a a aH chapter 6 increas [8'B. Write the following harmonic intervals, as whole notes, below the given pitch @ @ © @ ©, © @ oe ( 4 a7) M6 oom Pe moma @ — 00) a a) aay as) a Ps IIL. Writing melodies from intorvals ‘Starting with the given pitch, write the following seis of melodic interval. The labels and arows above ‘the staf indicate the interval and whether it shouldbe written above o below the previous note. When finished, play or sng the pitches to determine which song you have notated, Write the name ofthe song if you knowit) inthe blank, a ma #M3_ M3 tma Ps fMS4M2_4M2_ tmé 1M2 tma Song tle: cH PUL tps M2 ¢M2 #M3 4m2#M2_ fms PU PU fa tM2 fms PU tM2 M2 dma, = g z Songtitle: { WMI et nes crnse j2 Assignment 6.4 ‘ L Interval inversion | |A. Foreach give interval, evmte the second pitch, then write the rs pitch up an octave. Label both inter o @ o o | BB. Invert ach given interval as in part A, but this time rewrite the second pith then write the ist pith | down an otav. Label both intervals, } @ @ @ @ © © o ° Il, Writing augmented and diminished intervals [A. First write the major, minor, o prfsetinteral requested, above the given note. Then cops the bottom ‘ote the blank measure and raise or lower the tp note to create the interval specified. ® ® © @ © Ps ds MG AGH AS ms sma 'B, First write the major, minor, or perfet melodic interval requested, below the given note. Then copy the top note the blank measure, and aie or lower the bottom not to erate the melodic interval specie ® ® @ o © Ms as MAD? MSS chapter 6 IntervalsIIL. Identifying intervals A, Listen to this melody. Then write the size and quality of each melodic interval below the taffin the wLforget to check the a frm the key signature Beethoven, Piano Sonata in C Minor, Op. 13 (Puthétigue), mvt. 2, mun. 1-8 BB. Listen tothe following passages. Ldntify the harmonic intervals between the soprano and bass voces (cicled in the Bach example). Change any compound interval toa simple one. Inthe second row of blanks Jnbel the interval typeby writing P (perfect consonance) (imperfect consonance) or D (lssonance). (0 Beethoven, Puthétique Sonata, mst 2, mm. 18 (2) Bach, Chaconne, from Violin Partita No. 2 in D Minor, mm. 112-119 $s "E-"4\ WO Oiabuiau ie” ee Pa ape PRB ms oesAssignment 6.5 1 Writing diminished and augmented intorvals ‘A. Write the specified harmonic interval above the given note o @ © @® oO ow A da a is as [B, \Wiite the specified harmon interval below the given ote Oe eo © ® © a as 7 ee II, Writing enharmonically equivalent intervals For each given interval, write two intervals beside that sound the same but are splld differen Label cach intra in the blank provided IIL. Writing all interval types A. Wit the specified melodic interval above the given note ol o @ @ o © Me a Ps A Ey Ms BB, Write the specifed melodic intral below the given note o ® @ o @ © ms M7 mo a Pe a tovecwaeee es i4 é = Ma a Ps Ps Ms Ms above below above below shove below IV. Identifying intervals in a key context A, Foreach cred and numbered harmonic interval, writes size and quality (eq, m6) in the comre- sponding blank. Remember to include sharps fom the key signature. Bach, “Aus meines Herzens Grunde’ mm. 1-4 o @ @ Q © o® © Go) @ ps @ ® @ o © @ ® © 0) aa 'B. For each melodicinterval, wit its size and quality inthe blank below the staves. Remember to nehude sharps fom the key signature {Um mei - neo Ne ~ chan sehing: sich en — tanec - Ber Arm. ‘Tanto: Arend my nt draped bmw am rt pony moth (Sh) ping yang ed we, { { { { ( ‘Schoenberg, “Teaumleben’ from Act Lieder, Op. 6, No.1, mim. 1-9 \ | { \ { ( ( ( PMB meet amen e ate iAssignment 6.6 L Identifying all interval types ‘dentifythe size and quality of the following intervals. In the second row of blanks, label each interval (perfect consonance) I (imperfect consonance) or D (dissonance) aw @ @ «@ @ @ @ @ wer MB ee SS ae Oo, wm @m w wm wo Type: IL Writing all intorvals A. White the following harmonic intervals, as whole nots, below the given pitch o Sy Og Oo) mo My Aas a 'B. White the following harmonic intervals, as whole notes, above the given pitch. Cp Cee ye a © @ MBs a Mont Aso C. Write the inversion ofeach given harmonic interval, as whole notes on the staff eneath, Writ the name of ech interval inthe blank provided. 0 @ ® @ © © o © Chapter 6 Invervals (68|» II. Melodie analysis A. Begin by playing the melody notes ether onthe piano or on your own instrament. Then 1) abel each melodic interval in the blanks below the taf 2) cirle any ptch pis that re compound intervals Label ‘lromatic half steps a AU (augmented unison). Webern, “in Windesweben from Ff Lieder aus Der siebente Ring” Op. No, 2, mm. 5-9 (melody ony) ———— Nor = vin war ms du go ge-ben Aue nat aer Nacht ein Glan ent Me ‘Tempo ——— = “Tam: On sil wave Aweigh nda lo Now it puss oval May nas he oar ad be Atbeday ino 'B. Forclas discussion orn paragraph, as assigned by your teacher, consider Webern’ vorl writing style. What types of melodic intervals do you find? How wideisthe range and what ae the highest and lowest pitches? What challenges would singer face in prepatng this melody for performance? Pare Blais of MusicAssignment 7.4 LL. Writing scale-degree triads "Notate the requested seale in whole notes (ascending ony) adding any needed accidentals. Above each scale degre, write a triad, again adding the necessary accidentals In minor keys, ase the leading tone from ‘harmonic minor to spell the chords buiton& andj. Then in the blank, identify each rials quality as 1M (major), m (minor), diminished) or A augmented, A. Major scalesIL Triad quality "enti the quality ofeach triad as M (major), m (minor, d(imlnshed, or A augmented in the blank, 4 AO Oe eo wo Aa oy am, aa) a), No 2) aay oa) IIL Identifying triads in a musical context For each quarter dotted-quarter,oralf-note chord, write the triad in oot poston on the reble-lef stain whole notes, Then label the root and quality foreach chord in the blanks beneath. s °St Prisca mm. 1-4 Pert Klement of Music(| @ Assignment 7.2 + I. Identifying major and minor triads enti th rot and quality ofeach given triad. Write eapital letters for major triads (F) and lowerease for minor triads (B). mM @ » » © © © © Qo a on ya) a), as) Il, Spelling all triad types A. Revrite each major triad, adding or subtracting accidentals to creat the chord quality specified ® ® ® ® © A a A m a * 'B. Consider each given pitch tobe the rot of tia. Write the remain pitches to create the quality specie, 0 ® @ ® © © @ © a » o a a) a) ts) 8)a7) 9) 2am = 2=5 i 4 a M 5) = 6) a) aa) = a A a M A ™ m IIL. Identifying triad root, quality, and inversion Inthe tp row ofblanks, identify the chord rot and quality (eg, Dor), In the second row identify the postion or inversion (oot, Ist, oF 2a). Aw @ @ @, ©) 6) o @) IV, Identifying triads in a musical context For each quarter dotted-quarter, or halnote chord write the tid in root postion onthe treble-lef | ‘taf (sing whole nots). Inthe top row of blanks, write each chord root and quality, Inthe second row, ‘identity the position or inversion roo, st, or 2nd) of that chord in the musical excerpt. “St. Geong’s Windsor? mm.1-4 ae tor (WR rer tiamensoratnc | ESE inant un i@ Assignment 7.3 | 1, Writing triads in a key ‘Write triads in rot position above the given roots, using whole notes, Dont write scrdentals except in minor key, where you should wse the leading tone to spel the chords but on # and 7. In the blak, ‘densify the winds, using upper-o lowercase Roman numerals and the symbols and to show their quality and position in the scale. CO) caneIL. Spelling isolated triads Fillin the other notes of each triad, adding accidental as needed to make the correct quali: Dont change ‘A. Hach given pitch i the root ofa triad 0 ® o o o © o ® ® o a a) 4) a) a) a) a M M a m » a a 'B. Each given pitch isthe third of tind 0 @ ® ® o © o © » o am o) a G a 06 M a a ™ A M 4 = C. ach given ptch isthe ih ofa triad G @ ® © © © o © ® a a), tm), ds | |Assignment 7.4 1, Writing triads from chord symbols ‘Wire the teas indicated in rot postion, in whole notes. Include all needed acidental forthe correct triad quality o ® ® © © ap 2) as) cc) as) Fim cm a D Fm IL, Identifying triads deni the quality and root ofeach triad using chord symbols eg, Gm, F). Dont specify any inversion, do eo Ope © © © © © wtp rapier? TriadIIL. Identifying triads in musical contexts For each chord, write the triad in rot postion (whole notes) onthe blank staf. Ignore any circled notes. In @ the blanks beneath, identify the rad with an upper or lowereae Roman nuteral o show is quality and t postion in the ke. You need not specif inversions, A, Johann Pachelbel, Canon in D Major, mm. 3-4 ms ©. “Ov Hundredth? mm. 1-6 9Assignment 7.5 1. Identifying triads from figured bass On the treble lef staf, write the triad indicated by the bas and figures. Use whole notes tacked in third, | Inthe Bank below the staf, write the Roman numeral reflecting the triad’ postion and quality in the | _given ke: For inverted trad also wrt the inversion (eg, TV) A o @ @ @ o © ® ® @ ® o © o ® © “ © © ® ® ® o © ©IL Identifying triads in musical contexts For these excerpts in the positions indicated by the blanks, writ the triad in root positon (whole notes). Ignore any cireled notes. Identiy the triad with an upper- or lowercase Roman austeral (to show ts quality and postion inthe key an figures (to show its inversion) in the bank below the staf A. Shuma "Wilder Reiter" mm. ot B. “Chartres? mm. 1-4 Sov yee [ace = te ihe (OIG) mar nen aneAssignment 8.1 I. Writing seventh chords above a scale [Notate the requested sae in whole notes (ascending ony) adding any needed accidentals. Above cach ‘ote write seventh chord with dhe necessary acidentals for that ke: In minor key, use the leading tone forthe chords on and 7 Inthe fist ow of Blanks, identify the seventh-chord quality ax MMT, ‘Mm, mm7, #7 (hal-diminished, oF °7 (lly diminished). Inthe second row of blanks, write the Roman. ‘numeralIL. Identifying seale-degree seventh chords ‘A. Root-positon chords ote Inthe frst row of blanks, provide a Roman numeral that refletsthe correct seventh-chord quality inthe sive key. In the second row write the chord quality (eq Mia, "7) oo an B. Chords in inversion c]@ Provide «Roman mer andor fret ven seventh cod on 20 op [OOM ett none ot aeAssignment 8.2 L Writing scale-degree seventh chords from Roman numerals ‘A. Writ each ofthe following rot-pastion seventh chords. Provide the ky signature, and add scidentalsto make the correct quali. For minor key, use the leading tne forthe chords on 8 and ® @ vw be ow ow ow G or wero om a 7 ow wow 'B. White each seventh chord inthe key and inversion specified Provide the key signature, anda act ‘dental to make the corect quality. For minor keys se the lading tone for the chords on 5 and ® ® ® @ D: He wide b wef nev © © vi wef mt if Chapter 8 Soventh ChantsIL. Analyzing seventh chords in musical contexts In the excerpts provided, write the name of eae cred seventh chord (eg, M7, 1) in the blank ¢ underneath. When identifying chord quality, be sure to check the ke sguature and any acidentals For chords in invetson, give the appropriate figures (eg, Mm §) ‘A. Brahms, Rallade in G Minot, Op.18,No. 2, mm.25-19 7 (i ‘B. Felix Mendelssohn, “Aber der Herr sicht es nicht” from Elijah, No. 5, mm. 68-79 & ay x Es “Talon: Fr the Led oer Gad ama ls od wh vith sao fates « BH) Pare ramen of Mo© | @ Assignment 8.3 I. Identifying isolated seventh chords ‘A. Roman numerals ‘Write the appropriate Roman numeral and figures foreach seventh chord in the given key on @o evi ms: ® on | | B. Chord quality Wiite the chord quality (x, mm, °7) for each seventh chord @n @n cnaotee 8 Seentn Corts BIIL. Writing isolated seventh chords ‘Write the seventh chords specified, (A ven the key and Roman numeral or (B) the chord type. Spell with ‘A. Roman numerals Oy G we ob Woe wet Be ch Be vie @ ® Ri De vih ce vi mh aif De tf gk MIE tax: wit de VE Gk we BR VE a at VIE De VS aD ile vd B. Chord qualities (ootis given) o MM? Mmmm cr a ® © Muy 97 mmy_ 7 MM7 omy 57 Mm 6, © mt Mm? MM Manz 4 marAssignment 8.4 1. Writing chords from a lead sheet “Rich and Rare” (rational rsh melody) arranged by Jel Philips CQ Examine each chord symbol in the fllowing lead sheet. Write the chords on the staff underneath each measure using doted-half, half and quarter nots, inthe core inversion, 5 a @ a Mich and ree were the gems che worm a a ee ra Chapter 8 Seventh ChorisIL. Triads and seventh chords from lead-sheet symbols ‘Write each chord requested in four parts in heyboard style in quarter notes)—three parts inthe right hand and one part in the le Include any accidental eet elor quality. sash {sused (eg, F/A} put the proper chord member inthe bas. Check that each seventh-chord members present; for triads, double the bass note. o ® © ® o o o ® e Ent Fm? G Em Fm/Ab Daa? Day soe Pt Gon mS Op oo) on eg ey ones Gat Aimy ciate) TA ber : } j j } Br Amt Cmte) a CA | j ) | | YUE ret See rai iLAssignment 8.5 I Spelling isolated seventh chords Fillin the other notes of each seventh chord, eding accidentals as needed to make the correct quality. Don't change the given pitch A. Bach given pitch is the root ofa seventh chor, o ® o @ o © o ® Moy mmm Mm © a a) a) a) MMT Mmy MM? mm Mmmm 'B, ach given pitch is the third ofa seventh chord @ ® @ o o © o ® my mm Mmmm Mi © 0) a a) a> 4) a a) Mo mm Mma (C. Hach given pitch is the fith ofa seventh chord. ® ® o @ © © o ® 7 mmt Mm amg Mm? Mi DD, ach given pitch is the seventh ofa seventh chord ® ® @ o © o o © mm 7 Mm 7mm Mmmm 7 Chapter 8 Seen Corte (BBNIL. Analyzing seventh chords in musical contoxts A, John Lennon and Paul McCartney, “You Never Give Me Your Money ‘dentifythe chord quality and inversion ofeach circled chord | of Chord quaity:_mm7 BB. Brahms, “Tageweis von einer schinen Frauen’ fom 29 DeutsoheVolkliede, mm. 5-8 ( [entity each circled chord inthe blank underneath, with Roman numerals and figures. Thanos My hea raging fr orcas i i no epi yas WEEE mt necesAssignment 8.6 I. Analysis: Chord quality and Roman numerals ‘A. Identify the chord quality ofthe circled chords inthe banks below the staf Mare Shaiman and Seott Wittman, “Good Morning Baltimore’ fom Hafrepray, mm. 5-12 (Ggnore Gs in m.12) D om we » pm gions _ wr Pra oh, oh, itary for srmeshing tat | 1 BB. Identify the circled chord using Roman numeral and figures érie Chopin ftude, Op. 10, No. mm. 39-44 1} Chapter 8 Seventh Chords [HlIL, Instrumentation and soore reading {stent the recording of his excerpt, paying attention tothe instruments that are playing or doubling the melody Holt, Second Suite in F for Miltary Band, mvt. 4, mm, 41-44 © crite Peco Oboe EyClarnet Solo ‘iClarnet as BiClarnet and By Clarinet aed By Clarinet Ealo Clarinet For each ofthe fllowing pairs of instruments, circle the interval at which the melody is doubled in mea- ‘A. The piccolo and oboe ae doubled in thirds siths octaves double octaves BB. The oboe and Eb clarinet are doubled in unison thirds siaths octaves ©. The oboe and ist By clarinet are doubled in vunison thirds ithe octaves DD. Theslute and st By clarinet are doubled in ‘unison thirds sith octaves 1B. The obve and 2nd Be clarinet are doubled in vunison thirds ithe octaves Pare Hlements of Music