Chapter 03 A

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Chapter 3: Website Exercise Solutions

Chapter 3 – Musical Density: Triads, Seventh Chords, and Texture

Exercise 1: Each given pitch can unction as the root, third, or fifh o major, minor, and diminished triads as shownin the sample solution. On a separate sheet o manuscript paper, notate and label the nine possible triads that canbe generated rom each given pitch.

Exercise 2: Identiy the root, type o triad (major, minor, diminished, or augmented), and inversion (i any). Ten,

transpose each given sonority down a perect fifh or its compound (or up a perect ourth, or its compound),notating it on the given empty staff (above or below).

Exercise 3: Error detection. Each o the ollowing labeled triads is notated with various doublings. However, one othe pitch classes in each example is incorrect. Circle and correct the error in each example.

Website Exercise

Solutions

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2 Chapter 3: Website Exercise Solutions

Exercise 4: riad construction. Each triad notated below can occur in several keys (see the sample solution, in whichan E minor triad is ound in at least six different keys). Notate the given triad, the key, the key signature, andthe Roman numeral o every major and minor key in which the given triad may occur. Use a separate sheet omanuscript paper.

Exercise 5: Analysis. A major or minor key is given as well as a triad. Add accidentals necessary to conorm to the givenkey (do not add a key signature) and a Roman numeral and figured bass analysis.

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Exercise 6: Writing riads. Construct triads as indicated by the given major or minor key and the Roman numeral.Use accidentals, not key signatures.

Exercise 7: Analysis. Determine the key, then, or each sonority marked with an arrow, add a complete figured bass(e.g., even root-position chords will receive 5

3).

Exercise 8: Notation. Realize the ollowing figured basses by notating two pitches at the required intervals immedi-ately above the bass pitch to create complete triads (notate in the bass cle ). Observe chromatic alterations in thefigured bass. Ten, add Roman numerals based on your realization.

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Exercise 9: riads within a key. In chorale style (SAB), notate the ollowing triads based on the Roman numerals inthe given key. Double the root o the chord except in vii, when you will double the third o the chord. Follow theindicated spacing: “O” or open and “C” or close.

Exercise 10: riads within a key. In chorale style (SAB), notate the ollowing triads based on the Roman numerals inthe given key. Double the root o the chord except in vii, when you will double the third o the chord. Te goalis to move rom one chord to the next using as little motion as possible. Tis can be accomplished by holdingcommon tones between chords and by moving to the next chord’s members by step.

Exercise 8: Notation. Cont’d

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Exercise 11: Building seventh chords. Construct root-position seventh chords based on the figured bass. Identiy eachtype o seventh chord.

Exercise 12: Analysis o seventh chords. Given the key and seventh chords (all o which appear in inversion), circle theroot o each chord, then identiy the ollowing:

* type o seventh chord * figured bass * Roman numeral

Exercise 13: Verticalization. Each excerpt is cast in a florid style, yet depends on the flow o harmonies. Circle eachharmony and provide an analysis o each chord type and inversion. Do not use Roman numerals.

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Exercise 13: Verticalization. Circle each harmony and provide an analysis o each chord type and inversion. Do notuse Roman numerals. Cont’d

A. Cont’d

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C. Cont’d

Chapter 03 A

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Transcript of Chapter 03 A