Traditional Harmony I MU3310

EDITION A

TRADITIONAL HARMONY I

Primary Triads and the Dominant Seventh ChordSubcourse Number MU 3310

U.S. Army Element, School of MusicLittle Creek, NAB, Virginia 23521-5170

29 Credit Hours

Edition Date: September 1987

SUBCOURSE INTRODUCTION

This subcourse is designed to show how four-voice chords are constructed and connected in the traditional style.Contained within this subcourse is instruction on the basic skills of part writing primary triads and the dominantseventh chord.

Part writing (or voice leading) is the connecting of the parts (voices) of one chord to the parts of another chord. Forgood part writing, each part should move smoothly, without error, and be easily singable.

The ability to read music in bass and treble clef and the knowledge of scales, intervals, and triads are prerequisites tothis subcourse. You can take subcourses MU 1300, Scales and Key Signatures, and MU 1305, Triads and Intervalsto obtain the prerequisite knowledge to complete this subcourse.

TERMINAL LEARNING OBJECTIVEACTION: Connect four-part primary triads and the dominant seventh chord smoothly and without error

in treble and bass clef from a given bass line.

CONDITION: Given the information in this subcourse.

STANDARD: Demonstrate competency by achieving a minimum of 70% on the subcourse examination.

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TABLE OF CONTENTS

Section

Subcourse Introduction

Table of Contents

Administrative Instructions

Grading and Certification Instructions

Lesson 1: Preliminary Knowledge and Skills

Part A Placement of Voices

Part B Voice Motion

Part C Figured Bass and Analysis

Practical Exercise

Answer Key and Feedback

Lesson 2: Primary Triads in Root Position

Part A Overview

Part B Part Writing Primary Triads (Major)

Part C Part Writing Primary Triads (Minor)

Part D Repeated Triads

Part E Cadences

Practical Exercise


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Lesson 3: Primary Triads in First Inversion

Part A Overview

Part B Part Writing First Inversion Primary Triads

Part C First Inversion Progressions

Part D Cadences

Practical Exercise


Lesson 4: Primary Triads in Second Inversion

Part A Overview

Part B Types of Second Inversion Triads

Practical Exercise


Lesson 5: The Dominant Seventh Chord

Part A Overview

Part B Part Writing the Dominant Seventh Chord to Tonic

Part C Part Writing the Subdominant Triad to the Dominant Seventh Chord

Part D Melodic Preparation of the Seventh of the Dominant Seventh Chord

Practical Exercise


Examination

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ADMINISTRATIVE INSTRUCTIONS

1. Number of lessons in this subcourse: Five

2. References: TC 12-41, Basic Music, and TC 12-42, Harmony.

3. Supervisory requirements: None.

4. Tasks supported by this subcourse:

Soldier’s Manual Tasks514.469.3001 Arrange Music for a Combo

514.469.3220 Score Music for the Marching Band

514-441-3501 Train the Section for Performance in a Marching/Ceremonial Setting

514-441-3702 Train the Section for Performance in a Non-Marching/Non-Ceremonial Setting

514.455.4501 Train the Ensemble for Performance in a Marching/Ceremonial Setting

514.455.4502 Train the Ensemble for Performance in a Non-Marching/Non-Ceremonial Setting

514.455.4723 Lead the Stage Band in Performance

Warrant Officer Bandmaster Tasks02-4407.00-0005 Conduct the Concert Band in Performance

02-4407.00-0007 Rehearse the Concert Band

02-4407.00-0012 Prepare a Musical Score

S2-4409.00-0001 Compose/Arrange/Transpose Marches and Organizational Songs

S2-4409.00-0002 Compose/Arrange/Transpose Openers and Fanfares

S2-4409.00-0008 Compose/Arrange/Transpose Ensemble music

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GRADING AND CERTIFICATION INSTRUCTIONS

Examination: This subcourse contains a performance-based multiple-choice and true/false examination covering thematerial in the five lessons. Complete the examination after you study the lessons and work through the exercises.Point and click on the small circle to left of your choice for each question. NOTE: You may select only one choicefor each question. We recommend you print out your completed examination before submitting. This will give youa record of your answers in case you need to resubmit due to problems with the electronic transmission. NOTE:Some older browsers may not support this function. To submit your exam for grading, point and click onSUBMIT. You will receive an interim examination score by electronic mail. You will receive 29 credit hours forsuccessful completion of this examination.

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Lesson 1

PRELIMINARY KNOWLEDGE AND SKILLS

INTRODUCTION

LESSON DESCRIPTION:In this lesson, you will learn voicing, ranges, doubling, spacing, open and close positions, typesof voice motion, objectionable voice motion, figured bass, and analysis.

TERMINAL LEARNING OBJECTIVE:ACTION: After completing this lesson, you will:

1. Name and identify the ranges of the four voices.

2. Write voice doublings.

3. Write correct voice spacing in open and close position.

4. Identify voice motions.

5. Identify crossed voices, overlapping voices, parallel voices, and hiddenvoices.

6. Write figured bass and analysis.

CONDITION: Given the information contained in this lesson.

STANDARD: In accordance with (IAW) the information contained in this lesson.

REFERENCES: The material contained in this lesson was derived from the followingpublications: TC 12-41, Basic Music, and TC 12-42, Harmony.

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PART A PLACEMENT OF VOICES

1. Voice Names.

a. The four voices in traditional four-part writing are soprano, alto, tenor, and bass. Theseare often abbreviated as SATB. The soprano is the highest voice and is notated in thetreble clef staff with its stems up. The alto is the second highest voice and is notated inthe treble clef with its stems down. The tenor is the third highest voice and is notated inthe bass clef with its stems up. The bass voice is the lowest voice and is notated in bassclef with its stems down (Figure 1-1).

Figure 1-1. SATB Notation

b. When the soprano and alto or tenor and bass are in unison (sounding the same pitch), thestems go up and down on the same note head (Figure 1-2).

Figure 1-2. Stemming Shared Note Heads

NOTE: The soprano part is often called the melody. The alto and tenor parts are called the

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inner voices. The bass part is called the bass line.

2. Voice Ranges. The normal singing range for the soprano, tenor, and bass voices is an octaveand a sixth (Major 13th). The alto range is an octave and a fifth (Perfect 12th). Figure 1-3shows the notes of each voice range. Avoid using the extreme range (the highest or lowestnote or two) of each voice unless dictated by the voice leading.

Figure 1-3. SATB Ranges

3. Voice Doubling. In four part writing, the three-note triad must have one of its tonesduplicated. When the triad is in root position (bass voice has the root of the chord), the bassvoice and one of the three upper voices will have the same letter name note. This doublingcan be at the unison or any octave relationship. Doubling does not change the harmonicstructure of the chord, but it may alter its color and resonance (Figure 1-4).

Figure 1-4. Voice Doubling

SELF REVIEW EXERCISE 1. Write the inner voices of each triad. Use one third and doublethe root. The alto voice should have a note higher than the tenor voice (Figure 1-5). Stay withinthe voice ranges.

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CLICK HERE FOR PRINTABLE VERSION.CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

4. Voice Spacing.a. The distance between the soprano and the alto voices must be a simple interval of an

octave or less.

b. The distance between the alto and tenor voices must also be a simple interval.

c. The distance between the tenor and the bass voices can be either a simple or a compoundinterval. However, there are restrictions on certain simple intervals between the tenor andbass voices. These restrictions, called low interval limits, dictate how low some intervalsmay be voiced. The restricted intervals are the minor sixth, the tritone, the third (Majoror minor), and the second (Major or minor). There are no limits on the other intervalswithin the bass voice range (Figure 1-6).

Figure 1-6. Low Interval Limits

d. Figure 1-7 shows incorrect and correct voice spacing.

Figure 1-7. Incorrect and Correct Voice SpacingSELF REVIEW EXERCISE 2. Correct the improperly spaced voicing. Reposition the altoand tenor voices. Do not change the soprano voice (Figure 1-8).


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NOTE: The term chord is often used when referring to a triad.

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5. Open and Close Position.a. Triads can be written in either open or close positions. In open position, the distance

between the soprano and the tenor is a ninth or more. In close position, the distancebetween the soprano and the tenor is an octave or less (Figure 1-9).

Figure 1-9. Open and Close Position Triads

b. The bass voice is not considered in determining open or close position.

SELF REVIEW EXERCISE 3. Rewrite the following triads in open position. Use one root,one third, and one fifth of each chord to complete the exercise (Figure 1-10).


SELF REVIEW EXERCISE 4. Rewrite the following triads in close position. Use one root,one third, and one fifth of each chord to complete the exercise (Figure 1-11).


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PART B VOICE MOTION

6. Voice Motion. Good part writing depends on the smooth connection of the individual partsand their independence of motion. The term “motion” is used to describe the relative changein pitch of two or more voice parts. Voice motion is usually described in simple intervals.The four types of motion are similar, parallel, contrary, and oblique.

a. Similar motion occurs when two voices move in the same direction but produce differentnumerical interval names (Figure 1-12).

Figure 1-12. Similar Motion

b. Parallel motion occurs when two voices move in the same direction and produce the same(numerical) interval name (third, sixth, etc.). Interval quality (perfect, Major, minor,augmented, or diminished) is not considered in determining parallel motion. A Majorthird to a minor third is parallel motion (Figure 1-13).

Figure 1-13. Parallel Motion

NOTE: When voices move in the same direction, the motion can be called direct motion.Similar and parallel motions are direct motion.

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c. Contrary motion occurs when two voices move in opposite directions (Figure 1-14).

Figure 1-14. Contrary Motion

d. Oblique motion occurs when one voice sustains or repeats while the other voice moves(Figure 1-15).

Figure 1-15. Oblique Motion

NOTE: When voices move in dissimilar directions, the motion can be called indirect motion.Contrary and oblique motions are indirect motion.

SELF REVIEW EXERCISE 5. Write the type of voice motion in the corresponding blanksprovided below the measures. On the second line write whether the motion is direct or indirect.The first measure has been done for you (Figure 1-16).


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7. Objectionable Voice Motion.

a. Crossed Voices. Crossed voices occur when the soprano does NOT have the highestpitch, the alto the second highest, the tenor the third highest, or the bass the lowest pitch.Do not write crossed voices (Figure 1-17).

Figure 1-17. Crossed Voices

b. Overlapping Voices. Overlapping voices occur when two adjacent voices move insimilar or parallel motion and the lower voice ascends to a pitch above that just left by theupper voice. Overlapping voices also occur when the upper voice descends to a pitchbelow that just left by the lower voice. Do not write overlapping voices (Figure 1-18).

Figure 1-18. Overlapping Voices

NOTE: Measure 1 of Figure 1-18 also has a spacing error between the alto and tenor voices.

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c. Parallel Voices.

(1) Parallel perfect primes, perfect fifths, perfect octaves, and dissonant intervals(seconds, sevenths, augmented, and diminished) should be avoided. Do not writeparallel primes, fifths, octaves, and dissonant intervals (Figure 1-19).

Figure 1-19. Objectionable Parallel Voices

NOTE: Parallel perfect fifths and parallel perfect octaves are usually called parallel fifths andparallel octaves. Repeated notes are not considered parallel fifths or octaves.

(2) A hidden fifth or octave occurs when two voices approach a fifth or an octave insimilar motion. A hidden fifth or octave is objectionable only when it occurs betweenthe soprano and bass voice, and the soprano is approached by a leap (Figure 1-20).

Figure 1-20. Objectionable Hidden Fifth and Octave

(3) Parallel fifths and octaves by contrary motion occur when two voices move bycontrary motion from one interval to the same interval. An octave to unison has thesame effect. Do not write parallel fifths or octaves by contrary motion (Figure 1-21).

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Figure 1-21. Objectionable Parallels by Contrary Motion

SELF REVIEW EXERCISE 6. Correct the crossed voices. Use only the exact pitch (octave)indicated to complete the exercise (Figure 1-22).


SELF REVIEW EXERCISE 7. Draw a solid line to indicate the overlapping voices and draw adotted line to indicate the overlapped voices in each measure. Write the names of the voicesoverlapping and the notes that overlap. There may be more than one overlapping voice in eachmeasure. The first one has been done for you (Figure 1-23).


SELF REVIEW EXERCISE 8. Draw a line to indicate the objectionable parallel motion ineach measure. Label parallel fifths with a bracket and the number 5 and parallel octaves with an8. The first one has been done for you (Figure 1-24).


SELF REVIEW EXERCISE 9. Draw a line to indicate the objectionable hidden motion ineach measure. Label hidden fifths with a 5 and hidden octaves with an 8. The first one has beendone for you (Figure 1-25).


SELF REVIEW EXERCISE 10. Draw brackets to indicate the parallel voices by contrarymotion in each measure. Label parallel fifths by contrary motion with a 5 and parallel octaves bycontrary motion with an 8. The first measure has been done for you (Figure 1-26).

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PART C FIGURED BASS AND ANALYSIS

8. Figured Bass. Figured bass is a shorthand method of indicating harmonic accompanimentfor a bass line. Arabic numbers placed under the bass note designate the intervals (usuallyreduced to simple intervals) above the bass note. The figured bass does not indicate whichvoice (soprano, alto, or tenor) has which part (root, third, or fifth) of the chord. The intervalsstay within the key signature unless chromatically altered (lesson 2). Figured bass does notindicate open or close position (Figure 1-27).

Figure 1-27. Figured Bass Examples

SELF REVIEW EXERCISE 11. Write the notes above the bass note that are indicated by thefigured bass numbers. The first measure has been done for you (Figure 1-28).


9. Roman Numeral Analysis.

a. Roman numerals written under the staff indicate chord analysis. They are not used belowthe bass note except for analysis. The Roman numeral identifies the corresponding scaledegree on which the triad is built. Upper case numerals represent Major triads. Lowercase numerals represent minor triads. Uppercase numerals with a plus sign (+) indicatean augmented triad. A lower case numeral with a circle (o) indicates a diminished triad(Figure 1-29).

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Figure 1-29. Quality of Triads

b. The root of the triad, not necessarily the bass note, is indicated by the Roman numeralswhether the triad is in root position or in an inversion (Figure 1-30).

Figure 1-30. Root in Relation to Bass Note

NOTE: Roman numeral analysis can be combined with figured bass to show a completeanalysis (triad root, triad inversion).

SELF REVIEW EXERCISE 12. Write the Roman numeral analysis below the bass clef staff.The exercise is in Major and minor keys (Figure 1-31).


CLICK HERE FOR LESSON 1 PRACTICAL EXERCISE . CLICK HERE FOR LESSON 1 PRACTICAL EXERCISE ANSWERS .

CLICK HERE TO PROCEED TO THE NEXT SECTION.CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

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LESSON 1PRACTICAL EXERCISE

The following items will test your understanding of the material covered in this lesson. There isonly one correct answer for each item. When you complete the exercise, check your answer withthe answer key. If you answer any item incorrectly, review that part of the lesson that containsthe portion involved.

CLICK HERE FOR ANSWERS TO THIS EXERCISE.CLICK HERE TO PROCEED TO THE NEXT SECTION.

1. In good part writing, the voices of one chord move smoothly to the voices of another chord.

A. TrueB. False

2. When two voices approach a fifth in similar motion,

A. a hidden fifth occurs.B. parallel fifth occur.C. it is always objectionable motion.D. None of the above answers are correct.

3. What term is used to describe the relative change in pitch of two or more voices?

A. MotionB. SpacingC. VoicingD. Positioning

4. Chord analysis is written with

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A. Roman numerals under the staff.B. Arabic numerals under the staff.C. Roman numerals above the staff.D. Arabic numerals above the staff.

5. Two stems can be placed on the same note head when the

A. soprano and the tenor have the same pitch.B. alto and the tenor have the same pitch.C. tenor and the bass have the same pitch.D. alto and the bass have the same pitch.

6. When the distance between the soprano and the tenor is the interval of a ninth, the chordis

A. incorrectly spaced.B. in open position.C. in oblique motion.D. out of the range of the tenor.

Figure 1. Question 7

7. The voice motion in Figure 1 is

A. oblique.B. similar.C. parallel.D. contrary.

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8. What type of error occurs in Figure 2?

A. Incorrect voice spacingB. Crossed voicesC. Closed voicingD. Overlapping voices

9. Which of the following are direct motions?

A. Similar and oblique motionsB. Oblique and contrary motionsC. Parallel and similar motionsD. Both A and C are correct.

10. The Roman numeral V represents

A. a chord built on the fifth of the triad.B. a Major triad built on the fifth scale degree.C. a minor triad built on the fifth scale degree.D. None of the above answers are correct.

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11. The distance between the __________ and tenor can be a compound interval.

A. altoB. bassC. sopranoD. Both B and C are correct

12. The bass note of the triad is always indicated by the Roman numeral.

A. TrueB. False


13. Which chords in Figure 3 are in open position?

A. 1 and 2B. 2 and 3C. 1 and 3D. 3 and 4

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14. Figure 4 is an example of

A. crossed voices.B. open voicing.C. overlapping voices.D. incorrect alto voice range.

15. Which statement is correct?

A. In open voicing, the upper three voices are spaced in less than an octave.B. Overlapping voices occur when one voice moves to a pitch lower than the previous

pitch in the next lowest voice.C. The tenor voice should be written in the treble clef if the part is in the extreme high

range of the voice.D. Figured bass indicates which voice has which part of the chord.

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16. The bass voice should NOT be written above the note in measure _________ of Figure 5?

A. 1B. 2C. 3D. 4


17. The voice motion between the bass and the alto voices in Figure 6 is

A. contrary motion.B. parallel motion.C. oblique motion.D. similar motion.

18. Which of the following statements is NOT correct?

A. Avoid using the extreme range of each voice unless dictated by the voice leading.B. The distance between the soprano and the alto voice must be a simple interval.C. The interval of an octave can occur between the alto and tenor voices.D. Voices move in the same direction in oblique motion.

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19. What type of error occurs in Figure 7?

A. Crossed voicesB. Incorrectly spaced chordsC. Overlapping voicesD. Parallel octaves


20. The range of the tenor voice is identified in measure _____ of Figure 8.

A. 1B. 2C. 3D. 4

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LESSON 1 PRACTICAL EXERCISE

ANSWER KEY AND FEEDBACK

CLICK HERE TO PROCEED TO THE NEXT SECTION.

Item Correct Answer and Feedback

1. A True(Subcourse Introduction)

2. A a hidden fifth occurs.(Part B, paragraph 7c(2))

3. A Motion(Part B, paragraph 6)

4. A Roman numerals under the staff.(Part C, paragraph 9a)

5. C tenor and the bass have the same pitch.(Part A, paragraph 1b)

6. B in open position.(Part A, paragraph 5a)

7. A oblique.(Part B, paragraph 6d)

8. A Incorrect voice spacing(Part A, paragraph 4b and 4d)

9. C Parallel and similar motions(Part B, paragraph 6b, NOTE)


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10. B a Major triad built on the fifth scale degree.(Part C, paragraph 9b)

11. D Both B and C are correct.(Part A, paragraph 4c; Part A, paragraph 5a)

12. B False(Part C, paragraph 9a)

13. B 2 and 3(Part A, paragraph 5a)

14. A crossed voices.(Part B, paragraph 7a)

15. B Overlapping voices occur when one voice moves to a pitch lower than theprevious pitch in the next lowest voice.(Part B, paragraph 7b)

16. D 4(Part A, paragraph 2)

17. B parallel motion.(Part B, paragraph 6b)

18. D Voices move in the same direction in oblique motion.(Part B, paragraph 6d)

19. C Overlapping voices(Part B, paragraph 7b)

20. B 2(Part A, paragraph 2)

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LESSON 1SELF REVIEW EXERCISE

SELF REVIEW EXERCISE 1. Write the inner voices of each triad. Use one third and doublethe root. The alto voice should have a note higher than the tenor voice (Figure 1-5). Stay withinthe voice ranges.

CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-5. Voice Doublings

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LESSON 1SELF REVIEW EXERCISE ANSWERS

SELF REVIEW EXERCISE 1.CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-5. Voice Doubling

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SELF REVIEW EXERCISE 2. Correct the improperly spaced voicing. Reposition the altoand tenor voices. Do not change the soprano voice (Figure 1-8).


Figure 1-8. Correct Voice Spacing

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Figure 1-8. Correct Voice Spacing

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SELF REVIEW EXERCISE 3. Rewrite the following triads in open position. Use one root,one third, and one fifth of each chord to complete the exercise (Figure 1-10).


Figure 1-10. Triads in Open Position

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Figure 1-10. Triads in Open Position

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SELF REVIEW EXERCISE 4. Rewrite the following triads in close position. Use one root,one third, and one fifth of each chord to complete the exercise (Figure 1-11).


Figure 1-11. Triads in Close Position

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Figure 1-11. Triads in Close Position

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SELF REVIEW EXERCISE 5. Write the type of voice motion in the corresponding blanksprovided below the measures. On the second line write whether the motion is direct or indirect.The first measure has been done for you (Figure 1-16).

CLICK HERE FOR THE ANSWERS TO THIS LESSON.CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-16. Identify Voice Motion

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Figure 1-16. Identify Voice Motion

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SELF REVIEW EXERCISE 6. Correct the crossed voices. Use only the exact pitch (octave)indicated to complete the exercise (Figure 1-22).


Figure 1-22. Correct Crossed Voices

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Figure 1-22. Correct Crossed Voices

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SELF REVIEW EXERCISE 7. Draw a solid line to indicate the overlapping voices and draw a dottedline to indicate the overlapped voices in each measure. Write the names of the voices overlapping andthe notes that overlap. There may be more than one overlapping voice in each measure. The first onehas been done for you (Figure 1-23).CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 1-23. Identify Overlapping Voices

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Figure 1-23. Identify Overlapping Voices

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SELF REVIEW EXERCISE 8. Draw a line to indicate the objectionable parallel motion ineach measure. Label parallel fifths with a bracket and the number 5 and parallel octaves with an8. The first one has been done for you (Figure 1-24).


Figure 1-24. Identify Objectionable Parallel Motion

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Figure 1-24. Identify Objectionable Parallel Motion

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SELF REVIEW EXERCISE 9. Draw a line to indicate the objectionable hidden motion ineach measure. Label hidden fifths with a 5 and hidden octaves with an 8. The first one has beendone for you (Figure 1-25).


Figure 1-25. Identify Objectionable Hidden Motion

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Figure 1-25. Identify Objectionable Hidden Motion

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SELF REVIEW EXERCISE 10. Draw brackets to indicate the parallel voices by contrarymotion in each measure. Label parallel fifths by contrary motion with a 5 and parallel octaves bycontrary motion with an 8. The first measure has been done for you (Figure 1-26).


Figure 1-26. Identify Parallel Voices by Contrary Motion

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Figure 1-26. Identify Parallel Voices by Contrary Motion

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SELF REVIEW EXERCISE 11. Write the notes above the bass note that are indicated by thefigured bass numbers. The first measure has been done for you (Figure 1-28).


Figure 1-28. Figured Bass

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SELF REVIEW EXERCISE 12. Write the Roman numeral analysis below the bass clef staff.The exercise is in Major and minor keys (Figure 1-31).


Figure 1-31. Roman Numeral Analysis

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Figure 1-31. Roman Numeral Analysis

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Lesson 2

PRIMARY TRIADS IN ROOT POSITION

INTRODUCTION

LESSON DESCRIPTION:In this lesson, you will learn about primary triads in root position. This lesson includes doubling,figured bass, and basic principles for part writing root position primary triads in Major andminor.


1. Identify root position triads.



4. Part write root position primary triads in Major and minor.

5. Identify authentic, plagal, and half cadences.

CONDITION: Given the information in this lesson.

STANDARD: IAW the material in this lesson.

REFERENCES: The material contained in this lesson was derived from the followingpublications: TC 12-41, Basic Music, and TC 12-42, Harmony.

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PART A OVERVIEW

1. Primary Triads.

a. The primary triads are triads built on the tonic, subdominant, and dominant scale degrees.They establish the tonal center (Figure 2-1).

Figure 2-1. Primary Triads

NOTE: The tonic, subdominant, and dominant scale degree notes (scale steps) are calledprimary or tonal notes. The supertonic chord is a secondary triad, but the supertonic scaledegree can function as a primary note.

b. The primary triads are built on the same scale degrees in both Major (I, IV, V) and minor(i, iv, V) keys (Figure 2-2).

Figure 2-2. Primary Triads in Major and Minor

NOTE: In a minor key (harmonic minor), the dominant triad is Major. The third of the triad israised with an accidental to create a leading tone.

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2. Root Position. A triad is in root position when the root of the triad is in the bass voice(Figure 2-3).

Figure 2-3. Root Position Triad

3. Doubling of Root Position Triads. When a triad is in root position, the root of the chord(the bass note) is doubled. This doubled note may be in any of the upper voices (Figure 2-4).

Figure 2-4. Root Position Doubling

4. Figured Bass.

a. The numerals , , 5, or 3 indicate a triad in root position.

NOTE: The 3 represents the note an interval of a third above the bass note (the third of thetriad). The 5 represents the note the interval of a fifth above the bass note (the fifth of the triad).The 8 represents the note that is the doubled root of the triad (Figure 2-5).

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b. Usually these numerals are omitted. A bass note with no numerals is understood torepresent a triad in root position (Figure 2-6).

Figure 2-6. Root Position Figured Bass

NOTE: The figured bass is a complete figured bass when all upper voices are represented inthe bass figuring (including doublings). Essential figured bass is that numbering (or chromaticsign) which is needed to represent the triad. Figure 2-5 is complete figured bass. Figure 2-6 isessential figured bass.

c. Chromatic alterations are indicated by accidentals placed below the bass line.

d. The chromatic sign is the accidental (#, , or ) necessary to raise or lower the note beingaltered within the key. It does not have to be a # to raise or a to lower.

e. A chromatic sign used in the figured bass refers to the note a third above the bass if nonumber accompanies the chromatic sign (Figure 2-7).

f. A slash through a number means to raise the note of that interval a half step (Figure 2-7).

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Figure 2-7. Chromatic Alteration in Figured Bass

5. Basic Principles for Part Writing Triads.a. Keep the common tone.

b. Connect the remaining voices to the nearest available chord tones.

First, look for half step movement.

Next, look for whole step movement.

Finally, connect any remaining intervals.

c. Check your part writing for objectionable voice motion.

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PART B PART WRITING PRIMARY TRIADS (MAJOR)

6. Part Writing the I Chord to the V Chord.a. The root of the triad is in the bass voice (Figure 2-8). The root of the dominant chord can

be either up a perfect fifth or down a perfect fourth from the bass note of the tonic chord.

Figure 2-8. Bass Note

b. One note in the tonic chord is also found in the dominant chord. This note is common toboth triads and is called the common tone. When connecting the tonic to the dominantchord, keep the common tone in the same voice (Figure 2-9).

Figure 2-9. Common Tone

c. To achieve the smoothest part writing, move voices the smallest distance. Move theremaining two voices down by step to the nearest chord tone. First, connect the half stepmovement and then the whole step movement (Figure 2-10).

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Figure 2-10. Descending Movement by Step

d. The scale pattern for connecting the I chord to the V chord (Figure 2-11).

Figure 2-11. I to V Scale Pattern

NOTE: Remember that Arabic numbers indicate scale degrees not triad numbers.

7. Part Writing the V to the I Chord. The scale pattern for connecting the V to the I is thereverse of the I to the V connection (Figure 2-12).

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Figure 2-12. Connecting V to I

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SELF REVIEW EXERCISE 1. Part write the following I to V and V to I progressions (Figure 2-13).


8. Part Writing the I to IV Chord.

a. The root of the triad is in the bass voice (Figure 2-14). The root of the subdominantchord can be either a Perfect fourth up or a Perfect fifth down from the root of the tonicchord.


b. Keep the common tone in the same voice (Figure 2-15).

Figure 2-15. Common Tonec. Move the remaining two voices up by step to the nearest chord tone. First, connect the

half step movement, and then connect the whole step movement (Figure 2-16).

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Figure 2-16. Ascending Movement by Step

d. Scale pattern for connecting the I chord to the IV chord (Figure 2-17).

Figure 2-17. Connecting I to IV

9. Part Writing the IV Chord to the I Chord. The scale pattern for connecting the IV to the Ichord is the reverse of the I to IV chord connection (Figure 2-18).

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Figure 2-18. Part A: Connecting IV to I

Figure 2-18. Part B: Connecting IV to I

SELF REVIEW EXERCISE 2. Part write the following I to IV and IV to I progressions(Figure 2-19. Part A and Part B).


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10. Part Writing the IV Chord to the V Chord.

a. The root of the triad is the bass note (Figure 2-20). The root of the dominant chord is aMajor second above the root of the subdominant chord.


b. There is no common tone. Move the upper three voices down to the nearest chord tonesin contrary motion to the bass voice. First, connect the half step, next connect the wholestep, and then connect the minor third movement (Figure 2-21).

Figure 2-21. Contrary Motion to Bass

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c. The scale pattern for connecting the IV chord to the V chord (Figure 2-22).

Figure 2-22. Connecting the IV to V

d. When connecting the IV to V, failure to move the upper voices contrary to the bass voicecauses motion problems of parallel fifths and octaves (Figure 2-23).

Figure 2-23. Objectionable Parallel Fifths and Octaves

SELF REVIEW EXERCISE 3. Part write the following IV to V progressions (Figure 2-24).


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11. Part Writing the V Chord to the IV Chord. The dominant chord is usually not connectedto the subdominant chord. However, the dominant can progress to the subdominant when itimmediately goes back to the dominant chord. The upper three voices move contrary to thebass voice (Figure 2-25).

Figure 2-25. Connecting V to IV to V

PART C PART WRITING PRIMARY TRIADS (MINOR)

12. Part Writing the i Chord to the V Chord and V to i. Connecting tonic to dominant anddominant to tonic in minor is similar to connecting tonic to dominant and dominant to tonicin Major keys. The root is in the bass voice. Keep the common tone. Connect the remainingtwo voices by half step to the nearest chord tones. Remember to raise the third of thedominant chord in minor (Figure 2-26).

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Figure 2-26. Connecting I to V and V to I

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SELF REVIEW EXERCISE 4. Part write the following i to V and V to i progressions (Figure2-27. Part A and Part B).


13. Part Writing the i Chord to the iv Chord and iv to i. Connecting tonic to subdominantand subdominant to tonic in minor is similar to connecting tonic to subdominant andsubdominant to tonic in Major. The root is in the bass voice. Keep the common tone.Connect the remaining two voices by step to the nearest chord tone. First, connect the halfstep movements, and then connect the whole step movement (Figure 2-28).

Figure 2-28. Connecting i to iv and iv to i

SELF REVIEW EXERCISE 5. Part write the following i to iv and iv to i progressions (Figure2-29. Part A and Part B).


14. Part Writing the iv Chord to V Chord.

a. Connecting the subdominant to dominant in minor is similar to connecting subdominantto dominant in Major. The root is in the bass voice. Move the three upper voices downto the nearest chord tones in contrary motion to the bass voice. First, connect the twovoices with half step movements, and then connect the minor third movement (Figure 2-

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30).

Figure 2-30. Connecting iv to V

b. When connecting the iv to V, avoid the melodic augmented second between the sixthscale degree and the raised seventh scale degree. This interval should not appear in thesame voice (Figure 2-31).

Figure 2-31. Melodic Augmented Second

c. Connect the upper three voices contrary to the bass to avoid the augmented second.

SELF REVIEW EXERCISE 6. Part write the following iv to IV progressions (Figure 2-32).


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15. Part Writing the V Chord to the iv Chord. The dominant chord is usually not connectedto the subdominant chord in minor. However, the dominant can progress to the subdominant(minor) when it immediately goes back to the dominant. The upper three voices movecontrary to the bass (Figure 2-33).

Figure 2-33. Connecting to V to iv to V

16. Picardy Third Ending. The final tonic chord of a composition in a minor key isoccasionally made Major. The raised third of the triad is borrowed from the parallel Majorand is known as the Picardy third. The Picardy third usually occurs when connecting thedominant to tonic chord at the final cadence (Figure 2-34).

Figure 2-34. Picardy Third Ending

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NOTE: Use an upper case Roman numeral I for analysis when using the Picardy third becauseof the Major quality of the tonic chord.

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PART D REPEATED TRIADS

17. Any triad can follow itself. When triads repeat, you can reposition the voices within thechord.

a. Move the upper three voices in similar motion up or down to another chord tone (Figure2-35). Voices should not overlap.

Figure 2-35. Upper Voice Repositioning

b. Reposition two of the upper voices so that the triad changes position from open to closeor from close to open (Figure 2-36). The third voice has a common tone.

Figure 2-36. Changing Triad Position

c. The bass voice can either remain on the same pitch or jump an octave (Figures 2-35 and2-36).

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NOTE: When repositioning a triad, you do not have the problem of hidden or parallel fifths oroctaves. You still must make sure voices do not overlap, cross, or violate voice range andinterval limits.

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PART E CADENCES

18. Authentic, Plagal, and Half Cadences.

a. Authentic Cadence. The V to I or V to i chord progression at a phrase ending is calledan authentic cadence. It is a perfect authentic cadence when both triads are in rootposition and the tonic scale degree appears in the soprano of the tonic triad. Otherwise, itis called an imperfect authentic cadence. Authentic cadences create the feeling of fullstop and are commonly found at final cadences (Figure 2-37).

Figure 2-37. Authentic Cadences

b. Plagal Cadence. The IV to I or iv to i chord progression at a phrase ending is called aplagal cadence. It is a perfect plagal cadence when both triads are in root position and thetonic scale degree appears in the soprano voice of both triads. Otherwise, it is known asan imperfect plagal cadence. The plagal cadence, commonly called the Amen cadence,lacks the directional drive of the authentic cadence and provides a less final ending(Figure 2-38).

Figure 2-38. Plagal Cadences

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c. Half Cadence. When any chord, regardless of inversion, moves to the V chord at aphrase ending, a half cadence occurs. A phrase that ends with a half cadence does nothave a feeling of repose. It creates a feeling of suspense that is usually resolved in thenext phrase with a final cadence (Figure 2-39).

Figure 2-39. Half Cadences

d. Plagal Half Cadence. When the I (i) chord moves to the IV (iv) chord at a phraseending, a plagal half cadence occurs. As with a half cadence, the plagal half cadencecreates a feeling of suspense. This is usually resolved in the next phrase with a finalcadence (Figure 2-40).

Figure 2-40. Plagal Half Cadences

SELF REVIEW EXERCISE 7. Part write and analyze the following progressions. Write thename of each cadence in the space provided (Figure 2-41. Part A and Part B).

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CLICK HERE FOR LESSON 2 PRACTICAL EXERCISE.CLICK HERE FOR LESSON 2 PRACTICAL EXERCISE ANSWERS.


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The following items will test your understanding of the material covered in this lesson. There isonly one correct answer for each item. When you have completed the exercise, check youranswer with the answer key. If you answer any item incorrectly, review the part of the lessonthat contains the portion involved.


1. The primary triads are tonic, submediant, and dominant triads.

A. TrueB. False

2. A triad is in root position when the __________ voice has the root of the chord.

A. sopranoB. bassC. tenorD. alto

3. Which voice should double the bass voice in a root position triad?

A. AltoB. SopranoC. TenorD. Any of the upper three voices can double the bass.

4. The part writing principles are the same for the primary triads in root position regardless ofwhether the triads are Major or minor in quality.

A. TrueB. False

5. If you are part writing in the key of e minor and wish to show the raised third of thedominant triad in the figured bass, which chromatic sign would you use?

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Α.B. #

Χ.D. It is not necessary to use any sign.

6. What is the most frequently used figured bass for a chord in root position?

A.

B.

C. No numerals written below the bass note.D. None of the above is correct.


7. Which voice should have a common tone in Figure 1?

A. SopranoB. AltoC. TenorD. No voice should have a common tone.

8. In an I to IV progression, the bass voice can move a perfect fourth down or a perfect fifth up.

A. TrueB. False

9. What objectionable motion(s) occur(s) if all voices move in the same direction when partwriting IV to V chords?

A. Hidden fifths and octaves

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B. Parallel fifths and octavesC. Augmented 2nd interval between the third of each chordD. There is no objectionable motion.


10. The alto note in the second chord of Figure 2 should be a/an

A. D.B. F.C. B . D. None of the above is correct.

11. Which of the following is correct concerning the upper voices when the tonic chordprogresses to the subdominant chord in a Major or minor key?

A. One tone is common, one voice moves by half step, and one voice moves by wholestep.

B. One tone is common, two voices move by whole step.C. One tone is common, two voices move by half step.D. None of the above is correct for both Major and minor keys.

12. Where should the third of the dominant triad resolve when the dominant triad progresses tothe tonic triad?

A. Up a half step to the third of the tonic triad.B. Up a whole step to the root of the tonic triad.

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C. Down a half step to the root of the tonic triad.D. Up a half step to the root of the tonic triad.


13. The soprano note in the second chord in Figure 3 should be a/an

A. G.B. E.C. C.D. None of the above is correct.


14. What is the complete figured bass for the chord in Figure 4?

A.

B.

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C.

D. It is not necessary to show any numerals for the complete figured bass.

Figure 5. Questions 15 – 18

15. The cadence in measure 1 of Figure 5 is a/an __________ cadence.

A. perfect authenticB. imperfect authenticC. halfD. perfect plagal


A. perfect authenticB. imperfect plagalC. plagal halfD. half


A. halfB. perfect authenticC. imperfect plagalD. plagal half


A. plagal halfB. authenticC. plagal

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D. half

19. Which of the following is true when a is written beneath the bass voice of a root positiontriad?

A. The third of the chord is raised a half step.B. The note a third above the bass is raised a half step.C. The third of the chord is omitted.D. Both A and B are correct.


20. Which of the following is the correct chord analysis and figured bass for the chords in Figure6?

A. V i#B. V# i#C. V# I#D. V I

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1. B False(Part A, paragraph 1a)

2. B bass(Part A, paragraph 2)

3. D Any of the upper three voices can double the bass.(Part A, paragraph 3)

4. A True(Part A, paragraph 5)

5. C (Part A, paragraph 4d)

6. C No numerals written below the bass note.(Part A, paragraph 4b)

7. B Alto(Part B, paragraph 6b)

8. A True(Part B, paragraph 6a)

9. B Parallel fifths and octaves(Part B, paragraph 10d)

10. A D.(Part B, paragraphs 6c and 6d)

Item Correct Answer and Feedback MU 3310

1

11. A One tone is common, one voice moves by half step, and one voice moves bywhole step.(Part B, paragraph 8c; Part C, paragraph 13)

12. D Up a half step to the root of the tonic triad.(Part B, paragraph 7)

13. B E.(Part B, paragraphs 10b and c)

14. C (Part A, paragraphs 4a and 4b NOTE)

15. A perfect authentic(Part E, paragraph 18a)

16. B imperfect plagal(Part E, paragraph 18b)

17. A half(Part E, paragraph 18c)

18. D half(Part E, paragraph 18c)

19. D Both A and B are correct.(Part A, paragraph 4f)

20. C V# I#(Part C, paragraph 16)

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SELF REVIEW EXERCISE 1. Part write the following I to V and V to I progressions (Figure 2-13).


Figure 2-13. I to V and V to I Progressions

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SELF REVIEW EXERCISE 1. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-13. I to IV and V to I Progressions

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SELF REVIEW EXERCISE 2. Part write the following I to IV and IV to I progressions(Figure 2-19. Part A and Part B).


Figure 2-19. Part A. I to IV and IV to I Progressions

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Figure 2-19. Part B. I to IV and IV to I Progressions

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Figure 2-19. Part A and Part B. I to IV and IV to I Progressions

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SELF REVIEW EXERCISE 3. Part write the following IV to V progressions (Figure 2-24).


Figure 2-24. IV to V Progressions

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SELF REVIEW EXERCISE 3. CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 2-24. IV to V Progressions

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SELF REVIEW EXERCISE 4. Part write the following i to V and V to i progressions (Figure2-27. Part A and B).


Figure 2-27. Part A. i to V and V to i Progressions

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Figure 2-27. Part B. i to V and V to i Progressions

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Figure 2-27. Part A. i to V and V to i Progressions

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Figure 2-27. Part B. i to V and V to i Progressions

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SELF REVIEW EXERCISE 5. Part write the following i to iv and iv to i progressions (Figure2-29. Part A and B).


Figure 2-29. Part A. i to iv and iv to i Progressions

Figure 2-29. Part B. i to iv and iv to i Progressions

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Figure 2-29. Part A and B. i to iv and iv to i Progressions

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SELF REVIEW EXERCISE 6. Part write the following iv to IV progressions (Figure 2-32).


Figure 2-32. iv to V Progressions

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Figure 2-32. iv to V Progressions

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SELF REVIEW EXERCISE 7. Part write and analyze the following progressions. Write thename of each cadence in the space provided (Figure 2-41. Part A and B).


Figure 2-41. Part A. Root Position Progressions

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Figure 2-41. Part B. Root Position Progressions

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Figure 2-41. Part A. Root Position Progressions

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Figure 2-41. Part B. Root Position Progressions

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Lesson 3

PRIMARY TRIADS IN FIRST INVERSION

INTRODUCTION

LESSON DESCRIPTION:In this lesson, you will learn the primary triads in first inversion. This lesson includes doubling,figured bass, analysis, part writing procedures, and cadences.

LEARNING OBJECTIVE:ACTION: After completing this lesson, you will:

1. Identify first inversion primary triads.



4. Part write first inversion primary triads in Major and minor.

5. Identify imperfect cadences.


STANDARD: IAW the information contained in this lesson.

REFERENCES: The material contained in this lesson was derived from the followingpublications: TC 12-42, Harmony, and TC 12-41, Basic Music.

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PART A OVERVIEW

1. First Inversion Triads.

a. A triad is in first inversion when the third of the chord is in the bass voice. The fifth andthe root are voiced above the third (Figure 3-1).

Figure 3-1. First Inversion Triad

NOTE: The root of the triad remains the root (scale degree upon which the triad is formed)regardless of its position in the triad.

b. First inversion triads allow for smooth voice leading of the bass voice and provideharmonic variety.

2. Doubling of First Inversion Triads.

a. When the primary triad is in first inversion, double the root or fifth of the chord (Figure3-2). The upper three voices will have one root and two fifths or two roots and one fifth.

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Figure 3-2. First Inversion Doubling

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b. You will determine which note to double by the voice leading necessary to make thevoices connect smoothly.

NOTE: It is better to double the soprano with an inner voice than to double the two innervoices. However, both are correct (Figure 3-3).

Figure 3-3. Doubling Alternatives

3. Figured Bass for First Inversion Triads.

a. The numerals indicate a triad in first inversion (Figure 3-4).

NOTE: The 3 represents the note an interval of a third above the bass note. That note which isthe third above the bass voice is the fifth of the triad. The 6 represents the note the interval of asixth above the bass note. That note is the root of the triad.

Figure 3-4. First Inversion Figured Bass

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b. A first inversion triad can also be indicated by the numbers and . The added numberdictates the doubled note. This is usually not done in bass figuring (Figure 3-5).

Figure 3-5. Complete First Inversion Figured Bass

c. Usually, only the 6 appears under the bass note. The interval of the third is understood.You determine which note (root or fifth) to double (Figure 3-6).

Figure 3-6. Essential First Inversion Figured Bass

NOTE: First inversion triads are called six (6) chords. You should not confuse this with theadded 6th chords (a triad with the note a Major sixth above the root of the triad added) inpopular harmony. The 6, when used with an alphabet letter, represents a four-note chord.When used with a Roman numeral, the 6 represents a triad (three-note chord) with the third asthe lowest note (Figure 3-7).

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Figure 3-7. Added 6th Chord and 6 Chord

4. Analysis of First Inversion Triads. The Roman numeral indicates the scale degree uponwhich the chord is constructed (the root of the triad). In a first inversion triad, the bass note isnot the root of the chord. However, you can determine the root of the chord from the bassnote. Since the bass note is the third of the chord, the root is the interval of a third below thebass note (or a sixth above the bass note). The number 6 identifies the interval that is the rootof the chord (Figure 3-8).

Figure 3-8. Root Identification

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PART B PART WRITING FIRST INVERSION PRIMARY TRIADS

5. The procedure for part writing first inversion triads is identical to part writing root positiontriads.

a. Keep the common tone.

b. Connect the remaining voices to the nearest available chord tones.

First, look for half step movement.

Next, look for whole step movement.

Finally, connect any remaining intervals.

c. Check your part writing for objectionable voice motions and other mistakes.

NOTE: In part writing root position triads, you followed specific scale patterns for eachprogression. However, when part writing first inversion triads, you must make choices that arenot set patterns. Your choices are determined by the smoothest (generally the closest) voiceleading.

6. Apply the part writing procedure to a progression with a first inversion chord (Figure 3-9).

Figure 3-9. Progression with First Inversion

a. First, keep the common tone. Place a C in the tenor voice (Figure 3-10).

NOTE: The second chord is a C triad (I chord) in first inversion. The notes of the chord are C,E, and G. The fourth (doubled) note can be either a C or a G. The E (the third of the chord) is

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already present in the bass voice. You should not use the E in any of the upper voices. The C iscommon to both chords.

Figure 3-10. Common Tone

b. Connect the half step movement. The only note of the triad left to voice beforedetermining the doubled note is the G. (The C and the E have already been voiced.) TheG is not a half step from either the soprano A or the alto F (Figure 3-11). Go to the nextstep of the procedure.

Figure 3-11. No Half Step Movement

c. Connect the whole step movement. The G is a whole step from both the soprano A andthe alto F. You can place the G in either the soprano or alto voice (Figure 3-12).

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Figure 3-12. Choose Whole Step Movement

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d. The last voice (soprano or alto) can be either a C or a G. Remember, in first inversiontriads you can double either the root or the fifth of the chord.

(1) If you placed the G (from step c) in the soprano voice, you must decide whichdoubled note (the G or C) is smoother voice leading for the alto voice. The G is awhole step from the previous alto note. The C is a fourth from the previous alto note.Therefore, the G is the better note to double (Figure 3-13). A skip of a fourth in aninner voice, when you have a closer voice to lead to, is poor part writing.

Figure 3-13. Alto Voice Movement

NOTE: If the alto voice moves down to a C, the two inner voices are doubled. Remember, it isbest to double an inner voice with the soprano in first inversion triads when you have a choice(Figure 3-14).

Figure 3-14. Poor Voice Leading

(2) If you placed the G (from step c) in the alto voice, you can place either a G or a C inthe soprano voice. The G produces smoother voice leading and is the best alternativeat this time (Figure 3-15). However, the C produces a melody line (soprano) with a

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skip. (This can be important in keeping the melody line interesting for exercises inthe next lessons.) Both movements are correct.

Figure 3-15. Soprano Voice Movement

e. Check your part writing for mistakes.

NOTE: Understanding how to part write first inversion triads is essential to basic part writingskills because you must make decisions that are not set patterns. You must determine which noteis the best to use for each upper voice. When you part write root position triads (and secondinversion triads in Lesson Four), each voice follows a set pattern.

7. Follow the procedure again.

NOTE: Until you become proficient at part writing, you can, if you wish, spell the chord belowthe bass line. Place possible doublings in the spelling at the end (in parentheses). Cross offeach letter (note) as it is voiced (Figure 3-16). (Cross off the third of the chord as you spellthe chord because it is already in the bass voice.)

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Figure 3-16. First Inversion Progression

a. Keep the common tone. The common tone (G) is in the tenor voice (Figure 3-17).(Cross off the letter G below the staff.)

Figure 3-17. Common Tone in Tenor Voice

b. Connect the half step movement. The D is not a half step from E or C. Therefore, thereis no half step movement (Figure 3-18). Go to the next step.

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Figure 3-18. Look for Half Step Movement

c. Connect the whole step movement. The D is a whole step from either the soprano or altonote. The D can be placed in either voice (Figure 3-19). (Cross off the letter D below thestaff.)

Figure 3-19. Soprano or Alto Whole Step Movement

d. The last voice (soprano or alto) can be either a G or a D.

(1) If you placed the D (step c) in the soprano voice, the best voice leading for the altovoice is a D (Figure 3-20).

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Figure 3-20. Alto Voicing

(2) If you placed the D in the alto voice, the best voice leading for the soprano part is a D(Figure 3-21). Doubling the D is better than doubling the G (a second instead of afourth).

Figure 3-21. Double the D in Soprano

e. Check your part writing for any mistakes.

8. Part Writing Repeated Triads.a. When a triad in first inversion follows a root position triad with the same root, move the

third (of the root position chord) to the root or the fifth of the triad in first inversion(Figure 3-22).

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Figure 3-22. Movement of the Third of Triad

b. You can change position of the upper voices (Figure 3-23).

Figure 3-23. Change Upper Voices Positions

NOTE: When you have a choice between the soprano and an inner voice, you should normallymaintain the common tone in the inner voice and not in the soprano. Keep the inner voices assmooth as possible (Figure 3-24).

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Figure 3-24. Choose Common Tone Voice

9. Checking Your Part Writing.a. After you have completed your voice leading, study your work. Remember, the principle

of part writing is connecting the parts of one chord smoothly to the parts of the next chord(without errors). The smooth connection of voice movement is especially important forthe inner voices. The melody can (and should) have disjunct motion (skips) as well asconjunct motion (stepwise movement). On occasion, moving one voice by a smallinterval (for example, half step) will cause another voice to move by a large interval(fourth). This may not be the best overall part writing if the fourth is an inner voice(Figure 3-25).

Figure 3-25. Large Movement Inner Voice

b. If the soprano had been an octave above the alto, the same part writing is better becausethe disjunct motion can be in the soprano voice (Figure 3-26).

Figure 3-26. Disjunct Motion Soprano Voice

c. To avoid the large interval skip in the inner (alto) voice (Figure 3-25), move the root of

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the I chord up a whole step (to the D) instead of down a half step (Figure 3-27). You canthen keep the common tone in the alto voice and skip a third in the soprano. Thisconnection creates acceptable part writing for all parts.

Figure 3-27. Smooth Part Writing I6 to V

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NOTE: The above progression has a hidden fifth between the tenor and bass. This hidden fifthis acceptable because it is between the bass and an inner voice. See Lesson 1, paragraph 7c(2).

SELF REVIEW EXERCISE 1. Write the note in the second chord that is common to a note inthe first chord. Analyze each chord (Figure 3-28).


SELF REVIEW EXERCISE 2. Write the note in the second chord that is a half step from anote in the first chord. If no note is a half step movement, leave the example blank. Analyzeeach chord (Figure 3-29).


SELF REVIEW EXERCISE 3. Write the note in the second chord that is a whole step from anote in the first chord. Analyze each chord (Figure 3-30).


SELF REVIEW EXERCISE 4. Write the best note for the missing voice. Choose the bestnote of the chord to double. Analyze each chord (Figure 3-31).


SELF REVIEW EXERCISE 5. Complete the part writing of Self-Review Exercises 1,2, and 3(Figures 3-28, 3-29, and 3-30).


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PART C FIRST INVERSION PROGRESSIONS

10. Tonic and Dominant Triads.

a. Connecting the I6 and the V; the i6 and the V (Figure 3-32). The first inversion tonicchord is one of the most useful of the first inversion triads. It provides relief from thefinality of the tonic chord in root position when the tonic triad is written within thephrase.

Figure 3-32. Connecting I6 and V; i6 and V

NOTE: The figured bass for the V in minor can also be written with a chromatic sign instead of. In C minor, use a natural sign (Figure 3-33).

Figure 3-33. Chromatic Sign in the Figured Bass

b. Connecting the I and the V6; the i and the V6 (Figure 3-34). The dominant triad in thefirst inversion has the leading tone in the bass voice. This creates a strong melodicsignificance to the bass line. The bass voice usually resolves up a half step. The tonicchord in root position usually follows the first inversion dominant triad.

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Figure 3-34. Connecting I and V6; i and V6

NOTE: When the chromatically altered note is in the bass voice, no chromatic sign is placed inthe figured bass.

c. Connecting the I6 to the V6; i6 to the V6 (Figure 3-35).

NOTE: The V6 does not resolve to the I6 because the bass note usually resolves up a half step.

Figure 3-35. I6 to V6; i6 to V6

SELF REVIEW EXERCISE 6. Part write the following first inversion progressions (Figure 3-36. Part A, Part B, and Part C).


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11. Tonic and Subdominant Triads.

a. Connecting the I6 and the IV; i6 and the iv (Figure 3-37).

Figure 3-37. I6 and IV; i6 and iv

b. Connecting the I and the IV6; i and iv6 (Figure 3-38).

Figure 3-38. I and IV6; i and iv6

c. Connecting the I6 and the IV6; i6 and iv6 (Figure 3-39).

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Figure 3-39. I6 and IV6; i6 and iv6

SELF REVIEW EXERCISE 7. Part write the following tonic and subdominant first inversionprogressions (Figure 3-40; Part A, Part B, and Part C).


12. Subdominant and Dominant Triads.

a. Connecting the IV6 and the V; iv6 and the V (Figure 3-41).

Figure 3-41. IV6 and V; iv6 and V

b. Connecting the IV6 and the V6 (Figure 3-42).

(1) The V6 does not usually resolve to the IV6 because the bass voice of the V6 shouldresolve upward by half step.

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(2) The V6 does not resolve to a iv6 (minor) and the iv6 does not resolve to V6 because anaugmented second would occur in the bass voice.

Figure 3-42. IV6 and V6

NOTE: Be careful of parallel fifths in the IV6 to V6 progression. If the alto and tenor voicesare reversed in Figure 3-42, parallel fifths occur.

SELF REVIEW EXERCISE 8. Part write the following subdominant and dominant firstinversion progressions (Figure 3-43).


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PART D CADENCES

13. Imperfect Cadences.a. An imperfect cadence occurs under either or both of the following conditions:

(1) One or both triads are inverted.

(2) The soprano note of the second chord is not the tonic scale degree.

b. The imperfect authentic cadence occurs when the dominant triad (V or V6) moves to thetonic triad (I or I6; i or i6) at a phrase ending, and one of the triads is inverted or the tonicscale degree is not in the soprano voice for the I chord. The imperfect authentic cadenceis less final than the perfect authentic cadence (Lesson 2, paragraph 18a) and is normallyused at cadence points other than the final cadence (Figure 3-44).

Figure 3-44. Imperfect Authentic Cadence

c. The imperfect plagal cadence occurs when the subdominant triad moves to the tonic triadat a phrase ending and one of the triads is inverted or the tonic scale degree is not thesoprano for both chords. The imperfect plagal cadence is less final than the perfect plagalcadence (Lesson 2, paragraph 18b) and is usually used at cadence points other than thefinal cadence (Figure 3-45).

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Figure 3-45. Imperfect Plagal Cadence

SELF REVIEW EXERCISE 9. Analyze and part write the following first inversionprogressions. Write the name of each cadence in the space provided (Figure 3-46. Part A andPart B).



CLICK HERE TO PROCEED TO THE NEXT SECTION.CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

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The following items will test your understanding of the material covered in this lesson. There isonly one correct answer for each item. When you have completed the exercise, check youranswers with the answer key. If you answer any item incorrectly, review that part of the lessonthat contains the portion involved.


1. A triad is in first inversion when the _________ of the chord is the bass note.

A. rootB. thirdC. fifthD. sixth

2. First inversion triads allow for smooth voice leading of the __________ voice.

A. sopranoB. altoC. tenorD. bass

3. The root of a first inversion triad should be in which voice?

A. SopranoB. AltoC. TenorD. Any of the above is correct.

4. What note should be doubled for first inversion triads?

A. RootB. ThirdC. FifthD. Either A or C is correct.

5. The procedure for part writing first inversion triads is identical to that for part writing root

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position triads.

A. TrueB. False

6. In the progression, iv6 to V, one upper voice has the common tone and the other two uppervoices move by step.

A. TrueB. False

7. When a triad in first inversion follows a root position triad with the same root, where must the third (of the root position triad) move?

A. To the rootB. Stay on the third (keep the common tone)C. To the fifthD. Either A or C is correct.

8. Which of the following is the most common chord progression?

A. V to IVB. V6 to i6C. iv6 to V6D. V6 to I


9. Which part writing in Figure 1 is acceptable?

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A. 1B. 2C. Both 1 and 2 are equally acceptable.D. Neither 1 nor 2 are acceptable.

10. Which of the following progressions will automatically result in bad voice leading?

A. I IV6 V IB. I IV6 V6 IC. I iv6 V3 ID. i iv6 V6 i


11. What is wrong with the voice leading in Figure 2?

A. Incorrect doublingB. Hidden fifthC. Parallel fifthsD. Nothing is wrong with the voice leading.


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12. Which voice has a part writing error in the progression in Figure 3?

A. SopranoB. AltoC. TenorD. Bass


13. What cadence is shown in Figure 4?

A. Perfect authenticB. Imperfect authenticC. Perfect plagalD. Imperfect plagal


14. Which is the best note for the alto voice in the first chord in Figure 5?

A. G

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B. EC. CD. A


15. What is the complete figured bass for the chord in Figure 6?

A.

B.

C.

D.


16. The chord in Figure 7 is incorrectly voiced because the soprano voice is NOT doubled.

A. TrueB. False

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17. What cadence is shown in Figure 8?

A. Perfect authenticB. Imperfect authenticC. Perfect plagalD. Imperfect plagal

18. What should be considered first when choosing the note to be doubled for a first inversionchord?

A. Smooth voice leadingB. Doubling the inner voicesC. Doubling the sopranoD. Doubling the bass


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19. What note should the soprano voice have in the second chord in Figure 9?

A. B or E (moving down to the E )B. B or E (moving up to the E )C. B or G (moving down to the G)D. Any of the above notes is correct.

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20. Identify the progression in Figure 10 that has incorrect voice leading.

A. 1B. 2C. 3D. They are all correct.

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1. B third(Part A, paragraph 1a)

2. D bass(Part A, paragraph 1b)

3. D Any of the above is correct.(Part A, paragraph 2a)

4. D Either A or C is correct.(Part A, paragraph 2a)

5. A True(Part B, paragraph 5)

6. B False(Part C, paragraph 12a)

7. D Either A or C is correct.(Part B, paragraph 8a)

8. D V6 to I(Part C, paragraphs 10b, 10c NOTE, and 12b(2); Lesson 2, Part B, paragraph11)

9. B 2(Part C, paragraph 10a; Lesson 1, Part B, paragraph 7c(2))

10. D i iv6 V6 i(Part C, paragraph 12b(2))

11. C Parallel fifths(Part C, paragraph 12b NOTE)

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12. D Bass(Part C, paragraph 12b(2))

13. B Imperfect authentic(Part D, paragraph 13b)

14. A G(Part A, paragraph 2b NOTES)

15. B (Part A, paragraph 3b)

16. B False(Part A, paragraph 2b NOTE)

17. D Imperfect plagal(Part D, paragraph 13c)

18. A Smooth voice leading(Part A, paragraph 2b)

19. B B or E (moving up to the E )(Part A, paragraph 2a; Lesson 1, Part B, paragraph 7b)

20. D They are all correct.(Part C, paragraph 10a)

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SELF REVIEW EXERCISE 1. Write the note in the second chord that is common to a note inthe first chord. Analyze each chord (Figure 3-28).


Figure 3-28. Part Write Common Tones

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LESSON 3ANSWERS TO SELF-REVIEW EXERCISES



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SELF REVIEW EXERCISE 2. Write the note in the second chord that is a half step from anote in the first chord. If no note is a half step movement, leave the example lank. Analyze eachchord (Figure 3-29).


Figure 3-29. Part Write Half Steps

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SELF REVIEW EXERCISE 3. Write the note in the second chord that is a whole step from anote in the first chord. Analyze each chord (Figure 3-30).


Figure 3-30. Part Write Whole Steps

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Note: Your part writing may differ from this solution and still be correct.


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SELF REVIEW EXERCISE 4. Write the best note for the missing voice. Choose the bestnote of the chord to double. Analyze each chord (Figure 3-31).


Figure 3-31. Part Write Missing Voices

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Figure 3-31. Part Write Missing Voices

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SELF REVIEW EXERCISE 5. Complete the part writing of Self-Review Exercises 1,2, and 3(Figures 3-28, 3-29, and 3-30).




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SELF REVIEW EXERCISE 6. Part write the following first inversion progressions (Figure 3-36. Part A, Part B, and Part C).


Figure 3-36. Part A. First Inversion Tonic and Dominant ProgressionsMU 33101

Figure 3-36. Part B. First Inversion Tonic and Dominant Progressions

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Figure 3-36. Part C. First Inversion Tonic and Dominant Progressions

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Figure 3-36. Part A. First Inversion Tonic and Dominant Progressions

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Figure 3-36, Part B. First Inversion Tonic and Dominant Progressions

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Figure 3-36. Part C. First Inversion Tonic and Dominant Progressions

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SELF REVIEW EXERCISE 7. Part write the following tonic and subdominant first inversionprogressions (Figure 3-40; Part A, Part B, and Part C).CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.CLICK HERE TO PROCEED TO THE NEXT SECTION.

Figure 3-40. Part A. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part B. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part C. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part A. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part B. Tonic to Subdominant First Inversion Progressions

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Figure 3-40. Part C. Tonic to Subdominant First Inversion Progressions

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SELF REVIEW EXERCISE 8. Part write the following subdominant and dominant firstinversion progressions (Figure 3-43).


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Figure 3-43. Subdominant and Dominant Progressions

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SELF REVIEW EXERCISE 9. Analyze and part write the following first inversionprogressions. Write the name of each cadence in the space provided (Figure 3-46. Part A andPart B).


Figure 3-46. Part A. First Inversion Progressions

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Figure 3-46. Part B. First Inversion Progressions

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SELF REVIEW EXERCISE 9. CLICK HERE TO PROCEED TO THE NEXT SECTION.Note: Your part writing may differ from this solution and still be correct.

Figure 3-46. Part A. First Inversion Progressions

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Figure 3-46. Part B. First Inversion Progressions

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Lesson 4

PRIMARY TRIADS IN SECOND INVERSION

INTRODUCTION

LESSON DESCRIPTION:In this lesson, you will learn the primary triads in second inversion. This lesson includesdoubling, figured bass, part writing, analysis, and identification of types of second inversions.

LEARNING OBJECTIVE:ACTION: After completing this lesson, you will:

1. Identify second inversion chords.



4. Identify the four types of six-four chords.

5. Part write second inversion primary triads.


STANDARD: IAW the material contained in this lesson.

REFERENCES: The material contained in this lesson was derived from TC 12-41, BasicMusic, and TC 12-42, Harmony.

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PART A OVERVIEW

1. Second Inversion Triads.a. The triad is in second inversion when the fifth of the triad is the bass note. The root and

third of the triad are voiced above the fifth (Figure 4-1).

Figure 4-1. Second Inversion Triad

b. Second inversion triads are harmonically unstable. They tend to function more asdecorations or links between other chords rather than actual chords in the basic harmonicprogression.

2. Doubling of Second Inversion Triads. Always double the fifth (bass note) of secondinversion triads (Figure 4-2). The doubled note can be in any other voice.

Figure 4-2. Second Inversion Doubling

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3. Figured Bass for Second Inversion Triads.

a. The numerals indicate a triad in second inversion (Figure 4-3).

Figure 4-3. Figured Bass Intervals

NOTE: The 4 represents the note the interval of a fourth above the bass note. That note afourth above the bass note is the root of the triad. The 6 represents the note the interval a sixthabove the bass note. That note is the third of the triad.

b. A second inversion triad can also be indicated by the numerals . The number 8 refers tothe doubled bass note (Figure 4-4).

Figure 4-4. Complete Figured Bass

NOTE: Two sets of numerals can occur under the same bass note. Using correct part writingprocedures, move the notes represented by the first set of numerals to the notes represented bythe second set of numerals (Figure 4-5). Give each note one-half the rhythmic value of the bassnote.

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Figure 4-5. Two Sets of Bass Figures

c. Usually, only the appears under the bass note. The interval of the octave is understoodbecause the bass note should always be doubled on a second inversion triad (Figure 4-6).

Figure 4-6. Second Inversion Figured Bass

NOTE: Second inversion triads are called six-four chords.

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4. Analysis of Second Inversion Triads. The Roman numeral indicates the scale degree uponwhich the chord is constructed (the root of the triad). In a second inversion chord, the bassnote is not the root of the chord. However, you can determine the root of the chord from thebass note. Since the bass note is the fifth of the chord, the root is the interval of a fifth below(or a fourth above the bass note). The number 4 identifies the root of the chord (Figure 4-7).

Figure 4-7. Root Identification

PART B TYPES OF SECOND INVERSION TRIADS

5. Cadential Six-four Triads.

a. When a tonic six-four triad precedes a dominant chord at a cadence, it is called acadential six-four. This is one of the more common of the second inversion triads. Thecadential tonic six-four enhances and decorates the dominant chord. The six-four occurson a strong beat. It resolves to the dominant chord. The dominant occurs in a weakerrhythmical position (Figure 4-8).

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Figure 4-8. Cadential Six-four Triad

b. The pattern for the cadential six-four is the same for all cadential six-four triads.

(1) The bass and one upper voice keep the common tone. (The bass voice can beidentical pitches, one sustained pitch, or two pitches an octave apart.)

(2) The other two upper voices descend either by half step or whole step.

SELF REVIEW EXERCISE 1. Analyze and part write the following cadential six-fourprogressions (Figure 4-9).


6. Passing Six-four Triads.a. The passing six-four triad functions as a linking chord to allow for smooth voice leading

between a triad in root position and that same triad in first inversion (or a triad in firstinversion and that same triad in root position). A passing six-four triad must occur in aweak rhythmical position (Figure 4-10).

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Figure 4-10. Passing Six-four Triads

b. The pattern for the passing six-four is the same for all passing six-four triads.

(1) The bass voice moves by step.(2) One upper voice keeps the common tone.(3) Another voice descends and then ascends either by half step or whole step.(4) One voice moves by step in contrary motion to the bass movement.

NOTE: The root of the passing six-four chord is a fifth above the root of the chord it precedesand follows.

SELF REVIEW EXERCISE 2. Analyze and part write the following passing six-fourprogressions (Figure 4-11).


7. Auxiliary Six-four Triads.a. Auxiliary six-four triads are used to decorate two identical chords in root position. An

auxiliary six-four chord should occur in a weak rhythmic position (Figure 4-12).

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Figure 4-12. Auxiliary Six-four Triads

b. The pattern for the auxiliary six-four is the same for all auxiliary six-four triads.

(1) The bass voice and one upper voice keep the common tone.

(2) The other two upper voices ascend by either half step or whole step and then descendby the same interval.

Note: The root of the auxiliary six-four chord is always a fourth above the root of the chord itproceeds and follows.

SELF REVIEW EXERCISE 3. Analyze and part write the following auxiliary six-four triads(Figure 4-13).


8. Arpeggiated Six-four Triads.a. The arpeggiated six-four triad occurs when the bass voice moves through notes of the

same triad. The arpeggiated six-four triad is immediately preceded or followed by thesame triad in first inversion or root position. Arpeggiated six-four triads are normally,but not always, found in weak rhythmic positions (Figure 4-14).

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Figure 4-14. Arpeggiated Six-four Triads

b. To part write an arpeggiated six-four chord, observe the rules of chord repositioning anddoubling for triads in their respective inversions.

SELF REVIEW EXERCISE 4. Analyze and part write the following arpeggiated six-fourprogressions (Figure 4-15). NOTE: All six-four triads can be correctly part written by observingthe basic part writing procedures in Lesson 2. The patterns discussed in this lesson aid in thisprocess and help you identify the four types of six-four chords.


SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Write thename of each six-four triad on the line provided below the figured bass (Figure 4-16).




CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

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1. A triad is in second inversion when the __________ of the triad is the bass note.

A. rootB. thirdC. fifthD. sixth

2. The cadential, passing, auxiliary, and articulated six-four are the four types of six-fourchords.

A. TrueB. False

3. How do second inversion chords tend to function harmonically?

A. As decorations of other chordsB. As basic harmonic chordsC. As links between chordsD. Both A and C are correct.

4. Double __________ on second inversion triads.

A. the soprano voiceB. the bass voiceC. the root of the chordD. any of the upper three voices

5. Which six-four chord links a root position chord and its first inversion in stepwise bass

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movement?

A. CadentialB. PassingC. AuxiliaryD. Arpeggiated


6. What note should be in the soprano voice in Figure 1?

A. GB. BC. DD. Any of the above is correct.

7. The most common bass figuring for second inversion triads is

A. .

B. .

C. .

D. or depending on the doubling.

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8. The complete bass figuring for a second inversion triad is

A. .

B. .

C. .

D. .

9. Which six-four chord usually occurs on a strong beat?


10. Which six-four chord precedes the V at a cadence?


11. Which six-four chord decorates two root position chords that have the same root?


12. Which six-four chord is used before or after its root position chord?


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13. What chord will be formed on the second half of the measure in Figure 2 when the sopranoand alto notes are written?

A.

B.

C.

D.

14. Second inversion triads are harmonically unstable.

A. TrueB. False

15. In a six-four chord, the 4 of the figured bass represents the root of the triad and the 6represents the third of the triad.

A. TrueB. False

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16. The progression in Figure 3 has a/an __________

A. passing six-four.B. arpeggiated six-four.C. auxiliary six-four.D. None of the above is correct.


17. The progression in Figure 4 has a/an __________ six-four.

A. cadentialB. auxiliaryC. passingD. arpeggiated

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18. What note should the alto voice have for the second chord of Figure 5?

A. GB. EC. CD. None of the above is correct.


19. What note should the alto voice have for the third chord of Figure 6?

A. DB. FC. BD. None of the above is correct.

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20. What note should the alto voice have for the second chord (beat three of the first measure) ofFigure 7?

A. AB. FC. DD. None of the above is correct.

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1. C fifth(Part A, paragraph 1a)

2. B False(Part B Introduction)

3. D Both A and C are correct.(Part A, paragraph 1b)

4. B the bass voice(Part A, paragraph 2)

5. B Passing(Part B, paragraph 6a)

6. C D(Part A, paragraph 2)

7. B .(Part A, paragraph 3c)

8. A (Part A, paragraph 3b)

9. A Cadential(Part B, paragraph 5a)


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10. A Cadential(Part B, paragraph 5a)

11. C Auxiliary(Part B, paragraph 7a)

12. D Arpeggiated(Part B, paragraph 8a)

13. C V(Part B, paragraphs 3b NOTE, 5a, and 5b)

14. A True(Part A, paragraph 1b)

15. A True(Part A, paragraph 3a NOTE)

16. D None of the above is correct.(Part B, paragraphs 6, 7, and 8)

17. C passing(Part B, paragraph 6a)

18. B E(Part B, paragraph 7a)

19. C B(Part B, paragraph 6)

20. D None of the above is correct.(Part B, paragraph 5)

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SELF REVIEW EXERCISE 1. Analyze and part write the following cadential six-fourprogressions (Figure 4-9).


Figure 4-9. Cadential Six-four Progressions

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LESSON 4ANSWERS TO SELF REVIEW EXERCISES


Figure 4-9. Cadential Six-four Progressions

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SELF REVIEW EXERCISE 2. Analyze and part write the following passing six-fourprogressions (Figure 4-11).


Figure 4-11. Passing Six-four Progressions

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Figure 4-11. Passing Six-four Progressions

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SELF REVIEW EXERCISE 3. Analyze and part write the following auxiliary six-four triads(Figure 4-13).


Figure 4-13. Auxiliary Six-four Progressions

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Figure 4-13. Auxiliary Six-four Progressions

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SELF REVIEW EXERCISE 4. Analyze and part write the following arpeggiated six-fourprogressions (Figure 4-15). NOTE: All six-four triads can be correctly part written by observingthe basic part writing procedures in Lesson 2. The patterns discussed in this lesson aid in thisprocess and help you identify the four types of six-four chords.


Figure 4-15. Arpeggiated Six-four Progressions

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Figure 4-15. Arpeggiated Six-four Progressions

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SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Write thename of each six-four triad on the line provided below the figured bass (Figure 4-16).


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Figure 4-16. Six-four Progressions

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Figure 4-16. Six-four Progressions

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LESSON 6THE DOMINANT SEVENTH CHORD

INTRODUCTION

LESSON DESCRIPTION:In this lesson, you will learn the dominant seventh chord. This lesson includes doubling, rootposition chords and inversions, figured bass, and part writing the dominant seventh chord.


1. Identify the dominant seventh chord.

2. Write doublings.

3. Write root position and inversions.

4. Write figured bass.

5. Part write the dominant seventh chord.


STANDARD: IAW the information contained in this lesson.

REFERENCES: The material contained in this lesson was derived from the followingpublications: TC 12-41, Basic Music and TC 12-42, Basic Harmony.

PART A OVERVIEW

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1. Dominant Seventh Chords.a. The dominant seventh chord is a Major triad with the note an interval of a minor seventh

above the root of the triad added to the Major triad (Figure 5-1). The dominant seventhchord, a four-note chord, is built on scale step five.

Figure 5-1. Dominant Seventh Chord Structure

b. In a minor key (harmonic minor), the dominant seventh chord is identical in structure tothe dominant seventh chord in a Major key. They are both Major triads with a minorseventh interval from root to seventh (Major minor seventh chords) (Figure 5-2).

Figure 5-2. Minor Key Dominant Seventh Chord

NOTE: The term dominant seventh is used to denote the structure of the seventh chord as wellas the scale degree location because the Major triad/minor seventh structure is only found onthe dominant scale degree.

2. Doubling of Dominant Seventh Chords. Since the dominant seventh is a four-note chord,there is no doubling of a note. All four notes of the dominant seventh chord are normallyused in part writing. There is one exception discussed in paragraph 6b(1).

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3. Root Position and Inversions.a. Root Position. The dominant seventh chord is in root position when the root of the chord

is the bass note (Figure 5-3). The third, fifth, and seventh of the chord are voiced in theupper three voices.

Figure 5-3. Root Position Dominant Seventh

b. First Inversion. The dominant seventh chord is in first inversion when the third of thechord is the bass note (Figure 5-4). The root, fifth, and seventh are voiced in the upperthree voices.

Figure 5-4. First Inversion Dominant Seventh

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c. Second Inversion. The dominant seventh chord is in second inversion when the fifth ofthe chord is the bass note (Figure 5-5). The root, third, and seventh of the chord arevoiced in the upper three voices.

Figure 5-5. Second Inversion Dominant Seventh

d. Third Inversion. The dominant seventh chord is in third inversion when the seventh ofthe chord is the bass note (Figure 5-6). The root, third, and fifth are voiced in the threeupper voices.

Figure 5-6. Third Inversion Dominant Seventh

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4. Figured Bass for Dominant Seventh Chords.

a. Root Position. The complete figured bass for the dominant seventh chord in root

position is . This indicates the intervals of a third, fifth, and seventh above the bassnote. Usually, only the number 7 is written below the bass note. The third and fifth areunderstood and are included in the voicing even though they are not written in the figuredbass (Figure 5-7).

Figure 5-7. V7 Figured Bass

NOTE: In a minor key, you must notate the leading tone by using a chromatic sign (or a slashthrough the number 3) in the figured bass (figure 5-8).

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Figure 5-8. Minor Key Leading Tone Notation

b. First Inversion. The complete figured bass for the dominant seventh chord in first

inversion is . Usually, only the is written under the bass note. The interval of a third(the fifth of the chord) is understood and is included in the voicing even though it is notwritten in the figured bass (Figure 5-9).

Figure 5-9. V Figured Bass

NOTE: In minor, the first inversion dominant seventh chord does not require a chromaticalteration in the figured bass (Figure 5-10). The third of the dominant seventh (the leading tone)

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is the bass note. The accidental to create the leading tone is written on the staff. The figuredbass for the first inversion dominant seventh chord in minor is identical to the first inversiondominant seventh chord in Major.

Figure 5-10. Minor Key V Figured Bass

c. Second Inversion. The complete figured bass for the dominant seventh chord in second

inversion is . Usually, only the is written under the bass note. The interval of a sixth(the third of the chord) is understood and is included in the voicing even though it is notwritten in the figured bass (Figure 5-11).

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NOTE: In minor, the complete figured bass is required for the second inversion of the dominantseventh chord. It is needed to indicate the leading tone of the scale. The chromatic alterationcan be shown by making a slash through the 6 or by placing a chromatic sign before the 6(Figure 5-12).


d. Third Inversion. The complete figured bass for the dominant seventh chord in third

inversion is . Usually, only the is written below the bass note. The interval of a sixth(the fifth of the chord) is understood and is included in the voicing even though it is notwritten in the figured bass (Figure 5-13). Sometimes only a 2 is notated as the figuredbass for a third inversion dominant seventh chord.

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NOTE: In a minor key, the leading tone is notated by marking a slash through the 4 or byplacing a chromatic sign in front of the 4 (Figure 5-14).


5. Tritone Resolution. There is a tritone (abbreviated as TT) interval (diminished fifth oraugmented fourth) between the third and the seventh of the dominant seventh chord. Thisinterval requires specific movement in the resolution of the dominant seventh chord.

a. Regular Resolution. The diminished fifth resolves to a Major third in a Major key or aminor third in a minor key. The augmented fourth resolves to a minor sixth in a Major

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key or a Major sixth in a minor key (Figure 5-15).

Figure 5-15. Regular Tritone Resolution

NOTE: Regular resolution is the most common resolution of the tritone because it resolves theharmonically unstable, dissonant tritone interval to the stable, consonant interval of a third (orsixth). The regular resolution satisfies the melodic pull of the subdominant and the leading tonetendency tones (Figure 5-16).

Figure 5-16. Tendency Tones

b. Irregular Resolution. An irregular resolution of the tritone occurs when the seventh ofthe dominant seventh chord does not resolve downward to the third of the tonic chord butmoves up by step to the fifth. The bass voice moves to the third of tonic chord. Thisoccurs when the dominant seventh chord progresses to the tonic chord in first inversion(Figure 5-17).

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Figure 5-17. Irregular Tritone Resolution

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PART B PART WRITING THE DOMINANT SEVENTH CHORD TO TONIC

The dominant seventh chord normally resolves to the tonic chord.

6. Root Position Dominant Seventh Chords.a. Connecting the V7 chord to the I (complete V7).

(1) The root of the tonic chord is the bass note (Figure 5-18).

Figure 5-18. Bass Note, V7 to I

(2) Resolve the Tritone. Connect the third (leading tone scale degree) up a half step tothe root of the tonic triad. Then connect the seventh (subdominant scale degree)down a half step to the third of the tonic triad (Figure 5-19).

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Figure 5-19. Tritone Resolution, V7 to I

(3) Connect the fifth down a whole step to the root of the tonic triad (Figure 5-20). Youcannot drop the fifth of the dominant seventh chord to the fifth of the tonic triad.Parallel fifths between the tenor and bass will result. You must omit the fifth andtriple the root of the tonic triad.

Figure 5-20. Tripled Root

(4) Scale pattern for connecting complete V7 to I (Figure 5-21).

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Figure 5-21. Scale Pattern to Connect Complete V7 to I

b. Connecting the V7 chord to the I (Incomplete V7).(1) Instead of voicing the V7 with a root, third, fifth, and a seventh, you can omit the fifth

and double the root in an upper voice (Figure 5-22). This is called an incompletedominant seventh chord.

Figure 5-22. Incomplete Dominant Seventh Chord

(2) The root of the tonic chord is the bass note (Figure 5-23).

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Figure 5-23. Bass Note, V7 to I

(3) The root of the dominant seventh chord (doubled in an upper voice) is a common tonewith the fifth of the tonic chord. It remains in the same voice (Figure 5-24).

Figure 5-24. Common Tone Incomplete V7

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(4) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tonescale degree) up a half step to the root of the tonic chord. Connect the seventh(subdominant scale degree) down a half step to the third of the tonic triad (Figure 5-25).

Figure 5-25. Tritone Resolution Incomplete V7

(5) Scale pattern for connecting an incomplete V7 to I (Figure 5-26).

Figure 5-26. Scale Pattern to Connect Incomplete V7 to Complete I

NOTE: Remember, the complete dominant seventh chord resolves to an incomplete (tripled

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root) tonic chord. The incomplete dominant chord resolves to a complete tonic chord (Figure 5-27).

Figure 5-27. Complete and Incomplete V7

c. Connecting the V7 to the I6.(1) The third of the tonic chord is the bass note (Figure 5-28).

Figure 5-28. Bass Note, V7 to I6

(2) Resolve the Tritone. Connect the third (leading tone scale degree) up a half step tothe root of the tonic triad. Connect the seventh (subdominant scale degree) up to the

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fifth of the tonic chord (Figure 5-29).

Figure 5-29. Tritone Resolution, V7 to I6

NOTE: This is the irregular resolution of the tritone. The parallel fifths that result are unequalfifths (a diminished fifth followed by a perfect fifth). The fifths are acceptable in this irregularresolution of the dominant seventh.

(3) Connect the fifth of the dominant seventh chord down a whole step to the root of thetonic chord (Figure 5-30).

Figure 5-30. Connect the Fifth, V7 to I6

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(4) Scale pattern for connecting the V7 to I6 (Figure 5-31).

Figure 5-31. Scale Pattern to Connect V7 to I6

d. Connecting the Cadential I to the V7 (Complete).(1) The fifth of the tonic six-four chord remains in the bass voice. It becomes the root of

the dominant seventh chord (Figure 5-32).

Figure 5-32. Bass Note, I to V7

NOTE: Jumping the octave in the bass voice at a final cadence is common because it adds to

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the feeling of finality.

(2) Resolve the cadential six-four. Move the root of the tonic chord down a half step tothe third of the dominant seventh chord. Move the third of the tonic chord down tothe fifth of the dominant seventh chord (Figure 5-33).

Figure 5-33. Resolve Cadential Six-four

NOTE: Moving scale step three to scale step two instead of to scale step four is necessary toresolve the cadential six-four correctly.

(3) Connect the fifth of the tonic chord down a whole step to the seventh of the dominantseventh chord (Figure 5-34).

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Figure 5-34. Connect the Fifth, I to V7

NOTE: If the soprano and alto voices were reversed, parallel unequal fifths would occur.These are acceptable.

(4) Scale pattern for connecting cadential I to complete V7 (Figure 5-35).

Figure 5-35. Scale Pattern to Connect Cadential I to Complete V7

NOTE: The bass holds the common tone and the upper three voices descend by step (whole orhalf) in a I to complete V7 progression.

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SELF REVIEW EXERCISE 1. Analyze and part write the following root position dominantseventh chord progressions (Figure 5-36. Parts A, B).


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7. First Inversion Dominant Seventh Chords.

a. Connecting the V to the I.(1) The root of the tonic chord is the bass note (Figure 5-37).

Figure 5-37. Bass Note, V to I

(2) Keep the common tone (Figure 5-38).

Figure 5-38. Common Tone, V to I

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(3) Resolve the Tritone. Connect the seventh (subdominant scale degree) down a halfstep to the third of the tonic chord. The other note of the tritone is resolved in thebass voice (Figure 5-39).

Figure 5-39. Tritone Resolution, V to I

(4) Connect the fifth down a whole step to the root of the tonic chord (Figure 5-40).

Figure 5-40. Connect the Fifth, V to I

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b. Scale pattern for connecting V to I (Figure 5-41).

Figure 5-41. Scale Pattern to Connect V to I

SELF REVIEW EXERCISE 2. Analyze and part write the following first inversion dominantseventh chord progressions (Figure 5-42).


8. Second Inversion Dominant Seventh Chords.

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a. Connecting V to I.(1) The root of the tonic chord is the bass note (Figure 5-43).

Figure 5-43. Bass Note, V to I

NOTE: The V should function as a passing chord between the I and the I6.


Figure 5-44. Common Tone, V to I

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(3) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tonescale degree) up a half step to the root of the tonic chord. Connect the seventh(subdominant scale degree) down a half step to the third of the tonic triad (Figure 5-45).

Figure 5-45. Tritone Resolution, V to I

(4) Scale pattern for connecting V to I (Figure 5-46).

Figure 5-46. Scale Pattern to Connect V to I

b. Connecting the V to the I6.(1) The third of the tonic chord is the bass note (Figure 5-47).

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Figure 5-47. Bass Note, V to I6


Figure 5-48. Common Tone, V to I6

(3) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tonescale degree) up a half step to the root of the tonic triad. Then connect the seventh(subdominant scale degree) up to the fifth of the tonic triad (Figure 5-49).

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Figure 5-49. Tritone Resolution, V to I6

NOTE: This is an irregular resolution of the tritone and is acceptable in this progression.

(4) Scale pattern for connecting V to I6 (Figure 5-50).

Figure 5-50. Scale Pattern to Connect V to I6

SELF REVIEW EXERCISE 3. Analyze and part write the following second inversiondominant seventh chord progressions (Figure 5-51).

CLICK HERE FOR PRINTABLE VERSION.

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CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.

9. Third Inversion Dominant Seventh Chords.

a. Connecting the V chord to the I6.(1) The third of the tonic chord is the bass note (Figure 5-52).

Figure 5-52. Bass Note, V to I6

(2) Keep the common tone in the same voice (Figure 5-53).

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Figure 5-53. Common Tone V to I6

(3) Resolve the Tritone. Connect the third of the dominant seventh chord (leading tonescale degree) up a half step to the root of the tonic chord. The lower note of thetritone is resolved in the bass voice (Figure 5-54).

Figure 5-54. Tritone Resolution, V to I6

(4) Connect the fifth of the dominant seventh down a whole step to the root of the tonicchord (Figure 5-55).

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Figure 5-55. Connect the Fifth, V to I6

b. Scale pattern for the V to I6 (Figure 5-56).

Figure 5-56. Scale Pattern to Connect V to I6

NOTE: The V only resolves to the I6.

SELF REVIEW EXERCISE 4. Analyze and part write the following third inversion dominantseventh chord progressions (Figure 5-57).


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PART C PART WRITING THE SUBDOMINANT TRIAD TO THE DOMINANTSEVENTH CHORD

10. Part Writing the Subdominant Triad to the Dominant Seventh Chord.a. Connect the IV to the V7.

(1) The root of the chord is the bass note. The root of the dominant seventh chord is aMajor second above the root of the subdominant chord (Figure 5-58).

Figure 5-58. Bass Note, IV to V7

(2) Keep the common tone in the same voice. This is the preparation of the seventh ofthe dominant seventh chord (Figure 5-59).

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Figure 5-59. Common Tone, IV to V7

(3) Move the remaining two voices down to the nearest chord tone in contrary motion tothe bass voice (Figure 5-60).

Figure 5-60. Contrary Motion to Bass

NOTE: The V7 is incomplete when IV progresses to V7 in order to avoid parallel fifths.

b. Connecting the IV6 to V7.(1) The root of the chord is the bass note (Figure 5-61).

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Figure 5-61. Bass Note, IV6 to V7


Figure 5-62. Common Tone, IV6 to V7

(3) Move the remaining two voices by step to the nearest chord tone (Figure 5-63).

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Figure 5-63. Step Movement, IV6 to V7

NOTE: The V7 is complete when IV6 progresses to V7.

c. Connecting IV7 to the V .(1) The third of the chord is the bass note (Figure 5-64).

Figure 5-64. Bass Note, IV6 to V

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(2) Keep the common tone in the same voice. This is the preparation of the seventh ofthe dominant seventh chord (Figure 5-65).

Figure 5-65. Common Tone, IV6 to V

(3) Move the remaining two voices to the nearest remaining chord tones. First connectthe ascending whole step movement and then connect the descending perfect fourthmovement (Figure 5-66).

Figure 5-66. Remaining Two Voices

NOTE: The root position subdominant triad does not connect with the first inversion dominant

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seventh chord. This connection would have the objectionable tritone interval in the bass voice(Figure 5-67).

Figure 5-67. Objectionable Tritone Interval

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d. Connect IV to V .(1) The seventh of the chord is the bass note. The bass note is the common tone. Keep

the common tone in the bass voice. This is the preparation of the seventh of thedominant seventh chord (Figure 5-68).

Figure 5-68. Bass Note, IV to V

(2) Move the remaining three voices by step to the nearest chord tones. First connect thehalf step movement, then the whole step movement, and finally the minor thirdmovement (Figure 5-69).

Figure 5-69. Movement By Step, IV to V

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PART D MELODIC PREPARATION OF THE SEVENTH OF THEDOMINANT SEVENTH CHORD

11. Preparing the seventh of the V7 chord. The seventh of the dominant seventh chord,although a chord member, functions as a dissonance. It must be carefully prepared andresolved. There are three ways to approach the seventh of a V7 chord: common tone, bystep, or by leap.

a. Keep the common tone. If the chord preceding the V7 chord has the fourth scale degree,keep the common tone (Figure 5-70).

Figure 5-70. Keep the Common Tone

b. Approach by step from above or below. If no common tone is present, the seventh ofthe V7 chord can be approached by step from above or below it (Figure-71).

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Figure 5-71. Approach by Step

c. Approach by leap from below. The seventh of the V7 can be approached by a leap frombelow (Figure 5-72). This is not used as frequently as the other two methods listed.

Figure 5-72. Approach by Leap From Below

NOTE: Never approach the seventh by a leap from above.

SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Use anincomplete V7 chord when indicated. Identify each cadence on the line provided below the

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figured bass (Figured 5-73. Parts A, B).



CLICK HERE TO PROCEED TO RETURN TO THE TABLE OF CONTENTS.

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CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.

1. A dominant seventh chord is a four-note chord built on the fifth scale degree.

A. TrueB. False

2. The dominant seventh chord consists of a Major triad with a note an interval of a Majorseventh above the root added to the triad.

A. TrueB. False

3. An irregular resolution of the dominant seventh chord’s tritone interval occurs when theseventh of the dominant seventh chord moves up to the root of the tonic chord.

A. TrueB. False

4. A dominant seventh chord in a minor key is identical to the dominant seventh chord in theparallel Major key.

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A. TrueB. False

5. The regular resolution of the dominant seventh chord’s tritone interval satisfies the melodicpull of what two scale degree tendency tones?

A. Subdominant, submediantB. Subdominant, subtonicC. Supertonic, subtonicD. Subdominant, leading tone


6. Which of the chords in Figure 1 is a dominant seventh chord structure?

A. 1B. 2C. 3D. 4

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7. The figured bass identifies a dominant seventh chord in

A. root positionB. 1st inversionC. 2nd inversionD. 3rd inversion

8. When both chords are in root position,

A. a complete dominant seventh chord should resolve to an incomplete tonic chord.B. an incomplete dominant seventh chord should resolve to a complete tonic chord.C. Both A and B are correct.D. Neither A nor B is correct.

9. The __________ of the dominant seventh chord is a common tone with the fifth of the tonicchord.

A. rootB. thirdC. fifthD. seventh

10. You should double the root on a complete dominant seventh chord.

A. TrueB. False

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11. Which progressions in Figure 2 have incorrect bass figuring?

A. 1 and 2B. 2 and 3C. 3 and 4D. 2 and 4


12. What note should the alto voice have for the second chord in Figure 3?

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A. BB. FC. DD. None of the above is correct.


13. The tritone in the dominant seventh chord in Figure 4 will resolve to what interval in thetonic chord?

A. Major 6thB. Minor 6thC. Major 3rdD. Minor 3rd

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14. The tenor voice in the second chord in Figure 5 should be a/an

A. F#.B. D.C. B.D. None of the above is correct.

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15. What is the correct figured bass for the chord in Figure 6?

A.

B.

C.

D.

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16. What is incorrect with the part writing in Figure 7?

A. The leading tone does not resolve properly.B. There is improper doubling in the tonic chord.C. There is an objectionable hidden octave present.D. All of the above.

Figure 8. Question 17 and 18

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17. What note should be in the tenor voice on the first chord in Figure 8?

A. FB. AC. BD. D

18. Which voice should have an F in the first chord in Figure 8?

A. SopranoB. AltoC. Either A or B is correct.D. Neither A nor B is correct.

19. In a minor key, the figured bass for a dominant seventh chord in third inversion is

A. .

B. .

C. .

D. .

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20. What is incorrect with the part writing in Figure 9?

A. The dominant seventh chord should have a doubled root.B. The fifth should never be omitted from the tonic chord.C. There is an objectionable hidden octave.D. There is nothing incorrect with the part writing.

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CLICK HERE TO RETURN TO THE TABLE OF CONTENTS.


1. A True(Part A, paragraph 1a)

2. B False(Part A, paragraph 1b)

3. B False(Part A, paragraph 5b)

4. A True(Part A, paragraph 1b)

5. D Subdominant, leading tone(Part A, paragraph 5a NOTE)

6. B 4(Part A, paragraph 1a)

7. B 1st inversion. (Part A, paragraph 4b)

8. C Both A and B are correct.(Part B, paragraph 6b(5) NOTE)

9. A root(Part B, paragraph 6b(3))


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10. B False(Part A, paragraph 2)

11. A 1 and 2(Part A, paragraph 4a NOTE and 4b NOTE)

12. B F(Part B, paragraph 6c(2))

13. C Major 3rd(Part B, paragraph 6a(2))

14. C B.(Part B, paragraph 6a(3))

15. D (Part A, paragraph 4c NOTE)

16. D All of the above is correct.(Lesson 1, Part B, paragraph 7c(2); Lesson 3, Part A, paragraph 2a, and PartC, paragraph 10b)

17. C B(Part B, paragraph 6b(3))

18. D Neither A nor B is correct.(Part B, paragraph 6b(1))

19. D .(Part A, paragraph 4d and NOTE)

20. C There is an objectionable hidden octave.(Part B, paragraph 7a(2); Lesson 1, Part B, paragraph 7c(2))

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SELF REVIEW EXERCISE 1. Analyze and part write the following root position dominantseventh chord progressions (Figure 5-36. Part A and Part B).


Figure 5-36. Part A. V7 to I Progressions

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Figure 5-36. Part B. V7 to I Progressions

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Figure 5-36. Part A. V7 to I Progressions

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Figure 5-36. Part B. V7 to I Progressions

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SELF REVIEW EXERCISE 2. Analyze and part write the following first inversion dominantseventh chord progressions (Figure 5-42).


Figure 5-42. V Progressions

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SELF REVIEW EXERCISE 3. Analyze and part write the following second inversiondominant seventh chord progressions (Figure 5-51).



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SELF REVIEW EXERCISE 4. Analyze and part write the following third inversion dominantseventh chord progressions (Figure 5-57).

CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.CLICK HERE TO PROCEED TO THE NEXT LESSON.


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SELF REVIEW EXERCISE 4.CLICK HERE TO PROCEED TO THE NEXT LESSON.


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SELF REVIEW EXERCISE 5. Analyze and part write the following progressions. Use anincomplete V7 chord when indicated. Identify each cadence on the line provided below thefigured bass (Figured 5-73. Part A and Part B).

CLICK HERE FOR THE ANSWERS TO THIS EXERCISE.CLICK HERE TO PROCEED TO THE NEXT LESSON.

Figure 5-73. Part A. V7 Chord Progressions

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Figure 5-73. Part B. V7 Chord Progressions

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Figure 5-73. Part A. V7 Progressions

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Figure 5-73. Part B. V7 Progressions

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Traditional Harmony I MU3310

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