Diatonic Triads in Major Keys Diatonic triads are constructed by taking each scale degree of any major scale as the root and building a triad. Since these are diatonic triads, no accidentals are added. The resultant triads on ill be the same for every major scale. Example 12.2 shows diatonic triads constructed from a C major scale. Roman numerals are used to @esignate each of these triads.) Upper case indicates major, lower case minor, lower case with the degree sign indicates diminished, and upper case with a plus sign indicates augmented. When analyzing chords ific key, we will use Roman numerals instead of root names. When chords are inverted, the Roman numerals will be followed by the appropriate inversion symbols. AN = Seale d T = Chord balt 1 Scale degree aL ontSep Apt ae I eh Example 12.2 In all major keys, there are three major triads, three minor triads, and one diminished triad. Memorize thisitable:) DRM ee ra Major - wpper Case LIV. minor - |pwer case ii, iii, Vi Diminished- {pwec case [uy vir Augmented - upper (asd w/ noneDiatonic Triads in Minor Keys Constructing triads from minor keys is more problematic since there are three different forms of the minor scale. The only minor scale that does not require accidentals outside the key signature is the natural minor. The harmonic minor has a raised scale degree 7; the melodic minor has raised scale degrees 6 and) 7)in its ascending form. Since many chords are derived from these other forms of the minor scale, especially the harmonic minor, we will consider such chords to be diatonic even though . Instead of naking an exhaustive lst of all the peetble triads of the three minor scale forms, we Will only concern ourselves with the most common. Notice that the roots of all of these chords belong to the harmonie™minor Seale) The III+ triad, derived from the harmonic minor scale occurs occasionally, but is less common than the major III from the natural minor scale.eS R88 i i © om wv V Wi wi Example 12.3 © Memorize the following table that summarizes triads in minor ke Tome Major minor Diminished Augmented sometimes T+-> > or mr we oe we Minor \ not opposite ie I (at*) \Y Same NL aDiatonic Seventh Chords in Major Keys Just as we const chords. All that is nec root). ucted triads on each of the scale degrees, we can do the same for seventh ary is to take the triads and add another third (a seventh above the eventh Major-minor Seventh V7. V7 1eORS vary] Minor Seventh Same ii7, iii7, vi7_ Half-diminished Seventh dite vii 7, Diminished Seventh noneDiatonic Seventh Chords in Minor Keys As with triads in minor key: commonly used. We only ni common ones. there are many more seventh chords than are ed to concem ourselves at this point with the most gp i as . fae oe UU ee Example 12.5 Major-minor Seventh V7. Minor Seventh : 7.7 Half-diminished Seventh ditfert | 7 Diminished Seventh arr vii7Exercises for Chapter 12 Given the key and chord, provide a roman numeral analysis, including root, quality and inversion (if necessary). BIL a Vo pe »_i% a Vil pI eo ie a: M4Provide a roman numeral analysis for the following passage. Brahms fo Ay G PG it po MV MU ete tow itiiwt oy veGiven the key and triad, provide the roman numeral. Be sure the roman numeral indicates the correct quality (upper/lower case, °/+ symbols) and inversion.Given the key and seventh chord, provide the roman numeral. Be sure the roman numeral indicates the correct quality (upper/lower case, °, * symbol) and inversion. A ae aS yiie? B: WS « x4 Fe vi?In the next exercise, you are given a key and degree name. Without using key the triad on the indicated scale degree in the indicated key, and provide the appropriate roman numeral anal Tonic Mediant Submediant Subdominant Dominant eo B: il & 3 D ’ Leading Tone Supertonic Dominant | Subtonic Leading Tone : a i eit ep a Nie eading, tone = Ct ce c= wlIn the next exercise, you are given a key and a scale degree name. Without using key signatures, notate the seventh chord on the indicated scale degree in the indicated key, and provide the appropriate roman ‘numeral analysis. Supertonic Leading Tone Dominant Tonic Mediant ae ae? B: vii?? a x ey pb: ti” Subtonic Domina Subdominant Submediant A wi? es w Facte leading tone = Gorge: vii"? e yy?Bach Chorale Excerpts ee ee oe emg AB & Gee Gar s ASG 0OfeG@ Th We ve VieNo. 22 adapted a FF . : ee ve ee ee Wel eeNo. 32 adapted a eet -No. 47 adapted aod 5 ei Piywe ths E i/wve 1 wiz C4: sublonic minor y ; a leading, "fone makes ¥ (oor)No. 74 adapted m >Mozart, Piano Sonata, K. 284, IIL eee cee or