Advanced Theory Formative

1. Identify the following scales

#œ œ œ œ œ
& œ œ œ

2
œ œ œ #œ œ
& œ œ bœ

3
bœ bœ nœ #œ œ œ
& œ nœ œ
4
œ œ #œ #œ #œ
& #œ œ #œ

2
A) Not taking into consideration inversions, How many diminished chords are there?
B) Write out these diminished chords on the staff below
5

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6 3. Write 4 Dominant 7th chords which can be derived from the first diminished chord you wrote down

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4. under each chord identify the scale that should be utilised if you were to improvise over these changes.
Do not use any pentatonic options
7 B¨Œ„Š7 FŒ„Š9 G-7 C7 D‹11 B¨-7 E¨7

& V V V V V V V V V V V V V V V V
1. 2. 3. 4. 5. 6. 7.

11 A-7 D7[åÁ] G‹9 E¨Œ„Š7 D¨Œ„Š7 A¨Œ„Š7 G¨Œ„Š7

& V V V V V V V V V V V V V V V V
8. 9. 10. 11. 12. 13. .14
15 5. Write out the Bflat harmonic minor scale and harmonise all degrees as 7th chords

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16 6. Write out all 7th the chords in B flat major (use accidentals not key signatures)

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17 7. What are the types of Chord Functions in Natural Minor?

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8. Using the scale from question 6, Write out the chords in the parrallell minor and mark the chord function
18 underneath each chord

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9. a) Using any modal interchange chords of your choice to harmonise the bars marked with an 'X'

b) Once you have filled in all 'x' chords, appraoch each one with either it's V or Tritone sub. be sure to accomodate
any melodic tensions in to the chord i.e. if there is a Bflat in the melody and you have a A7 write A7b9

X X
19 CŒ„Š9 X F‹9 X A-7 E‹11
œ œ œ œ œ ˙ œœœŒ
& œ œ™ œ ‰ ™ œ
R œ œ œ œ œ ˙

10. Write the roman numeral analysis of the progression above, include any harmonic analysis symbols needed
23

& V V V V V V V V V V V V V V V V b

11. Choose a multitonic system and harmonise the following Melody

27 G-7 FŒ„Š7
œ ˙ œ œ œ
&b œ œ œ œ œ œ œ
œ œ œ œ œ œ
12. Harmonise all down beats using the drop 2 voicing technique

31 EŒ„Š7 F©-7 CŒ„Š7 B9(“4) C©-7 AŒ„Š7 G©-7 A-7 D7

#### œ œ œ œ nœ œ œ
˙ œ œ #œ œ w
&