Study Supplement for Harmony 3 and 4 by Barbara London Berklee college of musicIntroduction ‘The Study Supplement for Harmony 3 and 4 is a companion workbook to Harmony 3 by Barrie Nettles and Harmony 4 by Steve Rochinski. The topics are generally in the same order as in the texts and are identified in the upper right corner of each page. The exercises are cumulative in their content and reinforce past topics while introducing new ones. There are, in most cases, several exercises per topic, so instructors may choose which exercises they feel are most relevant to their classroom presentations and they may also use some of their own materials. The exercises in these pages will help you to continue to develop: + notation skills, + musical literacy, + harmonic analysis, + melodic analysis and melody writing, * chord scale facility for playing and writing, * compositional application of the topics, + listening analysis, + harmonic ear training. ‘These compositions and progressions are not meant to take the place of thorough and ongoing study of ‘compositions of all styles. This book is meant to be another resource and tool for you to use in conjunction with your classes. If particular exercises are not required for your class, you will benefit by doing them on your own. You may show your work to your teacher or tutor during an office hour or form a study group with other classmates. Harmony 3 and most of Harmony 4 are still focusing on functional tonal music: major and minor keys, blues, and modal tonics. Itis extremely important that you play, sing, or sequence everything you write or analyze to hear all the harmonic, melodic, and thythmic relationships. A huge thank-you goes to Barrie Nettles for his assistance and sense of humor throughout the process of preparing this workbook for publication, Barrie did the computer graphics and page layout and was, therefore, in the front line for proofreading. Dave Berndt, Gail McArthur, and Sharon Bernanke were invaluable in their help with word processing. Appreciation also goes to Rick Kress, Matt Nicholl, Jack Perricone, Charlie Cassara, Mike Scott, Dave Johnson, Steve Wark, Scott McCormick, and Danny Harrington for their feedback and proofreading. Note: Some of the music examples in this publication are copyrighted by the author who maintains the copyright of the material and grants permission to Berklee College of Music for its useStudy Supplement for Harmony 3 and Harmony 4 TABLE OF CONTENTS PART 1: Harmony 3 Topics Page Minor Key Review 4 Chord Scales: * Diatonic Chords Y + Secondary Dominant Chords R + Extended Dominants and Relative IL-7 Chords 4 + Other Major Key Chords 5 * Minor Keys v7 * Blues 19 Chord Scale Review a Standard Deceptive Resolutions of V7 23 Substitute Dominant Chords m4 ‘+ Available Tensions a + Related IL-7 Chords of Substitute Dominants 28 + Extended Substitute Dominants 29 * Chord Scales for Substitute Dominants 31 + Melody /Harmony Relationship 3 * Substitute Dominants in Composition 35 Diminished 7th Chords a Chord Scales for Diminished 7th Chords 39 itv-7(5) Modulation 44 Review for Final 51 PART 2: Harmony 4 Topics Review 55 Standard Deceptive Resolutions of V7 87 Deceptive Resolution of Secondary and Substitute Dominants 58 Dominant 7th Chords Without Dominant Function 63 Contiguous Dominants and Relative II-7 Chords o Dominant Review 0 Modal Source 3 ‘Modal Interchange 5 Pedal Point 80 Ostinato 82 Layered Ostinato 84Harmony 4 Topics (Continued) Modal Harmony: + Characteristic Pitches + Dorian Tonic * Aeolian Tonic + Phrygian Tonic + Mixolydian Tonic + Lydian Tonic Compound Chords: + Inversions * Hybrids + Polychords Constant Structures Review for Final PART 3: Listening Assignments For Harmony 3 For Harmony 4 PART 4: Compositional Templates Introduction to Templates: * Composition + Form + How to Use the Templates, + Examples + Cadences + Turnarounds AB Form, Blues Form ABAC Form ABA Form \Verse-Transitional Bridge-Chorus Form \Verse-Chorus-Primary Bridge-Chorus Form Checklist for Projects Page 85 89 a1 93, 95 97 99 101 103, 105 107 3 us 125 136 137 138 40 144 5 146 156 160 164 170 174 178NAME, Minor Key Review * Write the seven diatonic 7th chords for the following F# minor scales. * Label each with the chord symbol and Roman numeral. ( ‘Though the key signature is given, write in all accidentals, (Note: Repetition of accidentals is not necessary in actual compositions.) natural minor: 17 1-705) FA7_yotz(s) 4 harmonic minor: F# melodic minor: ae dorian minor: eh, + Using chords from the above scales, create your own minor key progression. ‘+ Write a minor key melody using two measure antecedent /consequent phrases. Fill in the time signature. AON NS aNAME Minor Key Review ‘* Write the seven diatonic 7th chords for the following BY minor scales. * Label each with the chord symbol and Roman numeral. ‘Though the key signature is given, write in all accidentals. BF natural minor 17 1-7¢5) Bz o-75) 6 se 8 harmonic minor: Be ay 8! dorian minor: oe o * Using chords from the above scales, create your own minor key progression. * Write a minor key melody using four measure antecedent /consequent phrases. Fill in the time signature. << aNAME The following minor key progressions are analyzed but there are errors. * Circle the incorrect Roman numerals, arrows, brackets, and /or bass notes. + Write in the correct analysis or bass note. (Note: The chord symbols are given, do not change them.) Minor Key Review y e Ay ve vary vers) veut) v7 87 ee AT Br(maj7) G-7(¢5) —F7(sus4)_F7 Be Yoo nat) vk Do B. C75) a7 yy OV Heal) u7ts) vite) ig E6 A E-(maj7) F-7(5) B79) & B7 ET va Msmaj7 75) (V7) vi7ts) 4vIe7 Lt AT Gamaj7 75) AT ch7(s) D7 E faa Ik vi7(s) V7 VI 16 Wsmaj7—Vimaj7_ V7 A765) Fr a7 C6 Ebemaj7 Amal? B°7 Vimaj7 VIL rNAME Diatonic Chord Scales A chord scale is a scale starting on the root of a given chord. It represents the chord tones, available tensions, and any harmonically avoided notes for that chord. ‘Write the chord tones and tensions as whole notes, and the avoided pitches as filled-in whole notes. ‘+ Label the chord tones and tensions (1,3, T9, T411, etcetera) and label the avoid notes by scale degree number ($4, $12, etcetera), Example: In the key of G, IVmaj7 and VI-7 would be: cmai7 = 1079 3 Tht 5 118 maz 1 1 7 '3 m1 5 se by 4 + Analyze this progression: emai7 7s) a7 oz 7 a7 ey Amal ‘+ Write the chord scales for the diatonic chords from the above progression. Label and name each scale: Ebmai7 D-7¢5) o7 o7 Amal FT SSS + Which of the diatonic chords is a dual function chord? * Which chords in the progression are secondary dominants ? ‘+ Which chord in the progression is a modal interchange chord? ‘What parallel key is it borrowed from? ————E2 Diatonic Chord Scales + Fill in the key signature of the given key. + In that key, spell the diatonic seventh chord. * Write the chord scale for the diatonic chord and label each note. For this exercise, write all accidentals though you are writing them in the key signature as well. The first example has been completed. Fy Imai? © = = = © {se 1 7% OS 8 5 13 ma? 1-7 17 8 This exercise continues on the next page.NAME — Diatonic Chord Scales This is a continuation of the previous exercise, but in the bass clef. B: Imai B. Ivmaj7 a: vu-7¢s) ch 1Vvmaj7NAME Diatonic Chord Scales ‘+ Name each scale (mode). Indicate the Roman numeral of the diatonic chord for which itis appropriate. + Fill in the key signature, Label each note, filling in any avoid notes. Observe the clef. 4) Wmajz 2), ; : = {(—} 7 bo oo PE) S0 Be 4) x= j—-te-to_> t G - 6) obo = a 10NAME * Circle the one wrong note in each of the following diatonic chord scales. + Write the correct note in the column to the right. o ® 4 vurte) ag So Diatonic Chord Scales Corrected note:NAME — ‘Secondary Dominant Chord Scales + Fill in the key signature for the given key. + In that key, spell the secondary dominant chord. ( * Write the chord scale for the secondary dominant and label each note. The first example has been completed. G@ wy, © © By aD A N x x sue o < Si | N © aft > su S ® |NAME, Diatonic and Secondary Dominant Chord Scales * Analyze the following “tune”: Two Fives Fmai7 ET AT D7 ar cr Fmaj7 ‘7 Bmal7 ers) a7 07 o7 a7 cr * Write the following chord scales from the above progression. Label and name each scale: Faiz e7 2» o& 4 __Bimalz ») ee o E75) 1 at 9 ” 13NAME Extended Dominant Chord Scales + Analyze the following two progressions. Watch for enharmonics ® @7 co or F7 Fr By emaj7 Amai7 AT ov Emaj7 D7 Gmaj7 ete D7, Gmaj7E7 AT D7 Gmai7 8 * Write the chord scales for the above numbered chords. Label and name each scale. a 2), , © 3__ on , ie oe 8). ay aS )—___ 8). Be at 4NAME Other Major Key Chord Scales + Analyze the following tune: Mostly Borrowed. Amaj7 AT Dmaj7_— D7 br Fi7¢9) By Gmaj7 Amaj7 BT B7 e7 Cmaj7 Fmaj7 —- Bmaj7 + Write the following chord scales from the above progression. Label and name each scale Az , & 0» off oe ‘1p Gmal7 e) oe 87 p off oe E7¢13) maj? ee e Fal? auimaz 15NAME, 16NAME Minor Key Chord Scales * Analyze the harmony and melody of: Minor Point pe Ev AT Bimaj7 AT D7¢9) g : fe 7 e = [Gb=Fae a ae F A tae oe 1 2 3 ‘ 5 G7 Ge Ar(sus4) AT B7(5) Bimaj7 C7 o D-(maj7) D7 D6 G7 a7 Ay 2 Fimai7 Bimaj7 e7ts) 27 D-(maj7) 7NAME — Minor Key Chord Scales, ‘* Write the chord scales for the numbered chords taken from “Minor Point”. ‘+ Name the chord scale and label all notes. BENAME — Blues Chord Scales ‘+ Analyze the harmony of... Snooze Blooze Slow shuffle ov h-4 L hg-g = a 7 Ee cer rs 7 os - 6 #=8 Shes SS 3 = — Bia be ae i abe ise =I + Describe the motivic construction and phrasing of the above blues: ‘+ Write the chord scales for the numbered chords from “Snooze Blooze”. Name and label each scale. 2), 4). 6). 19NAME Blues Chord Scales * Analyze this progression. * Write the chord scales for the numbered chords from “Blues Dues”. Label and name each scale. { * Write your own melody to the progression referring to the scales you have written. Blues Dues F7 a7 F7 o7 a7 87 B7 % br¢a) G7 C7 (alt) F7 a7 G7 a7 ee ie oe oe #2 a oe oe oe oe Da 10). Be e€NAME ‘+ Match these chord scales with their appropriate chords. Chord Scale Reveiw ‘+ Name each chord scale. Optionally, label each note of the chord scale. Circle only one letter below: a. YY ind major b. YY in & major o Va ing major 4. Botha, and. a. VI-7 in & major b. I-7 in BP dorian minor ©. 1-7 in A major d. 1-7 in & major a. VIimaj7 in G major b.$vImaj7 in F major c. itimaj7 in B major 4. Allof the above a. VIE-7¢5) in E major . fiv-7¢) in A’ major ©. 1-7(5) in C natural minor 4. Both b. and c. 2.897 in c major b SV’ in F major 4. Allof the above a.4P7 in 8 major b. 41V°7 in G major ©. "III°7 in A major 4.1°7 in C major a. VII7 in F major b.*VII7 in E minor c. ew in B major 4.97" in E major a.IF-7 in AY major b. 1-7 in B natural minor ©. VET in DF major 4. Both b. and c. a. 11-7 in & minor b.IIL7 in & major c. 1°7 in @ major 4. All of the above This exercise is continued on the next page. 2NAME 22 Chord Scale Reveiw subvy, ee 1 co. ‘VII7 in BY major 6, HY in Ft major a. Imaj7 in & major b. IVmaj7 in & major ©. 1Vmaj7 in 8 major 4. *vTImal7 in F major a. 7 in & major b. VI-7¢5) in G major IL-7 in DF major 4. Both b. and c. a.1V-7 In D major b. VE7 in BY major IL-7 in F major 4. Both a. and c. a. 1-75) in & major b. a : major ©. 9% in eb major 4. Both b. and c. a. E{maj7) in D minor b. IV-(maj7) in A major ¢.1L7 in C minor 4. Both a. and b. a. htimaj7 in D* major b. byimai7 in G? major . 1Vmaj7 in A major 4. Allof the above a. VY" in @major b.‘VII7 in major co. 'VII7 in Chharmonic minor 4. °VII7 in & natural minor a. f1V-7¢5) in & major b. 1-75) in A’ major c. VII-7(5) in BY major 4d. Allof the above @. Botha, and c.NAME Deceptive Resolution of V7 * Complete the following progressions with a standard deceptive resolution of the V7 chord (L-7, V7, 41v-7¢5), bmajz, ‘tmai7, 'Vimej7, /vumal7, IV-7). ‘+ Fill in the chord symbols and complete the voice leading. + Analyze your progressions. wn Imaj7 F7 Bimaj7 Imaj7 Dmaj7 maiz ComairNAME * Complete this chart by filling in chord symbols and broken arrows in the given keys. pl x Substitute Dominants c.|"” ae B’. ‘subV7 = E: |” = D7 Cmaj7 swvy 7 swyy us suv, - envy ue? envy — ae > subyy - any vw we mae % na en Imai7 imal Imayz wavy — ewvy 7 soy owyy 7 suv m7 soy = Ye maj oa Ivmal7 oe Ivar subyy vw mov i envy vw a var swyy - envy ver 24NAME ‘Substitute Dominants ** Fill in the empty boxes on this chart: ROMAN NUWERAL CHORD SHBOL ose ‘er cussitture oussitute oe ‘loc ne ve 7 7k D7 2 E aa > amaj7 ; sub Ay. fa P subV7 E7 ae} | subV7 = al a sul oe 7] FA Ves x 7 G * Tae B-7 subV7 pont 8 AL & ch 7) we oy ae 7 subV: ay ae b subV; — "| oo . ay » 4 sul vor ts 12 E AN * a» A =eeeaeN «|B oa pty «| F D7 faN | ee | * Note: It is more common for subV7 /III to be heard as IV7 and subV7/VI to be heard as°VI7. 25NAME Substitute Dominants + Fill in the root motion. « Fill in the missing chord symbols and any missing arrows, then analyze. oO ke —* Bmai7 £7 __maj7 a7 —s: Gmaj7_ G7 Cmaj7 Bimaj7 ~~ Gmai7 © Fmaj7 ey A? ® maiz Lr ———_ a ak © TT omar by cmalr £7 7 Omar + Fill in the key signatures and root motion. + Fill in the missing chord symbols, then analyze. @ pee eel —»F* 26NAME * Analyze this progression. Amal7 Available Tensions ~ Substitute Dominants and Extended Substitute Dominants 87 7 a7 + What are the available tensions for the following chords? FA7 measure 1 E7 ‘measure 2 Dmaj7messure 5 B7 measure CH measure C7 measure 12 F-7 measure 15 9, 11, 111, 13, etcetera: actual note names: 7NAME Related II-7 Chords + Fill in the missing chord symbols and key signatures. * Complete the analysis for each example. Note: Use Roman numerals only above diatonic and diatonically related U-7 chords [U-7, U-7(5), IN-7, W0-7(), 1V-7(5), VI-7, VI-7¢6), and VII-7(5)].NAME —— Extended Dominants and Extended Substitute Dominants ( + Fill in the missing chord symbols and the raat motion. Variations on the Bridge of “Rhythm” Changes @pxended dominant @ TN © extended substitute dominant = ~ = — ® a ~~ Ff ~~ This exercise continues on the next page. 29Extended Dominants and Extended Substitute Dominants NAME Continued from the previous page. @ Extended dominants with related 11-7 chords (the II-7 chords are interpolated): @ exendedsubstiute dominants with related 1-7 chords: — — - a ~ a_ ® 4 ~ 4 30NAME ee Substitute Dominant Chord Scales «Fill in the chord symbols for the following progression. ve ae oF —/. oe ——_ wy, aoe , wma wa mer YY gg SV w * Write the chord scales for the numbered chords from the above progression. + Name each scale and label all notes. i OT © Q. Q-—— 31NAME Substitute/Extended Substitute Dominants @ + Doa harmonic and melodic analysis of: Too Much In Too Little Emaj7 07 G7 ev Fz 87 5__ Emaj7 a7 Aimajz7 07 Emaj7 0-7 Bmaj7— Emaj7 D-7e5) @7¢s) °c. C(maj7)O-7 ce FT B7 13 1“ 8 6 @®+ Write chord scales for the following chords taken from the above tune. Label and name each scale. D7 (measure 1) b. G7 (measure 2) v ©. F-7 (measure 3) 4.7 (measure 4) 2. D7 (measure 5) 1.0-7 (measure 6) oe g. Emaj7 (measure 7) h. D-7(5) (measure 8) i. C-(maj7) (measure 9) J. G7 (measure 14) 32NAME Substitute Dominants & Melody/Harmony Relationship + Keeping in mind the standard chord scales for the chords in the following progressions, circle the “incorrect” melody notes: @ Cmaj7 Ev &7 by tay Cmaj7 @ —cmar a7 7 EF Ar rteusty Dyna? ahr mair ® Baz 7 F7(sus4) F7 D7 = G7at) «C7 | (O7 Bimal7 @ emayz 07 = ctr g7 ty. hrc? wr Dmaj7 G7 Ghmaj7 C17 Dhmaj7 Emaj? Amal? Dmair_—Obmair © eae efit = e SS e7 &7 Dmaj7 33NAMENAME — ‘SubVs and Composition 1) Fill in the missing dominant sevenths and related IL-7 chords, 2) Complete a metody for this ABAC tune using the given motifs. (The next page contains more instructions.) A maiz _— =; o7 A] Gmajz ——7 ~ Cmaj7 or Cmaj7 — E’maj7NAME ‘SubVs and Composition 3) Title your bossa. 4) Analyze your completed tune, 5) Optionally, write the chord scales for each chord from your tune on this blank page. (Review the melody/ harmony relationship in the tune.)NAME Diminished Chords * Write the chord symbols for each of the following diminished 7th chord progressions, In parentheses, indicate any tensions in the voicings. Some of the chord voicings are inversions and some of the chord tones are written enharmonically. ++ Analyze the progressions. 37NAME Diminished Chords ‘This exercise is continued from the previous page. 38NAME — Diminished Chord Scales in Diatonic Situations ‘The majority of diminished chords function in diatonic situations and therefore use diatonic tensions as do secondary dominants. Study the following steps: Step 1: Spell the chord vertically Step 2: Spell the chord horizontally, leaving space for non-chord tones. Include the root at the bottom and the top as a reminder to include the 4th tension, a ee fo = Fs ‘ " 1 Step 3: Between the chord tones, fill in notes ‘Step 4: Label tensions which are a whole step diatonic to the key of the moment*, above a chord tone. Fill in avoid notes which are a ‘Astep above a chord tone. (You do not need to label the avoid notes.) Label chord tones: 1,°8,°5,°7, 4 oS 1 3 bs 7 0 3 bs ta °7 Tmaj7 1 * For {1°7 and V°7 there will be two diatonic options (scale degrees 7 & 1 of the key) between two of the chord tones. For 1°7, #1°7, *II1°7, and ‘1V°7 there will be two diatonic options (scale degrees 3 & 4 of the key) between two of the chord tones. In the Workbook for Harmony 3, itis recommended to use the stronger scale degrees (1 in the former and 3 in the latter) although either diatonic pitch is acceptable. + Referring to the above steps, write the following diminished chords and scales, Note: Enharmonic spelling of the chords is acceptable and recommended when there are double Ghz chor: chord scale: 4 é = SS] oe @twer ors: chord scale: @*ver chord: chord sale: This exercise continues on the next page. 39NAME Diminished Chord Scales in Diatonic Situations Continued from the previous page. @r7 chord: chord scale: @iwe7 chord: chord scale: "7 chord: chord scale: O07 chord: chord scale: v7 chord: chord scale: @'ur7 chore: chord sete: @ v7 chord: chord scale: 40NAME Diminished Chord Scales + Analyze this exercise: Diminished Return 1 maj? AT Daj? D7 % er 7 Br * Write the chord scales for the above numbered chords. Label each scale. Note: For diminished 7th chord scales, itis not necessary to label the avoid notes. 1) 2) & eo % 4 Fi & & oe oe 5) 6) & & oe oe 4NAME, Diminished Chord Scales + Analyze this exercise: Diminished Return 2 * Write the chord scales for the above numbered chords. Label each scale, » % 3) F& iG 5) cNAME — tnv-7¢s) * Analyze the harmony and melody of. Sharp Four O'maiz G7’s) c7ta) 7 By Arlous4y ay omaj7 Amel? 87 ‘ Gzts) — G(maj7)_F-7 &7 a7 D7 Dimaj7 0 5 6 + Write chord scales for the following numbered chords from “Sharp Four”. Name and label each scale, eee 2)___ © = 6— ————————— .________ 4—__ 7 4 - i — oe 5) ——_—____ 6). € = a3NAME Modulation + Analyze the following short modulating exercises, «+ Indicate the type of modulation for each example (direct, pivot chord, or transitional). ‘+ Show where you hear the modulation occur by writing a small arrow and the intervallic distance from the original tonal center to the new tonal center (i.e. |-8 orf) ‘* Be prepared to defend your opinion in class! @—__ Cmaj7 D7 Ev Amaj7 BT ora Fmaj7 D7 Blmaj7_-Amaj7 Gmaj7_ B77. F7 Gmaj7 Bair 7 cr Fr ats) A? Omal7 O78 D7 o7 7 F? BT 7 A(add 9)NAME Modulation. + For each given phrase, write a complementary phrase that modulates in the manner indicated. ‘+ Develop the given motivic material * Analyze the harmony. 1) Direct Modulation Shuttle © p. ey # 2) Pivot Modulation Med. Bossa Fe. Fe ; 6 7 3) Transitonal Modulation (“) may arta) Almaz Fr 37 Med. Swing ae 3 2) oo => th Cat) aay —— ae Now imei7 ‘This exercise continues on the next page.NAME ‘Modulation As on the previous page, write a complementary phase that modulates in the manner indicated, and analyze. 4) Deceptive Dominant Modulation 0% ‘a Jazz Ballad Gmaj7 G6. G7 C7 Dmaj7 7 27 mai Cl7 5) Pivot Modulation (») Rook E(suse) c D E(eus2) A 6) Transitional Modulation wr) Jazz Waltz maiz a7 NewNAME Modulation and Chord Scale Review + Analyze the following tune: ‘s Marvelous Med. swing ay . 87 ~ phe Dmaj7 D7 c7(sus4) C7 Fr Be 12 Bee) a7NAME, Modulation and Chord Scale Review * Write the chord scales for the following chords taken from ” ’s Marvelous”, + Name each chord scale and label all notes. 186 2) B7 oat 3) 87 % 4) 0°7 “BS 5) E-7(5) 6) AT “Be 7) 07 Qe7 “BS BS 9) A7 “Ab 10) 07 &N 11) 7 “BP 12) C7(sus4), 6 é ¢ 19) D-7(5) 14) G7¢9) fh o 15) C-7 16) ch oa 6NAME Modulation and Chord Scale Review ( + Realize chord symbols for the following tune and analyze. Put tensions in parentheses [e.g.: Cmaj7(13)]. ‘+ Write chord scales for the numbered chords on the following page. Ballad of the Left Turn 49NAME ‘Modulation and Chord Scale Review ‘+ Write the chord scales for the numbered chords taken from the “Ballad of the Left Turn”. ‘+ Name the chord scale and label all notes.NAME + Analyze the harmony and melody of the following AABA’ tune: Ares) Emaj7 D7¢9) Almost There Ay Rmai7 a7 a7 Review for Final B7 7 5 6 7 aoe A Emaiz AT Rmaj7— AT a7 @maj7 FT 87 eS Sa 5 oO 7 A7¢5) 79) o7 a7 Fz & maiz a7) 8 Ry 7 enay ar Ay 7 arta =F te se h =o oa ats ama) G7 GT a FT Ema? maiz 15 16 51Pe eeeMeesaaaaaisasaasaasaaaiaaaaaaaaessatassassasaaamaas Review for Final ‘* Write the chord scales for the numbered chords taken from “Almost There”. ‘+ Name each chord scale and label all notes. 8). BS — E> 12 oo 14)____ ft & 15)__ 16) = eB “BSNAME Modulation/Chord Scale Review + Doaharmonicand melodic analysisof —— Wartz, Bmal7 B7('5) E79) Amaj7 f= = —= t 2 }—#— 2 3 4 Fmai7 Bmai7 ca ‘ ha 4 a. AG (measure 1) d c. B-7(5) (measure 3) 18 16 ‘+ Write chord scales for the following chords taken from the above tune. Label and name each scale, . Bimaj7 (measure 2) G#7 (measure 4) 8 e. C47 (measure 5) Bho « (. BY7 (measure 7) Ea = = . 7 (measure 8) 7 (measure 10) = o BS = «BAL - i. 7 (measure 12) j. G-7 (measure 15) bef BNNAMENAME. Harmony 3 Review + Analyze this progression: Amaj7 7 Dmaj7 C7 O7 c7 87 E7 Amajy Bh7 AT mar ob 7 Fh? Ber E7 Fmaj7 Bhai? Amal? * Write the chord scales for the following chords from the above example. Label all notes. er ov Fey, Bmai7 * Analyze this minor key progression: Fr Gio) Ema? A7('5) OTA G-(mai7) ‘+ Write the chord scales for the following chords from the above example. Label all notes. (measure 1) Fr. arts) brettHarmony 3 Review + Fillin the chord symbols these chord scales represent. (Observe the key signature.) os = —— | 7 eo -— joao oo ‘* Write chord symbols for the following progression, then analyze. Indicate any tensions in parentheses. For example: C-7(9) + Spell these diminished 7th chords (you may use enharmonics) a:te7 omer Biiver + Complete the following with missing chord symbols, Roman numerals, and key signature: Imaj7 v ver Yu Ser eubv7 ar ee eres 56NAME ‘Standard Deceptive Resolutions for V7 + Complete the following phrases (melody and harmony) by creating a deceptive resolution form the V7 chord. * Analyze your progressions. Note: The standard deceptive resolutions are IL-7, VE-7, ftv-7¢5), ‘timaj7, “IH maj7, "Vimaj7, °VLimaj7, or IV-7. © Bimaj7 C7 FT Bimaj7 Emaj7 87 Amaj7 87 Emaj7 Dmaj7 £7 A7 Dmajz Dimajz a7 Dimaj7 37NAME Deceptive Resolutions of Secondary and ‘Substitute Dominants ‘+ Analyze these progressions. Note that some modulate. @ Bmaj7 07 — Gmal7 c7 FT er AT Bimaiz Emaj7 B-7 — Emaj7 B7(at) BL7?s)A7 Gh7 @7 FL? B7 Emai7 ® Emaj7 D7 a oo Fmaj7 G7 G7 Fmaiz Amai7 a7 G7 C7 B77 Amal 7a Dimaj7 Fz &-7 Dmajz 87 Dimaj7 £7 Bhmaj7 c7 07 Blmajz Dmaj7 7 ET OT Dmaj7 87 Blmaj7 @maj7_— Omaj7 Amaj7 B7 ET AT Dmai7 D7 G7 Amajz Cmaj7 G7 Cmaj7 G77 F7_—sBmaj7 C7 Ff? Bhmaj7 58Deceptive Resolutions of Secondary and NAME, ‘Substitute Dominants + Complete the following progressions creating deceptive resolutions from the given dominant chords. + Complete each melody by writing a complementary phrase and/or using motivie manipulation. + Analyze your completed progression. o m () Dmai7 &7 Dmaj7 @ mar ger Fa? © Imaj7 ( ) Emaj7 7 maiz Gmaj7 87 —— ee Gral7, a () Bimaj7 FT fp F7(suss) FT =) — | — — Bima Emaj7 co —— | ema?NAME Deceptive Resolution of Secondary and ‘Substitute Dominants + Analyze the following progressions, + Indicate deceptive resolutions of dominant chords by enclosing them in parentheses (V7/IV). Note: Some dominant 7ths may have an expected resolution (_) and an actual resolution — Qo tm om Gite ths SS ng Gmaj7 GT Fr Fr Bimaj7__ maiz Dmaj7 Peo aS = F @ rma gger hy oy wor Ci7(9h13) maiz maiz Amaj7 Fmaj7 E75) Av o7 07 D7 Gb? Fair This exercise continues on the next page. 60NAME, Deceptive Resolution of Secondary and Substitute Dominants This exercise is continued from the previous page. *» Analyze these progressions indicating all deceptive resolutions. oe F7 o7 as or av ae a = = D7 vt Giz Gmaj Cmaj7_ Bmaj7 F7 amair Gmay az emai7 or ; ite f =: v ae eaten 143Partial List of Cadences Cadences usually occur within one or two measures. But depending on the style, meter, and harmonic rhythm, they can occur within four or more measures. For demonstration purposes, the following cadences move or resolve to tonic. However, deceptive cadences are an important compositional device. Possibilities for deceptive movement are covered extensively in both the Harmony 3 and 4 texts. See the bottom line below. ‘Subdominant or Subdominant Minor Vv I IVmaj7 1 Ww I v7 I hurr 1 himajz I Dominant v I v7 I subv7 1 V7(sus4) I ‘Subdominant - Dominant Vv v I x IL-7 vw I x Ivmaj7 wr 1 x 1-7¢5) v7ta) 1 x 1v-7 v7ialt) 1 x 17 subv7 I x bv7 I x us w 1 x ee eee ‘Subdominant ~ Subdominant Minor Ivmaiz 7 1 x 17 humaj7 I x ‘Subdominant Minor ~ Subdominant Minor we ‘yur I x ha ‘yur I x hvimaj7 himajz I x Other v7 7 1 zx wiv v7 I x subv7/V V7 I x (subv7/V) —subv7 I xz Wvimaiz himaiz I x E — 7 = v7 melodic cadence ‘Other modal cadences, and combinations of the above. V7 deceptive resolutions to III-7, VI-7, HIV-7('5), bumaj7, ‘ttimajz, 'vimaj7, ¢ViImaj7, IV-7) 144,Partial List of Turnarounds For demonstration purposes the turnarounds are shown here starting from tonic but itis also very common to begin a turnaround after a deceptive resolution of the V7 chord. Turnarounds usually occur in one or two ‘measures and involve one or two cadence chords which are often preceded by an approach or preparatory chord. tures, i v7 1 Imai? (or IV, 1V7) i bv n ‘yur It Wumai7 I bumaiz 1 Wir ir 17 1 m-7('5) 1 Ivmaj7 I viv Ir wry) tl 17 I | (eubv7/¥) i ver 17 1 wt 17 1 (7/m) viv 1 subV7/IL [uz Tr subV7/V. |n-7 1 subV7/IV. | 1vmaiz Tr ‘maiz hvimaj7 I Aver us i Vv fer it bez 17 It 7 |? MI-7 vi7 0-7 juL7 subV7/II 7 VL-7 (subv7/1) 1 3rd Vv five 1/sth subV7 subV7 w Other possibilities incuding: extended dominants, substitute extended dominants, constant struc- contiguous dominants, etcetera. 145For general directions, turn to pages 136 - 143. About the AB form 1. Although the AB form is used for instrumental music, its most common usage is for vocal songs in which the A section is the verse and the B section is the chorus. 2. Asan instrumental form, AB is often 16 bars (8-8) or 32 bars (16-16.) Songs often have a less symmetrical structure: a 16 bar verse and an 8 to 12 bar chorus, There may be odd phrase lengths to accommodate lyrics. 3. Modulation is uncommon. 4. The verse usually has the same melody and harmony each time except for slight melodic rhythm adjust- ments for different lyrics. The melody, harmony, and lyrics of the chorus remain the same each time. 5. There may be two different motives, one in A and one in B, or the main opening motif in the verse (A) may bbe transformed rhythmically and /or intervallically in the chorus (B). Function Choices T (Tonio): L16, Imaj7, 7, 1(sus2) TM (Tonic Minor): 1, 16,17, Imal7) Tsub. (Tonic Substitute) IL-7, VI-7, “iImaj7 SD (Subdominant): 1, IVmaj7, Ik, 1-7, IV7, TV(sus2), 1V(sus4) SDM — (Subdominant Minor): IV-, Iv-7, 'VII7, 1-7 5), 1V-6, IV-(maj7), *Vimaj7 (Altered SDM): hmaj7, vi7 D (Cominant V, V7, V(sus4), V7(sus4), subV, subV7 Diatonically Related Chords Secondary Dominants: V7/ML, V7/II, V7/IV, V7/V, V7/VI Substitute Dominants: ‘subV7/Il, subV7/IV, subV7/V, (subV7 /III, subV7/V1) jiminished Chords: 197, 407, 40°7, 17, 4tv°7, v7, 4V°7, EVE7) Modal interchange Chords: _'timaj7, ‘iIImaj7, IV-7, V-7, 'Vimaj7, "Vilmaj7, II-7('5) V7(9), etcetera tv-7¢5) (Other chords borrowed from parallel scales.) Other Dominant Chords Without Dominant Function (i..: 117, VII7, etcetera) Non-diatonic Related Chords Extended Dominants and Extended Substitute Dominants Non-diatonically Related II-7 Chords Constant Structures Contiguous 11-7 V7's and Dominants Note: The above list is not inclusive of all Roman numeral functions. See Pg. 144 for the list of Cadences. See Pg. 145 for the list of Turn- arounds. 146NAME Template #1: AB Tempo_Tite: Style. 8p Cadence Teub. sD 1 sp ° Y( Tumeroundé 147NAME Template #2 AB Tempo: Title: Style. sD Cadence Gadenee Turners Options: Use tonic minor and subdominant minor in place of major chords. + Modulate to a new key at * Change the location or disregard a given function. 148NAME Template #3: ‘AB modal — Style: A] tonic mixolydian ° B] tonic dorian r ° ‘T=Tonic modal chord, C = modal Cadence chord(s). Options: + Substitute other tonic modalities. 149NAME Template #4: ‘AB modal 32 bars Tempo:__Title Style: tonic mode T=Tonic modal chord, C = modal Cadence chords). Suggestions/options: + Use a parallel tonic mode at [B], or choose a nonrelative new key at * Add other diatonic modal chords (except avoid chords) sparingly; they usually move by step to the cadence chords. 150NAME ——___ Template #5: Verse/Chorus v adence: Teub. 8D so @ B] se B @eedangg¢ $$$ + “ Cattaneo Options: * Repeat the verse before going onto the chorus. * Add or delete bars, depending on the melodic, harmonic, and lyric structure you choose. + Change the location or disregard a given function, 151CV —————— Template #6: Verse/Chorus Tempo. Tile: Alt Taub. so y Tsub. sD Cadence + Chorus BY ree. T @) eee rT Options: ++ Repeat the verse before going onto the chorus. + Add or delete bars, depending on the melodic, harmonic, and lyric structure you choose. + Change the location or disregard a given function. 152NAME — Template #7: Verse/Chorus Cs Style: Verse Al™ . r so 7 . T so v D> T sp r cadenee: sp 7 DB v so > 7 ( Turnaround) Options: + Use inversions, for example Y/4,q0 I + Change the number of measures in the verse or chorus. * Use a minor key. * Change the location or disregard a given function. 153NAME — Template #8: Verse/Chorus ‘Tempo:_____Title:. Style: (D) dee. SDE som T 80 spt () doe som ‘cadence: Chorus so DB r SDM © Options: + Create a descending bass line, for example: ! Fy, Va "Wa, oruse line cliche ‘+ Change the number of measures in the verse or chorus. + Use a minor key. ‘+ Change the location or disregard a given function. 154Template #9: Verse/Chorus Tempo:__ Title: BD(IV7) TF) D Tar) Chorus By)? Tt 155For general directions, turn to pages 136 - 143. About the Blues form 1. Historically there have been many variations in the blues form: 8 bar, 16 bar, and even 11 bar blues. Today we tend to think of the blues as 12 bars. 2, Within the 12 bar form, the harmonic placement and thythm have become more standardized than in other forms. The templates show the standard placements for the tonic, subdominant, cadence, and turn- around chords for major and minor blues. 3. The tonic chord quality is usually I, 17, or 17(9) for major blues and I- or L7 for minor blues. ‘The subdominant chord quality is usually IV, or IV7 for major and IV- or IV-7 for minor. 4. This form does not modulate, but often uses modal interchange, diminished chords (1V°7), and substitute dominant chords. 5, Depending on the style, there are several motivic possibilities which usually fall into the 4-4-4 bar phrasing: AAA (ciff blues), AB, or a more through-composed line as in a bebop blues. Call and response plays an important part. Often the call is sung and the answer is played on guitar or keyboard. Function Choices i (Tonic): 116, Imaj7, 17, (sus2) ™ (Tonic Minor): I, F6, -7, -(maj7) Tub. (Tonic Substitute): IL-7, VE-7,"11maj7 SD (Subdominant) IV, IVmaj7, IL, -7, 1V7, IV(sus2), IV(sus4) SDM — (Subdominant Minor): IV-, IV-7, VII7, II-7 (5), IV-6, IV-(maj7), 'vimaj7 (Altered SDM) ‘maj, vi7 D (Dominant): V, V7, V(sus4), V7(sus4), subV, subV7_ ‘Secondary Dominants: 7/11, V7/1M, V7/IV, V7IV, V7/VI ‘Substitute Dominants: subV7/II, subV7/IV, subV7/V, (subV7/11, subV7/VD) Diminished Chords: 197,47, 41°7, "MP7, ftV°7, v°7, V°7, OVE7) Modal Interchange Chords: Imaj7, 'tiimai7, IV-7, V-7,‘Vimaj7, ‘vulmaj7, 1I-7() V7(9), etcetera tiv-7¢5) (Other chords borrowed from parallel scales.) Other Dominant Chords Without Dominant Function (i..: 117, VII7, etcetera) Non-diatonic Related Chords Extended Dominants and Extended Substitute Dominants Non-ciatonically Related II-7 Chords Constant Structures Contiguous 11-7 V7’s and Dominants Note: The above list is not inclusive of all Roman numeral functions. See Pg. 144 for the list of Cadences. See Pg. 145 for the list of Turn- 156 arounds.Template #10: 12 Bar Blues Title S80 (usually 197 oF IV) cv Cadence 7 ( Turnaround: ) Title: ®: so r Cadence T ( Tumsroune: > 157NAME Template #11: 12 Bar Minor Blues Tempo:. Title: Styler SDM (usually BV-7 or FV co adance TM ( Turnaroun ) Title: spt Tw sot T™ Cadence subvy v7 TE ( Turaround——_————) 158NAME 159For general directions, turn to pages 136 - 143. About the ABAC form 1. This form is usually 32 bars. Variations often involve the C section which may extend to 12 bars. Some- times C is closer to a Bt 2. This form does not usually modulate. It traditionally uses primarily diatonic and diatonically related chords. 3. The A sections have the same melody and harmony each time except for the cadences or when there is a slight variation creating an A’. One way to think of this form is: statement—response—state- ment—different response. 4. Usually there are two main motives, one motif in A, and a second motif introduced in B, and then devel- oped in C(orB'). There is usually a melodic climax in C. Other motivic arrangements are possible, n Choices T (Tonic): 116, Imaj7, 17, (sus2) TM (Tonic Minor): 116,17, L(mai7) Tub. (Tonic Substitute): UL-7, V-7, "maj7 SD —_(Subdominant): IV, IVmaj7, Il, 1-7, 1V7, 1V(sus2), TV(sus4) SDM — (Subdominant Minor): IV-, IV-7, 'VII7, II-7 (5), IV-6, IV-(maj7), ‘VImaj7 (Altered SDM): ‘maiz, 'vI7 ( D (ominant): V, V7, Visus4), V7(sus4), subV, subV7 Diatonically Related Chords Secondary Dominants: 7/1, V7 /MlL, V7/1V, V7/V, V7/VI Substitute Dominants: subV7/II, subV7/IV, subV7/V, (subV7/II1, subV7/VI) Diminished Chords: 197,47, ft°7, "a7, ftv°7, v°7, v°7, OVEP7) Modal Interchange Chords: "maiz, ‘1IImaj7, IV-7, V-7, 'VImaj7, 'Vilmaj7, 11-75) V7¢9), etcetera hiv-7¢5) (Other chords borrowed from parallel scales.) Other Dominant Chords Without Dominant Function (j.e.: 117, VII7, etcetera) Non-diatonic Related Chords Extended Dominants and Extended Substitute Dominants Non-diatonically Related II-7 Chords Constant Structures Contiguous 11-7 V7's and Dominants Note: The above list is not inclusive of all Roman numeral functions. See Pg. 144 for the list of Cadences. See Pg. 145 for the list of Turn- arounds. 160Template #12: ABAC— ‘Non-modulating Tempo: Title: Tub. cadonce T sub, Gaddenee Teub, T sub. spe 7 so Cadence F ( Tumsround ) 161NAME Template #13: ABACH Non-modulating Tempo:__Titte:. Style. oti A Aly {0} dee. Taub. adience Mott 8 Bly Cadence: TF eub, ‘Turnaround: A (©) doe. Taub. Catience Develog Motif Molodie Climax Cr sD Taub, cadences fF _(_ Turnaround 162NAME Template #14: ABAC Tempo: Title Style: ftir A Alsou i Sb (D) deo, som r som D Develop Motif A Bl; (© datt¢¢ sD dec. A] sou a SDM (0) dee, som t som (0) doe. Rott B —— Melodic crimax C]s0 Teub, 7 ( Turnaround ) 163For general directions, turn to pages 136 - 143. About the AABA Form 1. This form is usually 32 bars (8-8-8-8) although variations can be 16-16-16-16, 12-12-8-12, or 8-8-8-12 (A). 2, There is often a deceptive cadence in bar 6 leading into a turnaround at the end of the first A. The second A usually cadences to tonic in bar 15 or 16. 3. The A sections have the same melody and harmony each time except for the cadences or when there is a slight variation creating an A’, 4. Direct or pivot modulations often occurs into B. There may be one or two new keys or a series of keys each in bars. 5. There may be one motif developed throughout the piece, but more commonly there are two main motives, one in A and one in B. Function Choices T onic): 1,16, Imaj7, 17, (sus) TM (Tonic Minor) 1, 16,17, L(maj7) Tsub. (Tonic Substitute): 01-7, Vi-7, ‘ttmaj7 SD (Subdominant): IV, lVmaf7, IL, 1-7, 1V7, IV(sus2), 1V(sus4) SDM —(Subdominant Minor): IV-, IV-7,VII7, 1-7 ('5), IV-6, IV-(maj7), Vimaj7 (Altered SDM): himajz, vI7 D- — @ominanyy: V,V7, V(sus4), V7(sus4), subV, subV7 Diatonically Related Chords ‘Secondary Dominants: V7/M, V7/IL, V7/IV, V7/V, V7/VL ‘Substitute Dominants: subV7/II, subV7/IV, subV7/V, (subV7/IIl, subV7/V1) Diminished Chords: 7, fe7, fe7, 7, ftv°7, V°7, V°7, CVE) Modal Interchange Chords: | 'Timaj7, HTImai7, IV-7, V-7, Vimaj7, °viImaj7, U-7('5) V7(8), etcetera trv-7¢5) (Other chords borrowed from parallel scales.) Other Dominant Chords Without Dominant Function (i.e: 17, VII7, etcetera) Non-diatonic Related Chords Extended Dominants and Extended Substitute Dominants Non-diatonically Related II-7 Chords Constant Structures Contiguous 11-7 V7's and Dominants Note: The above list is not inclusive of all Roman numeral functions. See Pg. 144 for the list of Cadences. See Pg. 145 for the list of Turn- 164 arounds.Template #5: AABA Title: 7 Feub. so Cadence AA Li Taub. so Sedence————___ re g 2 New T i {riginaty T sub. sD Cadence {Turnaround —} so . T ( Twrmaraunes—— > 165NAME Template #16: AABA—Minor Non-modulating Tempo: Style: Tite: Al™ SoM > TH spi 1H Turnaround SoM Cadence —————_ Bl som D Ta SDM D sp (0) dee. Cadence of Constant Struct ay som . co sp co Cadence ——_____™ 166NAME Template #17: AABA— Modulations in Bridge Tempo: sD W) doo. Taub. Cadence laa" so (D) dee. Tous. cadene 7 Pivat Biv? Now T New T [Ag] Original T 8D (©) dee. Feu, Cadence T 167Template #18: AABA— Modulation in Bridge Title T Cadence (@ee}———Turnereyne§ r Cadence ——_ Pivot or Transitional Hodulation. B] shewr so D t so > Dof Original Kes TAgerisinel t 30 T 80 . Cadence ————_¥ ( Turneroune- ——_________} 168‘Template # 19: AABA—Modal [Alsections, Constant Struc- tures in[B]Sections Title: Optional Modal Cadence Modal Cadence: [AZ| eset F Optional Modal Cadence: Boda! Cadence: B] Constant Siruciuras — _{Constant Strupturos}. tonic modal A ties F Optional Modal Cadence T Modal Gadense- or: Catone T 169For general directions, turn to pages 136 - 143. About the Verse—Transitional Bridge—Chorus form 1. This form is commonly used for popular songs. 2. There are no standard phrase lengths for the sections, The verse is usually symmetrical. Often the second. half of the verse repeats the phrase structure established by the first half. The transitional bridge is usually a shorter section often 4, 6, or 8 bars. Itextends the verse and leads into the chorus. The chorus tends to balance the verse plus the transitional bridge. 3. The verse has the same melody and harmony each time except for slight melodic rhythm adjustments to accommodate different lyrics. The chorus has the same melody, harmony, and lyrics each time, Often the transitional bridge does, as well. 4, Modulation within the form is not common, although possible. Most modulations are direct modulations towards the end of the piece and involve moving the chorus up a half or whole step for climactic effect. 5. There may be new motives in each section or the main opening motif in the verse may be transformed zhythmically and /or intervallically in the transitional bridge and chorus. Function Choices T (Tonic): 116, Imaj7, 17, I(sus2) TM (Tonic Minor): 1, 16, 1-7, -(maj7) T sub. (Tonic Substitute): 10-7, V-7, "timaj7 SD (Subdominant): IV, IVmaj7, Il, I-7, 1V7, 1V(sus2), 1V(sus4) SDM —(Subdominant Minor): IV-, IV-7,"Vi17, 1-7 (5), IV-6, IV-(maj7), 'vimaj7 (Altered SOM): ‘maiz, “vI7 D (Dominant): V, V7, V(sus4), V7(sus4), subV, subV7 Diatonically Related Chords Secondary Dominants: ‘V7/ML, 7/11, V7/IV, V7/V, V7/VI Substitute Dominants: subV7/I, subV7/IV, subV7/V, (subV7/10,, subV7/V1) hed Chords: 17, he7, fe7, 107, ftv°7, V°7, V°7, CVIP7) Modal interchange Chords: _‘IImaj7, *IIImaj?, IV-7, V-7, vimaj7, ‘vilmaj7, U-7'5) V7¢9), etcetera frv-7¢5) (Other chords borrowed from parallel scales.) Other Dominant Chords Without Dominant Funetion (i..: 7, VII7, etcetera) Non-diatonic Related Chords Extended Dominants and Extended Substitute Dominants Non-diatonically Related 11-7 Chords Constant Structures Contiguous 11-7 V7’s and Dominants Note: The above list is not inclusive of all Roman numeral functions. See Pg. 144 for the list of Cadences. See Pg. 145 for the list of Turn- 170 arounds.NAME Template #20: Verse — Transitional Bridge — Chorus 80 t (O)dec. Tou, SD t (©) dee. 8 T sub, (0) dee. Transitional Bridge o @ g c 2 8 8 so (©) dee. Chorus Crt suv. so t @) T sub. so + {D) cee. Taub. 80 (Whdec. Cadence {See options) Options: + Vary the number of measures in any section. ‘+ Repeat the second line of the chorus to make a 12 measure chorus. ‘+ Note: This form is usually repeated from the top. The third time through there is often an. instrumental solo in the verse 171NAME ‘Template #21 Verse — Transitional Bridge Tempo. Title: —Chorus Style: Transitional Bridge Ble Teub. sD ©) 8 T eub, sp T Tub. g g . r 172NAME Template #22; Verse — ‘Transitional Bridge Tempo:_______Title — Chorus Style Alverse C] chorus so 8 Y_( Tumaround —___________ ) or axtond with an instrumantal InterludeFor general directions, turn to pages 136 - 143. About the Verse—Chorus—Primary Bridge—Chorus form 1. This form is commonly used for popular songs. 2. There are no standard phrase lengths for the sections. Common verse lengths are 8, 12, and 16 bars. The chorus and bridge can be 8, 12, 16, or an odd number of bars depending on the lyrics. 3. The verse has the same melody and harmony each time except for slight melodic rhythm adjustments to accommodate different lyrics. The chorus has the same melody, harmony, and lyrics each time. 4, Modulation within the form is not common, but would most often occur in the chorus or within the pri- mary bridge. If a modulation does occur in the primary bridge, it often modulates back to the original key to retum to the chorus. Most modulations are direct modulations towards the end of the piece, and involve moving the chorus up a half or whole step for climactic effect. 5. There may be new motives in each section, or the main opening motif in the verse may be transformed hythmically and /or intervallically in the bridge and chorus. 6. The primary bridge usually occurs once and is both a connecting and contrasting section that leads back into the verse and chorus or directly to a xepeat of the chorus. Function Choices it (Tonic): 1,16, Ima{7, 17, I(sus2) TM (Tonic Minor): 1,16, 1-7, H(maj7) Tsub. (Tonic Substitute): U7, VI-7, lmaj7 SD (Subdominant): TV, IVmaj7, Il, 1-7, 1V7, TV(sus2), IV(sus4) ( SDM —(Subdominant Minor): IV-, IV-7, °VII7, II-7 (5), IV-6, IV-(maj7), Wimaj7 (Altered SDM): btmajz,*vI7 D (Dominant): V, V7, Visus4), V7(sus4), subV, subV7 Diatonically Related Chords Secondary Dominants: 7/1, V7 /1M, V7/IV, V7/V, V7/VI Substitute Dominants: subV7/II, subV7/IV, subV7/V, (subV7/II1, subV7/VI) Diminished Chords: 7, he7, tne7, 47, ftv°7, v°7, V°7, CVE7) Modal Interchange Chords: 'Timaj7, ‘IIlmaj7, IV-7, V-7, °Vimaj7, "Vllmaj7, II-7(°S) V7(9), etcetera ftv-7¢5) (Other chords borrowed from parallel scales.) Other Dominant Chords Without Dominant Funs (e117, VU, etcetera) Non-diatonic Related Chords Extended Dominants and Extended Substitute Dominants Non-diatonically Related 11-7 Chords Constant Structures Contiguous 11-7 V7's and Dominants Note: The above list is not inclusive of all Roman numeral functions. See Pg. 144 for the list of Cadences. See Pg. 145 for the list of Turn- arounds. 174,NAME Template #23: Verse — Chorus —Primary Tempo: Title: Bridge — Chorus Style: Verse A] foe moda! torte Cadtonee or Cader Bags Ostinato @aden¢@ ‘or Carence ———— Chorus 8p D r fine Primary Bridge optional modulation C] sou som e for constant structures in cycle of fourths or fifths. roo fine 175NAME Template #24: Verse — Chorus —Primary Tempo: Tite: Bridge — Chorus Style: 7 Verse A| cadence —————_————— + Seme Cadence. so som T optional Same @adene¢s ——— + repeat %(B]x Taub, 80 SDR Ta a Primary Bridge . o [ Ds. al 176NAME, Template #25: Verse — Chorus — Primary Te Title: Bridge Without eee ge eee ee ee eee ‘SKETCH IN YOUR OWN FUNCTIONS eunctione Style ‘A|verse 8-16 B Chorus 8-16 C)Primary Bridge 8 oF moreChecklist for Midterm and al Projects MELODY + Do you have one or two clear motifs? Did you develop the motif(s)? * Do you have clear phrasing? Are there resis, places to breathe? * Do you have a melodic climax? + Is your melody singable? Why? Why not? HARMONY * Does the progression reflect understanding of class topics? + Did you consider the harmonic rhythm and the appropr + Does the harmony make “harmonic sense” by itself? feness to the style you chose? + Did you consider the root motion? Do you have a balance of strong and subtle root motion? + Do you have any backwards II V's (incorrect harmonic rhythm)? MELODY/HARMONY RELATIONSHIP * Did you examine your melody /harmony relationship in each measure carefully? * Do you have a bass line in the melody? (A series of melodic roots on beat one of each chord change is undesirable.) * Do you have the correct chord tones? * Are your tensions available to the chord? + Are harmonic avoid notes in approach note patterns? + Do you have a balance of chord tones, tensions, and approach notes? ANALYSIS ‘+ Have you carefully analyzed your composition? ‘+ Have you analyzed your piece according to your instructor's directions? ‘+ Have you kept a copy for yourself? Very important! * Did you write the Roman numerals above the chord symbols, and brackets and arrows with the chord symbols? DIRECTIONS TO ASSIGNMENT + Have you followed any specific directions given by your instructor? * Were you supposed to use a particular form, or use certain chords or topics covered in class? + Have you gathered all the materials for the project, including a recording, and placed them in an envelope with your name and class section clearly written? NEATNESS/NOTATION + Is your tune neat and legible? Did you use a pen for the final manuscript? (No erasures, please.) «If you used music notation software, do you have correct notation of rhythms, beaming, etcetera? * Did you write the tempo/style in upper left corner? * Did you write clef signs and key signature on every line? * Did you adhere to imaginary bar line, and other notation rules? * Did you position chord symbols above the point where chords change? CREATIVE USE OF MATERIALS ‘+ Did you challenge yourself to stay within the assignment, and write something musical, creative, and interesting? * Do you like your composition? (If not, ask for feedback from your teacher, tutor, and classmates and make adjustments.) 178ee eee ere edBerklee College of Music so soistn Stet | 0, Boston, Massachusetts 02215-3693, U.S.A. $20.00