Chapter 3: Website Exercise Solutions 1

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

Exercise 1: Each given pitch can function as the root, third, or fifth of major, minor, and diminished triads as shown
in the sample solution. On a separate sheet of manuscript paper, notate and label the nine possible triads that can
be generated from each given pitch.

www b www b b www

Example:

& w bw ww b www
b ww w ww
w b www w
# ww
G GM g g° E¼ e e° C c c°
A.

& w ww b www b b www ww b www bw

w w b ww ww
w
w
b ww
w
b b ww
B.

& bw b b www b b www b ∫ www

b b www b b b www b ∫ b www b b b www b b www ∫ b b www
www # www # # www www
& w # # www w
# ww ww # www w
C.

w # # ww

& #w # www # # www # # # www # www # # www # # # www # ww # # www # # # www

w
Exercise 2: Identify the root, type of triad (major, minor, diminished, or augmented), and inversion (if any). Then,
transpose each given sonority down a perfect fifth or its compound (or up a perfect fourth, or its compound),
notating it on the given empty staff (above or below).
A. B. C. D. E. F. G.
6

b www
6 6

w ww b b www
& b ww
g minor C Major 3 E dim. 3 Bb minor 4

# www w # # www w
b ww
? www ww b b b www
# www w # # # www ww
b www w
A Major F# Major 6
d minor 3

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

w #w w w ww # ## www bw b ww bw w bw
A. B. C. D. E. F. G.

& www b ww
#w
w w #w b ww b w ww bw bw
bw

? #w b ww ww # ww # w b b ww bw b b ww
w
6 6 6
A5 6
eb 5
o6
D3 Bb 4 3 C# 3 3 c 3 ab 4
2 Chapter 3: Website Exercise Solutions

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

# # n ## nn ##
A.

& www ww
w
ww
w
ww
w
ww
w
ww
w
e:i G:vi A:v b:iv C:iii D:ii

?# w n w ## w ## w # w
b b b n www
B.
ww ww ww ww ww
G:i a:VII b:VI c:V D:IV e:III

b w b b b www
# # n ww
b b b www b www b b www
& b ww
C.
bw
Bb: I c:VII D:VI Eb:V F:IV g:III

? b www w
n ww
w
b b ww
w
n n ww
w
b b ww
w
b ww
D.

d:i C:ii Bb:iii a:iv g:v F:vi

## w # # ww # # # # ww # # ww # # # # ww # # # ww
E.

& # ww w w w w w
A:I
w
b:VII
w
c#:VI
w
D:V
w
E:IV
w
f#:III
w
? b b b ww bb b ww bb b ww nn n b ww bb b ww bb ww
F.

b b bb nn bb b
f:i Ab:vi bb:v C:iv Db:iii Eb:ii

b w b b b www b b b www b b b b b www b b b www b b b b www

& b b b ww
G.

Ab:I Bb:VII c:VI Db:V Eb:IV f:III

? # # # # www # # # www # # # # www # # # www # # # # www # # # # www

H.

# #
E:I f#:VII g#:VI A:V B:IV c#:III

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

˙
A. B. C. D. E. F. G. H. I. J. K. L.
˙ ˙˙
& #˙ b˙
˙ # ˙˙ # # ˙˙ b ˙˙ b b ˙˙
#˙
˙ b˙
˙
b˙
b˙ # # ˙˙ ˙
˙ #˙ b˙
? ˙˙ ˙ ˙ ˙ #˙ b b ˙˙
b˙
b˙
#˙ ˙ b ˙˙
˙ ˙ #˙ ˙ ˙ ˙ b˙
D: vi F: V6 Ab: vi f#: VI6$ B: V6 f: VI eb: i6$ E: vi6 Db: iii Gb: iii6$ b: v6 eb: ii°6
 Chapter 3: Website Exercise Solutions 3

Exercise 6: Writing Triads. Construct triads as indicated by the given major or minor key and the Roman numeral.
Use accidentals, not key signatures.
E. F. G.
w b www
A. B. C. D.

&  ww ww # www # # # www

b www w w
# # ww
D:IV Eb:vi d:III A:V b:vii o F:ii B:V

? b ww
I. J. K. L. M. N.
bw bw b b b www w b b b www
H.

bw b ww b ww # # # www # # ww
Ab:I f:III Eb:IV C#:IV bb:VI B:vii o Cb:vi

Exercise 7: Analysis. Determine the key, then, for each sonority marked with an arrow, add a complete figured bass
(e.g., even root-position chords will receive 53).

œ œj œj
Allegro assai
œ œ œœ œœ œœ
Horns in C &  œ œ
J
‰ œJ ‰ œœ ‰
Ÿœ  .
œ œ œ Ÿœ  . œœ œœ œœ œœ
œ
[f ]

 œ œ œJ œ œ œJ œ œœ œœ œœ œœ
Flute &

  Ÿœ  œ œ œ Ÿœ 
. .
œ œ œ œ œ
[f ]
œ œ œJ œ œ œJ œ œ œ œ œ
Violin I & 

Ÿœ  .
œ œ œ Ÿœ  .
œ
[f ]

 œ œ œJ œ œ œJ œ œ œ œ œ œ œ œ œ
Violin II &
[f ]
œ œ œ œ œ œ œ
Viola B  œ œ œ ‰ ‰ ‰ ‰

? œ œ œ
[f ]
œ ‰ ‰ œ ‰ œ ‰
Double Bass
 œ #œ œ œ
[f ]
5 6 5 6 6 5 6 6 5 5
C: 3 3 3 3 3 3 3 3 3 3

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

? #  œœœ
# œœ
œ œ
# œœ
œœœ # n œœ œœ # ˙˙˙ 
œœœ œœ œœ ˙˙ # œœ # ˙˙˙ 
˙
A.
nœ œ œ
œ
e: i vii°6 V6 i V6 iv6 V i i6 ii6 V6$ 5X I
4 Chapter 3: Website Exercise Solutions

œœœ 
Exercise 8: Notation. Cont’d
œœj œœ œœ œœ
œ œœ œœœ œœ ww
? # #   œ œ œœ œœ œœ œœ
B.
œ œ œ œ œ œ œ w
J
D: I V6 I I6 IV vii6 I V6 vi I6$ ii6 V I

Exercise 9: Triads within a key. In chorale style (SATB), notate the following triads based on the Roman numerals in
the given key. Double the root of the chord except in vii, when you will double the third of the chord. Follow the
indicated spacing: “O” for open and “C” for close.
# ˙
& # ˙˙ ˙˙
A.

˙˙ ˙˙ ˙˙ ˙ ˙
˙ ˙
˙ ˙˙ ˙ ˙ ˙ ˙
? ## ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
D: IV I iii V6 I6 vii°6 IV6 I6$
(o) (c) (c) (o) (o) (c) (c) (o)

b
B.
˙ ˙ ˙ ˙
&b ˙ #˙ ˙ ˙˙ ˙ # ˙˙ ˙˙ # ˙˙ ˙˙ ˙
˙
˙ ˙˙ ˙
? b b ˙˙ ˙˙ ˙
˙ ˙
˙
˙ ˙ ˙˙ ˙ ˙
˙ ˙
g: III6 V i6 ii°6 V6$ vii°6 iv6 V VI i
(o) (o) (o) (c) (o) (c) (o) (c) (o) (o)

Exercise 10: Triads within a key. In chorale style (SATB), notate the following triads based on the Roman numerals in
the given key. Double the root of the chord except in vii, when you will double the third of the chord. The goal
is to move from one chord to the next using as little motion as possible. This can be accomplished by holding
common tones between chords and by moving to the next chord’s members by step.

& b  ˙˙  ˙˙  ˙˙ 
A.
 ˙ œœ œœ œœ œœ ˙˙ œ œœ œœ œœ
 œ œœ # ˙˙  ˙ ˙ œ̇ # œ œ
? b  ˙˙  ˙
˙
œœ œœ
œ ˙
#œ
œ ˙ œ
I V6 I iii vi ii V IV vii°6 I6 I6$ V i

#
B.

&  œœ œœ œœ œœ
# œœ œ œ œœ œœ œœ œœ œœ
œ
œ œ œ œ œ #œ
? #  # œœ œœ œ
œ
œœ œ œ œ œ
œ
#œ
œœ
œ œ
V6 i iv ii°6 V VI VI6 i iv6 V V6 i
 Chapter 3: Website Exercise Solutions 5

Exercise 11: Building seventh chords. Construct root-position seventh chords based on the figured bass. Identify each
type of seventh chord.

#œ œœ ? b b b œœœœ
# œœœ œœœœ œ b b œœœ œœœœ
A.

& œœœœ b œœ œœ # œœœ

B.

b œœœ œœ œ b œœœ œœ
œ # œœ œ
7 #7 6 7 4 4 !6 #6 4 6 !7 4
# 5 !5 3 2 !5 5 2 #5 !5 3
mm MM mm dm MM Mm mm dm Mm Mm dd mm

Exercise 12: Analysis of seventh chords. Given the key and seventh chords (all of which appear in inversion), circle the
root of each chord, then identify the following:
* type of seventh chord
* figured bass
* Roman numeral

# w wwww w w
b www wwww wwww
A.

&  www
# ww
B.

ww www ww
ww
e: i6% vii°4" iv¯6% VI6% F: iii4" V4£ vii¯6% IV4"
mm dd mm MM mm Mm dm MM

ww wwww # ww w
? b b www wwww ww ww w
www # ww
D.
w
C.

w b ww w w
I4£ vi6% V4£ ii6% d: iv6% V4" i4" vii°6%
Bb: MM mm Mm mm mm Mm mm dd

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

  œ Uœ
A.

œ œ œ œ œ
Soprano &b œ œ œ œ œ œ œ œ

U
E - ter - ni - ty, O thun - d’rous word, O sword that through my

Alto & b œ œ œ œ œ œ œ œ œ
œ œ œ œ œ

Uœ
E - ter - ni - ty, O thun - d’rous word, O sword that through my

œ œ œ œ œ
& b œ œ œ œ œ œ œ œ œ œ
 E -
Tenor

œ œ Uœ
ter - ni - ty, O thun - d’rous word, O sword that through my

? œ œ œ œ œ œ œ œ œ
Bass
 b œ œ œ
E - ter - ni - ty, O thun - d’rous word, O sword that through my
M M 6
d3 M6 M M M M M m M mm mm
3
6 Chapter 3: Website Exercise Solutions

Exercise 13: Verticalization. Circle each harmony and provide an analysis of each chord type and inversion. Do not
use Roman numerals. Cont’d

 œ U
A. Cont’d

&b œ œ œ œ œ œ œ œ œ

U
soul doth pierce, Be - gin - ning with - out end.

&b œ œ œ œ œ œ œ œ œ œ œ œ

Uœ
soul doth pierce, Be - gin - ning with - out end.

œ œ œ
&b œ œ œ œ œ œ
 soul
U
doth pierce, Be - gin - ning with - out end.

? œ œ œ œ œ œ
 b œ œ œ œ #œ nœ œ œ
soul doth pierce, Be - gin - ning with - out end.
6 6 6 6
d 5 M3 M M6 m m3 m m mm 5 M
3

 bœ œ Œ œ bœ Œ b œ œb œ Œ bœ
œ Œ bœ œ Œ œœ
B.

& Œ œ b œ bœ œ b œ b œ œ œ b œ œ œ
bœ bœ bœ œ œbœ bœ
?  b œ œ b œ Œ bœ œ œ Œ œbœ Œ bœ œ Œ bœ œ b œ Œ œœ
œœ Œ
M Mm 4 M6 Mm 4 M m6
2 3 3 4

œ œ Œ bœ Œ b œ œ nœ Œ œ Œ bœ# œ Œ œ œ
& Œ œbœ bœœ
œ bœœœ Œ nœ œbœœ #œ œ œ
nœ
? œ b œ nœ Œ b œ œœŒ œŒ œŒ œbœŒ b œ nœ Œ œ
nœ œ œ b œ œ œbœœ bœ œ nœ œ œ
dd m 6
dm 5 Mm 4 m6 6
dd 5 M
3 3

œ œ ˙
C.

&  Œ ∑ 
p

J R œ œ
Non è ver? Quan - do_as -

&  œœ
 Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3

œ b œœœ œ œ œ œ œ œ
?  œœ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
œ œ œ œ œ
6
M4 Mm M
 Chapter 3: Website Exercise Solutions 7

œ œ œ œ. œ. œ
C. Cont’d
& œ œ œ œ œ Œ œ œ Œ
si - so_a te vi - cin Ti par - lai, ben mio, d’a - mor,

&
œ œœœœ œœœœœ œ œœ œ œœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
œ œ œ œ œ œ#œ œ œ bœ œ
? œ Œ œ Œ œ Œ n˙ œ Œ œ Œ œ Œ
œ œ œ œ œ œ
n˙
œ.
6 6 6 6
dd 6

# œ. œ.
M3 M3 M4 M4 Mm M
5

  œ.
D.

œ #œ œ
& ‰ ∑

 œ œ œ œ
f

& œ j b œ œ œ œ
œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f œ œ
B  ‰ b œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
œ œ. œ. œ. œ.
 b œ #œ
f
?  ‰ œ Œ 

f 6
m Mm 5

œ œ. œ. # œ œ # œ œ. œ. œ n œ
 Œ œ #œ œ œ œœ
&  Œ 
œ œ #œ œ #œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
nœ œ œ œ œœ œ œ œ œœ œ
B œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. #œ # . œ.
œ œ
. œ # œ
? . œ. œ
œ Œ   # œ #œ œ Œ 
 œ œœ n œ

œ œ œ #œ
m Mm Mm m

œ œ
 œ œœ
& Œ  Œ 

œ œ œ œ œ œ
& œœœœ œœœœœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
bœ œ œ œ
B œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. œ . . œ.
œ
. œ . # œ
? . œ. œ œœ
 œ œœ
œ Œ  œ # œ
M Mm Mm
8 Chapter 3: Website Exercise Solutions
Website Exercise
Solutions

Exercise 14: Identifying Root PositionTriads. Label the root and triad type of each of the triads in close and open
position. Then, transpose each triad as required.

#w b w d5
www  w w bw w # w
# ww # b b ww
w
M3 P5 m2 M3 M6

& b www w
# ww ww bw
bw # ww n www # # ww n ww
# ww
a minor F# dim. D minor G# minor Gb Major
B Major

 M2 # w  m7 www b w bw
w #  wA4 ‹# ww w P4 w w ∫ b ww
 b m3 # wwA4 # ‹# www
? #w w w
P4

#w w # bw b w
Exercise 15: Constructing Root Position Triads. Given is the third of various types of triads. Construct close-posi-
tion triads by adding the root and fifth as required.

# # www
M d m m d A

& www # www b www b ww

w b www
d M M m m d

?b b b # bw w

Exercise 16: Constructing Root Position Triads. Given is the fifth of various types of triads. Construct close-position
triads by adding the root and third as required.

b b b www b www
M A m M m A M

& # www b www

w
b b ww # ww # # www
w

? b b b
M d A m m M A

Exercise 17: Constructing Triads in Inversion. Construct the required triad type and inversion in close position.

#w b b ww
& # www b www # ww w ww
w # # www

b www
D6£ f5£ E+6$ A¼6 b°6$ c¾6£

? # www # # www w ∫ b b www

b b ww ‹# # ww
 Chapter 3: Website Exercise Solutions 9

Exercise 18: Constructing Triads in Inversion. Construct the required triads in four voice (SATB) open position (use
half note values and be aware of stem direction). Double the root in each triad

˙ b˙ ˙ ˙ ˙ b˙
& ˙˙ b˙ ˙ b ˙˙ #˙ b˙ ˙ ˙
˙ b˙ b˙
? b ˙˙ ˙˙ ˙ b b ˙˙ #˙
˙ b˙
b˙
˙ b˙

Exercise 19: Analysis. Analyze each harmony using roman numerals and figured bass. For exercise 2, add stems in
chorale style.

A.

& b ˙˙ ˙ ˙˙ ˙˙ ˙
˙ ˙˙ ˙˙ ˙ ˙˙ ˙˙ ww
˙
˙ ˙ ˙ ˙ #w
? b ˙˙ ˙
#˙
˙
˙ ˙ ˙
˙
˙
˙ ˙
˙
˙ ˙ w

### ˙
B.

& ˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙ ˙
? ### ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙
˙

Exercise 20: Figured Bass Realization. Based on the given figured bass, add the tenor and alto voices. Double the root.
Label root and type of triad.

& ˙˙ b ˙˙ ˙ b ˙˙ ˙
#˙ n ˙˙ #˙ b ˙˙ # # ˙˙
b˙ ˙
? # ˙˙ b˙
˙˙ ˙ b˙ # ˙˙ b˙
b˙
#˙
b˙ #˙
10 Chapter 3: Website Exercise Solutions

Exercise 21: Figured Bass. Using keyboard spacing, realize each of the figured bass examples. Double the root. Label
the root and type of each triad.

& # ww w ww
ww b bb ww # # # www ww
w
ww bw
w b ww w w w
w b ww
? #w w w w w #w bw
bw w
Exercise 22: Figured Basses within a Key. The two figured basses below are each in a single key.
• Realize each of the two figured basses in keyboard style.
• Double the root except for the vii chord, for which you will double the third of the chord.
• Move each of the voices from one chord to the next by the smallest possible motion and if possible, keep
common tones (that is, pitches that are the same between two chords).
• Add roman numerals

œœ œœ œœ œœ œ œœ œœ # œœœ œœ œœ œœ œœ œœ
& b  # œœœ # œœ # œœ

A.

œ œ œ œ œœ œ œ œ œ œ œ œ œ
? b  œ œ
œ œ œ œ œ œ œ œ œ œ ˙
œ œ
d: V i VI ii°6 V iv i6$ iv i6 vii°6 i VI6 iv i6$ 5X i

# ˙˙
B.

& ˙˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙˙ œœ œœœ ˙˙

˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ œ
?# ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙
 Chapter 3: Website Exercise Solutions 11

Exercise 23: Analysis. Label the type of each of the triads in the following examples. Include a figured bass analy-

  p˙  ˙
U
A. (q = 126)

Soprano I & œ ˙ œ œ ˙ ˙

U
Chio - stri_al - tis - si - mi_e stel - la - ti,

& ˙ #˙  ˙
p
Soprano II œ œ œ #˙ ˙

U
Chio - stri_al - tis - si - mi_e stel - la - ti,

˙
p
Alto & ˙ œ ˙ œ œ ˙ ˙
U
& ˙ ˙
Chio - stri_al - tis - si - mi_e stel - la - ti,

˙
p
œ œ œ ˙ ˙
 Chio
Tenor

? ˙ ˙ ˙ U
- stri_al - tis - si - mi_e stel - la - ti,

œ œ œ ˙ ˙
 
p
Bass

Chio - stri_al - tis - si - mi_e stel - la - ti,

G D G F G D D

 bb œ. ˙- œ œ œ œ œ œ
B.

S. & b b ˙ ˙ œ œ J œ
Ho - ne - stum fe - cit il - lum Do - mi - nus, et cu - sto -

b j
A. & b bb ˙ ˙ œ. ˙- œ œ œ œ œ ˙ ˙

œ. ˙- œ
Ho - ne - stum fe - cit il - lum Do - mi - nus, et

b œ œ œ œ
& b bb ˙ ˙ œ œ œ œ
J

T.

œ
Ho - ne - stum fe - cit il - lum Do - mi - nus, et cu - sto -

? b ˙ ˙ ˙ œ œ œ œ ˙ œ
B.
 b bb œ J Œ
Ho - ne - stum fe - cit il - lum Do - mi - nus, et
A¼ f E¼ A¼6$ 5£ A¼ D¼ A¼ f6£ A¼
12 Chapter 3: Website Exercise Solutions

Exercise 23: Analysis. Label the type of each of the triads in the following examples. Cont’d.

 f ˙ œ œ ˙ ˙
C.
œ œ œ œ
(h=q) Tempo I

S. & b  J # œ
phans, di - vi - ti - as coe - lo con - di - dit
j

& b ˙ œ ˙
f
A. œ œ œ œ ˙ œ œ

#œ 
phans, di - vi - ti - as coe - lo con - di - dit

œ ˙ œ nœ
& b # ˙ œ œ #œ
 œ
f

J
˙
 phans,
T.

œ
di - vi - ti - as coe - lo con - di - dit
f˙ œ œ œ
B.
?
 b
 œ J
˙ œ œ œ ˙
phans, di - vi - ti - as coe - lo con - di - dit
A D A g A d F g A

 ˙ œ ˙ œ œ œ œ œ œ œ œ ˙ œ nœ œ œ
D.

S. & b Œ
pp
J J
œœœ œ #œ w

œ  œ bœ
il - los tu - os mi - se - ri - cor - des o - cu - los ad nos con - ver - te.

j
&b Œ ˙ œ œ nœ œ œ ˙
pp
˙ J œ ˙ œ œ bœ
A.
œ ˙ w
˙ œ #˙ œ œ œ  œ nœ œ œ œ œ œ œ œ
il - los tu - os mi - se - ri - cor - des o - cu - los ad nos con - ver - te.

&b Œ J œ œ œ œœœœ ˙ nw
pp


T.

˙ œ œ œ œ œ
?b ˙ œ œ ˙
il - los tu - os mi - se - ri - cor - des o - cu - los ad nos con - ver - te.

œ œ œ œ œ œ œ bœ ˙ w

pp
B. J J
il - los tu - os mi - se - ri - cor - des o - cu - los ad nos con - ver - te.
g D G C F6£ B¼ F6£ g e°6 F b6£ C6£ F c c6£ D G
 Chapter 3: Website Exercise Solutions 13

Exercise 24: Analysis of Root Position Seventh Chords. Identify the type of each of the following seventh chords no-
tated in open position. Label each member of the triad (root, third, fifth, and seventh) as follows: 1, 3, 5, 7.

w bw
A. c# mm G Mm F MM D dd b dm g# dm F# dd
w
Bb Mm

& w w w bw w w
w #w
7

w w w w bw
5
7 3 3 5

w
3 5 7

w
7

bw w
3 3 7

#w
5 5

? ## w
5

w w w w
5

w w bw
7 3

w #w
3

w
5 7 3
7 1 1
1 1 1
1 1 1

Exercise 25: More Analysis of Root Position Seventh Chords. Identify the type of each of the following seventh
chords notated in open position. Circle the seventh of the chord in each example.

b ˙˙ #˙
g mm C# Mm
˙ b˙
e mm Db MM Ab Mm f mm f dd

& ˙˙ ˙ # ˙ b ˙˙ b b ˙˙ ∫ ˙
˙ ˙
? ˙ b b ˙˙ ˙ ˙ b ˙˙
bb ˙
#˙ ˙
˙ ˙

Exercise 26: Analysis of Seventh Chords in Inversion. Circle the root and label the type of seventh chord and provide
a full figured-bass analysis.

# wEwwMm wMm
& # wwww b wwww www w w # www
D Mm C Mm G Mm F Mm A

w b www
6 4 4 4 4 4
5 3 2 3 2 2

b w wwww b dwdd b wbwwwdd

# # ww
w
& b b www w
b ww
# ww
Eb Mm a mm F# dm A MM
?
ww w
6 6 4 4 6 4
5 5 3 2 5 3
14 Chapter 3: Website Exercise Solutions

Exercise 27: Writing Root Position Seventh Chords.

Root given
C C O O O C O

& ww ww # ww
w
? www # ww ww w
# www
b ww ww # # ww
b ww ww
e mm g# dd Bb MM A Mm g mm b dm F# Mm
3rd given

& ww
b ww www w
? w w # www # ww # wwww
b b www ww w b b wwww
A MM C Mm d mm E Mm g# dd g dm A Mm

ww
5th given

& w ww
b bb wwww b bb b wwww ww
?
# # # wwww # # wwww b b b www
w b ww
d mm bb mm F# Mm A MM db mm g dd c# dm

7th given

& ww b ww b www w
# ww w # ww # www
? w # wwww ww ww w w # # ww
D Mm a mm G MM b dd a dm F# Mm c# dm

Exercise 28: Analysis within a key. For each of the following root-position seventh chords in the key of D major supply
a roman numeral and label the type of seventh chord.

# ˙ ˙ ˙ ˙ ˙ ˙
(mm) (MM) (mm) (mm) (Mm) (MM)

& # ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
? ## ˙ ˙ ˙ ˙
˙ ˙
D: iii7 I7 vi7 iii7 V7 I7
 Chapter 3: Website Exercise Solutions 15

Exercise 29: Writing Seventh Chords Within a Key. Given is a Key, roman numeral and figured bass. Notate the re-
quired chord in close position using accidentals (that is, no key signature). Label each type of seventh chord.

w w
w b b wbw
w #MM
w
w w
& bb w b ww
b w w ww ww
## w
MM Mm mm mm MM

w
w w #w w
Eb: I7 V4" ii6% D: IV7 vi4£ I6%

? ww w w# w # # ww # ww
w
bw w w w ## w
dm mm Mm dm Mm m

bw
w w
w w w w
w
d: ii¯6% iv7 V6% A: vii¯6% V4" vi6

Exercise 30: Figured-Bass Analysis. Provide a full figured-bass analysis (including appropriate accidentals) for each
of the following chords.

˙˙ b ˙˙ b b b ˙˙˙
& b ˙˙˙ ˙˙
dm MM mm Mm Mm mm mm Mm

˙ ˙ ˙˙ # ˙˙
#˙
? ˙ # # ˙˙ ˙˙ b˙ # # ˙˙ ˙
b˙ ˙ b˙ #˙
6 6 !4 #6 6 7 !6 6
5 #5 2 4 !5 #5 !4 5
! 3 !2 #

Exercise 31: Figured-Bass Realization. Based on the given figured bass, notate chords in four voices (SATB) and iden-
tify the type of seventh chord.

ww n# www
dm mm Mm Mm Mm Mm Mm

& b ww b ww ww ww
ww
#w bw bw w ww bw w
? w w w bw w #w
´ !7 !6 Ä 4 !7 6
5 ! !5 2 3 5