Website Exercise Solutions Chapter 3 Musical Density: Triads, Seventh Chords, and Texture. b w B. C. D. E. F. G. # #w A. B. C. D. E. F. G.

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1 Chapter : Wesite Exercise Solutions Wesite Exercise Solutions Chapter Musical Density: Triads, Seventh Chords, and Texture 1 Exercise 1: Each given pitch can function as the root, third, or fifth of major, minor, and diminished triads as shon in the sample solution. On a separate sheet of manuscript paper, notate and lael the nine possile triads that can e generated from each given pitch. Example: G GM g g E¼ e e C c c¾ C. D. Exercise 2: Identify the root, type of triad (major, minor, diminished, or augmented), and inversion (if any). Then, transpose each given sonority don a perfect fifth or its compound (or up a perfect fourth, or its compound), notating it on the given empty staff (aove or elo). gm C. D. E. F. G. Exercise : Error detection. Each of the folloing laeled triads is notated ith various doulings. Hoever, one of the pitch classes in each example is incorrect. Circle and correct the error in each example. C. D. E. F. G. D B A CMajor e o c a

2 2 Chapter : Wesite Exercise Solutions Exercise : Triad construction. Each triad notated elo can occur in several keys (see the sample solution, in hich 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 hich the given triad may occur. se a separate sheet of manuscript paper. sample solution n : iv n n C: iii D: ii e: i G: vi a: v C. D. E. F. G. Exercise : Analysis. A major or minor key is given as ell as a triad. Add accidentals necessary to conform to the given key (do not add a key signature) and a Roman numeral and figured ass analysis. C. D. E. F. G. H. I. J. K. L. D: F: A: f: B: f: e: E: D: G: : e: Exercise : Writing Triads. Construct triads as indicated y the given major or minor key and the Roman numeral. se accidentals, not key signatures. C. D. E. F. G. D:IV E:vi d:iii A:V :viio F:ii B:V H. I. J. K. L. M. N. A:I f:iii E:IV C:IV :VI B:viio C:vi

3 Chapter : Wesite Exercise Solutions Exercise 7: Analysis. Determine the key, then, for each sonority marked ith an arro, add a complete figured ass (e.g., even root-position chords ill receive ). Horns in C Flute Violin I Violin II Viola Doule Bass B Allegro assai j j J J [ f ] Ÿ. Ÿ. J J [ f ] Ÿ. Ÿ. J J [ f ] Ÿ. Ÿ. J J [ f ] [ f ] [ f ] Exercise 8: Notation. Realize the folloing figured asses y notating to pitches at the required intervals immediately aove the ass pitch to create complete triads (notate in the ass clef ). Oserve chromatic alterations in the figured ass. Then, add Roman numerals ased on your realization. e: D: n j

4 Chapter : Wesite Exercise Solutions Exercise 9: Triads ithin a key. In chorale style (SATB), notate the folloing triads ased on the Roman numerals in the given key. Doule the root of the chord except in vii, hen you ill doule the third of the chord. Follo the indicated spacing: O for open and C for close. D: IV I iii V I vii IV I$ (o) (c) (c) (o) (o) (c) (c) (o) g: III V i ii V$ vii iv V VI i (o) (o) (o) (c) (o) (c) (o) (c) (o) (o) Exercise 10: Triads ithin a key. In chorale style (SATB), notate the folloing triads ased on the Roman numerals in the given key. Doule the root of the chord except in vii, hen you ill doule the third of the chord. The goal is to move from one chord to the next using as little motion as possile. This can e accomplished y holding common tones eteen chords and y moving to the next chord s memers y step. I V I iii vi ii V IV vii I I$ V i V i iv ii V VI VI i iv V V i

5 Chapter : Wesite Exercise Solutions Exercise 11: Building seventh chords. Construct seventh chords ased on the figured ass. Identify each type of seventh chord !! 2! 2!7! Exercise 12: Analysis of seventh chords. Given the key and seventh chords (all of hich appear in inversion), circle the root of each chord, then identify the folloing: type of seventh chord figured ass Roman numeral e: F: C. B: D. d: Exercise 1: Verticalization. Each excerpt is cast in a florid style, yet depends on the flo of harmonies. Circle each harmony and provide an analysis of each chord type and inversion. Do not use Roman numerals. Soprano Alto Tenor Bass E E E - ter - ni - ty, O thun - d rous ord, O sord that through my - ter - ni - ty, O thun - d rous ord, O sord that through my - ter - ni - ty, O thun - d rous ord, O sord that through my E - ter - ni - ty, O thun - d rous ord, O sord that through my

6 Chapter : Wesite Exercise Solutions Exercise 1: Verticalization. Circle each harmony and provide an analysis of each chord type and inversion. Do not use Roman numerals. Cont d Cont d soul doth pierce, Be - gin - ning ith - out end. soul doth pierce, Be - gin - ning ith - out end. soul doth pierce, Be - gin - ning ith - out end. n soul doth pierce, Be - gin - ning ith - out end. n n n n n n n n C. p J Non R è ver Quan - do_as -

7 C. Cont d Chapter : Wesite Exercise Solutions.. si - so_a te vi - cin Ti par - lai, en mio, d a - mor, 7 B f j f f.... f.. n n n n D n B n n B

8 8 Chapter : Wesite Exercise Solutions Exercise 1: Identifying Root PositionTriads. Lael the root and triad type of each of the triads in close and open position, maintaining the exact spacing of the model. Then, transpose each triad as required, maintaining the exact spacing of the model. M2 m7 P A P m A Exercise 1: Constructing Root Position Triads. Given is the third of various types of triads. Construct close-position triads y adding the root and fifth as required. d M M m m d Exercise 1: Constructing Root Position Triads. Given is the fi ft h of various types of triads. Construct close-position triads y adding the root and third as required. M d A m m M A

9 Chapter : Wesite Exercise Solutions 9 Exercise 17: Constructing Triads in Inversion. Construct the required triad type and inversion in close position. D f E+ $ A¼ $ c¾ Exercise 18: Constructing Triads in Inversion. Construct the required triads in four voice (SATB) open position (use half note values and e aare of stem direction). Doule the root in each triad g min c minor a dim A D aug e dim D Exercise 19: Analysis. Analyze each harmony using roman numerals and figured ass. For exercise 2, add stems in chorale style.

10 10 Chapter : Wesite Exercise Solutions Exercise 20: Figured Bass Realization. Based on the given figured ass, add the tenor and alto voices. Doule the root. Lael root and type of triad. n!! H! Exercise 21: Figured Bass. sing keyoard spacing, realize each of the figured ass examples. Doule the root. Lael the root and type of each triad.!!! Exercise 22: Figured Basses ithin a Key. The to figured asses elo are each in a single key. Realize each of the to figured asses in keyoard style. Doule the root except for the vii chord, for hich you ill doule the third of the chord. Move each of the voices from one chord to the next y the smallest possile motion and if possile, keep common tones (that is, pitches that are the same eteen to chords). Add roman numerals

11 Chapter : Wesite Exercise Solutions 11 Exercise 22: Analysis. Lael the type of each of the triads in the folloing examples. Include a figured ass analy- Soprano I Soprano II Alto Tenor Bass (q = 12) p Chio p Chio p Chio p Chio - stri_al - tis - si - mi_e stel - la - ti, - stri_al - tis - si - mi_e stel - la - ti, - stri_al - tis - si - mi_e stel - la - ti, - stri_al - tis - si - mi_e stel - la - ti, p Chio - stri_al - tis - si - mi_e stel - la - ti, S. T.. - J Ho Ho Ho Ho - ne - stum fe - cit il - lum Do - mi - nus, et cu - sto -. - j - ne - stum fe - cit il - lum Do - mi - nus, et. - J - ne - stum fe - cit il - lum Do - mi - nus, et cu - sto - - ne - stum fe - cit il - lum Do - mi - nus, et J

12 12 Chapter : Wesite Exercise Solutions Exercise 22: Analysis. Lael the type of each of the triads in the folloing examples. Cont d. S. T. C. (h=q) f J phans, f phans, f phans, f phans, di di di di - vi - ti - as coe - lo con - di - dit j - vi - ti - as coe - lo con - di - dit n J - vi - ti - as coe - lo con - di - dit J - vi - ti - as coe - lo con - di - dit Tempo I S. T. D. J J n il il il il - los tu - os mi - se - ri-cor-des o - cu - los ad nos con - ver - te. n J j - los tu - os mi - se - ri-cor-des o - cu - los ad nos con - ver - te. pp J n n - los tu - os mi - se - ri-cor-des o - cu - los ad nos con - ver - te. pp J J - los tu - os mi - se - ri-cor-des o - cu- los ad nos con - ver - te. pp pp

13 Chapter : Wesite Exercise Solutions 1 Exercise 2: Analysis of Root Position Seventh Chords. Identify the type of each of the folloing seventh chords notated in open position. Lael each memer of the triad (root, third, fifth, and seventh) as follos: 1,,, 7. c mm 7 1 Exercise 2: More Analysis of Root Position Seventh Chords. Identify the type of each of the folloing seventh chords notated in open position. Circle the seventh of the chord in each example. Exercise 2: Analysis of Seventh Chords in Inversion. Circle the root and lael the type of seventh chord and provide a full figured-ass analysis. D Mm

14 1 Chapter : Wesite Exercise Solutions Exercise 2: Writing Root Position Seventh Chords. Exercise A: Given is the root of various types of seventh chords. Notate the chord in either close (C) or open (O) position. Lael the fifth () and the seventh (7) in each chord. Exercise B: Given is the third of various types of seventh chords. Notate the chord in close position. Exercise C: Given is the fifth of various types of seventh chords. Notate the chord in close position. Exercise D: Given is the seventh of various types of seventh chords. Notate the chord in close position. C C O O O C O mm dd MM Mm mm dm Mm MM Mm mm Mm dd dm Mm C. D. mm mm Mm MM mm dd dm dd d d

15 Chapter : Wesite Exercise Solutions 1 Exercise 27: Analysis ithin a key. For each of the folloing root-position seventh chords in the key of D major supply a roman numeral and lael the type of seventh chord. Exercise 28: Writing Seventh Chords Within a Key. Given is a key, roman numeral and figured ass. Notate the required chord in close position using accidentals (that is, no key signature). Lael each type of seventh chord. E: I7 V" ii% D: IV7 vi I% d: ii % iv7 V% A: vii % V" vi Exercise 29: Figured-Bass Analysis. Provide a full figured-ass analysis (including appropriate accidentals) for each of the folloing chords.! Exercise 0: Figured-Bass Realization. Based on the given figured ass, notate chords in four voices (SATB) and identify the type of seventh chord. dm!7!!! Ä 2!7