5A Tonality, Modality and Polarity
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1 Music171Assignment#14 akafinalexampart1 50QuestionsonAFeelingforHarmony,Chapter5 Due:Friday,Dec.5,withaportionturnedinonWed,Dec3 CanbeturnedinonMonday,December8 th with confirmation. NAME: PLEASEUSEAPENCIL,NOTAPEN,FORTHISASSIGNMENT! 5ATonality,ModalityandPolarity 1. Inafewsentences,summarizethetopicpresentedinthefirstfewparagraphsonthe differencebetweenmodalityandtonality 2. WriteoutthemajorandPhrygianmodes(withoutusingkeysignatures,butusing accidentals)inthekeysofc,g,d,a,f,bbandeb.onepairperstaff(putinabar line). 3. Thenwriteoutthemajorandrelativeminorkeysinthesameway,basedonthe model.(iecmajor, Aminor;Gmajor, Eminor;Dmajor F#minor,etc).
2 4. Writeoutthecombinedharmonicandreciprocalseries.Whattriademergesfrom the4 5 6ratiosineachseries? 5. CopyouttheTonic,DominantandSubdominanttriadsaspresentedinthenext graphic,andthenwritethesesamechordsinthekeysofg,d,a,g,bbandebmajor, usingtheproperkeysignatures.
3 6. Writeoutthefollowingchordsandcircletheactivetone.Useaccidentals,notkey signatures. a. SubdominantofCmajor
4 b. DominantofCmajor c. TonicofCmajor d. TonicofGmajor e. TonicofFmajor f. DominantofGmajor g. DominantofDmajor h. SubdominantofEmajor i. SubdominantofFmajor j. TonicofEbmajor k. DominantofEbmajor l. SubdominantofEmjor m. TonicofBbmajor 7. Writeoutthefollowingchordsandcircletheactivetone.Useaccidentals,notkey signatures. a. TonicofCminor b. TonicofGminor c. TonicofAminor d. TonicofEminor e. DominantofDminor f. DominantofAminor g. DominantofGminor h. SubdominantofCminor i. SubdominantofEminor
5 5BKeySignaturesandtheCycleofFifths 8. Youallknowyourkeysignauresnow,andthecycleoffifths,right? 5CPolarHarmonies 9. Whatarethetwobasiccircularmovementsoftonalharmony? 10. Writeoutthecentralspineofexpandedpolarity. 11. LabelthesenoteswithboththeRomannumeralsymbolsandtheFunctionsymbols. Howdothesetwosystemsoflabelingdifferfromoneanother?Doesonemethod appealtoyouormakemoresensethantheother? 12. Writeoutthechordsabovethecentralspineandlabelaccordingly.
6 13. SummarizewhatwasexplainedconcerningSecondaryDominantsandSecondary Subdominants. 14. Howdoyoucreateadominantseventhchordoutofadominanttriad? 15. Writeoutthefollowingchordsastriadsinrootposition,basedonwhatyouhave studied: a. InCmajor: i. DominantoftheDominant ii. DominantseventhoftheDominant iii. DominantoftheSubdominant iv. DominantseventhoftheSubdominant v. SubdominantoftheSubdominant b. InGmajor(you llneedtotranspose thinkinthekeyofg) i. DominantoftheDominant ii. DominantseventhoftheDominant iii. DominantoftheSubdominant iv. DominantseventhoftheSubdominant v. SubdominantoftheSubdominant
7 c. InRelativeTonicin: i. Cmajor ii. Gmajor iii. Dmajor iv. Fmajor v. Bbmajor d. InCmajor i. I ii. V iii. V 7 iv. V/V v. V 7 /V vi. bvii vii. V 7 /IV viii. Vi 5DMusicalExamples 16. Writeoutthemusicfor BackintheSaddleAgain,justasitappearsonthepage. IncludeboththeFunctionSymbolsandtheRomannumerals.
8 17. StudythechordprogressionforHeyJude.Basedonlisteningtothesong,create barlinesonthesestavesandwritethechordsintheproperplace.writethewords underneaththemeasures.keepinmind:paulissinginginfmajor,i vetransposedit tocmajorforpurposesofunderstandingtheharmonicprogression. 18. WriteoutthechordsfortheclosingsectionofHeyJude(Na,na,na).Canyoualso writethemelody?
9 5EMajorandMinorScales 19. WriteouttheCmajorscaleandwriteinthenamesofthescaledegrees. 20. WriteouttheAnaturalminorscaleandwriteoutthenamesofthescaledegrees. 21. WriteouttheAminormelodypresentedonthispage,togainpracticeinusingboth theraisedandnaturalleadingtone.besuretolistentoitagainasyouwriteit. 5FSingingwithSolfege 22. Writeashortparagraphdescribingthepossibleoriginsofthesolfegesystem, includingwesternandarabsources.
10 23. Writeoutthechromaticscaleandincludeallthesolfegesyllables,bothascending anddescending. 24. Describethetwomethodsforsingingminormelodiesusingsolfege.Doyouthink onemethodisbetterthantheother?ifso,why? 25. Canyousingthismelodyalongwiththesoundfile,usingthesolfegesyllables?Ifnot, isthissomethingyoucanimaginebeingabletodobytheendofthesemester?ifnot, andthat sok!,whydoyouthinkit sdifficult? 5GBuildingTriadsonScaleDegrees 26. WriteouttheseventriadsinthekeyofC,andlabelthemwiththeirscaledegree namesandtheirromannumeraldesignations.
11 27. Whichthreechordsaremajor?Whichthreechordsareminor?Whichchordis diminished?whatdoesitmeanthatthischordisadiminishedtriad whatisits distinguishingfeaturecomparedtotheothersixtriadsofthescale? 28. GivetheFunctionnamesforthefollowingchords: a. I b. IV c. V d. vi e. ii f. iii 5HDeeperMeaningofHarmonicPolarity Thispageisnotyetcomplete,butIcanasktwoquestionsthatarepertinent: 29. WhatdoesHarmonicPolarityhavetosayaboutoutexperienceofmajorandminor tonality?howdoesgoethe,whowasaphilosophy,notamusician,supportthe principleofharmonicpolarity. 30. Readthesectionon ListeningfromAbove andsummarizetheissuesinvolvedwith thistopic. 5IMoreonDominantSeventhChords 31. DescribehowtheDominantseventhchordisformedaccordingtobothconventional theoryandpolaritytheory. 32. Whatisthedistinguishingfeatureofthedominantseventhchord,andwhydoesthis chordhaveasenseofforwardmotiontowardtherootandthirdofthekey?
12 33. Copyoutthetwocycleoffifthsprogressionsexactlyastheyappearonthepage. Notice,asyouarewriting,howthetritoneresolvesinalternatingpatternsof inward and outward. Besuretolistentothesoundfilewhileyouaredoingthis, inorderforthesoundtogetintoyourears. Example1here,example2onthenextpage. Ex
13 34. CopyoutthepatternunderSecondaryDominants usingv7/ivandv7/v.listento itwhileyoudoso.thentrytotransposethistothekeyofgandthekeyoffmajor, usingtheproperkeysignatureforeach.
14 35. Copyoutthepatternfor UsingV7/viandV7/iii(movementtominortriads).Listen toitwhileyoudoso.thentrytotransposethistothekeyofgmajorandfmajor, usingtheproperkeysignatureforeach. 5JMajor,MinorandDiminishedSeventhChords 36. Copyoutthethreeminorseventhchordsandthetwomajorseventhchordsinthe keyofc,aspresentedonthispage. 37. Writeoutthesamechords,transposingthemtothekeyofGandtheofFmajor, usingtheproperkeysignature.
15 38. WhatistherelationshipbetweentheDominantseventhchordandthediminished triadinthekeyofcmajor?whydowesaythatbothofthesechordsresolvethe sameway? 39. Copyoutthepatternsundertheheading TheDiminishedSeventhChord. Seeifyou cantransposethesetothekeysofgandfmajor. 5KMoreonMajorandMinorHarmony 40. WriteouttheharmonicandmelodicminorscaleinthekeyofCminor.
16 41. Usingtheproperkeysignatures,writeoutthesametwoscalesinthekeysofD minor,eminor,bminorandgminor. 42. Copyoutthethirdgraphicunderthetitle harmonyinnaturalminor, includingthe labelsaboveandbelowthechords.whatistheessentialpointbeingmadebythis graphic. 43. Whatessentialharmonyisusedinaminorkeythatcomesfromtheharmonicminor scale?
17 44. WriteoutthekeysignaturesforCminor,Dminor,Eminor,Bminor,GminorandA minor,creatingthreemeasuresforeachsystem.aftereachkeysignature,writeout thechordprogressionivi,asshowninthethirdmeasureofthe Harmonyusing theharmonicminorscale section.besuretoraisetheleadingtoneofthedominant chordineachcase. 45. Tellmesomethingaboutthenatureofthesubdominantchordinboththemajorand theminorkeys.whatdoesitsoundlikewhenitshiftsmodeslikethis(listentoit andhavearesponse). 46. Jazztunes.Copyoutthechartfor SoftlyasinaMorningSunrise exactlyasit appearsonthepage,withthechordsymbolsandromannumerals.whatdoesit soundlikewhenthemiddlepartofthetuneappears,withthechangefromcminor toebmajor?
18 47. Tellsomeonewhoknowsalittlesomethingaboutmusicaboutthetune Autumn Leaves. Howisitbasicallyconfigured? 5LTheBlues 48. Writeoutthebluesscale(CEbFF#GBbC)andthentransposeittothefollowing keys:g,f,dandbb.makesureyoucreatethesameintervalsbetweenthenotes.
19 49. Writeouta12 barbluesprogressioninthekeysofc(given),g,f,d,bb,aandeb. Usethismodel C 7 C 7 C 7 C 7 F 7 F 7 C 7 C 7 G 7 F 7 C 7 G 7 G: F: D: Bb: A: Eb: 50. Whatisitinthenotesofthebluesscalethatcreatesthetensionagainstthenotesof theharmony?
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