Total Theory Advanced Rudiments Conservatory Canada Theory 4

Total Theory Advanced/Theory 4 Rudiments Conservatory Canada Supplement by Debra Wanless

Preface The following Total Theory Advanced Supplement includes reproducible downloads designed to provide students and teachers with additional teaching and learning tools. An overview chart and student tracking chart have been included for quick reference. Each chapter includes a Chapter Challenge for review (with answers), as well as additional topics to complete the Theory 4 requirements for Conservatory Canada.

The Total Theory Advanced Supplement enhances this comprehensive, educationally sound and ‘user friendly’ rudiments program and should be used with the Total Theory Advanced text.

Contents

Introduction...... 2 Overview Chart of Conservatory Canada Requirements ...... 3 Student Tracking Chart with Conservatory Canada Requirements ...... 4 Chapter 1: Whole Tone, Harmonic Chromatic, Pentatonic & Blues Scales; Chapter Challenge number 1...... 10 Chapter 2: Scale review & requirements; Irregular note groupings; Chapter Challenge number 2...... 23 Chapter 3: Modes reference charts; Chapter Challenge number 3 ...... …... 29 Chapter 4: Chapter Challenge number 4 …...... 33 Chapter 5: Chapter Challenge number 5 …………...... …………………...... 36 Chapter 6: Dominant Seventh Resolutions in Perfect Cadences; Chapter Challenge number 6……..…………... 40 Chapter 7: A and D Instruments; Chapter Challenge number 7 ………………………………...... ……..….. 48 Chapter 8: Chapter Challenge number 8 ...... ……..… 55 Chapter 9: Types of Motion; Interrupted Cadence; Supertonic Chord/ SATB Writing; Chapter Challenge number 9 .….…...... … 59 Chapter 10: Non-Chord Notes-Passing Notes; Line of Continuation; Writing Melodies with Chord Symbols; Chapter Challenge number 10 …...... …..…...... …..… 72 Chapter 11: Auxiliary Notes; Appoggiaturas; Chapter Challenge number 11 ……….…...... … 82 Chapter 12: Chorale Analysis; The Anticipation; Chapter Challenge number 12 ………...... …....… 92 Chapter 13: Chords & Cadences Review; Doubling of Notes; Harmonic Progressions; Hidden/Exposed Fifths & Octaves; Crossing and Overlapping Voices; Voice Leading; Chapter Challenge number 13 …...... …...... …101 Chapter 14: Chords in First Inversion; Dominant Sevenths in First Inversion with Resolution; Cadential ; Chapter Challenge number 14 ...... 116

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Total Theory Advanced Rudiments

Conservatory Canada Theory 4 by James Lawless and Debra Wanless Introduction

Preface Total Theory Text The 'whole language' approach of the Total Theory Course W 557 combines theoretical knowledge with the visual and aural aspects of learning.  coil bound With direct and simple explanations, the Total Theory  166 pages Course i s designed to meet the needs of students of all ages, in both private and/or class instruction as well as for  plus 129 page students studying independently. free supplement

Students, especially those seeking Conservatory examinations, will  large print find the many written exercises useful preparatory exam material.  The summaries, reference charts and directive lists provide quick free tracking reference points for the student, while the graded reviews and charts tests are beneficial in evaluating progress.  answer book In addition to the actual Total Theory texts, free downloads  teaches to all have been created for the users of Total Theory. These downloads include additional teaching tools, Chapter learning styles Challenges (end of chapter review tests) and signs and terms. Total Theory Text The Total Theory Course - which complies with the Royal Fulfils the requirements for: Conservatory of Music, Conservatory Canada and Northern Lights Canadian National Conservatory of Music curriculums - provides • RCM & NMCP Level 8 Theory the theory student with a comprehensive, educationally sound • Conservatory Canada Theory 4 and 'user friendly' rudiments program. • Northern Lights CNCM Grade 8 Theory Debra Wanless

Reference Charts

The following reference charts assist teachers, students and parents in the learning process of music rudiments.

Total Theory Advanced Rudiments Text and Supplement Overview Chart for Conservatory Canada allows for a quick reference to required topics and where each topic may be found within the Total Theory Advanced Rudiments text and downloadable supplement.

Total Theory Advanced Rudiments Text and Supplement Student Charts are designed to track the student’s progress through the learning process. All required topics are identified by chapter and page number or by the downloadable supplement page number. Spaces have been provided for date of assignment, tracking of completion and success of Chapter Challenges and General Comments. These charts are ideal for teacher, student or even the parent to track the learner’s progress.

Total Theory Advanced Rudiments Overview Chart for Conservatory Canada pages 3 - 5

Total Theory Advanced Rudiments Student Tracking Chart for Conservatory Canada pages 6 - 9

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Total Theory Advanced/Theory 4 Rudiments Text (W557) and Downloadable Supplement by James Lawless & Debra Wanless Overview for Conservatory Canada Theory 4 (co-requisite for Level/Grade 8 Practical Examinations)

Total Theory Advanced Rudiments As required by Conservatory Canada Topic page(s) Theory 4

CLEFS √ C alto & C tenor 4

RHYTHM Hybrid Metres 13 5,7 & 10 beats per measure √ Supplement 24 & 25 Irregular Groupings SCALES: all major and minor keys

Major, Minor (all forms) √ Tetrachords 6

Beginning on any note

20 √ Modes Supplement 29 White Key Authentic Modes ONLY required Degrees: All degrees Total Theory Late Intermediate Rudiments 4 √ Relative Major & Minor Total Theory Intermediate Rudiments 47 √ Tonic Major & Minor Total Theory Intermediate Rudiments 48 √

Enharmonic Major & Minor Total Theory Intermediate Rudiments 61 √

Whole Tone Supplement 10 -11 √

Chromatic Supplement 12 -14 √

Blues Supplement 15 -16 √ C Blues ONLY required

Major Pentatonic Supplement 17 -18 √ F & C Pentatonic ONLY required INTERVALS: all major and minor keys

Simple & Compound (above & below):Major, 30

Minor, Perfect, Augmented, Diminished w. √ Inversions, Enharmonic Equivalent 37

Keys of a Given Interval 40 Recommended but not required TRIADS/CHORDS: all major and minor keys Major, Minor, Augmented & Diminished with √ 51 inversions Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Keys Containing a triad 59 Recommended but not required Open & Close Position 55 √

71 Dominant Seventh chord with inversions √

Diminished Seventh chord root position ONLY 83 Recommended but not required

√ Figured Bass 57, 76, 84

TRANSPOSITION: all major and minor keys

86 √ Major to Major up or down 94 Transposing Instruments Supplement 48 & 49 √ B A, D & F instruments (A & D Instruments) CADENCES: all major and minor keys Perfect

Plagal 112 √ Imperfect

Supplement 61-62 Interrupted/ DeceptiveCadence

Keyboard Style 113 √ Review Chorale/SATB Style 117 √ CHORALE (SATB) WRITING/ HARMONIC PROGRESSIONS

IV/iv –V Progression 100 Supplement V7 – I Progression 40-42

Types of Motion 59-60

V/V7-vi/VI Progression 61-62

Supertonic Chord 63-65

Doubling of Notes 102-103

Voice Ranges 104 √

Hidden/Exposed Fifths and Octaves 105

Crossing / Overlapping Voices & Voice Leading 106-107

Writing a Harmonic Progression 108-109

Chords in First Inversion SATB 116-118

Dominant Seventh in 1st Inversion with Resolution 119 – 120

Cadential  Chord 121-122

ANALYSIS: all major and minor keys Analyzing a short composition based on learned 133 √ topics Supplement 92-93 Chorale Analysis Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

WRITING AN ANSWERING MELODY: all MAJOR KEYS ONLY

4 – measures 124 √

Melody Writing Using Chord Symbols Supplement 75 √

Supplement Non-chord Notes: Passing Notes 72-74 √ Auxiliary Notes 82-83 √ Appoggiatura 84-85 √ Anticipation 92-94 √

SCORE TYPES Short Score 100 Modern Vocal Score 102 √ Vocal Score using C Clefs 101 String Quartet 102 ORNAMENTS Acciaccatura 130 Appoggiatura 130 Recommended but not required Mordent 131 Trill 132 © 2021 Debra Wanless Music

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Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Total Theory Advanced/Theory 4 Rudiments Text by James Lawless & Debra Wanless

Conservatory Canada Student Tracking Chart THEORY 4: Student Name ______Topic Total Theory Assigned Chapter Comments Advanced Completed Challenge Rudiments (dates) (supplement) page(s) Results SCALES Major, Minor Scales See Total Theory Late Intermediate 5 - 8 Chromatic Scales Supplement 12-14 Whole Tone, Supplement Whole Tone (review) Pentatonic, Blues 10; 15 -18 C Blues ONLY required F & C Pentatonic ONLY required CHAPTER ONE (text and free download supplement) : C CLEFS

4 C Clefs: Alto & Tenor

Chapter Challenge 1 Supplement 19 CHAPTER TWO (text and free download supplement) : IRREGULAR, HYBRID OR MIXED METRE Simple & Compound 12 Consider using Rhythm Workbook 21 (W 269) for complete rhythmic Metre comprehension Irregular/Mixed/Hybrid Consider using Rhythm Workbook 21 13 - 16 (W 269) for complete rhythmic Metre comprehension

Supplement Irregular Groupings 24 & 25

Chapter Challenge 2 Supplement 26 CHAPTER THREE (text and free download supplement) : MODES White Key Authentic Modes Modes 20 – 29 ONLY required

Supplement 29

Chapter Challenge 3 Supplement 30 CHAPTER FOUR (text and free download supplement) : INTERVALS All simple intervals 30 with inversions

Intervals written below 31 a given note

Enharmonic 37 Equivalents Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Compound Intervals 33, 35 with inversion Finding the Key of a 41 & 42 Recommended but not required Given Interval

Chapter Challenge 4 Supplement 33

CHAPTER FIVE (text and free download supplement) : TRIADS Major & Minor 51 Symbols, inversions Triad Inversions 55

Close & Open Position Diminished & 52, 53 Augmented with inversions Triads in Major Keys 59 Triads in Harmonic 60

Minor Keys Major & Minor Chord Symbols, 51-53 Inversions 54 Chapter Challenge 5 Supplement 36 CHAPTER SIX ADVANCED (text and free download supplement): DOMINANT AND DIMINISHED SEVENTH CHORDS Dominant Seventh 71 -78 Chords with inversions

Close & Open Position 76 Figured Bass Diminished Seventh 83 - 85 Recommended but not required Chords Root Position V7- I/i Progression Supplement Chorale/SATB Style 40-42

Chapter Challenge 6 Supplement 43 CHAPTER SEVEN (text and free download supplement): TRANSPOSITION Up or Down Major or Minor Keys 86-88

94 Transposing for Various Supplement Instruments 48 & 49 Chapter Challenge 7 Supplement 50 CHAPTER EIGHT (text and free download supplement): SHORT SCORE AND OPEN SCORE SHORT & OPEN SCORE Open Score w. C Clefs 100- 102 Modern Vocal String Quartet Chapter Challenge 8 Supplement 55 Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

CHAPTER NINE (text and free download supplement): CADENCES Perfect Plagal 112 - 116 Imperfect Cadences Keyboard Style Chorale (SATB) Style 117 Supplement 7 Perfect V - I/i 40-42 (chapter 6)

Types of Motion 59-60

Interrupted V/V7-vi/VI 61-62

Supertonic Triad 63-65

Chapter Challenge 9 Supplement 66 CHAPTER TEN (text and free download supplement): MELODY WRITING Writing an answering 124 - 126 phrase Non chord notes: Supplement Passing Notes 72-74 Auxiliary Notes 82-83 Appoggiatura 84-85 Anticipation 92-94

Writing Melodies using Supplement 75 Chord Symbols

Chapter Challenge 10 Supplement 76 CHAPTER ELEVEN: (text and free download supplement): ORNAMENTS

Acciaccatura, 130, 131, 132 Recommended but not required

Appoggiatura, Mordent, Pralltriller Supplement Auxiliary Notes 80-81 Appoggiatura 82-83 (written melodic decoration) Chapter Challenge 11 Supplement 86 CHAPTER TWELVE: (text and free download supplement): ANALYSIS Analyzing a short composition based on 133 learned topics Chorale Analysis Supplement 92-93 The Anticipation Supplement 91-92 Chapter Challenge 12 Supplement 95 Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

CHAPTER THIRTEEN ADVANCED: (Supplement ONLY) : CHORALE (SATB) WRITING/ HARMONIC PROGRESSIONS IV/iv –V Progression 100 Supplement V7 – I Progression 40-42

Supertonic triads 61-63 (SATB)

V/V7-vi/VI Progression 59-60

Doubling of Notes 101-103

Hidden/Exposed Fifths 105 & Octaves

Crossing /Overlapping 106-107 Voices & Voice Leading Writing a Harmonic 108-109 Progression Supplement Harmonic Progressions 104 Chords & Cadence Supplement Review 98

Chapter Challenge 13 Supplement 110 CHAPTER FOURTEEN ADVANCED: (Supplement ONLY) : CHORALE (SATB) WRITING/ HARMONIC PROGRESSIONS (continued) Chords in First Supplement

Inversion 116 – 118 Dominant Seventh in Supplement First Inversion with 119 -120 Resolution Supplement Cadential Chord 121-122 Chapter Challenge 14 Supplement 123

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Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 1 Whole Tone, Chromatic, Pentatonic & Blues Scales

Whole Tone Scales (Review) The interval between every note in a whole tone scale is a whole tone. This scale consists of six different notes plus the upper tonic (seven notes total).

When writing whole tone scales on the staff, one line or space is always skipped. Any accidentals used should be the same – never mix sharps and flats in the same scale. Also, use as many naturals as possible – avoid writing E, F, B and C.

There are two possible ways of writing whole tone scales:

Since every note sounds the same distance apart (interval), any note in the whole tone scales shown could function as the tonic.

Exercise: Keyboard Play each of the above scales.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercise: Written Write the following Whole Tone Scales ascending ONLY beginning on the given notes. Use the given clefs, whole notes and accidentals ONLY.

Exercise: Keyboard Play each of the above scales.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Harmonic Chromatic Scales

The interval between every note in a chromatic scale is a semitone. This scale consists of twelve different notes plus the upper tonic (thirteen notes in total).

When writing chromatic scales on the staff never use the same letter name more than twice, and always begin and end on the same letter name.

Exercise: Keyboard On the piano keyboard, play all the keys (both white and black) from C to C.

Examples:

C Melodic Chromatic

C Harmonic Chromatic

There are two ways to write a chromatic scale: the melodic chromatic scale, and the harmonic chromatic scale. Although the melodic and harmonic chromatic scales are identical in sound, the notes on which each is written differ.

For the examination, ONLY the Harmonic Chromatic Scale is required. Harmonic Chromatic Scale

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercise: Written Write the following scales ascending and descending using accidentals ONLY and whole notes.

F Harmonic Chromatic in the alto clef

C sharp Harmonic Chromatic in the treble clef

A flat Harmonic Chromatic in the bass clef

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

B Harmonic Chromatic in the tenor clef

E flat Harmonic Chromatic in the treble clef

Exercise: Written Using the correct key signature, write the following harmonic chromatic scales in the bass clef descending ONLY. Use whole notes.

B flat Harmonic Chromatic

D Harmonic Chromatic

G flat Harmonic Chromatic

A Harmonic Chromatic

Exercise: Keyboard Play each of the previous harmonic chromatic scales.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Blues Scales

The blues scale is used in jazz and blues for colourful harmony and interesting melodies.

The blues scale consists of six different notes, plus the upper tonic (seven notes total).

When writing a blues scale, start with the natural minor

W ST ST W

The interval pattern in a blues scale is: minor 3rd whole tone semitone semitone minor 3rd whole tone

It is important to note that in the blues scale the raised fourth may be enharmonically altered to become a flattened fifth. example: F above may be written as G

Although Blues Scales may use any note as the tonic, for the examination, ONLY the C Blues Scale beginning on ANY note (of the C Blues Scale) is required.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercise: Written & Keyboard Write the following C Blues Scales ascending ONLY (based on the C Blues Scale) beginning on the given notes and using the given clefs. Use whole notes and accidentals ONLY. Play each scale.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Pentatonic Scales

The pentatonic scale consists of five different notes, plus the upper tonic (six notes total). Two types of the pentatonic scale are Major Pentatonic and Minor Pentatonic.

Major Pentatonic Scales When writing a major pentatonic scale, simply write the tonic major, omitting the fourth and the seventh scale degrees. The interval pattern in a major pentatonic scale is:

whole tone, whole tone, minor 3rd, whole tone, minor 3rd

The interval pattern of the major pentatonic scale is identical to the five black keys on the piano beginning on F / G plus the upper tonic.

Exercise: Keyboard Play the Major Pentatonic Scale beginning on F / G by playing the five black keys plus the upper tonic (F / G).

W W 4th omitted W 7th omitted

Exercise: Keyboard Play the following scales.

(4th) (7th)

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Although Major Pentatonic Scales may start on any note, for the examination, ONLY the C and F Major Pentatonic Scales are required. Examination questions may require starting on ANY note of either scale and may not include the use of the ‘Major’ label reading only ‘Pentatonic’.

Exercise: Written Write the following C or F Pentatonic Scales ascending ONLY beginning on the given notes and using the given clefs. Use whole notes and accidentals ONLY.

Exercise: Keyboard Play each of the above scales.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 1 (Co-requisite for all Level/ Grade 8 Practical Exams) /12 1. Name the following notes.

 ______ /16 2. Write the D flat Major scale as follows: • use the C tenor clef • use the accidentals ONLY, ascending and descending • use half notes • label the submediant using the correct Roman Numeral • mark the semitones with a slur

/12 3. Identify each of the following scales.

Scale Name: ______

/6 4. Write a harmonic chromatic scale, ascending ONLY beginning on the given note. Use eighth notes properly grouped for the given time signature. Use accidentals ONLY.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/12 5. Name the following intervals. Invert each interval and re-name.

______

/12 6. Complete the following measures by adding rests within the brackets.

/14 7. Name the key of the following melody. Key: ______Transpose the melody up a major 3rd. New Key: ______

/16 8. Label each cadence with the correct Roman Numerals. Name the key and the cadence.

Key: ______Key: ______

Cadence Name: ______Cadence Name: ______

Final Mark: ____/100

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 1 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. 7. G C A E A D A flat Major C Major 2.

3. 8. • C Pentatonic B flat Major V - I Perfect Cadence • C Blues A Minor i - V Imperfect Cadence

4. Answers page 11 Whole Tone Scales

th th th rd th nd aug4 dim5 min6 maj3 dim7 aug2

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers pages 13 & 14 Answers page 18 Harmonic Chromatic Scales Pentatonic Scales

Answers page 16 Blues Scales

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 2 Scale Review When asked to identify a type of scale, count the number of notes in the scale, and check the interval pattern. The following chart will help identify the different scale types. (W= Whole Tone; ST = Semitone)

Scale Type Number of Different Notes Pattern Major 7 + upper tonic = 8 total W W ST W W W ST Natural Minor 7 + upper tonic = 8 total W ST W W ST W W Harmonic Minor 7 + upper tonic = 8 total W ST W W ST W+ST ST ↑W ST W W W W ST Melodic Minor 7 + upper tonic = 8 total ↓W W ST W W ST W Chromatic 12 + upper tonic = 13 total move by semitones Whole Tone 6 + upper tonic = 7 total move by whole tones Pentatonic (Major) 5 + upper tonic = 6 total W W min3 W min3 Blues 6 + upper tonic = 7 total min3 W ST ST min3 W

Examination Scale Requirements

To identify or write scales using simple and compound (but not irregular) time signatures:

•Whole Tone Scale beginning on ANY note, without key signatures

To identify or write the following scales, using whole notes. Time signature and rhythm are not required:

•Chromatic Scale (harmonic form only) beginning on ANY note; with or without key signature

•Pentatonic Scale, beginning on ANY note of the C pentatonic or F pentatonic scale

•Blues Scale on C, beginning on ANY note (of C Blues), without key signature

All scales may be ascending or descending or both.

The starting note should be repeated at the octave.

Candidates will not be required to identify non-diatonic scales in analysis excerpts.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Irregular Note Groupings Review Sometimes groups of notes are used that are not common to the time signature. These groups, called tuplets, are marked by a number and a slur.

Triplets are the mostly commonly used tuplet and may appear in any time signature.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

For the examination, RHYTHM comprehension of simple, compound and irregular metre will be required within general questions.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 2 (Co-requisite for all Level/ Grade 8 Practical Exams) /12 1. Name the following notes.

 ______ /16 2. Write the E flat Minor Harmonic scale as follows: • use the C alto clef • use the correct key signature and necessary accidentals ascending ONLY • use quarter notes • label the supertonic using the correct Roman Numeral • mark the tone plus a semitone with a square bracket

/12 3. Identify each of the following scales.

Scale Name: ______

/6 4. Write a whole tone scale, ascending ONLY beginning on the given note. Use sixteenth notes properly grouped for the given time signature.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/12 5. Name the following intervals. Invert each interval and re-name.

______

/12 6. Complete the following measures by adding rests within the brackets.

/14 7. Name the key of the following melody. Key: ______Transpose the melody down a major 3rd. Name the new key. Key: ______

/16 8. Label each cadence with the correct Roman Numerals. Name the key and each cadence.

Key: ______Key: ______

Cadence Name: ______Cadence Name: ______

Final Mark: ____/100

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 2 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. 7. F B G D G C A Major F Major

8. 3. G Minor Perfect Cadence • F Pentatonic V - i • C Harmonic Chromatic B Major I - V Imperfect Cadence

note: C & D may be enharmonically alter to D & E

rd th th rd th nd maj3 min6 min6 maj3 dim7 aug2

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 3 Modes

Modes Review (see Total Theory Advanced Text page 28)

Mode Pattern Written As White Keys Dorian WSTWWWSTW Natural Minor, raised 6th D-D Phrygian STWWWSTWW Natural Minor, lowered 2nd E-E Lydian WWWSTWWST Major, raised 4th F-F Mixoydian WWSTWWSTW Major, lowered 7th G-G Aeolian WSTWWSTWW Natural Minor A-A Locrian STWWSTWWW Natural Minor, lowered 2nd & 5th B-B Ionian WWSTWWWST Major C-C

For the examination, ONLY the (authentic) white key modes listed above will be identified or written. Transposition, time signature and rhythm are not required.

Modes Written with Key Signatures Although transposition and key signatures are NOT required for the examination, the following chart will be useful in the event you are composing or improvising with modes. Mode Degree Built on Key Signature borrowed from major scale whose tonic is a major 2nd Dorian supertonic of the major below Example: F Dorian borrows the E Flat Major key signature borrowed from major scale whose tonic is a major 3rd Phrygian mediant of the major below Example: F Phrygian borrows the D Flat Major key signature borrowed from major scale whose tonic is a perfect 4th Lydian subdominant of the major below Example: F Lydian borrows C Major key signature borrowed from major scale whose tonic is a perfect 5th Mixoydian dominant of the major below Example: F Mixolydian borrows B Flat Major key signature borrowed from major scale whose tonic is a major 6th Aeolian submediant of the major below Example: F Aeolian borrows (natural minor) A Flat Major key signature borrowed from major scale whose tonic is a major 7th Locrian leading-note of the major below Example: F Locrian borrows G Flat Major key signature Ionian tonic of the major borrows tonic major scale key signature (major)

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 3 (Co-requisite for all Level/ Grade 8 Practical Exams) /12 1. Name the following notes.

 ______ /16 2. Write the G sharp Minor Melodic scale from supertonic to supertonic as follows: • use the G clef • use the correct key signature and necessary accidentals ascending and descending • use dotted half notes • label the dominant using the correct Roman Numeral • mark the semitones with a slur

/12 3. Identify each of the following modes.

Mode Name: ______

/6 4. Write a harmonic chromatic scale, ascending ONLY beginning on B. Use the correct key signature and whole notes.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/12 5. Write the following intervals above the given notes. Invert each interval and re-name.

th th diminished 4 _____ augmented 5 _____ minor 6th _____

/12 6. Complete the following measures by adding rests within the brackets.

/14 7. Name the key of the following melody. Key: ______Transpose the melody up a major 6th. New Key: ______

/16 8. Complete the following cadences in keyboard style and label each cadence with the correct Roman Numerals. Name the key and the cadence.

Key: ______Key: ______

Cadence Name: ______Cadence Name: ______

Final Mark: ____/100 Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 3 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

7. 1. C Minor A Minor C B F D B F

3. • E Phrygian • G Mixolydian

A Major V - I Perfect Cadence

5. D Minor i - V Imperfect Cadence

dim4th aug5th aug5th dim4th min6th maj3rd

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 4 Advanced/Theory 4 Chapter Challenge number 4 (Co-requisite for all Level/ Grade 8 Practical Exams)

/12 1. Name the following notes. Write the enharmonic equivalent for each of the following notes.

______ /16 2. Write the enharmonic major scale for D flat Major from mediant to mediant as follows: • use the F clef • use the correct key signature ascending and descending • use sixteenth notes in groups of four • label the subdominant using the correct Roman Numeral • mark the semitones with a slur

/12 3. Identify each of the following scale/modes.

Scale/Mode Name: ______

/6 4. Write the B Locrian Mode, descending ONLY. Use the bass clef and whole notes.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/12 5. Name the following intervals. Invert each interval and re-name.

______

/12 6. Complete the following measures by adding rests within the brackets.

/14 7. Name the key of the following melody. Key: ______Transpose the melody up a major 2nd. New key: ______

/16 8. Write the following cadences in SATB style. Name the key. Use the given key and time signatures. Label each cadence with the appropriate Roman Numerals.

Perfect Cadence Plagal Cadence Major Key: ______Minor Key: ______

Final Mark: ____/100

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 4 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. two possible answers for each 7.  F Minor  G Minor

         F E G B A C G F A D C E

2. 8. one possible answer for each

E Major

3. • F Lydian • C Pentatonic C Minor

maj10th min6th min9th maj7th dim11th aug5th

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 5 Advanced/Theory 4 Chapter Challenge number 5 (Co-requisite for all Level/ Grade 8 Practical Exams)

/16 1. Write the following triads using accidentals and whole notes.

  A Minor D Augmented E flat Major B Diminished root position second inversion first inversion root position

/12 2. Write the enharmonic major scale for F sharp Major from supertonic to supertonic as follows: • use the C alto clef • use accidentals ONLY ascending and descending • use dotted half notes • label the dominant using the correct Roman Numeral • mark the semitones with a slur

/12 3. Identify each of the following scales/modes.

Scale/Mode Name: ______

Scale/Mode Name: ______Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

 /9 4. Write the C Blues scale beginning on E , ascending ONLY. Use the bass clef and whole notes.

/9 5. Name the following intervals. Invert or enharmonically alter each interval as directed below. Re-name each interval.

Name: ______invert enharmonically invert alter the upper note

/12 6. Complete the following measures by adding rests within the brackets.

/14 7. Name the key of the following melody. Key: ______Re-write the melody in the F clef at the same pitch.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/16 8. Name the key of the following passage. Name the chord as E Major, D Minor, C Major, etc.

Identify each chord with the correct Roman Numeral and figured bass. ( I, I6, I, etc.)

Key: ______

Chord name: ______

Roman Numeral & figured bass: ______

Final Mark: ____/100

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Advanced/Theory 4 Chapter Challenge number 5 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. 6.

2. 7. A Major

3. • C Natural Minor • D Dorian 8.

E Major

E Major A Major B Major E Major 4. I IV6 V I6

min9th maj7th p5th dim6th aug11th dim5th

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 6 Dominant Seventh Chords within a Perfect Cadence The dominant seventh chord may replace a dominant triad in a perfect cadence (V7–I). The dominant seventh chord has an active sound and requires resolution. The dominant seventh chord must be followed by a chord of resolution or rest. To create an effective V7–I progression with proper voice leading or note movement, it will be important to think about ‘how the notes move’ into the tonic chord.

The following chart provides appropriate voice leading of note movement for an effective perfect cadence using the V7–I progression.

*Any chord may have the root tripled and the fifth omitted to create a smoother progression. Never omit the third of the chord.

Example: The notes of the V7 may be written in any order above the root of the chord.

i * All of the tonic chords of resolution above have a tripled tonic and omitted fifth.

*The  written below the 7 in the G minor example above indicates that the third of the chord is raised because it is the raised leading note of the harmonic minor scale.

Remember: to label the dominant seventh chord with an upper case Roman Numeral V (V7) in both major and minor keys. However, in a major key the tonic chord is major and is labelled with an upper case Roman Numeral I while the tonic triad in a minor key is minor and labelled with a lower case Roman Numeral i.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercises: Written & Keyboard 1. Name the key. 2. Using the resolution chart on the previous page, correctly resolve the following dominant seventh chords to the tonic chord. 3. Play each progression/ perfect cadence.

Key: ______Key: ______Key: ______Key: ______

Remember: chords may also be labelled with chord symbols such as: G7 = V7 C = C major triad Cm = C minor triad

Exercises: Written Add the appropriate chord symbols above the staff for each of the above perfect cadences.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercises: Written & Keyboard 1. Write the V7- I/i progression for each of the following keys. Use the correct key signature. 2. Label each chord with the appropriate Roman Numerals and figured bass. 3. Use whole notes. 4. Play each progression/perfect cadence.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 6 (Co-requisite for all Level/Grade 8 Practical Exams)

/16 1. Write the following dominant seventh chords using a key signature, any necessary accidentals and whole notes. Add the correct Roman Numeral and figured bass for each chord.

 D Major G Minor A flat Major F sharp Minor first inversion second inversion root position third inversion Roman Numerals & figured bass:

______

/12 2. Write the tonic harmonic minor scale for B flat Major from mediant to mediant ascending  and descending as follows: • use the F clef • use a key signature and any necessary accidentals • use eighth notes in groups of four • label the submediant using the correct Roman Numeral • mark the semitones with a slur and the tone plus a semitone with a bracket

/12 3. Identify each of the following modes/scales.

Mode/Scale Name: ______

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/8 4. Write a whole tone scale, descending ONLY beginning on D. Use the given clef, time signature, sixteenth notes properly grouped and any necessary rests.

/10 5. Complete and name the following intervals as directed below. Invert and re-name each interval.

write a diminished 7th invert invert below the given note

Name: ______

/12 6. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:

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/14 7. Name the key of the following melody. Key: ______Re-write the melody using the correct clef sign at the same pitch for the viola.

/16 8. Name the key of the following passage. Name the root of each chord. Name the chord as E Major, D Minor, C Major, etc. Identify each chord with the correct Roman Numeral and figured bass. ( I, I, IV6, etc.)

Key: ______

Root: ______

Chord name: ______

Roman Numeral & figured bass: ______

Final Mark: ____/100

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Advanced/Theory 4 Chapter Challenge number 6 Answers (Co-requisite for all Level/Grade 8 Practical Exams)

6 4 7 (S) W S (W) S W S (W) V 5 V 3 V V

2. 7. D sharp Minor

3. • G minor melodic 8. • C Blues scale G Minor

D G C D Major G Minor C Minor 4. V i iv 

th nd th th dim7 aug2 aug10 dim6

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers page 41 V7-I Progressions possible answers

ANSWERS page 42 V7-I Progressions possible answers

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Chapter 7 Other Instruments Requiring Transposition

A Instruments

A instruments such as the clarinet sound a minor third below concert pitch (i.e. when this instrument plays C, it sounds the A below). Therefore the printed parts for the A instrument must be transposed UP a minor third to sound in concert pitch.

Concert Pitch A Clarinet – transposed up a minor 3rd

sound the same

D Instruments

D instruments such as the trumpet sound a major second above concert pitch (i.e. when this instrument plays C, it sounds the D above). Therefore the printed parts for the D instrument must be transposed DOWN a major second to sound in concert pitch.

Concert Pitch D Clarinet – transposed down a minor 2nd

sound the same

Remember: when the work/passage is already scored for a particular instrument, the transposition process is simply reversed. (seeTotal Theory Advanced text page 97) A Instruments: when the music is already scored for an A Instrument and it is necessary to transpose the passage to read in Concert Pitch – transpose DOWN a minor third. D Instruments: when the music is already scored for a D Instrument and it is necessary to transpose the passage to read in Concert Pitch – transpose UP a major second.

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Exercise: Written For each of the following melodies: 1) name the key 2) transpose the melody for the instruments to sound in concert pitch 3) Use the correct key signature

A Clarinet

D Trumpet

A Clarinet

D Trumpet

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Advanced/Theory 4 Chapter Challenge number 7 (Co-requisite for all Level/Grade 8 Practical Exams)

/16 1. Write the following dominant seventh chords using a key signature, any necessary accidentals and whole notes. Add the correct Roman Numeral and figured bass for each chord.

 C sharp Major F Minor E flat Major B flat Minor second inversion first inversion root position third inversion Roman Numerals & figured bass:

______



/12 2. Write the relative melodic minor scale for B Major from subdominant to subdominant as follows: • use the alto C alto clef • use accidentals ONLY ascending and descending • use sixteenth notes in groups of four • label the leading note using the correct Roman Numeral • mark the semitones with a slur

/8 3. Identify each of the following modes.

Mode Name:

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/12 4. Write a perfect cadence using a V7- I progression in E flat Major. Use the correct key signature, whole notes and label each chord with Roman Numerals and figures.

/10 5. Complete and name the following intervals as directed below. Invert and re-name each interval.

write a augmented 6th invert invert below the given note

Name: ______

/12 6. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:

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/14 7. Name the key of the following melody. Key: ______Transpose the melody for the instruments indicated to sound in concert pitch.

B flat trumpet

Viola

Key: ______

Root: ______

Chord name: ______

Roman Numeral & figured bass: ______

Final Mark: ____/100

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Advanced/Theory 4 Chapter Challenge number 7 Answers (Co-requisite for all Level/Grade 8 Practical Exams) 1.

6. 7 S W (MW) (S) W M (W) S (W) M W V 4 V 6 V V 4 3 V 5 2

7. 2. B Minor

• A Aeolian • B Locrian

G flat Major 4. one possible answer   F G C F diminished G major C major viio6 i iv6

aug6th dim3rd p12th p4th

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers pages 49 transposition for instruments

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

54 Total Theory Advanced Rudiments Supplement© 2021 DWM Chapter 8 Advanced/Theory 4 Chapter Challenge number 8 (Co-requisite for all Level/ Grade 8 Practical Exams) /16 1. Write the following dominant seventh chords accidentals ONLY. Use the F clef and whole notes. Add the correct Roman Numeral and figured bass for each chord.

 E Major A sharp Minor F Major C Minor root position first inversion third inversion second inversion Roman Numerals & figured bass:

______



/12 2. Write the major scale with F sharp as the leading note ascending and descending as follows: • use the C tenor clef • use the correct key signature • use dotted half note • label the mediant using the correct Roman Numeral • mark the semitones with a slur and the lower tetrachord with a bracket

/12 3. Identify each of the following modes.

Mode name:

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

55 Total Theory Advanced Rudiments Supplement© 2021 DWM /8 4. Write a perfect cadence using a V7- i progression in B minor using the correct key signature. Use whole notes and label each chord with Roman Numerals and figures.

/6 5. Complete and name the following intervals as directed below. Invert and re-name each interval.

write a augmented 2nd invert invert below the given note

Name: ______

/12 6. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:

/7 7. Name the key of the following melody. Key: ______Transpose the melody for the instrument indicated to sound in concert pitch.

F French horn

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/16 8. Using the Roman Numerals and figured bass below, write the following chords in open position in the key of D Minor. Use the correct key signature, any necessary accidentals

and whole notes. Name the root of each chord. Name the chord as E Major, D Minor, etc.

V i6 iv

Root: ______

Chord name: ______

/11 9. Re-write the following passage using String Quartet Score.

Final Mark: ____/100 Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

7. E Minor V7 V 6 V 4 V 4 5 2 3

8. one possible answer

3. • E Phrygian • G Mixolydian V i6 iv A D G A major D minor G minor

4. one possible answer 9.

aug2nd dim7th dim10th aug6th

6. S W (S) W S W

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 9 Types of Motion Between Voices When writing in chorale style or for SATB, consideration must be given to the way parts or voices move together. When writing a chord progression, parallel or similar motion between two consecutive voices must never include the intervals of a perfect fifth or a perfect octave.

Examples:

1. Parallel consecutive perfect fifths occur between the bass and tenor. Parallel consecutive perfect octaves occur between the bass and soprano. Both are considered incorrect and sound weak. If one of the consecutive fifths is diminished the parallel movement is acceptable.

2. Parallel consecutive sixths occur between the alto and soprano. Parallel consecutive thirds and sixths may be used freely.

3. Parallel consecutive perfect octaves occur between the bass and tenor. Parallel consecutive perfect fifths occur between the bass and alto and between the tenor and alto. These intervals are considered to be incorrect.

Remember: compound intervals are greater than one octave. A perfect twelfth is a compound perfect fifth as in example 3 above.

Remember: the IV/iv-V progression has no note in common. In this case, the most effective way to write the progression and avoid parallel consecutive perfect fifths and consecutive perfect octaves is to have the three upper voices move contrary (opposite direction) to the bass.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercise: Written & Keyboard 1. Name the key for each passage. 2. Find and identify (as in the previous examples) any parallel consecutive perfect fifths or perfect octaves. 3. Write chord symbols above the staff to identify the implied harmony. 4. Play each exercise.

Key:______

Remember: when writing in chorale/SATB style the motion between all voices must be considered. Example: Bass to Tenor; Bass to Alto; Bass to Soprano Tenor to Alto; Tenor to Soprano Alto to SopranoChapter 9

Exercise: Written & Keyboard 1. Name the key. Key: ______2. Find and identify (as in previous examples) any parallel consecutive perfect fifths or perfect octaves. 3. Label all chords with Roman Numerals and figures. 4. Play each exercise.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Interrupted or Deceptive Cadence The interrupted or deceptive cadence is another type of non-final cadence. It ends on the submediant (vi/VI) chord. The submediant chord in an interrupted or deceptive cadence is preceded by the dominant (V) chord. The interrupted or deceptive cadence provides a feeling of surprise. The ear is anticipating a V-I progression but is surprised or interrupted by the use of the submediant chord (V-vi/VI). Examples: For the examination, the Interrupted or Play the following interrupted cadences. Deceptive Cadence will be labelled as an Interrupted Cadence ONLY.

interrupted cadence interrupted cadence interrupted cadence There are no common notes between the dominant and submediant chords of an interrupted cadence. The most effective way to write the V-vi/VI progression is by doubling the third of the submediant, thus allowing two voices to rise and two voices to fall. This allows the leading note to rise naturally to the tonic.

The same doubling applies for both major and minor keys. Exercises: Written & Keyboard Exercise:1. Write Written the &following Keyboard interrupted cadences. 1. 2.Add Use the the missing correct notes key signature to each chord and whole to complete notes. the following interrupted cadences in SATB style. 2. 3.Label Label each all chordchords with with the appropriate appropriate Roman Roman Numerals. Numeral s. 3. 4.Play Play all all cadences. cadences.

Remember: in major keys the submediant triad is minor and labelled as vi; in minor keys the submediant triad is major and labelled as VI.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Remember: the interrupted cadence or V-vi/VI ALWAYS requires special treatment

1. double the third of vi/VI 2. two voices rise and two voices fall (leading note rises to tonic)

Exercises: Written & Keyboard 1. Write interrupted cadences for each of the given keys. Note: the interrupted cadence may use V7 2. Use the correct key signature and whole notes. instead of V. In this case, resolve the V7 notes 3. Label all chords with the appropriate Roman Numeral. as on page 40. The root rises to the new root 4. Play all cadences. (the submediant) – the 3rd of vi/VI is doubled.

Remember: the IV/iv-V progression also has no note in common. In this case, the most effective way to write the progression and avoid parallel consecutive perfect fifths and consecutive perfect octaves is to have the three upper voices move contrary (opposite direction) to the bass. It is possible to also write the V-vi/VI progression in the same way (three upper voices move contrary to the bass).

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Supertonic Chord The supertonic chord is built on the second degree of the scale. The most commonly used chords are primary chords which are the tonic (I/i), subdominant (IV/iv) and dominant (V) chords. The supertonic chord is known as a secondary chord. In a major key the supertonic chord is a minor chord which is labelled as ii.

For the examination, the supertonic chord will be used ONLY in major keys.

Examples:

The first inversion of a secondary chord, such doubled doubled as the supertonic root third chord, should double the bass note.

C major C major

The supertonic chord is an excellent approach chord or pre-cadential chord to a perfect cadence. Example:

C major

pre- cadential perfect cadence Example: chord

Remember: when writing in chorale or SATB style the interval between the soprano and alto voices or the alto and tenor voices must not exceed one octave. The interval between the tenor and bass voices may be as large as a twelfth (one octave plus a fifth). C major

pre-cadential perfect cadence chord

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Special Treatment Progressions using the Supertonic Chord The progression I-ii requires special treatment. Like the progressions IV/iv-V or V-vi/VI there are no common notes between the two chords. To create an effective progression and avoid parallel consecutive perfect fifths and consecutive perfect octaves, the three upper voices should move contrary to the bass. (Example 1 below)

Progressions with two common notes maintain the same notes in the same voice. The other two voices should move as smooth as possible. (Example 2)

Exercises: Written & Keyboard Remember: plan all special 1. Write the following cadences using the given key. treatments for progressions with no 2. Name each cadence. common note. Resolve each 3. Play each cadence. dominant seventh appropriately.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercises: Written & Keyboard Harmonize the following progressions for SATB. Name the key and cadence for each. Label all chords with Roman Numerals (some chords have been given). Play each progression.

Remember: check all voices in each progression for parallel consecutive perfect fifths and perfect octaves.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 9 (Co-requisite for all Level/ Grade 8 Practical Exams) /12 1. Write four different dominant seventh chords using E as the lowest note. Use accidentals ONLY and name the major key. Label each chord with the correct Roman Numeral and figured bass.

 

_____ Major _____ Major _____ Major _____ Major

root position first inversion second inversion third inversion

Roman Numerals & figured bass:

______



/10 2. Write the A flat Major scale from supertonic to supertonic descending ONLY as follows: • use the G clef • use the correct key signature • use sixteenth notes in groups of four • label the submediant note using the correct Roman Numeral • mark the semitones with a slur and the upper tetrachord with a bracket

/10 3. Write the G Mixolydian Mode ascending ONLY as follows: • use the F clef • use accidentals ONLY • use whole notes • mark the semitones with a slur

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/8 4. Harmonize the following progression for SATB. Name the key and the cadence.

/6 5. Complete and name the following intervals as directed below. Invert and re-name each interval.

th write a diminished 11 invert invert below the given note

Name: ______

/10 6. Complete the following measures by adding rests within the brackets.

Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests. Accents:

/7 7. Name the key of the following melody. Key: ______Transpose the melody for the instrument indicated to sound in concert pitch.

Paganini

D Trumpet

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/16 8. Using the Roman Numerals and figured bass below, write the following chords in open position (SATB) in the key of C sharp Minor. Use the correct key signature, any necessary accidentals and whole notes. Name the root of each chord. Name the chord as E Major, D Minor, C Major, etc.

V VI6 iv

Root: ______

Chord name: ______

/10 9. Name the key. Add a cadence in SATB style at the end of each phrase. Name each cadence as perfect, plagal, imperfect or interrupted and identify each cadence chord using Roman Numerals. Complete all bass clef measures with appropriate rest.

Key: ______

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/11 9. Re-write the following passage using Modern Vocal Score.

Final Mark: ____/100

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 9 Answers (Co-requisite for all Level/ Grade 8 Practical Exams) 1. 8. one possible answer

A Major F Major D Major B Major

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

3. 9. one possible answer

E Minor

4. one possible answer

aug11th dim5th aug un dim 8ve 10.

6. S W (M W) S (W M W) S (W)M (W)

7. F Minor

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers pages 60 consecutives Answers pages 64 & 65 supertonic chord one possible answer

7 G Am G Em Am D G

Answers pages 61 interrupted cadences

Answers page 62 one possible answer IV V submediant chord/interrupted cadences imperfect

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 10 Non-Chord Notes/Tones A non-chord note is a note which does not belong to the basic harmony but adds rhythmic and melodic interest to the musical line.

Possible CEG FAC GBD Chord Notes Scale Degree I IV V

*the B is a non-chord note because it does not belong to the F major (FAC) chord

In measure two of the above example, the B moves by step between two chord notes (A and C) which are the interval of a third apart. The B is called a passing note and is considered to be unaccented because it is written on the second half of beat one (an unaccented portion of the beat).

Exercise: Keyboard Play the melody above and add blocked triads in the left hand.

Unaccented Passing Notes

The circled notes in the above example are unaccented passing notes (UPN) because: 1. the notes proceed by step in scalar motion between two chord notes 2. the notes occur on a weak beat (measure 1) or on a weak part of the beat (measure 3)

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercise: Written & Keyboard 1. Name the key for each of the following melodies. 2. Write the chord symbols above the staff. 3. Circle and label all unaccented passing notes (UPN). 4. Play each melody adding blocked triads in the left hand.

Accented Passing Notes Passing notes may also occur on a strong beat or strong part of the beat. Passing notes occurring on the strong beat or strong part of the beat are called accented passing notes (APN).

Note: a line of continuation may be used to indicate the harmony is extended for more than 1 beat

In the above example, the first passing note is an accented passing note since it occurs on beat two and moves by step to the chord note on the second sixteenth note A (part of the F major chord).

The two remaining passing notes are unaccented passing notes since they occur on the weak parts of the beat. Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercise: Written & Keyboard 1. Name the key for each of the following melodies. 2. Write the chord symbols above the staff. 3. Add unaccented passing notes (UPN) and accented passing notes (APN) to the given melodies. Circle and label each non-chord note. 4. Play each melody adding blocked triads in the left hand.

Hint: look for chord notes written the interval of a third apart to effectively add passing notes

Additional Passing Note Exercises: may be created by examining and labelling/writing passing notes within the given examples and exercises in the Total Theory Advanced text pages 115 to129.

For the examination, unaccented passing notes may be written in any voice. Accented passing notes will be written in SAT voices ONLY.

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Writing Melodies using Chord Symbols

Examination Melody Writing Requirements Write a four-bar phrase to complete a given four-bar melody (may include an anacrusis): •the added phrase must be musically designed and must end on a note of the tonic triad •the range of the melody may exceed one octave, and may move above and/or below the tonic •identify by name and chord symbols the probable cadences implied at the end of each phrase

When functional chord symbols are given, melody notes should include notes of the given chord. However, it is also possible to include various non-chord notes ie passing notes.

Exercise: Written and Keyboard 1. Name the key. Key: ______2. Complete the melody based on the given chord symbols. Create two four-measure phrases. 3. Complete phrase one melody and write a cadence in keyboard style. Write an answering melody for the second phrase and write a chorale/SATB style cadence at the end of phrase two. 4. Name each cadence as perfect, plagal, imperfect or interrupted. Identify each chord of the cadences using Roman Numerals. 5. Circle and label all non-chord notes. Include at least TWO different non-chord notes in the answer phrase. 6. Complete all bass clef measures with appropriate rests. 7. Play the melody adding blocked triads in the left hand.

For expanded information regarding Melody Writing, such as melodic span, motion and shape; writing in sequence or inversion; writing using non-chord notes - consider using Elementary Harmony & Melody Writing WAN 837 (see page 129).

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 10 (Co-requisite for all Level/ Grade 8 Practical Exams) /12 1. Write four different dominant seventh chords using B flat as the lowest note. Use accidentals ONLY, whole notes and name the major key. Label each chord with the correct Roman Numeral and figured bass.

 _____ Major _____ Major _____ Major _____ Major root position first inversion second inversion third inversion

Roman Numerals & figured bass:

______



/10 2. Write the D sharp Minor Harmonic scale from mediant to mediant ascending ONLY as follows: • use the C alto clef • use the correct key signature and any necessary accidentals • use dotted half notes • label the tonic note using the correct Roman Numeral • mark the semitones with a slur and the interval of a tone plus a semitone with a bracket

/10 3. Write the F Lydian Mode descending ONLY as follows: • use the tenor clef • use accidentals ONLY • use whole notes • mark the semitones with a slur

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/10 4. Harmonize the following progression for SATB. Name the key and the cadence.

/4 5. Name the following interval. Re-write the interval enharmonically altering the upper note and re-name.

Name: ______

/10 6. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:



/7 7. Name the key of the following melody. Key: ______Transpose the melody for the instrument indicated to sound in concert pitch.

A Clarinet

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/16 8. Using the Roman Numerals and figured bass below, write the following chords in SATB style in the key of F Major. Use the correct key signature and whole notes. Name the root of each chord. Name the chord as E Major, D Minor, C Major, G7, etc.

6 I vi V 5

Root: ______

Chord name: ______

/10 9. Name the key. Complete the melody of phrase one and write an answering four-measure phrase. Add a cadence in keyboard style at the end of phrase one and a chorale/SATB style cadence at the end of phrase two. Name each cadence as perfect, plagal, imperfect or interrupted and identify each chord using Roman Numerals. Circle and label all non-chord notes. Complete all bass clef measures with appropriate rests.

Key: ______

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/11 10. Re-write the following passage using String Quartet score. Name each instrument.

Final Mark: ____/100

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 10 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

6. S (W) S W (S) W    E Major C Major A Major F Major 7 V7 V 6 V 4 V 4 5 3 2

7. C Minor

8. one possible answer

6 V 5 I vi

C F D C7 (V7 of F Major) F major D minor

9. one possible answer Note: the UPN in ms. 1 & 5 could also be called APN 5. G Major because they occur on a beat.

dim12th aug11th

I V imperfect cadence

V I perfect cadence

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

10. Answers page 75 one possible answer Bach

violin I melody writing

violin II

viola

violoncello I V imperfect

Answers page 73 passing notes

perfect cadence

Answers page 74 one possible answer passing notes

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 11 For the examination, the realization of ornaments is not required. Instead melodies may be decorated by the addition of required non-chord notes which move similarly to some ornaments.

Other Non-Chord Notes Auxiliary Notes Auxiliary notes are non-chord notes which decorate repeated harmony notes. Auxiliary notes move in the same manner as the Mordent ornament but are written as part of the melody.

The circled notes in the above examples are auxiliary notes (A). Upper auxiliary notes (UA) step up from the harmony note and return. Lower auxiliary notes (LA) step down from the harmony note and return.

Auxiliary Notes: (see numbered examples below) 1. decorate repeated harmony notes 2. may be accented (A_A) or unaccented (U_A) (note: the _ will identify Upper/Lower =U/L) 3. upper auxiliary notes (_UA) step up to the next scale note and return (note: the _ will identify Accented/Unaccented =A/U) 4. lower auxiliary note (_LA) generally step down a semitone and return. Lower auxiliary notes may require an accidental to create the semitone.

For the examination, unaccented upper and lower auxiliary notes may be written in any voice. Accented upper and lower auxiliary notes will be written in SAT voices ONLY.

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Exercise: Written & Keyboard 1. Name the key for each excerpt below. 2. Circle and label all passing notes (PN) and auxiliary notes (UP/LA). Indicate if the non-chord notes are accented or unaccented (UPN, ULA, etc.) 3. Play each excerpt.

Exercise: Written & Keyboard 1. Name the key. 2. Decorate the following melody by adding auxiliary or passing notes in each measure. Label all non-chord notes. 3. Add chord symbols above the melody to indicate the implied harmony. Identify the cadence. 4. Play the melody and add blocked triads in the left hand.

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Appoggiatura The appoggiatura is a non-chord note which displaces the harmony note in the same manner as the ornament of the appoggiatura. The appoggiatura creates a discord and should never create a new chord. The appoggiatura occurs on the strong beat and resolves by step to the harmony note. The best approach to an effective appoggiatura is by leap. The resolution or harmony note should step in the opposite direction or within the interval of the leap.

non-chord tone

The appoggiatura should not displace a doubled chord note.

For the examination, appoggiaturas will be written in the SAT voices ONLY.

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Exercise: Written & Keyboard 1. Name the key. 2. Provide a Roman Numeral analysis. 3. Decorate the following melody by adding appoggiaturas in the missing voices. 4. Add at least one other type of non-chord note in each voice. Circle and label all non-chord notes. 5. Play each exercise.

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Advanced/Theory 4 Chapter Challenge number 11 (Co-requisite for all Level/ Grade 8 Practical Exams) /12 1. Name the key for each of the following chords. Identify each chord type. Label each chord with the correct Roman Numeral and figured bass.

 _____ Major _____ Minor _____ Major _____ Minor

Chord type: ______

Label: ______



/10 2. Write the B flat Minor melodic scale from subdominant to subdominant ascending and descending as follows: • use the F clef • use accidentals ONLY • use sixteenth notes in groups of four • label the supertonic notes using the correct Roman Numeral • mark the semitones with a slur

/10 3. Write the E Phrygian Mode ascending ONLY as follows: • use the C tenor clef • use accidentals ONLY • use dotted half notes • mark the semitones with a slur

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/10 4. Write a harmonic chromatic scale beginning on A descending ONLY. Use the alto clef, correct key signature and whole notes.

/4 5. Name the following interval. Invert the interval and re-name.

Name: ______

/10 6. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:

/6 7. Name the key of the following melody. Key: ______Transpose the melody for the instrument indicated to sound in concert pitch.

B flat Clarinet

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/6 8. Name the chord as D major, F diminished, etc.

Chord: ______

/10 9. Name the key. Write an answering 4-measure phrase. Circle and label all non-chord notes. Add a cadence in keyboard style at the end of phrase one and an SATB style cadence at the end of phrase two. Name each cadence as perfect, plagal, imperfect or interrupted. Identify each cadence chord using Roman Numerals. Complete all bass clef measures with appropriate rests.

Key: ______

Roman Numerals: ______

Cadence Name: ______

Roman Numerals: ______Cadence Name: ______

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/10 10. Re-write the following passage using Short Score in SATB style.

/12 11. Harmonize the following progression for SATB. Name the key and the cadence.

Final Mark: ____/100

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Advanced Chapter Challenge number 11 Answers (Co-requisite for all Level/ Grade 8 Practical Exams) 1.

8.   G Major B Minor D Major C Minor dominant 7th dominant 7th dominant 7th dominant 7th A flat augmented B diminished F major

V 4 V 6 V 4 V7 3 5 2 9. one possible answer

2. D Major

5. 10.

min13th maj3rd

6. S (W W) S (W) W S (W W)

11. one possible answer 7. C sharp Minor

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Answers page 83 non-chord notes

G major

F major

D major

one possible answer

Answers page 85 possible answers non-chord notes

V 4 3

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Chapter 12 Chorale Analysis When providing a complete harmonic analysis for a chorale/SATB passage it is important to study each chord carefully. Then provide the correct Roman Numeral and figures directly below each chord as directed in Total Theory Advanced page 57, 59, 60 & 76.

Name all cadences.

Always circle and label all non-chord notes. It is important to note that non-chord notes may be labeled in various ways: • Passing notes (PN) – these notes should also be labelled as accented (A) or unaccented (U) • Auxiliary note (A) – these notes should also be labelled as accented (A) or unaccented (U) and as upper (U) or lower (L) • Appoggiatura (APP)

The Anticipation The anticipation is a non-chord note which anticipates, or sounds, the new harmony note before the chord changes. The anticipation acts like a pickup or upbeat to the harmony note and is written at the cadence generally in the soprano voice. It is generally a shorter time value than the harmony note and appears on the weak part of the beat.

The F in the soprano anticipates the tonic harmony on the last quarter of beat three.

Exercise: Keyboard Play each example.

• Anticipation (ANT)

For the examination, the anticipation will be written in the SAT voices ONLY.

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Exercise: Written & Keyboard Provide a complete harmonic analysis for each of the following chorale/SATB passages as suggested above. Play each excerpt.

Key: ______

Note: The following chorale has two cadences.

Key: ______

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Exercise: Written & Keyboard 1. Name the key for each melody below. 2. Write chord symbols for the implied harmony above the staff. 3. Circle and label all non-chord notes. 4. Play all melodies adding blocked chords in the left hand.

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Advanced/Theory 4 Chapter Challenge number 12 (Co-requisite for all Level/ Grade 8 Practical Exams) /4 1. Write an augmented 11th above the given note. Invert the interval in the given space and re-name.

  aug 11th Name:______ /10 2. Write the enharmonic major scale for B Major descending ONLY as follows: • use the C alto clef • use accidentals ONLY • use whole notes • label the dominant note using the correct Roman Numeral • mark the semitones with a slur and the upper tetrachord with a bracket

/10 3. Write the D Dorian Mode ascending ONLY as follows: • use the F clef • use accidentals ONLY • use quarter notes • mark the semitones with a slur

4. Harmonize the following /10 progression for SATB. Name the key and the cadence.

6 Key: ______vi i V V7 I

Cadence:______

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/10 5. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:

/6 6. Name the key of the following melody. Key: ______Transpose the melody written for F Horn to read in Concert Pitch.

F Horn

Concert Pitch

/6 7. Name the following chords as D major, F diminished, etc. Identify the position.

Chord: ______

Position: ______

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/15 8. Name the key. Write an answering four-measure phrase. Add a cadence in keyboard style at the end of phrase one and an SATB style cadence at the end of phrase two. Name each cadence as perfect, plagal, imperfect or interrupted. Identify each cadence chord using Roman Numerals. Complete all bass clef measures with appropriate rests.

Key: ______

Roman Numerals: ______Cadence Name: ______

/6 9. Identify each of the following modes/scales.

Mode/Scale Name: ______

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/10 10. Re-write the following passage using Short Score in SATB style.

/13 11. Provide a complete harmonic analysis for the following chorale passage. Circle and label all non-chord notes and name the cadence.

Key: ______

Final Mark: ____/100

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Advanced/Theory 4 Chapter Challenge number 12 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. 8. one possible answer

dim 5th F Minor 2.

4. 9. • F Pentatonic • C Whole Tone

10.

5. S (W) M (W) (S) W (M W) (S) W (M) W

11. 6. UPN UPN ANT C Minor

6 6 66 6 6 i i V i V i V iv 5 i iv VI iv V i ____

perfect cadence 7.

D minor G augmented A diminished nd st 2 inversion root position 1 inversion

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Answers pages 93 chorale analysis

E Minor

i V iv i6 i iv i V V7 i perfect cadence E Minor

6 6 i i i iv iv V i i V i V i imperfect cadence perfect cadence

G Minor

G Major ULA Answers page 94 non-chord notes/anticipations

perfect cadence

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Chapter 13 Chorale Writing

Chords & Cadence Review (A chord/harmonic progression occurs when two or more chords are written in succession.) Cadence Progression Description • bass notes = dominant to tonic 7 Perfect Cadence Major: V – I or V - I • double the root of each chord (except when writing the V7 chord –resolve as (Final) Minor: V – i or V7 - i directed on page 40)

• the common note stands in same voice • remaining two voices move by step

Major: IV – I • bass notes = subdominant to tonic Plagal Cadence • double the root of each chord Minor: iv – i (Final) • the common note stands in same voice • remaining two voices move by step

NOTE: I–V; ii–V; i–V cadences: are written as above with the order of chords adjusted as required

Imperfect Cadence Major: I – V; IV – V; NOTE: IV–V or iv–V cadences require (Non-final) ii – V special treatment because there is no common note Minor: i – V; iv – V • bass notes = subdominant to dominant (moves up a step) • double the root of each chord • the three upper voices MUST move contrary to the bass notes NOTE: V/V7-vi or V/ V7-VI cadences require special treatment because there is no common note Interrupted Cadence Major: V-vi; V7 - vi • bass notes = dominant to submediant (Non-final) 7 (moves up as step) Minor: V-VI; V - VI • double the third of the submediant chord • 2 voices rise and 2 voices fall

Remember: cadences are most effective when both chords are written in root position. However, the final chord should ALWAYS be written in root position. ALWAYS label and name the cadence.

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Doubling of Notes Each chord consists of a root, a third and a fifth. One of these notes must be doubled or written twice to create four voices. Although the root of the chord is often doubled (as generally indicated throughout the Total Theory texts), there are options for each chord as seen in progressions such as V-vi/VI. In fact, the third or the fifth may be doubled in some cases to avoid parallel consecutive perfect fifths and octaves or hidden/exposed (see page 105) fifths and octaves.

Always strive to double notes as follows (see chart below): 1. double the root of the chord (this is the most common doubling option) 2. option: double the primary note (I - tonic, IV - subdominant, V - dominant) of the chord 3. NEVER double the leading note

The following chart represents the chord structure in a major scale (see Total Theory Advanced text page 59). The circles indicate which notes of the triads may be doubled and which chords are required for harmonization.

5th V VI I *II III 2. doubled rd 3 III IV VI VII I primary notes

root I II IV V VI 1. doubled roots Labels I ii IV V vi

*in the case of the dominant chord, double the 3. NEVER double 5th of the chord (supertonic) or create a V7 chord the leading note

It may be helpful to create the chart above for specific keys but it will be important to think within the key signature. Strive to avoid dependence on this reference chart – work at thinking and hearing the chords in your mind.

Example: D major

5th A B D *E F 2. doubled rd 3 F G B C D primary notes

root D E G A B 1. doubled roots Labels I ii IV V vi

*in the case of the dominant chord, 3. NEVER double double the 5th of the chord (supertonic) the leading note or create a V7 chord = A C E G

Note: a dominant seventh chord may omit the 5th of the chord and double the root. Never omit the 3rd of any chord.

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Doubling of Notes in Minor Keys The same doubling ideas apply to minor keys as major keys. Although in a chord such as VI the fifth may also be doubled.

The following chart represents the chord structure in a harmonic minor scale (see Total Theory Advanced text page 60) and the required chords for writing in SATB style. It is important to note the changes of chord qualities in the minor key. The circles indicate which notes of the triads may be doubled and which chords are required for harmonization. in VI, the 5th may be doubled 5th V I *II III 2. doubled rd 3 III VI VII I primary notes

root I IV V VI 1. doubled roots Labels i iv V VI

*in the case of the dominant chord, double the 3. NEVER double 5th of the chord (supertonic) or create a V7 chord the leading note

Exercise: Written Complete the following chord chart for the key of C minor. Include the V7 chord and circle or highlight the notes that may be doubled.

C minor: F G D E C F i iv V7 VI

Exercise: Written & Keyboard 1. Write the following chords for SATB in C minor. Use the correct key signature, any necessary accidentals and whole notes. 2. Each chord will be written twice; change the doubled note for the second arrangement.

i i V Harmonic V Progressions VI VI iv iv

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A harmonic progression occurs when two or more different chords are written in succession. A cadence is a harmonic progression.

It is important to review Total Theory Advanced text page 117 Writing Cadences in Chorale Style before proceeding.

Each of the four voices (soprano, alto, tenor and bass) have an approximate range that should always be considered.

Example:

In addition to the vocal ranges, the distance between each voice is also important.

The interval between the soprano and alto voices OR alto and tenor voices must not exceed one octave. The distance between the tenor and bass voices may be a large as a twelfth (one octave plus a fifth).

Example:

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Hidden/Exposed Fifths and Octaves Hidden/Exposed fifths and octaves differ from parallel consecutive fifths and octaves. Hidden/Exposed fifths and octaves occur between the soprano and bass voices. A hidden/exposed fifth or octave may occur when the soprano and bass voices move in similar motion.

Examples: A hidden/exposed fifth or octave may occur when the soprano and bass voices move in similar motion to the fifth or octave. The leap in the soprano creates a weak sound. *V6 indicates the dominant triad is written in first inversion

Acceptable Hidden/Exposed Fifths and Octaves

A hidden/exposed fifth or octave is acceptable when the soprano moves by step while the bass leaps onto the fifth or octave. This creates a better sound.

A hidden/exposed fifth or octave is acceptable when the same chord is repeated in a different position or inversion. *I6 indicates the tonic triad is written in first inversion

A hidden/exposed fifth or octave is acceptable if the soprano falls the interval of a third in a ii-V or vi-ii progression.

Hidden/Exposed Fifths and Octaves occur when the soprano and bass move in similar motion Incorrect when Acceptable when the soprano leaps onto a 1. the bass moves by leap and the soprano moves by step onto a P5 or P8 P5th or 8ve above the bass 2. moving between two inversions of the same chord 3. the soprano falls the interval of a third in a ii-V or vi-ii progression

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Crossing and Overlapping Voices Just as the soprano and alto voices and alto and tenor voices cannot be greater than one octave apart, voices cannot cross. If the soprano voice is lower than the alto the voices are said to cross.

Voices must never move below or above the previous note of an adjacent voice. If the soprano note moves lower than the previous or next alto note, the voices are said to overlap.

The soprano voice overlaps the alto voice by moving below the previous alto voice note. The alto voice overlaps the tenor voice by moving below the previous tenor voice note.

The alto voice moves to the same note as the previous tenor voice note, which is acceptable.

Voice Leading Remember: voice leading is the manner in which voices move within a written progression such as: 1. soprano and alto, or alto and tenor, should never be greater than one octave apart 2. tenor and bass voices may be greater than one octave apart but should not exceed a twelfth 3. voices may share the same note in unison 4. voices should not overlap unless it is the same chord in a new position or inversion 5. parallel consecutive perfect fifths and perfect octaves must be avoided 6. in the case of consecutive fifths, if one of the fifths is diminished the movement is acceptable 7. if the soprano leaps, never proceed by similar motion to a hidden/exposed fifth or octave between the soprano and bass voices

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Exercises: Written & Keyboard 1. Name the key for each excerpt below. 2. Label the chords with appropriate Roman Numerals. 3. Identify any of the following writing errors as follows: Voice Distance (VD), Voice Crossing (VC), consecutive P5/8 (P5, P8), exposed/hidden 5th/8ve (E5,E8) 4. Play each excerpt.

Key: ______

Note: figured bass (Arabic numbers) may appear below a given bass line without the use of Roman Numerals as follows: 1. a given bass note without any symbol = root position 2. an accidental such as a , ,  or  without any figure attached is ALWAYS applied to the 3rd of the chord 3. ALL other figures (identical to those used in conjunction with Roman Numerals) will indicate the chord inversion example:  indicates the chord is written in 2nd inversion

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Writing a Harmonic Progression

Remember: to refer to the following when harmonizing in SATB style: 1. the check list from Total Theory Advanced text page 117 Writing Cadences in Chorale Style 2. the check list from Total Theory Advanced text page 124 to 126 Melody Writing 3. check supplement pages 104 -106 for vocal ranges, distance between voices, voice crossing and overlapping, voice leading, and hidden/exposed fifths and octaves

Written & Keyboard Exercises: Complete each of the following bass lines in chorale/SATB style as outlined below: 1. Name the key of the passage. 2. Using Roman Numerals and root position chords ONLY label the bass line. 3. Using notes from the correct chord write an interesting melody. a. strive to end with leading note (ti ) rising to tonic (doh) b. strive for contrary motion and use the intervals of a third or sixth between the soprano and bass as often as possible c. avoid consecutive perfect octaves or fifths and hidden/exposed octaves or fifths 4. Circle and label all non-chord notes. 5. Play the bass and your written soprano. 6. Add the alto and tenor voices giving attention to how these voices move – especially in the IV-V and I – ii/ ii -I progressions. Play each completed exercise. 7. Name the final cadence.

Key: ______

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Key: ______

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 13 (Co-requisite for all Level/ Grade 8 Practical Exams) /4 1. Write a diminished 10th below the given. Invert the interval in the given space and re-name.

   dim 10th Name:______

/10 2. Write the B flat harmonic chromatic ascending ONLY as follows: • use the C tenor clef • use the correct key signature and any necessary accidentals • use time signature, sixteenth notes properly grouped and add any necessary rests

/10 3. Write the G Mixolydian Mode descending ONLY as follows: • use the F clef • use quarter notes • mark the semitones with a slur

/6 4. Identify each of the following modes/scales.

Mode/Scale Name: ______

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/10 5. Complete the following measures by adding rests within the brackets. Mark the Strong (S), Medium (M) and Weak (W) beats above the correct notes or rests.

Accents:

/6 6. Name the key of the following melody. Key: ______Transpose the melody to sound in Concert Pitch for B flat Trumpet.

B flat Trumpet

/5 7. Harmonize the following progression for SATB. Name the key and the cadence.

Key: ______  

Cadence: ______

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/10 8. Name the key. Complete the melody based on the given chord symbols. Complete phrase one melody and write a cadence in keyboard style. Write an answering four-measure phrase and an SATB style cadence at the end of phrase two. Name each cadence as perfect, plagal, imperfect or interrupted. Identify each cadence chord using Roman Numerals. Circle and label all non-chord notes. Complete all bass clef measures with appropriate rests.

Key: ______

/14 9. Name the key. Harmonize the following bass line in SATB style. Label all chords with Roman Numerals. Circle and label all non-chord notes. Name the final cadence.

Key: ______

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/15 10. Name the key of the following passage. Analyse the following passage using Roman Numerals and figures. ie i6, iv, V7, etc. Circle and label ALL non-chord notes. Label the final cadence.

Key: ______

10/ 11. Re-write the passage from Question 10 for Open Score String Quartet. Label each instrument.

Final Mark: ____/100

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Advanced/Theory 4 Chapter Challenge number 13 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. 8. B flat Major one possible answer

dim 10th aug 6th 2.

4. • C Blues Scale 9. E flat Major one possible answer • A Harmonic Chromatic

perfect cadence

10. A Minor 6. F Minor

i6 V7 i iv i i6 i V i perfect cadence

7. G minor one possible answer 11.

i iv i V iv V imperfect cadence

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers pages 103 chord chart Answers pages 108 & 109

harmonic progressions possible answers

G major

chord arrangements one possible answer A major perfect cadence

perfect cadence D major Answers page 107 detection of errors

F major

perfect cadence B major

I V I IV V I IV I G major

perfect cadence E major

I IV V I ii V I C major perfect cadence

A major

I IV V I ii V I

imperfect cadence

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Chapter 14 Chords in First Inversion In two and four part writing, root position and first inversions may be used freely. Some first inversion chords such as ii6 have already been discussed. The previous guidelines for doubling are the same for writing chords in first inversion as for chords written in root position. In general, primary triads (I/i6, IV/iv6, V6) written in first inversion will double the root of the chord while secondary triads (ii6,vi/VI6) written in first inversion may double the third (bass note).

First inversion chords may be used freely and are very effective: 1. when harmony repeats on a weak beat 2. to avoid consecutive parallel perfect fifths and octaves 3. when harmony repeats from a weak to a strong beat

4. to avoid hidden/exposed fifths or octaves 5. to create a smoother bass line

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6. to create contrary motion between the soprano and bass

Exercises: Written & Keyboard 1. Using the correct key signature and given chords write a bass line followed by the soprano. Check for consecutive perfect fifths and octaves, as well as hidden/exposed fifths and octaves. 2. Complete the following progressions by adding the alto and tenor voices using any necessary accidentals and moving as smoothly as possible. 3. Select appropriate note values to make each measure rhythmically correct. 4. Name each cadence. 5. Play each progression.

F major I I6 IV IV6 V V7 I

Cadence: ______

6 6 6 D major I I IV V V I ii IV V Cadence: ______

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E minor i i6 iv V6 V i6 iv V V7 i Cadence: ______

B major I I6 V vi6 vi I ii ii6 V V7 I

Cadence: ______

6 6 6 F minor i i iv iv i iv iv V VI

Cadence: ______

A major I I6 V V7 I vi6 vi I ii ii6 V V7 I

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Dominant Seventh Chords in First Inversion

6 rd The V 5 chord also resolves to I. The notes of the chord may be written in any order about the 3 .

Note: the only change in the resolution (compared to V7) is the root stands or repeats to create a complete I chord

Example:

Exercises: Written & Keyboard 1. Name the key. 2. Correctly resolve each dominant seventh chord and label with Roman Numerals and figures. 3. Play each progression.

Key: ______Key: ______Key: ______Key: ______

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Exercises: Written & Keyboard 1. Using the correct key signature write a bass line followed by the soprano. Check for consecutive perfect fifths and octaves, as well as hidden/exposed fifths and octaves. 2. Complete the following progressions by adding the alto and tenor voices using any necessary accidentals and moving as smoothly as possible. 3. Select appropriate note values to make each measure rhythmically correct. 4. Name each cadence. 5. Play each progression.

6 6 6 7 D major I I V 5 I IV ii V I Cadence:______

6 6 7 E major I IV V 5 I vi ii V I Cadence:______

6 6 6 6 F major I I IV IV ii ii V I 5 I Cadence:______

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Cadential  Chord Root position and first inversion chords may be used freely. Second inversion chords () have an unstable sound and require special treatment.

The cadential six-four chord consist of I followed by V or V7. It is most effective at a cadence and MUST occur on a strong beat.

Note: the bass is ALWAYS doubled in the I chord

Remember: the Cadential  will always: Remember: when selecting chords for the final 1. double the bass (5th of the chord) of the I cadence the following progressions are an 2. I MUST be followed by V or V7 excellent option whenever possible: 6 6 7 3. keep the common note(s) in the same voice major key: vi/vi - ii/ii - I - V/V - I 4. other voices will ALWAYS fall a step minor key: iv/iv6 - i - V/V7 - i 5. I appears on a strong beat

Exercise: Written & Keyboard 1. Name the key. 2. Complete the following progressions in SATB style. 3. Play each progression.

Key:______I V7 I Key: ______ii ii6 I V7 I

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Key:______I V I Key: ______I V7 I

7 Key:______I IV I V Key: ______I V I

Key:______I I6 I V i Key: ______I IV I V

Key:______i iv6 i V i Key: ______i iv i V

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Advanced/Theory 4 Chapter Challenge number 14 (Co-requisite for all Level/ Grade 8 Practical Exams) /15 1. Name the key for the following excerpt and: • label the chords with appropriate Roman Numerals and name the final cadence • identify any of the following writing errors as follows: Voice Distance (VD), Voice Crossing (VC), consecutive P5/8 (P5, P8), exposed/hidden 5th/8ve (E5,E8)

 Key:______ Cadence:______

/11 2. Using the correct key signature complete the following progression: • make each measure rhythmically correct • name each cadence

6 7 B major I IV6 V 5 I ii V I V vi Cadence:______

/10 3. Harmonize the progression for SATB. Name the key and the cadence.

Key: ______6  

Cadence: ______

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/9 4. Identify each of the following modes/scales.

Mode/Scale Name: ______

/10 5. Name the key of the following melody. Key: ______Transpose the melody to sound in Concert Pitch for A Clarinet

A Clarinet

15 6. Name the key of the following passage. Key: ______Analyse the following passage using Roman Numerals and figures. ie i6, iv, V7, etc. Circle and label ALL non-chord notes. Name the final cadence.

Cadence:______

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

/15 7. Name the key of the following melody. Add a four-measure answering phrase. Identify all chord symbols and name the probable cadences as perfect, plagal, imperfect or interrupted at the end of each phrase. Circle and label all non-chord notes.

Key: ______

/15 8. Name the key. Harmonize the following bass line in SATB style. Label all chords with Roman Numerals. Circle and label all non-chord notes. Name the final cadence.

Key: ______

Final Mark: ____/100

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Advanced/Theory 4 Chapter Challenge number 14 Answers (Co-requisite for all Level/ Grade 8 Practical Exams)

1. B major 7. one possible answer G minor

I V I IV V I IV I plagal cadence 6 6 6 6 6 7 i i i V i V 5 i i V i 5 2. one possible answer perfect cadence

8. one possible answer 6 6 7 I IV V 5 I ii V I V vi interrupted cadence E Major 3. C minor one possible answer

imperfect cadence

iv6 iv i V VI interrupted cadence APN perfect cadence 4. • D Dorian

• F Whole Tone • F Harmonic Chromatic 9. one possible answer

5. A Minor B Minor

A Clarinet

6 6 6 6 7 i i V i i V 5 i i i i iv i V i perfect cadence

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers pages 117 & 118 Answers pages 119 first inversions possible answers dominant 7th first inversions possible answers

G major D major F minor F major

I I6 IV IV6 V V7 I perfect A minor B major F minor D major

I I6 IV V6 V I6 ii IV V Answers pages 120 dominant 7th first inversions possible answers

i i6 iv V6 V i6 iv V V7 i perfect

perfect cadence

I I6 V vi6 vi I ii ii6 V V7 I perfect perfect cadence

perfect cadence

i6 i iv iv6 i iv6 iv V VI interrupted

I I6 V V7 I vi6 vi I ii ii6 V V7 I perfect

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

Answers pages 121& 122 cadential  chords possible answers

D major E major

B major A major

D major E major

A major D major

D minor F minor

Total Theory Advanced Rudiments Reproducible Supplement Conservatory Canada

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