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Piano Theory ESSENTIAL LEVEL EIGHT ELEMENTS PIANO THEORY Student answers are in red. Teacher examples are in blue. ISBN 978-1-4950-5732-8 In Australia Contact: Hal Leonard Australia Pty. Ltd. 4 Lentara Court Cheltenham, Victoria, 3192 Australia Email: [email protected] Copyright © 2018 by HAL LEONARD LLC International Copyright Secured All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher. Visit Hal Leonard Online at www.halleonard.com To the Student I wrote these books with you in mind. As a young student I often wondered how completing theory work- books would make me a better musician. The theory work often seemed separate from the music I was play- ing. My goal in Essential Elements Piano Theory is to provide you with the tools you will need to compose, improvise, play classical and popular music, or to better understand any other musical pursuit you might en- joy. In each “Musical Mastery” section of this book you will experience creative applications of the theory you have learned. The “Ear Training” pages will be completed with your teacher at the lesson. In this series you will begin to learn the building blocks of music, which make it possible for you to have fun at the piano. A practical understanding of theory enables you to see what is possible in music. I wish you all the best on your journey as you learn the language of music! Sincerely, Mona Rejino To the Teacher I believe that knowledge of theory is most beneficial when a concept is followed directly by a musical application. In Essential Elements Piano Theory, learning theory becomes far more than completing worksheets. Students have the opportunity to see why learning a particular concept can help them become a better pianist right away. They can also see how the knowledge of musical patterns and chord progressions will enable them to be creative in their own musical pursuits: composing, arrang- ing, improvising, playing classical and popular music, accompanying, or any other. A free download of the Teacher’s Answer Key is available at www.halleonard.com/eeptheory8answer. Acknowledgements I would like to thank Hal Leonard LLC for providing me the opportunity to put these theoretical thoughts down on paper and share them with others. I owe a debt of gratitude to Jennifer Linn, who has helped with this project every step of the way. These books would not have been possible with- out the support of my family: To my husband, Richard, for his wisdom and amazing ability to solve dilemmas; to my children, Maggie and Adam, for helping me think outside the box. TABLE OF CONTENTS UNIT 1 Review 4 Rhythm • Meter • Key Signatures • Minor Scales Intervals • Phrases and Motives UNIT 2 Triads of the Scale 7 Primary and Secondary Triads in Major and Minor Scales Scale Degree Names UNIT 3 Figured Bass and Slash Chords 10 Triads Identified with Figured Bass and Slash Chords UNIT 4 Figured Bass for Dominant Seventh Chords 13 Identifying and Writing Using Figured Bass and Slash Chords MUSICAL MASTERY 15 Ear Training • Lead Sheets UNIT 5 Parallel Major and Minor Keys and Scales 18 Naming and Drawing UNIT 6 Chromatic, Whole Tone and Blues Scales 20 Completing and Writing UNIT 7 Texture in Music 23 Polyphonic • Homophonic UNIT 8 Form in Music 25 Binary • Ternary MUSICAL MASTERY 27 Ear Training • Analysis • Composing and Reading Mastery UNIT 9 Common Chord Progressions 30 Four Part Harmony UNIT 10 Harmonizing a Melody 32 Neighboring Tones • Passing Tones UNIT 11 Accompaniment Patterns 34 Blocked • Broken • Waltz Bass • Jump Bass UNIT 12 Review 37 Terms • Triads of the Scale • Slash Chords • Figured Bass • Parallel Keys Chromatic, Whole Tone and Blues Scales • Non-Chord Tones • Texture Form • Chord Progressions MUSICAL MASTERY 41 Ear Training • Analysis • Improvisation and Accompaniment Mastery THEORY MASTERY 45 Review Test • Ear Training 3 UNIT 1 REVIEW 6. Add accidentals to complete the following scales. a Melodic Minor 1. Add bar lines to each rhythm below. # n ? w #w w w w nw w w w w w w w w w b Harmonic Minor b b 2. Fill in the blank with the correct meter for each measure: Simple, Compound or Asymmetrical b w b & b b w w w w w w b b 3 bw w w w w w w bw d# Natural Minor asymmetrical simple compound simple 11/7/2017 12:16:32 PM J:\Open_Jobs\3\1154563\Music\00155845\Ex007.sib kbrand # # # # # w w w w w # # ? # # #w w w w w #w # # 3. Complete the linear Circle of Fifths for minor keys. w w w w Down by Perfect 5ths Up by Perfect 5ths ____a ____e ____b ____f ____c ____g ____d ____a ____e ____b ____f ____c ____g ____d ____a b b b # # # # # 7. Fill in the blanks. a. Major intervals of the scale become ____________minor intervals when the upper note is 4. Name each Major key signature and its relative minor key signature. lowered a half step. b. Perfect and Major intervals of the scale become _____________________augmented intervals when the upper note is raised a half step. c. Perfect and minor intervals become _____________________diminished intervals when the upper F C E E B F _____# Major _____b Major _____ Major _____b Major _____ Major _____ Major note is lowered a half step. _____d# minor _____ab minor _____c# minor _____c minor _____g# minor _____d minor 8. Identify each interval by type (P, M, m, Aug or dim) and size. 5. Draw the minor key signature named below each measure. # b # ## # # b b # # b b m6 A3 P4 M7 M2 d5 m3 P8 & # b # # # b b b # b b b minor g minor a# minor e minor bb minor f # minor f minor 4 5 UNIT 2 9. Label the question and answer phrases by filling in the blanks. Triads of the Scale Question Answer Triads built on the 1st, 4th and 5th notes of a Major scale are called PRIMARY TRIADS. 3 5 2 5 Triads built on the 2nd, 3rd, 6th and 7th notes of a Major scale are called SECONDARY 4 32 TRIADS. 33 f In Major keys, the I, IV and V chords are Major. The ii, iii and vi chords are minor, and the vii° chord is diminished. C Dm Em F G Am Bdim C 12 1 10. Label the motive and sequence by filling in the blanks. I ii iii IV V vi viiº I Motive Sequence 1. Label each triad in the given key by placing Roman numerals below and letter names above. 5 3 5 2 5 3 2 3 4 2 Play each chord. D Major f mf Em F m G A Bm C dim D D # # 3 5 1 3 4 1 5 5 I ii iii IV V vi vii° I 11. Label the motive and repetition by filling in the blanks. Motive Repetition F Major 5 3 4 224 1 1 5 Gm Am B C Dm Edim F F b p f f I ii iii IV V vi vii° I 3 2 2 2. Draw the triads of the B Major scale. Place Roman numerals below and letter names above 12. Label the motive and imitation by filling in the blanks. b each triad. Play each chord. Motive B Major 25 b 4 4 B Cm Dm E F Gm Adim B b b b Imitation f mf 1 1 1 5 24 1 3 I ii iii IV V vi vii° I 6 7 ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 4 Triads built on the 1st, 4th and 5th notes of a minor scale are PRIMARY TRIADS. Triads Each SCALE DEGREE has a name in both Major and minor keys. built on the 2nd, 3rd, 6th and 7th notes of a minor scale are SECONDARY TRIADS. Degree: 1 2 3 4 5 6 7 8 In minor keys, the triads are either Major, minor, Augmented or diminished. a Harmonic Minor Name: Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone Tonic Am Bdim CAug Dm E F G#dim Am Degree: 1 2 3 4 5 6 7 8 i iiº III+ iv V VI viiº i Name: Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone Tonic 3. Identify each triad in the given key by placing Roman numerals below and letter names above. Play each chord. 5. Fill in the blanks. g Harmonic Minor a. Names for the Primary Triads are tonic, _________________subdominant and __________________.dominant Gm Adim BbAug Cm D Eb F#dim Gm b. Names for the Secondary Triads are supertonic, __________________mediant , submediant leading tone ____________________ , and _________________ ____________ . i ii° III+ iv V VI vii° I d Harmonic Minor 6. Circle the number for each of the following scale degree names. Dm Edim Faug Gm A Bb C#dim Dm a. Dominant: 1 5 7 b. Supertonic: 2 3 6 i ii III+ iv V VI vii° I c. Leading Tone: 3 4 7 d. Submediant: 2 3 6 4. Draw the triads of the e harmonic minor scale. Remember to add the necessary accidentals. e. Tonic: 1 4 5 Play each chord. f. Mediant: 2 3 7 e Harmonic Minor g. Subdominant: 1 2 4 Em F#dim GAug Am B C D#dim Em w w w # #w w #w w #w w & w w w w w wi ii° III+ iv V VI vii° i 8 9 UNIT 3 Figured Bass and Slash Chords Usually, root position chords are indicated by Roman numeral only, and the numbers are omitted.
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