ESSENTIAL LEVEL EIGHT ELEMENTS PIANO THEORY

Student answers are in red. Teacher examples are in blue.

ISBN 978-1-4950-5732-8

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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

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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

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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

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UNIT 3

Figured Bass and Slash Chords Usually, root position chords are indicated by Roman numeral only, and the numbers are omitted. In first inversion chords, the number 3 is generally omitted. TRIADS have three positions.

5 6 6 Root Position First Inversion Second Inversion I 3 = I I 3 = I root is the lowest note 3rd is the lowest note 5th is the lowest note

 5th  2. Follow the examples given and write the figured bass for these chords. root  3rd     Key of D Major FIGURED BASS is a type of musical shorthand used to indicate the position of a chord. D Em F#m G Arabic numerals identify the intervals above the lowest note. This system was widely used             during the Baroque Period (1600-1750).              6 6  6 6  6 6 6 6 III 4 ii ii ii 4 iii iii iii4 IV IV IV4 Key of C Major A Bm C#dim D A root position triad has intervals of a 5th and a 3rd.                 5th  3rd          6 6  6 6 6 6 5 V V V4 vi vi vi4 vii vii vii4 I I3

A first inversion triad has intervals of a 6th and a 3rd.  6th  3rd 3. Complete a first inversion triad above each note. Play the chords. 6 I3 Key of A Major

A second inversion triad has intervals of a 6th and a 4th. 6th  4th  6 w I4 # # w # w w w w w w w & w w w w w w w wI 6 wii6 iii6 IV6 V6 vi6 viiº 6 I 6 1. Circle the figured bass that matches each triad. The first one is done for you.

      4. Complete a second inversion triad above each note. Play the chords.       Key of F Major 5 6 6 5 6 6 5 6 6 5 6 6 5 6 6 3 3 4 3 3 4 3 3 4 3 3 4 3 3 4 w w w w   b w w w w w w w         & w w w w w w    6 w6 w6 6 6 6 6 6 5 6 6 5 6 6 5 6 6 5 6 6 5 6 6 wI4 ii 4 iii 4 IV4 V4 vi 4 viiº4 I4 3 3 4 3 3 4 3 3 4 3 3 4 3 3 4

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 5 UNIT 4

Another way to indicate 1st inversion and 2nd inversion triads is through the use of slash Figured Bass for chords, especially in jazz and popular music. A SLASH CHORD is formed when a chord Dominant Seventh Chords symbol is followed by a bass note that is different from the root of the chord. A DOMINANT SEVENTH CHORD has three inversions. It can be inverted so that G/B indicates a 1st inversion G Major G/D indicates a 2nd inversion G Major the third, fifth or seventh of the chord becomes the lowest note. In each inversion, the chord with B as the lowest note. chord with D as the lowest note. root is the top note of the interval of a second.

G/B G/D Key of C (Major or minor)       Root Position 1st Inversion 2nd Inversion 3rd Inversion G7 G7/B G7/D G7/F        7 6 6 6 5 5 4 4 5. Fill in the root note. Write the slash chord to identify each triad. The first two are done for you. Figured Bass: V3 V3 V3 V2 7 6 4 4 Abbreviated: V V5 V3 V2 C/E Dm/F Em/G F/A G/B Am/C Bdim/D C/E 1. Fill in the root note. Name each dominant seventh chord using the abbreviated figured bass w w shown above. The first one is done for you. w w w w w w w w w w w w w Key of G Major Key of B Major & w w w w b D7 D7/F# D7/A D7/C F7 F7/A F7/C F7/Eb w # w w b w ww ww ww w ww ww ww b w w w & w w & w 6 4 4 7 6 4 4 V7 V5 V3 V2 V V5 V3 V2 C/G Dm/A Em/B F/C G/D Am/E Bdim/F C/G

2. Identify each dominant seventh chord by writing the letter name above and the abbreviated w w w w figured bass below. The first one is done for you. & w w w w w w w w w w w w Key of E Major Key of d minor (Harmonic) B7/F#                          E/B B /D D/A Gm/B A/E Em/B Cm/E B /F 4 6 7 4 6 4 4 7 b b b b V 3 V5 V V2 V5 V3 V2 V bw w ? #w w #w w w bw w w w bw #w w bw 3. Name the Major key to which each of these dominant seventh chords belongs. Count down a w w Perfect 5th from the root.            Key of: Major Major Major Major Ab F D A

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4. Write the following dominant seventh chords in the given key. MUSICAL MASTERY C Major D Major f Minor (harmonic) g Minor (harmonic) ww w Ear Training w ## w b b n w b #ww 1. You will hear eight measures of melodic dictation. Fill in the blank measures with the notes & w b b ww b and rhythms you hear. The last note of measure 4 will end on the dominant, and measure 8 will 6 4 4 end on the tonic. V7 V 5 V 3 V 2

A Major c Minor (harmonic) B Major Eb Major 3 ˙ &b4 œ œ œ œ œ œ œ œ œ œ œ œ  ?# # w b # # w b w # w b b nw # ## ww b b w w6 ww4 4 V 5 V 2 V 3 V7 b œ œ œ œ œ œ œ œ œ & œ œ œ œ œ ˙

5. Three chords are missing in each chord progression. Draw the missing chords on the staff using the figured bass and chord symbols as a guide. Play each chord progression. 2. You will hear intervals of a Major 2nd, Major 3rd, Major 6th or Major 7th played in broken and blocked form. Name the correct interval in each blank. G Major 1. ______M3 2. ______M7 3. ______M2 G C/G G D/F# D7/F# G # w 4. ______M6 5. ______M3 6. ______M7 w w w w ww w & w w6 w 6 6 w I IV4 I wV wV 5 I 3. You will hear intervals of a minor 2nd, minor 3rd, minor 6th or minor 7th played in broken and blocked form. Name the correct interval in each blank. a Minor (Harmonic) m7 m3 m2 Am Dm/A Am E/G# E7/G# Am 1. ______2. ______3. ______

w 4. ______m6 5. ______m7 6. ______m3 w w w w ww w & 6 #w6 #w6 i iv 4 i V V 5 i

4. You will hear intervals of a Perfect unison, Perfect 4th, Perfect 5th or Perfect 8th played in bro- B Major b ken and blocked form. Name the correct interval in each blank.

Bb Eb/Bb Bb F/A F7/A Bb 1. ______P4 2. ______P8 3. ______P1 w ? b w w w w ww w 4. ______P5 5. ______P8 6. ______P4 b w w6 w 6 6 w I IV4 I wV wV 5 I

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 6 3. The following left hand chords will be used in “Shenandoah”: F, B /F, Am/E, Dm, Gm/D, F/C, b Lead Sheets Am/C, B /D and C7/E. Write these chords on the staff below. Practice them before adding the b right hand melody. You may omit the 5th in the C7/E chord. The first one is done for you. By using a combination of root position and slash chords (inversions), you can create smooth chord progressions in lead sheets. F Bb/F Am/E Dm Gm/D w w w 1. The following left hand chords will be used in “Wayfaring Stranger”: Em, Am/E, A/E and B7/D#. w w w w w Write these chords on the staff below. Practice them before adding the right hand melody. You ? w w w w w may omit the 5th in the B7/D# chord. The first one is done for you. b F/C Am/C Bb/D C7/E Em Am/E A/E B7/D# w ww w w #w w ? w w w w ?# w w w w#w b w w w

4. Combine the melody and chords to create your own arrangement.

2. Combine the melody and chords to create your own arrangement. Shenandoah American Folksong Wayfaring Stranger

Spiritual F 1 5 Bb/F           1 Em Am/E Em                    4 Am/E Dm Gm/D    2 5     A/E B7/D#                7 2         F/C Am/C Bb/D C7/E F 9 Em Am/E Em                               13 A/E Am/E Em  12           

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UNIT 5

Parallel Major and PARALLEL MAJOR and MINOR SCALES share the same tonic (keynote), but have Minor Keys and Scales different key signatures.

PARALLEL MAJOR and MINOR KEYS share the same tonic (key name), but have 4. Draw the key signature for the following Major and parallel minor scales. After the key signa- different key signatures. ture, draw the notes for each scale ascending. The first one is done for you. C Major c minor G Major g minor G Major g Harmonic minor                    1. Name these parallel Major and minor keys.           D Major d Harmonic minor                _____D Major _____d minor _____A Major _____a minor # b b # w w w b w #w w & w w w w w & w w w w w          C Major c Harmonic minor _____E Major _____e minor _____A Major _____a minor w w w ? w w w w ? b w w w w nw 2. Circle the correct word (relative or parallel) to complete each sentence. w w b b w w a. E Major and e minor are relative/parallel keys. b b B Major b Harmonic minor b b b. B Major and b minor are relative/parallel keys. c. F Major and d minor are relative/parallel keys. bb bb b w & wwwww & b b wwwnw d. F# Major and f# minor are relative/parallel keys. w w w w w w A Major a Harmonic minor e. D Major and b minor are relative/parallel keys. f. C Major and a minor are relative/parallel keys. ?# # w w w w ? w w #w w # w w w w w w w w 3. Draw the parallel minor key signature for each Major key given.

B Major b minor F Major f minor C Major c minor E Major e Harmonic minor b b # # b b b # ## # # ## # # # &b &b bbb &b &b bb & # # # & # # # w w w w #w w & w w w w w & w w w w w

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 7 UNIT 6

Chromatic, Whole Tone and A WHOLE TONE SCALE consists of whole steps in consecutive order. It has six tones Blues Scales and may begin on any note. An ascending whole tone scale uses sharp signs. A de- scending whole tone scale uses flat signs.

A CHROMATIC SCALE consists of half steps in consecutive order. It has 12 tones and Ascending Descending may begin on any note. An ascending chromatic scale uses sharp signs. A descending chromatic scale uses flat signs.               Ascending Descending .        4. Complete the ascending whole tone scales by adding the necessary accidentals.           1. Complete the ascending chromatic scales by adding the necessary accidentals. ? #w w w w w w #w ? w #w w #w w w w w w #w w #w w #w w & w w w #w #w w #w w #w w w #w w & w #w w #w w 5. Complete the descending whole tone scales by adding the necessary accidentals.

2. Complete the descending chromatic scales by adding the necessary accidentals. w w w ? w bw bw w w bw w bw ? w bw w w bw w bw w w w w w & bw bw bw w w bw w bw w w bw w bw & w bw w w 6. Write whole tone scales from the given note. Ascending 3. Write chromatic scales from the given note. Ascending w w ? w #w #w w ? w #w w #w w w w #w w w #w w #w w Descending Descending w w bw & bw bw w w w bw w w bw & w bw w bw w w bw 20 w 21

1. Name the texture used in each musical example below. Write polyphonic or homophonic in A BLUES SCALE consists of six different tones and may begin on any note. To change each blank. a Major scale into a Blues scale, omit the 2nd and 6th scale degrees, flat (lower) the 3rd homophonic and 7th scale degrees and add a flatted (lowered) 5th. Dance Intermezzo by Bertini ______2 1 1 3 1 C Major Scale 43 1 4 3 1 1                                                 p         1st 2nd 3rd 4th 5th 6th 7th 8th                      1 C Blues Scale 3 simile 5 polyphonic      Bourée by Kirnberger ______  1 13 1 4 1st 3rd 4th 5th 5th 7th 8th                       mf    7. Complete the following blues scales by adding the necessary accidentals.       F Blues Scale          5 5  homophonic b bw bw nw bw w Sonatina in G by Attwood ______& w bw 3          D Blues Scale        mf                       #     & # w bw nw nw w 513 52 5 w nw The Merry Farmer by Schumann ______homophonic 5 4 5 4 3 2 4 2 1 1 1 1 8. Write these blues scales from the given note.                   G Blues Scale                  f                   # nw w              bw nw 5 3 21 5 32 1 2 3 & w bw w 12 1 Menuet in D Minor by Bach ______polyphonic A Blues Scale 123 1 5 3            # nw w          # bw nw mf  & # w nw w           2 22 24 5 1 

ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 8 UNIT 8

Form in Music In TERNARY FORM, there are three sections: A, B, and a repeat of A.

MUSICAL FORM refers to the structure of a composition. It describes how the piece A B A is divided into sections, and how they fit together. InBINARY FORM, there are two sections: A and B. Each section is usually repeated. Sonatina in C Major William Duncombe  AB   (1690-1769)     A Question Answer

1 14 Minuet Alexander Reinagle                         Question (1756-1809)   3  3 A mf 3 3 1 5 43 2                          1         1 3 p B      7    2 2 5  2                      Answer  5 mp 4 2                           1 5 21 cresc. mf         A Question          13   2 2 4 1 125  51                      B Question   3 9 mf 3 3                               1  1 mf    4  Answer     19  14 1  1                       Answer 3 13 3 2 3                             p mf         3. Label each section either A or B in the appropriate box.             5   4. Identify the question and answer phrases in the blanks. 1. Label each section either A or B in the appropriate box.

2. Identify the question and answer phrases in the blanks. 25 26

MUSICAL MASTERY Analysis Study each musical example, then answer the questions about it. Ear Training Prelude, Op. 37 by Concone 1 1. You will hear six scales ascending. Fill in the blank with the type of scale that you hear: Major, 3 1 23 3 1 3 1 3 131 1 12 3 3 1 4 1 1 23   harmonic minor, chromatic, whole tone or blues.         1. ______chromatic 2. ______harmonic minor 3. ______blues     p cresc. f 1 Major chromatic whole tone  2  4. ______5. ______6. ______              131231 31 3 123 Major 2. You will hear two scales ascending in each group. The first scale is Major and the second scale 1. Is the circled harmonic third Augmented, Major, minor or diminished? ______is minor. Fill in the blank with the word that describes the relationship of those two scales: 2. Circle the correct figured bass to identify the circled triad: i, 6i or i6 relative or parallel. 4 3. What kind of scales are used? ______chromatic 1. ______relative 2. ______parallel 3. ______parallel

4. ______relative 5. ______parallel 6. ______relative Aquarium Dreams by Rejino 2           4 3. You will hear six triads played in broken and blocked form. Identify them as Major, minor, Aug- p L.H. mented or diminished. Eyes gaz- ing at the a-i quar - - um, Augmented minor diminished 1. ______2. ______3. ______   4   4. ______Augmented 5. ______Major 6. ______diminished 1. What type of meter is used? simple compound asymmetrical 2. What kind of scales are used? ______whole tone

4. Listen to the texture of the following musical excerpts. Circle the word that describes what you hear. Late-Night Jazz by Rejino 123 5 a. polyphonic homophonic b. polyphonic homophonic                c. polyphonic homophonic d. polyphonic homophonic              32        

1. Is the circled harmonic third Augmented, Major, minor or diminished? ______minor 2. What kind of scales are used? ______blues

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 9 UNIT 9 Composing and Reading Mastery Common Chord Progressions 1. Follow the directions to complete the right hand melody. Music written in FOUR PART HARMONY defines the complete harmonic structure a. In measure 1, continue writing an ascending chromatic scale in eighth notes. of chords beyond the triad. In four part harmony, the bass voice (lowest note) determines b. In measure 2, continue writing a descending chromatic scale in eighth notes. whether the entire chord is in root position or is inverted. c. In measures 3 and 4, continue writing an ascending chromatic scale in eighth notes. 6 d. Play the completed musical example. 1. Play the following I – IV – I4 - V7 – I chord progression. C Major

1 3 1 1 3 1 1 2 3 1 3 2 1 3 1 3 1 3 2 1 2 3 1 3 2 3 1 2 3 C F C/G G7 C 4 œ œ#œ œ#œ ˙ & 4 œ#œ œ#œ œ#œ œ œbœ œbœ œbœ œ œ#œ œ#œ œ#œ œ       œ œ      ? 4 w w w ˙ ˙    4 w w w ˙ ˙  6  I IV I4 V7 I

2. Play the following 12–bar blues. 2. Write this chord progression in the given keys, following the example above. Begin with the __ 3 bass voice, and look for common tones between the chords. Place chord symbols in the boxes, Medium Swing   =  then play the progression. 1234  5                   F Major D Major       F Bb F/C C7 F D G D/A A7 D            w w w w w ## &b w w w w w & w w w ww w 5 w w w w w w 1 1  w w w w w                  ? w w ?## w w w       b 6 6     I IV I4 V7 I I IV I4 V7 I        6 6 9 3. Play the following I – ii – I4 - V7 - I chord progression. 1 1 1      C Major                     C Dm/F C/G G7 C                      3. Place fingers 2, 3 and 4 of your left hand on a group of three black keys. Place fingers 2, 3 and   6 6 4 of your right hand on a C-D-E group. Depress the damper pedal. Explore patterns up and I ii I4 V7 I down the keyboard and create your own whole tone composition.

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UNIT 10

4. Write this chord progression in the given keys, following the previous example. Place figured bass in the boxes, then play the progression. Harmonizing a Melody

E Major A Major To HARMONIZE a melody, you create a chordal accompaniment for it. b

Eb Fm/Ab Eb/Bb Bb7 Eb A Bm/D A/E E7 A 1. Play the melody. b w w w w w # # &b b w w w ww w & # w w w w 2. Determine the key signature. The first and last notes of the melody will help you. w w w ww w 3. Practice the Primary Triads (I, IV, V7 or i, iv, V7) in that key. Use a combination of root position ? b w ?# # and inverted chords to create a smooth chord progression. b b w w w w # w w w w w 4. Analyze the melody to determine which chord tones match it.

6 6 6 6 I ii I4 V7 I I ii I4 V7 I 5. Write the chord you chose in each box.

6. Combine the melody and accompaniment, and play the piece.

6 6 5. Play the following I – vi – IV – ii - I4 - V7 – I chord progression. Place the correct chord sym- bols in the boxes. #4 œ ˙ œ G Major & 4 œ œ œ ˙ œ œ œ w G Em C Am/C G/D D7 G w w w w  w w w w        ?#4 w        4 5     6 6 I vi IV ii I4 V7 I # ˙ ˙ œ & œ œ œ œ œ œ œ w 6. The I – vi – IV – V chord progression is often used in popular music. Play this progression in the w w ww w Key of F Major. Write the progression in the other keys given, then play it. ?# w w w w F Major B Major A Major b

F Dm Bb C Bb Gm Eb F A F#m D E Melodies often include notes that are not part of the chord. Sometimes melodies step w b w w w ### w w up or down from a chord tone, then immediately return to the same chord tone. These &b w w w &b w w w w & w w w w non-chord tones are called UPPER NEIGHBORS and LOWER NEIGHBORS. w w w w w w w w C F C ? w w ? b w w w ?# # w w w b w w b #      I vi IV V I vi IV V I vi IV V       Upper Lower Neighbor Neighbor

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 10 UNIT 12

7. Circle all of the upper neighbors and lower neighbors in “Grandfather’s Clock.” There are a total of four neighboring tones. REVIEW 1. Fill in the blanks with the correct answer. Select from the terms in the box. 8. Follow the step by step directions on page 32 to harmonize “Grandfather’s Clock.”

secondary polyphonic relative chromatic Grandfather’s Clock passing tones submediant binary Henry Clay Work 2 4 ternary figured bass mediant primary &b4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w whole tone supertonic dominant seventh ˙ ˙ ˙˙ ˙ ˙ ˙ ˙˙ w parallel neighboring tones slash chord homophonic ?b4 ˙ ˙ ˙ ˙ ˙ ˙ w blues leading tone

Sometimes a melody passes from one chord tone to a different chord tone in stepwise motion. These non-chord tones are called PASSING TONES. a. Triads built on the 2nd, 3rd, 6th and 7th notes of a scale are called ______secondary triads.

C F G C b. Scale degree three is called ______.mediant              c. Scale degree seven is called ______leading ______.tone Passing Passing Passing Tone Tone Tone d. When a chord symbol is followed by a bass note that is different from its root, it is called a slash chord 9. Circle all of the passing tones in the music below. There are five passing tones. ______.

10. Follow the directions on page 32 to harmonize the piece below. e. A type of musical shorthand that indicates the position of a chord is called 1 1 2 2 ______figured ______.bass #3 j j œ œ œ ˙ dominant seventh & 4 œ œ œ  J œ œ œ œ f. A ______chord has three inversions. ˙ ˙ ˙ ˙˙ g. Major and minor keys that share the same tonic are called ______.parallel ?#43 ˙ ˙ ˙ #˙ h. A ______chromatic scale is made up of half steps only. 5

2 2 # j i. At least two melodic lines are played at the same time in ______polyphonic music. œ œ œ œ œ œ œ & œ J œ ˙ j. There are two sections of music in ______binary form. ˙ k. Non-chord tones that step up or down, then immediately return to the same chord tone are ?# ˙ ˙ ˙˙ ˙ ˙ ˙ #˙ ˙ called ______neighboring ______.tones

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2. Draw the root position triads of the G Major scale. Place Roman numerals below each triad. 7. Draw the parallel minor key signature for each Major key given. w D Major d minor C Major c minor B Major b minor ?# w w w w w w w w w w w w # b # # # w wii iii IV V vi vii° I # # # # I & b & b b & #

3. Draw the root position triads of the b harmonic minor scale, adding the necessary accidentals. Place Roman numerals below each triad. 8. Fill in the blanks with the correct number for these parallel keys. a. The key of G Major has 1 sharp. The key of g minor has ______flat(s). # w w w b. The key of E Major has 3 flats. The key of e minor has ______flat(s). & # w #w w w w #w w b b w w w w w c. The key of A Major has 3 sharps. The key of a minor has ______sharp(s). wi ii° III+ iv V VI vii° i 9. Draw the missing notes for each scale. 4. Draw a line connecting the triad or dominant seventh chord to its matching figured bass. All Chromatic (ascending) examples are in the Key of C Major. 6 5 w #w w   V ? w w #w w #w  6  w #w w #w   I4 w 4 Chromatic (descending)  V2      I w  4 w bw w bw w bw  V3 ? w w bw w bw  6   w   I  V7 10. What types of scales are shown below?        5. Fill in the root note. Write a slash chord in each box to identify the triad.          The first one is done for you. whole tone E /B A/C# Fm/Ab Bm/F# Dm/A C/E b b    w w w         ? bw #w w #w w w  blues  b w bw w w 6. Fill in the root note. Write the figured bass for each chord. The first one is done for you. 11. Label the following circled notes as upper neighbor (u.n.), lower neighbor (l.n.) or passing tone (p.t.). Key of B Major b        w w w w            ? b w w w w w w b w w w w w p.t. l.n. u.n. p.t. 6 w 6 6 ii6 IV vii° vi4 V iii4 I 38 39

ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 11 12. Binary form consists of two sections: ______A and ______.B Ternary form consists of three sections: ______,A ______B and ______.A MUSICAL MASTERY

Ear Training 13. Name the texture for each musical example. 1. You will hear eight measures of melodic dictation. Fill in the blank measures with the notes      and rhythms you hear.                 p p #        4 œ œ œ œ œ œ œ w          & 4 œ œ œ œ œ ˙ œ œ œ œ  1 1       2 2      5 5   homophonic polyphonic # œ œ œ œ œ œ 14. In the following chord progressions, place chord symbols in the boxes above each harmony. & ˙ œ ˙ œ œ w Place figured bass in the boxes below.

G Major D Major 2. You will hear the following intervals played from the same root note in broken and blocked form: M2, M3, P4, P5, M6, M7 and P8. Name the interval by type and size. G Em C D D G D/A A7 D   1. ______P8 2. ______M3 3. ______M7 4. ______P4 5. ______M6 6. ______P5                    3. You will hear four measures of rhythmic dictation. Fill in the blank measures with the rhythm     you hear.     6 7 I vi IV V I IV I4 V I 4 j & 4 œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ w B Major  b B Gm E Cm/E B /F F7 B b b b b b 4. One chord is missing from each chord progression. Listen for the missing triad and fill in the        boxes with I, i, IV, iv or V7.         7 a. i iv i V7 b. I V I IV       6 6 7 I vi IV ii I4 V I c. I V7 I V7 d. I V7 IV I

7 e. i V7 i iv f. i iv V i

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Analysis THEORY MASTERY Study “Russian Folk Song,” then answer the questions about it. Review Test Russian Folk Song Op. 107, No. 7 1. Draw the primary triads in root position. Draw the secondary triads in root position. Ludwig van Beethoven E Major A Major b Am E7/B (1770-1827) w # #     b w w # w w                &b b w w w & w w w mp   w w w w            I IV V wii iii vi viiº                c Minor (Harmonic) f Minor (Harmonic) # Am E Am 5 w # w w #w w w    ?# # w w ? b b w nw w nw               # w b w w mp mf b w w i iv V iiº iii+ VI viiº                   2. Determine the root note. Write the figured bass for each triad. Key of D Major C G E7 9                                                  6 6 6 6 f mf I4 iii vi V ii vii° IV4          3. Determine the root note. Write the figured bass for each dominant seventh chord. Am E Am Key of B Major Key of A minor (harmonic) 13 b                                       mp           4 7 4 6 7 4 6 4   V2 V V3 V3 V V3 V5 V2                   4. Draw the following slash chords.

1. This piece uses ______four part harmony throughout. C/E Gm/D F/A E/B Bb/F D/F# 2. What is the key signature? ______A minor #w w bw w w bw w 3. Write the chord symbols in the boxes to identify each chord. & w w w w #w

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 12 5. Draw the key signature for these parallel Major and harmonic minor scales. After the key sig- 8. Write the letter of the correct definition in the blank beside each term. nature, draw the notes for each scale ascending.

F Major f Harmonic Minor ______c polyphonic a. scale degree two

? w w ? b nw w e whole tone scale b. consists of half steps b w w w w w b bb w w w w w ______6. Thew following musical excerpts use common chord progressions.w Write both the figured bass and the chord symbols in the boxes. ______g relative keys c. two or more melodies played simultaneously C/E Dm/F C/G G7 C ______a supertonic d. a piece having two sections, A and B poco riten.                   ______f non-chord tones e. consists of whole steps                                     ______b chromatic scale f. upper and lower neighbors

6 6 6 7 I ii I4 V I ______d binary form g. share the same key signature D D/F# Em/G               ______j subdominant h. scale degree six               p dolce       ______k accompaniments i. structure of a composition                 I I6 ii6 ______m homophonic j. scale degree four 5 A7 D                          ______h submediant k. blocked, broken, waltz and jump p             ______n ternary form l. has a flatted 3rd, 5th and 7th               V7 I ______o parallel keys m. melody in one hand, chords in the other

7. Harmonize the following melody using blocked chords in a smooth chord progression. ______l blues scale n. a piece having three sections, A B A 4 ˙ b œ œ œ œ œ œ i & 4 œ œ œ œ J œ œ œ ˙ ______musical form o. share the same tonic w w w w ? 4 w w ww w 46 b4 47

Ear Training

1. You will hear three chord progressions. Circle the one you hear in each pair.

1. 2. 3.

6 I IV V7 I I V I IV I IV I4 V7 I

or or or

i iv V7 i i V i iv I vi IV V7 I

2. You will hear six scales ascending. Fill in the blanks with the type of scale that you hear.

1. ______harmonic minor 2. ______whole tone 3. ______Major

4. ______chromatic 5. ______natural minor 6. ______blues

3. You will hear eight measures of melodic dictation in the key of A harmonic minor. Fill in the blank measures with the notes and rhythms you hear. Add accidentals if needed. œ œ ˙ & 43 œ œ œ œ œ œ œ œ 

œ œ œ œ œ & œ œ #œ œ œ  J œ ˙

4. Circle the word that describes the texture of each musical excerpt you hear.

a. polyphonic b. polyphonic c. polyphonic

or or or

homophonic homophonic homophonic

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ESSENTIAL ELEMENTS – PIANO THEORY ANSWER KEY – LEVEL EIGHT 13