workbook / harmonic resources

1) The present day sophistication of the chords / harmony we enjoy and employ to create all of the American sounds originates in the equal tempered system of tonal organization. Yes / No

2) That theorist such as ourselves often use Roman numerals to designate a chords position to the tonic key, the tonic chord which assumes the role of being the # 1 ( I / i ) position. Yes / No

3) Please fill in the blanks within the following chart, spelling out the 7 diatonic triads created from the major scale grouping of pitches.

scale degree I ___ iii IV ___ vi vii ___
pitches C D ___ F ___ A ___ C
diatonic triads C__G

D F__ 

__G B

  G__D

__C__

 B__F

C E__

4) Please fill in the blanks within the following chart, spelling out the 7 diatonic triads created from the minor scale grouping of pitches.

scale degree ___ ii III ___ ___ VI ___ viii
A minor scale A B ___ D ___ F G ___
diatonic triads __CE ___ C__G

D_ _

 E__B ___ G___  A___ 

5) We can use any of our melodic resources as a parent scale and create chords to support the lines as in the above major / relative minor groups Yes / No

6) In the analysis of written music, theorists often use upper case Roman numerals to denote the major triad. Yes / No

7) In the analysis of written music, theorists often use lower case Roman numerals to denote the minor triad. Yes / No

8) This numerical labeling is reasonably consistent throughout both the American and European styles of music created within the equal tempering of the pitches. Yes / No

9) Please fill in the chart which spells out the 12 major triads. Might be a good idea to play these triads at the piano if available.

triad root major third perfect fifth
C major   E G
  F   C
  Bb D  
Eb Eb    
Ab Ab   Eb
  Db    
  Gb Bb  
B      
  E   B
A   C#  
    F# A
G G   D

10) Please fill in the chart which spells out the 12 minor triads.

triad root minor third perfect fifth
C minor C   G
    Ab C
Bb   Db  
  Eb    
Ab   Cb ( B ) Eb
  Db   Ab
Gb   Bbb ( A )  
B     F#
  E    
A   C  
  D   A
G G   D

11) Of the 3 pitches in the triad, the root, 3rd and 5th, it is the 3rd degree that determines whether a triad sounds major or minor. Yes / No

12) By lowering the 3rd of the major triad by half step we now sound a minor triad. Yes / No

13) By raising the 3rd of the minor triad by half step we now sound a major triad. Yes / No

14) Please fill in the spaces in the following chart to spell the diatonic 7th chords of the major tonality.

scale degree I ii iii IV V vi vii VIII
pitches C D E F G A B C
diatonic triads CEG  

DFA  

EGB   FAC   GBD   ACE   BDF   CEG  

15) Please fill in the spaces in the following chart to spell the diatonic 7th chords of the minor tonality.

scale degree i i III iv v VI VII viii
A minor scale A B C D E F G A
diatonic triads AE   BDF   CEG   DFA   EGB   FAC   GBD  

ACE__

16) One way of viewing the harmony is by a chord's "type." Yes / No

17) Chord type is determined by the quality of the 3rd and 7th degree of the chord. Yes / No

18) Please spell out the letter names of the following tonic functioning chords.

C 6 C              
C major 7   E            
C major 9     G          
C major 9 # 11       B        
C major 9 # 11 / #15         D      
C maj 7 6 / 9 #11           F #    

19) Please spell out the letter names of the following Two minor 7th functioning chords.

D min 7 D              
D min 9   F            
D min 11     A          
D min 9 / 13       C        
D min / maj 7   F            
D min 7 b5     Ab          

20) Please spell out the letter names of the following dominant 7th function chords.

G 7 G              
G 7 b5   B            
G 9     D          
G 7b9       F        
G sus 4     D          
G 13             E  

21) To augment a musical interval, we simply enlarge it by half step. Yes / No

22) To augment a major triad, we simply raise the 5th by half step / Yes / No

23) Please spell the augmented chords from the following roots.

C 9 # 11 C              
C maj 7 # 11   E            
C 7 +5     G #          
C 9 # 11       Bb        
Bb 9 #5         C      
Ab maj 9 # 11 / 13           D    

24) To diminish a musical interval is to reduce it by half step. Yes / No

25) By lowering the 5th of a minor triad by half step we create a diminished triad. Yes / No

26) Within the upper structure of a V 7b9 chord we find a fully diminished 7th chord. Yes / No

27) Please spell a fully diminished 7th chord from the following roots.

C dim 7 C      
Db dim 7   Fb    
D dim 7     Ab  
Eb dim 7       Dbb
E dim 7     Bb  
F dim 7   Ab    

28) Altered chords generally include non-diatonic pitches. Yes / No

29) The pitches of any chord can be arranged in different inversions. Yes / No

30) Blues chords are generally based on dominant harmony. Yes  No

31) In the minor tonality, blues chords generally follow the guidelines of the minor 7th chord type. Yes / No

One person cannot hold another down in the ditch without remaining down in the ditch with them. Booker T. Washington