EXERCISE 3 – 1.1
1) Name the following notes
2) Write the following notes in the alto clef
a) Bb on a line
i) F# on a line
b) F in a space
j) Middle C
c) C# on a line
k) G in a space
d) G# on a line
l) D# in a space
e) Db on a line
m) Ab in a space
f) A on a line
n) E in a space
g) Eb on a line
o) Cb in a space
h) B in a space
p) F# in a space
a)
b)
c)
d)
e)
i)
j)
k)
l)
m)
1
f)
n)
g)
h)
o)
p)
EXERCISE 6 – 1.1
1) Name the following notes.
2) Write the following notes in the tenor clef.
a) Fb on a line
i) D# on a line
b) G on a line
j) E on a line
c) E# in a space
k) C in a space
d) B in a space
l) Gb in a space
e) Ab on a line
m) A in a space
f) D in a space
n) F in a space
g) Middle Cb
o) E# on a line
h) Bb on a line
p) B# in a space
a)
b)
c)
d)
e)
i)
j)
k)
l)
m)
2
f)
n)
g)
h)
o)
p)
EXERCISE 8 – 1.1
1) Name the following notes
2) Write the following notes in the staff below.
a) Db in a space
i) A in a space
b) A on a line
j) Eb on a line
c) E in a space
k) B in a space
d) B# on a line
l) F in a space
e) Fb on a line
m) C# on a line
f) Middle Cb
n) Gb on a line
g) G in a space
o) D# on a line
h) D on a line
p) A in a space
a)
i)
b)
j)
c)
d)
e)
f)
g)
h)
k)
l)
m)
n)
o)
p)
3
EXERCISE 1 – 2.2
Draw the notes which represent the dots.
a)
=
b)
+
(example)
g)
=
=
h)
=
c)
=
i)
=
d)
=
k)
=
e)
=
l)
=
f)
=
m)
=
4
EXERCISE 2 – 2.2
Write two identical notes which are equal to the value of each or the following.
a)
=
b)
=
c)
=
d)
e)
=
=
f)
=
g)
=
h)
=
I)
j)
=
=
5
EXERCISE 3 – 3.2
Write the following scales in the staves below using a key signature. Slur the
semitones and indicate the tonic (I) and dominant (V) notes.
a) D major starting & ending on the supertonic.
b) G# minor melodic starting and ending on the sub-dominant
c) The major scale with two flats
d) The harmonic minor scale whose dominant is F#
e) The melodic minor scale whose relative is G major
6
EXERCISE 4 – 3.2
Write the following scales in the staves below using accidentals instead of a key
signature. Slur the semitones and indicate the tonic (I) and dominant (V) notes.
a) Cb major starting and ending on the subdominant
b) A# minor harmonic starting and ending on the leading note
c) The major scale with four sharps
d) The harmonic minor scale whose dominant is F
e) The melodic minor scale whose relative is Gb major
7
EXERCISE 6 – 3.3
Write the following melodic chromatic scales in the staves below.
a) E
b) Ab
c) F#
d) B
e) Cb
8
EXERCISE 8 – 3.4
Write the following harmonic chromatic scales in the staves below.
a) Cb
b) Eb
c) G#
d) Fb
e) D
9
EXERCISE 2 – 4.1
Name the following intervals. Change the top note enharmonically and rename the
interval.
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
m)
n)
q)
r)
s)
t)
u)
v)
w)
x)
o)
10
p)
EXERCISE 4 – 4.2
Identify each of the following compound intervals using the correct abbreviation for
each.
11
EXERCISE 6 – 4.2
Write the appropriate compound interval BELOW each of the following notes.
-10
o12
+9
x13
P11
12
+14
+10
x9
EXERCISE 8 – 4.3
Name the following intervals, invert them and name the inversion.
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
m)
n)
q)
r)
s)
t)
u)
v)
w)
x)
o)
13
p)
EXERCISE 9 – 4.4
Give the list of keys where the following intervals can be found
a)
b)
Major:
Major:
Minor:
c)
Minor:
Major:
Major:
Minor:
e)
Minor:
Major:
Major:
Minor:
g)
Minor:
Major:
Major:
Minor:
Minor:
d)
f)
h)
i)
j)
Major:
Major:
Minor:
Minor:
14
EXERCISE 12 – 4.4
Give the list of keys where the following intervals can be found
a)
b)
Major:
Major:
Minor:
c)
Minor:
Major:
Major:
Minor:
e)
Minor:
Major:
Major:
Minor:
g)
Minor:
Major:
Major:
Minor:
Minor:
d)
f)
h)
i)
j)
Major:
Major:
Minor:
Minor:
15
EXERCISE 1 – 5.2
Name the following triads.
a) The triad on the mediant of D minor is
b) The triad on the tonic of Bb major is
.
.
c) The triad on the submediant of Eb minor is
.
d) The triad on the supertonic of B major is
.
e) The triad on the subdominant of C# minor is
.
f) The triad on the leading note of Ab major is
.
g) The triad on the dominant of B minor is
.
h) The triad on the mediant of F# minor is
.
i)
The triad on the tonic of F# major is
.
j)
The triad on the submediant of G# minor is
.
k) The triad on the supertonic of F major is
l)
.
The triad on the subdominant of Eb major is
.
m) The triad on the leading note of E minor is
.
n) The triad on the dominant of Db major is
.
o) The triad on the mediant of F minor is
p) The triad on the tonic of Bb minor is
.
.
q) The triad on the submediant of D major is
.
r) The triad on the supertonic of C# major is
.
s) The triad on the subdominant of C minor is
t) The triad on the leading note of A# minor is
16
.
.
EXERCISE 2 – 5.3
List the keys where the following triads can be found.
Maj keys:
Min keys:
Maj keys:
Min keys:
Maj keys:
Min keys:
Maj keys:
Min keys:
17
EXERCISE 3 – 5.3
List the keys where the following triads can be found.
Maj keys:
Min keys:
Maj keys:
Min keys:
Maj keys:
Min keys:
Maj keys:
Min keys:
18
EXERCISE 4 – 5.5
Write the dominant sevenths of the following keys using accidentals.
a)
b)
G maj
f)
c)
C min
g)
Eb min
k)
h)
l)
p)
C maj
Gb maj
19
Eb maj
o)
C# min
s)
Bb maj.
Ab maj
j)
n)
r)
E maj
G# min
A# min
E min
e)
i)
m)
p)
Bb min
Eb maj.
F# maj
D min
d)
Cb maj
t)
G min
D# min
EXERCISE 5 – 5.6
Write the following dominant seventh inversions using accidentals.
f) V
6
5
of C maj
k) V
4
3
g) V
4
3
of A maj
l) V7 of F# maj
a) V
7
b) V
4
2
c) V
6
5
of G# min
h) V7 of G min
d) V
4
2
of Ab min
i) V
6
5
of E min
n) V7 of C min
e) V
4
3
of Gb maj
j) V
6
5
of G maj
o) V
of Ab maj
of Bb maj
m) V
4
3
4
2
of B min
of Bb min
of C# maj
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
m)
n)
o)
20
EXERCISE 6 – 5.6
Write the following chord inversions using accidentals.
a) V
6
b) V
6
5
of C maj
4
3
f) V
of G min
g) I
6
4
c) I
6
of Bb maj
h) V
d) I
6
of B min
i) I
e) I
5
of D# min
j) V
6
5
6
4
k) I
of F# maj
l) V
of Bb min
of C# maj
6
5
5
of A maj
of G# min
of Ab maj
4
3
of Ab min
m) V
7
n) V
4
2
of D maj
o) V
4
3
of F min
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
m)
n)
o)
21
of G maj
EXERCISE 7 – 5.6
Write the following chord inversions using accidentals.
a) I
6
4
of C maj
f) V
b) I
6
of Bb min
g) V
c) I
6
4
of A maj
h) V
d) V
4
3
of A# min
i) V
e) V
4
3
of Eb min
j) I
4
3
of B maj
k) V
4
2
of C# min
of B maj
l) V
4
2
of G min
of Ab min
m) I
6
of C# maj
of Eb maj
n) I
5
of D maj
of C min
o) V
5
6
5
7
6
4
6
5
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
m)
n)
o)
22
of E min
EXERCISE 1 – 6.6
Write two open position versions of the following close position chords. Make sure
to voice the chords properly
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
23
EXERCISE 2 – 6.6
Write the following chords in close position properly voiced.
a)
b)
c)
d)
e)
f)
g)
h)
i)
j)
k)
l)
m)
n)
o)
24
EXERCISE 3 – 6.7 (formerly 18-5.10)
Identify the following chords giving the degree, the inversion and the key
(ex.: V
a)
f)
6
5
D min.).
b)
c)
g)
d)
h)
i)
25
e)
j)
EXERCISE 4 – 6.7 (formerly 20-5.10)
Identify the following chords giving the degree, the inversion and the key.
a)
b)
c)
f)
g)
h)
d)
i)
26
e)
j)
EXERCISE 5 – 6.7 (formerly 22-5.10)
Fill in the blanks.
a)
is the third of the chord on the dominant of the minor scale whose
submediant is an augmented fourth above the seventh fo the chord on the dominant
of the major scale whose relative minor is a diatonic semitone below F.
b)
is a major tenth above the supertonic of the major scale whose leading
note is the bottom note of the third inversion of the dominant seventh chord of the
major scale whose tonic is a chromatic semitone below the third of the chord on the
seventh degree of F# minor.
c)
is the fifth of the chord on the leading note of the minor scale whose
mediant is the seventh of the chord on the dominant of the major scale whose
submediant is the tonic of the minor scale whose key has the same number of flats as
the arabic numeral used the indicate a triad in first inversion.
d)
is the supertonic of the major scale whose sixth degree is a diatonic
semitone above the note which is a diminished sixth below the third of the chord on
the submediant of the minor scale whose relative’s dominant is Db.
e)
is the seventh of the chord on the dominant of the major scale whose
sixth degree is the tonic of the relative minor of the major scale whose leading note is
a major third below the second degree of the minor scale whose subdominant is the
bottom note of the second inversion of the dominant seventh chord of A minor.
27
EXERCISE 1 – 7.3
Write perfect cadences in each of the following keys using the correct key signature
for each. Use a stemmed note value in the first bar followed by a whole note in the
second bar. Use proper voicing and write both chords in open root position.
a) G maj.
b) Db maj.
V5
I5
d) Bb maj.
V5
I5
e) Bb min.
I5
g) F# min.
V5
V5
c) E min.
V5
I5
f) F# maj.
I5
h) A maj.
I5
V5
V5
I5
i) Cb maj.
V5
I5
28
V5
I5
EXERCISE 2 – 7.3
Write perfect cadences in each of the following keys using the correct key signature
for each. Use a stemmed note value in the first bar followed by a whole note in the
second bar. Use proper voicing and write both chords in close root position.
a) Eb min.
V5
b) C min.
I5
d) F maj.
c) D min.
V5
I5
e) D min.
V5
I5
g) C# min.
V5
I5
f) B maj.
V5
I5
h) Ab maj.
I5
V5
V5
I5
i) G min.
V5
I5
29
V5
I5
EXERCISE 3 – 7.4
Write perfect cadences below each of the following imposed soprano lines. Use the
correct time signature, key signature and voicing for each.
Write the chords in open
root position.
a) C maj.
b) Ab min.
V5
I5
d) C# maj.
V5
V5
c) G# min.
I5
e) Gb maj.
I5
g) F min.
I5
I5
f) D# min.
V5
I5
h) Eb maj.
V5
V5
V5
I5
i) E maj.
I5
30
V5
V5
I5
EXERCISE 4 – 7.4
Write perfect cadences below each of the following imposed soprano lines. Use the
correct time signature, key signature and voicing for each.
Write the chords in root
position.
a) A maj. open position
V5
b) F# min. close position c) Eb min. open position
I5
d) C min. close position
V5
I5
e) G maj. close position
I5
g) E min. close position
V5
V5
V5
I5
V5
I5
f) Bb maj. open position
V5
I5
h) Cb maj. open position i) Bb min. open position
I5
V5
I5
31
V5
I5
EXERCISE 5 – 7.6
Write plagal cadences in each of the following keys using accidentals for each. Use a
stemmed note value in the first bar followed by a whole note in the second bar. Use
proper voicing and write both chords in open root position.
a) G maj.
b) Bb maj.
IV5
I5
d) Cb maj.
IV5
I5
e) Bb min.
I5
g) Eb maj.
IV5
IV5
c) E min.
I5
f) E maj.
IV5
I5
h) B maj.
I5
IV5
IV5
I5
i) A min.
IV5
I5
32
IV5
I5
EXERCISE 6 – 7.6
Write plagal cadences in each of the following keys using accidentals for each. Use a
stemmed note value in the first bar followed by a whole note in the second bar. Use
proper voicing and write both chords in close root position.
a) F maj.
b) Ab min.
IV5
I5
d) G maj.
IV5
c) Eb maj.
I5
e) D maj.
IV5
I5
g) E maj.
I5
I5
f) G# min.
IV5
I5
h) Bb maj.
IV5
IV5
IV5
I5
i) C# min.
I5
33
IV5
IV5
I5
EXERCISE 7 – 7.8
Write the following imperfect cadences in the keys below using a key signature for
each. Use a stemmed note value in the first bar followed by a whole note in the
second bar. Use proper voicing and write both chords in open root position.
a) C# maj.
I5
b) A min.
V5
d) Gb maj.
I5
I5
V5
e) A maj.
V5
g) Ab maj.
I5
c) E min.
V5
f) Cb maj.
I5
V5
h) D# min.
V5
I5
I5
V5
i) F# min.
V5
34
I5
I5
V5
EXERCISE 8 – 7.8
Write the following imperfect cadences in the keys below using a key signature for
each. Use a stemmed note value in the first bar followed by a whole note in the
second bar. Use proper voicing and write both chords in close root position.
a) G min.
IV5
b) C maj.
V5
d) Eb min.
IV5
IV5
V5
e) C min.
V5
g) G maj.
IV5
c) F min.
V5
IV5
V5
f) E maj.
IV5
V5
h) Db maj.
V5
IV5
IV5
i) E min.
V5
35
IV5
V5
EXERCISE 9 – 7.8
Write the following cadences in the keys below using a key signature for each. Use a
stemmed note value in the first bar followed by a whole note in the second bar. Use
proper voicing and write both chords in open root position.
a) F# min.
IV5
b) Db maj.
V5
d) Cb maj.
IV5
V5
I5
e) E maj.
I5
g) F min.
IV5
c) G min.
V5
f) B min.
V5
I5
h) D maj.
I5
I5
IV5
V5
i) Db maj.
I5
V5
36
V5
I5
EXERCISE 1 – 8.1
1) Transpose the following melody in F# maj. Use the alto clef.
This melody is in the key of:
2) Transpose the following melody in B maj. Use the tenor clef
This melody is in the key of:
37
3) Transpose the following melody in E maj. Use the alto clef and the correct
key signature.
This melody is in the key of:
4) Transpose the following melody in Cb maj. Use the tenor clef.
This melody is in the key of:
5) Transpose the following melody in Db maj. Use the treble clef.
This melody is in the key of:
38
EXERCISE 2 – 8.1
1) Transpose the following melody a major second higher. Name the keys.
This melody is in the key of:
The transposed version is in the key of:
2) Transpose the following melody a major sixth higher. Name the keys.
This melody is in the key of:
The transposed version is in the key of:
39
3) Transpose the following melody a diminished fifth lower. Name the keys.
This melody is in the key of:
The transposed version is in the key of:
4) Transpose the following melody a minor third higher. Name the keys.
This melody is in the key of:
The transposed version is in the key of:
5) Transpose the following melody an augmented seventh lower. Name the
keys and use the bass clef.
This melody is in the key of:
The transposed version is in the key of:
40
EXERCISE 3 – 8.2
1) Transpose the following melody in the key of G minor.
This melody is in the key of:
2) Transpose the following melody in the key of F# minor.
This melody is in the key of:
41
3) Transpose the following melody in the key of G# minor.
This melody is in the key of:
4) Transpose the following melody in the key of A# minor.
This melody is in the key of:
5) Transpose the following melody in the key of Eb minor.
This melody is in the key of:
42
EXERCISE 4 – 8.4
Transpose the following vocal score in F major using the two grouped staves below.
Rewrite this transposed version in modern open score format.
43
EXERCISE 5 – 8.4
Rewrite the following vocal score in open format using the alto and tenor clefs.
44
45
46
EXERCISE 6 – 8.4
Transpose the following vocal score in F major in condensed score format.
47