Bachelor of Music Program: Bach Theory 301 Unit 1: 7 Chords

Bachelor of

Music Program
BACH THEORY 301
Unit 1: 7th CHORDS
LESSON
CORE CC-301 2 CREDITS
GUIDE

Description
In this unit, you will learn how to build 7th chords and how to find
the diatonic 7th chords within modes.

Upon completion of this unit, you should be able to:
§ Understand how to build 7th chords
§ Play 7th chords within the circle of fourths on a keyboard
§ Find the diatonic 7th chords within a given mode

Table of Contents
Lecture 1: 7th chords…………………. …………………….….……………. 2
Lecture 2: Diatonic 7th chords…………………………………………….. 15
Homework .. …………………………………….…..……………….…………. 18

Media
§ CD/MP3s are available in the Library

Bachelor of Music, Theory by Rachel Yoon © Musicians Institute 2013 All rights reserved 1

Lecture 1: 7 t h Chords

In this unit, we will review the various types of 7th chords and their formation. With this in mind,
let’s take a look at the items that compose major triads, major 7th chords, dominant 7th chords,
minor 7th chords, minor 7th (b5) chords, and diminished 7th chords:

Ex. 1.1
Major Triads Root Major 3rd Perfect 5th Perfect 8th
Major 7th chords Root Major 3rd Perfect 5th Major 7th
Dominant 7th chords Root Major 3rd Perfect 5th Minor 7th
Minor 7th chords Root Minor 3rd Perfect 5th Minor 7th
th rd th
Minor 7 (b5) chords Root Minor 3 Dim 5 Minor 7th
Diminished 7th chords Root Minor 3rd Dim 5th Dim 7th

Major triads
Every major triad contains a root, a major 3rd (above the root), and a perfect 5th (also above the
root). Oftentimes, the root is doubled at a perfect octave. As an example, the C major triad is
composed of the root (C), a major 3rd (E), a perfect 5th (G), and a perfect octave:

Ex. 1.2

Major 7th chords
Every major 7th chord contains a root and various notes above the root, including a major 3rd, a
perfect 5th, and a major 7th. To illustrate this relationship, let’s take a look at a C major 7th chord,
which contains the root note (C), a major 3rd (E), a perfect 5th (G), and a major 7th (B):

Ex. 1.3

Dominant 7th chords
Every dominant 7th chord contains a root and various notes above the root, including a major
3rd, a perfect 5th, and a minor 7th. To illustrate this relationship, let’s take a look at a C dominant
7th chord, which contains the root note (C), a major 3rd (E), a perfect 5th (G), and a minor 7th (Bb):

Ex. 1.4

Minor 7th chords
Every minor 7th chord contains a root and various notes above the root, including a minor 3rd, a
perfect 5th, and a minor 7th. To illustrate this relationship, let’s take a look at a C minor 7th chord,
which contains the root (C), a minor 3rd (Eb), a perfect 5th (G), and a minor 7th (Bb):

Ex. 1.5

Minor 7th (b5) chords
Every minor 7th (b5) chord contains a root and various notes above the root, including a minor
3rd, a diminished 5th, and a minor 7th. To illustrate this relationship, let’s take a look at a C minor
7th (b5) chord, which contains the root (C), a minor 3rd (Eb), a diminished 5th (Gb), and a minor
7th (Bb:

Ex. 1.6

Diminished 7th chords
Every diminished 7th chord contains a root and various notes above the root, including a minor
3rd, a diminished 5th, and a diminished 7th. To illustrate this relationship, let’s take a look at a C
diminished 7th chord, which contains the root (C), a minor 3rd (Eb), a diminished 5th (Gb), and a
diminished 7th (Bbb):

Ex. 1.7

Practice with the circle of fourths
In order to become fluent with all types of 7th chords, you must practice them – while cycling
through the circle of fourths (see Ex. 1.8 below). To begin, on the first root (C), play all 7th chord
types. Thereafter, you should play each 7th chord type on the next root (F) within the circle
(traveling clock-‐wise). Thus, you will continue this process until you complete the circle and
return back to your original root (C).

Ex. 1.8

7th chords in the circle of fourths order
The following is a list of each 7th chord type (and major triad), with each root following the order
set within the circle of fourths:

Here are the 7th chords (and major triad) with C as the root:

Ex. 1.9

Here are the 7th chords (and major triad) with F as the root:

Ex. 1.10

Here are the 7th chords (and major triad) with Bb as the root:

Ex. 1.11

Here are the 7th chords (and major triad) with Eb as the root:

Ex. 1.12

Here are the 7th chords (and major triad) with Ab as the root:

Ex. 1.13

Here are the 7th chords (and major triad) with Db as the root:

Ex. 1.14

Here are the 7th chords (and major triad) with F# as the root:

Ex. 1.15

Here are the 7th chords (and major triad) with B as the root:

Ex. 1.16

Here are the 7th chords (and major triad) with E as the root:

Ex. 1.17

Here are the 7th chords (and major triad) with A as the root:

Ex. 1.18

Here are the 7th chords (and major triad) with D as the root:

Ex. 1.19

Here are the 7th chords (and major triad) with G as the root:

Ex. 1.20

The major triad on the keyboard
Let’s take a look at the C major triad and how it is played. As shown in Ex. 1.21 below, each
finger is placed as follows: thumb on the root (C), 2nd finger on the 3rd (E), 3rd finger on the 5th
(G), and fifth finger on the octave (C).

Ex. 1.21

C major Root 3rd 5th Octave

The major 7th chord on the keyboard
Let’s take a look at the C major 7th chord and how it is played. As shown in Ex. 1.22 below, each
finger is placed as follows: thumb on the root (C), 2nd finger on the 3rd (E), 3rd finger on the 5th
(G), and fifth finger on the 7th (B).

Ex. 1.22

C major Root 3rd 5th 7th

Practice playing the major 7th chords in the order of the circle of fourths:
Ex. 1.23

The dominant 7th chord on the keyboard
Let’s take a look at the C dominant 7th chord and how it is played. As shown in Ex. 1.24 below,
each finger is placed as follows: thumb on the root (C), 2nd finger on the 3rd (E), 3rd finger on the
5th (G), and fifth finger on the 7th (Bb).

Ex. 1.24

C major Root 3rd 5th b7th
Practice playing the dominant 7th chords in the order of the circle of fourths:
Ex. 1.25

The minor 7th chord on the keyboard
Let’s take a look at the C minor 7th chord and how it is played. As shown in Ex. 1.26 below, each
finger is placed as follows: thumb on the root (C), 2nd finger on the 3rd (Eb), 3rd finger on the 5th
(G), and fifth finger on the 7th (Bb).

Ex. 1.26

C major Root b3rd 5th b7th
Practice playing the minor 7th chords in the order of the circle of fourths:
Ex. 1.27

The minor 7th (b5) chord on the keyboard
Let’s take a look at the C minor 7th (b5) chord and how it is played. As shown below in Ex. 1.28,
each finger is placed as follows: thumb on the root (C), 2nd finger on the 3rd (Eb), 3rd finger on the
5th (Gb), and fifth finger on the 7th (Bb).

Ex. 1.28

C major Root b3rd b5th b7th
Practice playing the minor 7th (b5) chords in the order of the circle of fourths:
Ex. 1.29

The diminished 7th chord on the keyboard
Let’s take a look at the C diminished 7th chord and how it is played. As shown below in Ex. 1.30,
each finger is placed as follows: thumb on the root (C), 2nd finger on the 3rd (Eb), 3rd finger on the
5th (Gb), and fifth finger on the 7th (Bbb).

Ex. 1.30

C major Root b3rd b5th bb7th
Practice playing the diminished 7th chords in the order of the circle of fourths:
Ex. 1.31

Lecture 2: Diatonic 7 t h Chords

Diatonic triad review
To review, a scale’s diatonic triads are the triads whose notes exist within that scale. Each scale
degree becomes the root of one diatonic triad. To find that triad’s 3rd, skip the next scale
degree and choose the note that follows directly afterwards. Then, to find the triad’s 5th, skip
the next scale degree (after the triad’s 3rd) and choose the note that follows directly afterwards.

Let’s say we wanted to find, in the scale of D major, the diatonic triad built on F# (D major’s third
scale degree). We would start with that F# as the root. We would then skip one scale degree to
find the chord’s third (A, the fifth scale degree), and finally skip one more scale degree to find
the chord’s fifth (C#, the seventh scale degree), as follows:

Ex. 1.32

With this in mind, let’s view all of the diatonic triads in D major:

Ex. 1.33

Diatonic 7th chords
Diatonic 7th chords are 7th chords whose notes exist within a particular scale. Each scale degree
becomes the root of one diatonic 7th chord. To find the chord’s 3rd, skip the next scale degree
and choose the note that follows directly afterwards. Then, to find the chord’s 5th, skip the next
scale degree (after the chord’s 3rd) and choose the note that follows directly afterwards. Finally,
to find the chord’s 7th, skip the next scale degree (after the chord’s 5th) and choose the note that
follows directly afterwards.

Let’s take another look at that D major scale. This time, we’ll find the diatonic 7th chord built on
D, the first scale degree of D major. We would start with D as the root. We would then skip one
scale degree to find the chord’s third (F#, the third scale degree), skip another scale degree to
find the chord’s fifth (A, the fifth scale degree), and skip one more scale degree to find the
chord’s seventh (C#, the seventh scale degree), as follows (on the following page):

Ex. 1.34

With this in mind, let’s view all of the diatonic 7th chords in D major:

Ex. 1.35

Below are the diatonic 7th chords in D natural minor:

Ex. 1.36

Below are the diatonic 7th chords in D harmonic minor:

Ex. 1.37

Below are the diatonic 7th chords in D melodic minor (ascending):

Ex. 1.38
Diatonic chords in the modes
The diatonic 7th chords in the C Dorian mode appear below in Ex. 1.39. (To build the Dorian
mode, take the major scale, and then lower its 3rd and 7th scale degrees.)

Ex. 1.39
C Dorian Mode

The diatonic 7th chords in the C Lydian mode appear below in Ex. 1.40. (To build the Lydian
mode, take the major scale, and then raise its 4th scale degree.)

Ex. 1.40
C Lydian Mode


On Your Own

Homework
Exercise 1

§ On the staves below, write the indicated 7th chords
§ The first chord has been done as an example

Exercise 2

§ On the staves below, supply the indicated chord tones
§ The first one has been done as an example

Exercise 3

• Write the indicated major and minor scales
• Build diatonic 7th chords on those scales
• Analyze the diatonic 7th chords built on those modes with Roman numerals and chord
symbols

v Here is an example of how to complete this assignment with the C natural minor scale:

C natural minor

1) Write out the C natural minor scale:

2) Next, build the diatonic 7th chords above each scale tone:

3) Analyze with the proper chord symbols above each chord:

4) Finally, analyze with Roman numerals below each chord:

1. E major

2. B natural minor

3. D# harmonic minor

4. A melodic minor

Exercise 4

§ Write the indicated modes
§ Build diatonic chords on those modes
§ Analyze the diatonic chords built on those modes with chord symbols and Roman
numerals

v Here is an example of how to complete this assignment with the G Dorian mode:

G Dorian mode

1) Write out the G Dorian mode:

2) Next, build the diatonic 7th chords above each scale tone:

3) Analyze with the proper chord symbols above each chord:

4) Finally, analyze with Roman numerals below each chord:


v Now, please finish these exercises on your own.

1. F Mixolydian

2. Bb Phrygian

3. D Locrian

Bachelor of

Music Program
BACH THEORY 301
Unit 2: 4-Part Writing
Lesson
CORE CC-301 2 Credits
Guide

Description
In this unit, you will learn about 4-‐part writing.

§ Understand the basic concepts of 4-‐part writing
§ Understand voice leading principles, including motion of
voices and doubling rules

Table of Contents
Lecture 1: 4-‐part writing – voicings and doubling rules ….…. 2
Lecture 2: 4-‐part writing – voice leading rules……………………. 5
Homework …………………………………….…..……………….…………….. 8

Media


Lecture 1: 4-‐Part Writing -‐ Voicings and Doubling Rules

In 4-‐part writing, there are four voices: soprano, alto, tenor, and bass. Each voice is assigned one
note within a chord. The ranges for each vocal part, with brackets indicating the beginning and
ending of each range, are displayed within Ex. 2.1 below. The bass range, for instance, begins
with the D below the bass clef and extends to the E above the staff. (The darkened notes are at
the extremes of each vocal part’s range and should be used rarely.)

Ex. 2.1

Outer and inner voices
4-‐part writing uses the grand staff. The soprano and alto parts are on the treble clef, and the
tenor and bass parts are on the bass clef. In Example 2.2 below, each part is assigned a note in
the C major triad. The outer voices, the soprano and bass, are both given the chord’s root (C).
The inner voices, the alto and tenor, are given the third (E) and the fifth (G).

Ex. 2.2

Close position and open position
The soprano, alto, and tenor voices are the upper three voices in 4-‐part writing. The term
spacing describes the distances between voices within a chord. When the three upper voices in
a chord are all within an octave, the spacing is called close position. On the following page,
Example 2.3 shows three arrangements of a C major triad in close position. These arrangements
– the ways in which chord notes are distributed among the four voices – are called voicings.
Notice that the interval between the soprano and tenor voices in each voicing is smaller than an
octave. (The tenor in this example has been written as the lowest part on the treble clef.)

Ex. 2.3

When the interval between the soprano and the tenor is larger than an octave, the spacing is
called open position. Here are a few possible C major triad voicings in open position:

Ex. 2.4

Notice that, in the examples above, the distance between the tenor and the bass – in both close
and open position – can be larger than an octave. In contrast, the space between soprano and
alto, or between alto and tenor, may not be larger than an octave.
Below, the 11th between alto and tenor (Ex. 2.5a) and the 10th between soprano and alto (Ex.
2.5b) both break this spacing rule:

Ex. 2.5

Voice crossing
In 4-‐part writing, the voices are arranged from top to bottom in the following order: soprano,
alto, tenor, and bass. If a voicing alters this top-‐to-‐bottom order, the result is called voice
crossing and should be avoided. Voice crossing occurs above between soprano and alto (Ex.
2.5c), alto and tenor (Ex. 2.5d), and tenor and bass (Ex. 2.5e).
Doubling
Triads have three notes, but 4-‐part writing utilizes four voices. To provide each of the four
voices with a note, one member of the triad will appear twice (will be doubled) within a voicing.
Two voices may be assigned the exact same pitch (doubling at the unison) or the same pitch, but
in different octaves (doubling at the octave). A C major triad voicing in 4-‐part writing, for
instance, might have two Cs, one E, and one G. See Examples 2.3 and 2.4 on p. 3 for voicings of
the C major triad with doublings.

The following are doubling guidelines:
• Primary Triads (I, IV, V)
Ø Root: May double. Don't omit.
Ø 3rd: Don't double or omit.
Ø 5th: May double or omit.
• Secondary Triads (ii, iii, vi)
Ø 3rd: May double. Don't omit.
• Diminished Triads (iio, viio)
Ø Root: Don't double or omit.
Ø 3rd: Don’t omit.
Ø 5th: Don’t omit.

Note that, in addition to the guidelines above, the leading tone of the key should never be
doubled. Example 2.6 below displays proper doublings of triads in C major.

Ex. 2.6

Lecture 2: 4-‐Part Writing -‐ Voice Leading Rules

Voice leading
The term voice leading describes the interaction between parts as they move from chord to
chord. There are four types of motion that can occur between two voices. They are:
1. Parallel
2. Similar (or direct)
3. Oblique
4. Contrary

Parallel Motion: In parallel motion, the voices move in the same direction and by the same
interval (Example 2.7).

Ex. 2.7

Similar Motion: In similar or direct motion, the voices move in the same direction but not by the
same interval (Example 2.8).

Ex. 2.8

Oblique Motion: In oblique motion, one voice moves while the other stays the same (or repeats
the same note). See Example 2.9.

Ex. 2.9

Contrary Motion: In contrary motion, the voices move in opposite directions (Example 2.10).

Ex. 2.10

When the interval between two voices is perfect, they may not move in parallel motion:

Ex. 2.11

Overlapping
When a voice trespasses on another’s territory, the result is called overlapping or voice overlap.
Consider each pair of adjacent voices (soprano/alto, alto/tenor, tenor/bass). In every voicing,
each part’s note creates an invisible boundary for an adjacent voice’s next note. The alto, for
example, can’t go above the soprano’s previous note (as in the first measure of Example 2.12),
and the soprano can’t go below the alto’s previous note (as in the second measure of the
example).

Ex. 2.12

Thus, the higher voice determines the upper limit for the lower voice, while the lower voice
determines the lower limit for the higher voice (Example 2.13).

Ex. 2.13

Hidden octaves and fifths
Hidden octaves and fifths (sometimes called contrary or consecutive octaves and fifths) are
disguised parallel octaves and fifths. In either measure of Example 2.14, the motion between the
voices does not seem to be parallel. It seems to be contrary motion. Standard practice, however,
considers the perfect 15th and unison to be virtual twins of the perfect octave – just with an
octave added or removed. (Similarly, a perfect 12th is considered a perfect 5th with an added
octave.) So, the motion between these twins – between P8 and P15, P8 and P1, or P5 and P12 –
is disguised parallel motion and should be avoided.

Ex. 2.14

Direct octaves and fifths
In similar or direct motion, the voices move in the same direction but not by the same interval.
When the soprano and bass move in similar motion to a perfect 5th or perfect octave – and the
soprano moves by leap (greater than a 2nd) – the result is called a direct 5th or direct octave.
Direct 5ths and octaves are not allowed in 4-‐part writing.

In Example 2.15 below, the soprano and bass move in similar motion to a perfect octave. The
soprano leaps from a G to a C. The resulting octave is therefore a forbidden direct octave.

Ex. 2.15

In Example 2.16 below, the soprano and bass move in similar motion to a perfect 12th (which is
considered, in 4-‐part writing, to be the equivalent of a perfect 5th). The soprano leaps from a G
to a C. The resulting fifth (or twelfth) is therefore a forbidden direct fifth.

Ex. 2.16


On Your Own

Homework
Exercise 1

§ Identify whether the given voicing is in close position or open position

Exercise 2

§ Provide voicings for the given chords in open and close position

Exercise 3

§ Identify the problem with the given voicing (voice crossing, spacing, doubled leading
tone)
§ Note the use of key signatures

Exercise 4

§ Provide a voicing, following the doubling guidelines, for the given chord


Exercise 5

§ Identify the voice leading errors (parallel 5ths/octaves, overlapping, hidden
5ths/octaves, direct 5ths/octaves) in each 4-‐part writing example
§ Note the use of key signatures


Bachelor of

Music Program
BACH THEORY 301
Unit 3: Figured Bass
Lesson
Guide

Description
In this unit, you will learn about figured bass.

§ Understand figured bass
§ Understand figured bass in 4-‐part writing
§ Comprehend leading tone treatment in an outer voice

Table of Contents
Lecture 1: Figured bass .………………………….…..….…………….…. 2
Lecture 2: Figured bass in 4-‐part writing……………………………. 7
Homework …………………………………….…..……………….…………….. 9

Media


Lecture 1: Figured Bass

Figured bass
In the Baroque period, ensembles often had their own version of today’s rhythm section. One
instrument or group of lower-‐voiced instruments (celli, bassoons, etc.) would play the written
bass line, while a chording instrument (harpsichord, guitar, harp, etc.) would play both that bass
line and the rest of the harmonic material. The result, providing an accompaniment to the piece,
was called the basso continuo.

Much of that accompaniment (aside from the bass line) was not fully notated. Instead,
composers would provide a harmonic outline through a system called figured bass. Figured bass
uses numbers, placed underneath a bass note, to indicate the rest of the notes in the chord.
Each number represents a chord note by showing its distance above the bass note. Higher
numbers are placed above lower numbers. So, if the numbers 5 and 3 are under a bass note, the
harmony will include a fifth and a third (subject to the key signature) above the bass. The notes
indicated by the figured bass will be governed by the key signature – unless accidentals appear
in the figured bass itself. These notes above the bass may be played one or more octaves higher
and may also be doubled (see Example 3.1 below).

Ex. 3.1

Figured bass numbers and Roman numerals
The numbers appearing in a figured bass will not always be identical to those appearing in the
Roman numerals that analyze that figured bass. When analyzing any passage featuring the use
of figured bass, always place the Roman numeral analysis underneath the figured bass numbers.
Any numbers attached to those Roman numerals should then be written next to the Roman
numerals – and not incorporated from the printed figured bass.

Triads and figured bass
A root position triad’s figured bass numbers are 5 and 3. These numbers, however, are often
omitted. In Example 3.2 (on the following page), the figured bass in the higher staff contains no
numbers at all. So, all of the chords will be root position triads, as shown in the lower staff of Ex.
3.2. The Roman numeral for a root position triad contains no numbers.


Ex. 3.2

A first inversion triad’s figured bass numbers are 6 and 3. The general practice is to omit the 3.
The figured bass in Example 3.3 (below) indicates a mix of root position and first inversion triads.
The Roman numeral for a first inversion triad, as shown in the lower staff of Ex. 3.3, contains the
number 6.

Ex. 3.3

A second inversion triad’s figured bass numbers are 6 and 4. The figured bass in Example 3.4 (on
the following page) indicates a mix of root position, first inversion, and second inversion triads.
The Roman numeral for a second inversion triad, as shown in the lower staff of Ex. 3.4, contains
the numbers 6 and 4.


Ex. 3.4

Seventh chords and figured bass
A root position seventh chord’s figured bass numbers are 7, 5, and 3. The general practice,
however, is to omit the 5 and 3 (except when there are non-‐diatonic notes). In Example 3.5
(below), the figured bass in the higher staff indicates a mix of root position triads and root
position seventh chords. The Roman numeral for a root position seventh chord, as shown in the
lower staff of Ex. 3.5, contains the number 7.

Ex. 3.5

A first inversion seventh chord’s figured bass numbers are 6, 5, and 3. The general practice,
however, is to omit the 3 (except when there are non-‐diatonic notes). In Example 3.6 (on the
following page), the figured bass in the higher staff indicates a mix of triads, root position
seventh chords, and first inversion seventh chords. The Roman numeral for a first inversion
seventh chord, as shown in the lower staff of Ex. 3.6, contains the numbers 6 and 5.


Ex. 3.6

A second inversion seventh chord’s figured bass numbers are 6, 4, and 3. The general practice,
however, is to omit the 6 (except when there are non-‐diatonic notes). In Example 3.7 (below),
the figured bass in the higher staff indicates a mix of triads, root position seventh chords, first
inversion seventh chords, and second inversion seventh chords. The Roman numeral for a
second inversion seventh chord, as shown in the lower staff of Ex. 3.7, contains the numbers 4
and 3.

Ex. 3.7

A third inversion seventh chord’s figured bass numbers are 6, 4, and 2. The general practice,
however, is to omit the 6 (except when there are non-‐diatonic notes). In Example 3.8 (on the
following page), the figured bass in the higher staff indicates a mix of triads and third inversion
seventh chords. The Roman numeral for a third inversion seventh chord, as shown in the lower
staff of Ex. 3.8, contains the numbers 4 and 2.


Ex. 3.8

Figured bass and accidentals
In figured bass, accidentals (sharps, flats, and naturals) sometimes appear beneath the bass
notes or next to figured bass numbers. In Example 3.9 (below), a sharp has been placed next to
the number 6 underneath the second bass note. Without that sharp, the 6th note above that
particular bass note would be D. The combination of the number 6 and the sharp sign, however,
changes the 6th note above that bass note from D to D#. (A diagonal slash through a figured bass
number is equivalent to a sharp next to that number.) Underneath the second chord in the third
measure of Ex. 3.9, there is a sharp sign unattached to a number. Any such unattached
accidental, in figured bass, affects the 3rd note above the bass. (Accidentals in a figured bass do
not appear next to the Roman numerals in the Roman numeral analysis of that figured bass.)

Ex. 3.9


Lecture 2: Figured Bass in 4-‐Part Writing

Review of figured bass
Example 3.10a (below) is a part-‐writing exercise, in which the soprano, bass, and figured bass
have been provided. Notice that all of the bass notes accompanied by the number 6 will be
harmonized with first inversion triads. The rest of the bass notes (i.e., the ones without
numbers) should be harmonized with root position triads.

Ex. 3.10a

3rd doubling and leading tone treatment
In Example 3.10b below, chord symbols, Roman numerals, and the inner voices (alto and tenor)
have been added to the exercise provided in Example 3.10a. In the vii°6 and ii6 chords, the thirds
have been doubled. Also, the leading tone in an outer voice, as in the second to last chord here,
must resolve upwards to the tonic.

Ex. 3.10b

Example 3.11a (on the following page) is only the figured bass itself, without the upper three
voices. The first note in the second measure is accompanied by the number 6 – with a natural
attached. In the current key signature, the 6th note above the bass would be a Bb. So, the
natural sign indicates that that Bb must become a B natural. Since an unattached accidental will
affect the 3rd note from the bass, the natural underneath the G (in the last measure) will raise
that 3rd note, also a Bb, to a B natural.


Ex. 3.11a

In Example 3.11b below, the upper three voices (soprano, alto, and tenor) have been added to
the figured bass provided in Example 3.11a.

Ex. 3.11b

.


On Your Own

Homework
Exercise 1
§ Identify the notes indicated by the given bass note and figured bass
§ The first exercise has been done as an example

Exercise 2
§ Realize the triads indicated by each figured bass
§ Label the key, and provide chord symbol and Roman numeral analysis
§ The first measure has been done as an example

Exercise 3
§ Label the key, and provide the inner voices, chord symbols, and Roman numeral analysis
for each given figured bass
§ The first measure has been done as an example

Exercise 4
§ Provide the three remaining voices, chord symbols, and Roman numeral analysis for
each given figured bass
§ Be sure to label the key for each phrase

Exercise 5
§ Identify errors in the following examples
§ Possible errors include: incorrect notes, incorrect leading tone treatment, voicing
mistakes, and voice leading mistakes

Bachelor of

Music Program
BACH THEORY 301
Unit 4: Chord Function and Progressions
Lesson
Guide

Description
In this unit, you will learn about chord function and the macro
and micro structures of I-‐IV-‐V-‐I progressions.

§ Understand chord function
§ Understand cadences
§ Analyze and build macro and micro structures of I-‐IV-‐V-‐I
progressions

Table of Contents
Lecture 1: Chord function ……………………….…..….…………….…. 2
Lecture 2: Micro and macro TDST progressions…..…………..… 6
Homework …….……………………………….…..……………….………….. 8

Media


Lecture 1: Chord Function and Cadences

Chord function
The common practice period (roughly from 1600 until the mid-‐late 19th century) featured
functional tonality, in which diatonic chords had specified roles within chord progressions. So,
chord 1 was supposed to move to chord 2 – and that movement was called chord 1’s function.
With this in mind, let’s take a look at this diatonic triad concept, with three boxes used to
indicate their subdominant, tonic or dominant functions, as follows:

Ex. 4.1
Subdominant Tonic Dominant

There are three functions shown in Example 4.1 (above). They are: tonic, subdominant, and
dominant. Let’s take a look at each in great detail:

1) Tonic function
A chord with tonic function tends to begin and/or end a chord progression. The example
above designates the vi, I, and iii chords as the chords that have tonic function. The I
chord, the diatonic chord named “tonic,” receives its own special box within the
category.
2) Subdominant function
A chord with subdominant function tends to follow a tonic function chord – and, most
importantly, usually moves to a dominant chord. (Subdominant function can also be
called “predominant function.”) The example above designates the ii, IV, and vi chords
as the chords that have subdominant function. The IV chord, the diatonic chord named
“subdominant,” receives its own special box within the category.
3) Dominant function
A chord with dominant function tends to follow a subdominant function chord – and,
most importantly, always moves to a tonic function chord. The example above
designates the iii, V, and vii° chords as the chords that have dominant function. The V
chord, the diatonic chord named “dominant,” receives its own special box within the
category.
As shown on the previous page in Ex. 4.1, the iii and vi chords belong to more than one function.
Neither chord, however, is as strongly associated with the tonic and dominant functions as the
other chords in those categories.

The TSDT progression
A TSDT progression uses chords with tonic, subdominant, and dominant function. It begins with
a tonic function chord (T), moves to a subdominant function chord (S), continues to a dominant
function chord (D), and ends with a tonic function chord (T). In Example 4.2 below, the vi chord
(tonic function) moves to the ii chord (subdominant function), continues to the V chord
(dominant function), and ends with the I chord (tonic function).

Ex 4.2

Cadence review
To review, a cadence is a chord progression that ends a phrase of music. There are four main
types of cadences – authentic, half, plagal, and deceptive.

Authentic cadences
Authentic cadences end phrases with the progression of V (or vii°) to I. There are two types of
authentic cadences – the perfect authentic cadence and the imperfect authentic cadence:
1) The perfect authentic cadence (see Ex. 4.3 below) features the movement of V to I with
both chords in root position. In addition, the tonic note must be in the soprano in the
final I chord.

Ex. 4.3

2) The imperfect authentic cadence (see Ex. 4.4 below) is similar to the perfect authentic
cadence but differs in at least one of three ways:
a) The soprano note in the final I chord is not the tonic note.
b) One or both of the chords is not in root position.
c) The progression uses vii° (usually in first inversion) instead of V.

Ex. 4.4

Half cadences
Half cadences close a phrase with the V chord. Any chord may appear before that V chord.
Example 4.5 below contains a half cadence.

Ex. 4.5

Plagal cadences
Plagal cadences end phrases with the progression of IV to I. Example 4.6 (on the following page)
contains a plagal cadence.

Ex. 4.6

Deceptive cadences
While listening to common practice music, a listener will expect a phrase to end with an
authentic cadence, moving from V to I. A deceptive cadence thwarts that expectation by moving
from V to another chord (usually vi) – but not to the I chord. Example 4.7 below contains a
deceptive cadence.

Ex. 4.7

Lecture 2: Micro and Macro TSDT Progressions

Micro and macro progressions
In micro form, a TSDT progression is straightforward, using one or two chords for each function.
In Example 4.8 below, measures 1-‐3 (ending with the first beat of measure 3) display a micro
TSDT progression. In macro form, a TSDT progression is more of a big picture movement
through the four functions. Moving from I to iii, measures 1-‐5, for example, could be said to
provide a large-‐scale establishment of tonic function. This macro TSDT progression would then
conclude with the subdominant (measure 6), dominant (measure 7), and tonic (measure 8)
function chords given by the final measures.

Ex. 4.8

Perfect
Authentic
Half Cadence Cadence

T S D T S D T S D T

T S D T

Example 4.9 on the following page illustrates another macro TSDT progression, with micro TSDT
progressions contained within.

Ex. 4.9

T S D T D T S D T S D T

T S D T


On Your Own

Homework

Exercise 1
• Create the following TSDT progressions using 4 part-‐writing guidelines
• Provide the key and voices for each progression
• The first measure has been completed as an example
Exercise 2
• Cadences often end TSDT progressions
• The exercises below all end with cadences
• Provide the key, cadence type, inner voices, and Roman numerals for each
progression
• The first one has been completed as an example


Exercise 3
• Label the macro and micro TSDT functions whenever they appear
• Provide a Roman numeral analysis

Exercise 4
• Label the macro and micro TSDT functions whenever they appear
• Provide a Roman numeral analysis

Bachelor of

Music Program
BACH THEORY 301
th
Unit 5: 7 Chord Function, Midterm Review
Lesson
Guide

Description
In this unit, you will learn about the functions of 7th chords. You
will also review for the midterm.

§ Understand 7th chord function
§ Prepare for the midterm

Table of Contents
Lecture 1: 7th chord function ……………….…..….………………...…. 2
Lecture 2: Midterm review…………………………………………..…….. 4
Homework …………………………………….…..………………..………….. 10

Media


Lecture 1: 7 t h Chord Function

Chord progressions with 7th chords
In major scales, the tonic and subdominant 7th chords are major 7th chords. The supertonic,
mediant, and submediant 7th chords are minor 7th chords. The leading tone 7th chord is a minor
7th (b5) chord, also called a half-‐diminished 7th chord. In Roman numeral analysis, a degree sign
with a diagonal slash (ø) accompanies a chord that is half-‐diminished.

Here are the diatonic 7th chords in C major:

Ex. 5.1

In Unit 2, we discussed chord functions and TSDT progressions. Diatonic 7th chords and diatonic
triads perform similar functions. A brief summary of those chord functions and their application
to 7th chords is presented here:

Ø 7th chords with tonic function – I7 and vi7 (and iii7 to a lesser extent) – tend to move
to subdominant function chords and sometimes begin progressions. Unlike tonic
function triads, tonic function 7th chords rarely end progressions.
I7 à IV, vi7 à ii

Ø 7th chords with subdominant function – IV7 and ii7 – usually move to dominant
function chords.
IV7 à V (IV7 usually moves to ii, and then from ii to V), ii7 à V

Ø 7th chords with dominant function – V7 and viiø7 (and iii7, only when moving to vi) –
move to tonic function chords.
V7 à I, viiø7 à I (or sometimes iii), iii7 à vi

To review, TSDT is an acronym for tonic-‐subdominant-‐dominant-‐tonic. In Ex. 5.2 (on the
following page), there are two TSDT progressions separated by a double bar. Within each
progression, there is only one chord per function (T = tonic, SD = subdominant, D = dominant):


Ex. 5.2

Sometimes, in a TSDT progression, there are multiple chords per function. Thus, there may be
two tonic function chords, followed by two subdominant function chords and two dominant
function chords – as shown below:

Ex. 5.3


Lecture 2: Midterm Review

Unit 1
Building 7th chords
In the first lecture of Unit 1, we discussed the items that compose major triads, major 7th chords,
dominant 7th chords, minor 7th chords, minor 7th (b5) chords, and diminished 7th chords:

Ex. 5.4
th
Major 7 chords Root Major 3rd Perfect 5th Major 7th
Minor 7th (b5) chords Root Minor 3rd Dim 5th Minor 7th
th rd th
Diminished 7 chords Root Minor 3 Dim 5 Dim 7th

In-‐class exercise
• Provide the chord symbol for each 7th chord
• The first chord symbol has been provided as an example

Ex. 5.5

Diatonic 7th chords
In the second lecture of Unit 1, we discussed diatonic 7th chords. To review, a diatonic 7th chord
is a 7th chord whose notes exist within a particular scale. To discover the notes of a diatonic 7th
chord, pick a scale degree and then, skipping every other scale degree, add three more scale
degrees (as in Ex. 5.6 below):

Ex. 5.6


• Provide all of the diatonic 7th chords for the given scale or mode
• The diatonic 7th chords in D major have been provided as an example

Ex. 5.7
D major

F natural minor

Eb harmonic minor

G# melodic minor (ascending)

A Mixolydian

Unit 2
Close and open position
In the first lecture of Unit 2, we discussed guidelines and rules for voicing and doubling in 4-‐part
writing. When the three upper voices in a chord are all within an octave, the spacing is called
close position. When the interval between the soprano and the tenor is larger than an octave,
the spacing is called open position.

Voicing rules
1) The space between soprano and alto, or between alto and tenor, may not be larger than
an octave. Voicings that break this rule are said to have spacing error(s).
2) To review, the voices in 4-‐part writing are arranged from top to bottom in the following
order: soprano, alto, tenor, and bass. If a voicing alters this top-‐to-‐bottom order, the
result is called voice crossing and should be avoided.

In-‐class exercises
• Provide two close position and two open position voicings for a G major triad

Ex. 5.8

• Label and identify the voicing error
• The voicing error in measure 1 has been labeled and identified

Ex. 5.9

Doubling
In Unit 2, we also discussed doubling guidelines and rules for triad voicings in 4-‐part writing. To
review, the leading tone of the key should never be doubled. Note the doubling guidelines
(below):
• Provide the chord progression below with voicings that feature proper doublings.

Ex. 5.10

Voice leading rules
In the second lecture of Unit 2, we discussed the four types of motion between voices – parallel,
similar, oblique, and contrary. We also discussed voice leading rules. To review, below are four
types of voice leading errors:

1) Parallel unisons/fifths/octaves
2) Overlapping (or voice overlap)
3) Hidden octaves and fifths (also called contrary or consecutive octaves and fifths)
4) Direct octaves and fifths

• Identify the voice leading errors in the measures below
• The first mistake has been identified and labeled

Ex 5.11

Unit 3
Figured bass
In Unit 3, we discussed the figured bass system, which places numbers underneath the bass
notes to indicate the rest of the notes in each chord. Each number represents a chord note by
showing its distance above the bass note:
1) A root position triad’s figured bass numbers are 5 and 3. These numbers, however, are
often omitted (except when there are non-‐diatonic notes). The Roman numeral for a
root position triad contains no numbers.
2) A first inversion triad’s figured bass numbers are 6 and 3. The general practice is to omit
the 3. The Roman numeral for a first inversion triad contains the number 6.
3) A second inversion triad’s figured bass numbers are 6 and 4. The Roman numeral for a
second inversion triad also contains the numbers 6 and 4.
4) A root position seventh chord’s figured bass numbers are 7, 5, and 3. The general
practice, however, is to omit the 5 and 3 (except when there are non-‐diatonic notes).
The Roman numeral for a root position seventh chord contains the number 7.
5) A first inversion seventh chord’s figured bass numbers are 6, 5, and 3. The general
practice, however, is to omit the 3 (except when there are non-‐diatonic notes). The
Roman numeral for a first inversion seventh chord contains the numbers 6 and 5.
6) A second inversion seventh chord’s figured bass numbers are 6, 4, and 3. The general
Roman numeral for a second inversion seventh chord contains the numbers 4 and 3.
7) A third inversion seventh chord’s figured bass numbers are 6, 4, and 2. The general
Roman numeral for a third inversion seventh chord contains the numbers 4 and 2.
8) Accidentals sometimes appear beneath the bass notes. When an accidental is attached
to a figured bass number, it affects the note that is the indicated by that figured bass
number. When an accidental is not attached to any figured bass number, it affects the
3rd note above the bass.

We also mentioned, in Unit 3, that the leading tone in an outer voice must resolve upwards to
the tonic.

• Identify the chords indicated by the figured bass and label with Roman numerals
and chord symbols
Ex. 5.12

Unit 4
In Unit 4, we discussed chord function, TSDT progressions, and cadences.

Chord function
To review, there are three main functions used in the common practice period:
1) Tonic function (vi, I, iii)
A chord with tonic function tends to begin and/or end a chord progression.
2) Subdominant function (ii, IV, vi)
importantly, usually moves to a dominant chord.
3) Dominant function (V, vii°)
most importantly, always moves to a tonic function chord.

TSDT progressions
A TSDT progression begins with a tonic function chord (T), moves to a subdominant function
chord (S), continues to a dominant function chord (D), and ends with a tonic function chord (T).
TSDT progressions can be micro (with one chord per function) or macro (a large-‐scale
movement, possibly including micro TSDT progressions, through the TSDT functions).

Cadences
Cadences often appear at the ends of TSDT progressions. Cadence types include the perfect
authentic cadence, the imperfect authentic cadence, the half cadence, the plagal cadence, and
the deceptive cadence.

• Label the keys
• Identify the chords indicated by the figured bass and label with Roman numerals
and chord symbols
• Label the chord functions (T for tonic, S for subdominant, and D for dominant)
• Label the cadence type

Ex. 5.13


On Your Own

Homework

Exercise 1
• Provide the chord symbols for each 7th chord
• The first measure has been done as an example


Exercise 2
• Provide all of the diatonic 7th chords for the given scale or mode (as in Ex. 5.7)


Exercise 3
• Provide two close position and open position voicings for the following triads


Exercise 4
• Label and identify the voicing and/or voice leading error(s) in each measure


Exercise 5
• Provide the three remaining voices, chord symbols, and Roman numeral analysis for
each given figured bass
• Label the key for each phrase
whenever they occur
• Label any cadences


Exercise 6
• Analyze the progressions with chord symbols, Roman numerals, and chord functions
(labeled T, S, or D)


Bachelor of

Music Program
BACH THEORY 301
Unit 6: V and viiø7 Chords, Overtone Series
7
Lesson
Guide

Description
In this unit, you will begin to learn about the functions (and
resolutions) of 7th chords. The overtone series will also be
presented in detail.

§ Learn how to resolve dominant and half-‐diminished 7th
chords correctly
§ Comprehend the overtone series

Table of Contents
Lecture 1: V7 and viiø7 chord resolution…………………………….…. 2
Lecture 2: Chord progressions and the overtone series….…... 4
Homework …………………………………….…..……………….……………... 8

Media

Lecture 1: V 7 and viiø7 C hord Resolution
7 ø7
Lecture 1: V and vii C hord Resolution

Resolution of the V7 chord
The V7 chord usually resolves to the tonic chord. There are two rules governing this resolution:
1. The 7th of the V7 chord must resolve downward by step.
2. The 3rd of the V7 chord – as the leading tone of the scale – must resolve upward by step.

Example of a V7 to I resolution in C major
The V7 chord in C major is G7. The 3rd (B) in a G7 chord is also the leading tone in C major. That
B, as displayed within both of the measures below (Ex. 6.1), must move upward to the tonic
note (C). Notice that the 7th (F) in the G7 chord moves downward by step to an E in both
measures of Ex. 6.1.

Ex. 6.1

Resolution of the viiø7 chord
The viiø7 chord usually resolves to the tonic chord. There are two rules governing this resolution:
1. The 7th of the viiø7 chord must resolve downward by step.
2. The root of the viiø7 chord – as the leading tone of the scale – must resolve upward by
step.

Example of a viiø7 to I resolution in C major:
The viiø7 chord in C major is Bm7 (b5). The root (B) of a Bm7 (b5) chord is also the leading tone in
C major. That B, as displayed in Ex. 6.2 on the following page, must move upward to the tonic
note (C). Notice that the 7th (A) in the Bm7 (b5) chord moves downward by step to a G in both
measures of Ex. 6.2.


Ex. 6.2


Lecture 2: Chord Progressions and the Overtone Series

Chord progressions and the overtone series
A vibrating body does not produce a pure sound. When played, each musical instrument
produces not just the main pitch (called the fundamental) but also a composite of other pitches
(called overtones), which are related to the main pitch. These overtones are not heard distinctly,
because their volume level is much lower than that of the fundamental.1 The fundamental and
its overtones together become the members, called partials, of a note’s overtone series.

Let’s take a look at how the overtone series would apply to the tonic note of C major:

Ex. 6.3

C is the fundamental – or first partial (labeled 1 in Ex. 6.4 on the following page) – of its own
overtone series. The overtones – or higher partials (labeled 2 and higher in Ex. 6.4) – are related
by interval to the fundamental. The second partial, for example, is always a perfect octave
above the 1st partial. (Not all partials, however, are perfectly in tune.) Notice that the interval
between the fundamental tone (C) and its 7th partial (Bb) is a minor 7th.

These first seven partials of C’s overtone series – from the low C to the Bb – contain all the notes
of a C dominant 7th chord. The first seven partials of C’s overtone series appear in Ex. 6.4.

____________________________
1
Willi Apel, Harvard Dictionary of Music: second edition, revised and enlarged (Cambridge:
Harvard University Press, 1969), 13.

Ex. 6.4

Again, the V chord usually moves to the I chord. In F major, for example, a C major triad (V)
would normally resolve to an F major triad (I), like this:

Ex. 6.5

Notice that both the dominant (C) and the leading tone (E) have followed their tendencies by
moving to the tonic (F). Those tendencies push the V chord toward the I chord.

In any 7th chord (such as the V7 chord), a 7th must resolve down by step. Therefore, a V7 chord
contains three tendency tones: the dominant, the leading tone, and the 7th. These three
tendency tones push the V7 chord toward the I chord with more intensity than the two tendency
tones of the V chord.

Now let’s go back to that C dominant 7th chord, built with the first, third, fifth, and seventh
partials of C’s overtone series.

In the key of F major, a C7 chord (V7) normally resolves to an F major triad (I). (This resolution is
shown in Ex. 6.6, on the following page.) Notice that the dominant (C), the leading tone (E), and
the 7th of the chord (Bb) all followed their tendencies when they moved to the tonic chord. Since
that low C fundamental includes within it all the notes of the C7 chord (and all of its tendency
tones), it thus has a natural pull toward the F major chord.

Ex. 6.6

Let’s take a look at how the overtone series would apply to the tonic note of G major:

Ex. 6.7

G is the fundamental – or first partial (labeled 1 in Ex. 6.8) – of its own overtone series. Notice
that the interval between the fundamental tone (G) and its 7th partial (F) is a minor 7th. These
first seven partials of G’s overtone series – from the low G to that F – contain all the notes of a G
dominant 7th chord. The first seven partials of this series read as follows:

Ex. 6.8

In the key of C major, a G7 triad (V7) normally resolves to a C major triad (I). (This resolution is
shown in Ex. 6.9, on the following page.) Notice that the dominant (G), the leading tone (B), and
the 7th of the chord (F) all followed their tendencies when they moved to the tonic chord. Since
that low G fundamental includes within it all the notes of the G7 chord (and all of its tendency
tones), it thus has a natural pull toward the C major chord.

So, V and I are connected by nature as well as by theory. For example:

Ex. 6.9


On Your Own

Homework

Exercise 1
each example
• Label the key for each example
• Label each TSDT progression

Exercise 2
• Resolve the given V7 and viiø7 chords

Exercise 3
• Provide V7 to I or viiø7 to I resolutions in the given keys

Bachelor of

Music Program
BACH THEORY 301
Unit 7: Nondominant 7th Chords, Modal
Interchange
Lesson
Guide

Description
In this unit, you will learn about the resolutions of nondominant
7th chords. You will also study modal interchange.

§ Understand nondominant 7th chord progressions
§ Learn how to resolve various 7th chords correctly
§ Understand modal interchange

Table of Contents

Lecture 1: Nondominant 7th chords………………..…..…….………... 2

Lecture 2: Modal interchange……………………………………..………. 4

Homework …………………………………….…..……………….…………….. 6

Media

Lecture 1: Nondominant 7 t h Chords

Resolution of the I7 chord
When the I7 chord resolves to another chord (usually IV), its 7th must resolve down by step. (The
7th does not resolve upwards, even though it happens to be the leading tone of the key.) The I7
chord in C major is C major 7th. The 7th note (B) of the C major 7th chord resolves down one step
to A, as follows:

Ex. 7.1

Resolution of the ii7 chord
When the ii7 chord resolves to another chord (usually V), its 7th must resolve down by step. The
ii7 chord in C major is D minor 7th. The 7th note (C) of the D minor 7th chord resolves down one
step to B, as follows:

Ex. 7.2

Resolution of the iii7 chord
When the iii7 chord resolves to another chord (usually vi), its 7th must resolve down by step. The
iii7 chord in C major is E minor 7th. The 7th note (D) of the E minor 7th chord resolves down one
step to C, as follows (Ex. 7.3, on the next page):

Ex. 7.3

Resolution of the IV7 chord
When the IV7 chord resolves to another chord (often a version of ii), its 7th must resolve down by
step. The IV7 chord in C major is F major 7th. The 7th note (E) of the F major 7th chord resolves
down one step to D, as follows:

Ex. 7.4

Resolution of the vi7 chord
When the vi7 chord resolves to another chord (usually ii), its 7th must resolve down by step. The
vi7 chord in C major is A minor 7th. The 7th note (G) of the A minor 7th chord resolves down one
step to F, as follows:

Ex. 7.5

Lecture 2: Modal Interchange

int
Modal interchange
To review, each scale has parallel keys – i.e., scales in different modes that share the same tonic.
When writing a chord progression in one scale, composers sometimes borrow chords from that
scale’s parallel major or minor. This use of borrowed chords is called modal interchange or mode
mixture.

Example of diatonic chords in C major
Notice that, in the major mode, there are two major 7th chords (I7 and IV7), three minor 7th
chords (ii7, iii7, and vi7), one dominant 7th chord (V7), and one half-‐diminished 7th chord (viiø7):

Ex. 7.6

Example of diatonic chords in C natural minor
Notice that, in the natural minor mode, there are three minor 7th chords (i7, iv7, and v7), one
half-‐diminished 7th chord (iiø7), two major 7th chords (III7 and VI7), and one dominant 7th chord
(VII7):

Ex. 7.7

Example of modal interchange between C major and C natural minor
In Ex. 7.8, the chords marked “MAJ” belong to C major, and the chords marked “MIN” belong to
C natural minor. So, the I7, iii7, V7, and viiø7 chords came from C Major, while the iiø7, iv7, and VI7
chords came from C natural minor.

Ex. 7.8

In some common practice music – particularly during the Baroque period – composers
employed modal interchange by ending minor mode cadences (or entire pieces in a minor key)
with the major I triad. The major 3rd of that major triad is called a Picardy third.

Let’s examine the phrase in Ex. 7.9 (below), which contains two instances of modal interchange.
The first instance, marked (A), substitutes an F major 7th chord (the IV7 chord from the parallel
major key) for an F minor 7th chord (the standard iv7 chord in C minor). The second instance,
marked (B), utilizes a Picardy 3rd by substituting a C major chord (the I chord from the parallel
major key) for a C minor triad (the standard i chord in C minor).

Ex. 7.9


On Your Own

Homework

Exercise 1
• Resolve these nondominant 7th chords, and make sure to use a Roman numeral to
label each resolution
• Label the key for each progression
• The first measure has been done as an example

Exercise 2
• Spell each indicated chord
• Make sure all voice leading is correct
• Label the key for each progression
• Analyze each chord with a chord symbol

Exercise 3
each example
• Label the key for each example

Exercise 4
• Circle the borrowed chords in the following passage

Bachelor of

Music Program
BACH THEORY 301
Unit 8: Modal Interchange II, Non-Harmonic
Tones I
Lesson
Guide

Description
In this unit, you will learn about modal interchange and begin to
learn about non-‐harmonic tones.

§ Understand how composers have employed modal
interchange
§ Understand passing tones, neighboring tones, and
neighbor groups

Table of Contents

Lecture 1: Modal interchange in context…………………….……... 2

Lecture 2: Passing tones and neighboring tones………………….. 4

Homework …………………………………….…..……………….…………….. 8

Media

Lecture 1: Modal Interchange in Context

int
Modal interchange in context
In class, we will analyze modal interchange examples together.

In the first analysis example (Ex. 8.1 below), a Picardy 3rd is created by the use of a C# major triad
(I) instead of a C# minor triad (i) at the end of the phrase. The E# (the major 3rd of the C# major
triad) is the Picardy 3rd of the example, which is the final phrase of the piece.

Ex. 8.1
J.S. Bach: Prelude No. 4 in C# minor, BWV 849, mm. 38-‐39

The second analysis example (Ex. 8.2, on the following page) is an excerpt from the third
movement of Beethoven’s Waldstein Sonata.

First, let’s determine which chords do not belong to C minor, the key of the excerpt. Then, we’ll
figure out if those chords are borrowed from a parallel key and thus examples of modal
interchange.

Please write below the chords that do not belong to C minor:

______________________________________________________________________________

Now, circle the chords above that belong to a parallel key and are thus examples of modal
interchange.

Ex. 8.2
L.v. Beethoven: Sonata (Waldstein), Op. 53, III, mm. 15-‐24

Lecture 2: Passing Tones and Neighboring Tones

int
Non-‐harmonic tones
When harmonizing melodies, composers often utilize notes that do not belong to the
surrounding chords. Those notes, called non-‐harmonic tones (or non-‐chord tones), add harmonic
tension to music. Starting with this unit, we will learn about the various types of non-‐harmonic
tones and their resolutions.

Passing tones
Passing tones are non-‐harmonic tones placed between two chord tones that are a 3rd apart.
This placement not only fills a harmonic gap but also results in a stepwise motion from chord
tone 1 to passing tone to chord tone 2 (all while moving in the same direction).

Ex. 8.4

In Ex. 8.5a (right), the bass has one note
(marked with an X) that does not belong to
the surrounding C major triad harmony.
That non-‐harmonic note (D) is a passing
tone, providing a bridge from the C to the E.
Notice that all notes move by step and in
the same direction.

In Ex. 8.5b (left), the soprano and bass
both have notes (each one marked with
an X) that do not belong to the
surrounding C major triad harmony.
Both of those notes (both D) are passing
tones. The D in the soprano provides a
bridge from the E to the C, while the D
in the bass provides a bridge from the C
to the E. Notice that the motion in both
the soprano and bass is stepwise and in
the same direction.

Example 8.6 (below) presents an analysis of the harmonies and passing tones within part of the
Bach chorale Allein zu dir, Herr Jesus Christ. Each passing tone is marked with a (P), as follows:

Ex. 8.6

Next, let’s take a look at this piece’s harmonic reduction (with the passing tones removed):

Ex. 8.6b

Neighboring tones
Sometimes, a chord tone will move by step to a non-‐harmonic tone, which then returns by step
to the same chord tone. The non-‐harmonic tone within this scenario is labeled as a neighboring
tone (as in Ex. 8.7 on the following page).

Ex. 8.7

In the first measure of Ex. 8.8 below, the soprano has one note, marked (N), that does not
belong to the surrounding C major triad harmony. That non-‐harmonic note (D) is a neighboring
tone, approached by and returning to the chord tone (C). Notice that the motion in the soprano
is stepwise. Measures 3-‐4 of Ex. 8.8 contain more neighboring tones. Neighboring tones above
the chord tones are considered upper neighboring tones, while neighboring tones below the
chord tones are considered lower neighboring tones. In analysis, upper neighboring tones are
labeled (UN), and lower neighboring tones are labeling (LN), as follows:

Ex. 8.8

Example 8.9 (on the following page) displays an excerpt from Schumann’s Carnaval. In this
phrase, Schumann employs eight neighboring tones.

Ex. 8.9

Next, let’s take a look at this piece’s harmonic reduction (with the neighboring tones removed):

Ex. 8.9b

Neighbor group
A neighbor group combines the two possible neighboring tones – the upper and lower
neighboring tones – of a chord tone.

Ex. 8.10


On Your Own

Homework

Exercise 1
• Analyze the modal interchange examples below
• Provide chord symbols and Roman numeral analysis

v Analysis 1
From Symphony No. 3, Op. 90, Mov. 2, by Johannes Brahms

v Analysis 2
Adapted from Petite Messe Solennelle, “Cum Sancto Spiritu,” by Gioachino Rossini

Exercise 2
• Using chord symbols, harmonize the following melody
• Make sure to employ some borrowed chords

Exercise 3
• Label the passing tones, neighboring tones, and neighbor groups in the given four-‐
part phrase (below and continuing onto the following page)


Exercise 4
• Embellish the melody from Exercise 2 with passing tones, neighboring tones, and
neighbor groups

Bachelor of

Music Program
BACH THEORY 301
Unit 9: Non-Harmonic Tones II
Lesson
Guide

Description
In this unit, you will learn about appoggiaturas, reaching tones,
escape tones, anticipations, and suspensions.

§ Understand appoggiaturas, escape tones, and reaching
tones
§ Understand anticipations and suspensions

Table of Contents
Lecture 1: More non-‐harmonic tones ….….…….…………….……... 2
Lecture 2: Additional non-‐harmonic tones…………………..……….. 8
Homework …………………………………….…..……………….………………. 13

Media


Lecture 1: More Non-‐Harmonic Tones

int
Appoggiaturas
Appoggiaturas are accented non-‐harmonic tones that are approached by skip (or leap) and left
by step in the opposite direction. The notes on either side of an appoggiatura must be chord
tones.

Appoggiaturas, marked (A), appear in Ex. 9.1 (below). In each case, the appoggiatura has been
approached by leap and left by step in the opposite direction. The soprano’s C in the first
measure, for example, skips upwards to the appoggiatura E. That E then moves downwards by
step to the chord tone D.

Ex. 9.1

Example 9.2 on the following page displays a phrase from a nocturne by Chopin. A harmonic
reduction (with the non-‐harmonic tones removed) appears in the staves below the grand staff.
Each appoggiatura, marked (A), is approached by skip (or large leap) and left by step in the
opposite direction.


Ex. 9.2


Escape tone
An escape tone is a non-‐harmonic tone that is approached by step and resolved by leap in the
opposite direction. The notes on either side of an escape tone must be chord tones.

Ex. 9.3

The four measures of Ex. 9.4 (below) display escape tones, marked (E). In each case, the escape
tone has been approached by step and left by leap in the opposite direction. The soprano’s E in
the first measure, for example, moves upwards by step to the escape tone F. That
F then moves downwards by leap to the chord tone C.

Ex. 9.4

Example 9.5 on the following page displays an excerpt from a piece by Brahms. A harmonic
Each escape tone, marked (E), is approached by step and left by leap in the opposite direction.

Ex. 9.5

Reaching tone
A reaching tone is a non-‐harmonic tone that, like an appoggiatura, is approached by leap and
resolved by step in the opposite direction. Unlike appoggiaturas, reaching tones are unaccented.
The notes on either side of a reaching tone must be chord tones.

Ex. 9.6

Ex. 9.7 (on the following page) displays reaching tones, marked (R). In each case, the reaching
tone has been approached by leap and left by step in the opposite direction. The soprano’s C in
the first measure, for example, moves downwards by leap to the reaching tone A. That A then
moves upwards by step to the chord tone.
Ex. 9.7

Example 9.8 (on the following page) displays a phrase from Tchaikovsky’s Symphony No. 5. A
harmonic reduction (with the non-‐harmonic tones removed) appears in the staves below the
grand staff. Each reaching tone, marked (R), is approached by leap and left by step in the
opposite direction. In the first measure, as the harmonic reduction illustrates, the harmony is a
D major triad. Chord tone F# moves upwards by leap to the first reaching tone (B), which then
resolves downwards by step to chord tone A.

Ex. 9.8

Lecture 2: Additional Non-‐Harmonic Tones

int
Anticipations
Sometimes, a note is repeated – first as a non-‐harmonic tone (within one chord) and then
directly afterwards as a chord tone (i.e., within the next chord). That non-‐harmonic tone, which
foreshadows the chord tone, is called an anticipation.

Example 9.9 (below) employs anticipations, marked (ANT). In the first measure, for example,
the anticipation C does not belong to the G major triad, the chord of the measure. It does,
however, belong to the C major triad of the second measure. Thus, it appears first as a non-‐
harmonic tone and then directly afterwards as a chord tone.

Ex. 9.9

Example 9.10 (on the following page) displays an excerpt from a sonata by Beethoven. A
grand staff. The first anticipation (F#), for example, does not belong to the first chord, a G major
triad. It does, however, belong to the D major triad that follows. Thus, it appears first as a non-‐
harmonic tone and then directly afterwards as a chord tone.

Ex. 9.10

Suspensions
Suspensions are non-‐harmonic tones whose preparation and resolution follow a three-‐step
process:
• Preparation
The first step of the process is preparation, where the suspension begins as a chord tone
of the first chord.
• Suspension
In the second step of the process, that original chord tone is tied over (suspended) into
the next chord, where it becomes a non-‐harmonic tone.
• Resolution
In the final step of the process, the suspension resolves downwards by step to a chord
tone.

Example 9.11 (on the following page) illustrates the three steps used within this process. In the
first measure, the tenor’s C appears, in the preparation stage, as a chord tone within the C
major triad. That C is tied over into the second measure, in which it becomes a non-‐harmonic
tone, suspended against a G major triad. That suspension is resolved when the C moves
downwards by step to B, a chord tone within the G major triad.

Ex. 9.11

The excerpt in Ex. 9.12 (on the following page) is adapted from an intermezzo by Brahms. A
grand staff. The three-‐step suspension process begins with the preparation of C, a chord tone
within the F dominant 7th chord, on the third beat of the first measure. That C becomes a non-‐
harmonic tone – a suspension marked (S) – once it is tied over into the Bb minor triad of the
second measure. The suspension resolves at the end of the measure, where the C moves down
by step to chord tone Bb.

Ex. 9.12

Not all suspensions involve the use of tied notes. Sometimes, the preparation and suspension
stages of the three-‐step process use a repeated note instead of a tied note. These types of
suspensions are often called articulated suspensions. In Ex. 9.13 (on the following page), Bach
utilizes two articulated suspensions, each marked (S). A harmonic reduction (with the non-‐
harmonic tones removed) appears in the staves below the grand staff. In the first measure, for
example, the Ab begins – in the preparation stage – as a chord tone within an F minor triad. That
Ab then becomes a suspension on the first beat of the second measure, where it is repeated
(not tied) over a C major triad. This suspension then resolves down by step to chord tone G.

Ex. 9.13


On Your Own

Homework

Exercise 1
• Label all appoggiaturas, escape tones, reaching tones, anticipations, and suspensions in
the given four-‐part choral phrases

Exercise 2
• Label all non-‐harmonic tones in the given musical excerpt

Exercise 3
• Realize each figured bass
• Add examples of the following non-‐harmonic tones: passing tones, neighboring tones,
neighbor groups, appoggiaturas, escape tones, reaching tones, anticipations, and
suspensions

Exercise 4
• Label all non-‐harmonic tones in the given musical excerpt

Bachelor of

Music Program
BACH THEORY 301
Unit 10: Non-Harmonic Tones III, Final Review
Lesson
Guide

Description
In this unit, you will learn about retardations and pedal tones
and review for the final exam.

§ Understand retardations and pedal tones
§ Prepare for the final exam

Table of Contents
Lecture 1: Retardations and pedal tones ……….…………….……... 2
Lecture 2: Final exam review…………………..…………………..……….. 6
Homework …………………………………….…..……………….………………. 14

Media


Lecture 1: Retardations and Pedal Tones

int
Retardations
Retardations are very similar to suspensions. In fact, they follow a similar three-‐step process.
The first two steps are identical to the suspension process:
• Preparation
The first step of the process is preparation, where the retardation begins as a chord
tone of the first chord.
• Suspension
In the second step of the process, that original chord tone is tied over into the next
chord, where it becomes a non-‐harmonic tone.

The third step of the process – the resolution – is where the difference between suspensions
and retardations appears. Unlike suspensions, retardations resolve upwards, not downwards, by
step. In the first measure of Ex. 10.1 below, the tenor’s C appears, in the preparation stage, as a
chord tone within the C major triad. That C is tied over into the second measure, in which it
becomes a non-‐harmonic tone, held against a G major triad. That retardation (labeled RE) is
resolved when the C moves upwards by step to D, a chord tone within the G major triad.

Ex. 10.1

The excerpt in Ex. 10.2 (on the following page) is adapted from a piece by Ravel. A harmonic
In measure one, the three-‐step retardation process beings with the preparation of A, a chord
tone within the D dominant 7th chord, on the second half of the second beat. That A becomes a
non-‐harmonic tone – a retardation marked (RE) – once it is tied over into the G major 7th chord
that begins on the third beat. The retardation resolves on the second half of the third beat,
where the A moves up by step to chord tone B. In measure two, the three-‐step retardation
process begins with the preparation of G, a chord tone within the C major 7th chord, on the
second half of the second beat. That G becomes a non-‐harmonic tone – a retardation marked
(RE) – once it is tied over into the F# minor 7th (b5) chord that begins on the third beat. The
retardation resolves on the second half of the third beat, where the G moves up by step to
chord tone A.

Ex. 10.2

Pedal tone
A pedal tone, or pedal point, is a note that sustains while the surrounding harmonies change.
When a pedal tone is held, it often switches back and forth between chord tone and non-‐
harmonic tone (as the harmonies change). Usually, the pedal tone begins and ends as a chord
tone. In Ex. 10.3 (on the following page), C is the pedal note – marked (Ped) and “Pedal Point.” It
begins the phrase as a chord tone, the root of the C major triad. It transitions, however, into a
non-‐harmonic tone, when the second beat introduces a G major triad.


Ex. 10.3

In Ex. 10.4 below, G is the pedal note – marked (Ped) and “Pedal Point.” It begins the first full
measure as a chord tone, the root of a G major triad. It transitions, however, into a non-‐
harmonic tone with the introduction of an F major triad on the first beat of the next measure.

Ex. 10.4

Example 10.5 (on the following page) displays a phrase from Mozart’s Symphony No. 38. A
grand staff. (When pedal tones are chord tones, they remain in the harmonic reduction.) Pedal
tone G, marked (Ped), begins the phrase as a chord tone, the root of a G major triad. It
transitions, however, into a non-‐harmonic tone in the third measure, when it is sustained
against a D major triad. The final G major chord of the phrase restores the pedal tone G to chord
tone status.


Ex. 10.5


Lecture 2: Final Exam Review

int
Unit 1
Building 7th chords
In the first lecture of Unit 1, we discussed the items that compose major triads, major 7th chords,
dominant 7th chords, minor 7th chords, minor 7th (b5) chords, and diminished 7th chords:

Ex. 10.6
th
Major 7 chords Root Major 3rd Perfect 5th Major 7th
Minor 7th (b5) chords Root Minor 3rd Dim 5th Minor 7th
th rd th
Diminished 7 chords Root Minor 3 Dim 5 Dim 7th

Diatonic 7th chords
In the second lecture of Unit 1, we discussed diatonic 7th chords. To review, a diatonic 7th chord
is a 7th chord whose notes exist within a particular scale. To discover the notes of a diatonic 7th
chord, pick a scale degree and then, skipping every other scale degree, add three more scale
degrees:

Ex. 10.7

Unit 2
Close and open position
In the first lecture of Unit 2, we discussed guidelines and rules for voicing and doubling in 4-‐part
writing. When the three upper voices in a chord are all within an octave, the spacing is called
close position. When the interval between the soprano and the tenor is larger than an octave,
the spacing is called open position.

Voicing rules
3) The space between soprano and alto, or between alto and tenor, may not be larger than
an octave. Voicings that break this rule are said to have spacing error(s).
4) To review, the voices in 4-‐part writing are arranged from top to bottom in the following
order: soprano, alto, tenor, and bass. If a voicing alters this top-‐to-‐bottom order, the
result is called voice crossing and should be avoided.


Doubling
In Unit 2, we also discussed doubling guidelines and rules for triad voicings in 4-‐part writing. To
review, the leading tone of the key should never be doubled. Note the doubling guidelines
(below):

Voice leading rules
In the second lecture of Unit 2, we discussed the four types of motion between voices – parallel,
similar, oblique, and contrary. We also discussed voice leading rules. To review, below are four
types of voice leading errors:

5) Parallel unisons/fifths/octaves
6) Overlapping (or voice overlap)
7) Hidden octaves and fifths (also called contrary or consecutive octaves and fifths)
8) Direct octaves and fifths

Unit 3
Figured bass
In Unit 3, we discussed the figured bass system, which places numbers underneath the bass
notes to indicate the rest of the notes in each chord. Each number represents a chord note by
showing its distance above the bass note:
9) A root position triad’s figured bass numbers are 5 and 3. These numbers, however, are
often omitted (except when there are non-‐diatonic notes). The Roman numeral for a
root position triad contains no numbers.
10) A first inversion triad’s figured bass numbers are 6 and 3. The general practice is to omit
the 3. The Roman numeral for a first inversion triad contains the number 6.
11) A second inversion triad’s figured bass numbers are 6 and 4. The Roman numeral for a
second inversion triad also contains the numbers 6 and 4.
12) A root position seventh chord’s figured bass numbers are 7, 5, and 3. The general
practice, however, is to omit the 5 and 3 (except when there are non-‐diatonic notes).
The Roman numeral for a root position seventh chord contains the number 7.
13) A first inversion seventh chord’s figured bass numbers are 6, 5, and 3. The general
Roman numeral for a first inversion seventh chord contains the numbers 6 and 5.
14) A second inversion seventh chord’s figured bass numbers are 6, 4, and 3. The general
Roman numeral for a second inversion seventh chord contains the numbers 4 and 3.
15) A third inversion seventh chord’s figured bass numbers are 6, 4, and 2. The general
Roman numeral for a third inversion seventh chord contains the numbers 4 and 2.
16) Accidentals sometimes appear beneath the bass notes. When an accidental is attached
to a figured bass number, it affects the note that is the indicated by that figured bass
number. When an accidental is not attached to any figured bass number, it affects the
3rd note above the bass.

We also mentioned, in Unit 3, that the leading tone in an outer voice must resolve upwards to
the tonic.

Unit 4
In Unit 4, we discussed chord function, TSDT progressions, and cadences.

Chord function
To review, there are three main functions used in the common practice period:
4) Tonic function (vi, I, iii)
A chord with tonic function tends to begin and/or end a chord progression.
5) Subdominant function (ii, IV, vi)
importantly, usually moves to a dominant chord.
6) Dominant function (V, vii°)
most importantly, always moves to a tonic function chord.

TSDT progressions
A TSDT progression begins with a tonic function chord (T), moves to a subdominant function
chord (S), continues to a dominant function chord (D), and ends with a tonic function chord (T).
TSDT progressions can be micro (with one chord per function) or macro (a large-‐scale
movement, possibly including micro TSDT progressions, through the TSDT functions).

Cadences
Cadences often appear at the ends of TSDT progressions. Cadence types include the perfect
authentic cadence, the imperfect authentic cadence, the half cadence, the plagal cadence, and
the deceptive cadence.

Unit 5
Chord progressions with 7th chords
In Unit 5, we discussed diatonic 7th chords, their functions and their uses within TSDT
progression. To review:

Ø 7th chords with tonic function – I7 and vi7 (and iii7 to a lesser extent) – tend to move
to subdominant function chords and sometimes begin progressions. Unlike tonic
function triads, tonic function 7th chords rarely end progressions.
I7 à IV, vi7 à ii

Ø 7th chords with subdominant function – IV7 and ii7 – usually move to dominant
function chords.
IV7 à V (IV usually movies to ii, and then from ii to V), ii7 à V

Ø 7th chords with dominant function – V7 and viiø7 (and iii7, only when moving to vi) –
move to tonic function chords.
V7 à I, viiø7 à I (or sometimes iii), iii7 à vi

Dominant and diminished 7th chord resolution
In the first lecture of Unit 6, we discussed the resolutions of V7 and viiø7 chords. To review:
Ø The V7 chord usually resolves to the tonic chord. There are two rules governing this
resolution:
1) The 7th of the V7 chord must resolve downward by step.
2) The 3rd of the V7 chord – as the leading tone of the scale – must resolve upward
by step.
Ø The viiø7 chord usually resolves to the tonic chord. There are two rules governing
this resolution:
3. The 7th of the viiø7 chord must resolve downward by step.
4. The root of the viiø7 chord – as the leading tone of the scale – must resolve
upward by step.

• Provide the 7th chord indicated in a four-‐part voicing
• Provide the proper resolution for that 7th chord

Ex. 10.8

Unit 7
Resolutions of nondominant 7th chords
In the first lecture of Unit 7, we discussed the resolutions of nondominant 7th chords. To review,
the 7th (particularly when in an outer voice) of each nondominant 7th chord must resolve down
by step.

The following are guidelines for nondominant 7th chord resolutions:
1) The I7 chord usually resolves to the IV chord.
2) The ii7 chord usually resolves to the V chord.
3) The iii7 chord usually resolves to the vi chord.
4) The IV7 chord usually resolves to the ii chord, which is often in inversion.
5) The vi7 chord usually resolves to the ii chord.
• Provide the 7th chord indicated in a four-‐part voicing
• Provide the proper resolution for that 7th chord

Ex. 10.9

Units 7 and 8
Modal interchange
In the second lecture of Unit 7 and first lecture of Unit 8, we discussed modal interchange.
When writing a chord progression in one scale, composers sometimes borrow chords from that
scale’s parallel major or minor. This use of borrowed chords is called modal interchange or mode
mixture.

In some common practice music – particularly during the Baroque period – composers
employed modal interchange by ending minor mode cadences (or entire pieces in a minor key)
with the major I triad. The major 3rd of that major triad is called a Picardy third.

• Create a progression, using modal interchange, in the given key

Unit 10.10

Unit 8
Passing tones, neighboring tones, and neighbor groups
In the second lecture of Unit 8, we discussed passing tones, neighboring tones, and neighbor
groups.

Passing tones are placed between two chord tones that are a 3rd apart. This placement not only
fills a harmonic gap but also results in a stepwise motion from chord tone 1 to passing tone to
chord tone 2 (all while moving in the same direction).

Sometimes, a chord tone will move by step to a non-‐harmonic tone, which then returns by step
to the same chord tone. The non-‐harmonic tone within this scenario is labeled as a neighboring
tone.

A neighbor group combines the two possible neighboring tones – the upper and lower
neighboring tones – of a chord tone.

• Add passing tones, neighboring tones, and neighbor groups to the chord progression
• Label all non-‐harmonic tones

Ex. 10.11

Unit 9
Appoggiaturas, escape tones, and reaching tones
In the first lecture of Unit 9, we discussed appoggiaturas, escape tones, and reaching tones.

Appoggiaturas are accented non-‐harmonic tones that are approached by skip (or leap) and left
by step in the opposite direction. The notes on either side of an appoggiatura must be chord
tones.

An escape tone is a non-‐harmonic tone that is approached by step and resolved by leap in the
opposite direction. In addition, the notes on either side of an escape tone must be chord tones.

A reaching tone is a non-‐harmonic tone that, like an appoggiatura, is approached by leap and
resolved by step in the opposite direction. Unlike appoggiaturas, reaching tones are unaccented.
The notes on either side of a reaching tone must be chord tones.


• Find and label the non-‐harmonic tones in the passage below

Ex. 10.12

Anticipations and suspensions
In the second lecture of Unit 9, we discussed anticipations and suspensions.

Sometimes, a note is repeated – first as a non-‐harmonic tone (within one chord) and then
directly afterwards as a chord tone (i.e., within the next chord). That non-‐harmonic tone, which
foreshadows the chord tone, is called an anticipation.

Suspensions are non-‐harmonic tones whose preparation and resolution follow a three-‐step
process:
• Preparation
The first step of the process is preparation, where the suspension begins as a chord tone
of the first chord.
• Suspension
In the second step of the process, that original chord tone is tied over (suspended) into
the next chord, where it becomes a non-‐harmonic tone.
• Resolution
In the final step of the process, the suspension resolves downwards by step to a chord
tone.

• Find and label the non-‐harmonic tones in the passage below

Ex. 10. 13


Unit 10
Retardations and pedal tones
In Unit 10, we discussed retardations and pedal tones.

Retardations are very similar to suspensions. In fact, they follow a similar three-‐step process.
The first two steps are identical to the suspension process:
• Preparation
The first step of the process is preparation, where the retardation begins as a chord
tone of the first chord.
• Suspension
In the second step of the process, that original chord tone is tied over into the next
chord, where it becomes a non-‐harmonic tone.

The third step of the process – the resolution – is where the difference between suspensions
and retardations appears. Unlike suspensions, retardations resolve upwards, not downwards, by
step.

A pedal tone, or pedal point, is a note that sustains while the surrounding harmonies change.

• Analyze the passage below with chord symbols and Roman numerals
• Label all non-‐harmonic tones
• Be sure to keep non-‐harmonic tones in mind during Roman numeral analysis

Ex. 10. 14


On Your Own

Homework

Exercise 1
each figured bass
whenever they occur
• Label any cadences


Exercise 2
• Label and identify the voice leading error(s) in each measure

Exercise 3
• Resolve the following V7 and viiø7 chords

• Provide the indicated 4-‐part resolutions in the given keys


• Resolve the following nondominant 7th chords
• Provide Roman numerals for the chords to which the nondominant 7th chords
resolve

Exercise 4
• Create a progression, using modal interchange, in the given key


Exercise 5
• Label the non-‐harmonic tones (passing tone, neighboring tone, neighbor group,
appoggiatura, escape tone, reaching tone, anticipation, pedal tone, suspension and
retardation) in the following examples


Bachelor of Music Program: Bach Theory 301 Unit 1: 7 Chords

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Bachelor of

Lecture 2: Figured Bass in 4-‐Part Writing

Lecture 2: Midterm Review

Lecture 2: Chord Progressions and the Overtone Series

Lecture 2: Final Exam Review

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Bachelor of Music Program: Bach Theory 301 Unit 1: 7 Chords

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Bachelor of Music Program: Bach Theory 301 Unit 1: 7 Chords

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Bachelor of

Lecture 2: Figured Bass in 4-­‐Part Writing

Lecture 2: Midterm Review

Lecture 2: Chord Progressions and the Overtone Series

Lecture 2: Final Exam Review

You might also like

Lecture 2: Figured Bass in 4-‐Part Writing