harmony templates

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U U nnd d eer r s st t aannd d i i nn g g

t t hhee

B Baa s si i cc s s oo f f H H aar r mmoonn y y

B B y y

P P i i eer r r r ee M M cc N N i i ccool l l l

E E x x eer r cci i s see T T eemm p pl l aat t ee s s



Understanding the Basics of Harmony

Page 188

Chapter 1

1. Find the diatonic chords (in both three and four-note forms) in the

following keys: G, D, A, E, F, Bb, Eb and Ab.

2. Write the following chord progressions in the same keys as those shown

above:

a)

G A-G:

GMaj7 A-7

D:

A:

E:

F:

Bb:

Eb:

Ab:

IMaj7 VI-7 II-7 V7 IMaj7

G :

D :

A :

E :

F :

Bb :

Eb :

Ab :



Exercise Templates

Page 189

b)

c)

III-7 VI-7 II-7 V7 IMaj7

G :

D :

A :

E :

F :

Bb :

Eb :

Ab :

d)

I II- V I

G :

D :

A :

E :

F :

Bb :

Eb :

Ab :

II-7 V7 IMaj7

G :

D :

A :

E :

F :

Bb :

Eb :

Ab :




Page 190

e)

I VI- IV V I

G :

D :

A :

E :

F :

Bb :

Eb :

Ab :

f)

I III- IV V I

G :

D :

A :

E :

F :

Bb :

Eb

: Ab :



Exercise Templates

Page 191

Chapter 2

1. Find the secondary dominant chords required for each of the different keys

presented below:

G F D Bb

V7/IV V7/V V7/II V7/III

V7/II V7/II V7/V V7/V

V7/III V7/VI V7/III V7/II

V7/VI V7/III V7/VI V7/IV

V7/V V7/IV V7/IV V7/VI

2. Fill in the missing arrows in the following examples and write the progressions

in the keys of G, F, D, Bb, A and Eb:

G:

F:

D:

Bb:

A:

Eb:

G:

F:

D:

Bb:

A:

Eb:




Page 192

G:

F:

D:

Bb:

A:

Eb:

G:

F:

D:

Bb:

A:

Eb:



Exercise Templates

Page 193

Chapter 3

1. Using the Roman numeral analysis provided in the examples given

below, use the templates provided to fill in the missing chords in each of

the following keys: F, Bb, G and D.

F:

Bb:

G:

D:

F:

Bb:

G:

D:

F:

Bb:

G:

D:




Page 194

F:

Bb:

G:

D:

Chapter 4

1. In the examples given below and for each of the following keys: A, E,

F, Eb, D and Bb, write the chords illustrated by the Roman numeral

analysis provided. Enharmonic spelling is allowed for chord writing.

A:

E:

F:

Eb:

D:

Bb:



Exercise Templates

Page 195

A:

E:

F:

Eb:

D:

Bb:

A:

E:

F:

Eb:

D:

Bb:




Page 196

Chapter 5

1. For each of the following keys: C, G, F and D, write the chords

illustrated by the Roman numeral analysis provided in the examples

below:

C:

G:

F:

D:

C:

G:

F:

D:

C:

G:

F:

D:



Exercise Templates

Page 197

2. In the three following keys find the requested substitute dominant

chords:

D Bb A

SubV/II ________ SubV/IV ________ SubV/V ________

SubV/I ________ SubV/I ________ SubV/II ________

SubV/VI ________ SubV/II ________ SubV/VI ________

SubV/V ________ SubV/V ________ SubV/III ________

SubV/III ________ SubV/VI ________ SubV/I ________




Page 198

Chapter 6

1. Using the example provided below as a model, identify the different

modes, tensions available and“

notes to avoid”

:



Exercise Templates

Page 199

Chapter 71. Using the relevant Major Key signatures included in each example,

identify the Secondary Dominant chordscale that applies to the analysis

shown. Indicate the appropriate tensions and notes to avoid for each

mode. Use the example as a model:

Model :




Page 200

2. Fill in the appropriate notes and tensions for the following modes or

chordscales:



Exercise Templates

Page 201

3. Using the relevant Major Key signatures included in the armature of

each staff, write the diminished chordscale that applies to the analysis

shown. Indicate the appropriate tensions and notes to avoid for each

mode:




Page 202

Chapter 8

1. Based on the chord progressions provided, fill in the cells of the tables

below. Use the following keys: G-, D-, F- and A-.

G-:

D-:

F-:

A-:

G-:

D-:

F-:

A-:

G-:

D-:

F-:

A-:



Exercise Templates

Page 203

3. Write the appropriate Minor scales as well as the key signatures:




Page 204

4. Write the chords as well as the Roman numeral analysis for the different

minor modes from the last exercise:

G Harmonic Minor

I- IIdim bIIIaug IV- V bVI VIIdim

G- Adim Bbaug C- D Eb F#dim

I-Maj7 II-7b5 bIIIMaj7#5 IV-7 V7b9 bVIMaj7 VIIdim7

G-Maj7 A-7b5 BbMaj7#5 C-7 D7b9 EbMaj7 F#dim7

E Natural Minor

F Jazz Minor

D Harmonic Minor



Exercise Templates

Page 205

B Jazz Minor

F# Natural Minor

B Harmonic Minor

D Traditional Minor (ascending) = Jazz Minor

E Harmonic Minor




6

Chapter 9

1. Complete the chord progressions that follow in G, F, Eb, Bb, A and D:

Modes:

G:

F:

Eb:

Bb:

A:

D:

Modes:

G:

F:

Eb:

Bb:

A:

D:



Exercise Templates

Page 207

Modes:

G:

F:

Eb:

Bb:

A:

D:

Modes:

G:

F:

Eb:

Bb:

A:

D:




Page 208

Modes:

G:

F:

Eb:

Bb:

A:

D:



Exercise Templates

Page 209

Chapter 10

1. Write the chords as well as the Roman numeral analysis for the different

modes, as in the example provided below:

G Dorian

I- II- bIII IV V- VIdim bVII

G- A- Bb C D- Edim F

I-7 II-7 bIIIMaj7 IV7 V-7 VI-7b5 bVIIMaj7

G-7 A-7 BbMaj7 C7 D-7 E-7b5 FMaj7

E Phrygian

Ab Lydian

D Dorian




Page 210

B Mixolydian

F# Aeolian

Bb Dorian

D Phrygian

E Mixolydian



Exercise Templates

Chapter 11

1. Write the traditional chord that is equivalent to each of the following

Hybrid chords:

C/F Db/A

D/Eb Bb/Eb

Bb/E Ab/B

Bb/A Bb/D

D/Ab E/F

A/D C/Bb

Ab/D F#/A

G/A G/F

2. For each of the following traditional chords, write an equivalent Hybrid

chord:

C7sus4 Bdim7

Ab13b9 BbMaj7

EbMaj7#11 A9sus4

DbMaj7 BbMaj7#11

C7b9 F7b9b5

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