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B I INTRODUCTION

he progressions you heard in the major mode in

Lesson A are played in the minor mode in this

Lesson. For V, you will need to place ~me acciden

tal before the leading note, to raise 7 of the dia

tonic scale. The accidental will be a #in some keys and

a ~ in others.

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C I INTRODUCTION

L[SSON

his Lesson begins the focus on basic harmonic

motion from tonic to dominant and back to
tonic, in the major mode. Before the dominant, a
preparatory chord is heard. In this program, the
abbreviation for this motion is T-P-D-T. From this
point on, this large view of the harmony appears in
the introductory examples to the Lessons in the gray
area below the staff.
In this Lesson, the motion T-P-D-T is heard in the
major mode in two forms: I-IV-V-I and I-ii6-V-I. In
Lessons D and E you learn to hear the difference be
tween the two forms in both the major and minor
modes. As you play the illustrations in this Introduc
tion, listen for the difference between IV and ii6. Al
though the bass note, 4, is the same for both chords,

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Major
triad
I

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IV has a major sound and ii6 a minor sound. For fur

ther practice, sing one part in each illustration while
playing the other three.
In some of these exercises the last note in the bass is
an octave lower than the starting note.
On the Worksheet write the notes that you hear,
identify the chords, and place T PDT correctly. You
can do this in any order. The notes, chord identifica
tion, and chord function of the first chord are pro
vided.

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D I INTRODUCTION

n this Lesson you study the same progressions as in

Lesson C, but some are in the minor mode: i-iv-V-i
and i-U06-V-i. You can tell from the given chord
whether an exercise is in the major or the minor
mode. In the minor mode, U06 is a diminished triad in
~ position. Remember that V is a major triad and must
be spelled accordingly.

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I INTRODUCTION

n the standard repertory you hear dominant har

mony most often as a V7 chord. Lesson E affords
you practice in distinguishing between V and V7.
Exercises are in both major and minor modes. V7 is
the same chord in both modes. Since it is common
practice in tonal music to omit the fifth of V7 and
double the root, look for examples of that in the illus
trations.
Exercises in the minor mode may end with a major
tonic triad. When you hear that major triad, be sure to

use an appropriate accidental for the third of the

chord and I as the chord identification. This is the first
of many types of modal mixture that you will en
counter in this program.

(. . Tip: Listen for the downward resolution of the

seventh in V7, from.4 to 3.

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f I INTRODUCTION

p to this point you have heard only one chord

expressing a harmonic function. In Lesson F you
will study a way to hear two or more chords as a
group. This begins the kind of listening that leads
away from hearing chords one at a time and moves
you toward long-range hearing.
The exercises in this Lesson include five chords. No
new chords are introduced, but the chords that you
have already heard are used in larger combinations.
Some of the progressions do not include a P chord.
Starting with this Lesson, tonic and dominant func
tions may include groups of two or three chords. The
easiest way to extend T or 0 is to repeat the chord. In
the simplest extension found in this Lesson the chord
repetition occurs over an octave skip in the bass. The
position of the upper three voices may change with
the octave skip, but the notes of the chord remain the
same. The beginnings of Examples I, 4, and 5 show this.
Another extension of tonic harmony uses IV as a
neighbor chord. Example 2 ends with such an exten
sion of tonic harmony, but this can occur at the begin
ning of a progression, as in Example 3. Since you have
previously heard IV (and iv) as a preparatory chord,
you can understand that the same chord can have a
different function depending on the context. Find the
neighbor notes in the upper voices of the IV chord and
observe how the bass skips to support these voices. In
these two illustrations IV (or iv) is not a dominant
preparation but a neighbor chord elaborating 1.

You will also find a simple elaboration of the bass

line: an octave skip up or down, as at the end of Ex
ample 1. These notes should be scored in the same
way that you score other pitches.
Dominant harmony may also be extended: In this
Lesson two chords, V and V7, are heard as a group, as
in Example 6.
On the Worksheet, show the extensions of har
monic function by draWing a straight line under the
roman numerals that are grouped together, and place
the function symbol underneath the first chord of the
group, as in the illustrations below.
When scoring extensions of harmonic functions,
mark x if the function symbol is not correctly placed
beneath the first chord of the extension. In addition,
the line that indicates a harmonic extension must ap
pear under all the chords included in the extension.
Mark x (1) if the line does not appear; (2) if it does not
include all the chords in the extension; or (3) if it in
cludes chords that are not in the extension. Also, mark
x if you have drawn a line where there is no exten
sion. Use the examples in the illustrations as your
models.

. . Tip: In the tonic extension of I-IV-I or i-iv-i,

listen for two neighbor notes in the upper
voices.

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