PRACTICE EXERCISES

Write the indicated accidental to the left of the note:

flat

natural

sharp

flat

double sharp

natural

double flat

sharp

Write the note names:

Write the note in two different registers, using ledger lines when necessary (there may be more than
one solution):

F sharp

C sharp

C sharp

E flat

D flat

A flat

G double
sharp

F double
sharp

D flat

A double
flat

Ex. - 1

B flat

B double
flat

A double
sharp

G flat

COUNTING HALF STEPS

Write the number of half steps between the two written notes. Use a keyboard or a keyboard
diagram for help:
Example:

Ex. - 2

EXERCISES: ENHARMONIC EQUIVALENCY

On the staff, write an enharmonic spelling for the note provided. There will usually be two answers.
Feel free to use ledger lines:
Example:

Eb

Eb

C#

Bb

Gb

D#

Fb

B#

Db

Db

B#

Fb

D#

Gb

Bb

C#

Ex. - 3

NOTE VALUE PRACTICE

Fill in the blanks:

Examples: h

= 4 eighth notes or

4 e = 1 half note

_____ q = 1 whole note

e + e = ______ sixteenth notes

h

= ______ eighth notes

_____ e = 2 sixteenth notes

= ______ eighth notes

_____ h = 2 whole notes

q + e = ______ sixteenth notes

_____ x = 2 quarter notes

w + h = ______ quarter notes

_____ q = 4 eighth notes

w + w = ______ half notes

_____ x = 2 quarter notes

Ex. - 4

STEM AND BEAMING PRACTICE

Add quarter note stems to the notes below following the rules about direction and length:

Add eighth and sixteenth stems:

Now copy the notes from the staff above, or make up your own notes, and group them by twos, threes,
or fours. Then beam them according to all the beaming rules:

Ex. - 5

18

RHYTHM EXERCISES 1
Practice with counting and Tas.
Remember to maintain a steady pulse.

44

42

43

Ex. - 6

RHYTHM EXERCISES 2
Practice with counting and Tas.
Remember to maintain a steady pulse.

44

43

42

Ex. - 7

NOTE VALUE PRACTICE II

4
____

q.

____

= 3 half notes

or

h.

3 quarter notes or
= ____

e.

= 1 dotted quarter note

__

e. = 3 quarter notes

____ . = 9 eighth rests

____

____ w
____
____
____
____

q
!

q.
w.

= 6 half notes
= 1 dotted half note

____

= 2 dotted eighth rests

____

h . = 6 quarter notes
q

q. = q e

= ____ sixteenth notes

= ____ eighth rests
= ____ eighth notes
= ____ half notes

. = 6 sixteenth rests

e. = 6 sixteenth notes

e = 1 dotted half note

____ . = 3 sixteenth rests
____

= a dotted whole note

Assuming the quarter note gets the beat, write the number of beats for each example:

h.

w.

q .+ q .
q .+e

____

____

____

____

Ex. - 8

h
h
q

____
____
____
____

RHYTHM EXERCISE 3
(You may want to write in the "down" and "up" beats as I've done in the first example)

4 .
4

1 & 2 & 3 & 4 &

(etc...)

(I've underlined the "attack")

43

42

Ex. - 9

CUMULATIVE EXERCISES
Find all the errors

j
3
.
&4

j
4?

j . r

Add the proper note or rest value as requested to complete the measure

& 43

Eb

Rest

Ex. - 10

Rest(s)

!
J

A (you'll need a tie)

Ex. - 11

ECONOMICAL DEVICES EXERCISES

In the empty staves provided, write out each example as it would appear without
the repeat symbol/device.

4
4
1

44

44

44
3

..

44
2

.. 2.

1.

..

Fine

D.C. al Fine

44

Ex. - 12

43

ECONOMICAL DEVICES EXERCISES CONT'D

42
4

Fine

D.S. al Fine

42

43 .
5

fi Coda

fi

D.C. al Coda

43

Ex. - 13

44

SCALE EXERCISES

Write ascending, then descending major scales starting from the given notes.
Remember to follow the WWHWWWH pattern and to use accidentals where appropriate.

&
A MAJOR

?
E b MAJOR

&
E MAJOR

?
F MAJOR

Ex. - 14

KEY SIGNATURE EXERCISES

1.

Name the key:

2. Using key signatures, write the following ascending major scales:

&
A MAJOR

?
D MAJOR

&

B b MAJOR

?
E b MAJOR

Ex. - 15

TRANSPOSITION EXERCISES

This melody is in the key of F Major. Transpose it into the following keys using the appropriate key signature.
(Can you name the tune?)

4
&b 4

F MAJOR

? 44

B b MAJOR

& 44
G MAJOR

54
Ex. - 16

MINOR SCALE EXERCISES

Using a key signature, write the specific type of minor scale below Remember that a minor scale key
signature comes from its relative major key signature.

&

C NATURAL MINOR

&

C HARMONIC MINOR

&
C MELODIC MINOR (ascending and descending)

&
F HARMONIC MINOR

&

F NATURAL MINOR

&
F MELODIC MINOR (ascending and descending)

Ex. - 17

SUMMARY ASSIGNMENT FOR:

SCALES, KEY SIGNATURES AND THE CIRCLE OF FIFTHS
On staff paper:
Pick two major keys:
One that uses flats and whose tonic is a flat note, such as: Bb, Db, Eb, Gb, Ab
One that uses sharps, such as: G, A, B, C#, D, E, F#
Write:
The key signature for each key, in treble and bass clefs
The key names and their key signatures for the keys that are one key away in the circle of
fifths and fourths (i.e. clockwise and counter clockwise) in treble and bass clefs
Write out the scales without key signatures (i.e. putting in each accidental where appropriate) in
treble and bass clefs:
For each original key, write out that major scale
Write out the relative minors for each of the two original major keys
Write out the harmonic and melodic forms of the two relative minor keys
For all the above scales, write the notes as whole notes, but do not worry about time signatures or
bar lines (as represented in earlier pages).
Label everything very clearly and space things out as much as you need to on the page(s). Copy
the format used in the examples on the preceding pages. Imagine that someone else (a
performer) could be reading this and that you might not be on hand to answer any questions
about which notes you want played. For example, you would not want a performer to look at
you score and not be able to determine if a note is a G or an A because it is not perfectly centered
on that particular line or space, or because the note head is too big and it overlaps on a line and a
space.

Ex. - 18

INTERVAL EXERCISES
Name the interval:

w
&w

b b ww

ww

& ww

b ww

w
w

? b ww

w
#w

b ww

Write the interval above the indicated note:

P4

bw

m3

m7

&
&

#w

bw

m7

m6

A5

P8

P5

w
bw

w
#w

b ww

ww

ww

bw

M6

? b ww

b ww
w
#w

ww

b ww

Ex. - 19

A4

w
d5

M2

Invert these intervals (either direction) and name the inversion:

& ww

M7

Write the interval below the indicated note:

w
w

m6

m2

w
#w

b ww

ww

ww

FINDING INTERVALS IN A PIECE EXERCISES

MINUET

J.S.Bach
BWV Anh. 115

IN G MINOR

b 3
&b 4

m3
Sample Answer

? b b 43 .
&b
5

? b b
9

&

bb

? bb .
b
&b
13

.
? bb n

Ex. - 20

.
..

..

..

& w
& wM
M

w
w
Aug.

#w
# wM

Aug.

w
wM

bw ? w
b wdim.? Mw
dim.

bw
b wm

bw
b wm

w
w
Aug.

#w
# wM

Aug.

b www
www
bAug.

# www
# www

Aug.

EXERCISES
Iw
ww TRIAD
#
w
b
w
? w
w
#
w
w
b
w
b
w
b
w
w
w
& w
w
ww
w
b ww
b
#Aug.
www
bdim.
www ? wwwM b b wwwm
wwwM
# wwwM
b
w
b
M
&
w
b w are
Indicate whether the following triads

# www
# www

www
www

b www
b www

www
www

major (M),
(m), augmented
(Aug.),
ordim.
diminished
M minor
Aug.
M
M
M (dim.):m

&
&

www
www

b www
b www

www
www

w
www
b www
& ww
wwwM
wwwm
b wwwm as indicated.
&
Complete the triad
M

? bw
44
? M

#w
M

? b www
b www # # # www
54
Write
? theMfollowingm triads: M

&

D Aug.

& # # www

D Aug.

A dim.

b www
A dim.

F #M

# # # www

F #M

# ww ? b ww
www
www
w
w
# www ? b ww
ww
wwm
dim.
Aug.
dim.
w
w
w
The bottom note is provided:
dim.

dim.

b www

dim.

Gm

b www

Gm

Aug.

dim.

&

Aug.

dim.

# # www & www

Aug.

B bM

b www

dim.

b www
b wwwm
m

# # www
# # www

# # www
# # wwwM
M

bw

b b www

b www

G Aug.

Cm

www
www

B bM

?
84

Ex. - 21

ww
w

FM

# ww
w

G Aug.

b www
Cm

www
www
www
www
M

www
wwwm
m

#w

# www

# # # www

Aug.

Aug.

?
FM

B dim.

www

B dim.

A bM

bw
b ww

A bM

&

D Aug.

&
w
& #D#Aug.
& ww

F #M

A dim.

b www

A dim.

Gm

B bM

?
FM

G Aug.

Cm

B dim.

TRIADS EXERCISES
II
?
w
www
# #F##Mwww Gmb www Bb bwwM ?? FMwww G #Aug.

www
bCm

B dim.

BelowDaAug.
triad is Aprovided.
dim.
F #M
Gm
B bM
FM
G Aug.
Aug.
A dim.
F #M
Gm
B bM
FM
G Aug.
Write Dthe
corresponding
Roman
numeral
according
w to the given key:

b bAwwwbM

A bM
A bM

www
b www
b www
# www
www
b
www
ww b b www
www
#
w
w
w
#
FM
G Aug.
Bw
ww
bCm
# www
wwdim. b bAwwwbM
www
CM
Fm
FM
Cm
GM
DM
AM
Am
B bM
(harmonic
#
b
D Aug.
A dim.
FM
Gm
BM
wwwFM GwwAug. # wCm Bwwdim. b bAwwwbM
version)
w
b
w
w
w
?
w
w
b ww
b ww
n ww
ww
w
w
#w
& ww
w
ww b b bb www
w
w
w
b
w
w
w
?
#
w
w
w
w
b
w
b
w
b
w
n
w
w
CM
Fm
E
M
FM
Cm
GM
DM
AM
Am
BM w
w
# ww Roman# wwnumeralwwprovided:
www according
& www the triad
w given note
w ? to wwthe key and
b wwabove bthe
Complete
b
w
n
w
(harmonic
#
w
&CM wIV Fm iiwo EbM wiii FM iii Cm
wV GM vi DM vii o AM wii Am iv BbMb wIV
version)
CM
Fm
E bM
FM
Cm
DM
AM
Am
B bM
(harmonicGM
w
b wwww
?
w
w
w
version)
w
w
(harmonic
b
w
w
w
?
#
w
w
w
w
w
w
b
&
w
w
b
b
w
b
w
b
w
n
w
w
w
#w
b w version)
& w
w
w
w
w
o
b
bM V b Dm VII
CM
V
GM
ii
FM
iii
B
M
IV
Am
III
AM
V
CM
vii
Fm
iv AmEiv
o
o
CM IV
Fm ii
E bM iii FM iii
Cm V
GM w
vi
DM vii
AM ii
B Mb IV
www
w
w
w
w
& ww
b
w
w
w
?
#
w
w
w
w
w
b
b
w
b
w
n
w
w
w
(harmonic
w version)
#w
& w
w
w
w
w
o
CM IV (write
Fm iithe
E bM iii triads
FM iiifor) the
CmwV
viw scale.
DM vii o
AM ii
Am iv
B bM IV
Harmonize
diatonic
B flatGM
major
w
w
w
#
w
www
w
?
w
w
w
wa key signature:
w
(harmonic
b
w
w
b
w
w
Use
onew
measurew
per triad w
and DO NOT
use
w
w
&
w
w
w
b
w
b
w
version)
bw
&
o
CM V
GM ii
FM iii
B bM IV
Am III
AM V
CM vii
Fm ivw
E bM V b w
Dm VII
w
w
b
w
b
w
w
w
w
& ww
w
w
w
ww
w
b ww
bw
& bw
b:
B152
I
ii
iii
IV
V
vi
vii o
?
b www
www
w
b
w
b
w
w
& ww
w
w
ww
w
bw
bw
Harmonize
?b b w the D minorwscale.
o
b
w
w
Use
per triad
use a key
signature. w
B :one measure
I
ii and DO NOT
iii
IV
V
vi
vii
w
b
w
b
w
www the Harmonic
ww
w
& that
w
www the 5th chord
Assume
b www comes from
b ww minor mode:
b
155
o
B b:
ii
iii
IV
V
vi
vii
?
? I
www
b www
b www
www
? www
# www
b www
?
& # # www
& D#wwwAug.
& # www

?
?

d:161

?d:

d:
?

167

b www
ww
bAbbdim.
ww

ww
w

A bM

# # # www
b#Fwwww#M
# # ww
E bM

b www
www
www
bGm

b www

b www
-2w
b wwiv

# www

-2-iv

www
wwwi

b wwwii o

www
wwwIII

ii

III

ii

III

b ww ?
nBwwwwwbM??
bw

iv

-2Ex. - 22

173

# www

Cm
Cm

B dim.
B dim.

VI

w
b ww
VI
w
b ww

VI

ww
w
VII
www

VII

VII

7TH CHORDS EXERCISES

7TH CHORDS EXERCISES

Given the root, complete the indicated 7th chord:

& w

min. 7

dom. 7

bw

www
w

# wwww

half dim. 7

maj. 7

dim. 7

Analyze the following 7th chords in terms of the provided key:

? www
w

Am:

CM:

www
w

CM:

&

Gm:

www
b
bw

E bM:

dom. 7

b wwww

Cm:

min 7

b wwww

FM:

maj. 7

# wwww
DM:

Given the key and root, complete the 7th chord and provide its roman numeral:

&

CM:

FM

#w

Am:

Dm:

Ex. - 23

bw

B bM:

Gm:

w
CM:

GM:

CHORD
INVERSION
EXERCISES
CHORD
INVERSION EXERCISES

w
& ww

ww
w

Name the inversion (R, 1st, 2nd, 3rd):

ww
ww

ww
ww

The root of the triad is given. Fill

in the remaining notes according
to the indicated inversion:

& w

2nd

1st

1st

wwww

ww
w

w
www

wwww

Same thing, but for 7th chords:

2nd

3rd

2nd

w
R

ww
w

ww
w

1st

2nd

In the key of CM, spell the following

chords with their indicated inversions:

&

I 1st

ii R

IM7

iii 2nd

IVM 7 R

vii 1st

V 2nd

V7R

vi 3rd

IV 2nd

Rewrite the following inverted chords

on the bottom staff so that they are in
root position:

&

ww
w

wwww

ww
w

ww
w

&

Ex. - 24

www
w

wwww

w
www

& www
CM V
& www

CM V

& # wwww
V7
& # wwww

CM V

www
GM
ww ii
w

GM ii

GM ii

B M IV
Am III
www ? AM# wwwV CMwvii Fmwiv
www
ww
b b ww
b b www
o
FM
ww iii BbbMwIV Amwww III? AM
# wwwV CMwwvii Fmb wwiv
w
w
bw
b ww
o
FM iii
B bM IV
Am III
AM V
CM vii
Fm iv
# ww FIGURED
n ww BASS EXERCISES
c
# ww
# ww
# www7
nviiwwwo7
vii
c
#w
#w
FM iii

vii 7
vii
w
ww
Given thewchord, write
ww its name,wquality andwwwfigured
? bass:
w
& ww
www
ww ? ww
ww
w
w
w
w
w
& ww
www
ww ? ww
ww
ww
w
w
w
w
54/1 &
www
w
ww6 ? Bwwo6
4
w6
6
CM
GMw
Em 3
Am
w
w
w
w
w
& thewwfigured bass, spell thewwchord:
Given
w
6
6
4
6
o6
CM
GM
Em3
Am
B
b
?
&
53/2
&
6
V7

&

54/2

o7

V7
FM 6

ii
Am

FM 6

Am

iii 64
Dm 3

vii o 6
B o6 4?

I4
Am 6

ww 43 Bwo6ww
ww 6
Dm
Am
w
www ? www
b ww
wwwww
&
wwwww
w
& wwwww
6
7
w
o6
6
o 6terms
In the key
the given
in
of Am
ii
iii 4chords w
vii
I 46
wwV6of GM, analyze
w
w
4
w
FM
Am
Dm
B
3
w ? ww
their
bass:
w numeral,wwquality andwwwfigured
& Roman
4
o6
6
FM w
Am
Dm
B
Am
w
3
186
www6
w
?
#
w
w
www
w
ww
ww
?
?

186

?#

www
w

V7

www

ii

ww
w

iii6

ww -3w
6

V 4 -3-

?#
224

?#
228

Ex. - 25

?#
234

ww
w

I6

www
w
www
w

www
w
Dm
www34
w
4

Dm 3

iii47
Em 2

www
ww
wwiii347
Emw
w

Em 42

www4
w

Em 2

www
w

iii 7

E bM V

Dm VII

E bM V

Dm VII

b www
E bM V
b www

ww
w
ww
w

www
www

ww
w
ww6
GM
w

www
Amw
ww

Am

GM
4

IV 2
Gm 6

w
wwww
w4
wwIV62
Gm
w

Gm 6

w
www
Gm

w
www

www
DmwVII
ww

vi 6 6
CM 4

ww
www
w
vi 646
CM
ww
w

CM 64

www
w& b
6

CM 4

&

IVM 2

www
w4

IVM 3

APPLIED FIGURED BASS/INVERSIONS EXERCISES

Analyze the following piano piece in terms of its figured bass:

& 42
F
? 42
Allegro

Piano

Pno.

&
P

C:

6
I4

vii

Fine

6
I4

..

D.C. al Fine

6
I4

V7

..

6
I4

Spell the triad according to its key and inversion. Use four notes (two in the bass, two in the
treble) so that one note in the triad will be doubled, and so that the voicing will be wide enough
for the top note to be more than an octave away from the bass note:

4
ii 3

ii

6
V4

Ex. - 26

4
ii 3

ii 7

V7

CADENCE, PHRASE, PERIOD EXERCISE

Write a four-phrase period with the order of cadences as follows:

1st phrase:
2nd phrase:
3rd phrase:
4th phrase:

Plagal cadence
Half cadence
Deceptive cadence
Authentic cadence

These phrases will just be harmonic progressions without any melody, so just write the chords
and the analysis on one staff. Mark the cadences and use chord inversions where appropriate.
(You may not need all four staff systems).

Ex. - 27

MELODY EXERCISES
Write four melodies of no more than four measures each. Make two in a major key and two in a
minor key. Remember to use the leading tone (raised 7th scale degree) in the minor mode if you
end going from scale degree 7 to scale degree 1.

Ex. - 28

MELODY HARMONIZATION EXERCISE

Add chords to these simple melody lines so that each note is a chord tone. Hint: a typical
approach to harmonizing will have you start and end on the tonic. Also, think about what kind of
cadence will fit with the last two notes of each line. Write the chords in the bass clef and also
provide a Roman numeral analysis.
Key of C major:

Key of A minor:

Ex. - 29

CHORD TONES EXERCISE

Write melodies for these two chord progressions using only chord tones. For the minor
progression, remember that the V chord (and possibly the viio chord) is made with a raised 7th
(leading tone). The melody must also reflect that change if the 7th note in the scale/key is used
over those harmonies.

&b

& b
?
b
F:
I
? b

& b
?
b

F: b
&

d:
i
? b

&d: b i

vi

vi

iv

ii
ii

iv

iio

VI

iio

VI

V7

www

wwwI

V7

V7

wwwi

V7

Double NT
Susp.
CT
PT CT
CT
CT NT CT

& b
w

ww

While using only chord tones in a melody works in terms of fulfilling the basic rules of
cord-tone
Iwriting, it Vis still ratherI simple because
wwwForI this combination
melodic
of the
limitation.
V7
F:
vi
ii

to more
we need to incorporate the
b accurately represent something typical of the classical style,
CT

CT

PT

CT

NT

CT

CT

CT

embellishing
features of non-chord tones as well. There are many kinds of non-chord tones
97
F:
&

vi

ii

97

&
?

Ex. - 30

V7

COMBINING MELODY AND HARMONY EXERCISE

Here are the same two chord progressions as on the chord tones exercise page. Write melodies
that incorporate all chord and non-chord tone possibilities. Include an analysis of all the nonchord tones.
Hint: while it is important to embrace all the rules, use your ear to guide you as well. You
may want to write a line that you think sounds good, and then analyze it to see how it adheres
to the traditional aesthetic ideals. If there are any errors, try just fixing those spots rather
than rewriting the whole thing.

& bb
&
?b
?
b
F:
F:

& bb
&
?b
?
d:
d:

I
I

iv
iv

II

PT

CT

V
V

vi
vi

ii

CT

I
I

ii

&b

F:
F:

V
V

CT

?b

NT

CT

ii
ii

iiiioo

VI
VI

CT

CT

II

vi vi

wwwwww

##

wwww

V7
V7

V77
V

NT
CT
Double
CT

PT CT

97
97

&
&
?
?
Ex. - 31

ii ii

I
I

VV77

ii

Susp.

www
www
I I

CT

CT

NT