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    Berklee Corespodence Course 25 PDF

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    Harmony

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    Sie Berklee Covreiponiderie Couise LESSON NO. So cccce PRESS PUBLICATIONS 1140 BOYLSTON STREET —BOSTON — MASSACHUSETTS — 02215 INTRODUCTION Youareabout to embark on a course of study designed to give you, in the shortest possible time, a complete understanding of the principles of Modern Harmony, Improvisation and Dance Band Arranging. Naturally, the first lessons must be devoted to a discussion of the fundamentals of music, so that a common basic language may be established. You will find, however, that the work progresses quite rapidly, and that you will actually be Scoring standard tunes as early as Lesson #4, which deals with the four-part harmonization of a given melody. Succeeding lessons will include: ~Development of Swing Rhythms -Principies of Improvisation -Theory of Chord Scales -Application of Principles of Improvisation -Modern Four-Part Block Harmonization -Use of Tensions in Improvisation -Chord Progression pi -Substitute Chords -Reharmonization etc. etc. eee eee The actual lesson material, together with the comments and sug- gestions of your personal instructor, should combine to provide you with a comprehensive knowledge of the techniques of modern music and jazz, in practice as well as in principle. Feel free to call upon your instructor for any further assistance or advice that you may require. We are happy ta be working with you, and wish you every success. CORRESPONDENCE DIVISION BERKLEE PRESS PUBLICATIONS Naturally, any study of music must begin with an understanding of those simple elements which go to make up music. The first of these elements to be discussed is Pitch, which is designated by the location of a note on a musical stave. This is probably best explained by the accompany- ing illustration which shows the location of each note in the “treble” and “bass” clefs. oe ec CABCOEFEABE DE Sge8 oe Barer? se 2 Some definitions relating to pitch: SEMI-TONE. . . . The smallest distance between twa notes. WHOLE-TONE . . The equivalent of two semi-tones. INTERVAL .... The distance between two different pitches. DEGREE...... Each note in a scale is called a degree of seale. TETRACHORD .. A four-note scale consisting of the follow- ing intervals: Whole-tone, whole tone, semi-tone ‘The first direct application we will make of pitch is to the construction of major scales. A scale may best be defined as a series of related notes moving in 2 constantly ascend- ing or descending direction, Page! A. MAJOR SCALE CONSTRUCTION The major scale is made up of seven different notes, one on each suc- cessive line and space of the stave and each having a different letter name. The eighth note, or octave, is added since this note gives a feeling of resolution and completion when the scale is played. Upon analyzing the intervals of the major scale built on C, you will find that the structure of the major scale is as follows: (two tetrachords connected by a whole tone) Whole tone, whole tone, semi-tone. (Tetrachord) Whole tone. Whole tone, whole tone, semi-tone. (Tetrachord) These intervals between the degrees of the major scale never vary, hence, major scales may be built on any note using the structure of the scale built on C as a guide. A major scale built on the root tone Ab would have the following appearance: Note that the fourth degree of this scale must be called Db rather than C#, since the third degree had the letter name C, and the definition of a major scale stipulates that each of the scale degrees must fall on the next successive line or space and receive the next successive letter name. Just to be certain that the foregoing is perfectly clear, here is one more example of a major scale, this time built on the note E. Page 2 SS SS vs £ & / Z Z 4 Bes Although major scales may be constructed as described above, amore organized method for finding all of the major scales and key signatures is based on the application of the tetrachord. As may be seen in the following example, the major scale is di- visible into two equal parts, each part forming a tetrachord. These tetrachords are identical in construction and are con~ nected by the interval of a whole tone. @ \ ee ae | a j— é SS] ie ee WTERULS|_TONE Tone __“B Tave _\( rae) \_Tone rane S rene Be 5 By using the upper tetrachordas the lower tetrachord in our new scale, it is possible to arrive at all of the key signatures con- taining sharps. vane uanee rereicog? OF Pee od 8 REECE. BS In the previous example it is evident that the F must be sharped, since each tetrachord must be composed of whole tone, whole tone, half tone. By following the same procedure it is obvious that the next sharp key would begin with the tetrachord built on the note D, i.e., the upper tetrachord of the G scale. Page 3 LARER TETRACHORD QF PREVIOUS esy Cox.) Be. 7 Again, notice that the note C mustbe sharped in order to conform to the whole tone, whole tone, half tone structure of the tetra- chord. Beginning again with our C scale and this time using the lower | tetrachordas the upper tetrachord of our new scale, it is possible 4 to arrive at all of the key signatures containing flats. reacwone pF PREVIOUS goer TREES i= Ee 8 Notice that in this case the B was flatted in order to conform to the tetrachord structure. Once again by using the lower tetrachord as the upper tetrachord of the new scale, it is evident that the next flat scale would have an upper tetrachord built on the note F and a new lower tetrachord constructed below it. cowie TETRICHORD OF PREVIOUS, Sexe 7 The following tables show the signatures of all of the sharp and flat keys in treble and bass clefs. Ex. 10 B. NOTATION There are certain basic principles to be followed in the correct and legible notation of music. Hereare a few of them to help you in your work. I. Make sure that every note is clearly centered on a line or a space, BAD 00D | zeit 2. The same applies to the use of sharps and flats, If you are sharping the note F, be sure that the Page 5 sharp is centered directly before the note. Bad 000 3. If a note has a stem attached to it, make sure that the stems are straight and try to observe the following rule: If the note is above the third line stems go down; below the third line stems go up. Be 3 4, Always strive for neat manuscript. It may take a little longer to complete the work at the start, but as you progress you will develop speed to- gether with a clear, legible manuscript. (At this point {t would be advisable to complete Problems No. 1 through 6 of the assignment) C. RHYTHM (Part I) Rhythm may ve defined as the factor which controls _dura- tion (i.e., how long each note is to be held). Following is a table showing eacn of the rhythmic values which will be used in succeeding lessons and the duration of time each occupies. ‘The corresponding rests which are shown on the right repre- sent the exact opposite, i.e., the absence of sound for a specified period of time. Page 6 Name Duration eguivaieny reac (When quarter note gets one beat) whote note 4 beats half note 2 beats quarterncte V beat eighth note 1/2 beat abxtcenth note 1/4 beat half note a triplet quarter note triplet . 4 2 bear triplet sixteenth note fe Sj triplet : dotted half note 5 beats — deed quarter A S= ex. 14 If the duration desired cannot be represented by any single note, it is achieved by combining two notes with 2 “tie”. ‘This means that the second note js not considered to be a new attack but is simply joined with the first as one duration. Page 7 oY The controlling factor in rhythm is the time signature. In each case the top number represents the number of beats or “counts” in a bar of music, while the bottom number tells us the kind of note that gets one beat. 4/5 6/8. 22 4 beats per bar 6 beats per bar 2 beats per bar quarter note gers I beat eighth note gets 1 beat half note gets 1 beat Ex. 16 Assuming thata bar of 4/4 time can be written as four quarter notes, - it is obvious that any combination of durations which add up to four: will also form a bar of music in 4/4 time. Following are several examples of measures in 4/4. Notice that each bar must contain some combination of durations that total four beats. Next, some examples in three-four time: Page 8 Be. 18 The assignment work called for in this lesson should give you a good working knowledge of these simple rhythms, and an excellent foundation for understanding the syncopated and more complex rhythms to be discussed in future lessons. CHORD CONSTRUCTION (Part I) Using as a basis the major Scales which are to be constructed as partof your lesson one assignment, it is possible to build all of the asic chords which are used in modern harmony and arranging Thefirst of the basic chord structures which we will develop is the major triad, a three-part chord derived from the first, third and fifth degrees of the major scale. = = a: ie SSS SS Ty 4 4 x é i as ce nt Page 9 However, since simple triads are rarely used in modern writing we shall immediately move on to the more modern and fuller sounding version of major, the major 6th chord. The major 6th is a four- part chord derived from the first, third, fifth and sixth degrees of the major scale. C Major Seale’ C Major Sixth a Ee — 4 2 Zz < s ra i a ‘Ab Major Seaie Ab Major Sixth & Ig bebe 2g / 2 Z # x é 7 é Ex. 20 As may be seen, the major and the major sixth are basically of the same tonality, and throughout the course we will use the major 6th chord exclusively. All types of chords are built from scales. At this time, however, fl itis important to learn and construct all of the major chords. This is accomplished through the development of “chord blocks” as : below. SAMPLE PROBLEM Fill in the open blocks. @ (The above exercise deals with major chords, hence the degrees 1, 3, 5, 6 are called for. (see Ex. 20). The note “C” was selected arbitrarily. Page 10 L First fill in letter names without accidentals (sharps or flats), a, To fill in the blocks with *C” as “1” is a simple matter; merely count up alphabetically and use the letter names corresponding to the numbers called for. b. With (C) as *3", merely count down to “1” and up to “5 and “6”. eG Drs AB 4 78 c. Similarly with (C) as “5° count down to “3 and “1” and up to “6” Ale (eyoje F 3)4 [sli6\7 8 d. Same treatment with (C) as “6”. ac offer O8 The first step in the solution is now complete and the chord block should appear as follows: 6\AIF LOE ps 5|¢| 21014 be 2 I} 4(Ola Gg V\O\A\F SE Page li OF 2. The second step is to check our major chord structures for necessary sharps or flats. a. With C as “1” we refer to that scale which has C” as the first degree and find no sharps and no flats, hence 1, 3, 5 and 6 in this case are correct as they appear, é a 3 b. With C as “3%, refer to that scale which has*C” (natural) as the '3rd degree. This we find to be the scale of Ab which has a key signature of four flats, (Bb, Eb, Ab and Db). We must, therefore, correct the letter names to suit the scale. In this case A and E must be flatted. / OF Ex, 24 Page 22 c. With C asthe fifth degree, we find that the appropriate scale is the Scale of “F> with a signature of one flat. (Bb). However, since there is no “B” called for in this chord, the other notes remain unaffected. & & | 6 mm [oy fas Ol a ai © ES = 7 4, With C as “6”, we look for that scale which has the note “C” as the sixth degree.’ The proper scale in this case would be “Eb” with a signature of three flats (Bb, Eb, Ab). ‘The notes that are affected in this case would be “R” and “B”, which must be flatted to conform to the scale. 6|A\Flo\O) |s\6|2\Oe 4 - 7 G lslzl@l4ie | |\@|44 #14 @ o @ Bx, 26 Page 13 ASSIGNMENT (a) Write five different examples of semi-tones, (Ole ” whale-tones. Start with the scale of C, and through application of the tetrachord principle, work out all of the sharp key scales in both the treble and bass clefts. . in the same manner, work out all of the flat key scales in both the treble and bass clets. Complete the following problems as illustrated. (a) Cis the filth note of the scale of F. b) third ee (c) Ab * % second 7 ” » 7% » ie ce Fe * * sixth S56 SS (eos fourth ee, Complete the following problems as illustrated. (a) © is the third note of the scale of Ab. () Fe? ee a a tc) Bee ee Ge i cee ® —— es pe ee a te * TF 7% * ® Dp Complete the following problems as illustrated. (2) D is the third note of the scale of Bb. ) esevent fe ee ne (iment four ee Go erm 4 = seventh 2 ee ee cy Ce itd . Given are series of numbers. Write each of these series of duration in four-four time as shown in the accompanying example. Page lt to o) 21,315 31,1244 4 1, 2,1, 1, 3,5, 1, 3, 1, 2 (©) 1/2, 1/2, 2 2 1, 5, 1/2, 1/2, 4, 2, 172, 1/2, ve 1/2, 8, 1, 2, 2, 1, 3, 1/2, 1/2, 1/2, 1/2, 2, 4, 1/2, 1/2, 5 9. In this next problem dealing with rhythm, consider each of the circled numbers to indicate a corresponding period of rest. The rhythm: 1,Q/2)1/2,Q)1/2, 1 1/2,04/3) 1/2, 1 would appear as follows in 4/4 time. Notate each of the following rhythmic phrases in 4/4 time. fa) 2 1,@ 4 11/2, © 3,@ V2, 1/2, @ 4,02) 1/2, 3,G) 1/2, 12,@) 1, 5, @ 1, 1, 1.1/2, Qa 1, 1, 3,@) 1/2, 1/2, 11/2, Q 17D 2. (b) @) 1, 1, 1,7 1/2, 5,G7) 1/2, 1/2, 122, 3, 2,72) 12, 3, 11/2, 1/2, 1, 2 1/2, 07D 1, 2,@) 11/2,@ 172 1, 4,72) 1/2, 1, 4 (e) 3,02 2, 1, 4, 1, 11/2, TRY 2@ 1, 3, GD 17, 7, 112,472 2@14@ 1, 1/2, 1k, GID 12,1, 4, @) ve, 1/2, 7) 1172, 2. Page 15 10. Again referring to the rhythmic patterns given in Problem #9, notate each in 3/4 time. 11. Create a melody with a rhythm using notes of the Eb major scale and a four-four time signature. This melody should be eight bars long and contain scale notes only. Since the purpose of this assignment is to further your familiar- ization with the notes contained in the various keys, itisadvisable that you use accidentals where needed, rather than a key signature. 12. Write eight bar melodies similar to that in Problem 11, but as follows: Key of 4/4 time Key of Ab. . 4/4 time Key of 4/4 time Key of D . .3/4 time Key of 4/4 time Key of Bb. . 4/4 time Key of 3/4 time Key of G . .3/4 time 13. Construct major chord blocks as described in this lesson on each of the following notes. (See enclosed work sheet) C, F, Bb, Eb, B, E, A, D, G. 14. Write out each of the following major chords in musical notation with: (a) Root as bottom note (3) sed ee () 5h 7 7 * (@ 6th > 7» on: , Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B. inversions of the major 6th chord 15. The following problem is designed to familiarize you with major sixth chord structures. In composing the original melodies this time, use only chord notes of the major chord indicated above each bar. ae Page 16 chord notes only. Compose original melodies on the following progressions using ee ee E = b E Gt = ——e E == == pe : a : : : . BE E = = [= ae j= “RE 4: = ; TTS Page 17 MAJOR CHORD BLOCKS ® ue AOR | al? Page 18 2 A. CHORD CONSTRUCTION (Cont'd) To continue with our study of chords as begun in Lesson No. 1, we shall now discuss and construct several more of the standard chord structures. The first of these is the Minor Triad. To construct the minor triad, simply refer to the major triad and lower the third degree one-half step. Ext ¢ Major In naming the lowered third degree, remember that if the original major third was sharped, the lowered third will be natural; if the major third was a natural, the lowered third wifl become a flat; and in the event that the major third was preceded by a flat, the lowered third will become a double flat (bb). As explained in Lesson No. 1 the simple triad is rarely used in modern chord voicing, So once again, we move on to the more commonly used minor chord with the added sixth. The Minor Sixth chord may be found by referring to the major sixth and simply lowering the third degree one-half step. Ex. 2 € Major Stn © Minor 62h. E Major 6th E Minor 6th Once again in order to properly construct and learn all of the minor sixth chords, it isadvisable to make use of the “chord block” technique as described in Lesson No. 1 Here is a sample problem in constructing minor sixth chord blocks. N SAMPLE PROBLEM Fill in the open blocks A @ Oe {Tne above exercise deals with minor chords, hence the degrees -- one, lowered three, ‘ive and six are called for) Page 1 SOLUTION 1. First fill in letter names without accidentals with: a. Cas the root b. Cas the lowered third c. Cas the fifth d. Cas the sixth .. 4llelo s\slel©|a Ee EIQ Ale | lél4]-|4 oe) oor bays pempirny 2. The second step is to check the minor chord structure for necessary sharps or flats. a. With C as the root, we refer to the scale built on C. Fe Although there are 'no accidentals in the C scale, we still flat the note “E” since the minor chord structure demands that the third degree must be lowered in re- lation to the scale. 6|A4 Bx. 5 ae Pals 2 {© = bi In this case, we must assume that the note “C” is already the lowered third degree of some scale. We know that in the scale of A major the Cis sharped. Hence, the given C natural is correct as the lowered 3rd in the scale of A. The sixth in A is F#. x ES Fal w [o iy % ©! 4 a) Page 2 c. With Cas the fifth degree, we refer to the scale of F. Again, all of the chord notes appear correct as they stand, but remembering that the third degree must he lowered to pro- duce the minor chord, we find that the note A must be fower- ed to Ab. ww wx ated 4\© £4|©)\ 4) OF BY er we Ry d. With C as the sixth degree we refer to the scale of Eb. In addition to flatting the E and the B, we must lower the 3rd. degree to conform to the minor chord structure, hence, Gb. é a 2l0 £\@| / aaa xr Gale POC“ mw fy [Ar thie point complete Problems No. J ang2 of the assignment) Be 8 O}% ]® ps aw Another of the basic chords used in modern harmony is the Major Seventh Chord. The major seventh isa four-part chord derived from the first, third, fifth and seventh degrees of the major scale. Ex. 9 € Major Seale cMaj? (Refer to Problem No. 3 of the assignment) Since the major seventh is closely related to the major sixth chord, it will not be necessary to work out chord blocks on the major seventh. Page 3 To continue with our study of the basic chord structures, we shall next consider the Dominant Seventh Chord, a four-part chord which is derived from the first, third, fifthand lowered seventh degrees of the major scale. The simplest method however, is to refer to the major seventh chord and lower the seventh degree one-half step. Ex. 10 DMaj? pt Asin the case of the lowered third, if the original major seventh was a sharped note, we lower it by making it natural; if the original major seventh was a natural the low- ered seventh will become a flat; and in the event that the major seventh was already a flatted note, the lowered seventh would be double flatted (bb). As we have already done with the major and minor chords, the chord block technique may once again be employed in constructing and learning all of the dominant seventh chords. SAMPLE PROBLEM . Fill in the open blocks 2 Exit 3 / i ©) Since this exercise deals with dominant seventh chords the degrees one, three, five and lowered seventh are called for. SOLUTION: 1. Fill in letter names without accidentals using a. Cas the root b. Cas the third c. Cas the fifth d. Cas the lowered seventh M7) 4lel4z|© SIGIEIOQ\A 3l|4I\©Q|4|- l@\4| 4/2 we ee @ Page 4 2. Next we check the dominant seventh chord structures for necessary sharps or flats. a. With Cas the root we refer to the C major scale. All of the notes are correctas they stand with the exception of the »seventh degree “B”, which must be lowered to conform to the chord structure (dominant seventh). With Cas the third, the appropriate scale would be Ab, with asignature of four flats. In addition to flatting the 4 and the E to conform to the scale, the G must also be lowered to conform to the chord structure. a = With C as the fifth degree of the F scale the only alteration necessary would be to lower the seventh degree from E to Eb.. car c fa) fe) d. Here we base our figuring on the fact that the note C is al- ready the lowered seventh of some scale - in this case, the scale of D. We know that in the scale of D major the C is Page § sharped. Hence, the given C natural is correct as the low- ered seventh in the scale of D. The third degree is F#. ,] 7 | a}o4| 41© 4 4Z\OUA | Fe \O\alelo @ & Ee 16 Fa Po a % © 4 UBetore going on, it would be advisable to complete Problems Na. 4 be 5 of the asrignment.) NOTE: The following chord symbols are used in reference to the chord structures discussed in Lessons No. 1 and 2. C Major (6) C Miner (6) C Major Seventh Dominant Seventh B. HARMONIC CONTINUITY The first actual arranging technique which we will discuss is the princi- pleof Harmonic Continuity, a method of producing smooth voice-lead - ing in a given chord progression. Once you are completely familiar th this technique itisa relatively simple matter to write interesting, effective backgrounds for any instrumental or vocal combination. In these continuities any chord may appear in any inversion, but no matter what the inversion, we shall name the notes in terms of voices rather thandegrees. In other words, we shall consider the top note of the chord to be the first voice, the next note below it to be the second voice, and so forth. Once the position of the tirst chord is determined, to produce smooth voice leading to the following chord simply apply the basic principle of harmonic continuity, i.e., KEEP COMMON TONE (OR TONES) IN SAME VOICE (OR VOICES). ‘To clarify this rule, let us assume that we are moving from a C chord to Ab7 chord. We know that the notes of the C chord are C, E, G, A, and that the notes of the Ab7 chord would be Ab, C, Eb, Gb. In this Page 6 case, the only common tone would be the note C, i.e., the only similar note found in both chords. In the fotlowing example, Cappearsas the first voice of the C chord, therefore, the C must remain as the first voice of the Ab7 chord, with the rest of the chord notes of the AbT being filled in below the C: Ex. 18 Were the © chord in the following position with the C as the second voice, then the C would become the second voice of the Ab7 chord and the fotlowing position would result. In the event that the C chord were voiced so that the C was in the third or fourth voice, the Ab? would appear as follows: Ex. 20 (e) () To go on let us assume that the Ab7 chord was followed by an Fm chord, Now,a common tone relationship must be established between the Ab7 chord and the Fm chord. The notes of the AbT chord are Ab, €, Eb, Gb, the notes of the Fm chord are F, Ab, C, D. In this case there would be two common tones -- Ab and C [they appear in both chords), and to produce smooth voice leading they must be kept in the same voices. Page? Had the starting chord been in this position: the voice leading of these three chords would appear as follows: Bx. 22 Here tone a longer example of a harmonic continuity with the common dicated. The position of the starting chord was arb: Occasionally there will occur a situation where there are no common tones between adjacent chords. In this case observe the following principle: WHERE THERE ARE NO COMMON TONES BETWEEN ADJACENT CHORDS: MOVE THE FIRST VOICE TO THE NEAREST CHORD TONE OF THE NEXT CHORD (EITHER ABOVE OR BELOW) AND CONSIDER THIS TO BE THE FIRST VOICE OF THE NEW CHORD. In the case of C to Abm (no common tone), either of the following. would be correct. Page 8 Here is @ continuity incorporating this principle as well as the one previously discussed. sto nearest position AS you work out these harmonic continuities you will notice that the progression has a tendency to move downward on the staff. This is a result of the natural downward tendency of most harmonic resolutions, one of the points that will be covered later in the course when we deal with the problems of setting up our own chord progressions or rehar- monizing those that we are working with, The foliowing simple principle allows us to control the range of the continuity, a Necessary device when we apply these chord patterns to orchestral writing. AS LONG AS THE CHORD REMAINS THE SAME; POsI- TION MAY BE FREELY CHANGED WITHOUT REGARD TO VOICE LEADING. AS SOON AS THE CHORD CHANGES HOWEVER, THE COMMON TONE PRINCIPLE MUST BE OBSERVED. Ex. 26 inversions of the C chora ABY Now, to make sure that al] of the foregoing is perfectly clear, here is a continuity containing all three of the principles applying to har- monic continuity. Page? Ex. 27 -sinversions of the same chord to nearest position ASSIGNMENT 1, Work out all minor sixth chord blocks indicated on the enclosed sheet. 2. Notate minor sixth chords in all four inversions on each of the following notes: C, Db, D, Eb, E, F, F#, Gb, G, Ab, A, Bb, B. Ex, 28 inversions of the Minor Sixth chord Cm 3. Notate in all inversions, all major seventh chords. {same list as in Problem No. 2) Ex. 29 inversions of the Major Seventh chord C Mj 7 | 4. Work out dominant seventh chord blocks as indicated on the enclosed sheet. Page 10 . Notate inversions of the Dominant Seventh chord, again referring to the list of root tones given in Problem No. 2. Ex, 30 inversions of the Dominant Seventh chord . Write harmonic continuities on the following chord progressions. In working out these continuities be sure to consider all of the principles covered in this lesson, (See Ex, 27) . Set up a harmonic continuity plus an original melody on each of the following chord progressions using a three stave score as in the example below: Page 3) Ex. 31 Original melody using chord notes only Harmonie Continuity Root tone of chord Page 12 MINOR CHORD BLOCKS @L [le Page 13 DOMINANT SEVENTH CHORD BLOCKS RI7El- 1 le > © Ral? =|} {ol a @ Me allel | 3| ©] | 3 {Tole [ei Let | | la NE a Weil WN £ 2. ls| a | s SG |3| |@ S\ IG. / [Jol | Z| ‘6 Ni? a Ne af A g @ = ®@ £ 3|° |@ 31°10 3 (@ / @ 1\@ LESSON NO. 3 A. CHORD CONSTRUCTION (Cont’d) To continue with our study of the basic chords which are used in dance band work, we will next consider the Minor Seventh Chord. The minor seventh is a four-part chord based on the root, lowered third, fifth, and lowered seventh of the major scale. A simple method which may be used to find the minor seventh chord would be to refer to the dominant seventh and lower the third degree one-half step. a e c Con? Em? Once again in order to be certain that all of the minor seventh cok wit be learned and constructed properly, we make use of the “chord block” tec: s described in Lessons No. 1 and 2. SAMPLE PROBLEM (iy Cae Fill in the open blocks. i ) © ay ee) @ Since we are dealing with the minor seventh chord, the degrees one, lowered three, five and lowered seven are indicated. SOLUTION: 1. Determine letter names: a. with C as the root ; with C as the lowered third 7 [2[e]

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