WS 02: Pitch and Rhythmic Notation NAME ____________________________

A. Notate the indicated pitches using the following durational values: (1) unbeamed eighth notes, (2) unbeamed
sixteenth notes, and (3) unbeamed thirty-second notes. Use correct stem direction.

1.
&

B
2.

?
3.

B. Copy from Part A above the three lines of pitches, now beaming them in groups as follows: (1) six groups of
two eighth notes, (2) four groups of three sixteenth notes, and (3) three groups of four thirty-second notes. Use
correct stem notation.

&

?
WS 03: Meter Signatures Name

Fill in the blanks:

Meter Signature Simple (S) or Duple (D), Notational Value Division of the
Compound (C) Triple (T), or of the Beat Beat
Quadruple (Q)

´⇣
œ↵
ø⇣
⌘
¥~
®↵
Q x
C T e
´ x
⇣ D h.
® e
D q.
S Q q
ø e.
T z
œ q
WS 05: Meter Identification I Name ____________________________

Provide the appropriate meter signature. (Neither the first nor last measures are necessarily complete.)

j œ. œ. œ œ. œ œ œ œ œ. œ ‰ ˙ œ j
œœ œ œ. œ œ œ œ œ ˙ Œ
2.
& œ
1.

J J J

˙ . œœœ ˙ ˙ Ó œœœœ ˙ Ó Ó 4.
˙. œ œ œ ˙. ˙. Œ œ œ ˙ œ ˙. œ ŒŒ
& ˙
3.

œ œj œ . œ . œ œ œ œ œj œ . W ˙ ˙ ˙ ˙ ˙ œœw w. Ó
5.
&
6.

œ œ œ œ œ œ œ œ. œ w. w. ˙ œ˙ œ ˙. ˙. w. ˙. Ó Œ
& R œ
7. 8.

j œ j‰ Œ ‰ œ œ ‰ Œ œ œ ˙
& œ œ œ ‰ ‰ Œ œJ œJ ‰ ‰ ‰ œ œ . œJ
9. 10.

œœ œ J J

œ. œ. œ œœœ œ ˙. Œ. ˙ ˙ œœœœ w. Ó
12.

& w w
11.

œ. œ. J

œ . j œ . j œœœœœ œ œ . ‰ . r œ. œ ⋲ œr œ . œœœ œ
J œ .J œ .
14.

& J œ J
13.

R J J
 WS 06: Meter Identification II Name __________________________

Add barlines and an appropriate meter signature. (Neither the first nor last measures are necessarily complete.)

&b œ œ œ œ . œJ œ œ œ œ œ œ œ œ œ œ œ œ œ . œJ œ œ œ œ œ
1.

? ## ˙ œ. œ ˙. œ œ œ œ œ œ œ œ œ. œ œ œ œ
˙ œ œœ ˙ Ó J
2.

? ## œ œ œ œ œ œ œ. œ œ œœ œ œ œ œ ˙. œ ˙ ˙ ˙ Ó

œ œ œ œ œ œ œ . œR œJ œJ œJ œ œ . œœ
Bb œ œJ . œR œJ J œJ J J J J J Œ
3.

J
œ œ œ œ œ œ œ. œ œ œ œ œ. œœ œ œ œ
B b J J J J J J J RJ J J RJ J J J œ. Œ

? bb œ œ œ œ œ œ œ œ œœœœœœ œ œ œ œ œJ œJ œJ œJ œ œ œJ œJ œJ œJ œ œJ œJ œ œ ˙
J JJ JJJ œ JJJJJJ œ JJ JJ JJ
4.

# œ œ œ œ œ Œ œœ œ œ œœ œ œ œ
œœ œ œ œ œ œ
5.

&

# œœ œœœ œœ œœ œ œœ œ œ œ
& œ œ œ. J œ ˙
œ
 WS 10: Major Scales I Name ____________________________

In each example, scale-degree 1 is given; please notate the indicated major scale. Do not use a key signature.

?
& w bw
1. 11.

2.

& w
12.
? w

B w B w
3. 13.

?
&
4. 14.

bw w

? bw
& bw
5. 15.

B B
16.

w
6.

& bw ?
7. 17.

#w
8.

& bw
18.
?
bw

B w B bw
9. 19.

10.
? #w 20.

&
w
WS 11: Key Signatures in Major Name __________________________

On the staves provided, notate the indicated key signatures.

&

G Dß A F E

&

Eß Fƒ Bß D Aß

&

Cƒ B Cß Gß C

B B B B

Cß Cƒ Cß Cƒ
WS 12: Major Scales II Name _____________________________

1. Notate the indicated major scale (for odd-numbered problems, do not use a key signature; for even-numbered
problems, do use a key signature).

1.
&
D 2.
? Aß

? Eß
3. 4. B

&

?
5. Bß 6. Fƒ

&
7.
BG 8.
B
A

9.
?E
&
10. Dß

2. Notate the indicated major scale (for odd-numbered problems, do not use a key signature; for even-numbered
problems, do use a key signature).

? w^5
& w
1. ^3 2.

? w^7
& w
3. 4. ^4

? w^3
& w
5. ^6 6.

B w B
7. ^2 8. ^4

w
WS 13: Scale Degrees in Major Name _____________________________

A. Given major key and scale-degree name or number, notate the correct pitch. Do not use a key signature.

4. 5.

&
1. 2. 3.

G : ^6 Eß: dominant A: leading tone Gß : ^3 Cƒ: leading tone

B
6. 7. 8. 9. 10.

Bß: supertonic C: mediant E : ^4 D: mediant F : ^7

? 11. 12. 13. 14. 15.

Aß: submediant B : ^2 Cß: subdominant Fƒ: supertonic Dß: dominant

B. Given major key and pitch. For problems 1-2, 6-7, and 11-12, write the correct scale-degree number;

w
for the others, write the scale-degree name. Do not alter the given pitch in any way.

w
& #w w
1. 2. 3. 4. 5.

w
w
Bß: _______ C: ______ E: ____________ D: ____________ F: ____________

B w bw #w
6. 7. 8. 9. 10.

w
G: _______ Eß: _______ A: ____________ Gß: ____________ Cƒ: ____________

?11. w
12.
#w
13. 14.
w
15.

bw w
Dß: _______ Fƒ: _______ Cß: ____________ B: ____________ Aß: ____________

C. Given pitch and scale-degree name or number, indicate the major key. Do not alter the given pitch.

& bw w w w
1. 2. 3. 4. 5.

#w
_____ : supertonic _____ : submediant _____ : mediant
____ : ^4 ____ : ^3

B w #w bw bw
w
6. 7. 8. 9. 10.

_____ : mediant _____ : subdominant _____ : supertonic

____ : ^6 ____ : ^5

?11. w
12.
w
13.
#w
14. 15.

w w
____ : ^7 ____ : ^2 _____ : leading tone _____ : dominant _____ : leading tone
WS 14: Minor Scales I Name ____________________________

Notate the indicated minor scales (N = natural form; H = harmonic form; MA = melodic ascending form).
Do not use a key signature.
11.
? gƒ (N)
&
1. b (H)

?
2. d (MA) 12. e (MA)

&

?
3. c (N) 13. eß (H)
&

? fƒ (MA)
4. 14. dƒ (N)
&

B B
5. a (H) 15. f (H)

6. cƒ (MA) 16. b (MA)

& &
7. g (H) 17. aß (N)
& &
8.
? bß (MA) 18.
? e (N)

? ? cƒ (H)
9. aƒ (H) 19.

B B
10. f (H) 20. g (MA)
WS 15: Key Signatures in Minor Name ___________________________

On the staves provided, notate the indicated key signatures.

&

?
cƒ d fƒ bß e

&

f aƒ a dƒ c

&

?
b gƒ aß eß g

B B B B

eß dƒ bß gƒ
WS 16: Minor Scales II Name ___________________________

1. Notate the indicated minor scale (for odd-numbered problems, do not use a key signature; for even-numbered
problems, do use a key signature).

1.
&
e(N) 2.
? cƒ (H)

? f(N)
4. d(MA)

&
3.

?
5. gƒ (N) 6. fƒ (H)

&

? 8. bß (H)
7. c(N)

&
9.
B
g(N) 10.
B a(MA)

2. Notate the indicated minor scale (for odd-numbered problems, do not use a key signature; for even-numbered
problems, do use a key signature).

1.
w^3 (N)
? w^5
&
2. (MA)

? w
& w
3. ^7 (N) 4. ^6 (H)

?
& w
5. ^3 (N) 6. ^2 (H)

B w B
^7 8. ^4 (MA)

w
7. (N)
WS 17: Scale Degrees in Minor Name ______________________________

A. Given minor key and scale-degree name or number, notate the correct pitch. Do not use a key signature.

&
1. 2. 3. 4. 5.

c : ^5 fƒ (H): submediant bß (MA): ^6 b(N): subtonic cƒ: supertonic

B
6. 7. 8. 9. 10.

g: leading tone d: supertonic a (N) : ^6 e (MA) : ^7 b: mediant

? 11. 12. 13. 14. 15.

gƒ(H): submediant f(MA): leading tone c: subtonic d : ^3 g : ^4

B. Given minor key and pitch. For problems 1-2, 6-7, and 11-12, write the correct scale-degree number; for the others,
write the scale-degree name. Do not alter the given pitch in any way. Where necessary, specify the form(s) of minor
being used.
w w w
& w bw
1. 2. 3. 4. 5.

gƒ: ____________

#w #w
g: _______ d: _______ c: ____________ f: ____________

B
6.
w 7. 8. 9.
w
10.
bw
w
b: _______ a: ____________ d: ____________

? #w
e: _______ g: ____________

#w w
11. 12. 13. 14. 15.

w
cƒ: _______ b: _______ bß: ____________ fƒ: ____________ c: ____________

C. Given pitch and scale-degree name or number, indicate the minor key. Do not alter the given pitch.

w
w w #w w
4.

&
1. 2. 3. 5.

w
_____ : ^2 _____ : subtonic

w
_____ (N) : ^6 _____ : leading tone _____ : mediant

B w
9.

w
6. 7. 8. 10.

w
bw w
_____ : ^5

w
_____ : ^3 _____ : tonic ____(MA): submediant ____(H): submediant

?11. 12.

bw
13. 14. 15.
w
_____ (MA) : ^6 _____ : ^4 _____ : subdominant _____ : mediant _____ : dominant
WS 20: Interval Identification Name_______________________________

Write the name of the interval (e.g., P4, M2, m3) below the staff (simple intervals only).

w b ww # ww w b ww #w
& w b b ww w w

? ww b ww # ww w b ww
b ww # ww bw

bw w # ww
& # # ww w #w b b ww # # ww ww

? b ww ww bw
w b ww w #w
# # ww #w b w
#w # # ww # ww
& b ww w # ww ww b ww

# ww #w w bw
? #w bw w # ww bw
#w # w #w
#w
#w b b ww bw #w
w b ww
& b # ww bw # ww

? b ww # # ww b b ww b ww #w ∫w
# # ww w b w

b ww ‹ ww
& b w b b ww b b ww bw
#w # # ww w

? # # ww #w bw
#w
w b b ww #w w # # ww # ww
WS 21: Interval Construction I Name ___________________________

A. Construct the following Major (M) and Perfect (P) intervals above the given pitch. Notes lacking an
accidental are understood as natural; do not change them in any way.

w bw
& w bw w w #w w
P4 M3 P5 M6 M2 M7 P5 M7

? w bw w w w
w bw bw
M6 P5 M3 M7 M2 P4 P5 M6

B w w w w
w w bw w
M3 P4 M6 M3 M7 P4 M2 M6

B. Construct the following Major and Perfect intervals below the given pitch. Don't change the given note.

? w bw #w #w bw nw
bw w
M2 M6 P8 M7 P5 M3 P4 M6

bw w w w #w
& w #w w
P4 P5 M6 P8 M2 M7 P5 M3

B w bw #w w w w bw
#w
P8 P5 M3 M6 M2 M2 M3 P5
WS 22: Interval Construction II Name_______________________________

A. Notate each missing pitch above the given pitch.

& nw nw #w nw
nw nw nw
m3 P4 M7 m6 M3 m6 d5

? #w bw
bw bw nw bw bw
M6 m7 M2 A6 A4 P5 A2

& nw bw nw nw nw
bw nw
A1 M3 m2 P5 d4 m2 m7

? nw bw bw
nw #w ∫w ‹w
A4 d5 m7 P4 A2 M2 M7

bw
B. Notate each missing pitch below the given pitch.

#w bw bw
& bw nw #w
M2 M3 P5 P4 d5 M6 A4

#w nw nw bw
? nw #w bw
m2 A5 m3 m2 m6 M6 d4

nw bw nw #w
nw
& nw bw
M7 d7 M2 m3 d8 A6 m7

‹w #w ∫w nw
? bw #w bw

P5 A4 M6 A2 m2 d7 M3
WS 23: Intervals in Major Keys Name_______________________________

Name all the major keys in which each of the following intervals occurs, and in each case identify the
scale degrees involved.

? nw
& n n ww n # ww & nw

? # # ww b n ww ? # n ww
&

bw ? nw
& nw # # ww & nw

? # # ww #w
& n b ww ? nw
WS 24: Intervals in Minor Keys Name_______________________________

Name all the minor keys in which each of the following intervals occurs, and in each case identify the
scale degrees involved. Assume natural minor unless the given interval does not occur in that form,
in which case you must determine the form in which it does occur.

& n b ww ? n # ww &
nw
nw

?
n n ww
bw ? b n ww
#w &

nw ? nw
& nw #w & b n ww

nw
? # n ww & bw ? n n ww
WS 25: Triad Identification I Name_______________________________

A. Identify the quality of all the triads (M, m, A, d). But watch out: not all examples are triads
(mark non-triads with an "X").

& # www ww
w b www bw
# ww
w # www b ww

# ww www w w
? w b b www # ww # # www b ww

B b b www # www
b www B # www b www
# www

B. Key signatures added. Identify triad quality only (M, m, A, d). Mark non-triads with an "X".

## www #### ####

& www b www bb www
# n www b b b n www

? b b www ### ww ww # ## b www

bbb w bbbb w # ww
w bb # n www

ww ww
B ### www b # www # # www bb b w
b ## w bb www
WS 26: Triad Construction I (root pos. only) Name_______________________________

Please note: If the given note has no accidental, it is meant to be natural; do not alter it in any way.

A. Notate the indicated triad using the given pitch as root.

& w w w bw w #w
w bw
m M A d m M d M

? #w bw
w w bw #w bw w
m M m M d m A
A

B #w w bw w bw #w
w w
m d M d d A d d

bw
B. Notate the indicated triad using the given pitch as third.

#w #w w w
& w #w w
M A m A d M m

w
d

? w #w #w bw #w
#w w
m M A d M m A d

B w #w w bw w
w w bw
m d M A d m A M

#w #w
C. Notate the indicated triad using the given pitch as fifth.

w w bw w w w
&
d M A M d m

bw
A m

? w #w #w w bw
bw #w
M A M
w
d M A m m

B #w w w w w
bw w
m d A M m d M m
WS 27: Triad Construction II (inversion) Name_______________________________

Construct the specified triad above the given bass note. If the given note has no accidental,
it is meant to be natural; do not alter it in any way.

& # # wœœ
Ex.:

w w w w w w w
m £fl M! M £fl d £fl M@ A@ m@ d@

? bw bw bw bw bw bw bw bw
M £fl m! d@ A £fl m £fl M@ d £fl m@

& #w #w #w #w #w #w #w #w
M £fl d! m@ m £fl d@ M@ d £fl A £fl

?
bw bw bw bw bw bw bw bw
d@ m £fl M@ A! d £fl m@ m! M £fl

B w w w w w w w w
M@ m £fl d! A@ m! d@ M £fl m@

B w w w w w w w w
M! m@ d £fl M@ A £fl m! d@ M £fl
WS 28: Triad Identification II Name_______________________________

Identify all triads by indicating root, quality, and inversion. But watch out: not all examples are triads
(mark non-triads with an "X").

& b www b www # ww # ww ww b b www ww

w w w w
Exx: eø↵£fl Aß+↵!

? # # ww #w w ww w b ww
w b b b www b ww # ww b
b w # # ww w

b www w
& # # www b b ww ww b b b www # www b b www
w

? # # www www bw bw
b ww b ww b ww ww # # # www
w w

& # # ww b b b www # # www b

bw
ww
# www
ww
w ww
bw
# w

? # # www b b b www #w b ww b ww
b ww # ww
w b b www w w
WS 29: Triad Construction III Name_______________________________

Notate the indicated triads in close spacing.

w
Ex.:
& b ww
c £fl D@ Eß± ! fƒø £fl G@ aø £fl

Bß± ! cƒ @ Dß £fl e! F± @ gƒø £fl

B
Aß ! b@ cø ! d@ E £fl Fƒ !

Dß± @ aƒø ! B £fl Cß @ f©ø £fl eß !

&
f £fl g@ A± ! bß £fl Cƒ ! dß @

eø £fl gƒ ! a@ F! G± £fl bø @
WS 30: Triads in Major and Minor Keys I Name __________________________

A. Triad Construction. Given major or minor key, triad name, and figured bass; notate the triad.
Do not use a key signature.

˙˙
˙
Ex:

&
D: subdominant £fl Eß: submediant ! b(N): supertonic £fl fƒ: tonic @ a(H): dominant !

B
G: mediant @ e(MA): leading tone £fl Aß: subdominant ! Fƒ: supertonic @ g(MA): dominant !

?
d(N): subtonic ! B: submediant £fl Dß: subdominant @ E: supertonic £fl c(N): submediant @

B. Triad Identification I: Major Keys. Given key signature and a chord in the key. Write the
name of the key, and provide the Roman numeral and figured bass of the chord. (Use upper and
lower case Roman numerals to indicate triad quality.)

b ### #### ww #
& b www www b b b ww b ww w
Ex:

w w www
Bß: iii £fl

? # # ww # # # # # www b ww # # # # www ww
w # b bb w # b b b b b b www b b
bbb w

C. Triad Identification II: Minor Keys. Given key signature and a chord in the key. Identify
the key (and the form of minor, if necessary), and provide the correct Roman numeral and figured bass.
(Use upper and lower case Roman numerals to indicate triad quality.)

# w # # # # www ww
& ww
w b ww bb ww bbb w b b b b b n www
w

? # # # www w ## ww b b b b n www b b
bbb wb
ww #### ww
# ww w # w
WS 31: Triads in Major and Minor Keys II Name_______________________________

Name all the major and minor keys in which each of the following triads occurs. For each occurrence,
provide the name of both the key and the Roman numeral. (For minor keys, specify the possible
form(s) of minor.)

& # www b b b www b b www

? # # www # www b www

WS 32: Seventh chords I (Construction/Identification) Name__________________________
A. Given root, 3rd, 5th, or 7th, write the indicated 7th chord in root position.

nw bw nw
M7 (Major 7th chord)

& nw #w nw
(root) (7th) (3rd) (root) (5th) (3rd)

B nw nw nw bw nw
m7 (minor 7th chord)

#w
(5th) (root) (7th) (3rd) (root) (5th)

? nw
#w nw #w nw
Mm7 (Major-minor 7th chord)

bw
(3rd) (7th) (5th) (root) (7th) (3rd)

B nw nw bw
ø7 (half-diminished 7th chord)

#w nw nw
(root) (5th) (root) (7th) (5th) (3rd)

bw nw nw bw
o7 (diminished 7th chord)

& nw #w
(7th) (3rd) (root) (7th) (3rd) (5th)

B. For every 7th chord, identify the chord quality (M, m, Mm, ø, and o) and give figured bass.
(Not all are 7th chords.)

b ww
& # # wwww b www
b w
b www
bw ww # ww
# ww b
bw ww
w
ww #w ww
? ww
# www
w # w
b www # www ww # # # wwww

C. Given bass note, chord quality, and figures, notate the missing pitches.

& bw nw nw #w nw #w
me M& Mm flt o flr O e M flr
? nw #w nw
nw bw
bw
m flt o e m flr Mm flr O&
M&
WS 33: Seventh chords II (7th chord identification, Name_________________________
in major and minor keys)

Provide name of key, Roman numeral, and figured bass (use upper and lower case letters
and numerals, as appropriate).

MAJOR KEYS

#### www ### bb # ww

& w b www
w
ww
ww wwww ww

? bb wwww # # # # www
b b b b wwww
# # # # www
b b b wwww
b # w w

B# wwww bb
www ### w
wwww
##
w www b wwww

MINOR KEYS

w
? b b b ww # www b b b n wwww
## w www
b n ww w # www b

### # # # # www # # # www

& www
#w b b b b b n wwww w b b b b n www w
w
www
Bb # www
w ## # wwww bbb w #
# www
w b wwww
WS 34: Seventh chords III (7th chord construction, Name_________________________
in major and minor keys)

Given key, root of chord, and figured bass, notate the indicated seventh chord. Use a key signature,
and add accidentals if necessary.

&

F: subdominant e a (H): supertonic & B: dominant t

eß(H): dominant & G: leading tone r fƒ(H): subdominant &

C: supertonic t b (H): supertonic e Gß: dominant &

dƒ(H): leading tone e Fƒ: supertonic r c (H): submediant &

&
Eß: leading tone r g (MA): subdominant e A: dominant t
 WS 35: Secondary-chord Identification Name_________________________

Identify the notated secondary chords by providing, below the staff, the correct key, Roman numeral,
and figured bass.

www #### # w #### n www

MAJOR KEYS

& b n w # ‹ ww bbbbb n www b b n wwww

w

? # # # # wwww # # # n # wwww b www ####

bbbb n www
w
b
b bbbb w # ‹ wwww

w b wwww
B b b b n wwww # ww
bb B # ww
#
# w b wwww b

wwww
MINOR KEYS

b # n wwww ### w
b b b n www
####
bbbbb w
& b n www n ww

? # n # wwww b n www #### # www ww # # b n wwww

b
bbb b n w # bbbb ww

B bb w ## # w
b n www B # wwww b b b wwww
b n www www
w
WS 36 : Secondary-chord Construction Name_________________________

Given key, Roman numeral, and figured bass, notate the indicated secondary chord. Use a key signature,
and add any necessary accidentals.

&
A: L&/KL H: L&/lk F: Le/L Sx: lkko&/kk d: Lr/kl

Ax: lkko^/L s: Lr/l Gx: Le/kkk hv: Lr/LKK G: lkkoe/kk

B B

J: Lt/KL f: Le/LK D: lkkot/kk g: lkkO&/KKK j: Lr/LK

&
S: Lt/kk h: lkkoe/kl fv: Lt/LK Jx: L&/kk sx: lkkOr/KKK

?
jv: Lt/L Fx: lkkoe/kkk gx: Le/LKK Hv: lkkor/kk dv: Lt/l

B B
j: lkkow/kl Gx: Le/lk s: lkkOr/KKK G: Lw/kk f: L&/LKK
WS 37: Melodies for Transposition I Name ____________________________

Transpose the given melodies as indicated by either the interval of transposition or the new key signature.
[Optional: in addition, transcribe the rhythm according to the new beat value.]

œ˙ œ œ œœ. œœœ œ
& b 44 œ œ œ œ
œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œœ œ œœ
1.

œ ˙ œ œ œ œ œ ˙ œ œ œ œœ˙
up a Major 3rd; [ new beat = ‰ ]

&

? 34 œ œ ‰ Œ œ .œ œ ‰ Œ œ œ ‰ Œ œ . œ . œj œ œ œ œ œ œ ˙ j
œ œ œ œ ‰Œ
2.

J J J œ

?
up a minor 3rd; [ new beat = Ó ]

œ œ œ œ ˙ . œœ ˙ œ œ œ ˙
b
& b b Cœ œ œ œ . œ
J J . œ ˙ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙‰
3.

#
[ new beat = Π]

&

? b b b 24 œ . œ
4.
j œ œ . œ œ . n œj œ . . œ . . œ œ . . œ œ œœœœ
œ œ œ .œ œj‰
b œ œ . nœ œ

? ##
[ new beat = Ó ]
WS 38: Melodies for Transposition II Name ____________________________

Transpose the given melodies as indicated by either the interval of transposition or the new key signature.
[Optional: in addition, transcribe the rhythm according to the new beat value.]

b 3 œ œ . œ œ œ ˙ œ œ œ œn œ œ # œ œ ˙ œ
b œbœ œ œ œ bœ œ Œ œ . #œ œ œ ˙
3

œ
1.

& 4
3

upaMajor3rd;[newbeat=‰]

&

M m m m
# 4 œ œ œœ œ œœ œ œ j
& 4 œ œ œ œ œ œ œœ œ œ œœœ œ . œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ œ .œ œ œ ‰ Œ
2.

downaMajor3rd;[newbeat=Ó]

&

b 3 ˙ j b˙
& b b 2 w . w . w ˙ # ˙ Œ . œ ˙ ˙ n ˙ n ˙ Œ .œj b ˙ ˙ b ˙ ˙ n ˙ Œ .œj ˙ ˙Ó
3.

##
[newbeat=Œ]

&

œ bœ œ œ . œ œœ œœ œ
b b 12œ œ . œ œ œ œ œ œ œ œ œ œ
n œ J b œ œ œœ œ n œ œ b œ œ n œ œ œ œ œ . œ œ œ .œ . œ œ œ œ œ Œ.
& b 8J J
4.
J

###
[newbeat=Ó.]

&
 WS 40: Transposing Instruments I NAME ___________________________

Notate the indicated pitches.

Reads: Sounds: Sounds: Reads:

nœ
Horn in F & nœ

Clar. in A & #œ #œ

& nœ
Clar. in Bß
bœ

bœ
&
nœ
Alto Sax in Eß

Eng. Horn in F & bœ bœ

Bass Clar. in Bß & bœ

nœ
bœ nœ
Picc. Clar. in Eß &

Alto Flute in G & nœ bœ

#œ
Bari. Sax. in Eß &
bœ
 WS 43: Modes I Name ___________________________

Notate the indicated modes (for odd-numbered examples, do not use a signature; for even-numbered examples,
do use a signature).

&
1. Dorian on G 2.
? Lydian on C

?
&
3. Mixolydian on D 4. Phrygian on B

5. Lydian on Bß
? Dorian on A
&
6.

7. Phrygian on A
?
&
8. Mixolydian on C

B B
9. Aeolian on F 10. Ionian on B

?
11. Dorian on E 12.
&
Lydian on Eß

?
13. Mixolydian on F
&
14. Phrygian on D

?
15. Locrian on E 16.
&
Dorian on C

?
17. Phrygian on Fƒ 18. Mixolydian on A

&

B B
19. Lydian on G 20. Aeolian on Bß
 WS 44: Modes II Name ___________________________

Notate the indicated modes (for odd-numbered examples, do not use a signature; for even-numbered examples,
do use a signature).

1.
&
Mixolydian on A 2.
? Phrygian on G

?
&
3. Dorian on F 4. Lydian on D

5. Phrygian on Cƒ 6.
? Mixolydian on Bß
&
7.
&
Lydian on Aß 8.
? Dorian on B

B
9. Ionian on D ß 10.
B Aeolian on Cƒ

?
11. Mixolydian on E ß 12. Locrian on A
&

?
13. Dorian on Fƒ 14. Lydian on D ß
&

?
15. Phrygian on C 16.
&
Mixolydian on E

?
17. Lydian on A 18. Dorian on Bß

&

B
19. Aeolian on E ß
B
20. Phrygian on F
 WS 45: Modes III Name ___________________________

A. Identify the following scales as one of the modes (Dorian, Phrygian, Lydian, Mixolydian, Ionian,
Aeolian, Locrian) or none of the above.

& w w #w #w w w #w w ? ### w w w w
1. 2.

w w w w

bw bw ? ### w w w w w w w w
&b w w b w b w b w w
3. 4.

w # w w w w w ? bb w w w
w w
6.
&w w
5.

w w w

b w b w b w w bw ? bb b w w w
&b w b w b w w w
7. 8.

b w w w

B w w bw w w w w w B ##### w w w w w w w
9. 10.

B. Error detection. Indicate which scales or modes are spelled incorrectly by drawing a line through
each incorrect note.

? #### w w w
& w w bw w w bw w w w
2. Mixolydian on A

w w
1. Aeolian on C

w w

w w b w w w w ? #### #
4.
w w
Lydian on Fƒ

& w bw # w w w w w w
3. Phrygian on A

& w bw w bw bw bw bw w ? ## w w
6. Dorian on E
w
5. Locrian on D

w w w
w w
w w w
B bw w bw B #
# w w w w w
7. Ionian on Eß 8. Phrygian on Fƒ

bw w w b w b w
WS 46: Brain Teasers I NAME

A. Major and minor scales and key signatures; scale-degree names, numbers, and
syllables; parallel and relative keys.

1. is ^7 in the natural form of the minor scale that has a signature of three flats.

2. is the leading tone of the major scale that has a signature of five flats.

3. is the mediant degree of the minor scale whose relative major has a signature of two sharps.

4. is the is the subdominant degree of the major scale whose relative minor has a signature of two
flats.

5. is the submediant degree of the major scale whose relative minor has a signature of four flats.

6. is ^7 in the natural form of the minor scale whose parallel major has a signature of three sharps.

7. is ^4 in the minor scale whose parallel major is the relative of the minor scale that has a signature
of four sharps.

8. is the full name of the scale spelled by your answers to #1-7.

B. Intervals added.

9. lies a M2 above the submediant degree of the harmonic form of the minor scale that has a
signature of five sharps.

10. lies a d4 below the subtonic of the minor scale that has a signature of one flat.

11. lies a m7 below the mediant degree of the major scale whose relative minor has a signature of
three flats.

12. lies a M2 above the subdominant degree of the major scale whose dominant lies a m6 higher
than the raised submediant of the minor scale that has a signature of three sharps.

13. lies a m6 above the leading tone of the minor scale whose mediant lies a P4 below the supertonic
of the minor scale whose relative major has a signature of three flats.

14. lies a m2 above the mediant of the minor scale whose dominant lies an A6 above the submediant
of the major scale that has a signature of two flats.

15. lies an A5 higher than the leading tone of the minor scale whose parallel major has a mediant
degree that lies a M3 higher than the subdominant degree of the minor scale that has a signature
of four flats.

16. is the full name of the scale spelled by your answers to #9-15.
WS 47: Brain Teasers II NAME

A. Triads
1. is the fifth of the minor triad whose root is the submediant of the major scale that has a signature
of two flats.

2. is the third of the augmented triad whose fifth is the leading tone of the harmonic form of the
minor scale that has a signature of one sharp.

3. is the sixth above the bass of the first-inversion minor triad whose root is the supertonic of the
major scale whose relative minor has a signature of four flats.

4. is the fourth above the bass of the second-inversion minor triad whose triadic third is the raised
submediant of the minor scale whose parallel major has a signature of three sharps.

5. is the bass of the first-inversion diminished triad whose triadic fifth is a P4 above the mediant of
the minor scale that has a signature of two sharps.

6. is the third above the bass of the first-inversion minor triad whose root is the mediant of the
major scale whose parallel minor has a signature of four sharps.

7. is the third above the bass of the first-inversion major triad whose root is the submediant degree
of the harmonic minor scale whose parallel major is the relative major of the minor key that has a
signature of three sharps.

8. is the sixth above the bass of the second-inversion minor triad whose triadic fifth is ^6 of the
melodic minor scale whose relative major is the parallel major of the minor key that has a
signature of four flats.
WS 48: Brain Teasers III NAME

A. Overtone Series

1. ______________________ Identify each of the five partials of any overtone series (through the 16th
partial only) that are members of the same pitch class as the fundamental.
(Indicate the number of each partial.)

2. : What is the ratio between the 1st overtone and the fundamental of any overtone
series? To which interval does it correspond?

3. : What is the ratio between the third overtone and the third partial? To which interval
does it correspond?

4. : What is the ratio between the 12th and 8th partials? To which interval does
correspond?

5. The fifth partial of F2 is the same pitch as what overtone of A2?

6. The second overtone of Bß1 is the same pitch as the second partial of what fundamental?

7. The sixth partial of G1 is the same pitch as the third overtone of what fundamental?

8. The fourth overtone of C2 is the same pitch as what partial of A1?

B. Transposing Instruments

1. A Trumpet in Bß is reading an Aƒ, a Clarinet in A is reading a D, and a Horn in F is reading

a Bƒ. In what (major) key are they playing?

2. A Soprano sax in Bß, an Alto flute in G, and an Alto clarinet in Eß are each reading a B.
Together they are playing what chord in A major? (Provide the appropriate Roman numeral.)

3. What word would be spelled by the tones sounded by the following instruments,
respectively: Alto sax in Eß reading a B, Trumpet in Bß reading an Fƒ, Horn in F reading
an E, Clarinet in A reading an Aß?

4. What word would be spelled by the notes read by the following instruments,
respectively: English Horn in F sounding a Bß, Tenor Sax in Bß sounding a G,
Clarinet in A sounding a B, and Alto Sax in Eß sounding a G.