27. Applied Chords
Identifying Applied Dominant (V or V7) Chords in Different Keys
Each of the following exercises presents a key and a chord. Identify each chord using a Roman numeral based on where the chord would be found in its respective key. (Hint: Don’t forget to use bass figures to indicate inversions.)
Writing Applied Dominant (V or V7) Chords in Different Keys
Each of the following exercises presents a key and a Roman numeral for an applied chord. Write the appropriate chord on the staff provided. Don’t forget to invert your chords when necessary.
Resolving Applied Dominant (V or V7) Chords
Each of the exercises below shows a two-chord progression in SATB format. Resolve each of the applied dominant chords by following standard voice-leading conventions as closely as possible. The starting chord has been provided for the first eight exercises. Select your own voicing for the last eight exercises.
Identifying Applied Leading-Tone (viio6, viio7, or viiø7) Chords in Different Keys
Each of the following exercises presents a key and a chord. Identify each chord using a Roman numeral based on where the chord would be found in its respective key. (Hint: Don’t forget to use bass figures to indicate inversions.)
Writing Applied Leading-Tone (viio6, viio7, or viiø7) Chords in Different Keys
Each of the following exercises presents a key and a Roman numeral for an applied chord. Write the appropriate chord on the staff provided. Don’t forget to invert your chords when necessary.
Resolving Applied Leading-Tone (viio6, viio7, or viiø7) Chords
Each of the exercises below shows a two-chord progression in SATB format. Resolve each of the applied dominant chords by following standard voice-leading conventions as closely as possible. The starting chord has been provided for the first eight exercises. Select your own voicing for the last eight exercises.
Identifying Applied Dominant and Leading-Tone Chords in Different Keys
Each of the following exercises presents a key and a chord. Identify each chord using a Roman numeral based on where the chord would be found in its respective key. (Hint: Don’t forget to use bass figures to indicate inversions.)
Writing Applied Dominant and Leading-Tone Chords in Different Keys
Each of the following exercises presents a key and a Roman numeral for an applied chord. Write the appropriate chord on the staff provided. Don’t forget to invert your chords when necessary.
SATB Part-Writing
Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.
Figured Bass Realization
Write the Roman numerals that correspond with each figured bass note on the lines provided. Then, complete the progression by filling in the upper voices.
Roman Numeral Realization
Complete the progression according to the given key and Roman numerals by filling in all four voices. The first chord of each progression has been provided for you.
Melody Harmonization
Write the scale degree numbers of each note in the soprano melody on the lines above the staff. Then, select a suitable chord progression which incorporates the harmonies covered in this chapter to harmonize the melody and write the appropriate Roman numerals on the lines below the staff. Finally, complete the progression by filling in the remaining voices.
Analysis
Analyze each of the following excerpts by adding a Roman numeral to each of the lines below the lower staff. Don’t forget to match your Roman numeral case (upper or lower) to the quality of the chord and use extra symbols (like o) where needed. Use bass figures to indicate inversions.
