{"id":3954,"date":"2023-10-26T20:54:42","date_gmt":"2023-10-26T20:54:42","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/extended-tertian-chords-altered-dominants-2\/"},"modified":"2026-04-17T20:46:50","modified_gmt":"2026-04-17T20:46:50","slug":"extended-tertian-chords-altered-dominants-2","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/extended-tertian-chords-altered-dominants-2\/","title":{"raw":"Extended tertian chords and altered dominants","rendered":"Extended tertian chords and altered dominants"},"content":{"raw":"<div class=\"extended-tertian-chords-&amp;-altered-dominants\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 47<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How to spell and identify [pb_glossary id=\"3791\"]extended tertian chords[\/pb_glossary] (ninths, elevenths, and thirteenths)<\/li>\r\n \t<li>How to spell and identify [pb_glossary id=\"4901\"]altered dominant chords[\/pb_glossary]<\/li>\r\n \t<li>How these chords function in musical contexts<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">[pb_glossary id=\"3791\"]Extended tertian chords[\/pb_glossary] are chords built in thirds that go beyond seventh chords, constructed by placing additional thirds above the seventh. Adding thirds to a seventh chord does not change the chord\u2019s function. Instead, the extended tertian chords create a different \u201ccolor\u201d or \u201csound\u201d for the same function.<\/p>\r\n<p class=\"import-Normal\"><span>For instance, the extended tertian sonorities<\/span> V9, V[latex]\\flat[\/latex]9, V11, V13, and V[latex]\\flat[\/latex]13 <span>all have dominant function, just like the V7 chord.<\/span>. All of these chords are possible in the major mode; however, only V[latex]\\flat[\/latex]9 and V[latex]\\flat[\/latex]13 occur in the minor mode and may also appear as borrowed chords in major keys.<\/p>\r\n<p class=\"import-Normal\"><span>The ii9 chord functions predominantly, like the ii and ii7. It is found only in major keys, often preceding the V13 chord.<\/span><\/p>\r\n\r\n<h1><a id=\"Overview of how to spell extended tertian chords\"><\/a>Overview of how to spell extended tertian chords<\/h1>\r\n<p class=\"import-Normal\">When writing in four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) with extended tertian chords, place the most extended note (e.g., the ninth, eleventh, or thirteenth) in the soprano voice. Since extended tertian chords involve more than four notes, some members must be omitted in a four-voice texture:<\/p>\r\n\r\n<ul>\r\n \t<li class=\"import-Normal\">Ninth chords: omit the fifth [rendering Root \u2013 3rd \u2013 7th \u2013 9th]<\/li>\r\n \t<li class=\"import-Normal\">Eleventh chords: omit the third and the fifth [rendering Root \u2013 7th \u2013 9th \u2013 11th]<\/li>\r\n \t<li class=\"import-Normal\">Thirteenth chords: omit the fifth, ninth and eleventh [rendering Root \u2013 3rd \u2013 7th \u2013 13th]<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Finally, extended tertian chords will typically appear in root position. Avoid using inversions with extended tertian chords.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T90 Extended tertian chords video 1: intro (3:52)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/5GTQI_yEhCE?si=LirZP4CpZLbPvnnP\r\n<p class=\"import-Normal\">This video gives a general definition of extended tertian chords and explains their basic features.<\/p>\r\n\r\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1RT503MHghxNg_J6NQ0jEtP9dIFCpN0INGZw7_Ewdz58\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Extended tertian chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Dominant ninths and thirteenths\"><\/a>Dominant ninths and thirteenths<\/h1>\r\n<p class=\"import-Normal\">Study the following examples, which show how to resolve and voice each type of extended tertian chord. For ninth and thirteenth chords, it is customary to use the root, third, seventh, and most extended note<span>\u00a0(the ninth or thirteenth above the root, respectively)<\/span>. Example 47-1 shows the V9. As with all ninth chords, we spell the V9 with root, third, seventh, and ninth when writing in four voices.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20111. V9<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-nine, is spelled C3, E4, B-flat 4, D5, with scale degree six labeled above the soprano voice. Second chord, labeled one, is spelled F3, F4, A4, C5, with scale degree five above the soprano voice.\" width=\"654\" height=\"472\" class=\"alignnone wp-image-3988 size-full\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExample 47-2 features an exciting V9 near the end of the second movement of Haydn's <em>Herbst<\/em> (Autumn) from <em>Die Jahrzeiten (<\/em>The Seasons) in vocal score (orchestral reduction) format. The chord is highlighted in the example, and annotations showing lead sheet symbols and corresponding Roman numerals are provided. Video T91 explores this passage using the full orchestral score in the analysis.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20112. Franz Joseph Haydn, <em>Die Jahrzeiten<\/em>, <em>Herbst<\/em>, mvt. 2, \u201cSon lohnet die Natur den Fleiss,\u201d mm. 196\u2013206<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-731x1024.png\" alt=\"Image of annotated score. Lead sheet symbols above bottom staff read C major, A-seven over E, D minor over F, B-seven over F-sharp, E minor over G. Roman numerals in bottom staff read in C major: one, five-four-three of two, two-six, five-four-three of three, three-six.\" width=\"731\" height=\"1024\" class=\"alignnone wp-image-4910 size-large\" \/><\/a> <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-698x1024.png\" alt=\"Image of annotated score. Lead sheet symbols above bottom staff read E-seven over G-sharp, F over A, F-sharp over C-sharp, G over B, G-nine (highlighted), C. Roman numerals in bottom staff read five-six-five of six to six of six, exclamation point, five-six, five-nine (highlighted), one.\" width=\"698\" height=\"1024\" class=\"alignnone wp-image-4911 size-large\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.2-Herbst-02-So-lohnet-excerpt.mp3\"][\/audio]\r\n<p class=\"import-Normal\">Listen to the full track, performed by soprano Angela Maria Blasi, tenor Josef Protschka, bass Robert Holl, the Arnold Schoenberg Chor, and the Vienna Philharmonic conducted by Nikolaus Harnoncourt, on <a href=\"https:\/\/youtu.be\/TnxRVJYa4s8?si=A99EKWs3aIn_4rFP\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\r\n<p class=\"p1\">Read an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=85523\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"https:\/\/www.lieder.net\/\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.<\/p>\r\nLearn about Austrian composer <strong>Franz Joseph Haydn<\/strong> (1732\u20131809) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Georg Feder and James Webster.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T91 Extended tertian chords video 2: V9 (3:33)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/P1uPRpixHxY?si=VP5bccJCHkJf_85w\r\n<p class=\"import-Normal\">This video explores the V9 chord, its spelling and use in major keys, and its appearance at the end of the second movement of Haydn's <em>Herbst<\/em> (Autumn) from <em>Die Jahreszeiten<\/em> (The Seasons), Example 47\u20112.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nThe V[latex]\\flat[\/latex]9 features the same voice leading and chord members (root, third, seventh, ninth) as the V9, as shown in Example 47-3. The only difference between the V9 and V[latex]\\flat[\/latex]9 is <span>is whether the ninth above the root is major or minor.<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20113. V\u266d9<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-flat-nine, is spelled C3, E4, B-flat 4, D-flat 5, with scale degree flat-six labeled above the soprano voice. Second chord, labeled uppercase one, is spelled F3, F4, A4, C5, with scale degree five above the soprano voice. Third chord, labeled lowercase one in parentheses is spelled F3, F4, A-flat 4, C5, with scale degree five above the soprano voice.\" width=\"655\" height=\"471\" class=\"alignnone wp-image-3989 size-full\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.3.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExample 47-4 shows the V[latex]\\flat[\/latex]9 used three times in the first phrase of \"Close Every Door\" from <em>Joseph and the Amazing Technicolor Dreamcoat<\/em>. This example is in F minor, and the V[latex]\\flat[\/latex]9 is spelled C - E[latex]\\natural[\/latex] - B[latex]\\flat[\/latex] - D[latex]\\flat[\/latex] in four voices. Video T92 walks you through Examples 47-3 and 47-4.\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20114. Annotated transcription of Andrew Lloyd Webber and Tim Rice, \u201cClose Every Door\u201d from <em>Joseph and the Amazing Technicolor Dreamcoat<\/em> (original Broadway cast recording), 0:08\u20130:22<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-1024x157.png\" alt=\"\" width=\"1024\" height=\"157\" class=\"alignnone size-large wp-image-4930\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.4.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3SJKvYZhEpVaT1UpqExt76?si=8e249bbf0b104f1a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English composer <strong>Andrew Lloyd Webber<\/strong> (b. 1948) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278217\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Snelson.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"extended-tertian-chords-&amp;-altered-dominants\">\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T92 Extended tertian chords video 3: V\u266d9 (2:37)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/augJmGqUZbg?si=e9AtqtcUZqwrt1dJ\r\n<p class=\"import-Normal\">This video explores the V[latex]\\flat[\/latex]9, its spelling and use in major keys (borrowed) and minor keys (diatonic), and its use in Andrew Lloyd Webber's \"Close Every Door\" from <em>Joseph and the Amazing Technicolor Dreamcoat <\/em>(Example 47\u20114).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nThe V13, shown in Example 47-5, features the root, third, seventh, and thirteenth, and the soprano typically resolves down from scale degree [latex]\\hat{3}[\/latex] (the chordal thirteenth) to tonic (the root of the tonic triad). Often composers will connect these notes by step, passing through scale degree [latex]\\hat{2}[\/latex].\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20115. V13<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-thirteen, is spelled C3, B-flat 3, E4, A4, with scale degree three labeled above the soprano voice. Second chord, labeled uppercase one, is spelled F3, A3, C4, F4, with scale degree one above the soprano voice. \" width=\"655\" height=\"440\" class=\"alignnone wp-image-3990 size-full\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.5.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExample 47-6 features a V13 chord in the key of G major near the end of the excerpt. Video T93 walks you through Examples 47-5 and 47-6, which explore the V13.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20116. Robert Schumann, \u201cKleine Studie,\u201d from <em>The Album for the Young<\/em>, no. 14, mm. 47\u201364<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-1024x962.png\" alt=\"image of annotated score\" width=\"1024\" height=\"962\" class=\"alignnone wp-image-4948 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.mp3\"][\/audio]\r\n\r\nListen to a recording of this piece, performed by Vladimir Feltsman, in its entirety on <a href=\"https:\/\/open.spotify.com\/track\/6ucocBR8fIyPeGZo6wM5F4?si=576faa7177f14ac6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Daverio and Eric Sams.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T93 Extended tertian chords video 4: V13 (3:29)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/RCRzQ5-NKPg?si=eXZj_FZPCP_GCGEi\r\n<p class=\"import-Normal\">This video examines the V13 chord, its spelling and use in major keys, and its appearance at the end of Robert Schumann's \"Kleine Studie\" from his <em>Album for the Young<\/em> (Example 47\u20116).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nThe V[latex]\\flat[\/latex]13 works just like the V13. The only difference in spelling these chords involves the thirteenth above the root: major (MA13) in the V13 and minor (mi13) in the V[latex]\\flat[\/latex]13.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20117. V\u266d13<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-flat-thirteen, is spelled C3, B-flat 3, E4, A-flat 4, with scale degree flat-three labeled above the soprano voice. Second chord, labeled uppercase one, is spelled F3, A3, C4, F4, with scale degree one above the soprano voice. Third chord, labeled lowercase one in parentheses, is spelled F3, A-flat 3, C4, F4, with scale degree one above the soprano voice. \" width=\"666\" height=\"457\" class=\"alignnone wp-image-3991 size-full\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.7.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExample 47-8 features many chromatic chords, including an [pb_glossary id=\"4490\"]augmented sixth chord[\/pb_glossary] and a [pb_glossary id=\"4391\"]Neapolitan chord[\/pb_glossary], in addition to the V[latex]\\flat[\/latex]13 in the second-to-last measure. This passage is in the key of C minor, and in this key, the V[latex]\\flat[\/latex]13 is spelled G - B[latex]\\natural[\/latex] - F - E[latex]\\flat[\/latex]. Notice the E[latex]\\flat[\/latex] is featured in the melody and moves through D (scale degree [latex]\\hat{2}[\/latex]) before resolving to C (tonic). Video T94 explores the V[latex]\\flat[\/latex]13 and its use in Example 47-8.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20118. Frederic Chopin, op. 28, no. 20, Prelude in C minor, mm. 9\u201313<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image44.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image44.png\" width=\"816\" height=\"232\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.8.mp3\"][\/audio]\r\n\r\nListen to a recording of this piece, performed by Alexandre Tharaud, in its entirety on <a href=\"https:\/\/open.spotify.com\/track\/6p9tdfo0fyp1RVsp76Czl3?si=43d2861d8149498f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T94 Extended tertian chords video 5: V\u266d13 (3:32)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/18ygvz3MQSs?si=fxtdoh0US5aDy-aS\r\n<p class=\"import-Normal\">This video explores the V[latex]\\flat[\/latex]13, its spelling and resolution, and its use in Chopin's Prelude, op. 28, no. 20 (Example 47\u20118).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 47-1 Spelling dominant ninths and thirteenths\"><\/a>EXERCISE 47-1 Spelling dominant ninths and thirteenths<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 47-1 Spelling dominant ninths and thirteenths<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">For each of the following, provide a key signature and realize the chord in four voices on the staff. All chords should be in root position, and the most extended note should be placed in the top voice.<\/p>\r\n<p class=\"import-Normal\">Remember, in minor keys, V[latex]\\flat[\/latex]9 and V[latex]\\flat[\/latex]13 chords require a raised leading tone, but the most extended note is already lowered. And in major keys, the V[latex]\\flat[\/latex]9 and V[latex]\\flat[\/latex]13 require lowering the most extended note, but the leading tone is already raised.<\/p>\r\n<p class=\"import-Normal\">SET 1<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-1024x187.png\" alt=\"image of blank bass clef staff with keys and Roman numeral symbols beneath\" width=\"1024\" height=\"187\" class=\"alignnone wp-image-4990 size-large\" \/><\/a>\r\n<p class=\"import-Normal\">SET 2<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-1024x173.png\" alt=\" image of blank bass clef staff with keys and Roman numeral symbols beneath\" width=\"1024\" height=\"173\" class=\"alignnone wp-image-4991 size-large\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.1-Spelling-dominant-ninths-and-thirteenths-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.1 Spelling dominant ninths and thirteenths for SR<\/a><\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.1-Spelling-dominant-ninths-and-thirteenths.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.1 Spelling dominant ninths and thirteenths<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1 class=\"import-Normal\"><a id=\"Dominant eleventh and supertonic ninth\"><\/a>Dominant eleventh and supertonic ninth<\/h1>\r\nIn contrast to ninth and thirteenth chords, eleventh chords omit the third and fifth in four-part textures, using the root, seventh, ninth, and eleventh. Another way of thinking about spelling the V11 is to use scale degree [latex]\\hat{5}[\/latex] in the bass, with the notes from the subdominant triad above it (scale degrees [latex]\\hat{4}[\/latex], [latex]\\hat{6}[\/latex], and [latex]\\hat{1}[\/latex]). Example 47-9 shows the spelling and resolution of the V11 in F major. Video T95 walks you through this example and Example 47-10.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u20119. V11<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-eleven, is spelled C3, B-flat 3, D4, F4 with scale degree one labeled above the soprano voice. Second chord, labeled one, is spelled F3, A3, C4, F4 with scale degree one above the soprano voice.\" width=\"662\" height=\"457\" class=\"alignnone wp-image-3992 size-full\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.9.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nSpell the V11 and its resolution in A[latex]\\flat[\/latex] major, and listen for this progression near the end of the chorus section in Example 47\u201110. Select the right arrow over the image below to view the answer.\r\n<div class=\"textbox shaded\">\r\n\r\n[h5p id=\"100\"]\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u201110. Carole King, \u201cYou\u2019ve Got a Friend,\u201d 1:20\u20131:47<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.10.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1qhp5owrFGeZ5Jgin28nwR?si=53d6be888d8747ce\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American songwriter <strong>Carole King<\/strong> (b. 1942) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2241980\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Richard D. Driver.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T95 Extended tertian chords video 6: V11 (4:22)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/p9SeoG08Zck?si=oae4L-7Zxz1h6YU7\r\n<p class=\"import-Normal\">Learn about the V11 chord by watching this video, which explores the spelling and resolution of the V11 chord, its hybrid properties (combining scale degree [latex]\\hat{5}[\/latex] and the notes from the IV chord), and its use in Carole King's \"You've Got a Friend\" (Example 47\u201110).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nLike the other ninth chords we have studied, the supertonic ninth chord (ii9) uses the root, third, seventh, and ninth in four-part textures. It often connects to a V13, as the soprano note (scale degree [latex]\\hat{3}[\/latex], or \"mi\") is the same in both the ii9 and V13. Example 47-11 shows the spelling and resolution of the ii9 in the key of F major. Video T96 explores Example 47-11 and how the ii9 works in a repeating progression in Example 47-12.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u201111. ii9<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9.png\" alt=\"\" width=\"957\" height=\"446\" class=\"alignnone wp-image-3993 size-full\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.11.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nRealize the ii9 \u2013 V13 \u2013 IMA7 progression in C major, which is featured in Example 47-12. Select the right arrow over the image below to view the answer.\r\n<div class=\"textbox shaded\">\r\n\r\n[h5p id=\"101\"]\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 47\u201112. Maroon 5, \u201cSunday Morning,\u201d 0:00\u20130:27<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.12.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1YI0uK36eupTmw9F8kHysr?si=339adc44d8ad4956\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American band <strong>Maroon 5<\/strong> by reading the band's <a href=\"https:\/\/www.last.fm\/music\/Maroon+5\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T96 Extended tertian chords video 7: ii9 (7:11)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/vRrb3rtFOG4?si=fMYAk08wST5-NYxa\r\n<p class=\"import-Normal\">This video concludes the series on extended tertian chords, focusing on the ii9, its spelling and resolution to the V13, and its use in Maroon 5's \"Sunday Morning\u201d (Example 47\u201112).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-check quiz on extended tertian chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><span>[h5p id=\"102\"]<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 47-2 Spelling extended tertian chords\"><\/a>EXERCISE 47-2 Spelling extended tertian chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 47-2 Spelling extended tertian chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">For each of the following, realize the chord in four voices on the staff. All chords should be in root position, and the most extended note should be placed in the top voice.<\/p>\r\n<p class=\"import-Normal\">SET 1. Spell the following chords in C major. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"103\"]<\/p>\r\n<p class=\"import-Normal\">SET 2. Spell the following chords in A minor. Select the right arrow over the image to view the answer.<\/p>\r\n[h5p id=\"104\"]\r\n<p class=\"import-Normal\">SET 3. For each of the following, provide a key signature and spell the chord in four voices on the staff. Select the right arrow over the image to view the answer.<\/p>\r\n<p class=\"import-Normal\"><span>[h5p id=\"105\"]<\/span><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.2-Spelling-extended-tertian-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.2 Spelling extended tertian chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Altered dominants\"><\/a>Altered dominants<\/h1>\r\n<p class=\"import-Normal\">[pb_glossary id=\"4901\"]Altered dominants[\/pb_glossary] (some of which are referred to as \"added note chords\") function similarly to dominant extended tertian chords because they share the dominant scale degree as root and substitute for any regular dominant chord. The most common altered dominants are Vadd6 (the dominant triad plus a sixth above the bass), V+ (an augmented triad built on scale degree [latex]\\hat{5}[\/latex]), and V+7 (an augmented triad built on [latex]\\hat{5}[\/latex] with a chordal seventh). These chords appear in root position.<\/p>\r\n\r\n<h1><a id=\"EXERCISE 47-3 Spelling altered dominants\"><\/a>EXERCISE 47-3 Spelling altered dominants<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 47-3 Spelling altered dominants<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Realize each chord below in four voices on the staff. Select the right arrow over the image to view the answer. If you get stuck, watch video T97, which walks you through how to spell these chords in relationship to the other extended tertian chords we've studied.<\/p>\r\n<span>[h5p id=\"106\"]<\/span>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.3-Spelling-altered-dominants.pdf\">Ex47.3 Spelling altered dominants<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T97 Altered dominants video (2:35)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/mLJ1RSMiOE4?si=P2e6mBAmThGpBGNX\r\n<p class=\"import-Normal\">Learn about [pb_glossary id=\"4901\"]altered dominants[\/pb_glossary] by watching this short video, which introduces the Vadd6, V+, and V+7 chords and shows how they are spelled in the key of C major.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"EXERCISE 47-4 Chord spelling\"><\/a>EXERCISE 47-4 Chord spelling<\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 47-4 Chord spelling<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">For each of the following, provide a key signature and realize the chord in four voices on a separate sheet of staff paper. All chords should be in root position, and the most extended note should be placed in the top voice.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-right: -36pt\">SET 1<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-1024x119.png\" alt=\"image of bass clef staff with six blank measures, with key area and Roman numeral symbols beneath staff\" width=\"1024\" height=\"119\" class=\"alignnone wp-image-5023 size-large\" \/><\/a>\r\n\r\nSET 2\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-1024x142.png\" alt=\"image of bass clef staff with six blank measures, with key area and Roman numeral symbols beneath staff\" width=\"1024\" height=\"142\" class=\"alignnone wp-image-5024 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.4-Chord-spelling-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.4 Chord spelling for SR<\/a><\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.4-Chord-spelling.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.4 Chord spelling<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 47-5 Analysis with extended tertian and altered dominant chords\"><\/a>EXERCISE 47-5 Analysis with extended tertian and altered dominant chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 47-5 Analysis with extended tertian and altered dominant chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Study and listen to Worksheet example 47\u20111. Then answer the questions below.<\/p>\r\n\r\n<ol>\r\n \t<li>What key is the excerpt in?<\/li>\r\n \t<li>Which of the following chords (numbered 1\u20137) is an extended tertian chord? Does it resolve as you would expect?<\/li>\r\n \t<li>Which of the following chords (numbered 1\u20137) are secondary dominant or diminished chords? Do they resolve as you would expect?<\/li>\r\n \t<li>Provide a Roman numeral label for each of the first seven chords. If inversions are used, provide figured bass symbols as well.<\/li>\r\n \t<li>Once you have identified the extended tertian chord that occurs in the beginning of the excerpt, how many additional times does it reappear in the excerpt?<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 47\u20111. Frederic Chopin, Ballade, op. 38, mm. 38\u201345[footnote]<span>Example from\u00a0<\/span><a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a><span>\u00a0by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.<\/span>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image54.png\" width=\"1430\" height=\"1079\" alt=\"image\" class=\"alignnone\" \/><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Krystian Zimerman, on <a href=\"https:\/\/open.spotify.com\/track\/5R6Xhutodh7bhDGVY71V3O?si=9bbf484e88ea4357\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART B. Study the excerpts in Worksheet example 47-2 and listen to a recording of Ella Fitzgerald singing this song <a href=\"https:\/\/open.spotify.com\/track\/4pEoF7AVNZrF0QscLqTnQp?si=342961c6a371441b\" target=\"_blank\" rel=\"noopener\">here.<\/a>\u00a0Then answer these questions:<\/p>\r\n\r\n<ol>\r\n \t<li>Based on the excerpts provided and listening to the entire track, what is the overall form of this song?<\/li>\r\n \t<li>How do the songwriters create contrast in the bridge section?<\/li>\r\n \t<li>There are three different key areas used in this song. What key best characterizes mm. 1\u20138 (passages in yellow)? In what key are mm. 9\u201312 (passages in pink)?<\/li>\r\n \t<li>What is the relationship between the keys named above in question 3?<\/li>\r\n \t<li>In what key are mm. 13\u201314 (passage in blue)?<\/li>\r\n \t<li><span>What is the relationship between the key named above in question 5 and the two keys named in question 3?<\/span><\/li>\r\n<\/ol>\r\nAlso, provide a Roman numeral analysis for the highlighted blanks beneath the staff. Be on the lookout for:\r\n<ul>\r\n \t<li>Extended tertian chords<\/li>\r\n \t<li>Secondary dominant or diminished chords<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 47\u20112. Excerpts from Matt Dennis and Earl Brent, \u201cAngel Eyes\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nmm. 1\u20132\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-1024x188.png\" alt=\"\" width=\"1024\" height=\"188\" class=\"alignnone size-large wp-image-5034\" \/><\/a>\r\n\r\nmm. 6\u201312\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-1024x665.png\" alt=\"\" width=\"1024\" height=\"665\" class=\"alignnone size-large wp-image-5035\" \/><\/a>\r\n\r\nmm. 13\u201314\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-1024x232.png\" alt=\"\" width=\"1024\" height=\"232\" class=\"alignnone size-large wp-image-5036\" \/><\/a>\r\n\r\nListen to Ella Fitzgerald singing this song in its entirety on <a href=\"https:\/\/open.spotify.com\/track\/4pEoF7AVNZrF0QscLqTnQp?si=fe71f4f22da742f0\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><strong>PART C. <\/strong>Study and listen to the excerpt, label chords on the blanks beneath the staff (indicated by arrows), and answer the questions below. <em>You need not provide a complete Roman numeral analysis of this excerpt\u2014only chords for which there are blanks beneath the staff.<\/em><\/p>\r\n\r\n<ol>\r\n \t<li>The piece starts in what key?<\/li>\r\n \t<li>What key is tonicized in mm. 11\u201312? What is the relationship between the tonic key and the tonicized key?<\/li>\r\n \t<li>To what key does the piece modulate in mm. 15\u201318? What is the relationship between the tonic key and the new key?<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 47\u20113. Frederic Chopin, Prelude op. 28, no. 15, mm. 1\u201319[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/6\/63\/IMSLP800939-PMLP2344-preludes-op28-book.pdf\" target=\"_blank\" rel=\"noopener\">\"Chopin 24 Preludes op. 28\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Snortum,_Knute\" target=\"_blank\" rel=\"noopener\">Knute Snortum<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/4.0\" target=\"_blank\" rel=\"noopener\">CC BY-SA 4.0<\/a><a><\/a><\/span>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-1024x298.png\" alt=\"image of score\" width=\"1024\" height=\"298\" class=\"alignnone wp-image-5881 size-large\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-1024x827.png\" alt=\"image of score\" width=\"1024\" height=\"827\" class=\"alignnone wp-image-5882 size-large\" \/><\/a>\r\n\r\nListen to this piece, performed by Ivo Pogorelich, on <a href=\"https:\/\/open.spotify.com\/track\/7H6FlQtb9tFC5rRKtmdmli?si=5d08c9362a4b4162\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n<p class=\"import-Normal\">Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.5-Analysis-with-extended-tertian-and-altered-dominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.5 Analysis with extended tertian and altered dominant chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nListen to the audio examples featured in this chapter here: <a class=\"rId134\" href=\"https:\/\/open.spotify.com\/playlist\/1RtRfkHEtab9i2rqj1XgAA?si=24b7a1eafbff4cc9\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for extended tertian chords<\/span><\/a>\r\n\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 47<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/altered-and-extended-dominant-chords\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes's chapter on altered and extended chords<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"extended-tertian-chords-&amp;-altered-dominants\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 47<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to spell and identify <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_3791\">extended tertian chords<\/a> (ninths, elevenths, and thirteenths)<\/li>\n<li>How to spell and identify <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_4901\">altered dominant chords<\/a><\/li>\n<li>How these chords function in musical contexts<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_3791\">Extended tertian chords<\/a> are chords built in thirds that go beyond seventh chords, constructed by placing additional thirds above the seventh. Adding thirds to a seventh chord does not change the chord\u2019s function. Instead, the extended tertian chords create a different \u201ccolor\u201d or \u201csound\u201d for the same function.<\/p>\n<p class=\"import-Normal\"><span>For instance, the extended tertian sonorities<\/span> V9, V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9, V11, V13, and V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 <span>all have dominant function, just like the V7 chord.<\/span>. All of these chords are possible in the major mode; however, only V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 and V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 occur in the minor mode and may also appear as borrowed chords in major keys.<\/p>\n<p class=\"import-Normal\"><span>The ii9 chord functions predominantly, like the ii and ii7. It is found only in major keys, often preceding the V13 chord.<\/span><\/p>\n<h1><a><\/a>Overview of how to spell extended tertian chords<\/h1>\n<p class=\"import-Normal\">When writing in four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_2799\">SATB<\/a>) with extended tertian chords, place the most extended note (e.g., the ninth, eleventh, or thirteenth) in the soprano voice. Since extended tertian chords involve more than four notes, some members must be omitted in a four-voice texture:<\/p>\n<ul>\n<li class=\"import-Normal\">Ninth chords: omit the fifth [rendering Root \u2013 3rd \u2013 7th \u2013 9th]<\/li>\n<li class=\"import-Normal\">Eleventh chords: omit the third and the fifth [rendering Root \u2013 7th \u2013 9th \u2013 11th]<\/li>\n<li class=\"import-Normal\">Thirteenth chords: omit the fifth, ninth and eleventh [rendering Root \u2013 3rd \u2013 7th \u2013 13th]<\/li>\n<\/ul>\n<p class=\"import-Normal\">Finally, extended tertian chords will typically appear in root position. Avoid using inversions with extended tertian chords.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T90 Extended tertian chords video 1: intro (3:52)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T90 Malawey&#39;s Extended Tertian Chords video 1: INTRO\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/5GTQI_yEhCE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video gives a general definition of extended tertian chords and explains their basic features.<\/p>\n<div class=\"textbox shaded\">Access the slideshow here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1RT503MHghxNg_J6NQ0jEtP9dIFCpN0INGZw7_Ewdz58\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Extended tertian chords<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Dominant ninths and thirteenths<\/h1>\n<p class=\"import-Normal\">Study the following examples, which show how to resolve and voice each type of extended tertian chord. For ninth and thirteenth chords, it is customary to use the root, third, seventh, and most extended note<span>\u00a0(the ninth or thirteenth above the root, respectively)<\/span>. Example 47-1 shows the V9. As with all ninth chords, we spell the V9 with root, third, seventh, and ninth when writing in four voices.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20111. V9<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-nine, is spelled C3, E4, B-flat 4, D5, with scale degree six labeled above the soprano voice. Second chord, labeled one, is spelled F3, F4, A4, C5, with scale degree five above the soprano voice.\" width=\"654\" height=\"472\" class=\"alignnone wp-image-3988 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9.png 654w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9-300x217.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9-65x47.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9-225x162.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.1-V9-350x253.png 350w\" sizes=\"auto, (max-width: 654px) 100vw, 654px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-3954-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Example 47-2 features an exciting V9 near the end of the second movement of Haydn&#8217;s <em>Herbst<\/em> (Autumn) from <em>Die Jahrzeiten (<\/em>The Seasons) in vocal score (orchestral reduction) format. The chord is highlighted in the example, and annotations showing lead sheet symbols and corresponding Roman numerals are provided. Video T91 explores this passage using the full orchestral score in the analysis.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20112. Franz Joseph Haydn, <em>Die Jahrzeiten<\/em>, <em>Herbst<\/em>, mvt. 2, \u201cSon lohnet die Natur den Fleiss,\u201d mm. 196\u2013206<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-731x1024.png\" alt=\"Image of annotated score. Lead sheet symbols above bottom staff read C major, A-seven over E, D minor over F, B-seven over F-sharp, E minor over G. Roman numerals in bottom staff read in C major: one, five-four-three of two, two-six, five-four-three of three, three-six.\" width=\"731\" height=\"1024\" class=\"alignnone wp-image-4910 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-731x1024.png 731w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-214x300.png 214w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-768x1076.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-1097x1536.png 1097w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-1462x2048.png 1462w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-65x91.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-225x315.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-01-350x490.png 350w\" sizes=\"auto, (max-width: 731px) 100vw, 731px\" \/><\/a> <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-698x1024.png\" alt=\"Image of annotated score. Lead sheet symbols above bottom staff read E-seven over G-sharp, F over A, F-sharp over C-sharp, G over B, G-nine (highlighted), C. Roman numerals in bottom staff read five-six-five of six to six of six, exclamation point, five-six, five-nine (highlighted), one.\" width=\"698\" height=\"1024\" class=\"alignnone wp-image-4911 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-698x1024.png 698w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-204x300.png 204w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-768x1127.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-1046x1536.png 1046w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-1395x2048.png 1395w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-65x95.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-225x330.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.2-system-02-350x514.png 350w\" sizes=\"auto, (max-width: 698px) 100vw, 698px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.2-Herbst-02-So-lohnet-excerpt.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.2-Herbst-02-So-lohnet-excerpt.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.2-Herbst-02-So-lohnet-excerpt.mp3<\/a><\/audio><\/p>\n<p class=\"import-Normal\">Listen to the full track, performed by soprano Angela Maria Blasi, tenor Josef Protschka, bass Robert Holl, the Arnold Schoenberg Chor, and the Vienna Philharmonic conducted by Nikolaus Harnoncourt, on <a href=\"https:\/\/youtu.be\/TnxRVJYa4s8?si=A99EKWs3aIn_4rFP\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\n<p class=\"p1\">Read an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=85523\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"https:\/\/www.lieder.net\/\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Joseph Haydn<\/strong> (1732\u20131809) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Georg Feder and James Webster.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T91 Extended tertian chords video 2: V9 (3:33)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T91 Malawey&#39;s Extended Tertian Chords video 2: V9\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/P1uPRpixHxY?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the V9 chord, its spelling and use in major keys, and its appearance at the end of the second movement of Haydn&#8217;s <em>Herbst<\/em> (Autumn) from <em>Die Jahreszeiten<\/em> (The Seasons), Example 47\u20112.<\/p>\n<\/div>\n<\/div>\n<p>The V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 features the same voice leading and chord members (root, third, seventh, ninth) as the V9, as shown in Example 47-3. The only difference between the V9 and V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 is <span>is whether the ninth above the root is major or minor.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20113. V\u266d9<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-flat-nine, is spelled C3, E4, B-flat 4, D-flat 5, with scale degree flat-six labeled above the soprano voice. Second chord, labeled uppercase one, is spelled F3, F4, A4, C5, with scale degree five above the soprano voice. Third chord, labeled lowercase one in parentheses is spelled F3, F4, A-flat 4, C5, with scale degree five above the soprano voice.\" width=\"655\" height=\"471\" class=\"alignnone wp-image-3989 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9.png 655w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9-300x216.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9-65x47.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9-225x162.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.3-Vb9-350x252.png 350w\" sizes=\"auto, (max-width: 655px) 100vw, 655px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.3.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Example 47-4 shows the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 used three times in the first phrase of &#8220;Close Every Door&#8221; from <em>Joseph and the Amazing Technicolor Dreamcoat<\/em>. This example is in F minor, and the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 is spelled C &#8211; E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-90d6efc993f43700cc9e06c03b8882ba_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#110;&#97;&#116;&#117;&#114;&#97;&#108;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"5\" style=\"vertical-align: -4px;\" \/> &#8211; B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> &#8211; D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> in four voices. Video T92 walks you through Examples 47-3 and 47-4.<\/p>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20114. Annotated transcription of Andrew Lloyd Webber and Tim Rice, \u201cClose Every Door\u201d from <em>Joseph and the Amazing Technicolor Dreamcoat<\/em> (original Broadway cast recording), 0:08\u20130:22<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-1024x157.png\" alt=\"\" width=\"1024\" height=\"157\" class=\"alignnone size-large wp-image-4930\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-1024x157.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-300x46.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-768x118.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-1536x236.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-2048x315.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-65x10.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-225x35.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.4-350x54.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3SJKvYZhEpVaT1UpqExt76?si=8e249bbf0b104f1a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English composer <strong>Andrew Lloyd Webber<\/strong> (b. 1948) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278217\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Snelson.<\/p>\n<\/div>\n<\/div>\n<div class=\"extended-tertian-chords-&amp;-altered-dominants\">\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T92 Extended tertian chords video 3: V\u266d9 (2:37)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T92 Malawey&#39;s Extended Tertian Chords video 3: Vb9\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/augJmGqUZbg?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9, its spelling and use in major keys (borrowed) and minor keys (diatonic), and its use in Andrew Lloyd Webber&#8217;s &#8220;Close Every Door&#8221; from <em>Joseph and the Amazing Technicolor Dreamcoat <\/em>(Example 47\u20114).<\/p>\n<\/div>\n<\/div>\n<p>The V13, shown in Example 47-5, features the root, third, seventh, and thirteenth, and the soprano typically resolves down from scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (the chordal thirteenth) to tonic (the root of the tonic triad). Often composers will connect these notes by step, passing through scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20115. V13<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-thirteen, is spelled C3, B-flat 3, E4, A4, with scale degree three labeled above the soprano voice. Second chord, labeled uppercase one, is spelled F3, A3, C4, F4, with scale degree one above the soprano voice.\" width=\"655\" height=\"440\" class=\"alignnone wp-image-3990 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13.png 655w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13-300x202.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13-65x44.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13-225x151.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.5-V13-350x235.png 350w\" sizes=\"auto, (max-width: 655px) 100vw, 655px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.5.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.5.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Example 47-6 features a V13 chord in the key of G major near the end of the excerpt. Video T93 walks you through Examples 47-5 and 47-6, which explore the V13.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20116. Robert Schumann, \u201cKleine Studie,\u201d from <em>The Album for the Young<\/em>, no. 14, mm. 47\u201364<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-1024x962.png\" alt=\"image of annotated score\" width=\"1024\" height=\"962\" class=\"alignnone wp-image-4948 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-1024x962.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-300x282.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-768x722.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-1536x1443.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-65x61.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-225x211.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6-350x329.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.png 1818w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.6.mp3<\/a><\/audio><\/p>\n<p>Listen to a recording of this piece, performed by Vladimir Feltsman, in its entirety on <a href=\"https:\/\/open.spotify.com\/track\/6ucocBR8fIyPeGZo6wM5F4?si=576faa7177f14ac6\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T93 Extended tertian chords video 4: V13 (3:29)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"T93 Malawey&#39;s Extended Tertian Chords video 4: V13\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/RCRzQ5-NKPg?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video examines the V13 chord, its spelling and use in major keys, and its appearance at the end of Robert Schumann&#8217;s &#8220;Kleine Studie&#8221; from his <em>Album for the Young<\/em> (Example 47\u20116).<\/p>\n<\/div>\n<\/div>\n<p>The V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 works just like the V13. The only difference in spelling these chords involves the thirteenth above the root: major (MA13) in the V13 and minor (mi13) in the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20117. V\u266d13<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-flat-thirteen, is spelled C3, B-flat 3, E4, A-flat 4, with scale degree flat-three labeled above the soprano voice. Second chord, labeled uppercase one, is spelled F3, A3, C4, F4, with scale degree one above the soprano voice. Third chord, labeled lowercase one in parentheses, is spelled F3, A-flat 3, C4, F4, with scale degree one above the soprano voice.\" width=\"666\" height=\"457\" class=\"alignnone wp-image-3991 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13.png 666w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13-300x206.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13-65x45.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13-225x154.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.7-Vb13-350x240.png 350w\" sizes=\"auto, (max-width: 666px) 100vw, 666px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.7.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.7.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.7.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Example 47-8 features many chromatic chords, including an <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_4490\">augmented sixth chord<\/a> and a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_4391\">Neapolitan chord<\/a>, in addition to the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 in the second-to-last measure. This passage is in the key of C minor, and in this key, the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 is spelled G &#8211; B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-90d6efc993f43700cc9e06c03b8882ba_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#110;&#97;&#116;&#117;&#114;&#97;&#108;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"5\" style=\"vertical-align: -4px;\" \/> &#8211; F &#8211; E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>. Notice the E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> is featured in the melody and moves through D (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>) before resolving to C (tonic). Video T94 explores the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 and its use in Example 47-8.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20118. Frederic Chopin, op. 28, no. 20, Prelude in C minor, mm. 9\u201313<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image44.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image44.png\" width=\"816\" height=\"232\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.8.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.8.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.8.mp3<\/a><\/audio><\/p>\n<p>Listen to a recording of this piece, performed by Alexandre Tharaud, in its entirety on <a href=\"https:\/\/open.spotify.com\/track\/6p9tdfo0fyp1RVsp76Czl3?si=43d2861d8149498f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T94 Extended tertian chords video 5: V\u266d13 (3:32)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-5\" title=\"T94 Malawey&#39;s Extended Tertian Chords video 5: Vb13\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/18ygvz3MQSs?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13, its spelling and resolution, and its use in Chopin&#8217;s Prelude, op. 28, no. 20 (Example 47\u20118).<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 47-1 Spelling dominant ninths and thirteenths<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 47-1 Spelling dominant ninths and thirteenths<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">For each of the following, provide a key signature and realize the chord in four voices on the staff. All chords should be in root position, and the most extended note should be placed in the top voice.<\/p>\n<p class=\"import-Normal\">Remember, in minor keys, V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 and V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 chords require a raised leading tone, but the most extended note is already lowered. And in major keys, the V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>9 and V<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>13 require lowering the most extended note, but the leading tone is already raised.<\/p>\n<p class=\"import-Normal\">SET 1<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-1024x187.png\" alt=\"image of blank bass clef staff with keys and Roman numeral symbols beneath\" width=\"1024\" height=\"187\" class=\"alignnone wp-image-4990 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-1024x187.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-300x55.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-768x140.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-1536x280.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-225x41.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1-350x64.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-1.png 1955w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p class=\"import-Normal\">SET 2<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-1024x173.png\" alt=\"image of blank bass clef staff with keys and Roman numeral symbols beneath\" width=\"1024\" height=\"173\" class=\"alignnone wp-image-4991 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-1024x173.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-300x51.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-768x130.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-1536x259.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-65x11.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-225x38.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1-350x59.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-1.png 1955w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.1-Spelling-dominant-ninths-and-thirteenths-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.1 Spelling dominant ninths and thirteenths for SR<\/a><\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.1-Spelling-dominant-ninths-and-thirteenths.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.1 Spelling dominant ninths and thirteenths<\/a><\/div>\n<\/div>\n<\/div>\n<h1 class=\"import-Normal\"><a><\/a>Dominant eleventh and supertonic ninth<\/h1>\n<p>In contrast to ninth and thirteenth chords, eleventh chords omit the third and fifth in four-part textures, using the root, seventh, ninth, and eleventh. Another way of thinking about spelling the V11 is to use scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> in the bass, with the notes from the subdominant triad above it (scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>). Example 47-9 shows the spelling and resolution of the V11 in F major. Video T95 walks you through this example and Example 47-10.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u20119. V11<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11.png\" alt=\"image of Grand Staff, one flat. First chord, labeled five-eleven, is spelled C3, B-flat 3, D4, F4 with scale degree one labeled above the soprano voice. Second chord, labeled one, is spelled F3, A3, C4, F4 with scale degree one above the soprano voice.\" width=\"662\" height=\"457\" class=\"alignnone wp-image-3992 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11.png 662w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11-300x207.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11-65x45.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11-225x155.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.9-V11-350x242.png 350w\" sizes=\"auto, (max-width: 662px) 100vw, 662px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.9.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.9.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.9.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Spell the V11 and its resolution in A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, and listen for this progression near the end of the chorus section in Example 47\u201110. Select the right arrow over the image below to view the answer.<\/p>\n<div class=\"textbox shaded\">\n<div id=\"h5p-100\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-100\" class=\"h5p-iframe\" data-content-id=\"100\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Example 47.10\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u201110. Carole King, \u201cYou\u2019ve Got a Friend,\u201d 1:20\u20131:47<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.10.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.10.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.10.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1qhp5owrFGeZ5Jgin28nwR?si=53d6be888d8747ce\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American songwriter <strong>Carole King<\/strong> (b. 1942) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2241980\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Richard D. Driver.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T95 Extended tertian chords video 6: V11 (4:22)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-6\" title=\"T95 Malawey&#39;s Extended Tertian Chords video 6: V11\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/p9SeoG08Zck?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">Learn about the V11 chord by watching this video, which explores the spelling and resolution of the V11 chord, its hybrid properties (combining scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> and the notes from the IV chord), and its use in Carole King&#8217;s &#8220;You&#8217;ve Got a Friend&#8221; (Example 47\u201110).<\/p>\n<\/div>\n<\/div>\n<p>Like the other ninth chords we have studied, the supertonic ninth chord (ii9) uses the root, third, seventh, and ninth in four-part textures. It often connects to a V13, as the soprano note (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, or &#8220;mi&#8221;) is the same in both the ii9 and V13. Example 47-11 shows the spelling and resolution of the ii9 in the key of F major. Video T96 explores Example 47-11 and how the ii9 works in a repeating progression in Example 47-12.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u201111. ii9<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9.png\" alt=\"\" width=\"957\" height=\"446\" class=\"alignnone wp-image-3993 size-full\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9.png 957w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9-300x140.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9-768x358.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9-65x30.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9-225x105.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex-47.11-ii9-350x163.png 350w\" sizes=\"auto, (max-width: 957px) 100vw, 957px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.11.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.11.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.11.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Realize the ii9 \u2013 V13 \u2013 IMA7 progression in C major, which is featured in Example 47-12. Select the right arrow over the image below to view the answer.<\/p>\n<div class=\"textbox shaded\">\n<div id=\"h5p-101\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-101\" class=\"h5p-iframe\" data-content-id=\"101\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Example 47.12\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 47\u201112. Maroon 5, \u201cSunday Morning,\u201d 0:00\u20130:27<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.12.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.12.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Example-47.12.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1YI0uK36eupTmw9F8kHysr?si=339adc44d8ad4956\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American band <strong>Maroon 5<\/strong> by reading the band&#8217;s <a href=\"https:\/\/www.last.fm\/music\/Maroon+5\/+wiki\" target=\"_blank\" rel=\"noopener\">bio<\/a> on last.fm.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T96 Extended tertian chords video 7: ii9 (7:11)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-7\" title=\"T96 Malawey&#39;s Extended Tertian Chords video 7: ii9\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/vRrb3rtFOG4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video concludes the series on extended tertian chords, focusing on the ii9, its spelling and resolution to the V13, and its use in Maroon 5&#8217;s &#8220;Sunday Morning\u201d (Example 47\u201112).<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-check quiz on extended tertian chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><span><\/p>\n<div id=\"h5p-102\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-102\" class=\"h5p-iframe\" data-content-id=\"102\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Self check quiz on extended tertian chords\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 47-2 Spelling extended tertian chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 47-2 Spelling extended tertian chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">For each of the following, realize the chord in four voices on the staff. All chords should be in root position, and the most extended note should be placed in the top voice.<\/p>\n<p class=\"import-Normal\">SET 1. Spell the following chords in C major. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-103\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-103\" class=\"h5p-iframe\" data-content-id=\"103\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"EXERCISE 47-2 Spelling extended tertian chords set 1\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">SET 2. Spell the following chords in A minor. Select the right arrow over the image to view the answer.<\/p>\n<div id=\"h5p-104\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-104\" class=\"h5p-iframe\" data-content-id=\"104\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"EXERCISE 47-2 Spelling extended tertian chords set 2\"><\/iframe><\/div>\n<\/div>\n<p class=\"import-Normal\">SET 3. For each of the following, provide a key signature and spell the chord in four voices on the staff. Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\"><span><\/p>\n<div id=\"h5p-105\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-105\" class=\"h5p-iframe\" data-content-id=\"105\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"EXERCISE 47-2 Spelling extended tertian chords set 3\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.2-Spelling-extended-tertian-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.2 Spelling extended tertian chords<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Altered dominants<\/h1>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_4901\">Altered dominants<\/a> (some of which are referred to as &#8220;added note chords&#8221;) function similarly to dominant extended tertian chords because they share the dominant scale degree as root and substitute for any regular dominant chord. The most common altered dominants are Vadd6 (the dominant triad plus a sixth above the bass), V+ (an augmented triad built on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>), and V+7 (an augmented triad built on <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> with a chordal seventh). These chords appear in root position.<\/p>\n<h1><a><\/a>EXERCISE 47-3 Spelling altered dominants<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 47-3 Spelling altered dominants<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Realize each chord below in four voices on the staff. Select the right arrow over the image to view the answer. If you get stuck, watch video T97, which walks you through how to spell these chords in relationship to the other extended tertian chords we&#8217;ve studied.<\/p>\n<p><span><\/p>\n<div id=\"h5p-106\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-106\" class=\"h5p-iframe\" data-content-id=\"106\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"EXERCISE 47-3 Spelling altered dominants\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.3-Spelling-altered-dominants.pdf\">Ex47.3 Spelling altered dominants<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T97 Altered dominants video (2:35)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-8\" title=\"T97 Malawey&#39;s Altered Dominants video\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/mLJ1RSMiOE4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">Learn about <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_3954_4901\">altered dominants<\/a> by watching this short video, which introduces the Vadd6, V+, and V+7 chords and shows how they are spelled in the key of C major.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 47-4 Chord spelling<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 47-4 Chord spelling<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">For each of the following, provide a key signature and realize the chord in four voices on a separate sheet of staff paper. All chords should be in root position, and the most extended note should be placed in the top voice.<\/p>\n<p class=\"import-Normal\" style=\"margin-right: -36pt\">SET 1<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-1024x119.png\" alt=\"image of bass clef staff with six blank measures, with key area and Roman numeral symbols beneath staff\" width=\"1024\" height=\"119\" class=\"alignnone wp-image-5023 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-1024x119.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-300x35.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-768x90.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-1536x179.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-65x8.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-225x26.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2-350x41.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-01-2.png 1963w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>SET 2<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-1024x142.png\" alt=\"image of bass clef staff with six blank measures, with key area and Roman numeral symbols beneath staff\" width=\"1024\" height=\"142\" class=\"alignnone wp-image-5024 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-1024x142.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-300x42.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-768x106.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-1536x213.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-65x9.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-225x31.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2-350x48.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/set-02-2.png 1964w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.4-Chord-spelling-for-SR.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.4 Chord spelling for SR<\/a><\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.4-Chord-spelling.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.4 Chord spelling<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 47-5 Analysis with extended tertian and altered dominant chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 47-5 Analysis with extended tertian and altered dominant chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Study and listen to Worksheet example 47\u20111. Then answer the questions below.<\/p>\n<ol>\n<li>What key is the excerpt in?<\/li>\n<li>Which of the following chords (numbered 1\u20137) is an extended tertian chord? Does it resolve as you would expect?<\/li>\n<li>Which of the following chords (numbered 1\u20137) are secondary dominant or diminished chords? Do they resolve as you would expect?<\/li>\n<li>Provide a Roman numeral label for each of the first seven chords. If inversions are used, provide figured bass symbols as well.<\/li>\n<li>Once you have identified the extended tertian chord that occurs in the beginning of the excerpt, how many additional times does it reappear in the excerpt?<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 47\u20111. Frederic Chopin, Ballade, op. 38, mm. 38\u201345<a class=\"footnote\" title=\"Example from\u00a0https:\/\/musictheoryexamples.com\/\u00a0by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-3954-1\" href=\"#footnote-3954-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/image54.png\" width=\"1430\" height=\"1079\" alt=\"image\" class=\"alignnone\" \/><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-3954-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.1.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Krystian Zimerman, on <a href=\"https:\/\/open.spotify.com\/track\/5R6Xhutodh7bhDGVY71V3O?si=9bbf484e88ea4357\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART B. Study the excerpts in Worksheet example 47-2 and listen to a recording of Ella Fitzgerald singing this song <a href=\"https:\/\/open.spotify.com\/track\/4pEoF7AVNZrF0QscLqTnQp?si=342961c6a371441b\" target=\"_blank\" rel=\"noopener\">here.<\/a>\u00a0Then answer these questions:<\/p>\n<ol>\n<li>Based on the excerpts provided and listening to the entire track, what is the overall form of this song?<\/li>\n<li>How do the songwriters create contrast in the bridge section?<\/li>\n<li>There are three different key areas used in this song. What key best characterizes mm. 1\u20138 (passages in yellow)? In what key are mm. 9\u201312 (passages in pink)?<\/li>\n<li>What is the relationship between the keys named above in question 3?<\/li>\n<li>In what key are mm. 13\u201314 (passage in blue)?<\/li>\n<li><span>What is the relationship between the key named above in question 5 and the two keys named in question 3?<\/span><\/li>\n<\/ol>\n<p>Also, provide a Roman numeral analysis for the highlighted blanks beneath the staff. Be on the lookout for:<\/p>\n<ul>\n<li>Extended tertian chords<\/li>\n<li>Secondary dominant or diminished chords<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 47\u20112. Excerpts from Matt Dennis and Earl Brent, \u201cAngel Eyes\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>mm. 1\u20132<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-1024x188.png\" alt=\"\" width=\"1024\" height=\"188\" class=\"alignnone size-large wp-image-5034\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-1024x188.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-300x55.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-768x141.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-1536x282.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-2048x376.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-225x41.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm-1to2-350x64.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>mm. 6\u201312<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-1024x665.png\" alt=\"\" width=\"1024\" height=\"665\" class=\"alignnone size-large wp-image-5035\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-1024x665.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-300x195.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-768x499.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-1536x998.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-2048x1330.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-65x42.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-225x146.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm6to12-350x227.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>mm. 13\u201314<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-1024x232.png\" alt=\"\" width=\"1024\" height=\"232\" class=\"alignnone size-large wp-image-5036\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-1024x232.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-300x68.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-768x174.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-1536x348.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-2048x465.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-65x15.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-225x51.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.2-mm13to14-350x79.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Listen to Ella Fitzgerald singing this song in its entirety on <a href=\"https:\/\/open.spotify.com\/track\/4pEoF7AVNZrF0QscLqTnQp?si=fe71f4f22da742f0\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><strong>PART C. <\/strong>Study and listen to the excerpt, label chords on the blanks beneath the staff (indicated by arrows), and answer the questions below. <em>You need not provide a complete Roman numeral analysis of this excerpt\u2014only chords for which there are blanks beneath the staff.<\/em><\/p>\n<ol>\n<li>The piece starts in what key?<\/li>\n<li>What key is tonicized in mm. 11\u201312? What is the relationship between the tonic key and the tonicized key?<\/li>\n<li>To what key does the piece modulate in mm. 15\u201318? What is the relationship between the tonic key and the new key?<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 47\u20113. Frederic Chopin, Prelude op. 28, no. 15, mm. 1\u201319<a class=\"footnote\" title=\"&quot;Chopin 24 Preludes op. 28&quot; by Knute Snortum is licensed under CC BY-SA 4.0\" id=\"return-footnote-3954-2\" href=\"#footnote-3954-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-1024x298.png\" alt=\"image of score\" width=\"1024\" height=\"298\" class=\"alignnone wp-image-5881 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-1024x298.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-300x87.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-768x223.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-1536x446.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-65x19.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-225x65.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1-350x102.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt1.png 1955w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-1024x827.png\" alt=\"image of score\" width=\"1024\" height=\"827\" class=\"alignnone wp-image-5882 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-1024x827.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-300x242.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-768x620.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-1536x1240.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-65x52.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-225x182.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2-350x283.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/WE-47.3-pt2.png 1950w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>Listen to this piece, performed by Ivo Pogorelich, on <a href=\"https:\/\/open.spotify.com\/track\/7H6FlQtb9tFC5rRKtmdmli?si=5d08c9362a4b4162\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"import-Normal\">Learn about Polish composer <strong>Frederic Chopin<\/strong> (1810\u20131841) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51099\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Jim Samson.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/10\/Ex47.5-Analysis-with-extended-tertian-and-altered-dominant-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex47.5 Analysis with extended tertian and altered dominant chords<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Listen to the audio examples featured in this chapter here: <a class=\"rId134\" href=\"https:\/\/open.spotify.com\/playlist\/1RtRfkHEtab9i2rqj1XgAA?si=24b7a1eafbff4cc9\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for extended tertian chords<\/span><\/a><\/p>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 47<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/altered-and-extended-dominant-chords\/\" target=\"_blank\" rel=\"noopener\">Bryn Hughes&#8217;s chapter on altered and extended chords<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-3954-1\"><span>Example from\u00a0<\/span><a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a><span>\u00a0by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.<\/span> <a href=\"#return-footnote-3954-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-3954-2\"><span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/vmirror.imslp.org\/files\/imglnks\/usimg\/6\/63\/IMSLP800939-PMLP2344-preludes-op28-book.pdf\" target=\"_blank\" rel=\"noopener\">\"Chopin 24 Preludes op. 28\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Snortum,_Knute\" target=\"_blank\" rel=\"noopener\">Knute Snortum<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/4.0\" target=\"_blank\" rel=\"noopener\">CC BY-SA 4.0<\/a><a><\/a><\/span> <a href=\"#return-footnote-3954-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_3954_3791\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3954_3791\"><div tabindex=\"-1\"><p>chords that use ninths, elevenths, or thirteenths above the root<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3954_4901\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3954_4901\"><div tabindex=\"-1\"><p>chord built on scale degree 5, with an added note and\/or chromatically altered chord tone<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3954_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3954_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3954_4490\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3954_4490\"><div tabindex=\"-1\"><p>predominant chord resulting from chromatic voice leading that intensifies the approach to the dominant by using half-step motion; all augmented sixth chords contain an augmented sixth interval between scale degrees flat-6 (\"le\") and sharp-4 (\"fi\")<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_3954_4391\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_3954_4391\"><div tabindex=\"-1\"><p>striking major triad with predominant function built off the root of lowered scale degree 2 (\u201cra\u201d), most often found in first inversion<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":47,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-3954","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3954","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":98,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3954\/revisions"}],"predecessor-version":[{"id":7213,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3954\/revisions\/7213"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/3954\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=3954"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=3954"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=3954"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=3954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}