Arpeggios Appendix 13 PDF

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SUPPLEMENT: Solfege Arpeggio Drills
Table of Contents
Review: inversion symbols for diatonic triads and seventh chords……………. p. 2
Review: solfege syllables for diatonic triads and seventh chords in the Major
and minor modes……………………………………………………………………... pp. 2-3
How to use this supplement………………………………………………………… p. 4
Objectives……………………………………………………………………………… p. 4
Tips and techniques………………………………………………………………….. pp. 4-6
Curwen hand signs…………………………………………………………………... p. 7
Arpeggios: diatonic triads and seventh chords………………………………….. pp. 8-16
Review: mode mixture……………………………………………………………… p. 14
Arpeggios: triads and seventh chords with chromatic alterations……………. pp. 17-22
Review: solfege syllables for chromatically altered tones……………………….. p. 16
Review: solfege syllables for secondary dominants in the major mode………... p. 16
Review: solfege syllables for secondary dominants in the minor mode……….. p. 18
Review: solfege syllables for secondary leading-tone chords in the Major

mode………………………………………………………………………………….... p. 19
Review: solfege syllables for secondary leading-tone chords in the minor

mode…………………………………………………………………………………… p. 20
Review: chromatic mediants and modulations to distantly-related keys……… pp. 23-24
Review: The Neapolitan and augmented 6th chords……………………………… p. 26
Review: Enharmonic modulations…………………………………………………. p. 28
CSUN / McCaffrey • Musicianship Course Packet • Supplement: Arpeggio Drills • Version 07/15/16
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Review: inversion symbols for diatonic triads and seventh chords
• The inversion names and figured bass symbols above for triads and seventh chords are the
same for each type of inversion regardless of the chord root or quality. **The specific
sonorities used here are the Major triad and Dominant seventh chord, respectively, built on
scale degree 5 in F Major, hence the Roman numeral “V” and the Lead sheet symbols “C” and
“C7”. See the charts on page 3 to review the labeling system for Roman numerals and qualities
in the Major and minor modes. With the exception of some of the borrowed chords on pages
14 & 15 and the altered chords on pages 19 and 20, every chord you encounter in this
supplement is listed on page 3 and uses the figured bass symbols from the chart above.
• *The voicings here are the most compact, meaning that all chord members in each voicing
are within one octave. However, it is important to remember that the inversion name and
symbol of any chord voicing is determined only by whichever chord member is in the bass
(the lowest voice), regardless of the order or spacing of the notes above.
Review: solfege syllables for diatonic triads and seventh chords in the Major and minor modes
• NOTE: E Major and its parallel key E minor are used as the specific example keys here, but
remember that the Roman numeral sequences and their corresponding solfege syllables above
remain the same, respectively, for all Major and minor keys.
• Remember that for the minor mode, in the V, V7, viio, and viio7 sonorities, scale degree 7 is
raised from “te” to “ti” (marked in bold above) to create the leading tone for that key.

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4
How to use this supplement
• In the following pages you will find sets of harmonic progressions written out with Roman
numerals, including inversion and/or seventh chord symbols. Practice “realizing” these
progressions by singing each chord as an ascending and descending melodic arpeggio using
“movable do” solfege, in a compact voicing and in the inversion indicated.
• For example, if you see:
and your chosen key is E Major, you would sing:
Objectives
By practicing these arpeggiations, you will develop the ability to:
• more quickly associate scale degrees and solfege syllables with chord members
• better hear qualities and inversions of triads and seventh chords
• better hear and recognize underlying harmonic structures of dictated and sung
melodies
• better hear, recognize, and understand voice-leading tendencies in harmonic
progressions
Tips and techniques
• Be sure to review the inversion names, inversion symbols, and solfege syllables for diatonic
triads and seventh chords in the Major and minor modes provided at the beginning of this
supplement. Review of solfege syllables for chromatically altered notes is provided on page
12.
• Choose a comfortable key in which to sing. Try to anticipate the lowest and highest scale
degrees in the given chord progression and pick a key that fits your vocal range.
• Choose a moderate performance tempo, one that will both allow for accuracy and provide a
clear sense of the harmony. A good tempo for the example above might be q=72-76.
• “Compact voicing” means starting on the lowest note of the chord (as indicated by the
inversion symbol) and then singing each member of the chord (the root, 3rd, 5th for triads, and
including the 7th for seventh chords) once ascending and once descending as closely together
as possible. (In Harmony this is known as “close voicing”, where, in a four-voice texture, the
tenor, alto, and soprano are all within an octave of each other.)

5
• At times it will be helpful to repeat the lowest member of a chord up an octave in order to
hear or set up a particular resolution. These chords will be marked with an asterisk *.
• Each progression has been constructed to create the smoothest possible voice-leading
between chords within a compact range for ease of singing. These voicings usually emphasize
common tones between chords and step-wise motion between notes. (Notice, for instance, in
the I-V6-I example on page 4 how the “so” remains in the same position between the I and V6
chords, while the “do” and “mi” move by step to “ti” and “re” respectively.) Because of this,
you may encounter chord inversions in these exercises (particularly triads and seventh
chords in 2nd inversion) that you would not normally find in typical harmonic progressions
from the common practice period that have “true” bass lines.
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• If you are having difficulty fluidly and accurately arpeggiating chords with the correct
solfege syllables, try first singing only the lowest note of each chord, and then adding
additional chord members one at a time in each subsequent performance – for example:
Chord progression:
First sing-through (in b minor):
Second sing-through:
Third sing-through:
Final sing-through:
• Progressions are arranged by topic, moving from basic diatonic triads to seventh chords,
secondary functions, modulations, borrowed and altered sonorities, modulations to distant
keys, and enharmonic modulations.

7
Curwen hand signs
• If desired, the practice of Curwen hand signs may be incorporated into these arpeggiation
exercises. Consult the graphic below that depicts hand positions for diatonic and chromatic
solfege syllables.
Curwen Hand Signs
Diatonic Major
Lowered scale degrees Raised scale degrees
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A) Primary Triads (Tonic, Subdominant and Dominant): Major
1)
2)
3)
4)
5)
6)
7)
8)
9)
(*Repeat bass note up an octave to hear the resolution of “ti”)
B) Primary Triads (Tonic, Subdominant and Dominant): minor
1)
2)
3)
4)
5)
6)
7)

9
B) continued
8)
C) Primary, Supertonic, and Leading-tone Triads: Major
1)
2)
3)
4)
5)
6)
D) Primary, Supertonic, and Leading-tone Triads: minor
1)
2)
3)
4)
5)
From this point forward, arpeggiations of the tonic triad within parentheses ( ) may now be
“abbreviated” – for instance:
10
Additionally, progressions that now contain chords within brackets [ ] can be sung twice.
First, sing through the complete progression as written; then sing through a second time,
omitting the chord(s) in brackets.
E) Primary, Supertonic, and Leading-tone Triads and the Dominant 7th Chord: Major
1)
2)
3)
4)
5)
6)
F) Primary, Supertonic, and Leading-tone Triads and the Dominant 7th Chord: minor
1)
2)
3)
4)
5)
6)
G) All Diatonic Triads and the Dominant 7th Chord: Major
1)
2)
3)

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Notice how the following two examples (in addition to using atypical inversions for the
purposes of smooth voice-leading†) employ the viio as a “non-dominant” sonority, following it
with a iii chord. This is sometimes encountered in “circle-of-fifths” progressions.
4)
5)
†
Please see the note at the top of page 5 of this supplement.
H) All Diatonic Triads and the Dominant 7th Chord: minor
1)
2)
3)
4)
5)
“Circle-of-fifths” progressions in minor introduce us to a chord we have not yet seen in these
exercises: the bVII, a major triad built on the lowered scale degree 7 (“te-re-fa”). As the
root of this chord is a perfect fourth above the root of the sub-dominant and a perfect fourth
below the root of the sub-mediant, it fits nicely into the following progressions:
6)
7)
I) Primary Triads and the Supertonic, Leading-tone, and Dominant 7th Chords: Major
1)
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I) continued
2)
3)
4)
5)
6)
7)
J) Primary Triads and the Supertonic, Leading-tone, and Dominant 7th Chords: minor
1)
2)
3)
4)
5)
6)
K) All Diatonic 7th Chords: Major

For these next two sections, keep in mind that in the common practice period the tonic seventh
chord (I7, i7) is always used as a passing sonority.
1)
2)
3)

13
K) continued
4)
5)
Challenge yourself with this next progression, a sequence of passing seventh chords in which
only one voice moves from one chord to the next. Which chord member – root, 3rd, 5th, or 7th –
always moves, and in which direction?
6)
L) All Diatonic 7th Chords: minor
1)
2)
3)
4)
5)
These next two examples, like H-6 & 7 on page 11, explore circle-of-fifths progressions in
minor, this time using seventh chords. Once again we find a chord built on the lowered scale
degree 7 (“te”). However, it is important to note that the chord we call bVII7 (“te-re-fa-le”) in
these examples is actually more commonly referred to as a type of secondary dominant –
though the solfege syllables remain the same (please see “review: solfege syllables for
secondary dominants in the minor mode” on page 18).
6)
7)
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Review: Mode mixture
These next two sections involve mode mixture or modal borrowing (i.e. progressions that
“borrow” chords from the parallel mode – minor borrowing from Major, and vice versa). In
the minor mode, because we already technically borrow chords from the parallel Major (V and
viio), we will sometimes instead refer to “scalar variants”, meaning that triads containing scale
degrees 6 or 7 may use those notes in either the raised or lowered positions (“la” or “le”, “ti”
or “te”), depending on the context. Let us look at both individually:
• Raised scale degree 6 (“la”) in the minor mode

As you might guess from the ascending form of the melodic minor scale, we sometimes see
harmonies with “la” instead of “le” in the minor mode when preceding a chord with the
leading tone “ti” – though it is also possible that a chord containing “la” will follow a sonority
that has “ti” or “te” in it. In both instances, the desired result is usually a linear, step-wise
melody in one of the voices that ascends (“la-ti-do”) or descends (“do-te-la”, for example).
Using “la” instead of “le” will typically result in a borrowed IV chord (“fa-la-do”), or the
Major-minor 7th chord IV7 (“fa-la-do-te”), the 3rd of both chords being scale degree 6. Less
common is a half-diminished seventh chord built on “la”, which is notated as #viø7 (“la-do-me-
so”). The function of the #viø7 chord will still be the same as the IV and the IV7 – it will most
often facilitate a melodic approach either up to the leading tone “ti” or down to “le”.
• Lowered scale degree 7 (“te”) in the minor mode

Here, when scale degree 7 is used as “te” instead of “ti” in triads built on scale degrees 5 and 7
(chords normally containing the leading tone), in addition to the Major triad bVII (“te-re-fa”)
we get a new sonority: the minor triad v (“so-te-re”). A v is most often used in 1st inversion as
a passing sonority (usually to create the bass line “do-te-le”). The bVII, as we saw in section H
on page 11, typically precedes a III chord.
M) Scalar Variants in the minor Mode
1)
2)
Note the descending chromatic bass line in this next progression:
3)
4)

15
M) continued
5)
Note the borrowed Major tonic at the end of this next example (sometimes referred to as a
“Picardy third”).
6)
7)
• Lowered scale degree 6 (“le”) in the Major mode

In the Major mode, borrowing is more straightforward. In addition to a borrowed tonic chord
(‘do-me-so”), the chords most commonly borrowed from the parallel minor mode are those
that contain the lowered scale degree 6, “le”. These are iv, iv7, iio, iiø7, and viio7 (and
sometimes bVI). Be especially observant of the figured bass symbols for these chords and the
change in quality from the Major mode that they indicate.
R) Modal Borrowing in the Major Mode
1)
2)
3)
4)
From this point on in this supplement, be on the lookout for modally altered chords in both
Major and minor keys.
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Review: solfege syllables for chromatically altered tones
Syllables for scale degrees not found in the diatonic major or natural minor scales are marked
in bold. “C” is the tonic for both scales.
Ascending:
Descending:
Review: solfege syllables for secondary dominants in the major mode
• In the Major mode we can tonicize five diatonic chords with secondary dominants, giving us
V7/ii, V7/iii, V7/iv, V7/V, and V7/vi. Note that with the exception of the V7/iii, all secondary
dominants can be built by taking a diatonic seventh chord and chromatically altering just one
scale degree. Altered syllables are marked in bold.

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O) Secondary Dominants in the Major Mode
V7/V and inversions
1)
2)
3)
4)
V7/ii and inversions
5)
6)
7)
8)
V7/IV and inversions
9)
10)
11)
V7/vi and inversions
12)
13)
14)
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O) continued
V7/iii
15)
All secondary dominants
16)
Review: solfege syllables for secondary dominants in the minor mode
• In the minor mode we can tonicize four diatonic chords with secondary dominants, giving
us V7/III, V7/iv, V7/V, and V7/VI. Notice that the V7/iv and V7/V chords are identical to the
V7/IV and V7/V chords in the parallel Major mode, and that the V7/III (which was referred to
as “bVII7” on page 13) is the diatonic seventh chord built on “te”. Syllables altered from the
natural minor mode are marked in bold.
P) Secondary Dominants in the minor Mode
1)
2)
3)

19
P) continued
4)
5)
6)
7)
Review: solfege syllables for secondary leading-tone chords in the Major mode
Any diatonic triad in the Major mode that can be tonicized by a secondary dominant can also
be tonicized by a secondary leading-tone chord. This chord can be a diminished triad or a
seventh chord: ii, iii, and vi are tonicized by a fully-diminished seventh chord, while IV and V
can be tonicized by either a half-diminished or fully-diminished seventh chord. Altered
syllables are marked in bold.
Q) Secondary Leading-tone 7th Chords in the Major Mode
1)
2)
20
Q) continued
What do you notice about the viio7/IV and the viio65/ii in this next example?
3)
4)
5)
Note the borrowed viio7 in this next example:
6)
7)

Review: solfege syllables for secondary leading-tone chords in the minor mode
In the minor mode, we will focus only on the two most common leading-tone seventh chords:
the viio7/iv and the viio7/V. Syllables altered from the natural minor mode are marked in bold.
R) Secondary Leading-tone Seventh Chords in the minor Mode
1)
2)
3)

21
R) continued
4)
5)
6)
S) Modulations to Closely-related Keys Using Pivot or Common Chords

The destination of each modulation is labeled. For example, a modulation to the dominant
(I->V) from the key of D Major would arrive in A Major, and a modulation to the mediant
(i->III) from d minor would arrive in F Major. (Remember also that when modulating from a
minor key to its dominant, your arrival key will also be minor.)
At the point of modulation, arpeggiate the pivot chord twice: the first time singing the solfege
syllables of the starting key, the second time singing the solfege syllables of the ending key.
(Note that these progressions are arranged from most- to least-common destination keys when
modulating from Major and minor starting keys. For instance, in Major keys, modulations to the
dominant (I èV) are frequent, while modulations to the sub-mediant (I èiii) are rare.)
Modulations from Major keys
1) Modulation to the Dominant (I è V)
2) Modulation to the Sub-Dominant (I è IV)
22
S) continued
3) Modulation to the Sub-Mediant (I è vi)
4) Modulation to the Super-Tonic (I è ii)
5) Modulation to the Mediant (I è iii)
Modulations from minor keys
6) Modulation to the Mediant (i è III)
7) Modulation to the Dominant (i è v)
8) Modulation to the Sub-Dominant (i è iv)

23
S) continued
9) Modulation to the Sub-Mediant (i è bVI)
10) Modulation to the Sub-Tonic (i è bVII)
Review: chromatic mediants and modulations to distantly-related keys
“Distantly-related keys” are, to state the obvious, any two keys that are not closely related –
that is, their key signatures differ by more than one sharp or flat, and their scales have fewer
than six notes in common. G Major and B Major, for example, are distantly related: B Major
has four more sharps in its key signature than G Major, and the two keys have only three
pitches in common (B, E, & F#).
One method of modulating to distantly-related keys is through mode mixture (see pages 14-
15), a technique often heard in works by composers like Schubert, Schumann, and Brahms, and
others. If the quality (or “modality”) of any triad on either side of a modulation is changed
from Major to minor, or vice versa, it becomes possible to move to keys that are closely-related
to the modally-altered chord, but distantly-related to the original tonic.
To demonstrate, let us use the two example keys above. To modulate from G Major to B
Major, the simplest approach might be to begin a modulation from G Major to its mediant –
the closely-related key of b minor – and then modally alter our arrival tonic from minor to
Major at the final cadence:
24
By the same process, we could also shift our original tonic from a G Major triad to a G minor
triad. We can then move with relatively ease to G minor’s mediant of Bb Major, thereby
modulating to another key that is distantly related to G major:
Notice also how the second chord in this example, a borrowed viio65, further helps our
transition from G Major to G minor.
Depending on which chord(s) we modally alter, we can conceivably modulate to any major or
minor key whose tonic is a major or minor third above or below our original starting tonic.
The relationship between two distantly-related keys that are a Major or minor third apart from
each other is often referred to as a chromatic mediant relationship. The following diagram
outlines all possible chromatic mediant keys to which we can modulate via mode mixture,
showing both the Roman numeral relationships as well as the resulting keys if we chose G as
our starting tonic:
Chromatic Mediant Relationships
(Using the starting tonic of G as an example)
One note about the i/I è bvi modulation: in some cases it may be necessary to enharmonically
re-spell the bvi arrival key. For example, if our starting tonic is C, our arrival key will be ab
minor – an unwieldy key containing seven flats that should be re-spelled as g# minor.

25
T) Modulations to Distantly-related Keys Using Modal Borrowing
Before singing each exercise below, you should have a clear sense of your starting and ending
keys. For example, if you are modulating from i è(#)III and your chosen starting key is f
minor, you should understand that you will modulate to A Major. Consult the diagram above
on page 24 if you are unclear about the destination key of your modulation.
As you did in section S, arpeggiate any pivot chords twice: first with the syllables of the
starting key and then with those of the ending key.
1) I è (#)III
2) I è bIII
3) I è (#)VI
4) I è bvi
5) i è (#)III
26
T) continued
6) i è (#)vi
Review: The Neapolitan and augmented 6th chords
The 1st inversion Neapolitan chord (“N6”) and the three augmented 6th chords (“+6”) – Italian,
French, and German – all function as pre-dominant chords, and can all be created by taking a
specific diatonic triad or seventh chord from the minor mode and chromatically altering one
note. (These diatonic chords and their chord members are shown for comparison, but it is
important to remember that none of the augmented 6th chords really have a root, 3rd, 5th, or 7th
per se.) When these altered chords appear in the Major mode, we can think of them as being
borrowed from the parallel minor mode, and their solfege syllables will be exactly the same as
they are here. Syllables altered from the natural minor mode are marked in bold.
U) The Neapolitan and Augmented 6th Chords
1)
2)
3)
4)

27
U) continued
5)
6)
7)
8)
9)
10)
11)
Note here that V7/N (“le-do-me-se”) is enharmonically equivalent the Ger+6 chord.
12)
V) Modulations Involving the Neapolitan and Augmented 6th Chords

In a modulation to a distantly-related key via the Neapolitan chord, the N6 can be seen as a
straightforward pivot chord. A modulation to a distantly-related key via the German
augmented 6th chord, in which the V7 in one key is heard as the Ger+6 in another, is considered
an enharmonic modulation, and it may be helpful to mentally “re-spell” the Ger+6 even as it
sounds exactly like a V7. As you did for the modulations in sections S & T, sing these pivot
chords twice: first with the syllables of the starting key and then with the syllables of the
ending key. The relationship of the ending key to the starting key is indicated by the Roman
numerals above each progression. Remember that when a V7 in one key becomes a Ger+6 in
another, the progression will always modulate down one half step.
1) I è vii
2) i è VII
28
V) continued
3) I è bVI

Review: Enharmonic modulations
In progression O-3 on page 15, you may remember comparing the viio7/iv and the viio65/ii and
discovering that they were enharmonically equivalent. This unique feature of the fully-
diminished seventh chord – that regardless of its inversion, the symmetry of this chord will
always imply the sound of a root position viio7 – made it attractive to common practice period
composers looking for ways to modulate to distantly-related keys. Through this
enharmonically-respelled viio7 and mode mixture, progressions can modulate from their
starting keys to both Major and minor keys located up or down a minor 3rd or a tritone. (For
example, a passage might modulate from C Major to Eb Major or eb minor.)
W) Modulations Involving the Enharmonic viio7 Chord

In the passages below, the viio7 in D Major/d minor is enharmonically re-spelled and resolved,
respectively, to F Major/f minor, Ab Major/ab minor, and B Major/b minor. Sing through the
three passages in order, stopping only to re-acquire the tonic of D/d as needed. Make it a goal
to memorize this exercise and sing it through from the beginning with a different starting key,
making a mental note of the arrival keys along the way.
1) I è bIII/biii

29
W) continued
2) I è bV/bv
3) i è #VI/#vi
X) More Modulations
1) I è N èbIV
30
X) continued
2) I è ii èbVII
3) i è #III
4) I è bVI èv
5) Start high and notice the (mostly chromatic) descending bass line in this next one. (All
Roman numeral keys are relative to the beginning and ending tonic.)
6)
Use this next exercise as a warm-up for modulating solfege:

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1

SUPPLEMENT: Solfege Arpeggio Drills

Review: inversion symbols for diatonic triads and seventh chords……………. p. 2

How to use this supplement………………………………………………………… p. 4

Tips and techniques………………………………………………………………….. pp. 4-6

Curwen hand signs…………………………………………………………………... p. 7

Arpeggios: diatonic triads and seventh chords………………………………….. pp. 8-16

Review: mode mixture……………………………………………………………… p. 14

Review: solfege syllables for chromatically altered tones……………………….. p. 16

Review: solfege syllables for secondary dominants in the major mode………... p. 16

Review: solfege syllables for secondary dominants in the minor mode……….. p. 18

Review: solfege syllables for secondary leading-tone chords in the Major

Review: solfege syllables for secondary leading-tone chords in the minor

Review: chromatic mediants and modulations to distantly-related keys……… pp. 23-24

Review: The Neapolitan and augmented 6th chords……………………………… p. 26

Review: Enharmonic modulations…………………………………………………. p. 28

• For example, if you see:

and your chosen key is E Major, you would sing:

Tips and techniques

First sing-through (in b minor):

Lowered scale degrees Raised scale degrees

(*Repeat bass note up an octave to hear the resolution of “ti”)

B) Primary Triads (Tonic, Subdominant and Dominant): minor

C) Primary, Supertonic, and Leading-tone Triads: Major

D) Primary, Supertonic, and Leading-tone Triads: minor

G) All Diatonic Triads and the Dominant 7th Chord: Major

H) All Diatonic Triads and the Dominant 7th Chord: minor

K) All Diatonic 7th Chords: Major

L) All Diatonic 7th Chords: minor

• Raised scale degree 6 (“la”) in the minor mode

• Lowered scale degree 7 (“te”) in the minor mode

M) Scalar Variants in the minor Mode

Note the descending chromatic bass line in this next progression:

• Lowered scale degree 6 (“le”) in the Major mode

R) Modal Borrowing in the Major Mode

Review: solfege syllables for secondary dominants in the major mode

V7/ii and inversions

V7/IV and inversions

V7/vi and inversions

All secondary dominants

Review: solfege syllables for secondary dominants in the minor mode

P) Secondary Dominants in the minor Mode

Q) Secondary Leading-tone 7th Chords in the Major Mode

Note the borrowed viio7 in this next example:

R) Secondary Leading-tone Seventh Chords in the minor Mode

S) Modulations to Closely-related Keys Using Pivot or Common Chords

Modulations from Major keys

1) Modulation to the Dominant (I è V)

2) Modulation to the Sub-Dominant (I è IV)

3) Modulation to the Sub-Mediant (I è vi)

4) Modulation to the Super-Tonic (I è ii)

5) Modulation to the Mediant (I è iii)

Modulations from minor keys

6) Modulation to the Mediant (i è III)

7) Modulation to the Dominant (i è v)

8) Modulation to the Sub-Dominant (i è iv)

9) Modulation to the Sub-Mediant (i è bVI)

10) Modulation to the Sub-Tonic (i è bVII)

Review: chromatic mediants and modulations to distantly-related keys

Review: The Neapolitan and augmented 6th chords

U) The Neapolitan and Augmented 6th Chords

V) Modulations Involving the Neapolitan and Augmented 6th Chords

W) Modulations Involving the Enharmonic viio7 Chord