Music Theory for the 21st-Century Classroom

1. \(\left.\text{D}^{7}\right.\), \(\left.\text{V}^{7}\right.\)

2. \(\left.\text{G}{\Delta}^{7}\right.\), \(\left.\text{IV}^{M7}\right.\)

3. \(\left.\text{D}^♯{}^ø{}^{7}\right.\), \(\left.\text{ii}^ø{}^{7}\right.\)

4. \(\left.\text{B}\text{m}^{7}\middle/\text{D}\right.\), \(\left.\text{iii}^{7}\middle/\text{3rd}\right.\)

5. \(\left.\text{C}^♯{}^{\circ}{}^{7}\middle/\text{E}\right.\), \(\left.\text{vii}^{\circ}{}^{7}\middle/\text{3rd}\right.\)

1. Bm7, B-D-F♯-A

2. \(\left.\text{A}^ø{}^{7}\right.\), A-C-E♭-G

3. \(\left.\text{C}^♯{}^ø{}^{7}\right.\), C♯-E-G-B

4. \(\left.\text{G}^{7}\right.\), G-B♮-D-F

5. Emaj\(\left.\text{}^{7}\right.\)/G♯, G♯-B-D♯-E

a. “No Scrubs”: 1. \(\left.\text{D}^♭{}\text{m}^{7}\right.\), \(\left.\text{iv}^{7}\right.\); 2. \(\left.\text{A}^♭{}\text{m}\right.\), \(\left.\text{i}\right.\); 3. \(\left.\text{E}^♭{}^{7}\right.\), \(\left.\text{V}^{7}\right.\); 4. \(\left.\text{A}^♭{}\text{m}\right.\), \(\left.\text{i}\right.\)

b. Mozart: 1. \(\left.\text{C}\right.\), \(\left.\text{I}\right.\); 2. \(\left.\text{G}^{7}\middle/\text{D}\right.\), \(\left.\text{V}^{7}\middle/\text{5th}\right.\); 3. \(\left.\text{C}\right.\), \(\left.\text{I}\right.\); 4. \(\left.\text{F}\middle/\text{C}\right.\), \(\left.\text{IV}\middle/\text{5th}\right.\); 5. \(\left.\text{C}\right.\), \(\left.\text{I}\right.\); 6. \(\left.\text{G}^{7}\middle/\text{B}\right.\), \(\left.\text{V}^{7}\middle/\text{3rd}\right.\); 7. \(\left.\text{C}\right.\), \(\left.\text{I}\right.\); Cadence type: Authentic Cadence (AC)