Basic Solfege Patterns 11

Secondary Functions

These exercises should be practiced slowly, focusing on correct solfege and accurate intonation.
Although notated in C major/minor, singing them a third lower in A major/minor puts them in a
more comfortable singing range for most voices.

1. Major scale

    
   

2. Secondary dominants and their resolutioons - major

I V7/ii ii V7/iii iii


      
l di m s m di l        
  
d m s m d r f l f r t ri fi l fi ri t m s t s m

 
V7/IV V7/V V 7/vi

         
IV V

        
d m s te s m d f l d l f r fi l d l fi r s t r t s m si t r t si m

 
   
V7


vi I

  
l d m d l s t r f r t s d s m s d

3. Secondary dominants in first inversion and their resolutions - major

I V6/5 /ii ii V6/5/iii iii

        
          
d m s m d di m s l s m di r f l f r ri fi l t l fi ri m s t s m
V6/5/IV IV V6/5/V V V6/5/vi

  
                   
m s te d te s m f l d l f fi l d r d l fi s t r t s si t r m r t si

©2012 Timothy P. Urban

All rights reserved
2/4 Basic Solfege Patterns 11

 

V6/5
  
vi I

    
l d m d l t r f s f r t d s m s d

4. Secondary sevenths and their resolutions - major (Note that fully dimiinished seventh chords are used when the resolution chord is
minor and half diminished sevenths are used when the resolution chord is major. However, since composers tend top use fully diminished
chors even when resolving to a major chord, this exercise should be practiced using both half and fully diminished sevenths when the
resolution chord is a major triad.

I vii°7/ii ii vii° 7/iii iii

    
               
d m s m d di m s t s m di r f l f r ri fi l d l fi ri m s t s m

vii±7/IV vii±7/V vii°7/vi


IV V


                    
m s te r te s m f l d l f fi l d m d l fi s t r t s si t r f r t si

 
vii±7 I


vi

      
 
l d m d l t r f l f r t d s m s d
 Basic Solfege Patterns 11 3/4

5.Melodic minor scale

     
           
 
d r me f s l t d d te le s f me r d

6. Secondary dominants and their resolutioons - minor


i V7/ii ii V7/III III

                   
   
  
d me s me d l di m s m di l r f l f r te r f le f r te me s te s me

            
V7/iv V7/V V 7/VI

              
iv V

        
d m s te s m d f le d le f r fi l d l fi r s t r t s me s te ra te s me

    
       
V7
   
VI i

  
le d me d le s t r f r t s d s me s d

7. Secondary dominants in first inversion and their resolutions - minor


i V6/5 /ii ii V6/5/III III

            
    
 

   
d me s me d di m s l s m di r f l f r r f le te le f r me s te s me

V6/5/iv iv V6/5/V V V6/5/VI

       
                          
m s te d te s m f le d le f fi l d r d l fi s t r t s si te ra me ra te si

  
V6/5
 
      
VI i

 
 
le d me d le t r f s f r t d s me s d
4/4 Basic Solfege Patterns 11

4. Secondary sevenths and their resolutions - minor


i vii°7/ii ii vii±7/III III

              

          
d me s me d di m s te s m di r f l f r r f le d le f r me s te s me

  
vii°7/iv vii°7/V vii±7VI
 
iv V

                        
m s te ra te s m f le d le f fi l d me d l fi s t r t s s te ra f ra te s

  
      
vii°7 i

  
VI

 
le d me d le t r f le f r t d s me s d