INTRODUCTION TO MUSIC THEORY Unit 3 Review

INTRODUCTION TO MUSIC THEORY Unit 3 Review

INTRODUCTIONTO MUSIC THEORYUnit 3 ReviewWeek of October 22, 2012UNIT 3/FINAL EXAM Tuesday, October 30, 2012XHS: 4th Block exam periodCHS: 1:403:05 pm EXAM TOPICS:Triadsmajor, minor, diminished & augmented7th ChordsMM, Mm, mm, halfdiminished, fully diminished)InversionsTriads & 7th chordsFigured bassModern chord symbolsMinor scalesRelative/natural, harmonic, & melodic ModesEXAM TOPICS:The Blues scaleBlues chord progressionPentatonic scalesMajor & minorPassing tones & neighboring tonesCadencesMusical FormAB, ABA, Rondo, etc.TRIADS:A chord with 3 notes(A chord is a group of three or more notes played together)Each note is a specific interval from the nextTRIADS: THE THREE NOTES FIFTH=top note

THIRD=middle note

ROOT=Bottom note

FOUR TYPES OF TRIADS:MajorMinorDiminishedAugmented

TRIADS:MAJOR: M3 + m3 (P5)MINOR:m3 + M3 (P5)DIMINISHED: m3 + m3 (dim5)AUGMENTED: M3 + M3 (aug5)

MAJOR TRIAD:M3 + m3 on top(P5)Created by taking the 1st, 3rd, and 5th notes of a major scale

MINOR TRIAD:m3 + M3 on top(P5)DIMINSHED TRIAD:m3 + m3 on top(dim 5)AUGMENTED TRIAD:M3 + M3 on top(aug 5)SCALE DEGREE NAMES:TONIC (I/i)

SUPERTONIC (II/ii)

MEDIANT (III/iii)

SUBDOMINANT (IV/iv)

DOMINANT (V)

SUBMEDIANT (VI/vi)

LEADING TONE [SUBTONIC] (VII/vii)

MajorMajor seventh (M7) Major triad + Major 3rd on topMajorminor seventh (Mm7) Major triad + minor 3rd on top minorminor seventh (m7) minor triad + minor 3rd on tophalfdiminished seventh (7)diminished triad + Major 3rd on top fullydiminished seventh (7) diminished triad + minor 3rd on top

SEVENTH CHORDS:INVERSIONS:An inversion is changing the order of the notes in a triad.When there is an inversion of a triad, the note names do not change. POSITIONS:Root position1st inversion 2nd inversion3rd inversion (7th chords only!) ROOT POSITION:The standard position of a triadRoot on the bottom3rd in the middle5th on top

1st INVERSION:3rd on the bottom

2nd INVERSION:5th on the bottom

3rd INVERSION:7th on the bottom WARNING!To determine the quality of a triad, it MUST first be in ROOT POSITION.

DETERMINING QUALITY & INVERSION:Step 1: Write letter names for the pitches

Step 2: Stack them in thirds

Step 3: Determine the quality of chord

Step 4: What note is on the bottom of the original chord?

Step 5: What note is on the bottom of the inversion?

FIGURED BASS TRIADS:1st Inversion (3rd on the bottom):I 6 3C/E

2nd Inversion (5th on the bottom):I 6 4C/G

FIGURED BASS 7th CHORDS:Root Position (root on the bottom):I 7 5 3C7

1st Inversion (3rd on the bottom):I 6 5 3C7/E

FIGURED BASS 7th CHORDS:2nd Inversion (5th on the bottom):I 6 4 3C7/G

3rd Inversion (7th on the bottom):I 6 4 2C7/Bb

TRIADS & SEVENTH CHORDS:In order to figure out triads & 7th chords, you MUST know your key signatures and major scales.

STEP 1: Always look at what key you are in.

STEP 2: Write out the major scale and scale degrees for that key if necessary.

STEP 3: Apply the scale degrees that are necessary to build your triad or 7th chord. STEP 4: Create and inversion of that chord if necessary. TRIAD INVERSIONS: Root, 3rd, 5th

Root position Stacked in thirdsRoot on the bottom

1st inversion 6/3 (C/E)3rd on the bottomInterval of a 3rd between the bottom note & the middle noteInterval of a 6th between the bottom note & the top note

2nd inversion 6/4 (C/G) 5th on the bottomInterval of a 4th between the bottom note & the middle noteInterval of a 6th between the bottom note & the top note

7th CHORD INVERSIONS: Root, 3rd, 5th, 7th

Root position 7 (C7)Stacked in thirdsRoot on the bottom

1st inversion 6/5 (C7/E)3rd on the bottomInterval of a 3rd between the bottom note & the 2nd noteInterval of a 5th between the bottom note & the 3rd note Interval of a 6th between the bottom note & the highest note7th CHORD INVERSIONS: 2nd inversion 4/3 (C7/G) 5th on the bottomInterval of a 3rd between the bottom note & 2nd noteInterval of a 4th between the bottom note & 3rd noteInterval of a 6th between the bottom note & the highest note

3rd inversion 4/2 (C7/Bb)7th on the bottomInterval of a 2nd between the bottom note & the 2nd noteInterval of a 4th between the bottom note & the 3rd note Interval of a 6th between the bottom note & the highest note

Whats the difference between 7th chords and V7 chords?

MAJOR CHORD PROGRESSIONS:Because the I, IV, & V chords contain all the notes in a given major scale, they can be used to accompany simple melodies. The V7 chord is often substituted for the V chord. In order to avoid a choppy chord progression, the most common major chord progression is:I IV6/4 I V6 or V6/5 I C F/C C G/B or G7/B C G C/G G D/F# or D7/F# - G F Bb/F F C/E or C7/E F Octave displacement is sometime necessary!

MINOR SCALES:There are 15 major keys, each with a unique key signature.For every major key, there is a RELATIVE minor key that has the same key signature. Each relative minor scale begins on the 6th note (scale degree) of the relative major scale. The 6th scale degree is the keynote/tonic of the minor scale and the note from which that scale gets its name.

MINOR SCALES:The tonic of a relative minor scale may also be found by descending a minor 3rd or ascending a major 6th from the tonic of the major scale. The tonic of the relative major scale can be found by ascending a minor 3rd or descending a major 6th from the tonic of the minor scale.

RELATIVE VS. PARALLEL:C major / a minor = relative C major / c minor = parallelNATURAL MINOR:Uses only the tones of the relative major scale.

Ascending: A, B, C, D, E, F, G, A

Descending: A, G, F, E, D, C, B, A HARMONIC MINOR:Raises the 7th scale degree by a half step when ascending and descending.The most frequently used of the three types of minor scales.

Ascending: A, B, C, D, E, F, G#, A

Descending: A, G#, F, E, D, C, B, A MELODIC MINOR:Raises the 6th and 7th scale degrees by a half step when ascending.Descends just like the natural minor scale.

Ascending: A, B, C, D, E, F#, G#, A

Descending: A, G, F, E, D, C, B, A

DIATONIC INTERVALS IN MINOR:For all harmonic minor intervals, the following is true: P1, M2, m3, P4, P5, m6, M7, P8

Compared to all harmonic major intervals:P1, M2, M3, P4, P5, M6, M7, P8 PRIMARY TRIADS IN MINOR:MINOR:i, ii, III, iv, V, VI, vii, I

MAJOR:I, ii, iii, IV, V, vi, vii, I

Just like a major or minor scale, a mode is a scale of 8 notes in alphabetical order.A mode can begin on any scale degree of a major or minor scale using the key signature of its parent scale. All modes have Greek names. MODES!Modes related to MAJOR:Ionian (scale degree 1)A major scale (half steps: 3/4 & 7/8)Mixolydian (scale degree 5)A major scale with the 7th lowered by a half step (half steps: 3/4 & 6/7)Lydian (scale degree 4)A major scale with the 4th raised by a half step (half steps: 4/5 & 7/8)MODES!Modes related to MINOR:Aeolian (scale degree 6)A natural minor scale (half steps: 2/3 & 5/6)Dorian (scale degree 2)A natural minor scale with the 6th raised by a half step (half steps: 2/3 & 6/7)Phrygian (scale degree 3)A natural minor scale with the 2nd lowered by a half step (half steps: 1/2 & 5/6)Locrian (rarely used) (scale degree 7)A natural minor scale with the 2nd and the 5th lowered by a half step (half steps: 1/2 & 4/5)

MODES!Ionian Mode (W-W-H-W-W-W-H)Mixolydian Mode (W-W-H-W-W-H-W)Lydian Mode (W-W-W-H-W-W-H)

Aeolian Mode (W-H-W-W-H-W-W)Dorian Mode (W-H-W-W-W-H-W)Phrygian Mode (H-W-W-W-H-W-W)Locrian Mode (H-W-W-H-W-W-W)

MORE MAGIC PHONE NUMBERS!MODES USAGE:Ionian: Major (the majority of Western music)Dorian: Celtic Phrygian: Modern composers/guitaristsLydian: JazzMixolydian: Popular for solo musiciansAeolian: Blues (natural minor)Locrian: Unstable & unsatisfying

MAJOR:Scale degrees 1, 3, 5 = I chordScale degrees 2, 4, 5, 7 = V (or V7) chordScale degrees 1, 4, 6 = IV chordWhen harmonizing with the V7 chord, the 5th is often omitted. Most harmonizations begin with a I chordTypical progression at the end of a piece: iiviVI IVVI COMMON HARMONIES:MINOR:Scale degrees 1, 3, 5 = i chordScale degrees 2, 4, 5, 7 = V (or V7) chordScale degrees 1, 4, 6 = iv chordWhen harmonizing with the V7 chord, the 5th is often omitted. Most harmonizations begin with a i chordTypical progression at the end of a piece: iiviV(7)I IVV(7)I COMMON HARMONIES:A progression of at least two chords that end a phrase, section, or piece of music. Authentic Cadence: V(7)I or V(7)iPlagal Cadence: IVI or IVI (Amen)Half Cadence: any cadence ending on VDeceptive Cadence: Vchord other than I (typically ii, IV6, iv6, vi or VI)CADENCES:BROKEN CHORDS & ARPEGGIOS: BROKEN CHORDS:A way to harmonize a melody in which the chord notes are broken up (not played simultaneously). Opposite of Block chords (when the notes of a chord are played together at the same time).

ARPEGGIOS:When the notes of a chord are played sequentially; one after the other. Arpeggio comes from the Italian word, arpeggiare, meaning to play on a harp.An arpeggio may be extended to an octave or more.

NONCHORD TONES:Most melodies include tones that are not part of the chord used for the harmony. These nonchord tones are called nonharmonic tones.When a melody passes from one chord tone to a different chord tone with a nonharmonic tone in between, the nonharmonic tone is called a PASSING TONE. When a melody passes from one chord tone back to the same chord tone with a nonharmonic tone in between, the nonharmonic tone is called a NEIGHBORING TONE.Upper & lower neighboring tones

To change a major scale into a blues scale, do the following:Completely remove the 2nd and 6th scale degreesFlat the 3rd and 7th scale degreesAdd a flatted 5th before the regular 5th scale degree

C Major: C D E F G A B C C Blues:C Eb F Gb G Bb C

A blues scale only has SEVEN (7) pitches! The flatted notes (3, 5, 7) are often called blue notes.

THE BLUES SCALE:Technically speaking, any scale composed of five notes can be called a pentatonic scale (penta=five).

Learning only two different pentatonic scales will cover 99% of the playing situations that you will encounter. These two scales are referred to as the MAJOR PENTATONIC and the MINOR PENTATONIC.

The major pentatonic is built from these intervals: R-2-3-5-6In the key of C, that would be: C-D-E-G-AThis scale works very well over chord progressions that are based on major chords, such as I-IV-V-I, V-IV-I-V or I-iv-IV-V-I.

The minor pentatonic is built from these intervals: R-b3-4-5-b7In the key of C, that would give us: C-Eb-F-GBbThis scale works well for chord progressions based on minor chords, such as iv-ii-iii-iv or ii-iii-IV-ii.

THE PENTATONIC SCALE:The Blues has its roots in Americas south, where musicians combined west African rhythms and gospel singing with European harmonies. The blues can often be found in jazz, rock, and pop music. THE 12BAR BLUES:A blues chord progression is usually 12 measures (or bars) long. While there are many variations, a traditional blues progression generally consists of:the I chord (4 measures)the IV chord (2 measures)the 1 chord (2 measures)the V or V7 chord (1 measure)the IV chord (1 measure)The I chord (2 measures)

THE 12BAR BLUES:MOTIVE:A short melodic, rhythmic, or harmonic element that is used repeatedly throughout a piece of music.Most music is based on the development or expansion of one or more motives. PHRASE:A short section of music that may be either a complete or incomplete musical idea. A phrase may contain one or more motives in their original form(s) or in some variation. The end of a musical phrase provides a lift or breath for the singer or instrumentalist. AB (BINARY) FORM:A twopart form in which the musical material from the first (or A) section contrasts with the second (or B) section. Sometimes, the two sections may share a motive or end similarly, but each section is musically distinct from the other. Verse/refrain (chorus)ABA (TERNARY) FORM:A threepart form that consists of two musically distinct sections (like AB form). In this form, however, there is A (statement of a musical idea), B (a contrasting statement of new musical material), and A (a restatement of the original A section. One of the most common forms in music used in all types of music from folk songs to symphonies. RONDO FORM:A form that consists of an A section alternating with other contrasting sections of musical material. A always comes back after each new section. Most common rondo forms:ABABAABACAABACABA