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INTRODUCTION TO MUSIC THEORY Unit 3 Review

INTRODUCTION TO MUSIC THEORY Unit 3 Review. Week of October 22, 2012. UNIT 3/FINAL EXAM . Tuesday, October 30, 2012 XHS: 4 th Block exam period CHS: 1:40–3:05 pm . EXAM TOPICS:. Triads major, minor, diminished & augmented 7 th Chords MM, Mm, mm, half–diminished, fully diminished)

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INTRODUCTION TO MUSIC THEORY Unit 3 Review

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  1. INTRODUCTIONTO MUSIC THEORYUnit 3 Review Week of October 22, 2012

  2. UNIT 3/FINAL EXAM Tuesday, October 30, 2012 XHS: 4th Block exam period CHS: 1:40–3:05 pm

  3. EXAM TOPICS: • Triads • major, minor, diminished & augmented • 7th Chords • MM, Mm, mm, half–diminished, fully diminished) • Inversions • Triads & 7th chords • Figured bass • Modern chord symbols • Minor scales • Relative/natural, harmonic, & melodic • Modes

  4. EXAM TOPICS: • The Blues scale • Blues chord progression • Pentatonic scales • Major & minor • Passing tones & neighboring tones • Cadences • Musical Form • AB, ABA, Rondo, etc.

  5. 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 next

  6. TRIADS: THE THREE NOTES FIFTH=top note THIRD=middle note ROOT=Bottom note

  7. FOUR TYPES OF TRIADS: • Major • Minor • Diminished • Augmented

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

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

  10. MINOR TRIAD: • m3 + M3 on top • (P5)

  11. DIMINSHED TRIAD: • m3 + m3 on top • (dim 5)

  12. AUGMENTED TRIAD: • M3 + M3 on top • (aug 5)

  13. 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)

  14. SEVENTH CHORDS: • Major–Major seventh (M7) • Major triad + Major 3rd on top • Major–minor seventh(Mm7) • Major triad + minor 3rd on top • minor–minor seventh (m7) • minor triad + minor 3rd on top • half–diminished seventh (ѳ7) • diminished triad + Major 3rd on top • fully–diminished seventh (ס7) • diminished triad + minor 3rd on top

  15. 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.

  16. POSITIONS: Root position 1st inversion 2nd inversion 3rd inversion (7th chords only!)

  17. ROOT POSITION: The “standard” position of a triad Root on the bottom 3rd in the middle 5th on top

  18. 1st INVERSION: 3rd on the bottom

  19. 2nd INVERSION: 5th on the bottom

  20. 3rd INVERSION: 7th on the bottom

  21. WARNING! To determine the quality of a triad, it MUST first be in ROOT POSITION.

  22. 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?

  23. FIGURED BASS – TRIADS: • 1stInversion (3rdon the bottom): • I 6 3 • C/E • 2nd Inversion (5th on the bottom): • I 6 4 • C/G

  24. FIGURED BASS – 7th CHORDS: • Root Position (root on the bottom): • I 7 5 3 • C7 • 1stInversion (3rd on the bottom): • I 6 5 3 • C7/E

  25. FIGURED BASS – 7th CHORDS: • 2ndInversion (5th on the bottom): • I 6 4 3 • C7/G • 3rdInversion (7th on the bottom): • I 6 4 2 • C7/Bb

  26. 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.

  27. TRIAD INVERSIONS: • Root, 3rd, 5th • Root position • Stacked in thirds • Root on the bottom • 1st inversion – 6/3 (C/E) • 3rd on the bottom • Interval of a 3rd between the bottom note & the middle note • Interval of a 6th between the bottom note & the top note • 2nd inversion – 6/4 (C/G) • 5th on the bottom • Interval of a 4th between the bottom note & the middle note • Interval of a 6th between the bottom note & the top note

  28. 7thCHORD INVERSIONS: • Root, 3rd, 5th,7th • Root position – 7 (C7) • Stacked in thirds • Root on the bottom • 1st inversion – 6/5 (C7/E) • 3rd on the bottom • Interval of a 3rd between the bottom note & the 2nd note • Interval of a 5th between the bottom note & the 3rd note • Interval of a 6th between the bottom note & the highest note

  29. 7thCHORD INVERSIONS: • 2nd inversion – 4/3 (C7/G) • 5th on the bottom • Interval of a 3rd between the bottom note & 2nd note • Interval of a 4th between the bottom note & 3rd note • Interval of a 6th between the bottom note & the highest note • 3rd inversion – 4/2 (C7/Bb) • 7th on the bottom • Interval of a 2nd between the bottom note & the 2nd note • Interval of a 4th between the bottom note & the 3rd note • Interval of a 6th between the bottom note & the highest note • What’s the difference between 7th chords and V7 chords?

  30. 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!

  31. 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.

  32. 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.

  33. RELATIVE VS. PARALLEL: C major / a minor = relative C major / c minor = parallel

  34. NATURAL 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

  35. 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

  36. 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

  37. 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

  38. PRIMARY TRIADS IN MINOR: • MINOR: • i, ii∘, III, iv, V, VI, vii∘, I • MAJOR: • I, ii, iii, IV, V, vi, vii∘, I

  39. MODES! 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.

  40. 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)

  41. 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)

  42. MORE MAGIC PHONE NUMBERS! 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)

  43. MODES – USAGE: • Ionian: Major (the majority of Western music) • Dorian:Celtic • Phrygian:Modern composers/guitarists • Lydian:Jazz • Mixolydian:Popular for solo musicians • Aeolian:Blues (natural minor) • Locrian:Unstable & unsatisfying

  44. COMMON HARMONIES: • MAJOR: • Scale degrees 1, 3, 5 = I chord • Scale degrees 2, 4, 5, 7 = V (or V7) chord • Scale degrees 1, 4, 6 = IV chord • When harmonizing with the V7 chord, the 5th is often omitted. • Most harmonizations begin with a I chord • Typical progression at the end of a piece: • ii–vi–V–I • IV–V–I

  45. COMMON HARMONIES: • MINOR: • Scale degrees 1, 3, 5 = i chord • Scale degrees 2, 4, 5, 7 = V (or V7) chord • Scale degrees 1, 4, 6 = iv chord • When harmonizing with the V7 chord, the 5th is often omitted. • Most harmonizations begin with a i chord • Typical progression at the end of a piece: • ii–vi–V(7)–I • IV–V(7)–I

  46. CADENCES: • A progression of at least two chords that end a phrase, section, or piece of music. • Authentic Cadence: • V(7)–I or V(7)–i • Plagal Cadence: • IV–I or IV–I (“Amen”) • Half Cadence: • any cadence ending on V • Deceptive Cadence: • V–chord other than I (typically ii, IV6, iv6, vi or VI)

  47. 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.

  48. NON–CHORD TONES: • Most melodies include tones that are not part of the chord used for the harmony. These non–chord tones are called “non–harmonic tones.” • When a melody passes from one chord tone to a different chord tone with a non–harmonic tone in between, the non–harmonic tone is called a PASSING TONE. • When a melody passes from one chord tone back to the same chord tone with a non–harmonic tone in between, the non–harmonic tone is called a NEIGHBORING TONE. • Upper & lower neighboring tones

  49. THE BLUES SCALE: • To change a major scale into a blues scale, do the following: • Completely remove the 2nd and 6th scale degrees • Flat the 3rd and 7th scale degrees • Add 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”.

  50. THE PENTATONIC 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-2-3-5-6 In the key of C, that would be: C-D-E-G-A This 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-b7 In the key of C, that would give us: C-Eb-F-G–Bb This scale works well for chord progressions based on minor chords, such as iv-ii-iii-iv or ii-iii-IV-ii.

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