Thursday, October 13, 2011

 Music Sharing: Mitchell & Hunter K. (CHS)  Let’s review… Triads (and inversions) 7 th Chords (and inversions) Figured Bass  What’s new? Major chord progressions The wonderful world of minor!

 In order to figure out triads & 7 th 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 7 th chord.  STEP 4: Create and inversion of that chord if necessary.

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

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

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

 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!

 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 6 th scale degree is the keynote/tonic of the minor scale and the note from which that scale gets its name.

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

 C major / a minor = relative  C major / c minor = parallel

 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

 Raises the 7 th 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

 Raises the 6 th and 7 th 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

 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

 MAJOR = Major 3 rd + minor 3 rd (on top)  MINOR = minor 3 rd + Major 3 rd (on top)  AUGMENTED = both 3rds are Major Raise the 5 th by a half step  DIMINISHED = both 3rds are minor Lower the 5 th by a half step Remember, the 3 rd should already be lowered (made minor)

 MINOR: i, ii ∘, III, iv, V, VI, vii ∘, I  MAJOR: I, ii, iii, IV, V, vi, vii ∘, I