1. Week of October 22, 2012

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

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

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

5.  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. FIFTH = top note THIRD = middle note ROOT = Bottom note

7.  Major  Minor  Diminished  Augmented

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

9.  M3 + m3 on top  (P5 created from root to 5 th )  Created by taking the 1 st, 3 rd, and 5 th notes of a major scale

10.  m3 + M3 on top  (P5 created from root to 5 th )

11.  m3 + m3 on top  (dim 5 th created from root to 5 th )

12.  M3 + M3 on top  (aug 5 th created from root to 5 th )

13.  TONIC (I/i)  SUPERTONIC (II/ii)  MEDIANT (III/iii)  SUBDOMINANT (IV/iv)  DOMINANT (V)  SUBMEDIANT (VI/vi)  LEADING TONE [SUBTONIC] (VII/vii)

14.  Major–Major seventh (M7) Major triad + Major 3 rd on top  Major–minor seventh (Mm7) Major triad + minor 3 rd on top  minor–minor seventh (m7) minor triad + minor 3 rd on top  half–diminished seventh ( ѳ 7) diminished triad + Major 3 rd on top  fully–diminished seventh ( ס 7) diminished triad + minor 3 rd on top

15.  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.  Root position  1 st inversion  2 nd inversion  3 rd inversion (7 th chords only!)

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

18.  3 rd on the bottom

19.  5 th on the bottom

20.  7 th on the bottom  Seventh chords only!

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

22.  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.  1 st Inversion (3 rd on the bottom): I 6 3 C/E  2nd Inversion (5 th on the bottom): I 6 4 C/G

24.  Root Position (root on the bottom): I 7 5 3 C7  1 st Inversion (3 rd on the bottom): I 6 5 3 C7/E

25.  2 nd Inversion (5 th on the bottom): I 6 4 3 C7/G  3 rd Inversion (7 th on the bottom): I 6 4 2 C7/Bb

26.  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

27.  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

28.  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?

29.  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.

30.  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.  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.

32.  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.

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

34.  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.  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

36.  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

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

39.  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 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 7 th lowered by a half step (half steps: 3/4 & 6/7) Lydian (scale degree 4)  A major scale with the 4 th raised by a half step (half steps: 4/5 & 7/8)

41.  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 6 th raised by a half step (half steps: 2/3 & 6/7) Phrygian (scale degree 3)  A natural minor scale with the 2 nd lowered by a half step (half steps: 1/2 & 5/6) Locrian (rarely used) (scale degree 7)  A natural minor scale with the 2 nd and the 5 th lowered by a half step (half steps: 1/2 & 4/5)

42.  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.  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.  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 5 th 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.  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 5 th 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.  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: 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.  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.  To change a major scale into a blues scale, do the following: Completely remove the 2 nd and 6 th scale degrees Flat the 3 rd and 7 th scale degrees Add a flatted 5 th before the regular 5 th 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.  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.

51.  “The Blues” has its roots in America’s 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.

52.  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)

53.  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.

54.  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.

55.  A two–part 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)

56.  A three–part 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.

57.  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: ABABA ABACA ABACABA