Seventh Chords
... The augmented 7th is not useful, because it is enharmonic to the perfect octave. Further, the diminished 7th interval is often enharmonically spelled as a major 6th. When this happens, the chord that results is called an added-sixth chord. Combining the four triad types with the major seventh, the m ...
... The augmented 7th is not useful, because it is enharmonic to the perfect octave. Further, the diminished 7th interval is often enharmonically spelled as a major 6th. When this happens, the chord that results is called an added-sixth chord. Combining the four triad types with the major seventh, the m ...
STRATFORD PUBLIC SCHOOLS Music Department – Music Theory
... Write all four triad types. Identify four triad types aurally. Demonstrate understanding of 1st and 2nd inversion triads including inversion symbols. Identify triads on major and minor scale degrees using Roman Numerals, popular chord symbols, and scale degree names. • Perform triads on keyboard. • ...
... Write all four triad types. Identify four triad types aurally. Demonstrate understanding of 1st and 2nd inversion triads including inversion symbols. Identify triads on major and minor scale degrees using Roman Numerals, popular chord symbols, and scale degree names. • Perform triads on keyboard. • ...
S3 Theory Matters Workbook
... Using the example, this would be C, D and E. So, C and E are a 3rd apart. Another example… What is the distance between G and C? Count G, A, B and C. There are 4 notes named so the distance between G and C is a 4th. The easiest way to do this is counting on your fingers, or using a diagram like the ...
... Using the example, this would be C, D and E. So, C and E are a 3rd apart. Another example… What is the distance between G and C? Count G, A, B and C. There are 4 notes named so the distance between G and C is a 4th. The easiest way to do this is counting on your fingers, or using a diagram like the ...
Musician’s Toolbox Christina Lipson ‘14 Advisor: Professor John Ridgway
... cohesive set of tools for users to train themselves in various musical skills, create their own music, analyze music, and reference musical information. These four components (Train, Create, Analyze, Reference) act as categories and each contain different musical functions. The application was built ...
... cohesive set of tools for users to train themselves in various musical skills, create their own music, analyze music, and reference musical information. These four components (Train, Create, Analyze, Reference) act as categories and each contain different musical functions. The application was built ...
Diatonic Harmony Primer - John Ely`s Steel Guitar Web
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
Behind The Guitar Chords 1. Tempered Notes Plucking a string will
... The mentioned addition of the sus = s main value as 4 can be obtained by replacing s with s/4. Placing our imaginary capo or cape anywhere, will create a possible key choice on the guitar. The rule for basic chords is to use only three kinds from the seven basic notes above. Namely, having black and ...
... The mentioned addition of the sus = s main value as 4 can be obtained by replacing s with s/4. Placing our imaginary capo or cape anywhere, will create a possible key choice on the guitar. The rule for basic chords is to use only three kinds from the seven basic notes above. Namely, having black and ...
Sample Responses Q6 - AP Central
... A. Award 2 points for acceptable voice leading between two correctly realized chords. NB: This includes the voice leading from the given chord to the second chord. B. Award only 1 point for voice leading between two correctly realized chords (as defined in I.A.) that features exactly one of the foll ...
... A. Award 2 points for acceptable voice leading between two correctly realized chords. NB: This includes the voice leading from the given chord to the second chord. B. Award only 1 point for voice leading between two correctly realized chords (as defined in I.A.) that features exactly one of the foll ...
DCVLE - AP Central - The College Board
... • In a three- or four-part texture, a rising d5→P5 is acceptable ONLY in the progressions I V$ I6 and I vii°6 I6 (no deduction). • A rising d5→P5 in other progressions is unacceptable (1 point error). • The reverse, a rising P5→d5, is acceptable voice leading (no deduction). • Unequal fifths in eith ...
... • In a three- or four-part texture, a rising d5→P5 is acceptable ONLY in the progressions I V$ I6 and I vii°6 I6 (no deduction). • A rising d5→P5 in other progressions is unacceptable (1 point error). • The reverse, a rising P5→d5, is acceptable voice leading (no deduction). • Unequal fifths in eith ...
Scales, Modes, and Chord/Cluster Concepts for 20th
... All whole steps (only 7 notes in an octave) Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alternate whole-step/half-step or halfjazz, this is called a C Db Eb E F# G A Bb C step/whole-step to create 9 notes in an octave "Diminished" Scale) (in jazz, these are the two options for a "d ...
... All whole steps (only 7 notes in an octave) Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alternate whole-step/half-step or halfjazz, this is called a C Db Eb E F# G A Bb C step/whole-step to create 9 notes in an octave "Diminished" Scale) (in jazz, these are the two options for a "d ...
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction
... between the ‘Third’ and the ‘Fifth’ is 3 semitones. In a minor chord the semitone gaps are 3 and then 4. In a diminished chord the semitone gaps are 3 and 3. Things then get even more interesting when we add the ‘sevenths’ onto the chords. Again, we just miss a note in the scale and add on the next ...
... between the ‘Third’ and the ‘Fifth’ is 3 semitones. In a minor chord the semitone gaps are 3 and then 4. In a diminished chord the semitone gaps are 3 and 3. Things then get even more interesting when we add the ‘sevenths’ onto the chords. Again, we just miss a note in the scale and add on the next ...
2 – First Species Counterpoint
... With regard to the harmonic interval combinations you will notice that intervals of 3rds and 6ths are by far the most prevalent. But even so at no point do more than three thirds or three sixths occur in a row. If too many parallel 3rds or 6ths occur in succession it undermines the sense of two ind ...
... With regard to the harmonic interval combinations you will notice that intervals of 3rds and 6ths are by far the most prevalent. But even so at no point do more than three thirds or three sixths occur in a row. If too many parallel 3rds or 6ths occur in succession it undermines the sense of two ind ...
Lesson EEE: The Dominant Seventh Chord
... Scale degree 7, the leading tone, pulls strongly upward toward scale degree 1, which is only a half step away. Except in one specific situation—discussed below—7 must resolve to 1. Scale degree four, the other tendency tone, pulls strongly downward to 3, its half-step neighbor. These dual tendencies ...
... Scale degree 7, the leading tone, pulls strongly upward toward scale degree 1, which is only a half step away. Except in one specific situation—discussed below—7 must resolve to 1. Scale degree four, the other tendency tone, pulls strongly downward to 3, its half-step neighbor. These dual tendencies ...
Benward Chapter 9
... Each member of the triad is named in relation to the tone on which the chord is constructed, which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: th ...
... Each member of the triad is named in relation to the tone on which the chord is constructed, which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: th ...
A GUIDE TO THE TERMINOLOGY OF GERMAN HARMONY
... connection, what the Germans call the “parallel” relation, is known in English as the “relative” relation: the association of major and minor scales sharing the same diatonic pitches (e.g., A minor and C major). To complete the reduction of the major-mode diatonic triads to the three harmonic functi ...
... connection, what the Germans call the “parallel” relation, is known in English as the “relative” relation: the association of major and minor scales sharing the same diatonic pitches (e.g., A minor and C major). To complete the reduction of the major-mode diatonic triads to the three harmonic functi ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
New Harmonic Resources
... Four arrangements of the mystic chord: a. As a series of stacked fourths (original form) b. As a scale: related to the whole-tone scale (with A-natural instead of A-flat) c. As a dominant thirteenth/sharp eleven chord (with added G) d. As a chord with mixed intervals ...
... Four arrangements of the mystic chord: a. As a series of stacked fourths (original form) b. As a scale: related to the whole-tone scale (with A-natural instead of A-flat) c. As a dominant thirteenth/sharp eleven chord (with added G) d. As a chord with mixed intervals ...
69s and pentatonics
... Used against a major chord or a dominant seventh built on the lowest note we get the 3 blues notes - the minor 7th, flattened 5th and the minor 3rd. Sometimes the major 3rd can also be used as indeed can the natural 5th. (If the natural 5th is used with a minor 3rd we have the minor pentatonic scal ...
... Used against a major chord or a dominant seventh built on the lowest note we get the 3 blues notes - the minor 7th, flattened 5th and the minor 3rd. Sometimes the major 3rd can also be used as indeed can the natural 5th. (If the natural 5th is used with a minor 3rd we have the minor pentatonic scal ...
FUNDAMENTAL HARMONY Chromatically
... • In minor keys, chords iio and viio are naturally occurring diminished triads, so it’s easy to make them into diminished 7th chords by adding a diminished 7th above the bass note. ...
... • In minor keys, chords iio and viio are naturally occurring diminished triads, so it’s easy to make them into diminished 7th chords by adding a diminished 7th above the bass note. ...
Tonal Harmony Chapter 23 Enharmonic Spellings and Enharmonic
... Noticed that the analysis of the first chord in m41 is not a common chord (G:I = BbVI). This is because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the cho ...
... Noticed that the analysis of the first chord in m41 is not a common chord (G:I = BbVI). This is because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the cho ...
Blues Chords and Scales in E Minor (G Major)
... Blues Chords and Scales in E Minor (G Major) The blues is a very influential style of music. It is the principal inspiration for what eventually became rock music. The basic blues chord progression is based on a repeated 12 bar pattern. This is called the 12-Bar Blues. The diagram below illustrating ...
... Blues Chords and Scales in E Minor (G Major) The blues is a very influential style of music. It is the principal inspiration for what eventually became rock music. The basic blues chord progression is based on a repeated 12 bar pattern. This is called the 12-Bar Blues. The diagram below illustrating ...
what is harmony
... Relationships between chords are very important. The strongest relationship is always between chords I and V (or V7) and many songs and pieces are based simply on these two chords. Note that chords I & V7 contain all the notes of the scale but one). A good chord to play before chord V is chord IV (r ...
... Relationships between chords are very important. The strongest relationship is always between chords I and V (or V7) and many songs and pieces are based simply on these two chords. Note that chords I & V7 contain all the notes of the scale but one). A good chord to play before chord V is chord IV (r ...
Required Graduate Music Theory Examinations
... Note: The levels should be completed in the order given with the program in practice mode, not mastery mode. Individuals may work on more or fewer levels depending on their own review needs. ...
... Note: The levels should be completed in the order given with the program in practice mode, not mastery mode. Individuals may work on more or fewer levels depending on their own review needs. ...
lhs music theory homework 5b.389-446
... tones possible. Move all voices by the smallest possible intervals e. Move the remaining voice to the tone which will complete the triad or which provides correct doubling. f. Errors will be avoided if the doubled tones are written first. Part-write the second chord applying the above method. ...
... tones possible. Move all voices by the smallest possible intervals e. Move the remaining voice to the tone which will complete the triad or which provides correct doubling. f. Errors will be avoided if the doubled tones are written first. Part-write the second chord applying the above method. ...
Cadences Chord Hierarchy in Cadences Authentic Cadences V
... Deceptive Cadences V-vi 1. Like authentic cadences they are characterised by a rising leading note, but instead of going from chord V to I, interrupted cadence move from chord V to vi. 2. Expected chord I missing, so it is known as a deceptive cadence (DC) 3. If the leading note is in the soprano pa ...
... Deceptive Cadences V-vi 1. Like authentic cadences they are characterised by a rising leading note, but instead of going from chord V to I, interrupted cadence move from chord V to vi. 2. Expected chord I missing, so it is known as a deceptive cadence (DC) 3. If the leading note is in the soprano pa ...
Don Gray - Arranging Barbershop
... 3. More-consonant chords can be substituted without overly distorting the "popular" harmony; e.g., Barbershop 7ths in place of diminished or augmented chords. It may be useful to first write in the appropriate chords for the "pillars" (held notes, or places where the harmony/root changes), for a blo ...
... 3. More-consonant chords can be substituted without overly distorting the "popular" harmony; e.g., Barbershop 7ths in place of diminished or augmented chords. It may be useful to first write in the appropriate chords for the "pillars" (held notes, or places where the harmony/root changes), for a blo ...
Chord names and symbols (popular music)
Various kinds of chord names and symbols are used in different contexts, to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and the corresponding symbol are typically composed of one or more of the following parts: The root note (e.g. C). The chord quality (e.g. major, maj, or M). The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or M7). The altered fifth (e.g. sharp five, or ♯5). An additional interval number (e.g. add 13 or add13), in added tone chords.For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3.Except for the root, these parts do not refer to the notes which form the chord, but to the intervals they form with respect to the root. For instance, Caug7 indicates a chord formed by the notes C-E-G♯-B♭. The three parts of the symbol (C, aug, and 7) refer to the root C, the augmented (fifth) interval from C to G♯, and the (minor) seventh interval from C to B♭. A set of decoding rules is applied to deduce the missing information.Although they are used occasionally in classical music, these names and symbols are ""universally used in jazz and popular music"",usually inside lead sheets, fake books, and chord charts, to specify the harmony of compositions.Other notation systems for chords include:plain staff notation, used in classical music, Roman numerals, commonly used in harmonic analysis,figured bass, much used in the Baroque era, and macro symbols, sometimes used in modern musicology.