Download Theory Intro

Music Theory
Fundamentals
The chromatic scale
All the notes on the piano keyboard.
C#/
Db
D#/
Eb
F#/
Gb
G#/
Ab
A#/
Bb
C#/
Db
Unequal step sizes: whole and half
Half or whole?
Ê E to F#?
A# to B?
G to Ab?
Ê A to B
Bb to C
F# to G?
Major scale
Ê Created from a particular arrangement of whole and half
steps: W W H W W W H
Ê This pattern can be placed anywhere on the piano keyboard to
make major scales in different keys...
Ê D major has two black notes (i.e. two sharps)
Circle of fifths summarizes every key
signature: shows “close” & “distant” keys
Major scales, changing key
Ê Each note of scale has a number, name, and “qualia”
What about minor keys?
Ê How does the character or mood of these excerpts differ?
Ê How do their scales differ?
Ê 1-2-3-4-5 vs. 1-2-b3-4-5
How do minor and major differ?
Ê How do minor scales differ from their “parallel” major?
Ê Both scales begin on same note, differ at 3, 6, and 7 (these
are lowered one half step in minor)
Major and minor scales
Ê F major and F minor scales:
Ê ”Minor scale” is complex concept – different forms! But they
all have the b3. Natural minor, shown here, is like major scale
pattern shifted over (WHWWHWW). Harmonic minor has
different interval pattern (W H W W H m3 H).
Intervals
Ê An intervals is the
distance between
two notes.
U
m2
M3
P4
m6
M6
M2
m3
Ê Names depends
on number of
chromatic scale
steps...
(tritone) TT P5
m7
P8
M7
Triads
Ê Triads – 3 pitches thirds apart. Major (M3-m3), minor (m3-
M3), diminished (m3-m3)
Ê We can give triads roman numerals, depending on which
scale dgree they’re built on.
M
m
m
M
M
m
d
Triads – made from scale degrees
Ê Tonic triad (I) is made of scale degrees 1-3-5
Ê Subdominant triad (IV) is made of scale degrees 4-6-1
Dominant triad and 7th chord
Harmonizing a melody
Ê You can provide a basic harmonization to most simple
melodies with just these three chords: tonic (I),
subdominant (IV) and dominant (V)
Ê In G Major: I = G, IV = C, V = D
Harmonic progression
Ê We categorize chords into “functional” categories. The I
chord is tonic; V and vii are dominant; ii and IV are predominant.
Ê Certain patterns of harmony are especially common (in
Western classical music and many other Western styles) –
especially T – P – D - T.
Two phrases: weaker ending,
stronger ending
Phrases end with a cadence
Ê Cadence is a two-chord pattern; some are stronger in the
tonal hierarchy than others
Ê Strongest:
Ê Authentic cadence – V to I (chord root in bass, tune ends on 1)
Ê If weakened by different melody note or bass note, imperfect
authentic
Ê Weaker:
Ê Half cadence (ends on V)
Ê Also Plagal (IV-I) or Deceptive (V-vi)
Rhythm and meter
Ê Meter: a framework of beats – points in time, understood as
accented.
Ê A meter typically has several levels of beats. Beats present at
higher levels are stronger beats.
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Rhythm and meter
Ê Different
time
signatures
represent
different
relationships
between beat
levels...
h
q
e
h.
q
e
h.
q.
e
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. . . . . . . .
2/4 or 4/4 (simple
duple)
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. ¾ (simple triple)
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6/8 (compound
duple)
9/8 (compound
.
h.q..
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. triple)
q. .
e . . . . . . . . . . . . . . . . . .
Rhythm and meter
Ê Generally one level of beats is the main level that we tap
or move at – the tactus. (Usually the quarter or dotted
quarter)
Ê We infer the meter from the sounds of the piece. (We’ll
talk about that later.)
Ê But once the meter is established, the notes of the piece
may not always support it, and may even go against it –
this is known as syncopation.
For more info, try these websites
Ê http://www.emusictheory.com/practice.html
Ê http://www.teoria.com/index.php
Ê www.gmajormusictheory.org
Ê http://www.musictheory.net/
Ê Enjoy…..