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Transcript
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. . . . . . . . . . . . . . . . . . . .. . . .. . Rhythm and meter Ê Different time signatures represent different relationships between beat levels... h q e h. q e h. q. e . . . . . . . . . . . . . . 2/4 or 4/4 (simple duple) . . . . . . . . ¾ (simple triple) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6/8 (compound duple) 9/8 (compound . h.q.. . . . . . 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…..