Week of October 22, 2012
Tuesday, October 30, 2012
XHS: 4th Block exam period
CHS: 1:40–3:05 pm
•
Triads
• major, minor, diminished & augmented
•
7th Chords
• MM, Mm, mm, half–diminished, fully–
diminished)
•
Inversions
• Triads & 7th chords
•
•
•
Figured bass
Modern chord symbols
Minor scales
• Relative/natural, harmonic, & melodic
•
Modes
The Blues scale
• Blues chord progression
• Pentatonic scales
•
• Major & minor
Passing tones & neighboring tones
• Cadences
• Musical Form
•
• AB, ABA, Rondo, etc.
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
FIFTH = top note
THIRD = middle note
ROOT = Bottom note
Major
Minor
Diminished
Augmented
MAJOR:
• M3 + m3 (P5)
MINOR:
• m3 + M3 (P5)
DIMINISHED:
• m3 + m3 (dim5)
AUGMENTED:
• M3 + M3 (aug5)
M3
+ m3 on top
(P5 created from
th
root to 5 )
Created
by taking the
1st, 3rd, and 5th notes of a
major scale
m3
+ M3 on top
(P5 created from
th
root to 5 )
m3
+ m3 on top
th
(dim 5 created
th
from root to 5 )
M3
+ M3 on top
th
(aug 5 created
th
from root to 5 )
TONIC
(I/i)
SUPERTONIC (II/ii)
MEDIANT (III/iii)
SUBDOMINANT (IV/iv)
DOMINANT (V)
SUBMEDIANT (VI/vi)
LEADING TONE [SUBTONIC] (VII/vii)
 Major–Major seventh (M7)
• Major triad + Major 3rd on top
 Major–minor seventh (Mm7)
• Major triad + minor 3rd on top
 minor–minor seventh (m7)
• minor triad + minor 3rd on top
 half–diminished seventh (ѳ7)
• diminished triad + Major 3rd on top
 fully–diminished seventh (‫ס‬7)
• diminished triad + minor 3rd on top
 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.
 Root position
 1st inversion
 2nd inversion
 3rd inversion (7th
chords only!)
 The “standard” position
 Root on the bottom
 3rd in the middle
 5th
on top
of a triad
 3rd
on the bottom
 5th
on the bottom
 7th
on the bottom
 Seventh chords only!
 To
determine the quality of a triad, it
MUST first be in ROOT POSITION.
 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?
 1st
Inversion (3rd on the bottom):
• I6
3
• C/E
 2nd
Inversion (5th on the bottom):
• I6
4
• C/G
 Root
• I7
Position (root on the bottom):
5
3
• C7
 1st Inversion
• I6
5
3
• C7/E
(3rd on the bottom):
 2nd Inversion
• I6
(5th on the bottom):
4
3
• C7/G
 3rd Inversion
• I6
4
2
• C7/Bb
(7th on the bottom):


Root, 3rd, 5th
Root position
• Stacked in thirds
• Root on the bottom

1st inversion – 6/3 (C/E)
• 3rd on the bottom
• Interval of a 3rd between the bottom note & the middle note
• Interval of a 6th between the bottom note & the top note

2nd inversion – 6/4 (C/G)
• 5th on the bottom
• Interval of a 4th between the bottom note & the middle note
• Interval of a 6th between the bottom note & the top note
 Root,

 Root
3rd, 5th, 7th
position – 7 (C7)
• Stacked in thirds
• Root on the bottom
 1st
inversion – 6/5 (C7/E)
• 3rd on the bottom
• Interval of a 3rd between the bottom note & the 2nd
note
• Interval of a 5th between the bottom note & the 3rd
note
• Interval of a 6th between the bottom note & the
highest note

2nd inversion – 4/3 (C7/G)
•
•
•
•

3rd inversion – 4/2 (C7/Bb)
•
•
•
•

5th on the bottom
Interval of a 3rd between the bottom note & 2nd note
Interval of a 4th between the bottom note & 3rd note
Interval of a 6th between the bottom note & the highest note
7th on the bottom
Interval of a 2nd between the bottom note & the 2nd note
Interval of a 4th between the bottom note & the 3rd note
Interval of a 6th between the bottom note & the highest note
What’s the difference between 7th chords and V7
chords?
 In
order to figure out triads & 7th 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 7th chord.
 STEP
4: Create and inversion of that chord if
necessary.



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 6th 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 3rd
or ascending a major 6th from the tonic of
the major scale.
 The tonic of the relative major scale can
be found by ascending a minor 3rd or
descending a major 6th 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 7th 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 6th and 7th 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
MINOR:
• i, ii∘, III,
iv, V, VI, vii∘, I
MAJOR:
• I, ii, iii, IV, V, vi, vii∘, I
 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.
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 7th lowered by a
half step (half steps: 3/4 & 6/7)
• Lydian (scale degree 4)
 A major scale with the 4th raised by a half
step (half steps: 4/5 & 7/8)
 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 6th raised by a half
step (half steps: 2/3 & 6/7)
• Phrygian (scale degree 3)
 A natural minor scale with the 2nd lowered by a
half step (half steps: 1/2 & 5/6)
• Locrian (rarely used) (scale degree 7)
 A natural minor scale with the 2nd and the 5th
lowered by a half step (half steps: 1/2 & 4/5)
 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)
 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
 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 5th
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
 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 5th
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
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)
 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.
 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
 To
change a major scale into a blues scale,
do the following:
• Completely remove the 2nd and 6th scale degrees
• Flat the 3rd and 7th scale degrees
• Add a flatted 5th before the regular 5th scale degree
C
Major:
 C Blues:
A
C D E F
G A B C
C
Eb F Gb G
Bb C
blues scale only has SEVEN (7) pitches!
 The flatted notes (3, 5, 7) are often called
“blue notes”.








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-VI.
The minor pentatonic is built from these intervals: R-b3-4-5b7
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.
 “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.
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)
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.
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.
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)
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.
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