 Music Sharing!
 Review:
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Seventh chords
Forms of minor (relative, parallel, natural, harmonic, melodic)
Minor key signatures/Circle of Fifths placement for minor
Modes (What are they? How do they work/function?)
 NEW!
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Harmonizing a melody in a MAJOR key
Cadences
Broken chords & arpeggiated accompaniments

 MAJOR: M3 + m3 (P5)
 MINOR: m3 + M3 (P5)
 DIMINISHED: m3 + m3 (dim5)
 AUGMENTED: M3 + M3 (aug5)

 Major–Major seventh (M7)
 Major triad + Major 3 rd
 Major–minor seventh (Mm7) (V7)
 Major triad + minor 3 rd
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 minor–minor seventh (m7)
 minor triad + minor 3 rd half–diminished seventh ( ѳ 7)
 diminished triad + Major 3 rd diminished seventh ( ס 7)
 diminished triad + minor 3 rd

 Triads:
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1 st Inversion
2 nd Inversion
 Seventh Chords:
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Root position
1 st Inversion
2 nd Inversion
3 rd Inversion
63 (6)
64
7
65
43
42
(C/E)
(C/G)
(C7)
(C7/E)
(C7/G)
(C7/Bb)

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 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)

 Modes related to MINOR:
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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)

 Ionian Mode (1) (W-W-H-W-W-W-H)
 Mixolydian Mode (5) (W-W-H-W-W-H-W)
 Lydian Mode (4) (W-W-W-H-W-W-H)
 Aeolian Mode (6) (W-H-W-W-H-W-W)
 Dorian Mode (2) (W-H-W-W-W-H-W)
 Phrygian Mode (3) (H-W-W-W-H-W-W)
 Locrian Mode (7) (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:
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Scale degrees 1, 3, 5 = I chord
Scale degrees 2, 4, 5, 7 = V (or V7) chord
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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:
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 ii–vi–V–I
IV–V–I

 MINOR:
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Scale degrees 1, 3, 5 = i chord
Scale degrees 2, 4, 5, 7 = V (or V7) chord
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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:
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 ii–vi–V(7)–I
IV–V(7)–I

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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:
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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.
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“Arpeggio” comes from the Italian word, “arpeggiare”, meaning
“to play on a harp.”
An arpeggio may be extended to an octave or more.

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Start adding harmony to your composition!
Use Noteflight!
As a part of your final exam, you will turn in a ‘completed’ composition. This must include:
 Your original poem/quote/text/lyrics
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Melody line
Harmonization
Correct key signatures, time signature, etc.
Dynamic, articulation, and tempo markings
Any other theoretical components that we’ve studied during this term that you’d like to employ to make your composition the best it can be!