Chapter 4: Half and whole steps, major scales and the circle of fifths

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Presentation transcript:

Chapter 4: Half and whole steps, major scales and the circle of fifths Pathways to Harmony Chapter 4: Half and whole steps, major scales and the circle of fifths 4.2 The Major Scale G DeBenedetti www.gmajormusictheory.org

Some definitions A key note is the most important note of a piece of music. Pieces almost always end on the key note.

Some definitions A key note is the most important note of a piece of music. Pieces almost always end on the key note. If eight notes of a piece are arranged in order without skipping lines or spaces and if the first note is the key note, then the notes form a scale.

Some definitions A key note is the most important note of a piece of music. Pieces almost always end on the key note. If eight notes of a piece are arranged in order without skipping lines or spaces and if the first note is the key note, then the notes form a scale. A major scale is eight notes in ascending order which are separated from each other according to this pattern:

An example: the E-flat major scale Scales are named after their first note, or key note.

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

An example: the E-flat major scale Scales are named after their first note, or key note. As you progress through the next slides: LISTEN to the notes of an E-flat major scale WATCH the above illustration as it moves from note to note NOTICE the sequence W W H W W W H where W is whole step and H is half step

Here is an example of a scale used in "real" music, an intermezzo from Mascagni's opera, La Cavalleria Rusticana CLICK on the icon of the speaker and LISTEN for the scale at the end of the excerpt

Scales must be orderly The notes of a scale must be orderly

Scales must be orderly The notes of a scale must be orderly They must be in alphabetical order and

Scales must be orderly The notes of a scale must be orderly They must be in alphabetical order and They must alternate lines and spaces when written on a staff

Scales must be orderly The notes of a scale must be orderly They must be in alphabetical order and They must alternate lines and spaces when written on a staff Therefore when writing a scale,

Scales must be orderly The notes of a scale must be orderly They must be in alphabetical order and They must alternate lines and spaces when written on a staff Therefore when writing a scale, FIRST write the notes alternating lines and spaces

Scales must be orderly The notes of a scale must be orderly They must be in alphabetical order and They must alternate lines and spaces when written on a staff Therefore when writing a scale, FIRST write the notes alternating lines and spaces THEN add sharps or flats for the proper sequence of half and whole steps

In the scale taken from the above minuet, the next-to-the-last note must be an F-sharp, not a G-flat so that:

In the scale taken from the above minuet, the next-to-the-last note must be an F-sharp, not a G-flat so that: The letter names continue alphabetically and

In the scale taken from the above minuet, the next-to-the-last note must be an F-sharp, not a G-flat so that: The letter names continue alphabetically and The notes alternate lines and spaces

In the scale taken from the above minuet, the next-to-the-last note must be an F-sharp, not a G-flat so that: The letter names continue alphabetically and The notes alternate lines and spaces PLAY this phrase

Now it's your turn DOWNDLOAD Chapter Four OR Expanded Chapter Four of Pathways to Harmony from this website http://www.gmajormusictheory.org/Fundamentals/workbooks.html DO worksheets to 4.4 from Chapter Four OR worksheets 4Ex.6 and 4Ex.7 from Expanded Chapter Four