Music 1133 Music Theory 1 J. Hennessy

What is Music Theory? Music Theory attempts to explain the complex and abstract organization of sounds we call music Music Theory establishes conventions for notating musical information and for communicating musical relationships Music theory forges links between the sonic creations of people and cultures, the systems of thought and organization of societies, and the physical laws that determine the nature of sound

What is Music Theory not? Music Theory is not simply a set of arcane rules that govern how all music is made Music Theory is not a strict science that can be used to measure or explain any musical system or idea Music Theory is not independent of people, cultures, and societies - it is determined by them. Music Theory is not music

Why Study Music Theory? Music is a very complicated phenomenon - it is a complex interaction of sound objects that evolve in “real time” Musical ideas are difficult to communicate using subjective impressions and descriptive language Music theory allows musicians to examine music from a slightly removed perspective, and provides symbols and strategies for articulating musical ideas and relationships Ultimately this allows musicians to develop new musical ideas and concepts

What if that’s not a good enough reason? Tough - you need this course for your degree! Despite this, I hope your study of music theory will enhance your appreciation of music, and ultimately make you a better musician.

Elements of Music Theory Rudiments Harmony Counterpoint Form/Structure Analysis Composition

Rudiments Staff Notation Scales/Key Signatures Intervals Transposition Triads/Chords Time Signatures - proper beat notation Expressive/Tempo terms (often Italian)

Harmony The “vertical” dimension of music Notes sounding simultaneously Resulting chords have functions within a given key Progression of harmony forms the structure of musical sections - from the smallest to largest (phrases to whole pieces)

Counterpoint The “horizontal” dimension of music Composed of melodies interacting with each other in different ranges Progression of consonant and dissonant intervals Resolution of contrapuntal dissonance - one of the main features of tonal music Counterpoint determines harmony

Form/Structure Tonal Music often has a structure that is determined by harmony - cadences, key relationships Common Practice Era music often conforms to established formal archetypes - forms (binary, ternary, sonata, rondo)

Analysis Analysis involves studying an existing piece or excerpt of music and determining its most salient features Often this “deconstructs” the piece to identify how the composer put it together Analysis often takes place within an historical context - particularly regarding established styles or schools of composition Analysis should not, however, simply determine how well a piece fits some “ideal” Analysis should determine what is unique about a piece

Composition Composition involves creating new music Within the context of a theory course, we will compose excerpts and pieces according to the style or method we are studying You will often be given a set of restrictions within which to compose something original

Strategies for Success Many students find theory to be a very difficult subject, often having to repeat the course in order to gain credit. Here are a few strategies for ensuring that this does not happen

Attend Class While attendance will not be taken for lectures or tutorials, it is in your best interest to attend all classes. Textbook explanations of theory are often difficult to grasp and the classes will focus on trying to clarify seemingly difficult concepts. This is also your best opportunity to ask questions.

Do Your Assigned Work Like anything else, theory requires practice. Often something that seems difficult at first begins to make more sense the more often it is applied. Conversely, you may think you completely understand a concept when it is presented in class, only to realize when it’s too late (ie during the exam) that you never really learned the concept completely. Setting aside time each day to work on theory will ultimately improve your chances of success.

Try not to simply memorize rules Theory does have a set of procedural rules, but it is important that you understand the concepts behind these rules rather than just memorize them. Once the rules make practical sense to you, they become ingrained in your vocabulary and memorization becomes irrelevant. The only way to accomplish this is to practice doing assigned exercises.

Give Yourself Manageable Tasks When confronting a theory problem, address one thing at a time rather than worrying about the ultimate solution. Accomplishing smaller tasks builds your confidence and helps you to better understand general concepts. Strategies for this will be discussed extensively in tutorials.

Get Help If You Need It I am available for extra help during office hours or by appointment and am happy to discuss any problems you are having. As well, you are encouraged to help each other. Get together in small groups on a regular basis to work on assignments, study for exams, get your frustrations out about theory, or just therapeutically trash the prof!!

It’s Up To You! I will do whatever I can to present the material in a non-threatening, yet challenging manner but it is ultimately up to you to keep up with the work. Theory is a cumulative subject and often if you miss one concept, it affects your ability to process new material. Don’t let things slide. Last time I taught this course, final grades ranged from 100% to 8%! I would like nothing better than to pass all of you, and for many of you to achieve an A - but nothing will be given away for free! Good luck!!

Diagnostic Test 1. What is the name of the symbol on the far left? 2. What is another way of notating the 2nd symbol? 3. How many 8th notes could fit into one bar according to the time signature? 4. What is the duration in quarter notes of the note shown? 5. What pitch does this note represent? 6. Write the key signature for the major key for which this note is the tonic pitch. 7. What is the tonic pitch of the relative minor key? 8. Write the key signature for the minor key for which this note is the tonic pitch. 9. Write the melodic minor scale scale using accidentals for the scale in which this pitch is the supertonic (2nd) scale degree. 10. Write the major scale including the key signature for the parallel major key. 11. Notate the pitch a major 6th above the note shown, using the treble clef. 12. Invert this interval and rename it. 13. Write the pitch an augmented 4th below the note shown. 14. Invert this interval and rename it. 15. What is a common name used to refer to both of these intervals (in 14 and 15)?