INTRODUCTION TO MUSIC THEORY Tuesday, October 16, 2012

TODAY’S GAME PLAN: Music Sharing! Review: NEW! 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! Harmonizing a melody in a MAJOR key Cadences Broken chords & arpeggiated accompaniments

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

SEVENTH CHORDS: Major–Major seventh (M7) Major triad + Major 3rd Major–minor seventh (Mm7) (V7) Major triad + minor 3rd minor–minor seventh (m7) minor triad + minor 3rd half–diminished seventh (ѳ7) diminished triad + Major 3rd diminished seventh (ס7) diminished triad + minor 3rd

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

MODES! 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! 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)

MORE MAGIC PHONE NUMBERS! 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)

MODES – USAGE: 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

COMMON HARMONIES: 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

COMMON HARMONIES: 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

CADENCES: 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 & ARPEGGIOS: 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.

YOUR COMPOSITIONS… 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 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!