1. Pitch Collections, Scales, and Major Keys
Chapter Three

2. Chromatic and Diatonic Collections
Collection – group of pitch classes with no ordering or duplications
Chromatic – collection using all twelve pitches
Diatonic – collection using seven pitches
Since the seven notes of the diatonic are include in the chromatic, the diatonic is a subset of the chromatic

3. Scales Scales – ordered set of pitches Types of scales (not modes):
Major Scale
Natural Minor Scale
Harmonic Minor Scale
Melodic Minor Scale
Chromatic Scale
When building a scale, we use the music alphabet and every letter is accounted for. We alter the letter (accidentals) to make them major or minor.
When we build the chromatic scale, we use every letter. The chromatic scale is ordered, not a collection.

4. Chromatic Scale Every pitch is used in the chromatic scale.
C chromatic Scale
Every pitch is used in the chromatic scale.
Ascending (pitches rising) – accidentals are written as sharps spelled using the pitch before it. For example, C-C#-D-D#-E-F-F#...
Descending (pitches lowering) – accidental are written as flats spelled using the pitch before it. For example, C-B-Bb-A-Ab-G-Gb…
Scale name labeled using the first pitch of the scale.

5. Chromatic Scale
Ascending
Descending

6. Major Scales
Every letter in the music alphabet is accounted for in a major scale.
We alter each pitch to achieve a pattern of whole steps and half steps.
Scales are labeled according to their tonic (first scale) pitch.

7. Scale Degrees Scale degrees can be labeled with numbers or solfege.
Using numbers, the first pitch is 1, the second pitch is 2, and so on.
Using solfege we use Do, Re, Mi, Fa, Sol, La, Ti, and Do.

8. Major Scale Pattern Every major scale is made up of the same pattern.
W-W-H-W-W-W-H
Each major scale also consists of two major tetrachords (tetra = 4).
Each tetrachord consists of a pattern of: W-W-H
In each scale the tetrachords are connected by a whole step.
TETRACHORD
TETRACHORD

9. Key Concept – page 43
To write an ascending major scale from any given pitch: 1. Write the given pitch on the staff. 2. Write “bare” pitches (with no accidentals) on every line and space from the given pitch, up to and including the same pitch class an octave higher. 3. Label the space between each of consecutive pitches, from the bottom to the top, W-W-H-W-W-W-H. 4. Evaluate each pair of pitches, adding the appropriate accidental (# or b) needed to make it match its whole of half- step label.
Lets try it using the starting pitch of Ab, first space on the bass clef staff.

10. Major Scale Pattern
Below is an example of how to label the whole steps and half steps.

11. (use quarter notes in C time repeating the top pitch)
Assignment
Write out the following major scales for homework:
C, F, Bb, Eb, Ab, Db, Gb, Cb
C#, F#, B, E, A, D G
(use quarter notes in C time repeating the top pitch)
You have time to start now, I do expect you to start working immediately.

12. Taking Major Scale Accidentals and Converting them to KEY SIGNATURES
To create a key signature, use the accidentals from each major scale and place them out front.
Example:
2 sharps in D Major – F# and C# - moved out front

13. Key Concept – page 46
At the beginning of each line of a music score, a key signature shows which pitches are to be sharped or flatted throughout the work. You may use the key signature, together with the relationships between pitches, to help determine the key of the work. When we say a piece is in the key of “x”, that means it draws primarily from a single scale.

14. Order of Sharps and Flats
F(at)
C(at)
G(oes)
D(isco)
A(fter)
E(very)
B(ath) B E A D G C F
Sharps backwards
Sharps and flats appear in this order ALWAYS!

15. Order of Sharps and Flats
Sharps example:
Key Signature
Flats example:

16. Key Signatures

17. Circle of 5ths (Circle of 4ths)
Each new key is 4 steps higher than the previous.
Each new key is 5 steps higher than the previous.

18. Identifying Key Signatures
Key Concept – page 48 For sharp keys, imagine that the last sharp of the signature is ti (or scale-degree 7) of the key. To find the tonic, just go up a half step. In other words, go to the last sharp, and up a half step. LETS PRACTICE TOGETHER!

19. Identifying Key Signatures
Key Concept – page 49 For flat keys, consider the last flat of the signature to be fa (or 4) of the key. Shortcut: Since the flats are spaced a fourth apart (the same number of steps as do up to fa), the next-to-last flat of the signature will always represent the name of the key. In order words, second to last flat = key. Except F: 1b=F. LETS PRACTICE TOGETHER!

20. Writing Key Signatures
Key Concept – page 49 The sharps and flats are an ordered collection of accidentals; learn to write them in the correct order and octave. The order of sharps on the staff is F-C-G-D-A-E-B; the order of the flats is the same, only backward: B-E-A-D-G-C-F. IT IS VERY IMPORTANT TO PLACE THE SHARPS AND FLATS IN THE CORRECT ORDER AND IN THE CORRECT OCTAVE. (see handout)

21. Assignment
Try it #6 – page 50

22. Assignment: Try it #7 – page 51
Scale Degree Names
Assignment: Try it #7 – page 51

23. Major Pentatonic A scale of only 5 pitches.
Uses scale degrees Do, Re, Mi, Sol, and La (1, 2, 3, 5 and 6) of a major scale.
Missing Fa and Ti (4 and 7)