1. INTRODUCTION TO MUSIC THEORY Unit 2 Review
Thursday, October 4, 2012

2. Friday, October 5, 2012 during class
UNIT 2 EXAM
Friday, October 5, 2012
during class

3. EXAM TOPICS: Tetrachords Major scales The magic phone number
ALL major key signatures
Chromatic scale
Circle of Fifths
Generic intervals

4. EXAM TOPICS: Perfect and Major intervals (diatonic)
Minor, Dim., & Aug. intervals (chromatic)
Transposition
Sixteenth notes & sixteenth rests
Dotted eighth/sixteenth rhythm
Common Time & Cut Time
Compound meter
Triads & Seventh chords

5. TETRACHORDS: The word TETRA means four.
A TETRACHORD is a series of four notes having a pattern of:
whole step, whole step, half step
A G tetrachord would be:
G (W) A (W) B (H) C
A C tetrachord would be:
C (W) D (W) E (H) F

6. MAJOR SCALES: A MAJOR SCALE consists of eight notes:
two tetrachords joined by a whole step
W W H W W W H
Each scale begins and ends on the same note, called the keynote or TONIC.
The tones of a scale are also called the DEGREES or steps of a scale.
The are eight (8) scale degrees in a major scale.
In a major scale, half steps occur between scales degrees 3 & 4 and 7 & 8.
1 (W) 2 (W) 3 (H) 4 (W) 5 (W) 6 (W) 7 (H) 8

7. THE MAGIC PHONE NUMBER:
W W H – W W W H

8. SHARP SCALES:
Using the same pattern for tetrachords of W, W, H, you can build other major scales.
The sharp scales are:
G Major
D Major
A major
E major
B major
F# major
C# major

9. SHARP SCALES:
Starting with the C major scale, the 2nd tetrachord is always the 1st tetrachord of the following sharp scale. This overlapping pattern continues through all of the major sharp scales.
The 2nd tetrachord of the C major scale is the first tetrachord of the G major scale.
The 2nd tetrachord of the G major scale is the first tetrachord of the D major scale.

10. SHARP SCALES:
Starting with the C major scale, the 5th scale degree is always the 1st scale degree (keynote/tonic) of the following scale. This pattern continues through all major flat scales.
The 5th scale degree of the C major scale (G) is the 1st scale degree of the G major scale.
The 5th scale degree of the G major scale (D) is the first scale degree of the D major scale.

11. FLAT SCALES:
Using the same pattern for tetrachords of W, W, H, you can build other major scales.
The flat scales are:
F major
Bb major
Eb major
Ab major
Db major
Gb major
Cb major

12. FLAT SCALES:
Starting with the C major scale, the 4th scale degree is always the 1st scale degree (keynote/tonic) of the following scale. This pattern continues through all major flat scales.
The 4th scale degree of the C major scale (F) is the 1st scale degree of the F major scale.
The 4th scale degree of the F major scale (Bb) is the first scale degree of the Bb major scale.

13. THE KEYS, IF YOU PLEASE…
In musical notation, a key signature is a series of sharp or flat symbols placed on the staff, designating notes that are to be consistently played one half step higher or lower than the equivalent natural notes unless otherwise altered with an accidental.
Key signatures are generally written immediately after the clef at the beginning of a line of musical notation, although they can appear in other parts of a score, notably after a double bar.
Key signatures are generally used in a score to avoid the complication of having sharp or flat symbols on every instance of certain notes.
Each major and minor key has an associated key signature that sharpens or flattens the notes which are used in its scale.

14. KEY SIGNATURES:
To make the reading and writing of music easier, you can place all of the sharps or flats used in a piece or scale immediately after the clef sign. This is called the KEY SIGNATURE. It indicates the notes that will be sharped or flatted each time they appear for the entire piece (or until the key signature changes).

15. KEY SIGNATURES:
To figure out the name of a major [sharp] key from the key signature, go up a half step from the last sharp.
A key signature of F# would be the key of G major.
A key signature of F# & C# would be D major.
To figure out the name of a major [flat] key from the key signature, remember that one flat is in the key of F.
For two or more flats, the second–to–last flat is the name of the key.
A key signature of Bb & Eb would be the key of Bb major.

16. THE SHARP KEYS: Order of sharps: F C G D A E B
(Fat Cats Go Down Alleys Eating Birds.)
Naming: ½ step up from last sharp

17. THE FLAT KEYS: Order of flats: B E A D G C F (BEAD – Go Call Fred!)
Naming: 2nd–to–last flat

18. “FULL” KEY SIGNATURES:

19. THE CHROMATIC SCALE:
The CHROMATIC SCALE is made up entirely of half steps in consecutive order.
On a keyboard, a chromatic scale uses every key; black and white.
When a chromatic scale goes up, it is called ASCENDING (use sharps).
When a chromatic scale goes down, it is called DESCENDING (use flats).
A chromatic scale may begin or end on any note.
In a chromatic scale, there are 12 pitches (vs. 8 in a major scale).

20. INTERVALS:
An INTERVAL in music is the distance in pitch between two notes.
An interval is counted from the lower note to the higher note, with the lower note counted as 1 (count every line and space going up the staff).
Intervals are names by the number of the upper note (2nd, 3rd, 4th, 5th, 6th, 7th) with two exceptions:
The interval that is between notes that are identical is called a UNISON (unis.) (or a prime).

21. INTERVALS: An interval of an 8th is called an octave (8va).
Melodic intervals are sounded separately.
Harmonic intervals are sounded together.
Even numbered intervals (2nd, 4th, 6th, 8va) are written from line to space or space to line.
Odd numbered intervals (unis., 3rd, 5th, 7th) are written from line to line or space to space.
Two note combinations are also known as dyads.
We will eventually “qualify” intervals by type, as well as distance (major, minor, diminished, augmented, perfect).

22. THE CIRCLE OF FIFTHS:
The CIRCLE OF FIFTHS is useful in understanding scales and key signatures.
It shows the relationship of one key to another by the number of sharps or flats in the key signature and the order in which those sharps or flats occur.
More specifically:
It shows the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys.

23. THE CIRCLE OF FIFTHS:
Sharp keys go clockwise in ascending tetrachord order.
Flat keys go counterclockwise in descending tetrachord order.
The sharp keys ascend by 5ths (or descend by 4ths).
The flat keys ascend by 4ths (or descend by 5ths).

24. ORDER OF SHARP KEYS: C (no sharps) G (1 sharp – F#)
D (2 sharps – F# & C#)
A (3 sharps – F#, C#, G#)
E (4 sharps – F#, C#, G#, D#)
B (5 sharps – F#, C#, G#, D#, A#)
F# (6 sharps – F#, C#, G#, D#, A#, E#)
C# (7 sharps – F#, C#, G#, D#, A#, E#, B#)

25. ORDER OF FLAT KEYS: C (no sharps) F (1 flat – Bb)
Bb (2 flats – Bb & Eb)
Eb (3 flats – Bb, Eb, Ab)
Ab (4 flats – Bb, Eb, Ab, Db)
Db (5 flats – Bb, Eb, Ab, Db, Gb)
Gb (6 flats – Bb, Eb, Ab, Db, Gb, Cb)
Cb (7 flats – Bb, Eb, Ab, Db, Gb, Cb, Fb)

26. EXAMPLES:

27. EXAMPLES:

28. [GENERIC] INTERVALS: An interval is the distance between two pitches.
The interval is counted from the lower note to the higher note, with the lower note counted as 1 (count every line and space going up the staff).
Intervals are names by the number of the upper note (2nd, 3rd, 4th, 5th, 6th, 7th) with two exceptions:
The interval that is between notes that are identical is called a UNISON (unis.) (or a prime).

29. [GENEREIC] INTERVALS:
An interval of an 8th is called an octave (8va).
Melodic intervals are sounded separately.
Harmonic intervals are sounded together.
Even numbered intervals (2nd, 4th, 6th, 8va) are written from line to space or space to line.
Odd numbered intervals (unis., 3rd, 5th, 7th) are written from line to line or space to space.
Two note combinations are also known as dyads.

30. PERFECT & MAJOR INTERVALS:
Perfect Intervals:
Unison
4th
5th
Octave
Major Intervals:
2nd
3rd
6th
7th

31. DIATONIC INTERVALS: MAJOR SCALE
When the tonic and the upper note of an interval are from the same major scale, it is called a diatonic interval.
All diatonic intervals in the major scale are either perfect (P) or major (M).
This is true for ALL major scales.
P1 = perfect unison
P8 = perfect octave
P1, M2, M3, P4, P5, M6, M7, P8

32. MINOR INTERVALS:
When the interval between the two notes of a major interval (2nd, 3rd, 6th, or 7th) is decreased by a HALF step, it becomes a minor interval.
A small letter “m” is used to signify a minor interval.
Only major intervals can be made into minor intervals; perfect intervals cannot.

33. AUGMENTED INTERVALS: Augmented = to be made larger
When a perfect or major interval is made larger by a HALF step, it becomes an augmented interval.
To raise a sharp note by a half step, use a double sharp.

34. DIMINISHED INTERVALS:
Diminished = to be made smaller
With the exception of a perfect unison, any perfect or minor interval that is made smaller by a HALF step becomes a diminished interval.
To lower a flat note by a half step, use a double flat.
Since lowering either note of a perfect unison would actually increase its size, the perfect unison cannot be diminished; only augmented.

35. INTERVAL CARNIVAL: Perfect: Unison (unis.), 4th, 5th, octave (8va)
Major: 2nd, 3rd, 6th, 7th
Minor: 2nd, 3rd, 6th, 7th
Augmented: unis., 2nd, 3rd, 4th, 5th, 6th, 7th, 8va
Diminished: 2nd, 3rd, 4th, 5th, 6th, 7th, 8va

36. MORE ABOUT INTERVALS:
Compound intervals are intervals that are larger than an octave are called compound intervals.
A melodic (horizontal) interval is two pitches sounded successively (one after the next).
A harmonic (vertical) interval is two pitches sounded simultaneously.

37. CHROMATIC INTERVALS:
When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval.
Minor, augmented, and diminished intervals are always chromatic intervals in all major keys.
Chromatic intervals are the “opposite” of diatonic intervals.

38. DIANTONIC VS. CHROMATIC INTERVALS:
When the tonic and the upper note of an interval are from the same major scale, it is called a diatonic interval.
Perfect and major intervals are always diatonic intervals in all major keys.
When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval.
Minor, augmented, and diminished intervals are always chromatic intervals in all major keys.

39. SOLFÈGE & TRANSPOSITION:
Solfège is a system of note reading that assigns a different syllable to each scale degree in a major scale.
1 = Do
2 = Re
3 = Mi
4 = Fa
5 = Sol
6 = La
7 = Ti
8 = Do

40. SOLFÈGE & TRANSPOSITION:
MOVEABLE DO = the syllables apply to the same scale degrees, regardless of what key you are in.
When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a different key.

41. SOLFÈGE & TRANSPOSITION:
The easiest way to transpose is by interval.
In the eleventh century, the music theorist, Guido of Arezzo, developed a six–note ascending scale that went: ut, re, mi, fa, sol, and la. A seventh note, “si” was added shortly after. The names were taken from the first verse of the Latin hymn, Ut queant laxis,where the syllables fall on their corresponding scale degree.
Ut queant laxis resonāre fibris Mira gestorum famuli tuorum, Solve polluti labii reatum, Sancte Iohannes.

42. SIXTEENTH NOTES & RESTS:
Add a flag to the stem of a quarter note and it becomes an eighth note.
Add a flag to the stem of an eighth note and it becomes a sixteenth note.
In 4/4 time, two sixteenth notes = 1 eighth note.
In 4/4 time, four sixteenth notes = 1 quarter note.
In 2/4, 3/4, & 4/4 time, a sixteenth note is worth ¼ of a beat; one beat is divided into four equal parts (“1 e & a”, etc.)
Sixteenth notes can be drawn with flags attached to the stem, or with 2 beams for two or more sixteenth notes.

43. DOTTED EIGHTH NOTES:
Remember: A dot after a note increases its length by one half of its original value.
An eighth note = two sixteenth notes.
A dotted eighth note = three sixteenth notes.
A dotted eighth note is almost always followed by a sixteenth note.
Hierarchy:
Dotted half note (3) --- usually followed by a quarter note/rest
Dotted quarter note (1½) --- usually followed by an eighth note
Dotted eighth note (¾) --- usually followed by a sixteenth note

44. CUT TIME (ALLA BREVE):
In music, alla breve (also sometimes called cut time or cut common time) refers to a musical meter notated by the time signature symbol (a broken circle with a line through it), which is the equivalent of 2/2.
Alla breve is a “simple-duple meter with a half-note pulse”.
Common time is the equivalent of 4/4.
In contemporary usage alla breve suggests a fairly quick tempo. Thus, it is used frequently for military marches.
From about 1600 to 1900, its usage varied with regard to tempo varied, so it cannot always be taken to mean a quick tempo.

45. COMPOUND METER: 1 & uh, 2 & uh, 3 & uh, 4 & uh…
Compound meter refers to any time signature or meter in which each measure is divided into three or more parts, or two uneven parts, calling for the measures to be played with primary and secondary metric accents.
In Western music, the predominant form of compound meter is the division into three parts, often preferring to reduce a higher number of parts to written time signature changes, but more parts are possible.
3/8, 6/8, 9/8, 12/8, 6/4, 7/4, 7/8, 5/4, 5/8, etc.
6/8 time both simple and compound? What?
“America” – West Side Story: Both 6/8 and 3/4

46. MELODIC MOTIVE from “AMERICA”:

47. 3/8 TIME & 6/8 TIME:
3/8 Time: 3 beats to a measure/eighth note gets one beat.
3/8 is often felt “in one” (1, 2, 3) [strong beat on “1”).
6/8 Time: 6 beats to a measure/eighth note gets one beats.
6/8 is often felt “in two” (1, 2, 3 – 4, 5, 6) [strong beats on “1” & “4”.
Extensions:
9/8 (felt “in three”) [strong beats on “1”, “4”, & “7”].
12/8 (felt “in four”) [strong beats on “1”, “4”, “7”, & “10”].

48. 7/4 TIME & 7/8 TIME: Both 7/4 & 7/8 can be felt/pulsed in two ways:
1 – 2, 1 – 2, 1 – 2 – 3
1 – 2 – 3, 1 – 2, 1 – 2

49. (A chord is a group of three or more notes played together)
TRIADS:
A chord with 3 notes
(A chord is a group of three or more notes played together)
Each note is a specific interval from the next

50. TRIADS: THE THREE NOTES
FIFTH=top note
THIRD=middle note
ROOT=Bottom note

51. WARNING! The root, third, and fifth will not ALWAYS be in that order!
TRIAD NOTE POSITION:
WARNING! The root, third, and fifth will not ALWAYS be in that order!

52. FOUR TYPES OF TRIADS:
Major
Minor
Diminished
Augmented

53. MAJOR TRIAD:
M3 + m3
(P5)
Created by taking the 1st, 3rd, and 5th notes of a major scale

54. MINOR TRIAD:
m3 + M3
(P5)

55. DIMINSHED TRIAD:
m3 + m3
(dim 5)

56. AUGMENTED TRIAD:
M3 + M3
(aug 5)

57. SCALE DEGREE NAMES: TONIC (I/i) SUPERTONIC (II/ii) MEDIANT (III/iii)
SUBDOMINANT (IV/iv)
DOMINANT (V)
SUBMEDIANT (VI/vi)
LEADING TONE [SUBTONIC] (VII/vii)

58. SEVENTH CHORDS Major–Major seventh (M7) Major–minor seventh (V7)
Major triad + Major 3rd
Major–minor seventh (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

59. THE V7 CHORD (MAJOR–MINOR):
Add a minor 7th to the root of a V triad (or a minor 3rd above the 5th).
The V7 chord is a chord and not a triad because it has 4 notes rather than 3.
Often, the 5th of a V7 chord is omitted. The V7 chord then has the same number of tones as the I and IV chords while still retaining the quality of a 7th chord.

60. TRIPLETS:
When three notes are grouped together with a figure “3” above or below the notes, the group is called a TRIPLET. The 3 notes are played in the time of 2 notes of the same value.
Counted: 1 trip – let, 2 trip – let
Counted: Trip – a – let, etc.

61. INCOMPLETE MEASURES (PICK–UPS):
Some pieces of music begin with an incomplete measure. This note (or notes) is known as a PICK–UP note.
The beats that are missing in the first measure are “made up” in the last measure, often meaning the last measure will have fewer than the required number of beats.

62. SYNCOPATION:
When the accent in a musical passage falls on the weak beat (&) rather than on the strong beat (1, 2, 3, 4, etc.), it is called SYNCOPATION.