Frequency
Pitch, How high or low a note is, Measured in hertz, doubling the Hz plays an octave higher, octave is the most PERFECT interval
Consonance
Repose/Relaxation (P8 P5 P4 P1)
Dissonance
Stress/Tension (m2 M7)
Aptitude
Maximum displacement of the air molecules. Moving from the at rest position. Loudness or intensity
Pinissimo
Very soft pp
Piano
Soft p
Mezzopiano
Medium soft mp
mezzoforte
Medium loud mf
Forte
Loud f
fortissimo
very loud ff
pianisissimo
very very soft ppp
fortisisimo
very very loud fff
Timbre
tone color, distinguishes different instruments or sound sources, pitches and complexity of sound
Duration
Element of time, length a pitch may be sustained, time elapsing between sounds, may relate to rhythm, may relate to tempo
One-line Staff
Ca. 1,000 A.D. (a single line on a piece of paper, lines going up and down related to pitch)
Modern Staff
Five lines, four spaces, numbered from the bottom up
Treble Clef
G clef
Bass Clef
F clef
Alto Clef and Tenor Clef
C Clef
Treble (G) lines *
EGBDF
Treble (G) spaces *
FACE
Bass (F) lines *
GBDFA
Bass (F) Spaces *
ACEG
Grand Staff
putting together a bass and treble clef that are joined by a bar line and a bracket
Ledger Lines/Ledger Spaces
short lines and spaces that serve as extensions of the 5-line staff
Half Step
The interval (pitch difference) between any two adjacent keys (white and black keys)
Whole Step
an interval = to 2 half steps
Natural Occurring Half Step
the step between B to C and E to F that has no black key in-between
Chromatic Signs
flat, sharp, double flat, double sharp
Flat
lowers the note by a half step
(c flat and b sound the same because there is no black note in between)
Sharp
Raises the note by a half step
double flat
lowers the note by 2 half steps (g double flat = F)
Double Sharp
Raises the note by 2 half steps
Length of chromatic signs
chromatic signs apply until the end of the measure
Enharmonic Equivalents
different spellings, same pitch
EE of C#
D flat
EE of B#
C
A##
B
G flat flat
F
Diatonic Motion
uses notes with adjacent letters of the alphabet (A#-B)
Chromatic Motion
uses notes with the same letter of the alphabet (D-Dflat)
Octave
The interval=12 half steps or 6 sole steps, the two notes will have the same name
Ottava
octave sign (8 or ova)
Ottava above
octave higher than written
ottave below
octave lower than written
Double octava sign
15 or 15ma
Double octava above
2 octaves higher than written note
Double octava below
2 octaves lower than written
octave registers
CDEFGAB, C1D1E1F1G1A1B1, etc.
Subcontra
AAA, BBB lowest 2 pitches of piano keyboard
contra
CC,DD,EE, next octave up beginning at lowest C on the keyboard
Great
C,D,E
Small
c,d,e,f,
one line
c1 d1 e1 (c1=middle C)
two line
c2, d2, e2,
three line
c3, d3, e3,
four line
c4, d4, e4
five line
c5, tope note on the key board
Register designations II
a more common octave designation (A0, B0, C0, A1, B1, C1, D2, E3, etc)
Bar line
represented by a single vertical line on the staff that divides musical material into measures
double bar line
represented by 2 adjacent vertical lines on staff indicates end of section or composition
measure
staff space between 2 bar lines contains a measured amount of musical material (notes and rests)
Ties
a curved line that connect 2 or more notes of the same pitch
slurs
a curved line that connects 2 or more notes of different pitch
phrase
a curved line that indicates a musical thought (like a sentence or a clause)
duration dots
occur to the right, a single dot increases duration of a note or a rest by 1/2 it's original value, dots and ties accomplish the same thing-increasing the duration
stem direction on the middle line
up or down
stem direction below middle line
up on the right side
stem direction above middle line
down on the left side
What side are the flags on
the right, ALWAYS!
fermata
note/rest above or below will have a long, in determinant duration or indicates the conclusion of the phrase. needs not necessarily be longer in duration
Simple time
(2 and 2) beat unity (note) is undotted, beat division into 2 equal parts (quarter note into 2 eighth notes), each beat division subdivides into 2 equal parts (each eighth note into 2 16th notes)
compound time
(3 and 2) beat unit (note) is dotted, beat division into 3 equal parts (Quarter note with a dot into 3 eighth notes) , each beat division subdivides into 2 equal parts (3 eighth notes into 2 16th notes)
borrowed divisions
When a simple beat unit is divided into 3 equal parts, and when a compound beat unit is divided into 2 equal parts. (written with a 3 or a 2 over it to be sure all are in one beat)
irregular divisions/subdivisions
Any other divisions that are not borrowed or regular, does not belong to simple or compound.
M.M. (quarter note) = 60
means that 60 quarter notes that would occur in a minute's duration (each quarter note would be 1 second long)
Adaglo
(quarter note) = 60
Allegro
(quarter note) =120
Largo
(quarter note) = 45
Presto
(quarter note) =200
Adagissimo
extremely slow (#1 slowest)
Grave
slow solemn (#2 slowest)
Largo
#3 slowest
Larghetto
#4 slowest
Lento
#5 slowest
Adagio
#6 slowest
Andante
moderately slow (#7 slowest)
prestissimo
as fast as possible (#1 fastest)
presto
very fast (#2 fastest)
Allegro
#3 fastest
allegretto
#4 fastest
Moderato
#5 fastest
Andantino
somewhat quicker than andante, about walking speed (#6 fastest)
Meter
grouping of beats in two units known as measure
Duple
2 beats
triple
3 beats
quadruple
4 beats
quintuple
5 beats
Meter signatures
appear as 2 numbers, one on top of the other, tells you what equivalencies each measure will contain (3 over 4 is the equivalent of 3 quarter notes)
upper number on the simple meter signatures
refers to the number of beats
lower number on the simple meter signature
refers to the note value of the beat
most common simple meter signature
4 4, it sometimes appears as C, 2 2 is a C with a line through it
compound meter signatures
beat divisions are represented numerically, since the beat division is never a dotted note (6/8, 6 is the number of beat divisions and 8 is the beat division note -eighth note-)
Finding the original note on a compound meter signature
divide the top number by 3 and multiply the bottom number by 3 (6/8 = 3 beats and a dotted quarter note equal to 1 quarter and an 8th note)
compound signature
if the upper number of the meter signature is 6 or larger AND is evenly divisible by 3. Moderate to fast tempo. In a fast simple meter (3 beats each divisible by 2) like 3/8 or 3/16
Duple simple
number on top of the meter signature is 2
Triple simple
number on top of the meter signature is 3
Quadruple simple
number on top of the meter signature is 4
Quintuple simple
number on top of the meter signature is 5
duple compound
if the number on the top is 6 (6/3=2)
triple compound
if the number on top is 9 (9/3=3)
quadruple compound
if the number on top is 12 (12/3=4)
Beat unit half note
bottom number in the meter signature is a 2 (simple)
beat unit quarter note
bottom number in the meter signature is 4 (simple)
beat unit 8th note
bottom number in the meter signature is a 8 (simple)
beat unit 16th note
bottom number in the meter signature is a 16 (simple)
beat nuit dotted half
bottom number in the meter signature is a 4 (3/4=1/2+1/4)
beat unit dotted quarter
bottom number in the meter signature is a 8 (3/8=1/4+1/8)
beat unit dotted 8th
bottom number in the meter signature is a 16 (3/16=1/8+1/16)
Scales
a series of incremental pitches that are contained within an octave, series of diatonic step increments, usually conclude with a repeated octave at the end of the sears and we cannot omit or repeat any of the notes
Diatonic Scale
consists of a SPECIFIC pattern of whole and half steps, a basic scale is constructed by beginning on any pitch and moving in consecutive order either defending or ascending order
basic diatonic scale (7)
1. 7 basic diatonic pitches
2. 8th note in scale is octave repetition
3. no note name can be repeated
4. no note name can be omitted
5.note names occur in forward or backwards order
6. every scale will have 2 NOHS (E-F and B-C)
7. There are 7 basic scales
How do you know it's a major scale?
the natural occurring half steps occur between the scale degrees 3-7 and 7-8
Tetrachord
4 note structure, each scale is made up of 2 tetrachords (lower half and upper half of the scale)
4 configurations of a tetrachord
1. W/W/W (1-1-1)
2. W/W/H (1-1-1/2)
3. W/H/W (1-1/2-1)
4. H/W/W (1/2-1-1)
Major scale tetrachord
W-W-H (connected with a whole step) W-W-H
Tetrachords are always connected by....
a whole step
Minor Scale lower tetrachords
Lower tetrachord will ALWAYS be W-H-W.
Three variations of the upper tetrachord of a minor scale
Natural: H-W-W
Harmonic: H-1 1/2-H
Melodic: W-W-H (only ascending, descending with a natural minor)
Natural minor scale
W-H-W-W-H-W-W (half steps between 2-3 and 5-6)
Harmonic minor scale
W-H-W-W-H-1 1/2-H (natural minor scale with 7 raised by a half step)
Melodic minor scale
W-H-W-W-W-W-H (ascending only, decent returns to natural minor.) (raise the 6th and 7th by a half step from the natural)
Chromatic scale
constructed entirely of half steps, 12 half steps 13 pitches including octave repetition, both diatonic (A#-B) and chromatic (A-A#) half steps
Ascending Chromatic scale uses...
Sharps
Descending Chromatic scale uses...
flats
Whole-tone Scales
Simplest, comprised of whole steps,
How are whole-tone scales written
skipping" a letter name and switching from sharp to flat (or visa versa) so that we can reach the enharmonic spelling (e.g. C-D-E-Gb-Ab-Bb-C rather than C-D-E-F#-G#-A#-B#)
Skipped F
C-D-E-Gb-Ab-Bb-C
Skipped G
C-D-E-F#-Ab-Bb-C
Skipped A
C-D-E-F#-G#-Bb-C
Relative major and minor scales
notes occur in the same sequence, same notes, same chromatic sign, only difference is the starting and ending pitch
uppercase letters refer to...
MAJOR scales
lower case letter refer to...
minor scales
converting a MAJOR scale to a (natural) minor scale (relative minor)
go to scale degree 6 on the MAJOR scale, and this becomes scale degree 1 of the minor scale
converting a (natural) minor scale into a MAJOR scale (relative MAJOR)
to go scale degree 3 on the minor scale, and this becomes scale degree 1 on the MAJOR scale.
Parallel major and minor scales
start on the same note (not necessarily the same chromatic signs in the same place)
Major Scale Half Steps
3-4 and 7-8
Minor Scale Half Steps
2-3 and 5-6
Scale Degree 1
Tonic
Scale Degree 2
Super Tonic one whole step ABOVE tonic)
Scale degree 3
Mediant (Halfway between tonic and dominant, 3rd ABOVE tonic)
Scale degree 4
Subdominant (5th BELOW tonic)
Scale degree 5
Dominant (5th ABOVE tonic)
Scale degree 6
Submediant (3rd BELOW tonic)
Scale degree 7
Leading tone (when 1/2 step BELOW tonic-Major, harmonic and melodic minor) Subtonic (When whole step BELOW tonic - natural minor)
Pentatonic Scales
only have 5 notes plus repeated octave, standard forms tend to speed out tones of scale throughout octave
Anhemitonic Pentatonic Scale
no 1/2 steps, contains only whole step and 1 1/2 step increments
Hemitonic pentatonic scale
contain 1/2 steps, contain whole steps, contains two-whole-step leaps
Converting a MAJOR into a pentatonic
Leave out scale degrees 4 and 7 to make an anhemitonic pentatonic scale
converting a natural minor into a pentatonic
leave out scale degrees 4 and 7 to make a semitonic pentatonic scale
Intervals
The distance, space or frequency difference between 2 pitches
Melodic Intervals
if the 2 pitches are played in succession (one after the other)
Harmonic Intervals
if the 2 pitches are played simultaneously (at the same time)
Numerical Classification of Intervals
Count every line and space from one pitch up or down to another
Where do you start counting to Numerically classify an interval
on the first pitch (line or space)
Quality Classification
Perfect(P) Major(M) Minor(m) Augmented(A) Diminished(d) Doubly Augmented(AA)RARE Doubly Diminished(dd)RARE
Perfect Unison
P1: repetition or simultaneous playing of the SAME PITCH with same spelling
Perfect Octave (P8)
two tones have same spelling but are separated by distance of 12 half steps, both notes have same number and kind of chromatic signs (A1 and A2)
Counting Half Steps
1st note is always 0
Perfect Fifths (P5)
contains 7 half steps or 3.5 whole step. All basic 5ths (except b-f) are PERFECT (b-f# = perfect) both notes are on a line or on a space and you SKIP A SPACE OR SKIP A LINE
Perfect Fourths (P4)
5 half steps or 2.5 whole steps, one diatonic whole step small than P5, All basic 4ths are perfect except F-B (one note on line, one on space, SKIP ONE SPACE AND ONE LINE)
minor second (m2)
contains ONE diatonic half step, always spelled with ADJACENT letter names (C-Dflat rather than C-C#) (e-f and b-c)
MAJOR second (M2)
contains TWO half steps (one diatonic and one chromatic) or one whole step, always spelled with ADJACENT letter names (A-B, C-D, D-E, F-G, G-A)
minor Third (m3)
Contains 3 half steps or 1.5 whole steps, one half step larger than M2, skip one letter when spelling, both notes on line or space (D-F, E-G, A-C, B-D are minor)
MAJOR third (M3)
Contains 4 half steps or 2 whole steps, one half step larger than m3, one whole step larger than M2, skip one letter when spelling, both notes on line or space (C-E, F-A, G-B)
minor sixths (m6)
contain 8 half steps or 4 whole steps, one diatonic half step larger (F-Gflat rather than F-C#) than P5, span 2 NOHS, (E-C, A-F, B-G)
MAJOR sixths (M6)
Contain 9 half steps or 4.5 whole steps, one diatonic whole step larger than P5, span 1 NOHS (C-A, D-B, F-D, G-E)
minor seventh (m7)
contains 10 half steps or 5 whole steps, diatonic whole step smaller than P8 (perfect octave), diatonic half step larger than M6, 2 NOHS (D-C, E-D, G-F, A-G, B-A)
MAJOR seventh (M7)
contains 11 half steps or 5.5 whole steps, diatonic half step smaller than P8, diatonic whole step larger than M6, 1 NOHS (C-B, F-E)
All major scales contain...
M2(C-D), M3(C-E), M6(C-A), M7(C-B), P1(Same C), P4(C-F), P5(C-G), P8 (C-C)
Harmonic minor scales contain...
A-C (m3) A-F (m6) A-B (M2) A-G# (M7) P1 (Same A) A-F (P5) A-D (P4) A-A (P8)
Augmented
add to it
Diminished intervals
to take away
Unison can only be...
Augmented, NOT diminished
Augmented PERFECT
Increase by one half step (C-G to C-G#)
Diminished PERFECT
decrease by one half step (C-G to C-Gflat)
Doubly Augmented PERFECT
Increase by two half steps (C-G to C-Gx) RARE
Doubly Diminished PERFECT
Decreased by two half steps (C-G to C-Gdouble flat RARE
Perfect intervals can never be made into...
minor intervals, ONLY AUGMENTED AND DIMINISHED
Augmented MAJOR
increase by one half step (M3-A3)
MAJOR into a minor
decrease by one half step (INTO A MINOR!!) (M3-m3)
Doubly augmented MAJOR
increase by two half steps (M3-AA3)
Diminished MAJOR
decrease by TWO half steps (M3-d3)
minor into a MAJOR
increase by one half step (m3-M3)
diminished minor
decrease by one half step (m3-d3)
augmented minor
increase by TWO half steps (m3-A3)
doubly diminished minor
decrease by two half steps (m3-dd3)
Major and minor 2nds, 3rds, 6ths, and 7ths
dd-d-m-M-A-AA : if Diminished move down the line, if augmented move up the line
P1, P4, P5, P8
dd-d-P-A-AA : if Diminished move down the line, if augmented move up the line
Perfect Intervals
d-P-A
Major intervals
m-M-A
minor intervals
d-m-M
Augmented intervals
M-A-AA (2,3,6,7)
P-A-AA (1,4,5,8)
Diminished Intervals
dd-d-P
dd-d-m
Tritone
contains 3 whole steps, can be written as A4 or d5
Building/writing intervals (step 1)
determine letter-name spelling (number of lines and spaces required for the intervals) (e.g. an intervals of a 6th has a total of six lines a spaces = spans 6 letter names E-F-G-A-B-C)
Building/writing intervals (step 2)
compute quality/chromatic inflection (which chromatic inflection will bring you to the correct number of half or whole steps) (e.g. M6=9 half steps=4.5 whole steps=P5+1whole step)
Analyzing
Determine numerical classification, (number of letter names spanned/number of lines and spaces) and determine quality (count number of half steps or number of whole steps or compare to basic interval of same number and determine quality)
All basic 5ths
P except B-F (d5)
All basic 4ths
P except F-B (A4)
Major 3rds build up from...
C, F, G=M3 (C-E, F-A, G-B=M3)
minor 3rds build up from...
D, E, A, B=m3 (D-F, E-G, A-C, B-D=m3)
All basic seconds are MAJOR except...
E-F and B-C which are minor because they are NOHS
M2
Whole step
m2
Half step
Simple Intervals
numerical classification 1-8
compound intervals
numerical classification larger than 8, before analyzing, reduce to a simple interval, determine quality, spell as P11 or CP4
Determine the numerical classification of compound intervals
subtract 7 or multiples of 7 if intervals is very large (P12-7=P5 so intervals of a 12th is a compound 5th CP5) (P19-14=P5 so intervals of 19th is a doubly compound 5th CCP5) quality classification remains the same
inversion of interval
lower note becomes upper note (lower note is placed one octave higher or upper note is placed one octave lower) The numericals sum of a simple interval+inversion is always 9
quality changes in the inversion of perfect intervals
remain perfect in inversion
quality changes in the inversion of MAJOR intervals
invert to minor and vice versa
quality changes in the inversion of augmented intervals
invert to diminished and vice versa
quality changes in the inversion of doubly augmented intervals
invert to doubly diminished and vice versa
Key signatures
serve as a shorthand, comprised of sharps, or flats, or neither but never a mix.
What you need to know for a key signature
number of sharps or flats, order of sharps and flats, correct line/space placement of sharps and flats.
Order of flats
B E A D G C F
Order of sharps
F C G D A E B
Finding the MAJOR key signature (SD1) (Sharps)
find the last sharp on the right which is the leading tone of the major key, move up to the next addict line or space (this note is the tonic or keynote of the major key and a half step above the last sharp)
Finding the Major key signature (flats)
find the 2nd to last Flat. The letter name is the major key
Minor key signatures
share same key signature as RELATIVE MAJOR, All key signatures represent NATURAL MINOR, harmonic and melodic variations must be indicated by adding additional chromatic signs placed individually in music
Determine relative minor key from key signature
determine MAJOR key, Descend minor 3rd from major key note = minor key
Determine the key signature of a minor key
ascend minor 3rd from minor key note = relative major. Use key signature from relative major
Circle of 5ths
15 MAJOR keys, 15 keys, 7 with flats, 7 with sharps, 1 with neither flats nor sharps (CM, am)
Method 2 or determining sharp keys
find last sharp to right, move up m2 to find major key, move down M2 to find minor key
Method 2 for determining flat keys
find last flat to right, if space-move up to next space for minor key, if space-move up 2 paces for MAJOR key, if line-move up to next line for minor key, if line-move up 2 lines for MAJOR key
Chord
Any 3 or more different notes sounded at the same time
Triad
is a chord built by combining notes that are a M3 or a m3 apart (M3M3, M3m3,m3M3,m3m3)
Three notes of a triad
Root 3rd-5th
Root Position
you must skip one letter name between each note of triad (C-E-G, D-F-A, E-G-B, F-A-C, G-B-D, A-C-E, B-D-F)
major triad
Perfect 5th from bottom to top, root to 3rd is a M3 and from the 3rd to the 5th is a m3 (M3m3)
minor triad
Perfect 5th from bottom to top, root to 3rd is a m3 and from the 3rd to the 5th is a M3 (m3M3)
Augmented triad
Augmented 5th from bottom to top, root to 3rd is a M3 and from the 3rd to the 5th is a M3 (M3M3)
Diminished triad
Diminished 5th from bottom to top, root to 3rd is a m3 and from the 3rd to the 5th is a m3 (m3m3)
Major triad to minor triad
Drop the 3rd
Major triad to augmented triad
raise the 5th
Major triad to diminished triad
drop both the 3rd and the 5th
Group 1 of seven basic triads
(Snowman all built with white notes, Major without inflection) C-E-G, F-A-C, G-B-D
Group 2 of seven basic triads
(Hamburgers white-black-white on the piano. raise the 3rd to make it major) D-F-A, E-G-B, A-C-E
Group 3 of seven basic triads
)Open-faced double burgers white-black-blac on the piano, raise the 3rd and the 5th to make a major) B-D-F
Diatonic triads-major key
Scale degree 1(C)=M 2(D)=m 3(E)=m 4(F)=M 5(G)=M 6(A)=m 7(B)=diminished
Diatonic triads-minor key
Scale degree 1=m 2=d 3=A 4=m 5=M 6=m 7=d
triad: major to minor
lower 3rd of triad one half step
triad: major to augmented
raise 5th of triad one half step
triad: major to diminished
lower 3rd and 5th of triad one half step each
triad: minor to major
raise 3rd of triad one half step
triad: minor to diminished
lower 5th of triad one half step
triad: minor to augmented
raise 3rd and 5th of triad one half step
Root position
When the lowest note of the chord is on a space or a line
first inversion
3rd of the triad is the lowest note, and the root is moved an octave higher. Intervals are (rather than 3 and 5) are 3rd and 6th.
symbol for 1st inversion
6
3
second inversion
5th is the lowest note and the root and 3rd are moved up an octave, the intervals are 4th and 4th
symbol for 2nd inversion
6
4
Diatonic Triads in MAJOR
supply correct key signature, write the major scale, write two 3rds vertically above each scale degree, analyze with Roman numerals, chord symbols, or both
diatonic triad in major using roman numerals
upper case
diatonic triad in minor using roman numerals
lower case
diatonic triad diminished
lower case with superscript o
diatonic triad augmented
upper case with superscript +
Diatonic triad MAJOR key roman numerals
I ii iii IV V vi vii0 I
Diatonic triad in minor keys (harmonic)
raise the 7th scale degree one half step. Most compositions use harmonic minor scales i ii0 III+ iv V VI vii0 i
Diatonic triad in minor (natural)
NO raised 7th scale degree i ii0 III iv v VI VII i
Primary triads SD 1: Tonic
free to move to any other chord, chord of response (final chord)
Primary triads SD 4: subdominant
resolve to dominant (SD 5), may also resolve to tonic (SD 1)
Primary triads SD 5: Dominant
Resolve to SD 1 (tonic)
Secondary triad SD 6 (submediant)
substitutes for SD 1 (tonic) Major: I-vi Minor: i-VI
Secondary triad SD 2 (supertonic)
substitutes for SD 4 (subdominant) Major: IV-ii minor: iv-ii0
Secondary triad SD 3 (Mediant
substitues for SD 5 (dominant) Major: V-iii minor: V-III
Secondary triad SD 7 (leading tone)
substitues for SD 5 (dominant) Major or minor: V-vii0
Primary and related secondary triads share...
2 common tones (I: CEG => vi ACE)
often the secondary triad is used...
in place of the repeated primary triad (I vi IV V I)
It is common for triads to do what in chord progressions
be repeated ( I I IV V I)