white oak high school mr. morton -...

White Oak High School – Mr. Morton

Tonal Harmony Chapters 1-4

THE KEYBOARD AND OCTAVE REGISTERS

Pitch: refers to the highness and lowness of

sound

Musical Alphabet

7 pitches: A, B, C, D, E, F, G

The Keyboard

88 total keys

C nearest the middle of the keyboard is known as

“Middle C” or C4.

Hint: Left of every set of 2 black keys is “C”

Left of every set of 3 black keys is “F”

C4/middle C

Octave: the distance of 8 diatonic steps or

12 half steps; distance from one note up or

down to its next occurrence (i.e. C4 to C5,

G4 to G5, Bb4 to Bb5, etc.)

Notation on the Staff

Staff: arrangement of 5 lines and 4 spaces that can

be extended through the use of ledger lines

▪ Indicates the precise pitch desired

Staff

Ledger Lines

Notation on the Staff

Clef: symbol which indicates which pitches are to

be associated with which lines and spaces

▪ 4 clefs: treble, bass, alto, tenor

Clef

How do you identify note names quickly?

Relate everything back to home base (i.e. treble clef)

For Bass Clef: What is the note on the line or space

above current note in treble clef?

For Alto Clef: What is name of the note in the space

or on the line above the current note in treble clef?

For Tenor Clef: Depending on the location of the

note, what is name of the note in the space or on the

line below the current note in treble clef?

Grand Staff: combination of two staves

joined by a brace, with the top and bottom

staves using treble and bass clefs, respectively

Independent Practice (in class)

Complete Self-Test 1-1 in Tonal Harmony

Textbook

Create flash cards for one clef of difficulty

Independent Practice (at home)

Complete Exercise 1-1 in Tonal Harmony

Workbook

Ricci Adam’s MusicTheory.net

Tonal Harmony Chapters 1-4

THE MAJOR SCALE

Notation

Music is a form of communication

Very important to have clean and correctly written

manuscript

Music cannot be played or distinguished if it

cannot be read, or if the rules for notation are not

followed

“Standard Practice of Music Notation” (PDF)

The Major Scale

Major Scale: a specific pattern of half steps and

whole steps encompassing an octave

Major Scale Pattern: W-W-H-W-W-W-H

The Major Scale

Half Step: the distance from a key on the piano

to the very next adjacent key, white or black

The Major Scale

Using only white keys, there are only 2 half steps in

each octave.

H H

The Major Scale

Whole Step: the distance between two non-

adjacent keys; equals 2 half-steps

The Major Scale

Using only white keys, there are only 5 whole

steps in each octave.

W W W W W

C Major Scale

Note

Name

C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

H H W W W W W

C Major Scale

W W

H H

W W W

What happens if we examine the steps on the

white keys from G to G? Is it the same pattern?

W W

H H

W W W

Accidental: symbol that raises or lowers a pitch

by a half or whole step

Ascend/Go Higher: use a sharp

Descend/Go Down: use a flat

X Double sharp Raises a whole step

# Sharp Raise a half step

Natural Cancel a previous accidental

b Flat Lower a half step

bb Double flat Lower a whole step

How do you write a major scale?

Write or notate the pitches for the scale that is to be written

(i.e. G, A, B, C, D, E, F, G)

Write the major scale pattern between the note names or

pitches.

Using the keyboard template, follow the major scale pattern

adjusting pitches as needed with a sharp or flat.

▪ Remember to not mix sharps with flats or vice versa

G Major Scale

Note

Name

G A B C D E F# G

Scale

Degree #

1 2 3 4 5 6 7 8/1

H H W W W W W

Independent Practice (in class)

Complete Self-Test 1-2 (Part A) in Tonal

Harmony Textbook

Independent Practice (at home)

Complete Exercise 1-2 (Part A) in Tonal

Harmony Workbook

Tonal Harmony Chapters 1-4

THE MINOR SCALE

The Minor Scale

3 Different Types of Minor Scales

▪ Natural Minor

▪ Harmonic Minor

▪ Melodic Minor

2 Ways of Writing Minor Scales

▪ Parallel: major and minor keys that share the same

starting note

▪ Relative: major and minor keys that share the same key

signatures

Natural Minor (lowered 3rd, 6th, 7th)

Minor Scale Pattern: W-H-W-W-H-W-W

This is an example of a parallel minor key

C Major C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

C Natural

Minor

C D Eb F G Ab Bb C

H

H W W W W W

Harmonic Minor (lowered 3rd, 6th)

Minor Scale Pattern: W-H-W-W-H-A2-H

This is an example of a parallel minor key

C Major C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

C Harm.

Minor

C D Eb F G Ab B C

H

H W A2 W W H

Melodic Minor (lowered 3rd ascending)

Minor Scale Pattern: W-H-W-W-W-W-H (asc.)

Descending form is the same as natural min.

(lower 3,6,7)

C Major C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

C Melodic

Minor

C D Eb F G A B C

H

W W W W W H

Parallel Minor Scales (in a nutshell)

*Only use for

Parallel Minor

*Use for both Parallel

and Relative Minor Keys

Natural Minor Lower 3, 6, 7 W-H-W-W-H-W-W

Harmonic Minor Lower 3, 6 W-H-W-W-H-A2-H

Melodic Minor Lower 3 (asc.)

Lower 3,6,7 (desc.)

W-H-W-W-W-W-H

Natural Minor

Minor Scale Pattern: W-H-W-W-H-W-W

This is an example of a relative minor key (use

same key signature)

C Major C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

A Natural

Minor

A B C D E F G A

H

H W W W W W

Harmonic Minor (raised 7th)

Minor Scale Pattern: W-H-W-W-H-A2-H

This is an example of a relative minor key (use

same key signature)

C Major C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

C Harm.

Minor

A B C D E F G# A

H

H W A2 W W H

Melodic Minor (raised 6th and 7th)

Minor Scale Pattern: W-H-W-W-W-W-H (asc.)

Descending form is the same as natural minor

form (lower 6, 7)

C Major C D E F G A B C

Scale

Degree #

1 2 3 4 5 6 7 8/1

A Melodic

Minor

A B C D E F# G# A

H

W W W W W H

Relative Minor Scales (in a nutshell)

*Only use for

Relative Minor

*Use for both Parallel

and Relative Minor Keys

Natural Minor Key Signature W-H-W-W-H-W-W

Harmonic Minor Raise 6 W-H-W-W-H-A2-H

Melodic Minor Raise 6, 7 (asc.)

Lower 6, 7 (desc.)

W-H-W-W-W-W-H

Parallel vs. Relative

Sometimes it is better to write using a relative approach since a#, d#, and g# minor do not have parallel major keys.

It is important to remember that when you use the relative approach, the key signature for any minor scale conforms to the natural minor scale and that accidentals MUST be used to spell the other forms (i.e. harmonic and melodic)

How do you write minor scales from a parallel major key?

Write or notate the pitches of the scale of the major key (i.e. A, B, C#, D, E, F#, G#, A).

▪ Make sure you have the correct key signature/accidentals.

Ask yourself which notes are going to be lowered, depending upon the type of minor scale (i.e. natural, harmonic, melodic).

Alter the accidentals of the major scale accordingly.

NOTE: For melodic minor, write the descending form of the scale in the natural minor form.

How do you write minor scales from a relative major key? Determine the starting pitch of the minor scale, or of the

major key. ▪ Minor 3rd (3 half steps) below

▪ To find out the major key from the minor, you need to go a Minor 3rd (3 half steps) above

Write the scale being asked and transfer the major scales key signature.

Ask yourself which notes are going to be raised/not raised, depending upon the type of minor scale (i.e. natural, harmonic, melodic).

NOTE: For melodic minor, write the descending form of the scale in the natural minor form.

Independent Practice (in class)

Complete Self-Test 1-3 (Part A) in Tonal

Harmony Textbook

Independent Practice (at home)

Complete Exercise 1-3 (Part A & B) in Tonal

Harmony Workbook

Tonal Harmony Chapters 1-4

MAJOR KEY SIGNATURES

Major Key Signatures

One way to learn major scales is by the means of

the pattern of whole and half steps discussed

earlier.

Another is by memorizing the key signatures

associated with the various scales

Major Key Signatures

Key: term used in music to identify the first

degree of a scale (i.e. the key of G major refers to

the major scale that begins on G)

Key Signature: a pattern of sharps or flats that

appears at the beginning of a staff (and indicates

that certain notes are to be consistently raised or

lowered)

▪ 7 sharp and 7 flat key signatures

Major Key Signatures

Key Signature:

Major Key Signatures

Major Key Signatures

There are 3 pairs of major keys that would sound

exactly the same (i.e. played on the very same keys

of the keyboard)

▪ B Major = Cb Major

▪ F# Major = Gb Major

▪ C# Major = Db Major

Enharmonic: notes that are spelled differently,

but sound the same (same note, different name)

Major Key Signatures

Major Key Signatures

If two keys are not enharmonic, then they are

transpositions of each other

Transpose: to write or play music in some key

other than the original

Major Key Signatures

All key signatures must be memorized (both the

number of accidentals and the order and

placement on the staff)….GEE WHIZ!

Order of Sharps: F-C-G-D-A-E-B

▪ “Fred Can Get Down After Eating Breakfast”

Order of Flats: B-E-A-D-G-C-F

▪ “BEAD Greatest Common Factor”

Notation of Key Signatures in Clefs

Major Key Signatures

Circle of Fifths: a diagram like the face of a clock

that aids in the memorization of key signatures.

Each new key in the Circle of Fifths begin on the

fifth scale degree (5) of the previous key

The circle's design is helpful in composing and

harmonizing melodies, building chords, and moving

to different keys within a composition.

How to identify and name key signatures?

Sharp Keys: raise the last sharp of the key

signature 1 half step

Flat Keys: the next-to-last flat of the key

signature gives you the name of the major key

▪ EXCEPTION: F major (only has 1 flat in the key

signature)

How to write key signatures?

2 Methods

▪ Order of Sharps or Flats

▪ Circle of Fifths

Order of Sharps and Flats

Write the Order of Sharps and Flats ▪ FCGDAEB

▪ BEADGCF

Ask yourself, “Is this a sharp or flat key?”

Find out the number of flats or sharps in the key being asked by looking at the Order of Sharps or Flats.

Write the key signature on the staff following “The Order” until you have the desired number of flats/sharps

Double-check by using the method of identifying key signatures.

EXAMPLE

Circle of Fifths

Draw the Circle of Fifths

Ask yourself, “Is this a sharp or flat key?”

Find out the number of flats or sharps in the key being asked by looking at the Circle of Fifths.

Write the key signature on the staff following the Order of Sharps or Flats until you have the desired number of flats/sharps

Double-check by using the method of identifying key signatures.

EXAMPLE

How do I apply this to writing a major scale?

Write or notate the pitches of the desired scale.

Find out the key signature of the desired scale.

Apply key signature to the appropriate notes in

the scale.

▪ This alleviates the tedious/slow method of using the

major scale pattern (WWHWWWH)

BAM! You’re Done!

EXAMPLE

Independent Practice (in class)

Complete Self-Test 1-2 (Part B & C) in Tonal

Harmony Textbook

Independent Practice (at home)

Complete Exercise 1-2 (Part B, C, & D) in

Tonal Harmony Workbook

Tonal Harmony Chapters 1-4

MINOR KEY SIGNATURES

Minor Key Signatures

Conform to the natural minor scale, no matter

which minor scale type is actually in use

The Circle of Fifths is a convenient way to display

names of the minor keys and their relative

majors, as well as their key signatures

How to write minor key signatures?

You can use the same 2 methods! WOW!

▪ Order of Sharps or Flats

▪ Circle of Fifths

Order of Sharps and Flats Write the Order of Sharps and Flats

▪ FCGDAEB

▪ BEADGCF

Count up 3 half steps from the note of the minor key signature being asked to find the relative major key and its key signature

Ask yourself, “Is this a sharp or flat key?”

Find out the number of flats or sharps in the key being asked by looking at the Order of Sharps or Flats.

Write the key signature on the staff following “The Order” until you have the desired number of flats/sharps

Double-check by using the method of identifying key signatures and counting down 3 half steps.

EXAMPLE

Circle of Fifths Draw the Circle of Fifths

▪ Start “A” on 0 and count up and down to fill in circle with minor key names

Ask yourself, “Is this a sharp or flat key?” (right vs. left side)

Find out the number of flats or sharps in the key being asked by looking at the Circle of Fifths.

Write the key signature on the staff following the Order of Sharps or Flats until you have the desired number of flats/sharps

Double-check by using the method of identifying key signatures and counting down 3 half steps

EXAMPLE

Independent Practice (in class)

Complete Self-Test 1-3 (Part B & C) in Tonal

Harmony Textbook

Independent Practice (at home)

Complete Exercise 1-3 (Part C, D, & E) in Tonal

Harmony Workbook

Tonal Harmony Chapters 1-4

INTERVALS – MAJOR, MINOR, PERFECT

Intervals

Interval: measurement of the distance in pitch

between two notes

Intervals

Harmonic Interval: created when two notes

are played at the same time

Melodic Interval: created when two notes are

played successively

Intervals

2 Parts to an Interval Name

▪ Numerical Name (i.e. 1, 2, 5, 7, etc.)

▪ Modifier/Quality that Precedes the Numerical Name (i.e.

Major, Minor, Perfect, etc.)

Intervals

Unison: term used for an interval of 1

Octave: term used for an interval of 8

We refer to interval of 2 as 2nd, 3 as 3rd, 4 as 4th,

etc.

Simple Interval: interval smaller than an octave

Compound Interval: interval an octave or

larger

INDEPENDENT PRACTICE

Learning Modifiers for Intervals

Easiest way is to relate modifiers to the intervals

contained in the major scale, from scale degree 1

up to the other scale degrees

Modifiers/Quality (applies to compound intervals)

▪ Perfect (P): unison, 4th, 5th, octaves (8ves)

▪ Major (M): 2nd, 3rd, 6th, 7th

▪ Minor (m): 2nd, 3rd, 6th, 7th

Any major scale will have the same type of intervals.

This will be different for minor scales.

How to identify intervals?

Numerical Name

▪ Count the distance between the two pitches starting with the

bottom note.

Quality

▪ Find out the major key signature of the bottom note.

▪ This is one reason why you should know your key signatures!

▪ Ask yourself if the top note occurs in the given scale. If so,

apply quality for given scale degree (i.e. P, M, m, etc.)

▪ If not, ask yourself how the top note has been altered (raised,

lowered, etc.) and apply appropriate quality.

Augmented

Major

Minor

Diminished

Augmented

Perfect

Diminished

1/2 Step

1/2 Step

1/2 Step

1/2 Step

1/2 Step

How to write intervals?

Top Note

▪ Count, alphabetically, the distance from the bottom note up to

the desired interval and notate this pitch

Quality of the Top Note

▪ Find out the major key signature of the bottom note.

▪ This is one reason why you should know your key signatures!

▪ Ask yourself if the top note occurs in the given scale. Does

the top note fit the interval being asked?

▪ If not, ask yourself how the top note can be altered (raised,

lowered, etc.) to match the appropriate quality.

Independent Practice (in class)

Complete Self-Test 1-5 (Part B & C) in Tonal

Harmony Textbook

Independent Practice (at home)

Complete Exercise 1-5 (Part A, B, & C 1-20) in

Tonal Harmony Workbook

Tonal Harmony Chapters 1-4

INTERVALS – AUGMENTED, DIMINISHED, INVERSIONS

Additional Intervals

Augmented (A or +): when a major or perfect interval is raised one half step

Diminished (d or o): when a perfect or minor interval is lowered one half step

Tritone: term used for an augmented 4th or its enharmonic equivalent, the diminished 5th

No such thing as a diminished unison!

Doubly augmented and doubly diminished intervals are possible but rare

Identifying/Writing Augmented and

Diminished Intervals

Same process as Major, Minor, and Perfect Intervals

It’s simple as long as you know the relationship

between intervals…

EXAMPLES

Augmented

Major

Minor

Diminished

Augmented

Perfect

Diminished

1/2 Step

1/2 Step

1/2 Step

1/2 Step

1/2 Step

NAME THAT TUNE!!

Interval Inversion

Interval Inversion: inverting an interval to

where the lower note become the upper note, or

vice versa

▪ Numerical Name will change

▪ Modifier will change, EXCEPT for Perfect

intervals

Interval Inversion

New numerical name can be calculated by

subtracting current interval from 9

▪ Example: 9 – 2 (current interval)= 7 (new interval name)

Modifiers

Old Modifier m M P + o

New Modifier M m P o +

Interval Inversion

In tonal music, some harmonic intervals are

considered to be consonant and dissonant

Consonant: pleasing to the ear

▪ Major/Minor 3rd, 6th

▪ Perfect 4th, 5th, 8ves

Dissonant: not pleasing to the ear

▪ All other harmonic intervals, except P4 (considered

dissonant only when it occurs above the bass)

Independent Practice (in class)

Complete selected exercises from Self-Test 1-6

in Tonal Harmony Textbook

Independent Practice (at home)

Complete Exercise 1-6 in Tonal Harmony

Workbook

Tonal Harmony Chapter 28

THE DIATONIC MODES & SYNTHETIC SCALES

The Diatonic Modes (The 7 Church Modes)

Mode: refers to a type of scale with a set of

characteristic melodic behaviors

Tradition used during music of the Middle Ages

Inspired by the theory of Ancient Greek music

Modes were have thought to impart/evoke certain

“characters” in people

The Diatonic Modes (The 7 Church Modes)

Simplest way to represent each of the diatonic

modes is by using the tones of the C Major scale,

with a tone, other than C, serving as the tonal

center for each mode

Each mode has distinctively marked half steps which classifies it as a certain mode

Ionian: 3-4, 7-8 (major scale)

Dorian: 2-3, 6-7

Phrygian: 1-2, 5-6

Lydian: 4-5, 7-8

Mixolydian: 3-4, 6-7

Aeolian: 2-3, 5-6 (natural minor scale)

Locrian: 1-2, 4-5

Each mode has distinctively marked half steps which classifies it as a certain mode

Ionian: 1,2,3,4,5,6,7,8

Lydian: 1,2,3,#4,5,6,7,8

Mixolydian: 1,2,3,4,5,6,b7,8

Aeolian: 1,2,b3,4,5,b6,b7,8

Dorian: 1,2,b3,4,5,6,b7,8

Phrygian: 1,b2,b3,4,5,b6,b7,8

Locrian: 1,b2,b3,4,b5,b6,b7,8

Primarily Major

Primarily Minor

How to create a scale for a specific mode?

Ask yourself, “Is this a primarily major or minor

mode?”

Apply the accidentals for the major or minor

(b3,b6,b7) scale.

Apply the appropriate accidentals according to the

mode being asked to create (i.e. Lydian, #4)

Ionian and Aeolian modes are identical to

major and natural minor scales, respectively

All other modes (except Locrian) may be likened

to either major or natural minor with one

alteration

Modes can be transposed to any of the 12 major

keys

The modes help to show the relationship between

the different scales based on the half steps

Best examples of modal melodies are found in

the folk music of certain countries

England, Balkan, and Slavic nations

Interest in modes has resurfaced in various

periods of music

Impressionism (Debussy, Ravel)

Today (Jazz and Rock Music)

The Pentatonic Scale

Five note scales have played a significant role in

music, especially non-Western Music

Pentatonic: literally denotes any five-note scale

Three major pentatonic scales:

▪ Major Pentatonic

▪ Minor Pentatonic

▪ Hirajoshi

Major Pentatonic (no half steps or tritones) C-D-E-G-A-C

2 2 3 2 2 Minor Pentatonic

C-Eb-F-G-Bb-C

3 2 2 3 2 Hirajoshi

C-D-Eb-G-Ab-C

2 1 4 1 4 All 3 pitch collections may be be viewed as

subset of a diatonic scale

Synthetic Scales

Pitch collections thus far have been a clear

resemblance to scales or fragments of scales

Composers also make extensive use of synthetic

scales…limited only by the composer’s imagination

Three Interesting

▪ Whole-Tone Scale

▪ Octatonic Scale

▪ Hexatonic Scale

The Whole-Tone Scale

Composed entirely of adjacent Major 2nds (or

whole tones)

Juxtaposition of 2 augmented triads

Only allows for intervals of a M2, M3, and Tritone

▪ Creates an elusive, tonally ambiguous quality

Used widely by Debussy

The Octatonic Scale

Derived from the juxtaposition of two traditional sonorities (2 diminished 7th chords)

Repeated series of half-whole or whole-half step successions

▪ W-H-W-H-W-H-W or H-W-H-W-H-W-H

▪ Whether you begin on C or Db, the same collection of notes results

Employed by the Russian Five

▪ Scriabin, Stravinsky, Bartók, Debussy, Messiaen

The Hexatonic Scale

Six-note collection derived from the juxtaposition

of 2 augmented triads at the interval of a half step

Created through a succession of half step/minor

thirds or minor third/half steps

▪ 1/2-m3-1/2-m3-1/2-m3 or m3-1/2-m3-1/2, etc.

Independent Practice (in class)

Complete Self-Test 28-1 (Part B & C 1-3) in

Tonal Harmony Textbook

Independent Practice (at home)

Complete Exercise 28-1 (B & C 1-3) in Tonal

Harmony Workbook

Tonal Harmony Chapters 1-4

RHYTHM, DURATION, BEAT, & METER

Rhythm: the organization of music in time

using long and short note values

Durational Symbols

Whole Note/Rest

Half Note/Rest

Quarter Note/Rest

Eighth Note/Rest

Sixteenth Note/Rest

Durations other than these can be initiated

through the following:

Tie: a curved line that connects two notes of the

same pitch, creating a new duration equal to their

sum

Dot: symbol that adds to the duration one-half

the value of the note, rest, or dot that precedes it

Do we know how to count these types of

rhythms?

Whole Note: 1 2 3 4

Half Note: 1 2 3 4

Quarter Note: 1 2 3 4

Eighth Note: 1 + 2 + 3 + 4 +

Sixteenth Note: 1 e + a 2 e + a 3 e + a 4 e + a

Beat and Tempo

Beat: the basic pulse of a musical passage

▪ How do you find it?

▪ Tap your foot to the music

▪ Imagine the way a conductor would conduct the passage

Beat and Tempo

Tempo: the rate at which the beats occur

▪ Two Methods of Specifying Tempo

▪ Words (often in Italian)

▪ Beats Per Minute (M.M. Quarter = 72)

▪ M.M. stands for Maelzel’s Metronome, after Johann

Maelzel, who widely promoted the device in the early

19th century

Meter

Beats tend to be grouped into consistent patterns

Meter: recurring pattern of strong and weak beats

▪ Groups of 2, 3, and 4 most common

Measure (m. or mm.): a unit of musical time set off by bar lines, consisting of a given number of beats

Bar Line: vertical line that divides measures or bars

Meter

The words duple, triple, and quadruple are used to

refer to the number of beats in each measure, as in

duple, triple, and quadruple meter

Metric Accent: pattern of stresses found in each

meter

Meter Summarized

Grouping Meter Metric Accent

2-Beat Measure Duple Strong-Weak

3-Beat Measure Triple Strong-Weak-Weak

4-Beat Measure Quadruple Strong-Weak-Less Strong-Weak

IS IT DUPLE, TRIPLE, OR QUADRUPLE?

Text a CODE to 37607

Answer Choice CODE

A. Duple 478589

B. Triple 478590

C. Quadruple 478591

D. Neither 478592

Independent Practice (in class)

Complete Self-Test 2-1 (Part A & B) in Tonal

Harmony Textbook

Independent Practice (at home)

Complete Exercise 2-1 in Tonal Harmony

Workbook

Tonal Harmony Chapters 1-4

BEAT DIVISION, SIMPLE/COMPOUND TIME

Division of the Beat: durations that are

shorter than the beat

Beat divided into 2 or 3 equal parts

Simple Beat: beat divided into 2 equal parts

Compound Beat: beat divided into 3 equal parts

Do not confuse beat type (i.e. how the beat

divides – simple/compound) with meter type (how

the measure divides – duple, triple, quadruple)

Common Beat and Meter Types

METER

Beat Duple Triple Quadruple

Simple Simple Duple Simple Triple Simple

Quadruple

Compound Compound

Duple

Compound

Triple

Compound

Quadruple

Examples

Sing “Take Me Out to the Ball Game”

▪ What type of meter?

“Amazing Grace”

“Silent Night”

“Jingle Bells”

Time Signatures

Time Signature: a sign placed at the beginning

of a piece, section, or measure to indicate the

meter

A time signature tells us…

▪ How many beats occur in each measure?

▪ What note value will represent the beat?

▪ Is the beat simple or compound?

Simple Time Signatures

Have a 2, 3, or 4 as the top number

Top numbers indicates the number of beats in each measure

Bottom number indicates the beat note

▪ 2 = half note

▪ 4 = quarter note

▪ 8 = eighth note

▪ 16 = sixteenth note

Division of the beat can be found by taking the bottom note and dividing it in half

Simple Time Signatures

Example 2-1 in textbook

Independent Practice (as a class)

▪ Self-Test 2-3 (Part A)

Compound Time Signatures

If the beat divides into 3 parts, the note value

representing the beat will be a dotted value

Represent a problem when it comes to time

signatures

Compound time signature informs the musician

of…

▪ The number of divisions of the beat in a measure

▪ The division duration

Compound Time Signatures

Top number of a compound time signature will a 6,

9, or 12

▪ Why? Because 2 beats times 3 divisions equals 6, 3 beats

times 3 divisions equals 9, etc.

Bottom number does NOT indicate the beat note,

but the division of the beat

▪ Remember, the beat note will be a dotted note value

Compound Time Signatures

Do not follow common rule of time signatures

discussed earlier

There are some pieces where there may be 6

beats in a measure, but such a piece is not in

compound duple

▪ Really sounds like 2 measures of 3/4

▪ In these cases the division value becomes the beat value

▪ Opposite sometimes happens where beat value becomes the

division value (i.e. waltz or scherzo)

Compound Time Signatures

Example 2-2 in textbook

Independent Practice (as a class)

▪ Self-Test 2-4 (Part A)

IS IT DUPLE, TRIPLE, OR QUADRUPLE? SIMPLE OR COMPOUND?

Text a CODE to 37607

Answer Choice CODE

A. Simple Duple 491775

B. Simple Triple 491776

C. Simple Quadruple 491777

D. Compound Duple 491782

E. Compound Triple 491783

F. Compound Quadruple 491788

Other Durational Symbols

When rhythms are notated it is customary to use

rests, beams, ties, and dots

▪ Written in a way that emphasizes (rather than obscure)

the metric accent and individual beat

Sometimes it is correct to notate rhythms so as to

obscure the metric accent, when desired

▪ Syncopation: rhythmic figures that stress normally

weak beats or divisions

Other Durational Symbols

Grouplet (or tuplet): the division of an

undotted value into some number of equal parts

other than 2, 4, 8, etc.

▪ or the division of a dotted value into some number of

equal parts other than 3, 6, 12, etc.

EXAMPLE on pg. 37

Note value of a grouplet is determined by the next

longer available note value

Other Durational Symbols

Stems:

▪ Stem should go up if note is below the middle line of the

staff

▪ Stem should go down if the note is above the middle line

of the staff

▪ Stem can go either way on the middle line

Other Durational Symbols

Beam: used to connect durations shorter than a

quarter note, when the durations occur within the

same beat

▪ Direction of stem is based on the note that is farthest

from the middle line

▪ Follow stem rule based on the farthest note from middle line

Independent Practice (at home)

Complete Exercise 2-2 and 2-3 in Tonal Harmony

Workbook

Tonal Harmony Chapters 1-4

SOLFÉGE & SIGHT-SINGING

Solfége: pedagogical solmization technique for

the teaching of sight-singing in which each note

of the score is sung to a special syllable

Origin

11th-Century Music Theorist, Guido of Arezzo

Developed 6-note ascending scale

▪ Ut, re, mi, fa, sol, la (7th note “si” added shortly after)

▪ Names taken from first verse of Latin hymn, Ut queant laxis

▪ “Ut” eventually changed to “do,” and “si” eventually changed

to “ti” so every note would have different syllable

Hand Symbols Borrowed from the teachings of Curwen

Performed during singing exercises to provide a visual aid

Technique assigns to each scale degree a hand sign that shows its particular tonal function ▪ “Do,” “mi,” and “so” are stable in appearance

▪ “Fa” and “ti” point in the direction of “mi” and “do” respectively

▪ Likewise, the hand sign for “re” suggests motion to “do,” and that of “la” to “so”

▪ Kodály added to Curwen’s hand signs upward/downward movement, allowing to see height/depth of pitch

Methods:

Moveable “Do”

▪ Each solfége syllable corresponds to a scale degree, and

NOT a pitch

▪ Accidentals affect syllables

▪ If a piece modulates to another key, syllables must change

Fixed “Do”

▪ Each solfége syllable corresponds to a certain pitch

▪ Accidentals do not affect the syllable

Tonal Harmony Chapters 1-4

TRIADS & INVERSIONS

Tonal harmony makes use of tertian (built of

3rds) chords

Fundamental tertian sonority is the triad

Triad: three note chord consisting of a 5th and

two superimposed 3rds

▪ Fifth (5th)

▪ Third (3rd)

▪ Root

Four possible ways of combining major and

minor 3rds to produce a tertian triad

M3 + M3: Augmented triad

M3 + m3: Major triad

m3 + M3: Minor triad

m3 + m3: Diminished triad

Triad Inversions

Triads we have seen have been notated with the

root as the lowest tone

In a musical context, any part of a chord

may appear as the lowest tone

Triad Inversion (MusicTheory.net)

Triad Inversions

Root Position: Root of the chord is the lowest

note

First Inversion: Third of the chord is the lowest

note

Second Inversion: Fifth of the chord is the

lowest note

How to figure out the name and quality of a triad?

Does the chord appear to be in root position? If so, the name of the chord is the root note.

▪ If not, one must determine the root note of the chord

▪ It will help to spell the chord in root position (especially for next step)

Find the quality of the interval between the two superimposed thirds

▪ Use chart to determine quality

EXAMPLE

Independent Practice (in class)

Complete Self-Test 3-1 (Part B: 1-4), (Part D:

2-5) in Tonal Harmony Textbook

Independent Practice (at home)

Complete Exercise 3-1 (Part C: 1-7), (Part D:

1-7) in Tonal Harmony Workbook

Tonal Harmony Chapters 1-4

SEVENTH CHORDS & INVERSIONS

If we add another 3rd on top of the 5th of a

triad, the result is a four-note chord

The distance from the root to the added note

is some kind of seventh

Seventh (7th)

Fifth (5th)

Third (3rd)

Root

There are many more seventh chord types

than triads; however we will only become

familiar with 5

Major Triad + M7: Major Seventh (M7)

Major Triad + m7: Major-minor Seventh (Mm7)

▪ Also known as a Dominant 7th

Minor Triad + m7: Minor-minor Seventh (m7)

Dim. Triad + m7: Half-diminished Seventh (ø7)

Dim. Triad + d7: Full-diminished Seventh (o7)

Seventh Chord Inversions

Seventh chords we have seen have been notated

with the root as the lowest tone

In a musical context, any part of a chord

may appear as the lowest tone

Seventh Chord Inversion (MusicTheory.net)

Triad Inversions

Root Position: Root of the chord is the lowest

note

First Inversion: Third of the chord is the lowest

note

Second Inversion: Fifth of the chord is the

lowest note

Third Inversion: Seventh of the chord is the

lowest note

Independent Practice (in class)

Complete Self-Test 3-2 (Part A: 1-4), (Part B:

3-6) in Tonal Harmony Textbook

Independent Practice (at home)

Complete Exercise 3-2 (Part A, B, C: 1-6) &

Exercise 3-3 (Part A 1-6) in Tonal Harmony

Workbook

Tonal Harmony Chapters 1-4

FIGURED BASS & INVERSION SYMBOLS

In analyzing music, we often use numbers to

indicate the bass position of chords

We do not use 1, 2, or 3 to represent inversions

Utilize Baroque system called figured bass or

thoroughbass

Figured Bass: method of abbreviated notation

used in the Baroque era to identify chords

Figured Bass

During the Baroque, the keyboard player in an

ensemble would read from a part consisting only of a

bass line and symbols indicating the chord to be played

Numbers/symbols represented intervals above the

bass to form the chord, which could be played in any

octave

System dealt only with intervals and not the roots of

chords, since the theory of chord roots had not been

devised

Figured Bass

Keyboardist would follow the key signature unless told to do otherwise ▪ Accidental next to an arabic numeral could be used to raise

or lower a note

▪ 7b, 3#

▪ An accidental by itself always referred to the 3rd above the bass and could be used to alter the 3rd

▪ #, b

▪ A slash (/) or plus (+) sign in connection with an arabic numeral meant to raise that note

▪ 4+

Figured Bass and Music Theory

A few figured bass symbols have been adopted for

use in harmonic analysis

Bass Position Symbols: figured bass symbols

accompanied with Roman numerals

▪ Known as Roman Numeral Analysis (next chapter)

Parallels and contrasts between figured bass and

lead sheet symbols in Jazz/Pop music

Inversion Hotline (664) 765-4342

How to recognize chords in various textures and

apply bass position symbols?

Write down the notes of the chord. If a note is

repeated, you only need to write it down once.

Rearrange the chord to where it is in root position, or

built in 3rds.

Find the quality of the chord.

Find the bass position symbol for the chord by looking

at what note is in the bass.

Apply the appropriate symbol based on the bass note.

SELF-TEST 3-4

Independent Practice (at home)

Complete Exercise 3-4 in Tonal Harmony

Workbook

Tonal Harmony Chapters 1-4

DIATONIC CHORDS IN MAJOR/MINOR KEYS

Scale Degrees

Scale degrees can be referred to by…

▪ Letter Name (C, D, E, F, etc.)

▪ Number (1, 2, 3, 4, 5, etc.)

▪ Traditional Names

Traditional Scale Degree Names

Two names for scale degree 7, depending on

whether it is a half or whole step away from the

tonic

Origin of Scale Degree Names

Dominant

Mediant

Supertonic

TONIC

Leading Tone

Subtonic

Submediant

Subdominant

How are triads and seventh chords used in

tonal music?

Most chords are made up of only notes from the

scale on which the passage is based

▪ Passage in G major, most of the chords only contain

notes found in the G major scale

▪ Known as Diatonic Chords

▪ Chords outside of the scale formed by notes not in the

scale are known as Altered or Chromatic Chords

Diatonic Chords

MusicTheory.net (Diatonic Chords)

MusicTheory.net (Roman Numeral Analysis)

How to recognize chords in various textures and apply bass position symbols?

Write down the notes of the chord. If a note is repeated, you only need to write it down once.

Rearrange the chord to where it is in root position, or built in 3rds.

Find the quality of the chord (i.e. M, m, etc.)

Find the bass position symbol for the chord by looking at what note is in the bass.

Write the appropriate scale degree symbol with the right quality and bass position symbol.

Independent Practice (in class)

Complete Self-Test 4-1 (Part A: 1-3), (Part B:

1-3), (Part C: as class) in Tonal Harmony

Textbook

Independent Practice (at home)

Complete Exercise 4-1 (Part A: 1-4), (Part B:

1-4), (Part C: #1 all) in Tonal Harmony

Workbook

Tonal Harmony Chapters 1-4

DIATONIC 7th CHORDS IN MAJOR/MINOR KEYS

Diatonic Seventh Chords

MusicTheory.net (Diatonic 7th Chords)