Additional Theory Resources
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1 UTAH MUSIC TEACHERS ASSOCIATION Additional Theory Resources Close and Open Position Level 6-10 Names of Scale Degrees Level 6 Modes and Other Scales Level 7-10 Figured Bass Level 7 Drawing Inversion of Seventh Chords Level 6-10 Chord Symbol Notation Level 7 Ornamentation Level 7 Augmentation and Diminution Level 8 Modulation Level 9 Sonata-Allegro Form Level 9 Theory Websites Written and Compiled by AIM State Chairman, Juliet Preston, NCTM with assistance from Geri Gibbs, NCTM 10/1/2014 The following information is designed to help teachers teach what is on the Theory tests. Teachers are encouraged to consult as many resources as possible to gain a thorough understanding of the material.
2 CLOSE POSITION/OPEN POSITION/KEYBOARD STYLE Level 6 CLOSE and OPEN position refers to the spacing between notes of a chord. In CLOSE position, the notes of the chord are spaced as close together as they can possibly be. In OPEN position, the notes are spaced farther apart; chord tones are missing between the given notes. Open style is different in that two voices are written in the Bass clef and two in the Treble clef (Soprano- Alto and Tenor-Bass). CLOSE POSITION: This style is more common for gospel music and pop music as it frees up the left hand to play lower bass notes that the voice could not reach. Close position cadences mean using inversions of each chord that are closest in reach to each other. OPEN POSITION: On a single staff, it is notes spaced further apart. ON a grand staff, it is written S-A-T-B. KEYBOARD STYLE: This is the practice of playing a close position chord in the RH and single bass note in the LH, as required for some technique skills in Levels TIP: In either style, chords must be analyzed from the lowest note up to determine their name and inversion position. NAMES OF SCALE DEGREES Level 6 The names of the scale degrees can be clearly explained by understanding the relationships between the degrees of the scale. The DOMINANT (V) tone is a fifth above the TONIC (I). The MEDIANT (iii), or middle tone, is halfway between the TONIC (I) and DOMINANT (V). The SUB-DOMINANT (IV), sub meaning under, is a fifth below the TONIC (I). The SUB-MEDIANT (vi), therefore, is the mediant, or middle tone, under the TONIC (I). (The term sub refers to the dominant and the mediant below the upper tonic.) It is interesting to note the relationships between the tonic, subdominant, dominant and upper tonic. The intervals themselves are perfect fifths, and the chords built upon those tones are the primary triads. The SUPER TONIC, (ii) is directly above the TONIC (I). Super comes from the word sopra which means above. The seventh note of the scale is called the LEADING TONE (vii), because it strongly leads to the TONIC (I).
3 MODES Level 7-10 Modes are easy to teach! Major and minor scales are actually two of the seven Greek modes that are taught in AIM. A mode is a 7-note scale with a specific pattern of whole steps (WS) and half steps (HS). The seven Greek modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. TIP: Think I Don t Paint Like Michel-Ange-Lo. To quickly familiarize yourself with each mode, all you need to do is start with any Major scale we ll choose C Major. Play the scale from C to C. This is the Ionian mode, known as Major. Now play the same scale from D to D (no or ). This is the Dorian mode and its pattern of whole steps and half steps is the same as a D natural minor scale but the 6 th note is a HS higher. Now play the same scale from E to E this is the Phrygian ( fridge-ian ) mode, similar to a minor scale but beginning with a half step. Now play from F to F : this is the Lydian mode, a Major scale but with the 4 th tone a HS higher. G to G is the Mixolydian mode, just a Major scale but the 7 th scale tone is a HS lower. A to A is the Aeolian ( ᾱ-o- lian ) mode is simply a Natural minor scale. B to B is the Locrian mode and sounds the strangest because it has a lowered 2 nd and 5 th degree, creating a diminished 5 th from tonic to dominant. Mode Name Starting degree of a Major Scale Based on: Ionian 1 st Major scale no changes Other features: Dorian 2 nd Nat. Minor scale raised 6th Minor but less sad used in jazz music Phrygian 3 rd Nat. Minor scale lowered 2nd Natural minor that begins with a half-step Lydian 4 th Major scale raised 4 th Major but sounds more mellow Mixolydian 5 th Major scale lowered 7 th Sounds jazzy popular in jazz music Aeolian 6 th Natural minor no change Locrian 7 th Nat. Minor lowered 2 nd and 5th Sounds strange because it has dim. 5 th between first and 5 th note. * Dorian and Mixolydian modes are popular in jazz music.
4 For testing on Levels 8-10, a student will be asked to write a mode based on any key. To do this, figure out what degree of the scale the mode is based on (see chart above), then count down until you arrive at the tonic (or up if closer). This will be the name of the Major scale/key signature you need. Sample question: Write a Mixolydian scale starting on : Step 1: Determine the scale degree. Mixolydian is based on the 5 th. Step 2: Count backwards/down from 5 to 1. C, B, A, G, F Step 3: Determine the key signature for F major. It has B-flat. Step 4: Spell a C scale with B-flat instead of B. Answer: ALTERNATE SCALES A Pentatonic Scale has 5 separate tones within an octave ( penta means five ). For example: C D F G A C The easiest pentatonic scale to play is the 5 black keys. This scale is used in Eastern/Asian music. Do not confuse it with the term pentascale which is just the first 5 notes of a scale. A Whole Tone scale contains 6 separate tones made up of only whole steps. For example: C D E F# G# A# C. This was a favorite scale of the Impressionist composers and it leads to many augmented chords. A Blues Scale has 6 tones and is based on the Major scale but with these changes: Blues scales are used in jazz music, creating a style called Blues or 12-Bar Blues. Below is a diagram of the chord progression for 12-Bar Blues, assuming 4 beats to a measure and all chords are played as dominant 7ths. for repeat)
5 FIGURED BASS Level 7 Figured Bass is a system of identifying chords. It involves using numbers to designate specific intervals above a given bass note to build the chord. It can be used to describe the position of triads and seventh chords. TRIADS In root position, this C triad is listed as a 5 th and a 3 rd above C. any triad in root position can also be listed by letter name only, a short-cut. But C as In first inversion, we use 6 and 3 to represent a 6 th and a 3 rd above the lowest note, E. But usually, it is simplified by just using the 6 alone. For this reason, we know these chords as sixth chords: In 2nd inversion we use 6 and 4 and don t simplify the symbol. chords are known as six-four chords. These SEVENTH CHORDS As with triads, figured bass can describe the position of seventh chords as well. The following seventh chords show their figured bass. Notice that some positions can use a shortened or simplified numbering system. Root position: First inversion: Second inversion: Third inversion:
6 When labeling the third inversion chord, it is written (Jazz/Pop notation uses slash chords: G/F to represent a G triad with an F in the bass). or if you are using Roman numerals, it would be **The previous chords were all shown in close position, but the notes above the bass can be open position. CHORD SYMBOL NOTATION Level 7 Seventh chords are used in classical music as well as jazz and pop genres. It is useful to adopt a standard notation for the most common seventh chords so that a student can read chord symbols from any type of music. Basic Chord/Triad Symbols: Seventh Chords: Letter Name (e.g., C) = Major chord m = minor chord + = Augmented chord o = diminished chord 7 = Major-minor seventh m7 = minor seventh (also seen as min7 ) M7 = Major seventh (also seen as maj7 ) Ø = half-diminished chord o7 = diminished seventh chord WRITING SEVENTH CHORDS IN INVERSION NOTE: STUDENTS WILL BE REQUIRED TO WRITE THE CORRECT NOTES, BUT WILL NOT BE PENALIZED FOR INCORRECT PLACEMENT. This explanation of note placement is for your information. When a 7 th chord is inverted, it creates the interval of a 2 nd. Students need to recognize the TOP note of the second as the root of the chord, and the bottom note of the second as the 7 th of the chord.
7 Seventh chords can have unusual arrangements of notes, depending on their placement on the staff. The following rule is completely consistent and works for all types of 7 th chords. Notice in the example below, any accidentals must be written to the far left of the chord. Step One: Write the 2nd, ascending. Step Two: Draw an imaginary line extending up AND down, through the center of the 2 nd. Step Three: Examine the remaining notes of the chord. If most of the notes are on or ABOVE the middle line of the staff, consider it a down stem and place the notes to the right of the stem in alignment with the root (upper note of the 2 nd ). If most of the notes are BELOW the middle line, consider it an UP stem and place the notes to the left of the stem in alignment with the 7 th of the chord. Often, notes will be both above AND below the middle line, so you must make a judgment call. ORNAMENTATION Level 7 Ornamentation is the process of embellishing a single note with one of a variety of ornaments. It is the hallmark feature of Baroque-era music where keyboardists were expected to embellish their music even if such ornaments were not written in by the composer. Ornamentation can be found in Baroque-era architecture, furniture design, art, and apparel and was called rococo, which is thought to be the origin of the word Baroque. The smaller notes are the ornaments and the larger note is called the principal note. There are variations of how an ornament is played depending on the context of the line and the time period, but the student should be familiar with the standard practice of beginning a trill on the upper note, a mordent on the principal note, a turn on the upper note, and an appoggiatura on the upper or lower note, as shown. Ornaments continued through the Classical era and somewhat into the Romantic era (they were popular with Chopin) with a change in preference for the grace note over the appoggiatura. The more commonly used ornaments are listed below (the grace note was not used until the 1800 s).
8 Trill Mordent or Appoggiatura Turn Grace note AUGMENTATION AND DIMINUTION Level 8 Augmentation means to make larger and Diminution means to make smaller. This is a common compositional rhythm technique that allows a composer to use a motif or theme in a slightly disguised way. For Augmentation, the given note values are doubled. Maintain the same time signature creating twice as many measures to complete. For Diminution (see example below), the note values are halved. Maintain the same time signature with fewer measures. MODULATION Level 9 Modulations are chord progressions that change the current key to a new key. Major can change to minor and vice versa. The new key or destination key does not need to last long but it can and it usually has new thematic material presented (see Sonata-allegro Form). Composers use modulations to add variety of keys within their pieces. Modulations occur within phrases of music but can also be used in between pieces to create medleys of pieces of different key signatures.
9 Students can be tested on their ability to create an effective modulation starting in Level 7 Technique, but are not tested on it in Theory until Level 9. To answer the Theory test questions in Level 9, students must know that the chord is the best chord to set up a change of key signature. In other words, if you want to modulate from the key of Major or minor (or any key) to the key of Major or minor (makes no difference because the chord is the same for both modes), you need the chord to do this ( of ). Determining the correct chord is Step 1 of the following table. Step 1: Fill in the blanks with the chord (use letter name) that is needed to modulate to the new key: Starting Key Common Tone Chord Dominant 7 th Chord Example: F A minor (iii) D7 New Key Good modulations however do not simply jump from the tonic of to a. They need chords in between that logically move to. There are chords within the C diatonic scale that have notes in common with a chord. We call these common tones. is spelled D-F#-A-C and the chord of Major has a D and an A in common; the chord has A and C; the chord has A and C. So, creating a MODULATION from C Major to G Major could go something like this: /, then [ ] This completes Step 2 of the table: Step 2: Fill in the blanks with a chord from the starting key that contains COMMON TONES with the chord. Put the COMMON TONE in the TOP VOICE for both chords, if possible, making the transition seem very smooth to the ear. Note: In some cases, it may be the chord that is best suited. Step 3: The final step of a good modulation is to play the chord progression in a style and rhythm that matches the original piece, keeping the same meter. Any meter changes should wait until the new piece. Try arpeggios in the LH and chords in the RH very popular option! **For the theory test, students will only need to know the V7 of the new key, not any chords that may precede that.
10 SONATA-ALLEGRO FORM LEVEL 9 A sonata is a compositional form that was first used in the Baroque-era (Scarlatti wrote 555!). At that time, it was a smaller one-movement work in AB form. In the Classical period, it grew to include three (sometimes 2 or 4) movements that differed from each other in key and tempo (usually fast-slow-fast). The first movement was generally marked Allegro and the form of that movement is called sonataallegro form, but is also known as sonata form. The other movements of the sonata can vary, but the third is usually a Rondo. Toward the end of the Classical period, composers altered the prototype by including other forms such as theme and variations, scherzos and trios, minuets and trios, and even fugues. EXPOSITION The Exposition is called so because it is where the themes (important melodies) of the sonata are laid out, or exposed. Those themes are the Principal Theme, the Secondary Theme (different character and key than the Principal Theme), and sometimes a Closing Theme. The Exposition has one job to modulate to a different key, usually the if the piece is Major and usually the if the piece is minor. It ends with a repeat sign. DEVELOPMENT The Development section develops one or all of the themes by re-stating them in whole or in part, in a variety of keys. The of the original key is set up to introduce the return of the home key. Directly segues to Recapitulation. RECAPITULATION Recapitulation means return and this final section is a return to the Exposition with the themes stated in the correct order and in their entirety, but this time the Principal theme does not modulate away from the tonic. A coda may follow, in the case of Beethoven. The Recapitulation may or may not have repeat sign. Below is a diagram of the harmonic strategy of a standard Sonata-Allegro form. (Remember that in a minor key, the would be replaced by the.) Expo Dev Recap :II various keys
11 THEORY WEBSITES These websites are offered for the convenience of the teacher in doing further research, but are not guaranteed to be accurate. It is advised that one consult many sources. type in any question or keywords, being sure to add the word music to narrow down the results (This is a link to online flashcards that Yvette Zobell created on the website to teach some AIM theory questions.)
Level 6. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 6 Length of the examination: 30 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 2 examination
More informationLevel 7. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 7 Length of the examination: 35 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 3 examination
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