In 'Beach-ball' position, the 'root' will always be the bottom note...
|
|
- Walter French
- 5 years ago
- Views:
Transcription
1 core Unit 12 Study Notes (found on Weely) Lesson 47 Learning Target #1: What is a 'CHORD' When three or more notes are sounded together, the comination is called a CHORD. In common-practice harmony, chords are uilt in thirds. Go to this link to learn more aout chords:.musictheory.net/lessons/40 When a 3-note chord consists of a ROOT, a and a 5th, it is called a TRIAD. Every triad has 3 parts. Let's examine each part, elo: 3-note chord: 4 8 5th C In 'Beach-all' position the ill e the ottom note. [ C-E [ In 'Beach-all' position the '' ill e an interval of a '' aove the. Example 3: Triads of the C Major Scale 5th C-G 3-note chord: 5th In 'Beach-all' position the '5th' ill e an interval of a '5th' aove the. C Triad C-E-G 5th In 'Beach-all' position the ill e on the ottom, the '' ill e a aove the, and the '5th' ill e a 5th aove the. C D E F G A B C Memorize these 5 'rules':. 1. The '' is the note from hich a Triad or Chord gets its name 2. In ' osition' ALL the notes ill e on lines or ALL the notes ill e in spaces. 3. In ' osition' the 3-notes of a Triad look like 3 stacked 'each-alls' 4. When the 3-notes of a Triad look like 3 stacked 'each-alls' e say the Triad is in ' position'. 5. In 'Beach-Ball' position the ROOT of a chord ill alays e on the ottom... 3 stacked Beach-alls! In 'Beach-all' position, the 'root' ill alays e the ottom note... Let's uild a 3-note chord and sho you the 3 parts of a Triad. The 3 parts of any Triad are the, 5th. In the examples elo, e'll uild a C Triad: The root of a C Triad is C. When a triad is in ROOT OSITION, it ill include every other note, like C-E-G, or D-F-A, or E-G-B. Triads may e uilt on any note of any scale. In C Major, the '-osition' triads are: Try this: Can you identify the, 5th of every Triad in Example 3, aove Do the -osition Triads look like stacked each-alls Next, complete Unit 12 Lesson 47.
2 Unit 12, Lesson 48 supplement rimary and Major Triads Memorize: A TRIAD is a chord of three tones consisting of a root, third, and fifth. Unit 12 Study Notes (found on Weely) A 9 15 C Triads in oth trele and ass clef: Fifth Third 5 3 R Memorize: The ROOT is the tone on hich a TRIAD is uilt. When the root appears as the loest tone, the triad is said to e in ROOT OSITION. Memorize: A MAJOR TRIAD is a chord of three tones (notes) consisting of a root, major third and perfect fifth. B Major triads in root position: erfect Fifth Major Third # The TRIAD uilt on the first degree of the scale is called a TONIC TRIAD. It is marked ith a Roman numeral I elo and a capital letter for the name of the chord (triad) aove., see Example C, elo. In any major scale the tonic triad is a MAJOR CHORD. The 1st note of any scale is called the tonic or 'do'. C C F D D # # # F # 21 Key of C Major: Key of F Major: Key of D Major: I I I I I I The TRIAD uilt on the fifth degree of the scale is called a DOMINANT TRIAD. It is marked ith a Roman numeral V elo and a capital letter for the name of the chord (triad) aove., see Example D, elo. In any major scale the dominant triad is a MAJOR CHORD. The 5th note of any scale is called the dominant or 'sol'. D 29 Key of C Major: Key of F Major: Key of D Major: G G C C A A 5 3 R # # # # # V V V V V V The TRIAD uilt on the fourth degree of the scale is called a SUBDOMINANT TRIAD. It is marked ith a Roman numeral IV elo and a capital letter for the name of the chord (triad) aove., see Example E, elo. In any major scale the sudominant triad is a MAJOR CHORD. The 4th note of any scale is called the sudominant or 'fal'. E 37 Key of C Major: Key of F Major: Key of D Major: F F B B G G # # # # IV IV IV IV IV IV Memorize: The RIMARY TRIADS or RIMARY CHORDS are uilt on the 1st, 4th 5th scale degrees of any Major Scale, and are identified ith the ROMAN NUMERALS I, IV V, and the capital letter of their root-note 'letter name'. 2
3 A B C # Tinkle, Tinkle Little Star q=132 # GM G G C G C G D 7 G Lesson 48 Supplement Recognizing rimary Chords in Major Keys I I IV I IV I V 7 I Memorize: Triads (Chords) are identified ith Roman Numerals elo and the capital letter of the root-note name aove! Silent Night q.=46 B B F 7 B E B BM J. I I V 7 I IV I j. J. j. E B F 7 B B F 7 B J IV I V 7 I I V 7 I Memorize: Triads (Chords) are identified ith Roman Numerals elo and the capital letter of the root-note name aove! CM Œ Cielito Lindo h.=72 C G7 C G7 C C G7 G7 I V 7 I V7 I I V7 V7 76 G 7 G 7 G 7 G 7 G 7 G 7 C C V 7 V 7 V 7 V 7 V 7 V 7 I I Memorize: Roman Numerals refer to their corresponding Scale Degree Numers. For instance: Roman Numeral I = Scale Degree 1. Roman Numeral IV = Scale Degree 4. Roman Numeral V = Scale Degree 5.
4 A 93 B q=96 Russian Folk Song 4 2 dm: LT=C# m: LT=A# C 4 2 G m. Lesson 48 Supplement Recognizing rimary Chords in Minor Keys i i i i i i i i j A 7 # iv V 7 i i iv V 7 i i Italian Folk Song q=144 # # 3 4 # # 4 3 h.=84 E 7 am: LT=G# B m E m B m E m G m. j A 7 # i iv i iv i V 7 i Danue Waves # 117. E7 # # V 7 V 7 V 7 V 7 i i i i Dm Dm E 7 # E7 # Am # Am B m Am F # 7 # B m Œ Œ Œ Œ All RN, LN, NCT Keys = 1 OINT EACH Am Am iv iv i i V 7 V 7 i # E 7 # E7 N Am Œ 4 Œ Œ Œ Œ
5 5 125 Unit 12, Lesson 48 supplement rimary and Major Triads CS : C F G Chord Symols: C F G SD: Scale Degrees: RN: I IV V Roman Numerals: I IV V Memorize: the most important triads of any key are uilt on the 1st, 4th 5th scale degrees of the Major Scale. They are called the RIMARY TRIADS, and are identified y Roman Numerals and Chord Symols. They are called the RIMARY TRIADS (CHORDS) ecause they contain EVERY note of the Major Scale. Let's check that out: In the key of C Major the I chord = C-E-G, IV chord = F-A-C, V chord = G-B-D. No, let's look at those notes: C-E-G F-A-C G-B-D. Can you re-arrange those notes to spell the C Major Scale Lesson 48 HUGE Learning Target: Memorize: there are to ays to form (rite) a Major Triad: Method #1: add a Major + a erfect 5th aove the root. 128 Major + erfect 5th = Major Triad Method #1 reminder: to form (rite) a M3 or 5 aove ANY root, simply think the Major Scale of the root-note, and rite the and 5th scale degrees from the Major Scale of the root-note. For instance, to rite an F# Major Triad (Chord), simply think the F# Major Scale, and rite the and 5th note of that scale aove the root-note F#. The corrrect response ould e: F# - A# - C#. Method #1 summary: select the 1st, and 5th notes of a Major Scale. Method #2: add the interval of a minor on top of a Major. 133 }minor }Major }minor }Major minor on top of a Major Method #2 memorization fact: "A Major Triad consists of a minor on top of a Major " Method #2 reminder (memorize the folloing): m3 (minor ) = 3 half-steps and 3 letter names (can you use your keyoard handout to find a m3) M3 (Major ) = 4 half-steps and 3 letter names (can you use your keyoard handout to find a M3) to find a m3 (minor ) simply find the note of the Major Scale and loer y 1 Half-Step Next step: Complete Unit 12 Lessons 47 48, page in the text. Go to the next page for Unit 12 Activity 1 2 completion suggestions...
6 CS : F B C Chord Symols: E A B 135 SD: Scale Degrees: RN: I IV V Roman Numerals: I IV V Memorize: the most important triads of any key are uilt on the 1st, 4th 5th scale degrees of the Major Scale. They are called the RIMARY TRIADS, and are identified y Roman Numerals and Chord Symols. They are called the RIMARY TRIADS (CHORDS) ecause they contain EVERY note of the Major Scale. Let's check that out: In the key of C Major the I chord = C-E-G, IV chord = F-A-C, V chord = G-B-D. No, let's look at those notes: C-E-G F-A-C G-B-D. Can you re-arrange those notes to spell the C Major Scale Unit 12 Activity 1 completion suggestions: Exercise #1: to find a Major aove any note, simply think the Major Scale of the given note and find the scale degree. The distance from the 1st scale degree to the scale degree of any Major Scale ill alays e a Major. NOTE: use accidentals as needed! Reminder: hen the top note of an interval is in the same Major Key as the ottom note, the interval ill alays e either Major or erfect. Exercise #2: to find a erfect 5th aove any note, simply think the Major Scale of the given note and find the 5th scale degree. The distance from the 1st scale degree to the 5th scale degree of any Major Scale ill alays e a erfect 5th. NOTE: use accidentals as needed! Exercise #3: to find a m3 (minor ) aove any note, simply think the Major Scale of the given note and find the scale degree, and loer that note 1 Half-Step. NOTE: use accidentals as needed! Reminder: hen a M3 is loered y one half-step, the result ill e a m3. Reminder: M3 are ritten ith an upper-case M, and m3's are ritten ith a loer-case m ith a dash over the m. Exercise #4: hen the top note of an interval is in the same Major Key as the ottom note, the interval ill alays e either Major or erfect. NOTE: use accidentals as needed! Unit 12 Activity 2 completion suggestions: Exercise #1: Rememer that the rimary Triads are I, IV V, they are Major Triads, and eteen the three of them they contain every note of the Major Scale. Exercise #2: Step #1: Identify and WRITE the name of the Major Key on the lank Step #2: On scratch manuscript paper, rite out the complete 8-note Major Scale of the given Key, and then uild (rite) Triads aove the 1st, 4th 5th scale degrees. Step #3: Study the completion steps elo for FM EM: 4 4
7 7 Unit 12 Lesson 49 Scale Degree Names Required: read study Lesson 49 on page 76, and memorize the names, elo: 145 TONIC SUERTONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT LEADING TONE TONIC Scale Degrees: Roman Numerals: I ii iii IV V vi vii o I Reminder: Roman Numerals correspond to corresponding Scale Degree numers, see aove. Learning Target: With the tonic eing the CENTRAL tone, the name and Roman numeral of each scale tone is (Required: read study Lesson 49 on page 76, and memorize the relationship, elo): SUBDOMINANT SUBMEDIANT LEADING TONE TONIC SUERTONIC MEDIANT DOMINANT 146 Scale Degrees: Roman Numerals: IV vi vii I ii iii V 5 don from I 5 up from I Reminder: Roman Numerals correspond to corresponding Scale Degree numers, see aove. Reminder: the rimary Chords in any Major Key are I, IV V. Can you determine, in the example aove, ho they relate to each other
8 8 Unit 12 Lesson 50 The V7 (Dominant 7th) Chord Required: read study Lesson 50 on page 77, and complete Exercises 1, 2 3, and study this on Weely. A DOMINANT SEVENTH CHORD consists of a root, Major, erfect 5th, and minor 7th. It usually moves (progresses) to the tonic or I chord. It is marked V7 and the 7 is added to the letter name, such as G7 or C7. In many pieces (songs), a V7 (called "dominant 7th") chord is used instead of a V ("dominant") triad. To uild a V7 chord, add a minor 7th aove the root of the V triad (=or= a minor aove the 5th). The V7 is a chord and not triad ecause it has 4 notes rather than 3. Learning Target: the V7 has 4 parts: root, Major, erfect 5th, and minor 7th. A Triad has 3 parts. 147 EXAMLE A: Dominant + minor 7th = Dominant 7th =OR= Dominant + minor = Dominant 7th minor 7th 5th V (triad) V7 V (triad) V7 Study EXAMLE B, elo. Note that the 5th of the V7 is omitted. This happens often. The V7 chord then ould have the same numer of tones (noes) as the I and IV chords hile still retaining the quality of a 7th chord. This also allos the music to e sung or performed y as fe as 3 singers or instrumentalists. minor 7th 5th EXAMLE B: The three primary chords are no I, IV and V its okay to omit the 5th! Scale Degrees: Roman Numerals: I ii iii IV V 7 V 7 vi vii o I EXAMLE C: To uild (rite) a V7 chord, first identify the KEY, then rite the ENTIRE SCALE of the KEY, count up the Scale Degrees (notes) to the 5th note (sol) of the scale, use that 5th note of the Scale as the and rite a Major, erfect 5h minor 7th aove the root. Note: the V7 chord is alays ritten aove the 5th note (sol) of the Scale. Can you count up the Scale of any Key and find the 5th note # # 151 SD: Scale Degrees: RN: I IV V7 Roman Numerals: I IV V7
9 9 Unit 12 Lesson 50 supplement The V7 (Dominant 7th) Chord Study pages 9-11 to learn the folloing: (don't forget to include Bk4, Lesson 12 ex's #1 #2) 1. The root of the Sudominant or IV chord is the 4th scale degree 2. The root of the Dominant or V (or V7) chord is the 5th scale degree 3. Ho to find the KEY of the Sudominant or IV chord 4. Ho to find the KEY of the Dominant or V (or V7) chord 5. Ho to uild (rite) a m7 6. Ho to find a diatonic harmonic interval aove a 'non-key' note. 7. Ho to make-up a 'non-key' note's KEY SIGNATURE. =80 Study Examples 6 7, elo. Is the root of the IV chord 'do' Is the root of the V(7) chord 'do' 154 = q=100 Example 6: Key of C Major SD: Scale Degrees: RN: I IV V7 Roman Numerals: I IV V7 SF: do re mi fa sol la ti do Solfege: do re mi fa sol la ti do Example 7: Key of D Major # # # # SD: Scale Degrees: RN: I IV V7 Roman Numerals: I IV V7 SF: do re mi fa sol la ti do Solfege: do re mi fa sol la ti do Study Examples 8, elo. Is the root of the IV chord 'do' Is the root of the V(7) chord 'do' Example 8: Key of C Major Key of D Major Key of E Major 4 # # 160 Roman Numeral: I IV V7 I Scale Degree: Solfege: : do fa sol do Roman Numeral: I IV V7 I Scale Degree: Solfege: : do fa sol do Roman Numeral: I IV V7 I Scale Degree: Solfege: : do fa sol do Study Examples 8, aove. Since 'do' names the key, and the root of the IV chord 'fa', and the root of the V(7) chord is 'sol', ho could you find the key of a given IV or V(7) chord
10 =80 Study Examples 9-11, elo, to help you find the key of any given IV or V(7) chord. Example 9 The "Tonic" or I chord is uilt on scale degrees 1, 3 5 (or do, mi sol) Scale Degrees: Roman Numerals: I Solfege: do re mi fa sol la ti do 169 Example 10 The "Sudominant" or IV chord is uilt on scale degrees 4, 6 8 (or fa, la do) Scale Degrees: Roman Numerals: IV Solfege: do re mi fa sol la ti do 170 Ho do you find the KEY of any "Sudominant" or IV chord Memorize: since the 5th of the IV chord is 'do' or scale degree 8, the 5th ill name the Key. Example 11 The "Dominant 7th" or V7 chord is uilt on scale degrees 5, 7, 2 4 (or sol, ti, re fa) Scale Degrees: (8) Roman Numerals: V7 Solfege: do re mi fa sol la ti do re mi fa 171 Ho do you find the KEY of any "Dominant" or V (or V7) chord There are 2 methods: Memorize method #1: since the of the V (or V7) chord is 'ti' or scale degree 7, simply go up 1 half-step to find the Key. Isn't 'do' a half-step aove 'ti' Memorize method #2: since the of the V (or V7) chord is 'sol' or scale degree 5, simply go up a erfect 4th to find 'do' or scale degree 8. Study Example 11, aove. Can you count up from scale degree 5 to scale degree 8 Ho far ist it Example 12 The root of the "Dominant" or V (or V7) is NOT 'do' Scale Degrees: (8) Roman Numerals: V7 Solfege: do re mi fa sol la ti do re mi fa Memorize: the root of the V or V7 chord is 'sol' or scale degree 5. To find the KEY of the V(or V7 chord go up a 4 to find 'do' or don a 5 to find 'do'. 10
11 11 Unit 12 Activity 5 supplement (Activity 5 completion step suggestions) Study this page to learn the folloing: (don't forget to include Bk4, Lesson 12 ex's #1 #2) 5. Ho to uild (rite) a m7 6. Ho to find a diatonic harmonic interval aove a 'non-key' note. 7. Ho to make-up a 'non-key' note's KEY SIGNATURE. REVIEW: Rememer that the 'Diatonic Harmonic' intervals of any Major Scale are Major or erfect! In Example 13, elo, memorize that each 'Harmonic' Interval of the Major Scale is a specific type of interval. Each 'Harmonic' Interval of any Major Scale ill either e erfect or Major. First, e'll rite the full name on the first ro, then the common areviations for each on the ro elo. Example 13 Scale Degrees: Solfege: do re mi fa sol la ti do # # 4 1 keynote D tonic D keynote D tonic D Scale Degree #1 do tonic D keynote D erfect rime Major 2nd M ajor erfect 4th erfect 5th Major 6th Major 7th erfect Octave also erfect Unison M2 M3 4 5 M6 M7 8 In Example 13, aove, understand and memorize the areviations for the 2 'types' of Harmonic Intervals: = erfect M = Major
12 Unit 12 Supplemental References Click on these links to explore ho Roman Numerals and Chord Symols are used in music: Tchaikovsky, "Waltz of the Floers" from the Nutcracker: Bach, "Air on the G String": Beethoven, "athetique Sonata", Mvt II: Beethoven, "Moonlight Sonata": Tchaikovksy, "Morning rayer" (great example of secondary dominants):
Chapter 3, Introduction to Triads and Seventh Chords Chapter 3 Glossary = or = Augmented Triad (+): Bass Position: Bass-Position Symbols:
Chapter 3, Introduction to Triads and Seventh Chords Chapter 3 Glossary http://.mhhe.com/kostka7e = or = http://highered.mheducation.com/sites/0078025141/information_center_vie0/index.html Augmented Triad
More information# w. # w # # w # w # w
& & PRIMARY TRIADS In Levels 1-4, triads (3-note chords) ere built on the first note of the scale. If an example as in the key of E Major, then the triad introduced as an E Major triad, ith E, G and B.
More informationIntroduction to Jazz Guitar Chords and Comping Styles. -by Mike Scott
Introduction to Jazz Guitar Chords and Comping Styles -y Mike Scott he folloing lessons introduce some of the asics of azz guitar chords opics include: Some of the most common chord voicings used Intervals
More informationby Mark White Whitmark Music Publishing BMI
HARMONY PRIMER y Mark White Whitmark Music Pulishing BMI As a prelude to my Basslines Lesson 2-adding the chords, I thought it might e a good idea to spend a little time explaining ho asic Jazz harmony
More informationTHE LANGUAGE OF HARMONY
THE LANGUAGE OF HARMONY The diatonic scale is a starting place for available chords to choose from in your score. These chords are triads built on the root of each degree. Each scale degree has a name
More informationChord Studies. 374 Chords, including: Triads Sixths Sevenths Ninths. Chord Adjustments in Just Intonation Triads Sixths Sevenths
Chord Studies 374 Chords, including: Triads Sixths Sevenths Ninths Chord Adjustments in Just Intonation Triads Sixths Sevenths Intervals and their Derivations from Equal Temperament Edited y Nikk Pilato
More informationThe diminished harmonic system produces three eight-note
Diminished System Diminished Scale Construction The diminished harmonic system produces three eight-note symmetric scales ased on the minor third interval (four equal divisions of the octave). Each scale
More informationBasic Stuff That You HAVE To Know
The first thing and possily the most important thing is the cycle of 5ths (or 4ths depending if you go up or don). 5ths (4ths) refers to intervals. Here is the cycle starting on C. 4 4 Basic Stuff That
More informationAdding Color and Richness to Common Chords
Adding Color and Richness to Common Chords BY JOHN MARK PIPER Maj 7 chords are made of 1, 3, 5, 7 of the major scale. (Cmaj7, CM7) It is often desirale to add color to chords using chord extensions that
More informationFundamentals Lecture (topic: non-harmonic tones) (N.B. Class activities are in bold, keywords in italics)
undamentals Lecture (topic: nonharmonic tones) (NB lass activities are in old, keyords in italics) I Exposure to concept Distriute handout pg 1 Have the class sing the melody of the first 6 ars of "My
More informationThe Chromatic Scale (all half steps) The Major Scale The formula for the major scale is: w w 1/2 w w w 1/2. Minor Scales
The hromatic Scale (all half steps) # # E F F# # A A# B OR: b Eb E F b Ab A Bb B # # E F F# # A A # B & # # # # # b E b E F b A b A B b B & b n b n b n b n b n The Major Scale The formula for the major
More informationA GUIDE TO ADVANCED HARMONY
A GUIDE TO ADVANCED HARMONY 1. Secondary Dominants and Leading-Tone Chords 2. The Neapolitan Sixth Chord 3. Modal Mixture 4. Chromatic Mediants and Submediants 5. Augmented-Sixth Chords 6. Altered Dominants
More informationStaves, Times, and Notes
Staves, Times, and Notes The musical staff or stave is the structure designed for writing western music. The written staff has five lines and four spaces. Each staff has a clef symbol, a key signature,
More informationContents. Beginning Theory for Adults. Introduction Chapter One 5
2 Contents Introduction... 4 Chapter One 5 Lesson 1: What Is Music?... 5 Pitch... 5 Time... 5 Lesson 2: The Musical Alphabet and Reading Pitch (Treble)... 6 Notes... 6 The Musical Alphabet... 6 Lesson
More informationLet's revise the technical names for the scale degrees:
Let's revise the technical names for the scale degrees: 1 = Tonic 2 = Supertonic 3 = Mediant 4 = Subdominant 5 = Dominant 6 = Submediant 7 = Leading note DID YOU KNOW... The Blitz Key Signature Table is
More informationCadences Ted Greene, circa 1973
Cadences Ted Greene, circa 1973 Read this first: The word diatonic means in the key or of the key. Theoretically, any diatonic chord may be combined with any other, but there are some basic things to learn
More informationThe Shearer Method: Guitar Harmony. by Alan Hirsh
The Shearer Method: Guitar Harmony by Alan Hirsh TABLE OF CONTENTS PREFACE About this book I BUILDING BLOCKS... 1 Step... 1 The Major Scale... 2 Chromatic Notes... 2 The Key... 4 Intervals... 6 Major,
More informationChord Essentials. Resource Pack.
Chord Essentials Resource Pack Lesson 1: What Is a Chord? A chord is a group of two or more notes played at the same time. Lesson 2: Some Basic Intervals There are many different types of intervals, but
More informationWorksheet: Marian's Music Theory Shorthand (video 4, stepping outside the scale) 1 / 6
Worksheet: Marian's Music Theory Shorthand (video 4, stepping outside the scale) 1 / 6 I. Half steps and whole steps and scales We spent some time on intervals seconds, thirds, sixths, etc. now we are
More informationGroup Piano. E. L. Lancaster Kenon D. Renfrow BOOK 1 SECOND EDITION ALFRED S
BOOK SECOND EDITION ALFRED S Group Piano FOR A D U LT S An Innovative Method Enhanced with Audio and MIDI Files for Practice and Performance E. L. Lancaster Kenon D. Renfrow Unit 9 Scales (Group ) and
More informationForeword PART 3: WORKOUTS Melodic Minor Workouts How to Practice Workouts... 26
TABLE OF CONTENTS Foreord...................................................... 7 PART 1: BACKGROUND............................................. 9 PART 2: THEORY.................................................
More informationAdditional Open Chords
Additional Open Chords Chords can be altered (changed in harmonic structure) by adding notes or substituting one note for another. If you add a note that is already in the chord, the name does not change.
More informationGospel Piano. Beginner - Lesson 1A. iv 4 V 5
ospel Piano Beginner - Lesson 1A Martin ureasko The Naked Keyboardist EXAMPLE 1 REEW - The Scale Tone hords These triads (three-note chords) are built on each tone of the scale, using only those notes
More informationIn a piano keyboard that has 88 keys, there are only 12 notes that get repeated over and over in octaves.
INTRODUCTION This course will deal with the ins and outs of the diatonic scale called modes and their relationships to the music that we play. Modes have been a very confusing topic for many guitar students
More informationPrivate Trombone Lesson Packet Shawn Bell
Private Tromone Lesson Packet Shan Bell Tromone #1 Basic Long Tones Warm-up/Daily Routine Long Tones 1, 2, 3,, 5, 6 Focus on a full, even tone and good reath support. Don't rush! #2 Remington Long Tones
More informationRAM Analytical Skills Introductory Theory Primer Part 1: Intervals Part 2: Scales and Keys Part 3: Forming Chords Within Keys Part 4: Voice-leading
RAM Analytical Skills Introductory Theory Primer Part 1: Intervals Part 2: Scales and Keys Part 3: Forming Chords Within Keys Part 4: Voice-leading This is intended to support you in checking you have
More informationModulation. Phrase Development. Minor Key Melody. Common Weaknesses. Two -Year Structure. An Approach To Harmony - Intervals
PPMTA Conference 2004 Leaving Certificate Music Composition Marian Mullen Skills Required for Exam Write a 16 - bar melody Continue a given opening Set text Continue a given dance opening Provide harmonic
More informationw w w P5 w w œ # œ & w # w # w n w n œ & œ # Sequential Singing of Dyads Dyads play on piano 8ve sing top voice # w sing bottom voice
Dyads CD1 Track 2 Sequential Singing of Dyads play on piano 3 P5 n 6 8ve sing top voice sing ottom voice n sing sequential dyads descending n. (dotted lines indicate aural connections) sing sequential
More informationVoice Leading Summary
Voice Leading Summary Rules cannot be broken, but guidelines may be for aesthetic reasons. Move the Voices as Little as Possible When Changing Chords Rule 1 Resolve tendency tones by step. Generally, the
More informationDELTADIATONICS SYNOPSIS "Making the simple complicated is commonplace; making the complicated simple, awesomely simple, ø ± Ñ ±
ETAATONS SYNOPSS "Making the simple complicated is commonplace; making the complicated simple, aesomely simple, thats' creativity!" harles Mingus The eltadiatonics Method emraces the evolution of chord
More informationii-v-i ? 4 4 Dm7 G7 CMaj7 Gm7 C7 FMaj7 Cm7 F7 B Maj7 Fm7 B 7 E Maj7 B m7 E 7 A Maj7 E m7 A 7 D Maj7 A m7 D 7 G Maj7 C # m7 F # 7 BMaj7 F # m7 B7 EMaj7
The most common chord progression found in jazz music is the ii-v-i (2-5-1), and the source of the minor ii, dominant V, and major I chords is the modes of the major scale. For example, the C major scale
More informationMU 3322 JAZZ HARMONY II
JAZZ HARMONY II Chord Progression EDITION A US Army Element, School of Music 1420 Gator Blvd., Norfolk, Virginia 23521-5170 19 Credit Hours Edition Date: June 1996 SUBCOURSE OVERVIEW This subcourse is
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Voice Leading for Guitar John Thomas Chapter Harmony Review and Introduction to Voice Leading Press ESC to cancel sound. Check out Berkleeshares.com for
More informationChord Progressions. Simple Progressions
Chord Progressions A chord progression (or harmonic progression) is a series of musical chords, or chord changes that "aims for a definite goal" of establishing (or contradicting) a tonality founded on
More informationBeginning Harmonic Analysis *
OpenStax-CNX module: m11643 1 Beginning Harmonic Analysis * Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract An introduction
More informationChord Substitution Part 5 Ted Greene 1973, November 20
Chord Substitution Part 5 Ted Greene 1973, November 20 Compare the following: 1) Key of A F#m7 Bm7 E7 A 7 D 7 G# ± 7 C#7 F#m7 vi ii V I IV vii III vi 2) Key of F#m F#m7 Bm7 E7 A 7 D 7 G# ± 7 C#7 F#m7 I
More informationA0S2 HARMONY & TONALITY A0S2 HARMONY & TONALITY A0S2 HARMONY & TONALITY A0S2 HARMONY & TONALITY
Harmony Harmony is when two or more notes of different pitch are played at the same time. The accompanying parts in a piece of music are sometimes called the harmony Harmony can be diatonic or chromatic
More informationPiano Voicing Mnemonics
Piano Voicing Mnemonics I. One-anded Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords. Category (rd in the loest voice) C 7 E B D Look at root at the top and spread out (up a hole, don a half);
More informationNCEA Level 3 Music Studies (91421) 2013 page 1 of 8
Assessment Schedule 2013 NCEA Level 3 Music Studies (91421) 2013 page 1 of 8 Music Studies: Demonstrate understanding of and tonal conventions in a range of music scores (91421) Evidence Statement Question
More informationContents SECTION 1 Old Key Signatures & Some New Concepts SECTION 2 New Key Signatures & Concepts
Contents SECTON Old Key Signatures Some Ne Concepts ust for Fun A SUPER-SPECAL SORTA SONG! 6 Revie The Key of C aor CALYPSO RHUBA 8 Scale Degrees: Tonic, Dominant, Subdominant 9 Writing the Dominant 0
More informationchapter two: melodic material
chapter to: melodic material Many approaches can be taken hen soloing/improvising over this progression. he easiest and probably the best place to start is by simply arpeggiating the chords. Start ith
More informationElements of Predictability
Advanced Harmonic Concepts Elements of Predictability There are a number of similar characteristics associated ith the composition and performance of standard jazz With these characteristics come a number
More informationBy John Geraghty ISBN Copyright 2015 Green Olive Publications Ltd All Rights Reserved
By John Geraghty ISBN 978-0-9933558-0-6 Copyright 2015 Green Olive Publications Ltd All Rights Reserved Book One Manual and CD 1 Table of Contents Introduction... 1 Contents within the Course Part 1...
More information!!!! Understanding!the!Modern!Rhythm!Section! Outside!Pedestrian! Dr.!Anthony!Fesmire,!guitar!
UnderstandingtheModernRhythmSection OutsidePedestrian.outsidepedestrian.com Dr.AnthonyFesmire,guitar AssociateProfessor,CollegeoftheDesert.anthonyfesmire.com DavidLockeretz,ass DavidOromaner,drums DavidODrums.davidoromaner.com
More informationThe Baroque 3/4. ca Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992)
The Baroque 3/4 ca 1600-1750 Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) NB To understand the slides herein, you must play though all the sound examples to hear the principles
More informationCHAPTER8. Non-Harmonic tones (non-chord tones) occur with chords but are not chord members.
CHAPTER8 Non-Harmonic Tones Non-Harmonic tones (non-chord tones) occur with chords but are not chord members. FIGURED BASS Non-Harmonic tones are figured like chord tones. Non-Harmonic tones occurring
More informationTutorial 3K: Dominant Alterations
Tutorial 3K: Dominant Alterations Welcome! In this tutorial you ll learn how to: Other Tutorials 1. Find and use dominant alterations 3A: More Melodic Color 2. Play whole-tone scales that use alterations
More informationAdvanced Chromatic Harmonies I: The Neapolitan, and Augmented-Sixth Chords as a Combination of Modal Borrowing and Applied Procedures
MU182: Theory II R. Vigil Advanced Chromatic Harmonies I: The Neapolitan, and Augmented-Sixth Chords as a Combination of Modal Borrowing and Applied Procedures I. Modal Borrowing The most basic aspect
More informationLand of Music Part 3: Musical Mind. Sample Lesson
Land of Music Part 3: Musical Mind Sample Lesson 55 The format is similar to that of Parts 1 and 2 LESSON 16 Items You'll Need for Lesson 16: Tricky Triads Activity Cards Chord Building Activity (AP-40)
More informationForming a Tonal Center
Forming a Tonal Center Tonality in Western Music How do we establish of the 2 notes in western music as the most important note or tonal center Here is the way it happens! Free Lesson, Page The 2 notes
More informationAP MUSIC THEORY 2007 SCORING GUIDELINES
2007 SCORING GUIDELINES Definitions of Common Voice-Leading Errors (FR 5 & 6) 1. Parallel fifths and octaves (immediately consecutive) unacceptable (award 0 points) 2. Beat-to-beat fifths and octaves (equal
More informationForming a Tonal Center
Forming a Tonal Center Tonality in Western Music How do we establish 1 of the 12 notes in western music as the most important note or tonal center? Here is the way it happens! Jazz Everyone! Free Lesson,
More informationContents. Bassic Fundamentals Module 1 Workbook
Contents 1-1: Introduction... 4 Lesson 1-2: Practice Tips & Warmups... 5 Lesson 1-3: Tuning... 5 Lesson 1-4: Strings... 5 Lesson 1-6: Notes Of The Fretboard... 6 1. Note Names... 6 2. Fret Markers... 6
More informationPiano Recap Information Sheet
Piano Recap Information Sheet Name: The piano keyboard is made up of black and white keys. Each key represents one semitone. The black keys are grouped in 2s and 3s and this helps us find our place. The
More informationCONTENTS. About the Author... 4 Introduction The B Lessons Improvisation. The A Lessons Chords and Harmony. Chapter 1. Chapter 2.
CONTENTS Aout the Author... 4 ntroduction... 5 The A Lessons Chords and Harmony Chapter 1 Lesson 1A: The Progression...6 The Lessons mprovisation Lesson 1: mprovising Over Diatonic Progressions... 8 Lesson
More informationPentatonic Scale Studies Second Edition (2003)
Pentatonic Scale Studies Second Edition (2003) Edard Petersen Roving Bovine Music Pentatonic Scale Studies Second Edition Many thanks to Brian Seeger for his ork in repairing and organizing the Pentatonic
More informationAP MUSIC THEORY 2013 SCORING GUIDELINES
AP MUSIC THEORY 2013 SCORING GUIDELINES Question 6 SCORING: 18 points I. Chord Spelling (6 points, 1 point per chord) A. Award 1 point for each chord that correctly realizes the given chord symbols. 1.
More informationMusic Theory. Content Skills Learning Targets Assessment Resources & Technology CEQ: HOW IS MUSIC PUT TOGETHER?
St. Michael-Albertville High School Teacher: Adam Sroka Music Theory September 2014 CEQ: HOW IS MUSIC PUT TOGETHER? UEQ: How do we read pitch? A1. Letter names A2. Enharmonic Equivalents A3. Half steps
More informationHarmonizing Scales with Triads
Basic Guitar Harmonizing Scales with Triads by Takeshi Yamada Basic Guitar Harmonizing Scales with Triads by Takeshi Yamada "Takeshi's books are a great source of information" - Joe Diorio Apple4Bees Copyright
More informationBeginner Guitar Theory: The Essentials
Beginner Guitar Theory: The Essentials By: Kevin Depew For: RLG Members Beginner Guitar Theory - The Essentials Relax and Learn Guitar s theory of learning guitar: There are 2 sets of skills: Physical
More informationThe Ultimate Guide To Bass Harmonics. Create chords, melodies and solo bass pieces using harmonics
The Ultimate Guide To Bass Harmonics Create chords, melodies and solo bass pieces using harmonics Ho To Use This Guide Welcome to this Ultimate Guide! It s great to have you on board. First things first,
More informationFRANK BEE S LEARN AND MASTER PIANO METHOD
FRANK BEE S LEARN AND MASTER PIANO METHOD FOR GROUP OR INDIVIDUAL INSTRUCTION...by Frank Baffour Frank PUBLICATION CO., INC 1 P a g e FRANK S LEARN AND MASTER PIANO METHOD Copy right c 2018 edition ISBN
More informationContents. D (and Inversions)...73
ontents Introduction...6 Basic Intervals and Triads...8 Intervals...8 Triads... Tale of Intervals...4 Seventh hords... Dominant Seventh (7)... Minor Seventh (m7)... Major Seventh (maj7)...6 Diminished
More informationThe Shearer Method: Guitar Harmony. by Alan Hirsh
The Shearer Method: Guitar Harmony by Alan Hirsh TABLE OF CONTENTS PREFACE About this book I BUILDING BLOCKS... 1 Step... 1 The Major Scale... 2 Chromatic Notes... 2 The Key... 4 Intervals... 6 Major,
More informationViolin Harmony Syllabus. (Ear Training, and Practical Application of Remedial Theory) Allen Russell
Violin Harmony Syllabus (Ear Training, and Practical Application of Remedial Theory) Allen Russell Intervals o Singing intervals o Identification! By ear! On the piano! On the violin (only Major and minor
More informationChords symbols and their chords
Home Chords symbols and their chords This article simply describes how to determine the notes for each chord symbol, and sometimes gives a little extra information. Last amended 14 April 2017 Contents
More informationPreface Introduction 12
Music Theory for Electronic Music Producers Contents 4 Preface 11 1. Introduction 12 1.1 What is Music Theory? 13 1.2 The Most Important Rule of Music Theory 14 1.3 Our Method: No Pianos, No Singing 15
More informationAP MUSIC THEORY 2007 SCORING GUIDELINES
2007 SCORING GUIDELINES Definitions of Common Voice-Leading Errors (FR 5 & 6) 1. Parallel fifths and octaves (immediately consecutive) unacceptable (award 0 points) 2. Beat-to-beat fifths and octaves (equal
More informationVertical Harmony Concepts
Vertical Harmony Concepts The purpose of this book is to familiarize the bassist with chord structures and to enhance his ability to solo intelligently and effectively. While many of these concepts can
More informationCopyright 2016, by Noel Johnston. All Rights Reserved. First Edition First Printing: July 2016 ISBN XXXXXXXXXX
Voicing Modes Copyright 206, by Noel Johnston All Rights Reserved First Edition First Printing: July 206 ISBN XXXXXXXXXX Front cover and other image credits: Adobe Stock images and Noel Johnston Constellation:
More informationAP Music Theory. Sample Student Responses and Scoring Commentary. Inside: Free Response Question 6. Scoring Guideline.
2017 AP Music Theory Sample Student Responses and Scoring Commentary Inside: RR Free Response Question 6 RR Scoring Guideline RR Student Samples RR Scoring Commentary 2017 The College Board. College Board,
More informationChord Phrasings and Progressions
Video Reference: Chapter 3 - "Chord Phrasings and Progressions" Chord Phrasings and Progressions Chord Voicing - The notes that make up a chord are referred to as voicings. For now, the two basic voicings
More informationFREE music lessons from Berklee College of Music
FREE music lessons from Berklee College of Music Jazz Composition Theory and Practice Ted Pease Chapter 2 Harmonic Considerations Modal Harmony Click CD icons to listen to CD tracks from book. Press ESC
More informationAsk your students to continue skipping up the scale by playing broken triads on each on each scale degree.
Rev. 8/18/11 Learn Your Chords Kid! By Bradley Sowash When I was about 12 years of age, my parents took me to a restaurant that featured a live jazz trio. l was amazed to see the pianist playing without
More informationALL CHORD SETS IN ALL KEYS W I T H T H E R O M A N
ALL CHORD SETS IN ALL KEYS W I T H T H E R O M A N N U M E R A L S Y S T E M H E A V E N N A T U R E S I N G. C O M WHAT IS THE ROMAN NUMERAL SYSTEM? Chords are what build a song. All the chords needed
More informationTable of Contents. The Blues Scale in A Minor 3 Position 1 4 Position 2 5 Position 3 6 Position 4 7 Position Must Know Chords 9
Tale of Contents The Blues Scale in A Minor Position Position 5 Position 6 Position 7 Position 5 8 -Must Know Chords 9 The Blues Scale in A Minor If you want to e ale to play the Blues as well as related
More informationFirst Lessons for the Right-Hand
Part To First Lessons for the Right-Hand Lesson. The Bass Strings Lesson a introduces the oen th string D. The ire-ound sixth, fifth and fourth strings are commonly called the bass strings. Before you
More informationHarmonised Scales Author: John Clarke Date:?
Dedicated to fostering the art and craft of the jazz guitar Harmonised Scales Author: John Clarke Date:? The objective of this article is to show: how chords are related to scales how an understanding
More informationPlaying Jazz Guitar Bass Lines with Chords
Playing Jazz Guitar Bass Lines with Chords The guitar is an extremely versatile instrument, with seemingly endless techniques and tones around every corner. One very important and widely used jazz guitar
More informationTable Of Contents. GuitarZoom 2015
Table Of ontents Ho to Fretboard hord Basics and Major hords Minor hords I-IV-V in Major Keys Minor Key hords Progression hord Inversions uitarzoom uitar Tuning: Moderate q = to Ê Â = = = Tuning x. x.
More informationForming a Tonal Center
Forming a Tonal enter Tonality in Western Music How do we establish 1 of the 12 notes in western music as the most important note or tonal center? Here is the way it happens! Free Lesson, Page 1 The 12
More informationINTRODUCTION TO CHORDS
INTRODUCTION TO CHORDS Indicates Files in Piano Marvel Repertoire Introduction to Chords Print out this file and use it at your keyboard to study/ Prepared by Christine Brown Please give me your feedback
More informationMusic Theory I (MUT 1111) Prof. Nancy Rogers
Music Theory I (MUT 1111) Prof. Nancy Rogers The Supertonic Chord (ii or ii ) The supertonic is the strongest diatonic pre-dominant. It should therefore progress immediately to V and not move to a weaker
More informationColor Score Melody Harmonization System & User Guide
Color Score Melody Harmonization System & User Guide This is a promotional copy of the Color Score Melody Harmonization System from learncolorpiano.com Contents: Melody Harmonization System (Key of C Major)
More informationFrom The Bottom Up: Building Your Own Jazz Bass Lines
From The Bottom Up: Building Your On Jazz Bass Lines Overvie Purpose The purpose of this presentation is to learn ho to create ass lines from a set of chord changes. The maority of the presentation ill
More informationIntervals For The Guitar
Intervals For The Guitar Intervals are the distance between 2 notes. We can take an originating tone and give every other note an interval name to describe each tone's distance in relation to the originating
More informationMUSIC SOLO PERFORMANCE
Victorian Certificate of Education 2007 SUPERVISOR TO ATTACH PROCESSING LABEL HERE STUDENT NUMBER Letter Figures Words MUSIC SOLO PERFORMANCE Aural and written examination Tuesday 13 November 2007 Reading
More informationThe Fundamental Triad System
The Fundamental Triad System A chord-first approach to jazz theory and practice Pete Pancrazi Copyright 2014 by Pete Pancrazi All Rights Reserved www.petepancrazi.com Table of Contents Introduction...
More informationBlues turnaround chord melody lick
Blues turnaround chord melody lick Week 1: 52 weeks to better jazz guitar Blues turnaround chord melody lick Page 1 Copyright Darren Dutson Bromley Blues Turnaround Chord Melody Lick. As a guitarist, regardless
More informationWelcome to Music Theory 1
Welcome to Music Theory 1 Music Theory 1 is for anyone brand new to music theory. It s designed to give you a good overview of the basic building blocks for understanding music. In this course we ll touch
More informationSingle-Note Playing in Minor Keys
Single-Note Playing in Minor Keys Ted Greene 3-25-1976 thru 3-28-1976 [Note: Ted uses a slash through 7, 9, and 13 to indicate major 7, major 9, or major 13] Minor keys are very interesting for quite a
More informationUkulele Chord Theory & Practice
Ukulele Chord Theory & Practice By Ted Fong, January 2016 Table of Contents 1. The Major Scale... 2 2. Chords Defined... 3 3. Intervals... 4 4. Chord Symbols... 4 5. Ukulele Chord Shapes... 5 6. Chord
More informationThe Fundamental Triad System
The Fundamental Triad System A chord-first approach to jazz guitar Volume I Creating Improvised Lines Pete Pancrazi Introduction / The Chord-First Approach Any jazz guitar method must address the challenge
More informationBy The Numbers. Using Numbers to talk about, study or play music Emphasis: Music Theory, Mandolin Theory. By Mark Gunter
By The Numbers Using Numbers to talk about, study or play music Emphasis: Music Theory, Mandolin Theory By Mark Gunter This article was prompted by the section titled Chord progressions by the numbers,
More informationAn Approach to Jazz Piano
An Approach to Jazz Piano Fifth Edition Charles Austin Introduction This ook is an attempt to address the techniques of piano playing as applied to the playing of jazz. It is also an attempt to address
More informationSYLLABUS DEPARTMENTAL SYLLABUS. Music Theory II MUSC0112 DEPARTMENTAL SYLLABUS DEPARTMENTAL SYLLABUS DEPARTMENTAL SYLLABUS DEPARTMENTAL SYLLABUS
DATE OF LAST REVIEW: 02/2013 CIP CODE: 24.0101 SYLLABUS SEMESTER: COURSE TITLE: COURSE NUMBER: Music Theory II MUSC0112 CREDIT HOURS: 4 INSTRUCTOR: OFFICE LOCATION: OFFICE HOURS: TELEPHONE: EMAIL: PREREQUISITES:
More informationAP Music Theory 2009 Scoring Guidelines
AP Music Theory 2009 Scoring Guidelines The College Board The College Board is a not-for-profit membership association whose mission is to connect students to college success and opportunity. Founded in
More informationNAME DATE SECTION. Melodic Dictation: Melodies Using m2, M2, m3, M3
ben36754_un0.qxd 4/9/04 0:5 Page 7 { NAME DATE ECTION Unit Melody A Melodic Dictation: Melodies Using m, M, m3, M3 Before beginning the exercises in this section, sing the following sample melodies. These
More informationHarmonic Improvement
Harmonic Improvement Ted Greene 1977, April 4, July 10, and May 6. [These lesson pages are Ted s updates or revisions to his lesson with the same title dated 1976, June 2, 4, 6 with 1975 Feb. 20. Some
More informationMusic and Engineering: Review of the Western Music system for Engineers
Music and Engineering: Review of the Western Music system for Engineers Tim Hoerning Fall 2017 (last modified 9/12/17) Outline Twelve Tones of Equal Temperament Clefs The Staff Pitch & Rhythm Notes & Rests
More information