In 'Beach-ball' position, the 'root' will always be the bottom note...

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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 ΠCielito 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):