INTRODUCTION TO MUSIC THEORY

Tuesday, October 16, 2012INTRODUCTION TO MUSIC THEORYTODAYS GAME PLAN: Music Sharing!Review:Seventh chordsForms of minor (relative, parallel, natural, harmonic, melodic)Minor key signatures/Circle of Fifths placement for minor Modes (What are they? How do they work/function?)NEW!Harmonizing a melody in a MAJOR key Cadences Broken chords & arpeggiated accompaniments

TRIADS:MAJOR: M3 + m3 (P5)MINOR: m3 + M3 (P5)DIMINISHED: m3 + m3 (dim5)AUGMENTED: M3 + M3 (aug5)

MajorMajor seventh (M7) Major triad + Major 3rdMajorminor seventh (Mm7) (V7) Major triad + minor 3rd minorminor seventh (m7) minor triad + minor 3rdhalfdiminished seventh (7)diminished triad + Major 3rd diminished seventh (7) diminished triad + minor 3rd

SEVENTH CHORDS:INVERSIONS:Triads:1st Inversion 63 (6) (C/E)2nd Inversion 64 (C/G)Seventh Chords:Root position7 (C7)1st Inversion65 (C7/E)2nd Inversion43 (C7/G)3rd Inversion42 (C7/Bb)

Modes related to MAJOR:Ionian (scale degree 1)A major scale (half steps: 3/4 & 7/8)Mixolydian (scale degree 5)A major scale with the 7th lowered by a half step (half steps: 3/4 & 6/7)Lydian (scale degree 4)A major scale with the 4th raised by a half step (half steps: 4/5 & 7/8)MODES!Modes related to MINOR:Aeolian (scale degree 6)A natural minor scale (half steps: 2/3 & 5/6)Dorian (scale degree 2)A natural minor scale with the 6th raised by a half step (half steps: 2/3 & 6/7)Phrygian (scale degree 3)A natural minor scale with the 2nd lowered by a half step (half steps: 1/2 & 5/6)Locrian (rarely used) (scale degree 7)A natural minor scale with the 2nd and the 5th lowered by a half step (half steps: 1/2 & 4/5)

MODES!Ionian Mode (1) (W-W-H-W-W-W-H)Mixolydian Mode (5) (W-W-H-W-W-H-W)Lydian Mode (4) (W-W-W-H-W-W-H)

Aeolian Mode (6) (W-H-W-W-H-W-W)Dorian Mode (2) (W-H-W-W-W-H-W)Phrygian Mode (3) (H-W-W-W-H-W-W)Locrian Mode (7) (H-W-W-H-W-W-W)

MORE MAGIC PHONE NUMBERS!MODES USAGE:Ionian Major (the majority of Western music)Dorian Celtic Phrygian Modern composers/guitaristsLydian JazzMixolydian Popular for solo musiciansAeolian Blues (natural minor)Locrian Unstable & unsatisfying

MAJOR:Scale degrees 1, 3, 5 = I chordScale degrees 2, 4, 5, 7 = V (or V7) chordScale degrees 1, 4, 6 = IV chordWhen harmonizing with the V7 chord, the 5th is often omitted. Most harmonizations begin with a I chordTypical progression at the end of a piece: iiviVI IVVI COMMON HARMONIES:MINOR:Scale degrees 1, 3, 5 = i chordScale degrees 2, 4, 5, 7 = V (or V7) chordScale degrees 1, 4, 6 = iv chordWhen harmonizing with the V7 chord, the 5th is often omitted. Most harmonizations begin with a i chordTypical progression at the end of a piece: iiviV(7)I IVV(7)I COMMON HARMONIES:A progression of at least two chords that end a phrase, section, or piece of music. Authentic Cadence: V(7)I or V(7)iPlagal Cadence: IVI or IVI (Amen)Half Cadence: any cadence ending on VDeceptive Cadence: Vchord other than I (typically ii, IV6, iv6, vi or VI)CADENCES:BROKEN CHORDS & ARPEGGIOS: BROKEN CHORDS:A way to harmonize a melody in which the chord notes are broken up (not played simultaneously). Opposite of Block chords (when the notes of a chord are played together at the same time).

ARPEGGIOS:When the notes of a chord are played sequentially; one after the other. Arpeggio comes from the Italian word, arpeggiare, meaning to play on a harp.An arpeggio may be extended to an octave or more.

YOUR COMPOSITIONSStart adding harmony to your composition!Use Noteflight!As a part of your final exam, you will turn in a completed composition. This must include: Your original poem/quote/text/lyricsMelody line HarmonizationCorrect key signatures, time signature, etc. Dynamic, articulation, and tempo markingsAny other theoretical components that weve studied during this term that youd like to employ to make your composition the best it can be!