Music Theory ~ Review Video (AP and Undergraduate)

Hello everyone, I decided to put together this comprehensive

music

theory

review

video

that covers a wide range of topics. This can be a very useful resource for those of you who are taking AP college

music

theory

courses and for those who just want to. to learn some new things about music theory because this is a

review

video

. I'm going to go over all the different topics pretty quickly. This video is not really designed to teach you these things for the first time, but rather to help you review. the most important things you should have learned from each topic.

I would appreciate it if you would share this video with anyone who may find it beneficial and useful. That being said, let's start first, first thing is a general introduction to harmony, so harmony is the aspect of Western art music that really distinguishes it from other types of music around the world. Harmony is the vertical aspect of music. It is the result of hearing two or more different tones at the same time. Now the music we are talking about uses tonal harmony. Harmony is music that has a tonal center and this was really the harmonic approach of composers of the period of common practice, otherwise considered to be the year 1650 to about 1900.

Once the 20th century arrived, composers began to focus more in music and post-tonal methods. Now, some characteristics of total harmony include the use of a tonal center, major and minor scale chords, more specifically tertian chords, meaning they are built with thirds. Take this example, we have a C major chord, C to E is a third, E to G is the third, so this entire chord is made up of thirds and the chords we use in tonal harmony are mostly tertians. Finally we have functional harmony, which is the idea that chords tend to have functions in standard roles within a key and if you're watching this video as a review.

You should already be familiar with this example, the fifth chord has a dominant function and the fifth chord wants more than anything to go to the single chord that is the tonic, so that is related to the idea of ​​functional harmony. Now let's start talking about the basics. In the world of music, the students who tend to struggle primarily in music theory are the ones who don't have a solid understanding of the fundamentals, so you'll want to make sure you're familiar with these things before moving on to the pitch and music you play. It refers to the intensity or severity of a sound and we name pitches using the first seven letters of the alphabet from a to g.

If you are studying music theory, you will want to familiarize yourself with the piano keyboard and how it is described. help you count semitones, whole steps, and solve almost any music theory problem you encounter, so the piano has white keys that use the letters of our alphabet and then it has black keys that come in groups of two and three. C in the middle of a full 88 key piano is known as middle C, also known as C4 because it is the fourth C on the piano that will be an important note, as we will talk shortly about what an octave is.

An octave is the distance from one note to the next higher or lower note of the same letter in accidental, for example, this C and that C are separated by an octave the same note separated by an octave an octave register is a collection of pitches from a c to but not including the next c, from this c each note to this note b here they are all part of the same octave register and we number the notes of an octave register using regular numbers, so if this is c4 it would be d4 e4 f4 g4 a4 b4 and then the number changes then it would be c5.

Now, when we annotate music for others to read, we do this on a staff. The staff is the five lines and four spaces where we notice the music. You can now use ledger lines to extend a staff indefinitely. for example, you see this note right here which is a C, you have a ledger line, it's basically another staff line that allows you to extend the staff below or above now to indicate very specific pitches, we have to use a clef like These four that you see here the key indicates very specific notes that you want to hear.

This one here is known as a treble clef, also known as a treble clef, why, well, it kind of looks like the letter g and you also see how this loop here around this. second line that note is a g specifically g4 which is the G above middle C this clef which is the bass clef used for lower tones is also known as bass clef these two dots around this line that note is an f is the F below middle C so it would be f three so this note right in the middle of the treble clef and bass clef i.e. c4 or middle c so basically the bass clef flows directly into the treble clef and all the notes They are connected to each other and you could join the treble clef and the bass clef together with a key and that forms what we know as a grand staff.

The grand staff is when you connect two clutches together by using a key, if you are reading piano music you will see that a lot and if you are studying music theory that is also something you will see frequently finally is the idea of ​​our grand staff do why they called them do clefs let's talk about that in a second first is our alto clef so how? Do we read this? See how there are two curves that meet on this line? That note is middle C or C4. You see this key is the same key but moved up.

The C indentations are movable, you can move them up or down and that's it. is that whenever you have these two curves that join, whatever line they join, that note is always C4 or middle C, this key is your tenor clef, so these clefs are used to indicate where the middle C, specifically the treble clef, middle C. it's right below the staff and in the bass clef middle C is right above the staff and we use these indentations most of the time to indicate the notes we want. The major scale is an essential part of music theory and tonal harmony, now the major scale.

The scale is simply a specific pattern of semitones and full steps that span an octave. So what are full steps and half steps? Well, a half step is when you go from one note to the next note above or below that note on a keyboard while a full step is when you go up two semitones or you could just think of it as skipping a key and moving on to the next. . Now the formula for major scales is this: we do a full step, a full step, then a half step, then a full step. step full step and finally half a step so c major scale which is everyone's favorite because it's the easiest it uses only the white keys on a keyboard so here we go we start with c we go up a whole step which It is full step and half step. f full step g full step a full step b half step c so that's your C major scale and the important thing about a scale is that you always need one of each note letter, you can't leave anyone out now the degrees of the scale They are represented using numbers and the carrots above the number represent where it is on the scale, so if you have a C major scale, the c note is scale degree one, while the g note would be degree five. of the scale, and so in the C major scale or any scale it could also be It is thought to be divided into two tetrachords which are simply groups of four note patterns that are similar, for example, this tetrachord C, F, which is a whole step, whole step, half step, this tetrachord which is a whole step, whole step, half step, so they're both similar patterns. but they're one full step apart here in the middle, so that's the idea of ​​the basic scale for a major scale.

Now for other scales, we will end up using accidentals to help us spell our scales, so it is important to be familiar with them, so a double sharp raises the note a full tone a sharp raises the note a half tone a natural cancels any alteration seen previously also represents the unaltered version of a note a flat lowers a note half a step and then a double flat lowers the note by a full step so now let's practice it with these two scales so I want to make a G major scale and an F major scale, so the first thing is to make sure you give yourself one of each note. letter g a b c d e f g we need one of each letter and now use your formula what is one whole step above g one whole step above a b half a step above b c now we need one whole step above c which is d whole step by above d which is e now we need a whole step up e what is a whole step up e we land on this note which would be an F sharp so when you write an accidental next to a letter it goes after the letter so when the you write next to a note goes before the note finally, after F sharp, we need a half step from F sharp to G, which is half a step, so this is our G major scale.

Now let's do our F major scale, so again, the first thing you want to make sure is that you give yourself one of each letter that is. always the first thing you should do and now apply your formula, the whole set that works, the whole step, this works, we need a half step above a, a half step above a, it takes you to B flat, so We need a B flat here now, a full step above B flat. it's c full step d full step e finally half step f so that's your f major scale if you know how to apply this formula you can spell any major scale you want if you're a serious musician it's a good idea Know all the key signatures by heart of major keys, so the term clef is used in music to identify the first degree of a scale, for example, the key of C major, the first degree of the scale is the note C, now a key signature is a pattern of sharps or flats that appear at the beginning of a staff and indicates that certain notes should be raised or lowered consistently these are the major key signatures that have sharps and these are the major key signatures that have flats and it's a good idea to memorize them.

It is much easier to memorize them than to always count the entire step. Full step and half step formula for each key. Now in music we have something known as enharmonic equivalence. This refers to notes that have exactly the same pitch but are written differently, for example. The b note and the flat c note sound exactly the same, they are in the same place on the keyboard but they are written in two different ways. You can also have n harmonic keys, for example, the key of B major and the key of C. flat major will have the same notes, but they are written in two different ways;

They are known as enharmonic equivalents. This also applies to F sharp and G flat, as well as C sharp and D flat if it has two major keys that are not inharmonic, they are considered transpositions of each other to transpose means to write or play music in some other key than the original, for example. For example, the key of D major has the same pattern of full steps and half steps as C major, G major, F major or any other major scale, all of which are transpositions of each other. If you want to memorize your key signatures, it's a good idea to memorize the circle of fifths.

The circle of fifths is used for many things in music. It helps you memorize your key signatures and know the order of sharps and flats, so if you look at the top, the key with zero sharps and zero flats is C major, the key with one sharp is G major, as you can see here, the key with a flat is f major as you see here and the distance from one key to the next on the circle of fifths is the distance of a fifth, for example, if I start with c major we always count the initial key as one, so c is one, d is two, e is three f is four g is five so c to g is a fifth if I went the other way c b a g f c a f that's also a fifth, that's why it's known as the circle of fifths and you can use it to memorize all your different key signatures these are your key signatures for major keys involving sharps and these are your key signatures involving flats at the bottom of the circle of fifths.

You will notice that some of the keys are in harmonics, for example if major has five sharps it also lands in the place for seven flats which is C flat major six flats are G flat and six sharps are F sharp and the harmonic keys sound the same written differently D flat major has five flats it lands in the same place as C sharp major which has seven sharps now the last thing to talk about here is the order of the sharps and the flats so if you look at the sharps they still add up each other, for example, we start with f sharp, the next is f sharp, c sharp, the next is f sharp. c sharp g sharp so that each key still takes the accidentals that you see in the previous key, so the order in which the sharps appear is f c g d a e b and the order in which the flats appear is just the other way around b e a d g c f if you have trouble remembering that too You can consult your circle of fifths for that look for all the keys that do not have accidentals, so the first one here is f if it goes in the direction of the sharps, that is its order of thesharps f c g d a e b and go in the reverse direction or in the direction of the flats If you want to get the order of the flats be a d g c f, then if I said what has the key of B flat major, would you say okay, B flat major that has two flats, would you say? what are the flats?

It will be B flat and D flat if I said. the key of e major you would say okay e major has four sharps the sharps are f sharp c sharp g sharp d sharp so the circle of fifths is a really useful resource in music theory to help you get more accurate results and solve some other similar problems to major scales minor scales are commonly used by composers and composers of tonal music. There are three types of minor skills you want to become familiar with: the natural minor scale, the harmonic minor scale, and the melodic minor scale to form a natural minor scale.

We will take a normal major scale and lower the 3rd, 6th and 7th degrees of the scale. So let's say we want to form a natural minor scale in C, starting with the C major scale and then taking the 3rd, 6th, and 7th degrees of the scale and lowering them. in half a step that the natural minor scale gives you, the harmonic minor scale is exactly the same, the only difference is that the 7th degree of the scale will be raised, so instead of B flat we will have a B flat and this is the more common. used of the minor scales because if natural is a leading tone of c it is half a step away from its tonic c is the most important note you could say in the key of c minor if natural is half a step below and has such a strong gravitational pull to Getting that C note in the B flat natural minor scale is one step away from C is not as powerful, so the harmonic minor scale is the most used of the minor scales because of this leading tone, the melodic minor scale is a a little more complicated because it's different on the way up and down, on the way up you'll have a natural minor scale but you'll have a raised main tone and a raised six scale degree, so it would be c d e flat f g a natural b natural and c the reason why the scale from a flat to b natural is an uncomfortable interval to sing for some a to b is a complete step that is easier to sing and see, so it makes singing a melodic line that goes upwards is much easier to sing.

The way down is a normal natural minor scale, so we've moved down scale degrees 7, 6 and 3. So down would be the same as a natural minor scale now, if you wrote a key signature for a minor scale the one you're going to always do it based on the natural minor scale, so if I wanted to write any key of C minor, I would use the key signature of C natural minor, which is 3 flats. Now relative keys are keys that share the same key signature, so C minor three flats are the same key signature as E flat major, so those are relative keys of C major and minor, those are other relative keys, both have no sharps or flats.

Parallel clefs are clefs that share the same starting note as C major and C minor. You could use your circle of fifths to help you discover all your natural minor scales and notice how at the bottom of the circle of fifths you have n harmonic keys again, similar to the major keys, now sometimes you will have to try to identify them. What key are you in and you might be wondering how do I tell if I'm in major or minor if the key signature is the same here's an easy way to tell the difference let's say this was your key signature your chances would be e flat major or c minor because those are the keys that have three flats, now in a major key you will not have alterations in general, but remember what I said about minor scales, we tend to use the harmonic minor scale more if it uses scale degree 7, we need to have a B natural because the key signature has a B flat, if we want to increase it, we have to put a natural sign, so if it is in a minor key, you will see a lot of alterations.

Because those will be your elevated main tones, they will take you back to degree 1 of the scale. If you're in E flat major, you won't see B natural, but if you're in C minor. You will see if natural because that is the main tone. Another example, let's say you're an A minor, you would have the main tone of G sharp because G sharp is half a step below A, so if you saw a piece that had no sharps or flats, you would say okay, it's C major or minor. If you see G sharp in music, which is the leading tone of A, it tells you that you are in a minor key, so use it to help you distinguish between major keys. and minor keys when you're trying to figure out what key a piece is in, so let's say you're given a piece of music and asked to figure out what key it's in.

Major keys are easy to determine from the key. signature, as long as you know that your major key signature is based on the circle of fifths, minor keys can be harder to remember, but you can use relative keys to help you figure this out. Let's see how to do it if you want to go from a major key to the relative minor key it will go down three semitones if you want to go from a minor key to a relative major key it will go up three semitones so let's take this example, let's say we have a piece of music with sin sharps or flats, you should automatically know that a possibility is C major, so C major is the possible major scale.

What about the minor scale? Let's figure out the relative of C major to go from major to relative minor, low three halves. steps, so if you go three semitones below c you'll get a, so the relative minor of c major is minor. Both shades have exactly the same key signature. Let's take this one, let's say we're in B flat minor and we want to figure it out. in the relative major, you will now go up three semitones if you are using your piano as a visual aid, start with B flat and go up three semitones. If you do this, you will land on a black key and you could say that okay, it's C sharp, but that's not true because the distance from b to c of any type is one second b c and the relative keys must be a third apart to have the same key signature, so instead of C sharp it would be D flat D flat major has five flats B flat minor has five flats if you think of it as C sharp major C sharp major has seven sharps B flat minor has five flats those are not the same key signature, so the relative key letters are always going to be a third apart c b a b c d, so make sure it's always a third apart, but three semitones get you at least to the note you need, so let's say which is given this key signature right here, we see two flats so you know your chance is B flat major and then you have to figure out your relative minor, go down three semitones from B flat and you land on the note g, so it would be G minor. and it is that a third of difference b to g yes, what about this one you see? three sharps three sharps you should know is major what's the relative of a major low three halftones you land on F sharp is this one third to g f yes it is and again how would you know which one you're on if you're? in G minor, remember that you are going to use raised leading tones, the leading tone of G is half a step below G, which is F sharp, so if you see F sharp, you will be in G minor, if you see F natural, the most It is probably in B flat major.

What's up with this one in major? You won't see sharps or flats in the middle of the music if you are an F sharp minor what is the main tone of the F sharp? Well, what is a? half a step below f sharp on your keyboard, you could say f but we can't have f natural and f sharp, it has to be a different spell, it must be an e of some kind because e is the 7th scale degree in any f key so we would call it e sharp e sharp is the same as an f natural they sound exactly the same but they are spelled differently e sharp is the leading tone of the f sharp they are half a step away so if you see this key signature and in the middle of music you see a lot of E sharp, you're probably an F sharp minor, if you don't see E sharp you're probably in A major, this is how you should figure out your relative keys and this is a really important skill to have when you're trying to figure out in what pitch a piece of music is in.

In music theory, we have several names for different scale degrees, which makes it easier to have conversations about and reference them. them, so that's what they're called scale degree 1 is your tonic is your home base if I'm in the key of C major the first note will be C that's my tonic scale degree 2 is the super tonic super means up so the degree Scale degree 2 is above your tonic super tonic scale degree 3 is your median scale degree 4 is a subdominant I will return to this in a second scale degree 5 is important this is your dominant now dominant means 5 sub means below so what is a fifth below scale degree 1?

Well, we always count that as our first number, so c b a g f f is scale degree four, so if you go five below your tonic you'll get your subdominant note, that's why it's called a subdominant scale degree six, that's your median submedian means three. sub means below so what is a third below c c b a which gives you the scale degree six sub median if you are in the natural minor key you will end up having a reduced seventh scale degree like b flat which is your tonic sub sub means below and remember the tonic is one, so what's below degree seven of your tonic scale?

Now, if you have a normal seventh scale degree that is a half step away from your tonic note, that is your primary tone that is found in your major scales and in your harmonic minor scale and in the melodic minor scale. on the way up if you have a 7th scale degree that is half a step away from scale degree one which is a main tone so the subtonic is a full step from your tonic the main tone is a half step from the tonic another important fundamental in music theory is the concept of intervals an interval is the measure of the distance and pitch between two notes and there are two types: harmonic intervals result when two notes are heard performed simultaneously while melodic intervals are when they are played simultaneously. you hear two notes played successively we also have what are known as simple intervals and compound intervals if you have an interval that is less than an octave which is a simple interval if you have an interval greater than an octave or including the octave which is a compound interval here we have the different intervals that you need to become familiar with so that the The first thing to know is that with an interval the numerical part of the interval is always based on the distance in letters between two notes, so c a c is just a c a d c d are two c a e c d e is one third, so the number part is always based on the distance between letters of the notes, the modifier, such as the letters p lowercase m uppercase m, are all based on the actual distance of the notes and semitones, so let's look at these if you have a note and exactly the same note. is heard at the same time that is known as unison because it is exactly the same note there is no difference zero semitones the other way to abbreviate it is perfect unison or p1 now c a d flat well c a d of any type is a second if you have a semitone which is a minor second c a d natural again c a d is a second a full step or two semitones which is a major second now c a e no matter what type it is, it is a third c d e three semitones minor third four semitones major third now c a f of any type it is a fourth C to F natural is five semitones which is a perfect fourth now we have this one that has six semitones and there is another one here that has six semitones, so let's say we have c to f sharp, well, c to any type of f is a fourth if it has an interval greater than a perfect interval, it becomes an augmented interval, so this is an augmented quarter and a symbol for augmented is a little plus symbol what's up with this? a c a g flat good c d e f g is a fifth c a g flat is six semitones known as a diminished fifth and a symbol for diminished is the little degree symbol here c a f sharp and c a g flat are n harmonics, they both sound the same, they both have six semitones, this interval the augmented fourth and the diminished fifth are known as a tritone, you'll want to familiarize yourself with that name, it's a harsh sounding interval that really wants to be resolved now here from C to G is a fifth and if you have seven semitones, that's a perfect fifth c a a of any type c d e f g a is a sixth eight semitones is a minor sixth nine semitones major six c a b so c d e f g a b is a seventh and then ten semitones are a minor seventh eleven semitones is a major seventh finally c a c well c d e f g a b c that is an eight or an octave and it is considered a perfect octave remember what an octave is it is an interval when you go from one note to the same note letter above or below so c to c is an octave or 12 semitones you will want to remember these intervals because you will They'll help you stack chords or solve basically any kind of music theory problem you come across that you at least want to memorize.

These, at least up to the exact fifth, devise someway to help you remember the number of semitones. You should know thirds, especially since they will help you with chords. You should be familiar with the perfect fifth and fourth. They are going to appear a lot, the seconds are important, the unison is important and the tritone is also important, it is going to appear at different times, like when we learn seventh chords. Now one last idea with intervals is the idea of ​​consonant intervals and dissonant intervals. constant intervals are considered pleasant to listen to and these consist of sixth thirds, perfect fifth and perfect octave dissonant intervals are harder to hear this includes seconds sevenths augmented intervals diminished intervals and the perfect fourth when it comes to the bass and in our music objective is basically resolve dissonances into consonances create a pleasant effect create forward movement and the music some momentum we want to have distances that resolve into constancies that give some movement to the musical interest and keeps the listener interested, so those are the concepts basics that you need to know intervals the last thing we should talk about on the subject of intervals is inverting intervals an interval inversion is when you take an integral and turn it upside down, so take this example d to a, the inversion of this interval would be a to d to reverse something in music basically means rearranging it in some other way.

This could be extremely useful when you are trying to find a larger interval. Take this one, for example, we have C to B, so it's harder to count semitones. This will take a lot of time and you may not be as accurate if you're not careful, you can use an interval inversion to help you, so if we invert c a b becomes b a c b a c is one second b c b a c on the keyboard is half a step away , you should know that a half step is a minor second, so how do we use this to calculate this interval?

This is how it works, you're going to take the number 9, you're going to subtract your inverted interval. number of 9 and that gives us 7. is c being a seventh yeah, what about the modifier? This is what you do major changes to minor and vice versa perfect stays perfect increased changes to decreased and vice versa so we have a minor interval that changes to a major interval so the minor second is the same as a major seventh when you invert it let's do something faster practice the ones so we have a major second nine minus two is seven major to minor turns we have an augmented fourth nine minus four is five augmented turns to a perfect diminished fifth nine minus five is four and perfect stays perfect so this gets easier once you understand the concept, let's say we have this example, we have the note g and we want to find a minor sixth above g, well what is a sixth above g?

First of all, g a b c d e, so it's going to be some kind of e, but let's say you're not sure what it is, here's what you're going to do: reverse the interval, so it's going to be, for example, G minor 6, what becomes 9 minus 6? It's 3 minor to major changes, so the G note has to stay the same because we can. Don't change this note, so what is a major third? A major third is four semitones. Go four semitones below G. What note do you get? You get an E flat, so a minor sixth above G would be an E flat.

Finally, let's take this example. Let's say you have a major sixth below this note, so we're in bass clef, we have an F sharp and we want to get to a major sixth below the intervals that we usually like to count up, that's easier, so this is What we're going to do: We're going to reverse this interval from a major sixth to a minor third to the right, so we have F sharp a third above F sharp is an A of some kind a minor third is three semitones ve three semitones down above F sharp what do you get? you get a natural so the last step to do is to lower this a in the octave by transposing it and now we have a major sixth below f sharp six major below f sharp is the same as a minor third above f we're just taking the interval and inverting it so interval inversions can help you solve larger interval problems and also make sure you get accurate answers when you're trying to determine which interval you're dealing with and that's all on the concept of intervals, the next fundamental that Let's talk about rhythm.

Rhythm is a general term used to refer to the temporal aspect of music. These are the various duration symbols that you will want to be familiar with. The main ones include the short or double whole half. fourth eighth and sixteenth and this continues we have thirty seconds sixty four and so on you will also want to know how the durations of the notes and rests are determined, for example, a whole note is equal to two quarter notes, a half note is equal to two quarter notes and so on the same applies to rests if they have durations other than those in this table which must be indicated by the use of joining points or other musical symbols, so that the dot follows the dot.

A symbol always adds to the duration half the value of the rest or period that precedes it, for example, if we have a dotted quarter note, it will be equal to a quarter note plus half of the quarter note, which is an eighth note, the time. It is the basic pulse of a musical passage and the speed at which the beats occur is called tempo. Now tenses tend to group together in patterns that are consistent throughout a passage. The pattern of beats is called meter and the groups of beats are called measures. It can also be considered as a unit of meter consisting of a certain number of stressed and unstressed beats.

The end of a measure is always indicated by a vertical line that goes to the staff and this is known as the measure line and something important. The thing to keep in mind is that bar lines cancel out any alterations that appear in the bar in the music. We use the words duple, triple and quadruple to refer to the number of beats in a measure, for example, a two-beat measure is a double measure, a three-beat measure is a triple measure. and a four-beat meter is a quadruple meter Meters often have a pattern of accents that are known as metrical accents, for example, double meter is strong followed by weak triple meter is strong followed by weak weak quadruple meter is strong weak less strong weak those are the types of metrical accidents that you will find in these meters hypermeter refers to a regular grouping of measures and is analogous to meter, for example, if you have a song that is in triple time and it may have measures that form groups of four, this creates a quadruple Hypermeter Another important thing you should know is that beats can be divided, this is known as divisions of the b.

When you listen to a musical passage, you will often hear durations that are shorter than the actual time when a beat is divided into two equal parts it is a simple time and when the time is divided into three equal parts it is a compound time now let's turn our attention to time signatures a time signature is a symbol that tells the performer how many beats will occur in each measure what note value will represent the beat and if the beat is simple or compound, let's look at these simple time signatures, they will have the number 2 , 3 or 4 as the upper number, the upper number will indicate the number of beats per measure and the lower number will indicate the number of beats per measure. indicate the value of the time note let's see some examples 2 2 that is also known as cut time or all abbrevi there are two beats per measure that are based on the top number the time note is a half note we discovered it because of the number two bottom represents the half note and the division of the simple measure of the beat is divided into two divisions, so a half note is divided into two coordinates, four, four, which is also known as common beats per measure, will be four because of the note of upper beat, it is the quarter note we have four in the lower four represents fourth the division of time a quarter note is divided into two eighth notes finally three eight there will be three beats per measure the time note is the octave and the division of time is one octave the note is divided into two sixteenth notes.

Compound time signatures will have the number six, nine or twelve as the top number if a beat is divided into three equal parts, as in a compound beat, the note value representing the beat will have to be a dotted value. So in a compound measure, the top number will indicate the number of beats in the measure, as if it were simple, but the bottom number will indicate the beat division value, so let's look at some examples of this, let's say we have 6 4. will be two beats per measure six will always have two beats per measure, you will take the top number and divide it by three to get the number of beats per measure, now the measure note, we are going to solve it based on the division, so again 6 4 the number below will tell you the division of b, so we see 4, which is quarter note, so we are going to have three quarter notes and three quarter notes make up the time, which is a half note dotted nine eight. nine divided by three is three, so there are three beats per measure eight is our division value, so we will have three eighth notes and three eighth notes make a dotted quarter note, finally 12 8 12 divided by three gives you four, so that there are four beats per measure eight is our division so we have three eighth notes and again three eighth notes form the dotted fourth, how would they sound good?

Let's say for example that we are in four four and let's say this is our rhythm, this would be the division one and two and three and four and let's keep the same rhythm here and do nine eight, it would be this one and a two and a three, so that you should understand the difference on how to listen to the two now if you look at the compass. the bottom number can be applied to a simple time signature or a compound time signature, so let's say we have x over four if we're in simple time again, that bottom number tells you which note is following the beat, so it would be a quarter note. x over eight would be an 8th note for a compound time duration to solve this you would have to go to the next longest note value and then add a dot, for example what is the next longest value after a quarter note and a white? and you are going to make a dotted half note a dotted half note is equal to three quarter notes an eighth note the next highest and longest value will be a quarter note and you are going to add a dot to it a dotted quarter note is equal to three eighth notes, which will It will help you discover the durations of simple tenses and the durations of compound tenses.

Let's take a look at some more ideas related to rhythm. When you're notating rhythms, you want to make sure the metrical accents and individual beats are correct. Look clearly at this example in three four the coordinate gets the b and each quarter note is divided into two eighth notes by showing the eighth notes in groups of two, we can see each of the individual beats on their own, it's very clear that we would. We didn't group three eighth notes here and three eighth notes here because then we wouldn't see each beat on its own, so you want to make sure you're clear with your rhythmic notation to make it easier for the player to read. syncopations are rhythmic figures that emphasize normally weak beats or divisions, look at this example, these first two notes fall on beats one and two, the eighth note here falls on beat three, but then this quarter note falls at the end of b3 and this octave the note lands at the end of b4, so that's the idea of ​​syncopation when you emphasize normally weak beats or divisions when you have positive beats and beats and that's when you hear notes, that's the idea of ​​syncopation.

A tup group is a generic term that describes a grouping of notes that wouldn't normally occur within a B, let's say we're in a simple time signature and we have a quarter note, a quarter note is evenly divided into two eighth notes or four sixteenth notes, but let's say we want To hear three notes in the length of a quarter note and we wanted them to be the same length to do that we would go to the next note value that is shorter than the quarter note so that would be the eighth note, we write three eighth notes together and put a three on top shows that we want to hear three notes of equal duration within the duration of a quarter note, let's say we have a dotted quarter note and we are in a compound meter, we know that the dotted quarter note is equal to three eighth notes, let's say you want to hear two notes within the span of the dot coordinate note, I would write two quarter notes and put a parenthesis with a two above it to show that we want to hear two notes of equal length within the length of the dot coordinate when it comes to the stems when you have a single dot coordinate note. stem notated on a staff, the stem should go up if the note is below the midline, like this, and the stem should go down if the note is above the midline, like this, if your note is on the line Half can go in either direction, but most of the time people tend to notate it with the step down, so keep in mind that eventually beams are used to connect durations that are shorter than a quarter note when the durations occur within of the same time, so these are notes that are transmitted together and when it comes to thestem direction of barre notes, the preference is usually to decide the direction of the stems based on a note that is furthest from the midline, so this note is furthest from the midline. line this note would have a downward stem, so we are going to use downward stems in this example, the notes furthest from the midline would have an upward stem, so we will give upward stems to all of these, finally in this example, this note is further away. from the midline and this one would use an ascending root, so we're going to use an ascending root for this one as well and those are the concepts you need to know related to rhythm.

One last thing about rhythm, as said above, tempo describes. Music pulse relative speed terms are often used to indicate this relative speed. Try to familiarize yourself with all the following terms, which are commonly considered to express various tempos in music, other times a specific tempo will be given usually in beats per minute, for example, Quarter note equals 60, which is 60 beats per minute. Next, we'll talk about chords, so tonal harmony uses tertian chords, which means they are built in thirds and the fundamental tertiary is the triad, which is a three-note chord built. of two thirds you'll want to be familiar with the intervals of a major third and a minor third because that's how we construct our various triads, so a major third is four semitones or two whole steps and the minor third is three semitones these are the four main types of diminished and augmented major minor triads you will want to know how to write them these are the formulas to construct them each of these chords has a root one third above the root and a fifth above the root when we get to the seventh chords , we have a seventh above the root, that's why it's called a seventh chord. chords you want to know and these are the formulas to build them we have the major seventh chord major minor seventh chord or a dominant seventh chord minor seventh chord half diminished seventh chord and a fully diminished seventh chord some quick things to keep in mind count here if you have the interval of a major seventh, the seventh is going to be a half step below your root, so in this one we have a B flat that is a half step from C, which is our root, which is a major seventh .

In this one we have a B flat which is a full set from the root of c, if it's one step away, that will make it a minor seventh. Also, with this example we see a double B flat, you might be thinking, wouldn't it be easier to just write it as the A natural note? It may seem easier, but c a a is the interval of the sixth and we want the interval of a seventh to make it a seventh chord, so you'll want to accurately spell these chords, finally you'll want to familiarize yourself with the lychee symbols, which are the symbols that we use to notate chords in popular music, so these are some of the leach symbols you would use. for triads and the ones you would use for seventh chords sometimes there is more than one way to write a leachy symbol the main thing you will want to know is that you always write the root letter capitalized or capitalized when we are making a leach symbol so that all of these chords have the root of c, so you will use a capital c at the beginning of each of these lychee symbols and make sure to memorize and familiarize yourself with how we notice the advantage. symbols on the sheet so you at least have an idea of ​​how you would notate it if you had to label a chord using a symbol on the guide sheet.

The nice thing about chords is that the root of the chord will not always be the lowest tone in In a musical context, you could make any part of a chord appear as the lowest tone, so the bass position is an arrangement of the notes of a triad and is identified by the member of the chord that is in the lowest sounding voice. Look at all these examples here that we have. f major triads we have the notes f and c in the three examples they all have the same ingredients we are making the same product an f major chord we perceive it as the same chord only differences in this one the a is the lowest sounding note and in this, c is the lowest sounding note, but they are the same notes that form an F major chord, so these are inversions of an F major chord, so this is the fundamental position, it's what I call shape snowman, is when the chord is stacked in thirds. and the root is the lowest note you hear, the first inversion is where the third is the lowest note you hear of the chord and the second inversion is where the fifth is the lowest note of the chord you hear.

Now the seventh chords have two inversions, so we have the fundamental position of the snowman is formed here where the root is the lowest sounding note first inversion again where the third is the lowest final note second inversion where the fifth is the lowest final note and then the seventh chords have a third inversion where the seventh is the lowest final note when we do lead sheet notation for chords that are inverted we use bar notation so this chord here would simply be written as If it were an F major triad this is an F major triad to tell you the identity of the chord we would write capital f tells you the bar of the chord we would put bar a because a is the lowest sounding note we hear, this is an F major triad F major and c is the lowest sounding note, so it would be f bar c, what you see to the right of the bar is always the lowest sounding note that you hear when we have seventh chords this is how to do this is a C major seventh chord then it would be C major seven this is C major seven with e in the bass so it would be C major seven slash e and the same would apply to this one where g would be in the root and this word b would be in the root.

If you're ever trying to figure out the root of a chord, try putting it in snowman shape if you're in snowman shape like this and this, the lowest note is your root. Another trick is if you have seventh chords like these, if you're stacked like this, where the notes are all together wherever you see the indentation like this. and that, the highest note of the indentation is always your root, so here b and c are indented, the c is major, that's a root b and c is indented c is major b and c are indented c is major, so you can use that to try it To discover the root of a seventh chord, when analyzing music we often use numbers to indicate the base position of chords and the numbers used are derived from the baroque system known as figured bass or full bass, which was a method of shorthand notation which consisted of a bass line and symbols that would indicate the chord that would be played above each bass note, so you'll want to familiarize yourself with how this all works, so let's look at this example, we have a G major triad and root position first inversion and second inversion, so numbers based on figures are determined based on the intervals you have above the base note, so here g is the bass note b is a third above g d is a fifth above g so the figured bass is five three here b is the lowest note d is a third above b and g is a sixth above g so the base of the figure is 6 3. finally we have the note d in the bass g is a fourth above d and then b is a sixth above d so the base of the figure is six four, so it is always based on intervals based in the bass note, the lowest note you hear and the same applies to seventh chords.

We have seven five three six five three six four three and six four two, those are simply the intervals. You have them above the lowest note that you hear and these are the abbreviated symbols that we use most often, so if you don't see any figuratively, we are facing a triad of fundamental position, if you see six, that refers to a first investment. triad six four is second inversion triad seven is a fundamental position seventh chord six five is first inversion seventh chord four three is second inversion seventh chord and four two is third in the seventh chord version some people use this phone number to try to memorize it it's just a smart way to try to remember the numbers in order, so now with the figured bass you'll also want to know how to take a base note and apply the figured bass, so when you see seven, that means you're going to have a chord of fundamental seventh position, so start by making a fundamental seventh position chord as such and then when you see an accidental next to an Arabic numeral in figured bass that is used to raise or lower a note, this is next to the number seven, that means it's the lowest is the seventh above the bass, so the seventh above C is B, they want you to lower it to B flat and this, when you see an accidental on its own, it always refers to the third above the base and is used to alter that note. we don't see calculated bass numbers, that means fundamental position triad, so first make a fundamental position triad and say you want to raise the third, the third is the G, finally you will convert it to G sharp, if you see a slash. through a number or a plus sign next to a number which means go up the note both mean go up so here six four three we're going to go over six four and three so three over a a that's c a quarter over from a is d and a six above F sharp remember that we always count a as one the lowest note we always count as one so one two three one two three four one two three four five six and now it says that we want to raise the fourth above a that is the D make is a D sharp and we want to raise the sixth above a, which is the F, so make it an F sharp, that's how figurative bass symbols work.

Another symbol you may see is a horizontal line and that means keeping the same note chord, for example if you see 5 3 and then you see 6 with a dash underneath that means using the same base note for the root position triad followed by a and first inversion finally the idea of ​​realization was used in performance during the baroque period and that term simply means To practice chord improvisation based on the part based on the given figure, as a music student and musician, you will want to be able to analyze a chord just looking at the different notes that they give you, so let's practice with this a little bit.

Let's say you see this chord, you have four notes that are heard at the same time and they are scattered throughout the grand staff, so how do we name this chord? First take an inventory of all the different pitch classes you have so you have the note e you have the note g c and c so make a list of your notes next we have an e a g and a c if you have a duplicate note you don't have to write it twice now what you want To do is figure out how can you get these three notes in fundamental position or in snowman shape, how can you get them so that they are stacked in thirds?

If you are having trouble doing this, you can use this table of thirds to solve it. Look for the three notes c e g and wherever you see the lowest note that's your root, so this would be ce g c a e is a third e a g is a third now you want to know your chords so that c e and g form a C major chord, so that the main sheet would be capital c and we have an e in the bass so it would be slash and let's do another practice example, so we have this, we have the notes G, F, D and B flat, always look at your key signatures and make sure you have Be careful with that, so if you write your notes next to g f d and b flat then we have four different notes which indicates that we are probably dealing with a seventh chord, how can we get this in a snowman shape or a position?

Find the four letters of notes, we have g f d and it doesn't matter if there's a flat or a sharp or something like that and now we only care about the letter so it's a B flat so we have b this would be the fundamental position B G is our base note, so G flat D F G flat D is a G minor triad and then G to F is a minor seventh because F is one step away from G, so this is a G seventh chord minor. g is our lowest note, so it's in root position, so that's how you would analyze this chord now that you understand it. of chords we can start talking about diatonic chords so most chords in tonal music are made up only of notes of the scale or key on which a musical passage is based these are diatonic chords chords that are part of your key On the other hand, altered chords Chords or chromatics are chords that use notes that are not found in the scale or key on which your musical passage is based, so if you are reading a piece of music and you come across a chord with an alteration , is an altered or chromatic chord.

There are several ways to analyze these types of chords and we will cover many of them later in the video, for now we will stick with diatonic chords. Roman numerals are used in music theory to analyze chords. in apiece of music and these are quite useful because they tell us the scale degree in which a chord is built, they tell us the quality of the chord and they also allow us to analyze how chords work in a piece of music to do a Roman numeral analysis first you have You write what key you are in, if you are in a major key you use a capital letter and if you are in a minor key a lowercase letter and let's say we are in C major start by writing your C major scale and then build a triad on each degree of scale, these are the possible diatonic triads for a song or piece in the key of C major, we have C major, D minor, E minor, F major, G major, A minor, B diminished, no.

No matter what matrix you are in, the order of the triequalities is always the same, you will want to recite this and memorize it, the order of the proof equalities and major keys is major minor minor major major minor diminished The Roman numerals will also be the same for all major keys. If you have a major chord, use a capital Roman numeral. A minor chord uses a lowercase Roman numeral. Diminished chords use a lowercase Roman numeral because they are smaller chords, like minors, but. It will also add the diminished symbol to tell you that it is a diminished chord.

Augmented chords are not naturally found in major or minor scales, so you won't find them, however, if you analyze an augmented chord. in the future you would use a capital Roman numeral because it is a larger chord and add the plus symbol to tell you that it is an augmented chord, but again, augmented chords are not naturally found in a major or minor scale now that we get to the scale minor becomes a little more confusing because there are some differences that you have to take into account, so if we are in the natural minor scale, the five chord would naturally be a lowercase five, it would be a minor five chord and the seven chord would be be a major seven chord, however, if you remember, earlier in this video we talked about the harmonic minor scale and how it is the most used because we want to have a leading tone that takes us back to the tonic, so in minor keys often you're We'll see leading tones and that creates a major 5 chord like in a major key and a diminished 7 chord like in major keys, so the 5 chord and a diminished 7 chord always take us back to the single chord, so I would like to see them in both the major key and the minor key, so yes, in a minor key, can you have a minor five chord and a major seven chord?

Yes, most of the time, although you will see the major five chord and a diminished seven chord and every time you see these chords you will see a crash because you have to move up the seventh degree of the scale to make it a major tone the three chord will not. you raise the main tone we don't do it we it's an augmented attempt we just keep it as a major triad let's not do anything to this chord we keep it major so we have more things we can do with it so the order of the three diatonic qualities and the minor keys that you We're going to want to remember that it's minor diminished major minor major major diminished so make sure you can spell these Roman numerals accurately and make sure you remember the three diatonic qualities.

One last thing I want to make sure you don't confuse the two. four and six, that's a common beginner's mistake, the Roman numeral five is a v, so I think of this as one after five, which would be six. Look here, we have a symbol for one before five, so it would be one before five, which is four, one before five is. four one after five is six, so you want to make sure you don't mix the two, that's a common beginner mistake, that's how you analyze diatonic triads in major and minor keys. Let's say you want to determine the diatonic seventh chords that were possible. you would start with all your diatonic triads and then you would add sevenths to all of these chords and this would give you the possible diatonic seventh chords in major and minor keys, now the roman numbers themselves are not going to change because the qualities of the triad are not going to change However, we need some kind of cue to tell us that we are dealing with seventh chords now, for a major seventh chord, the uppercase Roman numeral tells us that we have a major triad and then capital m seven which tells you major seventh for a minor seventh chord. a lowercase Roman numeral tells you a minor triad seven alone tells you a minor seventh for a dominant or major minor seventh chord. a capital Roman numeral tells you a major triad seven alone tells you a minor seventh. diminished seventh chord half diminished symbol tells you that you have a diminished triad half diminished seven which tells you that you have a minor seventh finally seven fully diminished diminished symbol tells you that you have a diminished triad and then diminished seven which tells you that you have the interval of A diminished seventh now Roman numerals are used along with the base of the figure to indicate the chord and inversion, so, for example, let's say we are in the key of C major and you saw these notes in this order, from the key lowest to highest, for example, c, you would look at that and say okay, well, that's a C major chord, C major in the key of C is one if e is the lowest sounding note, that's the first inversion and the first inversion, the calculated bass for a triad is six, the main score would be this, let's do In another example, let's say we are in the key of G major and you saw the following notes in this order: c d f sharp, so if you look at this you will have to figure out what the root of the chord is, in this case it is d in the key of g is your v chord we have d f sharp ac so that is a five seven chord if a is the note that sounds lowest that would be the second inversion seventh chord and the calculated bass that you would have to know is four three and the main sheet symbol for this chord would be d7 slash a, so the main sheet symbols and the numbers Romans with bass figures are very similar, they tell you what chord you have and what inversion it is in.

We're going to use Roman numerals and bass figures a lot in music theory to help us analyze the chords we have in a given key. Now that we've talked about the fundamentals of music, it's time to delve into the art, craft, and music theory. Let's start by talking about the principles of voice direction. and the melodic line, so leading voice and partial writing can be defined as the ways in which chords are produced by the movements of individual musical lines. This is related to the term counterpoint. Counterpoint is the relationship between voices that are harmonically interdependent but independent in rhythm and contour, in other words, counterpoint involves having individual melodic lines that are heard together to form harmonies.

Now we're going to talk about how to write a basic melody line, you want to stick to simplicity, you don't want to do something complex right now, so with a basic melody line you want the rhythm to be as simple and direct as possible, most Note durations will be equal to or longer than the duration of time and the final note must always occur in a strong rhythm when it comes to harmony each note in the melody must belong to the chord that must harmonize it the contour deals with the movement of a melody the melody should move primarily in ensemble or step motion this is contrary to disjoint movement which moves in leaps and bounds so you will want to stick with step movement or ensemble movement for most of the time.

You'll also want to have one focal point in your melody, which is the highest note in the melody that doesn't. I don't want to have two or more focal points because that takes away from the effect of the focal point when it comes to jumps. It's best to leave jumps in the opposite direction, so if you jump to one note, it's best to leave them step by step in the opposite direction. You'll want to avoid jumps that involve intervals that are augmented sevenths and intervals that are greater than an octave. If you use a diminished interval, you can do it as long as you change direction step by step immediately after that jump finally is the concept of trend terms certain scale degrees want to resolve to certain scale degrees scale degree 7 is the pitch main that you want to resolve to scale degree 1. scale degree 4 is a half step above scale degree 3. you like to resolve down to scale degree 3.

If scale degree seven does not resolve to one, it is usually part of a melody line that moves downward step by step. In other words, we have this example of a scale degree one seven six five, so instead of resolving to one, the melody moves down. An example of a good basic melodic line, here we are in the key of B flat major and this is the analysis of Roman numerals, so all these notes are simple rhythms, we have quarter notes and half notes, each note belongs to the harmony under the Roman. numbers, I wrote down the possible notes you could use based on the chords they gave you.

Each of these notes belongs to the outline of the chord. The melody moves mainly step by step. We have a jump here, but then the jump resolves down. step we have a focal point here that E flat is its focal point the highest note in the melodic line and it is not repeated and then we have trend tones. We don't have a degree seven scale in this tune but we do have a degree 4 scale and the degree 4 scale, as we said, likes to resolve to the degree 3 scale, which it did, so this is an example of a good basic melodic line and you'll want to be able to compose something very similar to this if asked. do it let's talk about noting and expressing chords a musical score shows all the parts of an ensemble arranged on top of each other this allows the reader to hear in their mind what the composition will sound like in a complete score you will see all or most of the parts notated each one on its own individual staff, while in a reduced score you will see the parts notated in concert pitch in the fewest possible states, the main type of reduced score you will find Music theory courses are reduced score satb meaning soprano alto tenor bass basically we have one big staff the soprano and alto voices share the treble clef the tenor and bass voices share the bass clef when you have two parts on a single staff what you want To make sure the stems on the top point up and the stems at the bottom point down, after deciding what combination of instruments and voices you want to write for, you need to consider how you are going to express your chords, how are you going to distribute and space the notes?

There are many different ways you could do this. There are two types of structure that we talk about in music theory. The closed structure is when you have less than an octave between the soprano. and a tenor so here we have the soprano singing in g here we have the tenor singing a if that distance is less than an octave this is a closed structure open structure is when you have an octave or more between the soprano and tenor parts so here on the 10th we are singing a G note how do we not have two different G here we have the head of the G note and we have the bass root and the tenor root sharing that headless, this indicates that we have two parts singing exactly the same note, like this that we have the tenor signing G the sopranos think of itself as being greater than an octave, so this is an open structure, so you can have exactly the same chord and it can be expressed in many different ways, sometimes a closed structure , sometimes an open structure when you are expressing the chords you want.

Avoid crossing voices. You don't want an alto part singing one note above the soprano part and you don't want a tenor part singing one note below the bass part. This makes it difficult for us to know which part sings which note. When it comes to spacing, you want to keep adjacent parts of the sat within an octave of each other, so for example here we have a G major chord between a soprano and an alto that is less than an octave between the alto and the tenor, which is less than an octave. well between the bass and the tenor we have more than an octave, that's fine between the bass and the other parts, you could have a little more than an octave, but between the top three parts you have to make sure they are all within an octave. from each other, so the soprano to the sole should be within one octave outside the tenor should be within one octave finally make sure you are familiar with the various ranges for the high tenor and low soprano voices, most of the notes They will land on the staff, but some may extend a little above or below the staff, so be sure to keep the ranges in mind, let's quickly talk about movement when the music progresses from one chord to the next, there are five possible relationships between two any parts, static movement is when no part moves oblique movement is when only one part moves opposite movement is when both voices move but in opposite directions similar movement is when bothvoices move in the same direction but at different intervals parallel movement is when both voices move in the same direction for the same direction same interval let's see an example of each this is a static movement because the separate knight is moving this is a oblique movement because only one part is moving this is a contrary movement because both parts are moving but in opposite directions this is a similar movement because both parts are moving in the same direction but at different intervals this part falls by a quarter this part falls a second finally this is a parallel movement because both parts move in the same direction and at the same interval this part follows a second and this part also After a second in total music and counterpoint, we want to make sure that the parts and individual voices have their own independence.

Because of this goal, special attention must be paid to voices that move together in parallel motion. Composers of tonal music would normally avoid parallel fifths and octaves. These are the most stable intervals, so when you move two voices through these intervals in parallel motion, they are objectionable because listeners have a harder time perceiving two independent voices, each doing their own thing. In the same way, composers would also try to avoid contrary adjustments and octaves. This happens. when you have two voices that form a perfect fifth or octave and move in opposite motion towards another fifth or octave, respectively, unequal fifths are produced when you have a perfect fifth followed by a diminished fifth or vice versa in the same two voices, these are only considered unacceptable when they occur between the base and another voice finally we have direct or hidden fifths and octaves these occur when the external parts the soprano and the bass move in the same direction in a perfect fit or octave with a jump in the soprano part is acceptable for the outer parts to move in the same direction in a perfect fit or octave, as long as the soprano voice moves step by step.

Here are some examples of the various types of movement we just talked about, so let's say we're in the key of C major. and we're going to write a satb arrangement we have the roman numerals those are the chords we have and these are the voicings we decided on now let's see what's happening here in the first example we have c in the low g and a tenor that is a perfect fifth, so we have f in the low c and a tenor, so we go from a perfect fifth between these two voices to another perfect fifth in these two voices that are parallel fifths.

We also have a c on the bass and a c on the soprano is one octave and then we have an f on the bass and an f on the soprano another octave, so the bass and soprano move in parallel octaves which you want to avoid, look what's going on here, we have g in the base d in the tenor so g a d in its most simplified form is a perfect fifth, so it doesn't matter if it's more than an octave apart g a d in its most reduced form is a perfect fifth, so we have a perfect fifth here in the tenor basin and then we have c to g, which is another perfect fifth, but this time we are moving with contrary motion, so these are contrary fifths, finally here we have c in the bass e and the soprano, so that's the third and then we have G in the bass and G in the soprano, which is an octave, so the bass and soprano move to an octave with a similar movement, so which should raise a red flag about direct or hidden octaves and because the soprano note is jumping, it is considered a direct note or hidden octave, so you should try to avoid those two, reminds the director.

Hidden octaves and fifths occur between the bass and soprano. External voices Now composers sometimes use parallels when they want the oral effect they would create, however, for basic counterpoint practices. You'll want to continue trying to avoid these types of parallel movements so that you have clear independence between all of your voices when you're vocal leading and writing parts. Now we can discuss writing parts about the fundamental position if you follow the instructions. conventions that are presented, you will not need to worry about voice leading issues such as parallels, when reading a satb arrangement you will almost always have all the members of the triad present, the root will usually be the note that is doubled, sometimes even will be tripled, you really want to emphasize this note, make sure to avoid doubling trending tones as the main ones.

We won't cover three-part textures in this video, but when using the three-part arrangement always make sure that it at least includes the root of the chord and the third of the chord you're dealing with. The root gives the chord this identity and the third. gives it its color let's say you are writing a four part arrangement when you repeat a root position triad you can keep all the notes in the same place, which would be a static movement, or the upper voices can be arpeggiated freely, this creates a little more of interest. Let's say you have triads whose roots are a fourth or a fifth apart.

You have a note in common when you connect triads whose roots are a fourth or a fifth apart, you must preserve the common pitch and move the remaining voices to the closest place to ensure consistency. correct duplication and spacing. Sometimes you will not be able to maintain the common tone. It depends on what your melodic line is doing. If this is the case, you will still need to move the vocals to the closest location to ensure correct doubling and spacing, and often this involves moving the top three parts in opposite motion to the base. In an example let's say we are in C major and we have a five chord moving to a one chord, well the root of five is g and the root of one is c in this case g up to c is a fourth if we had g lower to c, that would be a fifth, so we're dealing with a quarter or a fifth difference.

Whenever I do satb arrangements, I always make a checklist of notes I need so I can stay organized and keep track of what I have and what I need to always take care of the baseline. We are dealing with the fundamental position, so it will be g to c. The common tone between these two chords is g, so we'll keep it the same. These two voices move to the closest one. place then b is a leading tone move it up to c and then the note d can step up to e this is how you would resolve this fifth chord into a chord, you can always have a leading tone that doesn't resolve to scale degree one, as long as when it occurs in an inner voice, the alto or the tenor, but if you have the leading tone in an outer voice like you have here, you need to resolve it because it really stands out, we really want to hear that resolution, let's say.

If you have triads whose roots are separated by a third or a sixth, they will have two common notes, so when you connect triads whose roots are separated by a third or a sixth, you should keep the two common tones and move the remaining voice step by step towards the remaining chord tone you need, let's look at this example, a three chord to a C major chord which would be E minor going to C the two common pitches would be e and g so we know the bass line has to go from e to c because those are the roots of our chords and we're dealing with the root position e and g are the two common pitches so we'll keep them the same the final note we have is b and b can be resolved to c because it's ahead of time so that's how this is resolved .

Finally, let's say you have triads whose roots are a second or a seventh apart, they won't have any notes in common when connecting triads whose roots are a second or a seventh apart. all the upper voices must move in counter motion to the bass to the nearest chord tone, so if the base moves up, the three upper voices must move down to the nearest chord tone, if the bass moves moves down, the top should move up. Now one exception is the misleading resolution which is a five chord going to a six chord; in this case the leading tone that is present in a v chord will often move parallel to the bass and resolve to degree one of the scale and this results in a six chord with a doubled third which is fine, let's look at this For example, we have 5 going to 6.

Well, the base note will be g and it will resolve to a because those are the roots, g will resolve in motion opposite the base to the nearest chord. the tone that would be e d resolves to c and b would normally resolve to a, however in this case b is a leading tone, we want to resolve that leading tone to c, so okay, we have g in b, which is the third one that we have parallel. thirds is okay, so in this chord we have c c and e, so we have a double third, but okay because we wanted to resolve that leading tone, this is how you do the root position, writing the transposition is often a confusing topic when the musicians learn about it for the first time.

But musicians need to understand transpositions to be able to successfully compose, arrange conducting, and read instrumental music. Certain instruments do not read music in concert pitch. This means that the notes you read in your parts produce pitches that are higher or lower than the notes that have concert pitch. Same names on the piano now the general idea for most transposing instruments is that the note you write is higher than the note you sound. There are some exceptions to this, such as the piccolo and E-flat clarinet, but most transposing instruments. Follow the sound principle written above so keep this in mind a transposing instrument sees the C note but sounds its key In other words, if you have a B flat instrument when you play a C you hear a B flat if you have a B flat instrument in F when you play a C listen to an F if you have an instrument in E flat when you play your C you hear an E flat let's do some practice exercises let's say you want to hear a concert pitch in middle C if you are playing an instrument in B flat like the clarinet if you play a c you hear the note a major second below c which is a B flat, so to hear the note c you would have to write the note a major second above c which would give you the note d, so when you play a D on a B flat instrument you hear a C written above ringing and the key transposition is two, so let's say you are in C major, a major second above C is D, so you would change the key signature to D major, Let's say you have an instrument in F like the trumpet when it plays middle C and you hear the f below middle C which is a perfect fifth below c, so if you want to hear c you have to go a perfect fifth above c which gives you the note g, so when an instrument in f plays this note g, you hear this note c written above it sounds and if you are in the key of C major a perfect fifth above c is g then you write the key signature as G major finally let's say that you have an E flat instrument like the alto saxophone if you play middle C you hear E flat below middle C, which is a major six below middle C, so if you want to hear middle C you have to go to a major sixth above that note, which gives you the note a for an E-flat instrument when you play this note a, you hear this note c written above and again a major six above c would be a, so you would write the key signature as major and those are some practice exercises with transposition that you want to make sure you can go from concert pitch to transposition and from transposition to what you would hear next we're going to look at sequences a sequence is a pattern that repeats immediately in the same voice but that starts in a different pitch class there are three types to consider the pitch sequence will keep the pattern in a single key this means that interval modifiers can change slightly an actual sequence transposes the pattern to a new key this means that the interval will remain exactly the same a modified sequence is a sequence in which the repetitions of the pattern are neither tonal nor real, let's look at an example, let's say we are in the key of C major and we have this pattern and we want to develop a sequence from him, so we went up a second, up a second and down a third.

The tonal sequence will remain in the key of C major, so let's start this pattern on the note d, go up a second, go up a second, go down a third. Now look, the numeric part of the interval will always stay the same for a sequence, the modifier could change here. we have major second major second major third here we have major second minor second minor third this is because we want to stay in the key that we started in, so that's what happens when you have a tonal sequence, a real sequence, you will have the same same intervals the number and the modifier, so here we have a major second, a major second, up to a major third, we are starting the pattern at node d, we are going to go up a major second, a major second, a major third, so we have exactly same intervals and look, we end up having an alteration, it seems that now we are in D major, so that is a real sequence, it is when you transpose the pattern to a new key related to the concept ofsequence, is the idea of ​​imitation, imitation, is the The repetition of a pattern that occurs between two or more voices and the actual imitation is very similar to a real sequence, but with the transposed repetition of the pattern that occurs in a different voice than the voice in which the pattern was initially introduced, most chord progressions used in tonal music, whether classical or popular music, come from the circle of fifth progression, this is a harmonic sequential pattern where the roots of the chords progress a fifth down or a fourth up, let's say we're in the key of C major and these are the roots of the chords we have f going up a if then you go up a fourth b going down to e you're going down a fifth up a fourth going down a fifth up a fourth down a fifth so that's the example of your circle of fifth progression and this is the basis of many chord progressions in tonal music, so you'll want to familiarize yourself with this and how it works in music, some sequences of chords seem to progress and move towards a goal.

While others tend to ramble and leave our expectations unmet, most chord progressions used in tonal music are derived from the circle of the fifth progression. Here we have two graphs showing the common harmonic progressions of the major and minor keys. Let's talk about how It follows that the ultimate harmonic goal in tonal music is to get to the tonic triad, the one chord, and the tonic chord can go to any chord you want. The tonic triad is usually preceded by the v chord which has the dominant five function. one is considered one of the strongest, if not the strongest, chord progressions in tonal music.

You can now expand the domain of a chord by using subsidiary chords in a process known as prolongation, so keep that in mind and also keep in mind that the fifth chord can move. to the sixth chord in what is known as a trick progression, now chords in total music love their roots to fall in fifths. Notice how we have five falling to one, if you go a fifth above the root of the fifth chord you will get the root of the two chord which makes it a circle of fifths progression the two chord has a predominant function and it likes progressing to the five chord if you continue going back a fifth above the root of the two chord gives you the root of the six chord so the sixth chord likes to progress to the two chord a very common chord progression in popular music is one six two five and back to one the sixth chord can be used as a substitute for one both chords have two common tones they are very similar five likes to go to one sometimes five goes to six so sometimes six can substitute to one to make the music last longer if you keep going back from six, a fifth above the root of the sixth chord gives you the root of the three chord now.

Note that most of the time when you see scale degree three on the bass line, the chord will be a tonic chord in first inversion, this is because chord one can go anywhere, the chord three is more limited now that the three chord is usually followed by the sixth chord or moves up to the four chord. The four chord has a root half a step away from the root of the three chord, so we still have to talk about diminished seven and four, so diminished seven is very similar to the v chord, both have dominant function and the diminished seven usually acts as a substitute for the five chord.

Remember you both have the main tone there, so you both want to resolve one. Now the diminished seven is often used to prolong a tonic triad as it appears. in the first inversion between two positions of the tonic triad like in this progression a diminished seven six a six that is a very common chord progression that uses the diminished seven chord if you use both chords in a row usually diminished seven will move to five from five is the strongest chord and you want to save it for last. This chord progression I just talked about usually involves an exchange of vocals.

This is when two voices occupying different members of a chord each prolong that chord by moving to the member of the chord that another voice had previously occupied, so the last chord to talk about is the iv chord. the iv chord does a few different things. The IV chord has a predominant function as does the Two chord and often moves to five or seven. The diminished four can also prolong the predominant chord. area moving first to chord two and chord four can often proceed directly to chord one in what is known as a plague progression, so the iv chord has several different functions in music now, in the minor mode, we can continue backtracking from three if you go in a perfect fifth above the root of the chord three, you will get the root of the seven chord, but not the diminished seventh chord, the regular subtonic seven chord, this chord sounds like the v chord of the relative major, which is the three chord, so it's subtonic 7. likes to go to the major 3 in a minor key now in the minor mode a chord like the v chord can appear in two different ways.

The v chord can appear as the dominant function chord but it could also have a v minor chord, the v minor chord does not have a dominant function, instead it is used as a passing chord in progressions like this 1 5 6 four six to five that is a chord progression that allows the bass line to move down the scale remember that the five minor chords have no dominant function now when it comes to harmonic sequences keep in mind that there are other possibilities and you are not limited to are. Also remember that chord inversions do not affect a harmonic sequence.

Finally, most seventh chords will work in exactly the same way as triads, so you can convert them. in 7th chords the main idea to keep in mind is that you like the dominant chords to move to the dominant chords and then resolve the tectonic chords and that creates the feeling of progression in the music, let's say you wrote a melody line with which you are satisfied. and you decide you want to put chords on it, so how do we harmonize a simple melody? Let's practice that with this example in E flat major, so you want to start and end with a chord, if possible, the chord establishes what Kirin and is your final harmonic goal, so for an E flat major and the first note of the melody is a G, is there a G in the E flat major chord?

Yes, there is, so this works. The last note of the melody we have an E flat. Is there an E flat in it? an E flat major chord yes it is the root of the chord so it works the penultimate chord should be five if possible because remember five to one is our strongest chord progression in tonal music so if you can finish a phrase or a melody line with that that's the strongest way to do it, so the penultimate note that we have in the melody is an f. Is there an F in the v chord in E flat major?

Well, the v chord is a B-flat major triad which is B-flat ref, so this works now. You want to write all the other chord options below the other notes in the melody and you're going to treat each note as the third and fifth root of a triad. Let me show you what I mean, we have the note f here if f was the root. of the chord would be an F minor triad in E flat major, which are its two chords if f were the third of the chord d would be the root and then d in the key of E flat is its diminished seventh chord and then if f is the fifth of the B-flat chord would be your root and B-flat in the key of E-flat major will give you your V chord, so you're going to do this for each note in the melody.

Now comes the fun part, it goes something like this. Like a puzzle, you're going to decide which chords you want to use. You have to check your harmonic progressions as you go. Be sure to follow the harmonic progression chart and, if possible, try changing the chord for each melody you know. let's practice this. I generally avoid using seven diminished chords when I do this because using them in root position is generally not the thing to do, they're usually seen in first inversion, so for the purposes of this exercise I'm going to avoid using them. Let's say that for this chord I decided to use the five chord.

Well can five go to five? We want to try to change the chord for each note if possible, so five can't go to five. Five doesn't like going to seven. Usually, if anything, seven. would go to five so that wouldn't work and five doesn't go to two so that wouldn't work so we can't use a five chord here we already said we're not going to use diminished seven so here i'm going to use a two chord now two chord where the two chord can go you're not going to go to another two chord you want to change it two is not going to go to diminished seven we already said we're not going to use those can two go to five yes it can so this works so where can five go can five go to four can't go five to one yes can five go to six yes so now you have to play with your options let's say you chose six if you had a six chord here can six go to diminished seven ? no, they can go six to five, no, they can go six to three, no, so in this case, we can't use the six chord here, so we would use our one chord here, so basically you just do this and keep reviewing all your harmonic progressions as you go and find the chord progression you like.

There are multiple correct answers when you solve these types of problems. Here's an example of what might be an acceptable response to this. we have one two five one I'm going to decide to use a five chord here because one and five are the safest chords to play let's see five I'll do one six two two goes to five and then five goes to one So that would be an example of a harmonic progression acceptable that accompanies this melody. This is how a simple melodic line is harmonized in most musical phrases. You will see at least one inverted chord.

Chord inversions allow us to maintain our music. It's interesting now that first inversion chords will have the third in the bass, for example a C major chord with an E in the bass. Here are some reasons to use tries on the first investment. One is to improve the contour of the bass line if you only used root position chords on the bass. the line would be rigid, they are also used to provide a greater variety of tones in the bass line, finally, they can decrease the weight of the chords, a first inversion 5 or a first inversion a chord are not as strong as a root position five or a root place a chord so that if you use a five or one chord in the middle of a phrase, you may want to decrease their weight as they are not the ultimate harmonic goal, but now the diminished seventh chord will almost always be seen first of all. inversion this allows you to avoid having a tritone between the bass and another voice.

You will often see this chord as part of a vocal exchange. Let's look at an example here. We are in C major. We have a chord moving to a chord. in first inversion the diminished seventh chord is between the two now look here we have the bass line moving up c d e in the soprano we have the soprano line moving down e d c so they are mirror reflections of each other they are singing the same notes just in the order Opposite, it is a voice exchange and here the seven diminished six chords are used right in the middle to connect the two chords.

You'll often see triads in first inversion as part of a bass arpeggio, especially in keyboard music, another common one. The characteristic of these chords is the use of six parallel chords. This is when you have a series of consecutive first inversion triads to connect two chords. These are considered passing chords. Here is an example of one. Let's say we have a one chord and we have. a chord at the end here we have several consecutive first inversion triads now this doesn't follow our harmonic progression but that's okay because it's just used as a series of chords to help you connect one triad to another now when As far as writing parts goes and voice direction for triads and first inversion, typically doubling the soprano note.

Typically, if possible, you'll try to double one of the chord's stable notes, especially if you have scale degrees one. four or five in your chord, so here we have a C major chord in first inversion, so e is in the bass, we have a C in the tenor, we have a C in the soprano, so the soprano notes they are doubled and then we have a G if you don't double the soprano note, the best thing you can do is double the bass note. Now the only note you will ever want to duplicate will be your leading tone, so if you have a leading tone on the soprano, don't double the leading tone because the leading tone tones want to resolve and you want to avoid using parallel octaves, so always Be careful when writing your part when it comes to triads in first inversion.

Second inversion triads are commonly found in music. Second inversion chords occur when you have the fifth of the chord in the bass, for example a C major chord.with the G in the bass the second inversion triads will have a perfect fourth between the bass and another voice and this is considered a dissonant interval when it occurs between the bass and another voice as a result second Inversion triads are unstable, they are not used as substitute chords, but they have their own specific uses. You'll find them in different instances, such as through bass arpeggios, when you're writing part of these chords and want to double the fifth of the chord. which is also your bass note in root position we like to double the bass note here we also like to double the bass note the difference is here the bass note is the fifth of the chord we refer to second inversion triads as 6 4 chords because 6 4 is the figured bass notation for triads and second inversion.

These are the four types of six four chords that you will want to be familiar with. The six four arpeggiated chords occur when the same chord happens multiple times but in different inversions here we have a chord in root position first inversion and second inversion which is a 6 4 arpeggiated chord the passing six iv chord occurs between two other chords and involves the bass line moves up or down depending on the ensemble. Notice how this bass note allows you to go from this bass note to this one. bass note softly, so it's a passing six-four chord, the pedal's six-four chord also occurs between two chords, but here the bass note remains static. pedal basically means hold down here, we're holding this bass note, so it's a 6-4 pedal chord, the cadential.

The 6-4 chord is commonly used to end pieces of music. The chord progression is 1 6 4 5 1. We place a bracket with a 5 below the 1 6 4 and 5 to show that the two chords together share the dominant function of this chord. It does not function as a tonic chord, it works together with the v chord and together they share the dominant function. Some music theorists note this as 564-53. This notation basically says that the five chords here start with non-chord tones and resolve to root position. v chord here, either notation is considered acceptable, so determine which one you prefer to use or which one your teacher prefers you to use and that's a little bit about triads and second inversion cadences play a crucial role in tonal music.

They are like commas. and points in a sentence cadences are chord progressions that leave you wanting to hear more music or feel complete and purposeful they are interior harmonic goals within a piece and often occur every four bars there are two main branches of cadences conclusive cadences that They conclude with the tonic harmony and the progressive cadences that do not conclude with the tonic harmony. Examples of conclusive cadences are the authentic and plaguel cadences and the examples of progressive cadences are the deceptive and average cadences. Let's look more specifically at the different types of cadences. We have the authentic perfect one. cadence which is the most final sound of your cadences and is often used to end pieces of music.

This cadence occurs when you have the v chord resolving into a chord both in root position with scale degree one in the melody above the chord we now have. three types of imperfect authentic cadences the fundamental position of the imperfect authentic cadence is the same as a perfect authentic cadence, but instead of having a scale of degree one in the melody over a chord, you have a scale of degree three or five in the melody over a chord. The authentic imperfect inverted cadence is when you have the fifth chord resolved into the single chord where at least one of the two chords is inverted.

The leading tone in perfect authentic cadence occurs when you have the diminished seventh chord in the single chord. Remember seven per minute. It shares the dominant function with five, but seven diminished to one is not as strong as five to one. Now the plague cadence is also known as the amen cadence and this cadence involves having an iv chord resolved to a one chord. The half cadence occurs when you finish a phrase with a v chord. This is an unstable cadence that leaves you off balance and wanting to listen to more music to feel resolved now.

The Phrygian half cadence is a specific type of half cadence that occurs in the minor mode and This cadence occurs when you have a first inversion of the iv chord that resolves into the v chord, in this case, the bass note will go down half a step and finally the deceptive cadence is a cadence that results when the ear expects to hear five resolving one, but music actually hears the v chord resolve into something else most of the time the deceptive cadence has the v chord resolved into the 6th chord, which is a substitute chord for one.

Make sure you are familiar with the following abbreviations that are commonly used to analyze cadences in a piece of music. One last thing to note about cadences is if the rate at which chords change in music is faster than one chord per measure, The last chord of a cadence will usually fall on a stronger rhythm than the chord preceding it, make sure you are familiar with all your cadences, as they are an essential part of tonal music. Cadences allow us to analyze musical phrases and this also allows us to analyze the general form of a musical piece in music.

One motif is a relatable little musical. idea this can be a pitch pattern a rhythmic pattern or both motifs often develop throughout a piece of music a phrase is a relatively independent musical idea that ends with a cadence subphrases are distinct portions of a phrase we use lowercase letters to label phrases and music as you see here if the last note of a phrase also searches for the first note of the next phrase this is known as illusion there are certain patterns for organizing phrases and groups of phrases that are constantly found in music let's see some of them yes has two identical phrases, this is simply known as a repeated phrase, the point is a multi-phrase unit that usually contains two phrases in a consequent antecedent relationship.

You can also think of antecedent consequent as a question-response relationship, the second sentence will usually have a stronger cadence than the first parallel periods in the antecedent and the consequent both begin with similar or identical material as a result we give the two sentences the same letter to analyze them but we refer to the second as primary since it concludes differently than the first and we note prime with an apostrophe next to the letter the contrasting periods occur when the antecedent and the consequent each begin with different material a repeated period occurs when you simply repeat the entire period you originally had a three-phrase period occurs when you have three different phrases and these phrases will consist of two antecedents in the consequent or one antecedent and two consequences and the cadences will determine this aspect the double period is similar to one period except that each half of the structure consists of two phrases instead of just one.

This is different from a repeated period because here we have contrasting cadences at the end of phrases 2 and 4. Double periods are labeled as parallel or contrasting depending on whether the melodic material that begins the two halves is similar or not. a multiphrase unit consisting of several phrases that appear to go together structurally even though they do not form a full stop or double full stop, this usually occurs when the final cadence is not the strongest the sentence is usually only one phrase in length it is a structural unit that involves the immediate repetition or variation of a musical idea and this is followed by a movement towards a cadence when you are analyzing phrases there are some tips you can follow look for any type of repetition of a musical idea, this may indicate a possible period or parallel sentence when it is When looking for a consequent phrase, look to see if there are any repetitions of the opening bars of your antecedent phrase, be sure to look for its cadences.

Including how many you have and the order in which they occur, this can guide you to perform a good analysis of the basic components of a form of pieces, which are the phrase, the period and the sentence, and make sure you are familiar with the following phrase diagrams that are used to analyze phrases, periods and sentences in music and that is a basic summary of the forum at the level mic, let's quickly talk about texture and music. Texture describes how layers of sound interact within a piece of music. There are four main types of textures that you should be familiar with.

Monophony is music that consists of a single line or melody without accompaniment. Homophony is music concentrated in one voice or part with secondary accompaniment and/or voice polyphony is music that employs multiple parts, each of which maintains its own distinctive character. And heterophony is music that has multiple parts or voices performing different versions of the same melody here we have a three note musical idea displayed in four different textures this is monophony because it is a single line without accompaniment this is homophony because we have one line melodic accompanied by chords, this is polyphony because we have four different voices, each one doing their own thing but they come together to form harmonies and this is heterophany because we have two different versions of the same melody.

Counterpoint is an important idea in music theory and was a revolutionary idea during the Baroque period. of music counterpoint is the combination of relatively independent musical lines counterpoint is the relationship between voices that are harmonically interdependent but independent in rhythm and contour focuses on horizontal relationships and music johann joseph fuchs was a composer and music theorist who wrote a treatise in 1725 titled Graduates ad Partisan, this is considered the most influential counterpoint manual of all time and taught counterpoint in the context of five different species, one by one or the first species. Counterpoint implies that the contrapuntal voice or soprano line moves at the same speed as conscious firmness. or the bass line this counterpoint focuses on the exclusive use of consonances here we have an example of first-class counterpoint here we have the intervals between the bass and the soprano listen and as you can see they are all consonant intervals there are some important types of counterpoint with the one you should be familiar with a canon is a contrapuntal procedure in which the instruments or voices execute identical rhythms and contours, but the parts that sound later are offset by one or more beats per round is a type of perpetual canon in other words No there is a noted ending to the whole.

Imitative counterpoint is when similar melodic material passes from one part to the next. The fugue is a compositional procedure in which each voice expresses a short theme known as a theme and is then fragmented, developed and released. About between the voices of the piece, an important concept in total music is that the outer voices, the soprano and bass lines, are essential to a piece of music and the inner voice or voices can be considered a filler that fills in the gaps. in our minds. Remember. Composers focused on the combination of independent musical lines and the concepts of chords and harmonic progression came later, so today it is important to be able to compose a good counterpoint taking into account tonal progressions, let's review how to write a bass line unadorned basic of a given chord progression, first write down the bass line in the root position according to the progression given to you in terms of range, stay in the range of an e2 to a c4 or middle c and try to avoid jumps. greater than a fifth in the bass line, if possible, you should then determine which chords should remain in the root position, this includes the first and last chords of each phrase, 5 in a cadence of 5 1 and 6 in a tricky 5 6 progression.

To determine which chords should be used in the first inversion, this includes any diminished triads and the 5 or 1 chord in an internal 5 1 chord progression. Finally, you want to try to improve the base contour as much as possible. possible and there are several ways to do it. To begin with, this avoids repeating bass notes, especially along the bar line, try to include a focal point that is the highest or lowest point of the line. You can also use first inversions to convert large jumps into smaller jumps or to try to achieve a conjunction and steps. movement in the baseline, you'll want to have tonal variety, meaning you want to avoid overusing any particular note.

If you have a big jump in the baseline, change the direction of the baseline right after the jump. and also before the jump if You may now want to avoid using augmented intervals, sevenths, and compound intervals greater than an octave, and the only diminished intervals that will usually be found are the diminished fourth and diminished fifth in minor keys. You'll occasionally use the melodic minor to avoid having an augmented second on an ascending stepped baseline, finally consider including six four cadential chordsbefore the cadential dominant when writing your own chord progressions. Here is an example of a baseline and root position and an improved version of the same baseline.

Now let's see how to write a counterpoint to your simple baseline. You want to make sure your melody has a good outline. It should be more joint than disjoint. Make sure you have tonal variety and don't reuse certain shades too many times. Don't use them. the same pitch more than twice in a row and do not repeat the same pitch across a bar line avoid the melody pulling too much in one direction you should have a clear, simple and interesting melodic line with a single focal point try to move towards and away from the focal point, gradually ensure that the range of the contrapuntal voice is no less than a fifth and no more than a tenth.

Always be sure to resolve the main tone to the tonic unless the melodic line descends gradually when you are writing an ascending melodic line in the minor mode use the melodic minor to avoid having an increased one second interval when moving from degree 6 From the scale to the main tone avoid using intervals of increased or diminished sevenths or jumps that are greater than one octave, however, descending intervals of a diminished fourth and a diminished fifth when passing to the main tone are acceptable. When you have a jump, try to continue and follow it with movement in the opposite direction; however, fourths can be preceded by movement in the same direction. do not use more than two consecutive jumps in the same direction when you use two consecutive jumps in the same direction, together they must span a fifth sixth or an octave when you connect two consecutive jumps you must proceed and follow the pair of jumps by movement in the opposite direction when You write chord progressions with a bass line and a melody, always take into account the beginning and the end, if you start with a tonic chord, you can start the melody on any note of a chord if you start with a v. chord you can start the melody on any other v chord except the main tone, always end each phrase with some kind of cadence and when writing a period, always give the second phrase a stronger cadence than the first, for now try to have the final chord.

Land on beat one when practicing first-kind counterpoint, always use chord tones, consonant intervals, especially thirds and sixes, which are also known as imperfect consonances, and try to avoid unisons unless they are necessary at the beginning or end. end of counterpoint. Here is a good example of first-class counterpoint that you can consult for reference. You always want to maintain relative independence between a counterpoint voice and a baseline Be sure to avoid the use of parallel and contrary perfect consonances You also want to avoid direct fifths and octaves Remember if there is similar movement between voices in a perfect fifth or perfect octave the upper voice needs to move step by step for this to be acceptable be sure to use a variety of types of movement try to use contour movements most of the time parallel movement of imperfect consonances and similar movements are also good use oblique movements if a voice repeats a tone to avoid having a complete static movement when using parallel imperfect consonants that are parallel thirds and parallel sixths avoid using too many in a row do not allow voices to cross over Crossover occurs when the voice contrapuntal moves below the baseline.

Here is an example of cross-voicing because here the contrapuntal voice sings a note that is lower than the bass line note. Avoid overlapping. This occurs when the base is raised above where the upper voice was. previous chord or when the top voice drops below where the bass was in the previous chord here are two examples of overlap here the bass line sings a note that is higher than the counterpoint voices previous note here the counterpoint voice sings a note that is lower than the previous note of the bass line, so those are examples of overlapping, finally avoid having both parts jump simultaneously in the same direction, especially when they are jumps of a fourth or more.

Here is an example of simultaneous jumps when analyzing the two part counterpoint that you wrote analyze the harmonic intervals that you have as you see here when you have a compound interval reduce it to its simple equivalent for example if you have a tenth analyze it as a third keep it simple write counterpoint is a skill that takes time and practice to develop, so be sure to practice writing counterpoint bass lines and vocals if you're looking to improve your counterpoint writing skills. Chordless tones are a great way for songwriters and composers to decorate their music. A non-chord tone which is abbreviated nct is a tone that is not a member of the chord this tone can be diatonic or chromatic you need to analyze the chords in a piece of music before you can label the ncts when you analyze non-central tones use parentheses and abbreviations to label them as You see here each non-chord tone is approached and abandoned in a certain way with that in mind, let's go over the various non-chord tones, the passing tone is approached with a step and abandoned with a step in the same direction in which you are passing by the neighbor.

Pitch is also approach by step but it goes out by one step in the opposite direction think of it like visiting your neighbor and then returning home suspension is when you have the same pitch and then you go down and delay is when you have the same pitch itself pitch and then you move forward we label hangs delays and their resolutions with the harmonic interval they form with the base note to analyze them more specifically we use simple interval numbers to label these ncts unless you have a hang or delay that actually involves an octave above the base on something like a 9 8 hang or a 7 8 delay look at this example we have a C major chord and we have an f in the melody c in the bass to f and the melody in its most reduced form is a fourth this fourth results in a third, so this is a suspension of 4 3 here we also have a C major chord and we have a B in the melody, a C in the bass to a B in the melody in its most reduced form is a seventh and the seventh resolves upwards. to the octave, so this is a delay of seven eight, the appoggiatura is accessed with a jump and then abandoned with a step, usually in the opposite direction, the escape tone is accessed with a step and then abandoned with a jump in the opposite direction, think of it as landing on the moon a small step and a giant leap which is an escape tone the neighboring group is also known as combiata or change of pitch involves two non-chord tones one after the other It approaches by a step and then leaves with a jump in the opposite direction and then you step back, the anticipation approaches with a step or a jump and then is abandoned with the same pitch or sometimes a jump.

The most common version of anticipation is a step and then the same pitch in which you are anticipating this note. We're getting there early, the point of the pedal is a stationary tone that starts as a chord tone, then becomes a non-chord tone as the surrounding harmonies change, and finally ends as a chord tone again when the harmony returns. according to Pedal points usually occur in the bass part, look at this example, we have a C major chord, then a G major chord with a C in the bass, so it's a non-chord tone and then we have another C major chord, the bass has the note c throughout the whole so a tone without a chord is a pedal point an inverted pedal point occurs in a part or parts other than the bass a double pedal point is a pedal point that contains two kinds of pitch We can also use other terms to more specifically describe non-chord tones, for example, ncts, can be accented or unaccented, diatonic or chromatic, ascending or descending, and upper or lower , there are some important things to talk about with suspensions, suspensions and delays have three parts, the preparation, which is the tone that precedes the suspension, the actual one. suspended note and then resolution a bass suspension occurs when the bass voice is suspended and creates a second or ninth with an upper voice resulting in a suspension 2 3 a bass shift suspension is when an upper voice is suspended while the bass moves to another chord tone at the same time the suspension is resolved again labels suspensions and resolutions based on the harmonic interval they form at the base at any specific time a suspension figure occurs when a chord tone is treated as If it were a suspension this often occurs in conjunction with how the seventh of a five seven chord is approached.

A chain of suspensions occurs when the resolution of one suspension serves as preparation for another will often be indicated at the base of the figure, for example. For example, if you saw an example like this with a c in the base and the notation based on the figure 4 3 below, that is the same as 5 4 solving in 5 3 fundamental position triad, so here we are going to have to note c f and g , you go up a fourth and a fifth above your bass note and then the fourth will resolve to the third, making this a C major root position triad and This is a brief overview of non-chord tones.

Now that we have covered the topics related to diatonic triads, we will begin to discuss diatonic seventh chords starting with the five seven chord. The major minor seventh is the most frequently found seventh chord and is most often constructed at scale degree 5, which is why it is known as the dominant seventh. Remember that in the minor mode we like to raise the 7th scale degree, which creates a leading tone, resulting in a major 5 chord instead of a minor 5 chord. so the dominant seventh chord occurs in the minor modes 2. the 5 7 chord contains a tritone between the 3 of the chord and the 7 of the chord because of the unstable tritone the five seven chord likes to resolve in a very specific way here they are the principles to follow the seventh of the chord is almost always solved step by step the third of the chord which is the main tone in the 5 7 chord is almost always solved step by step here is a trick you can use look for the tritone in your chord and determine if it is an augmented fourth or a diminished fifth the augmented fourth will resolve outward to a sixth the diminished fifth will resolve inward to a third if you are solving a root position five seven chords to a root position one chord you need to resolve the third and the seventh of the five seven chords correctly, if you follow the principles of having the seventh resolution down step by step and the third resolution up, you will end up having an incomplete tonic triad with a triple root and a third there will be no fifth in this chord this is perfectly fine as it allows you to avoid having parallel fifths let's look at examples here we are in the key of C major and we have five seven going to one in both scenarios so the chord progression is g seven to c this first example we have g d f b b is the third of the chord resolves one step up to c f is the seventh of the chord resolves down one step to e f a b is an augmented fourth the augmented fourth resolves out to a sixth and notice here on chord one we have a triple root c c c and then we have the third of the chord which is an E let's see the following example we have the chord five seven expressed differently we have g d b f b is the third of the chord that resolves one step to c after the seventh of the chord resolves down one step to E b to f is a diminished fifth the diminished fifth resolves inward to a third and again we have a triple root c c c and the third of the chord which is the note e If you want to resolve a root position 5 7 chord into a full tonic triad and a root position, there is two methods you can use.

One method is to use a full 5 7 chord, but place the third part of the chord, which is the leading tone. in an internal part and frustrate its natural resolution, the frustrated main tone will resolve up to the fifth of the triad. The other method is to use an incomplete 5 7 chord with an omitted fifth and a doubled root. Also remember that the v chord often moves deceptively. to the 6th chord, if you have a five seven chord that resolves to the 6th chord, the leading voice will be very similar to resolving a normal v chord to the 6th chord, you will end up having a double third or a frustrated leading tone invested. five seven chords are easier to resolve than the root position five seven chords again, just remember the principles of the seventh being resolved step by step and the third being resolved by set, in this case the five seven chords can be resolved to complete triads tonics and finally be sure to remember the figurative bass abbreviations used for seventh chords seven six five four three and four two You can add a seventh to any diatonic chord, certain diatonic seventh chords will occur more frequently than others, you will want to keep the followingprinciples in mind the seventh chord is almost always resolved in steps the seventh chord can be approached in several ways any incomplete seventh chord must contain at least the root and seventh and should not duplicate tones as the main tone or the seventh of a seventh chord the supertonic sevens built on the scale degree two are commonly found in tonal music.

This chord usually progresses to the v chord. This chord is also seen most frequently in first inversion. Sometimes this chord is used as a substitute for the iv chord in a playful cadence. A personal favorite quarter-mind in the minor mode is the halves diminished seventh chord in first inversion, which can also be considered an added six chord. with four. This chord is often used as part of a mode blend and has a really distinctive feel and beautiful sound, as you will learn later in the major mode, the leading seventh tone is a diminished half seventh chord in the minor mode, the leading seventh tone is a fully diminished seventh chord, both chords usually resolve directly to the tonic or sometimes change to 5 7 by lowering the seventh of the original chord one step in the major mode.

You must handle the resolutions of this chord carefully to avoid parallel fifths. This often means doubling the third of the one chord or restating the seventh chord. that you would end up having parallel fourths instead of parallel fifths in the minor mode this chord contains two tritones that want to resolve if you resolve the augmented force outward and the diminished fifths inward you will end up having a tonic triad that has a double third which is perfectly fine , the subdominant seventh chord usually moves to a five chord or a seven diminished first inversion triad and often passes through some form of the two chord along the way.

Be careful when resolving this chord directly into a five chord because parallel fifths may appear if the seventh of the chord is placed above the third of the chord. You can correct this problem with a cadential six-four chord or with a v chord that has a doubled fifth. Submiddle seventh chords will usually resolve to a subdominant or supertonic chord in the minor mode. You could end up having a sharp middle six diminished seventh chord that allows you to go from a 5 chord to a diminished 7 triad if you add a seventh to the tonic triad this triad will lose its stability the 1 The 7 chord usually moves to a four chord or sometimes a two chord or maybe even a six chord.

This chord can be very effective when handled well. It has a very pleasant colorful sound. The diatonic middle seventh chord is most often found in seventh chord sequences and usually progresses to a six or four chord. If there is a fifth sequence circle in music involving seventh chords, there are certain voicing conventions to continue when the seventh chords are in the root position, the complete chords will alternate with the incomplete ones. chords as seen here in the example below, if the 7th chords are inverted, six five chords will alternate with four two chords and four three chords will alternate with the root position chords, this results in each voice remaining the same or go down a step and This is a basic description of diatonic seventh chords.

It's time to start talking about chromaticism in music. Chromatic notes are tones that are foreign to the key of a musical passage. Chromaticism allows composers to enhance their music and add colors to it. Essential chromaticism refers to the use of notes outside the key as non-chord tones. Essential chromaticism refers to the use of notes outside the key as quartz members, resulting in altered chords. Altered chromatic fourths are chords that use notes that are not found in the scale on which a musical passage is based. Let's look at some secondary functions. A secondary function is a chord whose function belongs more closely to a key other than the key. primary of the passage secondary functions are used to tone different pitches in your key tonicization is when there is a short shift from the tonal center and the shift is so short that we do not lose track of the original tonic or feel that we have modulated consider the following question why is 5 or 5 7 For 1, such a strong chord progression, there are several reasons behind this, but one of the most important is that the third of a five or five seven chord is a leading tone that has an attraction gravitational towards the root of the chord that is the middle. zoom out now consider the two or two seven chord which resolves to a five chord this chord progression also falls on a fifth why it's not as strong one reason is that the third of the two or two seven chord is one full step away from the root of the v chord instead of a half step.

Now think about this, what would happen if we raised the third of the two or two seven chords so that this note is a half step away from the root of the v chord and acts as a leading tone that brings back the concept of secondary dominant chords, A secondary dominant is an altered chord that has a dominant relationship with a chord in a key other than the tonic, for example, if we were in the key of C major and we had a chord progression that was from d7 to g the d7 is a chord altered that tones g the d7 is a secondary dominant the roman numeral notation for the secondary domain is five or five seven bars and then another roman numeral goes in the blank here the bar represents the word of so you read this as 5 of or 5 7 of the Roman numeral that goes in white is almost always the chord that follows the secondary dominant, for example, a chord of 5 7 and a chord of 6 will usually resolve to 6, a chord of 5 7 and 2 will usually resolve to 2.

Returning to this example, we are in the key of C major, we have a d7 chord that resolves to G. Well, g is the five chord in the key of C, so this chord would be a five seven of five five seven to five resolves to five. Basically, this chord progression sounds like a five-one progression in the key of G major, but the actual passage is in the key of C major. All diatonic chords except the tonic and any diminished chords can be toned with secondary 5 or 5 7 chords here. are examples of secondary dominance and major and minor keys that you can refer to for reference.

There are a few things to keep in mind about secondary dominance in major keys. The five or four sounds look exactly the same as a chord because this five seven of four is often used to make clear the secondary function five seven to four will have a chromatic note that will allow the chord to tone the four chord in minor keys five three or five seven to three sounds and it will look the same as a subtonic chord of 7 or 7 7 and also in minor keys 5 of 6 sounds and looks the same as the 3 chord and minor keys you are going to have to look at how it is working the chord to determine whether you are classifying as a diatonic chord or as a secondary dominant chord five seven of five is the most frequently found secondary dominant sometimes the five chord will be delayed by first resolving to a cadential six four in this example we have five seven from five and first moves to one six four before moving on to five, but remember that one six four and five together represent five, so this is perfectly acceptable and is actually a common chord progression now, sometimes, when you have a secondary dominant will resolve into another secondary dominant, for example if we are in the key of C major and we have a7 to d7, this would be analyzed as 5702 resolving into 5 7 of 5. now one more thing to keep in mind: it produce misleading progressions when the v chord resolves to anything other than the tonic.

It's not just when 5 resolves to 6. If we had a chord progression where we had a movement from five chords to five seven, four and then a four chord, that is also considered a tricky progression, secondary dominants are widely used in classical jazz and popular music. and these chords allow you to decorate your music and make it much more exciting, interesting and colorful. You need to be able to spell and recognize secondary dominance, in other words, go from the Roman numeral to the actual chord and go from the chord to the Roman numeral if you have a Roman numeral for a secondary dominant, find the root of the chord to be toned, then move up a perfect fifth and then spell out a major triad or a major minor seventh chord, depending on what is called for, finally do any inversion. adjustments if necessary let's do an example let's say we are an E flat major and they give us five six five out of six what are we toning?

We're a lot of size six six in the key of E flat major is c specifically c minor so that's what we have to do, let's go to the perfect fifth above that note a perfect fifth above c gives you the note g now we have to build our six five chord in the figure the bass tells us that we have a seventh chord so we have to build a major minor seventh chord on the note g which would give the notes g b natural d and f which is a g7 chord finally we have to make inversion adjustments six five is a first inversion seventh chord, which means that the third of the chord that the B natural will be your lowest note, so the final answer to this question is B natural, D, F and G, which is G7, slash, that's how you answer a question like that, if you find an altered chord in the passage, could it be a secondary chord? dominant first check if the altered court is a major triad or a major minor 7th chord if it is it is probably a secondary dominant if you think you have a secondary dominant check how this chord works, if it works as a secondary dominant this chord will be followed for the chord that is invigorating.

If you have a secondary dominant, first write five or five sevens and a slash to start your Roman numeral indicates the correct reversal as well, then you will get a perfect. fifth below the root of the altered chord find out what scale degree that note would be in the key you are in and what will be the test equality that will give you the missing part of your Roman numeral let's do a practice example let's say that We are in yes minor and we have this altered chord, first find out the name of this chord, we have a B D sharp F sharp which is a b7 chord in third inversion, so it is a major minor seventh chord, which indicates that it is probably a secondary dominant, let's see if it's working as such if this chord is a secondary dominant, we would expect this root b to follow the perfect fifth a perfect fifth below b is e what chord do we have here we have g b e which is a first trident inversion in E minor , so the root b fell perfect fifth to e because it works as a secondary dominant, that's what it is, so start your Roman numeral with five, we're in third inversion, so that's five four two and a bar now go perfect fifth below b, which gives you e, which is e in the key of B minor e in the key of B minor is four specifically minor four, so this Roman numeral would be five four two slash four and finally what chord we have here g b e is an E minor chord which is four in the key of B minor and we are in the first inversion 54204 resolved to four, that's what we expected it to do, that's how we would respond to a problem like that.

Remember that diminished five and seven chords have similar functions in tonal music, therefore any chord that can be toned with a V chord can also be toned with a diminished seventh chord and that is why we have diminished seventh chords. secondary main tone. A secondary leading tone chord or secondary diminished seventh is a secondary chord that is the leading tone triad or seventh chord. of the toned chord these are the Roman numerals we use for secondary major tone chords. If you have a secondary leading tone chord that is a 7th chord, this can be completely diminished or halved.

If you are toning a major triad, you can use either one. option if you are toning a minor triad use the fully diminished 7th only here we have some examples of possible secondary major tone chords here I only used fully diminished 7th chords again you can use half diminished 7th chords if you are toning a major chord there are a few things that You should keep in mind about these chords one thing is that the diminished seventh of three and the semi diminished seventh of three and the minor are similar to the diatonic 2 diminished chord and the diatomic chord 2 half diminished seventh respectively the context of these chords in music will allow you to determine how they work and how to best label them.

Also, we do not have a half diminished 7 from 7 to 5 in the minor mode, although the 5 chord is major, this exception results because the key of the dominant is minor even though the dominant triad is major, a major tone chord secondary chord will resolve in the same way as a main tone chordprimary, the leading tone resolves upward and the seventh resolves downward, you need to be careful with your leading voice in order. To avoid doubling the main tone when you resolve a seven diminished seven to five or a half seven diminished seven of five sometimes the secondary leading tone chord will resolve to a cadential six four finally you can embellish the five or five seven to six trick progression by adding a diminished seven of six between the two chords to improve the chord progression, just as with secondary dominance, you need to be able to spell and recognize secondary leading tone chords to spell a secondary leading tone chord first find the root of the chord that is to be toned, then down a minor second or half tone and then you want to use that note as the root of the diminished triad or diminished seventh chord that the Roman numeral tells you to construct, make any inversion adjustments if necessary, Let's do an example.

We're in G minor and they give us seven half diminished four three out of six, so we're making fun of the size six, which in the key of G minor is E flat specifically an E flat major triad, go a minor second below that note a minor second. below e flat gives you d natural now we have to build our chord the roman numeral tells us that they want a half diminished seven chord so we have to build d half diminished seven d half diminished seven contains the notes d f flat and c natural remember seven half diminished chords contain a minor seventh finally make any inversion adjustment the fourth three in the figured bass tells us that we have a second inversion seventh chord where the fifth of the chord will be the lowest sounding note, so your final answer in this case will be a C flat and f and its lychee symbol might look like this, this is how you would respond to a problem like that if you find an altered chord in the passage and it's not a secondary dominant, it could possibly be a secondary leading tone chord first. check to see if the altered chord is some type of diminished triad or a diminished seven chord, if it is, it is very possible that it is a secondary leading tone chord, if you think you have a secondary leading tone chord, check to see if this chord acts as and works as a secondary leading tone chord you would remember that most secondary leading tone chords are followed by the chord they are toning if you have a secondary leading tone chord first write down seven diminished seven fully diminished seven of or seven half seven diminished enough to start eliminate your roman numeral depending on what you have, make sure you indicate the correct inversion, then go a minor second above the root of the altered chord, find out what scale degree that note would be in the key it is in finds and what would be its triad quality. be that will give you the missing part of your Roman numeral, let's do an example, let's say we're in G major and we see this D sharp F sharp to C natural chord which is a completely diminished D sharp seven chord in fundamental position because we have an altered chord and it is also a fully diminished seven chord, this indicates that it is probably a secondary leading tone chord, let's see if it works as such.

If it is a secondary leading tone chord, we would expect the D sharp root to resolve up a half step. What chord do we have here? We have an E minor triad, so in fact this is a secondary major tone chord, so start your Roman numeral with seven. This is a fully diminished seven chord in root position, so it's diminished seven of what we have here. The E minor in the key of G major is your sixth chord and the six in a major key is a minor triad, so we're keying the six, so that's the missing part of your Roman numeral.

This chord is a fully diminished seven out of six and this is how you solve problems involving secondary leading tone chords, let's go over some more advanced concepts about secondary functions. You can use a long bracket as a shorthand for longer takes, for example, if you have several consecutive chords that have a size of five, you can put a bracket under all the chords and write 5. Sequential patterns in music often use functions secondary functions, the circle of the fifth sequence is a common sequential pattern and can now substitute secondary functions for diatonic chords, for example, if it is in the key of C major and you have a chord progression from D minor seven to G that is two seven to five now you can substitute a d7 which is a five seven a five or an F sharp seven diminished which is seven seven diminished from 5 and place it on a D minor 7 chord Both are secondary chords that tone the next chord which is 5 or G elderly.

You can have tricky resolutions of secondary functions, for example the 5th or five seven chord could resolve down to the 6th of the chord that was being pitched. Let's look at an example. Let's say we are in the key of C major and we see an E major chord that resolves to an F major chord the E major chord that you would label as five of six the F major chord at first glance you could say it is diatonic chord iv but here that's not how it works, here it works like a six out of six, we have a five six trick resolution that tones the six, so that's the best way to look at this, you might find other secondary functions that are less common, for example, we have secondary subdominance that are four chords, there are even secondary medians and secondary subtonics, you may find secondary supertonics that are two chords, let's look at a chord progression that this example has, let's say we are in the key of F major and we have this chord. progression the f major chord we would label it as one the d minor chord we would label it as six the a major chord we would label it as five of six so what about this chord?

We have a diminished E triad at first glance, you could say it's seven. diminished but diminished seven would not resolve to five of six or six the best way to analyze this is two diminished of six you have a chord progression two five one that size time is six so that's an example of a chord progression that uses a secondary supertonic and that is an overview of the secondary functions, let's start talking about modulation, most tonal compositions and songs begin and end in the same key, however, it is common for there to be a change in key either in middle of music or between movements of a The change of key in composition refers to a change of the tonal center that takes place between the movements of a composition.

Modulation is a change of the tonal sensor that takes place within an individual movement. It is a change from one tone to another. Sometimes it is a challenge. Distinguishing between tonicization and modulation Timing is the most important factor in convincing a listener of a modulation, elements like a 6-4 cadential and the new key also play a role in clarifying a modulation before going into more detail about the modulation, Let's go over key relationships since this is an important concept related to modulation and harmonically equivalent keys are keys that sound the same but are spelled differently, for example C sharp major and D flat major, there is no modulation between these types of keys. keys because the keynote does not change, parallel keys are keys. that share the same initial note, for example, the parallel keys of C major and C minor share the same tonic, so we do not use the term modulation when a key moves to its parallel, but rather we refer to this as a shift in a way related to this mixture of modes. which is the use of tones of one mode in the passage that is predominantly in the other mode.

Relative keys are keys that share the same key signature, for example C major and minor. You can use the term modulation here because there is a change of one. tonic to another closely related key are keys that must have a difference of no more than one higher flat between their key signatures most modulations in tonal music are between closely related keys if we start with C major these are the closely related keys related to C major C major has no sharps or flats A minor has the same key signature G major and E minor both have an F major sharp and D minor both have a flat, so there is a difference of one sharp or one flat between the There are tricks you can use to determine closely related keys.

One way to do this is to take the keys represented by the subdominant and dominant tonic triads and their relatives, for example, if C major is tonic, a minor is relative of C major, G major is dominant and E minor is its relative and F major. is the subdominant and D minor is its relative. Another way to do this is to take the keys represented by the major and minor diatonic triads of the starting key, so build all your diatonic triads in the key. of C major and ignore the diminished chord, this gives you a key closely related to C major, we have C major, D minor, E minor, F major, G major and A minor, so discover a trick that works for you so that you can discover your related keys strange relationships refers to key relationships that are not enharmonic relative parallel or closely related distantly related keys are keys that have a difference of more than one sharp flat between their key signatures, for example, C major and E-flat major, there are many different ways you can describe modulations between distant keys, for example, a modulation from C major to E-flat major can be described as a modulation to the relative major of A minor paralleling a modulation from C major to D major. can be described as a modulation to the dominant of the dominant, so there are different ways to describe modulations.

Common center modulation allows the composer to blend smoothly from one key to the next. This type of modulation involves using one or more chords that are diatonic in both keys as a pivot linking the two keys. Common core modulation is easier to do when between closely related keys. For foreign keys, it may be necessary to use an altered chord like a common chord, let's say you want to modulate from C major to G major using a common core modulation here are the possible diatonic triads in C major and the possible diatonic triads in G major any of the chords that are framed are the possible diatonic chords that can be used as a pivot chord.

It's usually best to avoid using a diminished 5 or 7 as a common chord as the modulations involving these chords sound quite abrupt, however, you can use things like a trick progression or a 6-4 cadential to delay the 5-progression. 1 in a new shade. Make sure you are familiar with how common core modulations are. noted in an analysis of Roman numerals when you have the common chord we use this symbol and indicate what is the chord in the original key and what is the chord in the new key when you look for a common chord first you want to find it the modulation point this is the first chord that seems to work more naturally in the second key than in the first this chord usually contains an accidental not found in the first key or is a tonic six four chord in the second key you are going to back one chord from the point of modulation and here should be where you find a common diatonic chord.

Let's look at this example. This chord progression modulates from C major to G major using a common central modulation and we will first do some Roman numeral analysis. to find the modulation point, which chord seems to work more naturally in G major than in C major, that would be this chord, the d7 chord in second inversion, now you're going to back a chord of this one that gives you the a minor chord that means that this minor chord is going to be our common diatonic chord, a minor belongs in both the key of C major and the key of G major, so this is where we have our common chord, that's where we go To put our symbol that indicates that we have a modulation and we are modulating to G major, so we have to write our new key here.

Now let's do the Roman numeral analysis, so we start in C major, we have a G major. five C is a D minor with f in the bass is two six a first inversion triad G is five a minor which is our common diatonic chord in C major a minor is your six chord in G major a minor is your two chords you have to write down what the chord is in both the original key and the new key d7 slash a then d7 in the key of G now we are in the key of G D seven is five seven and we are in second inversion, so this is five four three g in the key of g is one d seven in the key of g is five seven and then g in the key of g is one and that's how you would do a Roman numeral analysis of something like this.

The last thing to keep in mind is that it is quite common. so that the key signature is maintained throughout a piece, regardless ofhow many modulations occur, let's review some other modulation techniques. It is not uncommon for altered chords to be used as common chords, these include secondary dominant chords and secondary leading tone chords. Let's look at this example, we are starting in G major and we are modulating to D major the a7 chord is the point of modulation, it is the chord that most naturally belongs to the second key, however, the previous chord, which is minor, is not a common diatonic chord in both G major and D major, so let's take the a7 chord and turn it into our common chord: a five seven out of five in the key of G major, which is an altered chord and a five seven in Modulations in the key of D major sometimes arise through the use of a sequence, this usually involves the composer expressing a musical idea at one pitch level and then immediately expounding it again at another pitch level.

Let's look at this example, we are starting in C major. and we have this chord progression of one five four two five to five then we see exactly the same chord progression of one five four two five five in the key of B flat major. This is sequential modulation because we are taking a musical idea and immediately hearing it at another pitch level, the circle of fifths progression can be used to move from one key to another with a sequential progression like in this example, sometimes the hinge between two keys will be a common tone when this type of modulation occurs. the comma tone is often isolated let's look at this example we are in C major and we are modulating to E flat major there is no common diatonic chord that both keys share however both keys have the note g natural here the note g natural is isolated this is degree 5 scale in the key of C major and degree 3 scale in the key of E flat major this note allows us to mix from C major to E flat major smoothly and that is an example of modulation by common tone two chords that are joined by a The common pitch in a common pitch modulation generally has what is known as a through chromatic relationship.

A chromatic relationship is the relationship between two major triads or two minor triads with roots separated by a minor third or a major third. Both triads will be major or minor here we have examples of chromatic medians in C major C major and E flat major C major and E major C major in A major and C major and flat major sometimes a modulation will be done by a single vocal or instrumental line In what is known as monophonic modulation, the harmonies are generally implied and the listener will hear introduced tones that emphasize the second key more than the first.

Finally, direct modulation is a type of modulation that does not use common chords or common sequences. These modulations generally occur between phrases and this results in a phrase modulation, a possible indicator of a phrase modulation is when you have a fermata that ends a phrase and you are immediately in a new key before labeling a modulation as direct modulation, try to eliminate all the others possibilities and that concludes our discussion on modulation. It's time to review larger forms. The binary form consists of two roughly equivalent sections, although they may be of different lengths. The balanced binary form is when the two parts are the same length and the unbalanced binary form is when the two parts are not equal.

The length ternary form is a three-part form that is structured as a contrast statement. This form includes an initial section, a middle section that provides contrast, and a third section that returns all or most of the first section. Let's review some terms that apply to both. binary and ternary forms sectional refers to a type of binary or ternary form where the first section ends in the tonic triad in the main key of the continuous form refers to a type of binary or ternary form where the first section ends with any chord other than the tonic triad in the main key of the form to repeat the form refers to a movement or theme consisting of two repeated sections if it has two sections, each with a repeat sign, this is an indicator of two forms informed, sometimes the repetition will be written the minuet and the trio is a sectional turn toward reform because the minuet is played before and after the trio the American popular voting form is a sectional ternary pattern to which many popular songs of the century adhered XX.

The rounded binary forum is a type of form in which the opening of a section returns after the contrasting material, but in a shortened form, this is also known as a miniwet form or even a small ternary form. The 12-bar blues is a type of forum that usually consists of three four-bar phrases. This is the most basic harmonic pattern for 12-bar blues. Also note that blues music often mixes major and minor modes. Some terms you'll also want to know are transition and coda. Transitions are passages that connect different themes or tonal centers. A coda is a final section that can be used.

With any formal type, an important topic to discuss is sonata form. The sonata form is basically a highly expanded continuous ternary form of two rupees. The sonata form consists of three sections, the exposition, the development and the recapitulation. This form is also known as allegro sonata form. There are many things. to discuss the sonata, the exposition will present the important themes and will involve a tonal conflict between the two most important keys of the sonata, it will have two tonal centers, which means that it modulates to a secondary key, the development develops from the themes of the exhibition. presents sequential activity or introduces a new topic this section may move to some distant keys before preparing to return to the starting key there is a term known as false recapitulation this refers to material that suggests the arrival of the recapitulation but appears in the incorrect pitch Location towards the end of the development section, the recapitulation will reproduce the important themes of the sonata, but does not modulate the secondary ending.

The sonata has a starting key that is the primary tanaki of the movement and a secondary key that provides tonal contrast when the initial key is major the secondary key is usually the key of the dominant when the initial key is lower the secondary key is usually the key of the relative major the sonatas also contain themes throughout the primary themes establish the initial key with at least one cadence in that key there is a destabilizing transition section between the primary and secondary themes that destabilizes the starting key and allows the music moves to the secondary key.

Modulation transitions occur commonly. The child theme sets the total contrast at position x by setting a child key on commit. with a perfect and authentic cadence in that key when you are in the recapitulation section, the secondary theme will reconfirm the starting key instead of the secondary key finally, there will often be a closing section that ends the expositions and recapitulations which is a description very brief and basic general. of the sonata form the rondo form is a type of form that involves a chorus or yellow theme that returns several times and alternates with contrasting thematic material known as episodes.

Here are the four common types of rhonda form the rondo form is a type of form that involves a rondo form with chorus or return theme is a type of form that involves a chorus or return that returns several times alternating with known contrasting thematic material as episodes. Here are the four most common types of rondo form you'll find in the final section of a rondo. The rondo is often treated as a long coda. The rondo sonata form combines elements of the rondo form and the sonata form. The rondo sonata form resembles a sonata with an additional return of the main theme, one theme after the exposition and another after the recapitulation, it is different from the seven-part rondo. in the sense that it develops earlier material in section C and that it is an overview of the broader forms of tonal music, let's talk a little about popular music, this includes Broadway show tunes, 10 songs from Pan Alley, jazz standards, folk music, lounge ballads and blues first. reviews the different sections and commonly found elements of a popular song a riff is a repeated instrumental motif a chorus is the section of a song that is repeated with the same music and text many songs contain an introduction the verse is the section of a song that returns with the same music but different text is the narrative part of a song the chorus is the section of a song that is repeated each time with the same or similar text and the chorus often contains the hook of the song which is the most catchy or memorable part of a song, many times the hook contains the title of the song, the pre-chorus is a short musical passage with text that comes between the verse and the chorus, and the post-chorus is a short musical passage that follows the chorus that prepares the return of the verse an instrumental break is an instrumental section in the middle of a popular song where several instruments appear a solo break is an instrumental section in the middle of a popular song where an instrument appears an instrumental interlude is a passage with new music that serves as a transition or change of rhythm between other sections the bridge is a contrast section in popular music that prepares for the the the bridge is a contrast section in popular music that prepares for the return of the chorus the construction is an increase in intensity that anticipates the chorus the drop is the return of the full texture in the chorus of a popular song finally many popular songs have a coda which is the final and final section of the song, let's review some additional elements of the Popular music extensions are tones that are added to a triad or seventh chord.

These include the six ninth aggregates. Aggregate eleventh and aggregate thirteenth power chords are chords that feature only the root in the fifth. They are missing the third, for example, a c5 is. a power chord containing the notes c and g these chords are often played on electric guitars and usually move in parallel motion we also have sus chords the sus 4 chord is a chord with a fourth above the bass instead of a third, the fourth yes not necessarily solve we also have sus 2 chords a c sus 4 chord contains the note c f and g and a c sus 2 chord contains the note c d and g the blues scale is a collection of notes that players can choose from when improvising a blues melody, These include scale degrees 1 lowered 3 4 raised 4 or lowered 5 5 and lowered seven Because the blues scale contains the minor degrees of the moodle scale of three bass and seven bass, it blurs the distinction between major and minor when used as a basis for improvisation against a major key blues progression a shuttle is the alternation of two chords in a popular song and a loop is when there are three or more chords that repeat in the same sequence and harmonic rhythm finally let's review some common forms of popular music songs quaternary song The form is a song form consisting of four phrases, usually eight measures, the first two phrases start the same, may be identical or may differ in cadence, are followed by a contrasting section or bridge and then they return to the opening material.

Known as the 32-bar song form or aaba form, the first chorus form is a form typical of popular songs of the early 20th century and where an introductory verse that is possibly modulating precedes a chorus that is often in the form of quaternary song. The simple verse form is a song form that only has verses, the verse chorus form is a compositional structure built around two repetitive sections which are the verse and the chorus. This is the most common form for songs today. Single verse chorus is a song form where the verses and choruses have the same music, contrasting verse chorus. is a song form where the verses and choruses use different music here is a very common song form that many composers use when writing popular music now it's time to talk about one of my favorite topics in the music theory mode mix, which is also known as a Modal Swap This is a great way to provide more color to a musical passage.

Mode blending refers to the use of tones from one mode in another passage that is predominantly in the other mode. In other words, if you are in a major key mode blend it is when you borrow tones and chords from the parallel minor key. and vice versa, borrowed chords are chords that result from the use of mode mixing, these chords contain tones of the mode opposite to the mode you are currently in first let's review borrowed chords in minor remember that scale degrees 3, 6 and 7 are what differentiate a major scale from a minor scale. Minor keys offer fewer opportunities for colorful changes andSo because there are two versions of the six and seven scale degrees that are commonly used in minor pieces of music, you can use the unaltered six and seven scale degrees or the six and seven spoke scale degrees.

Remember how we raise the degree of seventh scale in the minor mode which results in a major 5 chord and a diminished 7 chord as a result we can say that the 5 and diminished 7 chords are borrowed from the parallel major if we are in a minor mode and we go up the third degree of the scale to borrow from The major mode, one of the possible chords we end up with is known as a sharp third. This is simply a tonic triad that is borrowed from the major mode for use in minors. Composers and composers would often use this to finish their pieces that were in minor keys it provides good contrast and resolution to finish the musical work the third pikerty is indicated with a capital roman numeral one if you are in a minor key and see a number capital roman one you know this is a selector third d now let's get into borrowed chords and major chords, if we take the lower third, sixth and seventh degrees of the minor scale, we get a lot of possible borrowed chords that we can use.

Most chords rendered in major involve the use of the lowered sixth degree, remember the flat. it simply means lowering that scale degree, not literally adding a flat. The four commonly used borrowed chords that result from the lower sixth degree of the scale are diminished seven, minor seven, four, two diminished and two, half diminished seven, two half diminished seven, can also be analyzed as a minor iv chord with An added sixth when this chord is followed by a major chord, creates a darker type of plague cadence sound when the lower third degree of the scale is used.

Some of the commonly used borrowed chords are minor one flat six and minor four seven. and when you use the lowered 7th scale degree you get chords like flat 3 and flat 7. Note that the Roman numerals for the borrowed submediant and subtonic median triads are preceded by a flat, this indicates that the root is lowered, you need to use the flat in your analysis, regardless of the actual alteration found in the notation, for example, if it is in the key of major and has a flat six chord, this is an F major triad and the root of this chord is an F natural .

The commonly used chord progression used to end pieces of popular music is flat six flat seven major, this is known as aeolian cadence by using a mixture of musical modes and pieces, composers and composers can enrich their melodic palette and harmonic with more expressive elements. possibilities and are capable of adding all kinds of surprising colors to your compositions. The dominant chord can be approached in several ways. One way to approach it is through the colorful Neapolitan chord. This chord is a major triad that is built in the lower part. second scale degree, for example, in the key of G major and in Kia G minor, the Neapolitan chord would be a triad of A flat major.

When you analyze music, this chord is abbreviated with the letter n or a flat Roman numeral 2. the flat It doesn't literally mean that you're going to have a flat, it just means that you're going to go down the second degree of the scale and build a triad out of that. This chord is most often found in the minor mode and is usually in first inversion, which is why it is often referred to as the Neapolitan vi chord. Here are some important characteristics of this chord. This chord has a predominant function. When including this chord as part of a four-part arrangement, it is generally best to double the third of the chord.

The Neapolitan six. The chord likes to move to five or five seven, sometimes a secondary five diminished seven will appear between the two chords. The Neapolitan six chord also likes to resolve to the cadential six four, in this case it is necessary to use parallel fourths to avoid parallel fifths. The purpose of the lowered second degree of the scale is to resolve the main tone. Finally, this chord is usually preceded by six fours or one. Let's look at an example. Let's say we are in the key of C minor and we have a Neapolitan six moving to five seven and then to one the Neapolitan six chord is a D flat major triad in first inversion, so f will be in the bass, this chord will contain the notes D flat F and flat and we are going to try to double the note f which is the third of the chord here is a good expression of the chord F flat D flat remember that the lowered second degree of the scale wants to resolve in the main tone, so that D flat is the second lower degree of the scale in the key of C minor D flat goes to go down to the main tone, which is b natural, that's how this Neapolitan sixth chord would be resolved, sometimes the Neapolitan chord could be toned.

An example of this would be a 5 7 from the Neapolitan. Note that borrowed chords and Neapolitan can be used as common chords in your modulation, this can make it easier to smoothly modulate to a distantly related key. Borrowed chords and a Neapolitan chord are great ways for composers to add a little more color to their music. A tritone substitution is an example of a chord alteration used in music, especially in jazz performance, the sub tritone replaces a five seven with a major minor seven chord that is one tritone away. This chord is basically a Neapolitan chord with a minor 7th added.

This chord can be indicated as flat 2 7. 5 7 a flat 5 flat 5 7 of 5 or even a sub 5 7. the sub tritone works because its tritone contains the same enharmonic tones as the tritone of the respective five seven chord it is substituting , look at this example we are in. C major and we have the five seven chord next to the sub tritone in chord 5 7 the tritone contains the notes f and b in the flat chord 2 7 the tritone contains the notes f and C flat so the tritone in the two chords is In a harmonic, when the sub tritone resolves to a chord, it will not follow the typical principle of the 7th resolving down and the 3rd resolving up, instead the tritone of this chord will resolve in the same way as the tritone of the five seven chord it is replacing.

To solve, it is also common to add a sharp 11 to the sub tritone because that note is the root of the original 5 7 that it replaces. It also allows you to avoid parallel fifths if you place it instead of the fifth of the tritone. subchord take a look at this example, we have a tritone subchord that resolves to a one chord in the tritone subchord we have the notes D flat F G which is the 11th sharp which replaces the fifth of the chord and C flat this tritone goes a resolves in the same way that the tritone of 5 7 chords would be natural would resolve half a step to c and f resolves down half a step to e here c flat, which is n harmonic up to b natural, will go up half a step to c the f natural will go down half a step to e g, which is the 11th sharp, will remain as a common tone and the D flat will go down half a step to c.

The natural substitution of the tritone is another option that musicians and composers have. make your music stand out and add some more color to it, approaching a tone in half steps is a good way to emphasize it if we approach the degree of the dominant scale in half steps from above and from below at the same time, this results in a loud sound. approaching the dominant these two approaching tones will form an augmented sixth interval. Augmented sixth chords contain the interval of an augmented sixth that is formed by simultaneously playing the tones that are a half step above and below the dominant scale degree.

This gives you the lowered sixth scale degree and the raised fourth scale degree. This predominant chord is close to the v chord or the cadential six-four. Generally the lowered sixth scale degree will appear in the bass and the raised fourth scale degree will appear in a At the top there are some specific types of augmented six chords. The Italian augmented six chord is formed by adding scale degree one to the augmented sixth interval in a four-part texture. The tonic tone will be doubled. The French augmented sixth chord is the same. than the Italian augmented six chord but with an added scale degree 2.

This chord sometimes occurs in popular music and in jazz music it is a major minor seventh chord with a lowered fifth the German augmented six chord is the same as the Italian augmented 6 chord but with a lower third scale degree added three flat simply means you are taking the third scale degree of the minor mode in a minor mode this note occurs naturally in a major key this note will be reduced chromatically no It is rare to find parallel fifths when the German augmented six chord moves directly to the v chord, however these parallels are not considered objectionable because the ear is too focused on hearing the resolution of the augmented sixth.

Sometimes you may see the six German augmented chords written differently. You may see a raised second scale degree instead of a lower third scale. degree when this chord moves to a cadential six four this is because when we read music we tend to expect high notes to rise and low notes to fall. Also note that the German augmented 6 chord is enharmonic to the Neapolitan 5 7 you may encounter. The German 6 augmented chords on the main sheet symbols will be indicated as a major minor 7th chord in the 6th degree of the minor scale, for example, in the key of C major, a flat seven to a G seven is a chord. of German augmented six that resolves into five seven and the a.

The flat seven chord is a tritone substitution for five seven of five because the six augmented chords are linear voicings that have no root and cannot technically be inverted, so it is not necessary to indicate the base position of these chords in the symbol analytical. One last thing to keep in mind is that the augmented six chord can result in other scale degrees besides five. When we write an augmented six chord we are basically implying that the augmented six chord will resolve to scale degree five if you have an augmented six chord that resolves to something other than scale degree five it should indicate What scale degree are you solving for the augmented sixth.

Let's go over enharmonic spellings and then harmonic modulations and harmonic spelling involves writing a note as its enharmonic equivalent. Composers use this technique to indicate which direction a pitch will move. This makes it easier to read the music. Remember that high notes generally ascend and lower notes generally descend. Spelling changes may change the chord visually but it does not change. sound function or chord analysis Sometimes a composer may rewrite an entire key to make it easier to read, for example, if F flat major is keyed in the middle of a piece, the composer might notate it in the key of My biggest.

Another example would be if a piece in G flat major moved to its parallel. minor instead of writing the minor section in G flat minor, which would have double flats, it could be notated as F sharp minor which has three sharps, both are enharmonically equivalent. Enharmonic reinterpretation is the technique of treating a chord as if it were written in a different key as part of a modulation. There are four settings used in tonal music that can be reinterpreted and harmonically in a different key. The major minor 7 chord can be serve as a 5 7 or a German augmented 7 chord The major minor 7 chord can serve as a 5 7 chord or as a German augmented 6 chord.

The fully diminished 7th chord is symmetrical where each note is 3 semitones from the next, as a result any tone can serve as the leading tone, for example, G sharp diminished 7 is enharmonic to E sharp diminished 7 which is enharmonic to D diminished 7 which is n harmonic a diminished b 7. they may be written differently but sound exactly the same the augmented triad is also symmetrical where each note is two full steps from the next as a result, any tone can serve as a root, for example, augmented c is n harmonic for E augmented, which is enharmonic for G sharp augmented or augmented flat, finally, you can play both notes of one of the major thirds of a French augmented six chord to convert it to a different French augmented six chord and this will give you allows modulation to a key that is one tritone away.

Enharmonic modulation is a modulation in which a chord that is common to both keys is reinterpreted and harmonically to fit the new key here is an example of a harmonic modulation in n from F major to major take this chord on five seven of four an F major that contains the notes E flat but it is literally written as a German augmented sixth chord in major this chord now allows usmodular from F major to major because it is reinterpreted enharmonically if you are analyzing a piece of music and you find two chords that sound the same but are written in two different ways, that is a sign that the chord is working in two different ways, make sure to be careful when you find chords In music that can be reinterpreted enharmonically, there are some aspects of tonal harmony that are less fundamental, but it is still important to review them in the era of impressionism.

There were no added chords that became a standard part of the vocabulary of Western music, for example, a triad with an added sixth. Let's say you have the following chord progression in C major, the first chord contains all the notes of a two, six, five chord, however the seventh does not resolve the way a seventh normally would. Instead, this chord functions as a four chord with an added six and this chord resolves to 1 via a pagan cadence. We also have subset 5 chords that contain the same scale degrees as those found in a 3 6 chord; However, these chords have a dominant function if you use a five or five seven chord. with a substituted sixth, the sixth should jump to the tonic, in other words, the scale degree three resolves to the scale degree one.

We also have dominant chords with a raised fifth, this results in an augmented triad or an augmented minor seventh chord, these are known as an augmented dominant. chords when using the raised fifth this creates a leading tone towards the third of the tonic triad when it is in a major key remember to approach a tone in half a step it is a good way to emphasize it look at this example in C major we have the augmented five The chord containing the notes G B D sharp G remains a common tone B is a leading tone to C and a D sharp acts as a leading tone to E as well, although the augmented five or the augmented five seventh in the major mode is not harmonic with the five sub six or five seven sub six in the minor mode they have different resolutions the secondary dominance can also appear in augmented form the most common is the augmented five a4 or the augmented five seven of four in tonal music the thirds are stacked to produce triads and seventh chords If we continue stacking more thirds up to a seventh chord, we end up with ninth chords, eleventh chords, and thirteenth chords, we notate a major ninth as nine and a minor ninth as flat nine when a ninth would be used in a tonal era , it would often disappear before the chord it is a part of resolves, for example if you have a five flat nine chord which is a five seven chord with a minor ninth, the ninth would probably resolve down a half step to double the root of the v chord.

Chords 11 and 13. Chords became more prominent in an era of impressionism. I thought that the bass symbols for all these extended chords would not be very practicable, especially since inversions of these chords are not as common as inversions of triads and seventh chords. If you wish, you can use parentheses to indicate the seventh chord inversion of the entire extended chord. Most diminished seventh chords function as leading tone sevens, however there is one diminished seventh chord that functions in a different way. common tone The diminished seventh chord is a diminished seventh chord that shares a tone with the root of the chord that embellishes this chord it is basically used to expand another chord we label this chord as c t diminished 7. this chord can be written in any way it which means that it has no theoretical root.

The function of this chord is simply one of ornament and has a weak harmonic function. As a result, when including this chord in an analysis of Roman numerals, it is usually put in parentheses to indicate that it has a harmonic function. weak, this chord usually embellishes and progresses to 1 in major or 5 or 5 7 In major, this chord also often acts as a neighboring chord or a passing chord if you are reading a main sheet music and come across a diminished 7th chord that seems to be resolved incorrectly. See if it shares a tone with the chord root before or after it.

If so, it is probably a diminished seventh chord of common tone, finally the diminished seventh chord of common tone that embellishes the tonic is harmonic n to seven seven to diminished five, so you have to check how it works and the problem is resolved. diminished seventh chord before deciding. how to label it Composers of the late 19th and early 20th centuries saw chord progressions where the chords had close relationships with each other. Medians are a good option for this. Remember that diatonic triads with roots one-third apart have two common tones. The median chromatic relationship is the relationship between two major triads or two minor triads with roots in a minor third or a separate major threat for example a triad in C major and a triad in E flat major these chords do not belong to the same diatonic collection here We have examples of chromatic middles to the C major triad.

The doubly chromatic middle relationship is a relationship between chords that have roots separated by a minor third or a major thread, are of opposite modes and do not share common tones, for example, the triad of C major and the triad of E flat minor, here we have examples. of double chromatic medians for the C major triad, these chords can be enharmonically a major pitch to separate, for example, a flat major triad and an E minor triad because the flat major triad is enharmonic with respect to the G sharp major. The chromatic progressions of the median allow for very smooth voice connections, these chords are often used as part of common pitch modulations when analyzing pieces of music from the late 19th and early 20th centuries.

Music theorists often look at total vocal distance, which is determined by adding the total number of halves. steps that each voice moves from the first chord to the second this measures the softness of the voice that directs the movement between one chord and another chromatic medial relationships are used to move from one transitionality to another to temporarily blur the meaning of a predominant key and to use A method of composing chord progressions other than the circle of fifths. Musicians may consider many of the issues about chromaticism to be things that complicate the harmonic system. However, there is one main trend that can summarize most of these chromatic elements.

A lot of chromaticism is used. Intensifying the sense of resolution from one chord to another by reducing the distance between tones in a given line, for example, using a five-five chord instead of a two-chord in a two-five-one progression, brings the degree four closer together. from the scale to grade five. Also, if you have the minor 4 to major 1 chord progression, which involves a mix of modes, this brings scale degree 6 closer to degree 5. Once the late 19th and early 20th centuries arrived, many compositions began to add complexity and resist easy understanding. Focus less on the harmonic progression and focus more on exploring the entire collection of chromatic tones and using joint linear movement and soft voicing between chords.

If there is a passage that does not allow the listener to feel confident in a particular key, that is better. Use lead sheet and base position symbols instead of Roman numerals when labeling chords. Roman numerals are primarily used in tonal harmony to indicate the function of various chords in a passage. If you repeat the same chromatic half ratio several times, it will return to the same one. chord from which you started, this is known as the middle chain, for example, if you start with a C major triad, you can go from C major to E flat major, to G flat major, which is n harmonic to F sharp major to major and then return to C major major minor seventh chords can be used in a minor middle third string and this version will create two common tones which results in a very smooth voice.

You'll see in this example here where we go from an E flat seven chord to a c7 chord. here we have two common tones that surprisingly move from one major minor seventh chord to another major minor seventh chord. The tritone can be soft and in this example we are moving from C seven to G flat seven here the E natural note is enharmonic to F flat so basically we have two common tones in music, we also have what is known as a third substitute, which is a chord that can be used in place of another chord whose root is a third away as long as it shares two common tones and a common function. with the chord it is substituting, for example, six can replace one, two can replace four, and even three can replace five, sometimes during the late Romantic period of music, composers began using familiar chord types while exploring new possibilities of harmonic progression outside the simultaneity of the traditional diatonic system refers to traditional sonorities that are used in a non-traditional way, again, the use of Roman numerals for such chords may not provide much information about what is going on behind them.

The progression that occurs when it comes to advanced tonal writing, you can basically connect any two chords you want smoothly, as long as you incorporate inversions, don't limit yourself to the diatonic collection, and don't limit yourself to traditional dissonance preparations and resolutions. Many late Romantic composers made extensive use of sequences. A chromatic sequence is a diatonic sequence that is transformed by replacing chromatic harmonies with diatonic ones or by chromatic embellishment, for example, we can have a sequence that continues to advance in complete steps, such as C sharp major to D sharp major, which is then harmonic to E. flat major to f major to g major and then to major there were composers who included chromatic bass lines in their compositions and used familiar chord types on top of the bass lines to harmonize them an omnibus is a progression used to harmonize a bass line chromatic base many times a general progression presents voice exchange, it is usually better not to analyze each different chord combination that occurs in a general progression, for example here we are in C major and basically we have a 5 7 chord that is embellished to through a chromatic progression. bass line moving to a 5 6 5 chord Instead of analyzing these three chords as a German augmented 6 chord 1 6 4 and another augmented German six chord in D minor, it is better to consider all of this as a five chord seven leading to a five six five chords and those are just some of the advanced techniques and concepts behind tonal harmony since the latter part of the common practice period around the turn of the 19th century into the 20th century, composers realized that the traditional tonal system was being stretched. to their limits as a result, they saw alternative methods and concepts for composing and arranging music some elements they thought of modifying included scales chord structure harmonic succession rhythm and meter and even musical texture posttonal music is considered music that has been composed since the general decline of tonal harmony around 1900, an important part of post-total music is impressionism.

Impressionism is a term that was originally applied to a style of painting that began in France in the late 19th century. At this time composers became more fascinated with color. mood, atmosphere and emotions, and they sought to represent these things in their music through new uses of harmonic instrumentation and rhythm, as a result the term impressionism was also applied to music. Much early posttonal music is still easily accessible to the tonally oriented. However, listen to the compositional style of early post-tonal composers such as Claude WC and Maurice Revell. It challenges traditional tonal expectations when it comes to analyzing pieces of music from the early 20th century.

Music theorists examine the piece to see if it has a tonal center or centers. and then wonder how this is achieved or avoided. Let's finish this music theory review video by examining some of the techniques that posttonal composers used in their compositions. The use of diatonic modes in music is very interesting. concept a mode is a type of musical scale with distinct melodic characteristics diatonic modes are the seven scales or modes that can be formed by constructing a scale using each of the tones of a major scale as a different pitch center in other words, the modes involve taking the pattern of full steps and half steps of the major scale and starting the pattern from different points, let's review the different diatonic modes that are possible the Ionian mode is the same as a normal major scale the Dorian mode is a natural minor scale with a 6-ray scale degree, the Phrygian mode is a natural minor scale with a lower second scale degree, the Lydian mode is a major scale with a raised fourth scale degree, the Mixolydian mode is a major scale with a seventh degree lower scale, wind modeIt is the same as the natural minor scale, finally, the Locrian mode is a natural minor scale with a lowered second degree and a lowered fifth degree.

Each of the modes has a unique sound and are used by songwriters and composers to create different colors in their music. Be sure to memorize the properties of each of these modes. The modes can be arranged in a relative order of brightness. This is based on the number of major or augmented intervals above the tonal center of the mode here is the order of the modes from brightest to darkest Here I have spelled out the diatonic modes that correspond to the white keys on the keyboard. Remember that diatonic modes involve starting a major scale from different places.

The C major scale only uses the white keys if you start the C major scale from different starting points. Get the different diatonic modes and in this case they only use white keys as they involve exactly the same notes as the C major scale and here I spell out the diatonic modes each starting on the note c so you can see what each mode can be like . built on the same note when it comes to the diatonic modes, you need to be able to spell them and recognize them. Make sure you know the properties of the different diatonic modes and use the major scale and natural minor scale when spelling and determining the modes. make an example of each, let's say you have to spell a flat lydian first give yourself one of each note letter now you have to know its properties what is lydian the lydian is a major scale with a raised fourth degree, so start by constructing a flat major scale your flat major scale has the notes a flat b flat c d flat e flat f g and flat now we need to take this and raise the fourth degree of the scale, the fourth degree of the scale is d flat, so instead If it has a D flat it will simply be a D natural and that is the Lydian mode in A flat.

Let's say they give you this mode and they ask you to name it the starting note and the ending note are both b, so this mode is based on the note B now let's compare it with the major scale and the natural minor scale B major has five sharps B minor has two sharps This example only has one sharp, so is it closer to B major or B minor? In this case, it is closer to B minor. so this is going to be one of the minor modes, whether it's Dorian, Phrygian, Aeolian or Locrian, now in B minor our two sharps are F sharp and C sharp, so here we have an F sharp but we don't have a C sharp, which means that it cannot be the natural minor. scale, it can't be the Aeolian mode, so which one is good because we have a C natural, which means we take the second degree of the scale which is C sharp and B minor and lower it.

The natural minor scale with a reduced second scale degree is your Phrygian mode, so this is b Phrygian and those are examples of spelling and recognizing your diatonic modes. Let's review some other scales commonly found in posttonal music. The pentatonic scale refers to any five-note scale. The major pentatonic scale is constructed. in scale degrees one two three five and six of a major scale the minor pentatonic scale is built in scale degrees 1 lowered 3 4 5 and lowered 7 of a natural minor scale the hiroy joshi scale is built in scale degrees 1 2 lowered 3 5 and Lowered 6 from a natural minor scale, any of the pitches of the pentatonic scale can serve as the tonal center, basically resulting in modes of the major pentatonic scale.

You can also play a major or minor pentatonic scale using the black keys. Black key pentatonic keyboard refers to the pentatonic collection which is made up of the five black keys on the keyboard. Music that only uses the pentatonic scale will sound harmonically static, so it is rarely used as the basis for an entire composition. Next, let's talk about synthetics. scales these are scales that bear no clear resemblance to the scales or fragments of scales associated with the diatonic system the full tone scale is a six-note scale that is composed entirely of adjacent whole steps this scale has an ambiguous quality due to its symmetry and its lack of perfect intervals the augmented triad is the only possible tertian triad of this collection of tones.

Full tone chords are any vertical voicing that can be derived from a complete tone scale, such as an incomplete dominant seventh chord with an omitted fifth and an augmented French six. chord The octatonic scale or diminished scale is a symmetrical eight-note scale that is made up of a repeated series of half-integer or half-integer steps. The hexatonic scale is a six-note scale that is made up of a repeated series of half-steps of a minor third or minor third half step sequences the mixolydian lydian scale is a major scale with a raised scale degree 4 and a reduced scale degree 7.

As with other modes, any tone of the scale can be used as a tonal center to create different musical colors here I have examples of all the scales we just talked about, all built in the note c, you can use this as a reference, the use of chromatic saturation in the 20th century would ultimately lead to twelve-tone music, which was music composed using the 12 tone method, let's review some posttonal chord structures that you should know let's start with the extension sonorities of extended tertian harmony which are also known as high chords include ninth chords, eleventh chords and thirteenth chords, they are used as an extension of traditional tonal harmony and can be used in functional and non-functional configurations These are colorful chords and traditional rules of resolution may not apply when using these chords It is not unusual for a composer to omit certain chord members that create strong dissonances These extended chords are often indicated by leading sheet music symbols.

Now let's review polyharmony. A polychord consists of two or more chords that sound simultaneously, for example, a C major triad heard over an F sharp major triad. Chord units are the individual chords that are the components of polychords. A third division chord is the setting that results when both the major and minor triads built on the same root are used simultaneously, for example, an E minor triad is heard over an E major triad when two or more centers are heard. key at the same time, this is known as bitonality. or polytonality let's analyze some more types of harmonies chordal harmony is a sonority that is derived from stacked fourths quintal harmony is a scenario that is derived from stacked fifths remember that the perfect fifth is the inversion of the perfect fourth secondary harmony is a sonority chordal that is derived from stacked seconds if it has a collection of three or more adjacent tones in secondary relationship, this is known as a tone group, a group chord is a chord consisting of three or more tone classes with seconds separating the most of the tones of its neighbors, finally let's relate the chords with In the pentatonic scale there are five possible chords that can be derived from the tones of a major pentatonic scale.

These include a major triad with an added sixth and ninth, a stack of perfect fifths, a fourth with a rich sonority, and an implied five-nine core with a suspension and a diatonic group chord that is built from seconds, let's review some other concepts of post-total music beginning with parallelism an early sign that music was breaking away from traditional tonal procedures was when composers began to incorporate much more parallel movement between chords a non-functional harmonic progression is a succession of chords that does not follow traditional or functional patterns or progressions, this type of progression often involves parallel movements and parallel movement creates a sliding effect between chords, as seen here in this example, it is good to use guide sheet symbols when analyzing non-functional harmonic regressions let's talk a little more about parallel movement planning is the term that refers to the use of strings that move in parallel motion real planning is the parallel movement of vertical sonorities where the numerical value and quality of the intervals remain constant this results in an unclear sense of a tonal center, for example a chord progression such as D sharp 7 C sharp 7 b7 a7 G sharp 7 is an example of true glide.

Diatonic glide is a parallel movement of vertical sonorities whose quality is determined by the predominant diatonic scale, for example a chord. progression in C major such as G F minor D minor C is an example of diatonic glide Mixed glide refers to parallel movement of the voice that cannot be explained either by the consistency of the central type or by the limitations of a single scale, e.g. , a chord progression such as G minor D F minor is an example of mixed planing Now let's review pandiatonicism Pandiatonicism is the attempt to equalize the seven tones of the diatonic scale so that no tone is heard as a pitch sensor A pandiatonic passage generally has the following characteristics a key signature an absence of accidental free use of the seven tones of the scale that is associated with the key signature and absence of functional harmonic movement and those are some other concepts of post music tonal.

Finally, let's briefly review rhythm and meter as applied to post-tunnel music. This section will mainly be definitions and terms because there are tons of aspects of posttonal rhythm and meter to explore. Remember some of the basics about rhythm. Time is the basic pulse of a musical passage. Tempo is the speed at which beats occur. The beats in traditional meters tend to be grouped in regular patterns of two, three or four beats. Each measure has a pattern of metric accents, syncopations, accents, usually weak beats. Time value relationships can be expressed as proportions. A hemiola is an interaction between rhythm and meter involving a three. to two and symmetrical meters are meters that are based on regular recurring pulses subdivided into groups of two or three postonal composers who sought to break with some of the traditional aspects of rhythm and meter, let's review some of the things they used.

More often, an asymmetric meter contains an odd number of beats with the exception of the triple meter, for example, 5 4 meters and 7 8 meters. A compound meter is a meter that is made up of recurring irregular subdivisions, for example, 3 plus 3 plus 2 over 8. A dotted compass line is used to show how long the bars are subdivided into shorter segments. Mixed metrics refer to the use of rapidly changing metric signatures. Composers would use shifted accents to change the accent of a meter at a relatively weak beat. Additive rhythm is a process that gives the effect of unequal groupings of subdivisions that add up polyrhythm also known as cross rhythm is the simultaneous presentation of two or more contrasting rhythmic currents orally polymeter is the simultaneous presentation of two or more meters at a time, for example, listening to seven eights and three fours together Ametrical music is music that lacks normally perceptible meter.

Composers of such works often omit time signatures and time signatures. Tempo modulation or metric modulation is a method of changing tempo by equating a particular note value with another note value which is a proportional note value that is usually located in the next measure, here is an example of tempo modulation , we start at 2 4 meters, the quarter note takes the rhythm and we hear the rhythm at 60 beats per minute in this measure we have eighth note triplets in the next measure. The indication here tells us that the velocity of an eighth note of the eighth note triplet is the new velocity of the eighth note.

You can also write this since the quarter note is heard at 90 beats per minute, so that is an example of tempo modulation or metric modulation. Value-added is a process by which a rhythmic irregularity is created by adding a note value or a rest to a rhythmic figure. Dots and lassoes can be used to change the length of a note or rest. Non-retrogradable rhythms are rhythms that are the same. Whether played forward or backward, Polytempo is the simultaneous presentation of two or more contrasting tempos. An ostinato is a musical pattern that is repeated many times in a row.

Iso rhythm is a rhythmic technique that generally consists of a repeated rhythmic figure in combination with a sequence of repeated tones. of different duration talia is a rhythmic pattern repeated in an iso rhythm color is the series of tones repeated in an iso rhythm tempo canon is a canon in which individual voices are presented at different tempos mechanical rhythm is a rhythm that requires a machine for precise execution of, for example, irrational tempo relations such as the square root of 2 over 2 or even e over pi. One last thing I will mention is that some 20th century composers use the Fibonacci sequence to determine musical information.

This sequence is an infinite sequence of numbers in which eachnumber is the sum of the two numbers above, the proportions implied in the sequence approach a golden ratio of approximately 1.618 to one and this golden ratio has been found throughout nature and has been associated with balance in the arts throughout throughout the 20th century. Composers were tasked with exploring the musical elements of pitch, harmony, rhythm, texture, timbre, and instrumentation. Looking at these musical elements in a new light opened up an infinite world of musical possibilities and the composers were only limited by their own imagination and that concludes this music.

Theory Review Video: If there are topics that you still find challenging and difficult to understand, there are tons of great resources available that look at these topics in greater depth and detail. However, I didn't go over all the music theory terms and concepts. This video should have given you a solid overview of the core music theory topics you need to understand to be successful. Share this video with anyone who finds it useful and beneficial. I hope it gives people a greater understanding and appreciation for music theory and thank you very much for watching