Section 6 ~ Scales and Keys The Major Scale “The Najor scale is one of the most common seales in use in the world today and has been used as facie for compositions since approximately 1600 AD. (This scale was originally a mode called tho Tonlan Mode. Tt is one of only two modes to remain in use in the Malor and minor system, the ther boing the Aeolian Mode —see “Natural Minor’ and “Modes” to follow). Notes in a scale can be labelled in many ways. Firstly, we can number the scale degrees as follows: = 1 2 3 4 5 6 7 8 Secondly, we can label the scale degrees with their tonal names: Tonic Supertonie Mediant Subdominant Dominant Submediant Leading Upper Note Tonic Thirdly, we can use tonic solfa, where the tonic note of a Major scale is always “do”, and finally letter names. Note that in the following scale the high “do'” is marked with an ‘apostrophe. This indicates that it is ap octave higher than the tonic note. Similarly a comma beside @ note's name indicates an octave lower. C Major SF = i co eS do oc 5 BF Ga BC BA GE BD ¢ ‘Allseales can be transposed, so as to begin on any other new note, by Keeping the original interval pattern the-same. In C Major there are Major ands (tones) Potwoon each pair of notes except “mi” Pad “fee (E and F) and "ti" and "do'* (B and C) as marked by the slurs on the above scale. These pairs of iotes.form minor 2nds-(semitones). If you take this interval paver and begin on G instead FF you will find that you need to raise the 7th rote (F) to F#,jn order to keep the pattern of intervals the same as in the original C Major. G Major C7 cea ‘To avoid having to write this sharp In front of every Fin 2 plege of music based of the scale of € Major, we placo the sharp required after the clef af the beginning ‘of each line of music. This i called the key signature. G Major Rae ss, do oe ae G oA “the following scale is F Major. When following the interval pattern of C Major Put beginning on you will need to lower the B to By to keep the pattern the same. 80F Major se == do we ate EG Jo following melody by Beethoven has been written Using the scale of D Major. Therefore wo say at this composition is in the "key of” D Major. _ “Chorale Melody” from the Ninth Symphony Beethoven mi mi fa etc The Natural Minor Scale The natural minor scale ts not in common usage except as the descending form of the melodic Ininot {see next page). (As mentioned in the Major Scale section, this scale was originally a mode called the Aeolian mode). itis the closest relative minor to the Major scale and can most easily be seen if you simply sing the Major scale but begin and end on the “la” below “qo” and sing one octave ascending and Malet ng, For example, in C Major “A” is ta". Begin on this note and sing or play one octave ee will have sung the A natural minor scale. Anatural minor ~ J — = a ati ka hoe e es PF GA GF BD CB A “This means that’C’Major and’A-minor-arevretated. keys and-share-the-same-key signature, There Tr Tay ways to work out the relative Najor ane minor Keys. Te simpiest mothod is to finda! in orSjajor zeae, as this isthe tonic of your relative minor Key: Ft ‘example, to find the relative minor oe Major, find “la? when D is “do", (In-D Major scale “B' is Tat ‘therefore B minor is related to D Major and shates the same key signature). The following Israeli folksong (canon) is in D natural minor (beginning on “la” in solfa). Alleluia Israeli Folksong n gt ~ tee -ia Al - le-lu ia,The Harmonic Minor Scale ‘The harmonic minor scale is the minor scale most likely to. be used when building chords ¢ harmonies in a minor key. It is almost the samo as the natural minor scale but has a raised note. (Therefore in solfa “so” becomes “si”). —— oa — => 2 = Z ets ly sole tet) dott os A BU CUDUU UGH CGE BCE DO CUBA Aharmonic minor The following séale is E harmonic minor. In E minor, G is “do” (as E is “la”). This means there is Fi in the key signature the same as for G Major. E natural minor would have all the notes ¢ Major but would begin and end on "la" or E. E harmonic minor has the raised 7th as follows ( becomes “si"). E harmonic minor le Gee E FF The Melodic Minor Scale “The melodic minor scale is the minor scale most likely to be used when writing a melody in_a m kay. Using the natural minor scale as the template again, this scale has a raised 6th and 71h | in the ascending form but the descending form is the natural minor (i.e. the notes of the rele Major unaltered). Amelodic minor — i rr a ee a RoR oC oD OR fm Go A G F EB D C BOA E melodic minor la. i ete EB Fe ‘The following canon by Caldara has been written using the scale of E melodic minor. Canon Notica that when indicating a Major scale or Key, itis usual to use capital or large letters and indicating a minor scale or key, itis usual to use lower case or small letters. 82,le Recognition Exercises Part 1 (Major and minor keys) stice Question 1 ~ Visual | ho this melody being played three times. As you listen, follow the instructions given below. \ Ss SSS ‘ | oF a 2 _ Before you hear the melody, study the key the Major and minor keys aro with this key signature. ‘The key signature is two flats: By and Es. The Malor scale with this key signature fe By Major and the relative minors (with the same key signature) are G harmonic minor and G melodic ' minor, | ry Study the last note. It is most usual fo end on the tonic note of the Major or minor keys with this key signature. “The last note of this melody is B}. This is the tonic note of Bb Major and the mediart of G Tico Therefore at this stage itis most ikely that this melody is in Bs Major rather than G harmonic or melodic minor. 3. Sing the melody through in your head in sofa. (Note that “do” is the same whether in the Major or the relative minor key). Make a note of the "more important” notes. By and F seem to be more important than the other notes in this melody. Bh is the tonic note of BI Major and F is the dorninant. However, F is usually only found in the descending form of G melodic minor and not in the harmonic form at all 4. Also tako note of any runs or patterns that may highlight a particular tonality, for example, hotes in the scale formation or notes from the tonic or dominant triads. 4 in bare 3 and 7 there Is part of the doscending scale of Bs Major while In bar 6 there is part 1 ar oars sanding seale of B} Major. There is also a pattern using “dot so do’ This is a cn, i Gominant pattern that is offen used to clearly outline a'key. The last two notes of the melody 1 50, do” add to the clarity of By Major. If there are any accidentals in the melody, these may point to the minor key and a decision | betwoenthe harmonic and:melodic minor-will-haverte: be made. ‘Close:attention’should:be- given to any passages ascending and descending near the upper tonic. Look forthe Sugmented 2nd found between “fa” and “si in the harmonic minor scale OF the “mifi sila” of ine ascending melodie minor (note that this can sound Major as it has the salve intervals $5 the upper four notes of a Major scale) and the “la’ so fa mi” of the descending melodic minor scale. ‘There are no accidentals in this melody. 6. This melody is in the key of B} Major: ‘xercises — Visual isten to those melodies being played three times. As you listen, follow the melody given then write | 1B tenatity (Key). (Major, harmonic minor oF metodic minor scales only.) | Conair 83Tonality: 3. Tonality: _ 4. Tonality: Practice Question 2 ~ Aural Liston to a melody being played three times. A choice of two tonalities is given below. As you listen, follow the instructions given below. Circle the correct tonality of the excerpt. MAJOR MINOR: 1. Before you hear the melody, study the two tonalities given: Notice one is-Major and one is minor. (Even when there are more than two choices given your first decision when deciding ‘tonality: will.always-be .is. it. Major-(Major,: Mejor Pentatonic, Mixelydian mode and-Lydian mode) or minor (harmonic minor, melodic minor, minor pentatonic and dorian mode) sounding. 2. The first time you hear the melody decide what the last note sounds like in solfa: “do” or "Ia". Patterns such as “mi re do” of “so la ti do’ in Major and “do ti la” or “mi fi si fa’ "in minor can give very strong clues at an ending. The last note is “la”. (The last few notes point strongly to this: “do ti la si la). This is the tonic note of the harmonic and melodic minors. “la” is also frequently repeated in this melody. zi 3, Also consider the other aspects dealt with in Practice Question 1, on page 83. Can any tonicidominant/patterns/runs etc be heard as these can assist in determining various tonalities. In bars 3 and 4 there is almost a complete descending harmonic minor scale ("la' si fa mi do tla"), while in bar 6 theres part of an ascending harmonic or melodic minor scale (‘lati do re mit) and in bar 7 there is part of a descending C harmonic or melodie minor scale (‘mi re do ti la si la’). Also in bar 1 there are the notes “la do mi". These notes form the tonic triad (chord i) in harmonic and melodic minors. 84It is clear that this melody is in a minor key. “(When a decision has to be mado between the harmonic and melodic forms of the minor, further steps are required. Close attention should be given to any passages ascending and descending below the upper tonic. Listen for the Augmented 2nd found between “fa” and sooo ntertnonie minor scale or the “mi fi sila’ of the ascending melodic ‘nine (note that thi an sound Major as it has the same intervals as the upper four notes of a Major scale) and the “la’ so fa mi” of the descending melodic minor seale. ‘There is a recurring “eI” throughout this melody. This is the raised 7th in both the harmonic Tninor and in the ascending form of the melodic minor. Its used, However, YoY clearly in ree -where the mofody descends (‘a’ si fa mt do ti la"). If this melody wore in C melodic minor, itis unlikely that there would be a “si” in this bar as the melodic tninor generally descends without the raised 7th note. This melody is in a harmonic minor key. ercises ~ Aural lodies will be played three times. Circle the correct tonality of each melody. MAJOR. MINOR, MAJOR. MINOR, MAJOR MINOR, MAJOR: HARMONIC MINOR MELODIC MINOR MAJOR: HARMONIC MINOR MELODIC MINOR 4 MAJOR HARMONIC MINOR MELODIC MINOR he Pentatonic Scales pentatonic scale is a scale with only five notes. It is commonly heard in Scottish Music (such as ra tang Syne") and in the music of many other cultures such as Chia, Thailand and some se el Aftiea, in Western Music, it gained importaneo during the Impressionist Era with sInposers such as Debussy using iin thelr compositions. This scales unusual in that it contains Jintervals of a semitdne (there Is no “fa” or “t) *he-Majer-Pentatonic Scale (“do” based Pentatonic Scale) the Major pentatonic seale is a pentatonic scale in which “do” is the tonic note. C Major Pentatonic fiogee) mi 80 la do! dot Ia so mi re do c oD BG aC) cooA G pd ¢ The Minor Pentatonic Scale (“la” based Pentatonic Scale) The minor pentatonic scale is a pentatonic scale in which “a is the tonic note. It uses the same ates as the Major pentatonic scale but begins and ends on “la. Aminor pentatonic do la ia A ic) 85Pentatonic Scales can also be transposed to begin on a new starting note by keeping the original interval pattern of the Major or minor pentatonic scale the same. The following two scales are examples of this. Notice that we can use the key signature usually associated with the Major or minor key of the same name. D Major Pentatonic Gog atclet cic) B minor pentatonic la do ete BD Alternatively, we can write pentatonic scales using only the key signature that Is required. For ‘example, in D Major pentatonic there is no C therefore the C# normally found in the key signature of D-Major is not required. D Major Pentatonic do ore ete D E “The following composition by Grieg has been written using the Major pentatonic scale based on E. “Morning” from Peer Gynt Suite No 1 Grieg Scale Recognition Exercises Part 2 (Major, harmonic and melodic minor, Major and minor pentatonic keys) Use the instructions for Practice Questions 1 and 2 (pages 83 and 84), where applicable, to determine the tonalities of the following exercises. Note that the process remains the samo, however, when ‘Major or minor" has been. determined,paiterns highlighting whether they are seven note diatonic scales (Major, harmonic minor-or-meledic- minor) or-five:noterpentatonic (Major pentatonic or minor pentatoriic) scales must be found. In a pentatonic scale there will be no “fa” or “4?” and some intervals will be missing e.g. semitones. Exercises — Visual Listen to these melodies being played three times. As you listen, follow the melody given then write the tonality (Key). Tonality: 86| i iy; lity cises ~ Aural dies will be played three times. Circle the correct tonality of each melody. MAJOR PENTATONIC — MINOR PENTATONIC MAJOR PENTATONIC ~~ MINOR PENTATONIC MAJOR HARMONIC MINOR MINOR PENTATONIG MAJOR PENTATONIC MINOR PENTATONIC HARMONIC MINOR j MAJOR MAJOR PENTATONIC MELODIC MINOR | MAJOR MAJOR PENTATONIC MINOR PENTATONIC MELODIC MINOR MAJOR MINOR PENTATONIC = MELODIC MINOR ~~ HARMONIC MINOR Modes | 2s were the scales used as a basis for music composed prior to the 17th century when the int Major and minor system became tho prevalent scale. system in common use. The most non of these modes can be found today by starting on any white note on the piano and 1g all the white notes ascending for one octave, For example, play middle C and then the + notes ascending and descending for one octave and you will have played the mode known ¢ lonian mode in its authentic form. This scale is now known as the Major scale. lonian Mode or C MajorAs another example of a common mode, play A and then the white notes ascending descending for one octave and you will have played the mode known as the Aeolian mode ir authentic form. This scale is now known as the natural minor scale. Aeolian Mode or A natural minor la A As with Major and minor scales, modes can be transposed to begin on a new starting note keeping the original interval pattern the same. The Mixolydian Mode Today, the Mixolydian mode can be found, in its authentic form, by playing the white notes « piano starting on G. Mixolydian Mode ZS > bo le td wc mi & so of ec dt bh & Looking at a mode in its authentic form you can choose the solfa as if you were in the soale wit sharps or flats in the key signature and therefore C is “do”. This means that “so” is now the 1 note of a Mixolydian mode. Another way to consider modes is to relate each mode back to the scale in use today that itis 1 closely related to. For example, the Mixolydian mode is almost identical to G Major except th has no F#t. This means it has a flattened 7th note and could have “do” as the tonic, the same + Major, but instead of "ti" you would have “ta”. Mixolydian Mode — —S = istic et ese tenet coh aan RO caeoo ana ia ten cM Sea le cco) For most of us the second choice of solfa is the most comfortable to sing due to the fact that or “la will be the tonic note. However, it is good practice to use both forms. The following canc Palestrina has been written using the Mixolydianmode- based or D. Canon Giovanni Pal so. la ete do re 88Lydian Mode », the Lydian mode can be found, in its authentic form, by playing the white.notes on a piano gon. Lydian Mode a oso la & do vw om & m we do t le 0 f rng the Lydian mode to our current scale system you will find that it is almost identical to F except that it has no B}. This means it has a raised 4th note and could have “do” as the the same as F Major, but instead of “fa” you would have “i. Lydian Mode — lo wc mi fi so la ti do ti la so fi mi we do ollowing melody uses the Lydian mode based on F. Lydian Melody fi so fi ete do re do Dorian Mode y, the dorian mode can be found, in its authentic form, by playing the white notes on a piano agon D. Dorian Mode . — SS rom & so lk tf do ¢@ do ti ta so ff mi we ing the.clorian mode to our current scale system you will find that it is almost identical to D al-minor-except that it has no‘Bj, This means:it has-a taised. 6th note:and.could-haver‘la'.as snic, the same as D natural minor, but instead of “fa” you would sing “fi. Dorian Mode SS so ff mi w do ia —S la th do oe om of 0 oe ‘ollowing traditional English song is in the dorian mode based on D. What Shall We Do With the Drunken Sailor la la la etc mi mi mi 89The Phrygian and Locrian Modes The loss common Phrygian (E to E) and Locrian (B to B) modes have been written below (wit both forms of solfa written below each mode) Phrygian Mode Locrian Mode a odo ow om lO so lasts go fmt do lot) do oe omas fess gsm te dota Scale Recognition Exercises Part 3 (All keys in Section 1) Use the instructions for Practice Questions 1 and.2-(pages.83_and'64), and the information Scale Recognition Exercises — Part 2, where applicable, to determine the tonalities of the followi: pxercises. Again the process remains the same, with the addition of the modes. Look for t fitered notes in the modes i.e. Lydian may sound Major but with a raised 4th note, so scr passages such as “do re mf’ may sound odd. (Note that the Phrygian and Locrian modes wil r be used). Exercises — Visual 5 Listen to these melodies being played three times. As you listen, follow the melody given then wt the tonality (key). 22. Fonality: _ 23. Tonality: e . 24. Tonality: _ 90ality; srcises — Aural adies will be played three times. Circle the correct tonality of each melody. MAJOR MIXOLYDIAN HARMONIC MINOR DORIAN MAJOR LYDIAN MAJOR HARMONIC MINOR MAJOR PENTATONICG DORIAN MAJOR PENTATONIC LYDIAN DORIAN MELODIC MINOR MAJOR HARMONIC MINOR — MINOR PENTATONIC DORIAN _ MAJOR = MAJOR PENTATONIC MINORPENTATONIG — MIXOLYDIAN odulation piece of music does not always stay in the key in which it begins. When a composition changes y we say it has modulated. Study the following exercise Work out the key signature and the last 2 sThese point to this being in G minor. However look at the first two bars. These are distinctly Bj Major. (Note the use of the note Bt, scalic passages from this scale and the “so” to “do” sininunt to tonie across the first and second bars). Now look atthe third bar with the introduction 7 tho necidentals, both of which form the ascending relative melodie minor — G: We can conclude lat thie composition-begins in-By Major-and:modulates-to.G melodic minor in the third bar. do! ti laetc “he most common Keys to modulate to are the dominant, subdominant relative minor (or Major if +a minor key) and tonic minor (or Major if ina minor key). The chart below shows the most likely ‘eye for a composition to modulate to if began in D Major. TONIC RELATED KEYS D Major “A Major (Dominant) Major (Subdominant) B minor (Relative minor) D minor (Tonic minor) Scale Recognition Exercises Part 4 Use the instructions for Practice Question 1, where applicable, to determine the tonalities of the following exercises. Also keep in mind the most common Keys tO modulate to. a1EC HBC PO MCN AE NORMAL PROPLE. TORY Key Signatures «== —- IF YOU START WRITING MAJOR = te: | SCALES ANO Pay ATTENTION TO 1S |THE ACCIPENTALS THAT OCCUR, YOU ARE GONG 10 stART | NOTICING @ FATTERN.-- Fee a FOR EXAMPLE LOOK AT THE FLAT KEYS, STARTING WITH THE KEY a o THAT HAS ONE FLAT, ALL THE Be FCEDA WAY THROUGH THE KEY WITH “SEVEN FLATS: THE Flats AccRUE £€ J t IN A SPECIFIC ORDER- gato BEAD OCF SAME WITH THE SHARP KEYS! $0 IF YOU LOOK FOR A KEY THAT HAS ONLY 4 7 FLAT YOU WON'T oe FING IT: IF A KEY HAS AD FLAT IT MUST ALSO HAVE A B FLAT, ot c= ape SSF ceraee AN & FLAT AND AN A FLATS f= BEADG | SINCE WRITING AN ENTIRE PIECE IN © SHARP MAJOR WOULD HAVE | BEEN A SURE-FIRE WAY TO GET CARPAL TUNNEL SYNPROME WITH ALL THE SHARPS INVOLVED, | COMPOSERS PRETTY GUICKLY CAME: UP WITH A WAY TO SIMPLIFY THINGS: & | KEY SIGNATURES. ee i BEA | BEGINNING OF EVERY LINE OF Music; | GUST TO THE RIGHT OF THE CLEF, [THAT INSTRUCTS THE PERFORMER |10 APPLY THOSE ACCIDENTALS TO F EVERY CORRESPONDING NOTE IN THE PIECE UNLESS SPECIFIED | | OTHERWISE. ie a FCEDAE y FOR EXAMPLE, THis KEY o A KEY SIGNATURE |S A GROUP OF ACCIDENTALS PLACED AT THE e c= SSS ee 4 = i SGNATIRE NDICATES THAT EVERY FG NOG THE eee Shilo 86 SHARPED, ie — obo 7 REGARDLESS OF OCTAVE! o> # aS Beapec OH) AN? ANOTHER THING: THE id ACCIDENTALS HAVE TO BE PLACED eS a ee LIN THE CORRECT ORDER; AND i nee ore | PARTICULAR PATTERN OF PLACEMENT THAT VARIES SLIGHTLY p= ee SSS ae ey TENOR cha EARP! wie Lae iiawe Sa | YOUR PROBLEM? YOU NEED TO CONFORM! HA HA... NEVER! LCENGRD UNCaR A CREATINE COMMONE BY-NE-NE LUCENE = Ut TOBYRHEH-COM FOR NOREft SSMS THEORY FOR MUSICS ANZ NORMAL PEOPLE 9 TORY HEH. aE ‘ THEORISTS FIND IT CONVENIENT To ‘ORGANIZE ALL THE POSSIBLE KEY SIGNATHR INTO A CHART THAT SHOWS THEIR RELATION TO ONE ANOTHER. (THIS CHART CALLED THE CIRCLE OF FIFTHS: | Displays EACH KEY as A SPOKE ON THE CIRCLE, | BEGINNING WITH © MAJOR AT THE TOP AND APCING ACCIPENTALS; ONE AT A TIME, TO THE KEY SIGNATURES AROLIND THE PERIMETER. WEILL RETURN TO THIS CHART | AS We CONTINUE LEARNING ABOUT HOW COMPOSERS USE KEYS. b # —, AS YOU MOVE CLOCKWISE AROUND THE CIRCLE) YOU APD SHARPS TO THE KEY SIGNATURE. AS YOU MOVE COUNTERCLOCKWISE AROLNG, YOU ABD FLATS TO THE KEY SIGNATURE. 10 DETERMINE THE KEY SIGNATURE FOR A KEY, LOOK TO. SEE WHICH "SPOKE" OF THE CIRCLE ITS ON TO DETERMINE HOW MANY FLATS OR SHARPS \T Has, AND f 5 ADP ACCIPENTALS 10 THE KEY SIGNATURE APPROPRIATELY. | BEALSC CF WHEN ADDING FLATS TO A KEY SIGNATURE, ADD THEM. IN THs ORDER: So # FOR EXAMPLE, | WHEN ADDING SHARPS, E FLAT MAJOR USE THE REVERSE (| Has THREE FLATS; “| OF THE ORDER ABOVE. $0 IT SHOULD LOOK LIKE THIS: THE KEYS COWN HERE LINE UP ENHARMONICALLY... FOR EXAMPLE: THE KEY OF 7 FLAT MAJOR WILL SOUND SUST LIKE THE KEY OF C SHARP MAJOR. ( $9 courp you CONTINUE THE | ENHARMONIC | DEAL ANP HAVE C# | THe Key oF ge oe (eeavecr nee | )b b Pexeees POPS UP ALL OVER # IN YOUR: | THe ciecte OF uf eee 5 (KEY SIGNATURE: WeNRec! ~ o = FLATS, BLT ALSO BY = oe a THE FACT tHat ae a € t CENTERS AROUND C- ARE ETT Ee SIS I BUT CHANGE THE NOTE THAT THE KEY IS CENTERED AROUND? \F WE CENTER THE KEY AROUND THE SIXTH SCALE DEGREE OF THE MAIOR SCALE, 7 WE GET ANEW SCALE. THE MINOR SCALE. 2 we pv > = e ft nalio# — wae eo j THE WHOLE STEP THE THING i; COMMON PRACTICE PERIOD composers’ | lege Gent HAVE WEREN'T ALL THAT CRAZY ABOUT THIS SCALE) BECAUSE THE TENSION ITLACKS SOMETHING THE MAJOR SCALE Has: nue ves eon A HALE-6TEP FROM SEVEN TO ONE: INTO THE TONICY 60 HERE'S WHAT THEY DID: THEY RAISED THE LEADING-TONE BY A HALF-STEP WITH AN ACCIDENTAL. THIS GAVE THEM THE TENSION THEY WERE LOOKING FOR! ae NIC, te 2 u pe Ne o # £ f £ —+ Nae Be THIS SCALE 16 GREAT FOR BUILDING CHORDS, SO WE REFER TOIT AS THE HARMONIC MINOR SCALE. HOWEVER, COMPOSERS DIDN'T LISE IT. FOR WRITING MELODIES BECALISE IT HAD A PROBLEM: AN AUGMENTED SECOND BETWEEN THE SIXTH AND SEVENTH SCALE DEGREES. 60, FOR MELODIES) THEY MADE ANOTHER CHANGE: Now WE ONLY THEY ADDED ANOTHER ACCIDENTAL To RaIse HAVE WHOLE STEPS ANP HALF-STEPS! THE SIXTH SCALE DEGREE BY A HALF-STEP ra tet ¢ 2 T wanes e be + NOW REMEMBER... THE REASON WE RAISED THE LEADING TONE IN THE FIRST PLACE WAS TO CREATE TENSION FROM THE SEVENTH SCALE DEGREE 10 TONIC. BLT IN A MELODY, IF THE SEVENTH SCALE DEGREE IS FOLLOWED BY THE SIXTH SCALE DEGREE, WE DON'T NEED THAT TENSION, SO WE DON'T NEED TO RAISE THE LEAZING-TONE AT ALL. THE WAY WE ILLUSTRATE THIS IS BY DIFFERENTIATING BETWEEN ASCENDING MELODIC MINOR AND DESCENDING MELODIC MINOR? FOR DESCENDING MELODIC MINOR, WE DON'T RAISE ANYTHING! LEENGED UNDE A CREATIVE COMMONE BY-NE-ND UCENEE = Viet TOBVRNBH.COM FoR NORE(MUIGIC THEORY FOR MUSICIAN ANE NORMAL: PEOPLE BY TOBY W: RU6H i athi NOW THAT WE'RE FAMILIAR WITH HOW TRIADE WORK, IT'S TIME TO PUT THEM INTO THE CONTEXT OF A KEY. SINCE WRITING MUSIC IN A PARTICULAR KEY MEANS LISING THE NOTES IN THAT KEY SIGNATURE, | AESTANDS TO. REASON THAT MOST OF THE CHORDS WILL BE BLILT FROM THOSE SAME NOTES! CHORDS WHICH LSE NOTES FROM A PARTICULAR KEY SIGNATURE ARE SAID TO BE DIATONIC TO THAT KEY. DIATONIC MEANS "FROM THE KEY” THAT MEANS NO ACCIDENTALS! WE CAN QUICKLY SHOW ALL THE DIATONIC TRIADE IN A PARTICULAR KEY BY WRITING A SCALE IN THAT KEY AND BUILDING TRIAZS ON EACH NOTE; USING ONLY THE NOTES IN THAT KEY. We Bere To THESE CHORDS With ROMAN | NuMERaLs as. | a | SHOWN HERE. < < x iL Notice How see: 8 8 SUBLOMINANT 1S GHOWN BY CAPITALS OF LOWER case? THESE CHORDS ARE AL6O. | SOMETIMES REFERRED To BY THEIR OFFICIAL NAMES! MECIANT POMINANT SUPERTONIC SUBMECIANT LEAVING-TONE THIS PATTERN OF MATORG MINOR ANE CIMINISHET, WHY IS THE SIKTH CHORD CALLED.THE SUBMEDIANT? Sige leas SAMI EVER) MAIOR, KE Te WELL) GUST AS THE MEDIANT CHORD IS HALFWAY is SUB OMINAN I IRIAZ IS ANAS MAIR, BETWEEN THE TONIC AND DOMINANT CHORDS, ANU LER PING TONE TRIAGE s AL Wale, THE SUBMEDIANT CHORD IS HALEWAY BETWEEN THE DUNS TE: War IES SoH Re IN TONIC... AND THE SHBDOMINANT A FIFTH BELOW! (C MAJOR OR F SHARP MAJOR! = BECALISE THE DOMINANT AND LEADING-TONE TRIACS BOTH) HAVE A STRONG TENDENCY TO RESOLVE TO TONIC) WE Say THEY HAVE A "ZOMINANT FLINCTION.” THE SUBCOMINANT AN? SLIPERTONIC CHORDS BOTH TEND TO RESOLVE To THE DOMINANT; SO WE SAY THEY BOTH HAVE A "SUBDOMINANT FUNCTION.” THE DIATONIC TRIADS IN MINOR WORK THE SAME Way... SINCE WE'RE DEALING WITH CHORDS) WE t USE THE HARMONIC MINOR SCALE- HOWEVER, IT'S IMPORTANT TO NOTE THaT COMMON PRACTICE f PERIOD COMPOSERS RAISED THE LEADING TONE ONLY OVER DOMINANT FUNCTION HARMONY: THE DOMINANT AN? LEADING-TONE TRIADS! [came wanes AND ROMAN [NAMERALS..- Carmauzanon, A it? Il iv Vv VI vii’ LICENSED UNDE® A GRRATIVE COMMON BY-NC-ND LICENGE = Vist TOBYRLISH.COM FOR NCISMUBIC THEORY FOR MUSICINE AND NORMAL’ PEOPLE 8Y TOBY. W. RUSH. MOVERN? ie Modern Modes .))=2!222%--< 100 YEARS OLD? YEE) BAT WE ONLY CALL THEM "MODERN BECAUSE WE NEED TO DIFFERENTIATE BETWEEN A BUNCH OF UNRELATED THINGS ACROSS MUSIC HISTORY THAT: EVER SO INCONVENIENTLY, USE THE SAME NAMES! THE MODERN MODES! NAMES CAME FROM THE Various "KEYS" USED IN MEDIEVAL ( AND, TO MAKE MATTERS WORSE, BACH OF THESE THINGS LISE THE NAMES TO REPRESENT DIFFERENT CONCEPTS! FORTUNATELY, RIGHT NOW, WE'RE ONLY WORRIED ABOUT THE MODERN MODES. WHICH WERE, IN URN, NAMED IN HONOR OF THE AND THOSE SED THE same NAMES 26 SCALE IN LaTeR ANCIENT THESE MODES ARE USED ALOT... ‘ONE OF THE PRIMARY CHARACTERISTICS OF ESPECIALLY IN FOLK MUSIC. AS FOR K THESE ENGLISH MODALISTS IS THAT THEY ‘STANDARD WESTERN REPERTOIRE, TENDED TO AVOID THE STRONG TENSIONS THEY ARE Fist PROMINENTLY FEATURED OF THE COMMON PRACTICE PERIOD... IN THE POST-ROMANTIC MUSIC PS FOR EXAMPLE) THEY AVOIDED CHORDS OF THE EARLY TWENTIETH CENTURY THat LISED A TRITONE.-- AND AVOIDED BRITISH ISLES. JenRAISING THE LEADING TONE IN MINOR KEYS! SO WHAT ARE THEY? WELL REMEMBER WHEN WE CREATED THE NATURAL MINOR SCALE BY STARTING WITH A MAJOR SCALE, BUT LISING THE SIXTH NOTE OF THE SCALE AS THE TONIC? IT GAVE US A NEW PATTERN OF WHOLE STEPS AND HALF STEPS... A NEW SCALE. ceeping THe SAME KEY SIGNATURE, We LUISE THIS NOTE AS OUR NEW TONICS = 4 ce root vs ott IN FACT) THESE ARE TWO OF THE SEVEN MODERN moves: MAJOR 6 THE IONIAN MODE; AND NATURAL MINOR IS THE AEOLIAN MODE- BY STARTING ON THE OTHER NOTES OF THE MAJOR SCALE, WE GET THE OTHER FIVE MODES. Because it HAS “A PINAIEEIBD oN B 10 B: THE LOCRIAN MOPE le ricom ce herent GTO G: THE MIXOLYPIAN MOPE. F 10 F: THE LYDIAN MOPE ‘MODE. 10'5 NOT USED ee =o — —— + THE MODES HERE ALL SuaRe E10 E: THE PHRYGIAN MOPE THE SAME KEY SIGNATURE. “DEY ARE RELATED, LE P10 0: THE DORIAN MODE EMATOR AND A MINOR! A ‘ # —— = A MORE EFFECTIVE —— f. SS METHOD OF KEEPING £ oe THE MODES STRAIGHT © 7 / INVOLVES MEMORIZING MINOR + RAISED 6TH z Zz EACH MODE'S — = 7 ft COLOR TONEs oe THE ScaLe Decree 8 a WATOR * LOWERED TH “TuaT MAKES IT MINOR + LOWERED 2ND ges UNIQUE FROM THE . x—p— ht Bs SS MAIOR OF MINOR Sop oe——F SS SCALE WITH THE ef MASOR + RAISED HTH “Samer TONIC. UENGSD UNDER A CRT COMMONE BY-NE-ND DEENGE = WaT TOBYRSH.COM FOR NORE!Tonian Mode (Major Scale) G A B D E Dorian Mode (Minor Scale with raised éth) G A B G A Lydian Mode (Major Scale with raised 4th) c D E G A B Myxolidian Mode (Major Seale with lowered 7th) B ce D E ‘Aeolian Mode (Minor Scale) B c D E F G A Locrian Mode (Minor Scale with lowerd 2nd and Sth) a tev nclnan Cogent 4 Wf )Ghoskouns Answer ja (per Book, (i) what is a mode~ 2 (2) a) are scaleé like je craw: (2) what is tHe differenre. between a Chromathe arel pemdetonis eavhe (4) List the Crock modes. Which mole Is Hees In “Gleanoy Kighy © © Which mode would L vse far a) Spanish L fock.+ c 0) ode Del, WMA SIC jaoe* musiC Mae *‘MUSIC THEORY FOR MUSICIANS AND NORMAL PEOPLE BY TOBY W. RUSH oe. Key Signatures « =S=2===5 ---- IF YOU START WRITING MAJOR SCALES AND PAY ATTENTION TO. THE ACCIPENTALS THAT OCCUR, YOU ARE GOING To START NOTICING A PATTERN... FOR EXAMPLE LOOK AT THE FLAT KEYS, STARTING WITH THE KEY THAT HAS ONE FLAT, ALL THE: WAY THROUGH THE KEY WITH SEVEN PLATS: THE FLATS ACCRUE IN A SPECIFIC ORDER. SAME WITH THE SHARP KEYS! $0 IF YOU LOOK FOR A KEY THAT HAS ONLY 4D FLAT; YOU WON'T FIND IT: IF A KEY HAS AD FLAT: IT MUST ALSO HAVE A B FLAT, AN E FLAT AND AN 4 FLAT! SINCE WRITING AN ENTIRE PIECE IN C SHARP MAJOR WOULD HAVE BEEN A SURE-FIRE WAY TO GET CARPAL TUNNEL SYNDROME wit ALL THE SHARPS INVOLVED, COMPOSERS PRETTY QUICKLY CAME UP WITH A WAY TO SIMPLIFY THINGS: KEY SIGNATURES. A KEY SIGNATURE \S A GROUP OF ACCIDENTALS PLACED AT THE SINE acre Beanitg oF SY Er EVERY CORRESPONCING NOTE IN Breer comeneroNona ki J REGARDLESS OF OCTAVE! ‘OH, AND ANOTHER THING: THE ACCIDENTALS HAVE TO BE PLACED IN THE CORRECT ORDER, AND THEY NEED To FOLLOW A PARTICULAR PATTERN OF PLACEMENT Hal VARIES SLIGHTLY DEPENDING ON THE CLEF BEING LISED! IF YOU DEVIATE FROM THIS; YOU) AS Foe se f ot bg ee . SSS ve wo FCeDA ob z Se a al ct $ SS FCGDAEB ot ra Db zg = bat - = fF BEADS oe — 2 Es pt Fo f = eb & ae f= sea . SS pate ceo FR % fe de FCEDAE a—te—e. rd = F ae Ege BE se YOUR PROBLEM? YOU NEED TO CONFORM! Ha Ha... NEVER! LICENSED UNDER A CREATIVE COMMONS BY-NC-ND LICENSE = VIG TOBYRUSH-COM FOR MORE #MUBIC THEORY FOR MUSICIANS AND NORMAL PEOPLE BY TOBY W: RASH THEORISTS FIND IT CONVENIENT TO ORGANIZE ALL THE POSSIBLE KEY SIGNATURES INTO A CHART THAT SHOWS THEIR RELATIONSHIP TO ONE ANOTHER. THIS CHART CALLED THE CIRCLE OF FIFTHS, DISPLAYS EACH KEY AS A SPOKE ON THE CIRCLE, BEGINNING WITH C MAJOR AT THE TOP AND APPING ACCIDENTALS, ONE AT A TIME, TO THE KEY SIGNATURES AROLIND THE PERIMETER. WEILL RETURN TO THis CHART AS WE CONTINUE LEARNING ABOUT HOW COMPOSERS USE KEYS- po b # omc AS YOU MOVE CLOCKWISE AROUND THE CIRCLE, YOU ADD SHARPS TO THE KEY SIGNATURE. AS YOU MOVE COUNTERCLOCKWISE AROUND, YOU ADD FLATS TO THE KEY SIGNATURE. TO DETERMINE THE KEY SIGNATURE FOR A KEY LOOK TO. SEE WHICH "SPOKE" OF THE CIRCLE IT'S ON TO DETERMINE HOW MANY FLATS OR SHARPS IT Has, AND 4 AD? ACCIDENTALS TO THE KEY SIGNATURE APPROPRIATELY. BEACDGCF WHEN ADDING FLATS TO A KEY SIGNATURE, ADD THEM IN THIS ORDER: 4 FOR EXAMPLE, WHEN ADDING SHARPS, E FLAT MAJOR USE THE REVERSE HAS THREE FLATS, (OF THE ORDER ABOVE. ‘0 IT SHOULD LOOK LIKE THIss THE KEYS DOWN HERE LINE UP ENHARMONICALLY... FOR EXAMPLE, THE KEY OF D FLAT MAJOR WILL SOUND JUST LIKE THE KEY OF C SHARP MAJOR. $9 COULD You CONTINUE THE ENHARMONIC Deal AND HAVE THE KEY OF once How tat Seer sou want geavacr vanes | by b eee ee POPS UP ALL OVER # IN YOUR THE CIRCLE OF |CNATURE: nee 5 KEY Sk TURE: WEIRD! ge LICENSED UNDER A CREATIE COMMONS BY-NCND LcENGe Viet TOBYRUBH.COM FOR MOREMuIbIC THEORY FOR MUSICIANG AND NORMAL PEOPLE SY TOBY W. RUSH Hf THERE ARE ACTUALLY TWO THINGS THAT DEFINE A KEY: e Minor Seales .2isee soso: eee aera enn ceenee THE NOTE AROUND WHICH THE KEY CENTERS. BY A KEY SIGNATURE OF NO SHARPS AND o z FLAT6) BUT ALSO BY 2 = THE FACT THAT IT oe oe oa CENTERS AROUND C- BLT WHAT IF WE CHANGE THE TONIC? WHAT IF WE LISE THE SAME NOTES FOR THE KEY SIGNATURE, BUT CHANGE THE NOTE THAT THE KEY IS CENTERED AROLIND? IF WE CENTER THE KEY AROLIND THE SIXTH SCALE DEGREE OF THE MAJOR SCALE, WE GET A NEW SCALE: THE MINOR SCALE. ee ve py = 2 2. «ve 2 a s o- the THE THING is, COMMON PRACTICE PERIOP composers Wegh PENT Have WEREN'T ALL THAT CRAZY ABOUT THIS SCALE, BECAUSE THE TENSION IT LACKS SOMETHING THE MAJOR SCALE HAs: THEY LIKED GONG A HALF-STEP FROM SEVEN TO ONE- INTO THE TONICL 60 HERE'S WHAT THEY DID: THEY RAISED THE LEADING-TONE BY A HALF-STEP WITH AN ACCIDENTAL. THIS GAVE THEM THE TENSION THEY WERE LOOKING FOR! iC - ovens 2 ¢ f — yee nO’ ec + — Wea Sree THIS SCALE I6 GREAT FOR BUILDING CHORDS, SO WE REFER TOIT AS THE HARMONIC MINOR SCALE- HOWEVER, COMPOSERS DIDN'T USE IT FOR WRITING MELODIES; BECALISE IT HAD A PROBLEM: AN AUGMENTED SECOND BETWEEN THE SIXTH AND SEVENTH SCALE DEGREES. £0) FOR MBLCOINE, WiBY NACE ANOTIER Hien. RRR THEY ADDED ANOTHER ACCIDENTAL TO RAISE HAVE WHOLE STEPS THE SIXTH SCALE DEGREE 8Y A HALF-STEP. AND HALF-STEPS! Sal — He fi 2 wn’ wince r w ve t ae = - ri e z NOW, REMEMBER... THE REASON WE RAISED THE LEADING TONE IN THE FIRST PLACE WAS TO CREATE TENSION FROM THE SEVENTH SCALE DEGREE JO TONIC. BUT IN A MELODY, IF THE SEVENTH SCALE DEGREE |S FOLLOWED BY THE SIXTH SCALE DEGREE, WE DON'T NEED THAT TENSION, SO WE DON'T NEED TO RAISE THE LEADING-TONE AT ALL. THE WAY WE ILLUSTRATE THIS IS BY DIFFERENTIATING BETWEEN ASCENDING MELODIC MINOR AND DESCENDING MELODIC MINOR? FOR DESCENDING MELODIC MINOR, WE DON'T RAISE ANYTHING! LICENSED UADR A CREATE COMMONS BY-NE-ND LICENSE = EX TOBYRUBH.COM FOR MOREserene ro meng neon one a ir a ir NOW THAT WERE FAMILIAR WITH HOW riads Within Tonality 22te222=. SINCE WRITING MLISIC IN A PARTICULAR KEY MEANS LISING THE NOTES IN THAT KEY SIGNATURE, IT STANDS TO REASON THAT MOST OF THE CHORDS WILL BE BUILT FROM THOSE SAME NOTES! TO THAT KEY. DIATONIC MEANS "FROM THE KEY” THAT MEANS NO ACCIDENTALS! WE CAN QUICKLY SHOW ALL THE DIATONIC TRIADS IN A PARTICULAR KEY BY WRITING A SCALE IN THAT KEY AND BUILDING TRIAPS ON BACH NOTE; USING ONLY THE NOTES IN THAT KEY. we eevee eee cad ii iii IV Vv vi vii WITH ROMAN NUMERALS as ‘SHOWN HERE: & & & & Nomce How mee 2 2 2 &€ 2&2 & 8 esrowey 2 q z qt $ cones 5 x 3 x 9 Lowercase? OS iS Q ES $s Q F wy > NS wy ® Tiese crows ae co) | WW & 9 9 S 2 sometimes eereRReD tosy =O Q Q y < See Orr: Names, = R 3 x w x w i w a THis PATTERN OF eee ae ONE aN iene WHY IS THE SIXTH CHORD CALLED THE SUBMEDIANT? ARIAS Te GAME, IN BY MAIO KEL WELL, JUST AS THE MEDIANT CHORD |S HALFWAY THE SUBPOMINANT TRIAL |S ALWAYS MAJOR, BETWEEN THE TONIC AND POMINANT CHORDS, AND THE LEAPING-TONE TRIAD Is ALWAYS THE SUBMEDIANT CHORD IS HALFWAY BETWEEN THE PIMINISHED, WHETHER YOUIRE IN TONIC--- AND THE SUBDOMINANT A FIFTH BELOW! C MAJOR OR F SHARP MAJOR! BECALISE THE DOMINANT AND LEADING-TONE TRiADs BOTH HAVE A STRONG TENDENCY TO RESOLVE TO TONIC; WE SAY THEY HAVE A "DOMINANT FHNCTION.” THE SUBPOMINANT AND SUPERTONIC CHORDS BOTH TEND TO RESOLVE TO THE POMINANT; SO WE SAY THEY BOTH HAVE A "SHBDOMINANT FUNCTION.” THE DIATONIC TRIADS IN MINOR WORK THE SAME WAY... SINCE WE'RE DEALING WITH CHORDS; WE USE THE HARMONIC MINOR SCALE. HOWEVER: IT'S IMPORTANT TO NOTE THAT COMMON PRACTICE PERIO? COMPOSERS RAISED THE LEADING TONE ONLY OVER POMINANT FUNCTION HARMONY: THE DOMINANT AND LEAPING-TONE TRIACS! sane NAMES AND ROMAN NUMERALS... Gapmuanons = i Til iv Vv VI vii® LCENSED UNDER A CREATINE COMMONS BY-NCWND LICENGE - WS" TOBYRUSH.COM FOR MOREMUBIC THEORY FOR MUSICIANS AND.NORMAL PEOPLE BY TOBY wi. RUSH MOPERN? e@ Modern Modes .) 2222 100 YEARS OLD? YES) BUT WE ONLY CALL THEM “MODERN” BECAUSE WE NEED TO DIFFERENTIATE BETWEEN A BLINCH OF UNRELATED THINGS ACROSS MUSIC HISTORY THAT, EVER SO INCONVENIENTLY, USE THE SAME NAMES! THE MODERN, Moves! NAMES CAME FROM THE various "KEYS" USED IN MEDIEVAL CHURCH MUSIC, WHICH WERE, IN TURN, NAMED IN HONOR OF THE LUTE RANGES useD, IN LATER ANCIENT, GREEK music USED THE same NAMES As SCALE AND, TO MAKE MATTERS WORSE, EACH OF THESE THINGS USE THE NAMES TO REPRESENT DIFFERENT CONCEPTS! FORTUNATELY, RIGHT NOW, WE'RE ONLY WORRIED ABOUT THE MODERN MODES. THESE MOPES ARE USED A LOT... ONE OF THE PRIMARY CHARACTERISTICS OF ESPECIALLY IN FOLK MUSIC. AS FOR THESE ENGLISH MOPALISTS '6 THAT THEY ‘STANDARD WESTERN REPERTOIRE, & TENDED To AVOID THE STRONG TENSIONS THEY ARE FIRST PROMINENTLY FEATURED OF THE COMMON PRACTICE PERIOL..- IN THE POST-ROMANTIC MuISIC FOR EXAMPLE) THEY AVOIDED CHORDS OF THE BARLY TWENTIETH CENTURY Sy THAT USED A TRITONE-.- AND AVOIDED BRITISH ISLES- RAISING THE LEAPING TONE \N MINOR KEYs SO WHAT ARE THEY? WELL, REMEMBER WHEN WE CREATED THE NATURAL MINOR SCALE BY STARTING WITH A MAJOR SCALE BUT USING THE SIXTH NOTE OF THE SCALE AS THE TONIC? IT GAVE HIS A NEW PATTERN OF WHOLE STEPS AND HALF STEPS... A NEW SCALE eerie 7Hie GAME WEY SIGNATURE) WE UGE THié NOTE AS OUR NEW TONIC! e — = oe oe IN FACT, THESE ARE TWO OF THE SEVEN MODERN MODES: MAJOR 16 THE IONIAN MODE; AND NATURAL MINOR IS THE AEOLIAN MODE. BY STARTING ON THE OTHER NOTES OF THE MAJOR SCALE, WE GET THE OTHER FE MODES. Because 1 nad ae B10 B: THE LOCRIAN MOPE G 10 G: THE MIXOLYDIAN MOPE LOERIAN 18 A THEORETICAL MOD Ban iG NOT USED 10 F: THE LYDIAN MODE # o—-—* ve fF = =F oe 2 Tae MODES AeRE AL suane B10 B: THE PHRYGIAN MODE THe game Ky BONATHICE- “hey ARE RELATED, xe 10 DP: THE DORIAN MODE CuaS0R NO A MINOR! € == Amore cFFEcTWE =f. = ze SS METHOD OF KEEPING . oe THE MODES stRaicHT A INVOLVES MEMORIZING MINOR + RAISED 6TH . EACH MODE'S = SF = = COLOR TONE: = , THE SCALE DEGREE 8 MAGOR + LOWERED TH Tylar maKES IT MINOR + LOWERED 2ND UNIQUE FROM THE a: = Masor on MINOR — ao SCALE WI THE masoR + RAISED UT She Tonic. LICENSED UNDER A CREATIVE COMMONS BY-NEWND LICENSE = VST TOBYRIIEH-COM FOR MORE