HELLO! THIS FILE IS A COLLECTION OF INDIVIDUAL SHEETS COVERING @ BLINCH OF LESSONS ON MUSIC THEORY. IMG NOT A BOOK... YET. IT MIGHT BE SOMEDAY! BUT AS OF RIGHT NOW, IT'S INCOMPLETE- THE TRUTH IS; THEY WEREN'T INTENDED TO. BE A SINGLE VOLUME WHEN I STARTED MAKING THEM... THEY WERE SUST REVIEW SHEETS FOR MY OWN THEORY STUPENTS- BUT THE MORE 1 MADE, THE MORE I REALIZED THEY COULD BE COLLECTED INTO A TEXTBOOK OF SORTS... EVENTUALLY! 2 STILL HAVE A LOT OF WORK TO DO, BUT I'VE COLLECTED THE ONES I'VE MADE: $0 FAR INTO A SINGLE DOCUMENT TO MAKE IT BASIER FOR THE FOLKS WHO WANTED THEM ALL... BLIT DIDN'T WANT TO DOWNLOAD EVERY FILE INDIVIPHALLY! SO UNDERSTAND IT'S 4 WORK IN PROGRESS... THE PROGRESS IS SLOW SOMETIMES, BECALISE I TEACH MUSIC THEORY AND AURAL SKILLS DURING THE Day AT THE: LINIVERSITY OF DAYTON IN DAYTON, OHIO; So IF YOUNE BEEN SENT THIS FILE AND THEN HEAD HOME To SPEND TIME WITH BY SOMEONE, KNOW THAT THERE MY WIFE AND SIX KIDS! MIGHT BE A NEWER VERSION - OR MORE PAGES - AT TOBYRUSH.COM. BUT IF YOU LIKE THIS, OR FIND IT HSEFUL, GREAT! FEEL FREE TO SHARE 11, COPY 11, AND USE IT. Now LET'S LEARN SOME GUST DON'T SELL IT, CHANGE IT, MUSIC THEORY! (OR TELL OTHERS YOU MADE IT!* *POR MORE INFO) SEE HITP1//CREATIECOMMONS.ORS/ICENSES/BYNOND/-O/SEE ET EE AIOE ST a Pa SE ERS = MUSIC NOTATION |S THE ART OF = RECORDING MUSIC IN WRITTEN FORM. . . a ome ew, . MODERN MUSIC NOTATION IS A PRODUCT (OF CENTURIES OF TRANSFORMATION. THE SYSTEM OF MUSICAL NOTATION AND IT 1S NEITHER EFFICIENT NOR INTHITIVE! WE USE IS ESSENTIALLY a STYLIZED GRAPH OF PITCH VERSUS TIME. PITCH 1S THE HIGHNESS OR LOWNESS OF A SOUND. FOR EXAMPLE, a FLUTE Has A HIGH PITCH, WHILE A THEA Has A LOW PITCH. oe THE FIVE LINES ON WHICH NOTES APPEAR IS CALLED A STAFF. PITCH PITCH ———> mE ——> A NOTE Is a WRITTEN REPRESENTATION OF A PARTICULAR PITCH. NOTATION IS BASED ON THE PIANO KEYBOARD; LINES AND SPACES ON THE STAFF REPRESENT Elric THE WHITE NOTES ON THE KEYEOaRD. Raemaves nee ee THE WHITE NOTES ON THE KEYBOARD ARE LABELED WITH LETTERS FROM 4 To 6. Sromtene? oS p= Sarr uNes Gus TREBLE cLEF eS —— LEDGER LINES. ALTO CLEF TENOR CLEF —— Bass cLEF THE CLEF DETERMINES WHAT NOTES EACH STAFF LINE CORRESPONDS TO. THE FOUR MOVERN MIPOLE C IS THE C THAT IS CLOSEST TO CLEFS ARE SHOWN HERE? THE NOTE DISPLAYED THE MIDPLE OF THE PIANO KEYBOARD. ON EACH STAFF CORRESPONDS TO MIDDLE C. roncmme ne x ME DOUBLE cuaRr oases me TESS Stans we nace? BLACK NOTES ae AFFECT, AND THEY APPLY TO ALL THE (ON THE PIANO: NOTES ON THAT LINE OR SPACE KEYBOARD, WE USE FOR THE REST OF THE MEASURE. ACCIPENTALS, WHICH ALTER THE NOTE BY ONE OF TWO HALF STEFS- THE SHARP RAISES THE NOTE BY ONE HALF STEP. THE NATHIRAL CANCELS OUT A HALF STEP IS ANY PREVIOUS ACCIDENTAL. THE vistaNce BETWEEN TWO ADJACENT KEYS b THE FLAT Lowers THE ‘ON THE PiaNO NOTE @Y ONE HALF STEP. KEYBOARD, REGARDLESS OF WHAT COLOR Te wersare — bb THE DOUBLE FLAT Lowers TWo NOTES WHICH HAVE THE SAME: THE NOTE BY TWO HALF STEPS. PITCH (FOR EXAMPLE, F SHARP AND G FLAT) ARE CALLED ENHARMONICS- ‘Camden Saka A RANA Cia ON Laan = in RENN FSI aiMUBIC THEORY FOR MUGICIANE AND NORMAL PROPLE 81 TOBY W. RLGH Notation: Rhythm J id ‘ uarTer NoTe icHt DOUBLE WHOLE NOTE WHOLE NOTE HALF NOTE SIXTEENTH NOTE WHILE PITCH 1S PRETTY CLEARLY NOTATED ON A VERTICAL AXIS; NOTE LENGTH |S INDICATED LISING 4 ‘SOMEWHAT ARCANE SYSTEM INVOLVING NOTEHEADS, STEMS AND FLAGS- (ONE-HUNDRED- TWENTY-EIGHTH NOTE SIXTY-FOURTH NOTE THIRTY-SECOND NOTE IN THIS CHART, BACH SUCCESSIVE TYPE OF NOTE IS HALF AS LONG. AS THE NOTE TO ITS LEFT. NONE OF THESE NOTES HAS A STANDARD LENGTH; A HALF NOTE IN ONE PIECE MAY BE THE SAME LENGTH AS AN EIGHTH NOTE IN 4 DIFFERENT PIECE. NOTE LENGTHS IN 4 PIECE ARE INDICATED BY THE TEMPO MARKING AT THE BEGINNING (OF A PIECE OR SECTION. DOUBLE WHOLE REST WHOLE REST HALF REST @uarTER REST a~ EIGHTH REST ~e SIXTEENTH REST ~fe j SiKTY-FOURTH REST (ONE-HLUNDRED- TWENTY-EIGHTH REST THIRTY-SECOND REST A REST |S A PERIOD OF USUALLY RESTS ARE SILENCE THAT A LENGTH PLACED ON THE STAFF aT A WHICH CORRESPONDS TO A PARTICULAR VERTICAL PARTICULAR NOTE. POSITION AS SHOWN HERE. THE AUGMENTATION DOT \S A DOT PLACED TO THE Ta a SR STG EDT WIELDS SOME SERIOUS POWER: IT ADDS HALF EACH ONE ADDING HALF OF THE Feet omer oe aoe area \ 7 deded dedebed de dadeded aie TIES ARE CURVED MARKS WHICH CONNECT TO TIE MORE THAN TWO NOTES TOGETHER, TWO NOTES TOGETHER TO CREATE DRAW TIES BETWEEN EACH NOTE? DO NOT A SINGLE, EXTENPEP SOUND USE A SINGLE, EXTENDED TIE. dd-el ded iJ Jil A TUPLET Is ANY NON-STANDARD DIVISION OF 4 MOST TUPLETS ARE SIMPLE DIVISIONS, LiKE NOTE. THESE ARE LISHALLY WRITTEN AS 4 GROUP THE TRIPLETS TO THE LEFT. BUT ANYTHING IS. OF NOTES DELINATED WITH A BRACKET AND POSSIBLE! CHOPIN; FOR EXAMPLE, WOULD A NUMBER SHOWING THE DIVISION BEING MADE. TO TOWN WITH THESE THINGS. 5 FOR EXAMPLE, THESE AREN'T aT + * Secs oueeencrms (ft Ole oe dd) HeveRe eee Shee 2s 2d Lene As A HALE NOTE. — (oat p HIE s OWN, Bor: EzimaRinw TAD w SORR IRN CIGAR La Talla > > THESE GROUPS ARE CALLED MEASURES, eamne MEASURE AND THEY ARE DELINEATED WITH BARLINES- THE ORGANIZATION SIMPLE TIME SIGNATURES ARE EASY. OF BEAT UNITS AND MEASURES IN THE TOP NUMBER A PIECE IS CALLED INDICATES THE NUMBER METER. METER IS OF BEATS NA measuRe. DESCRIBED BY TWO NUMBERS PLACED THE BOTTOM NuMBER THE COVE FoR THE BOTIOM NCTE ATW BEGINS NOCATES THE TYPE OF 1S PRETTY EASY. 4 REFERS TO on ne oben NOTE WHCH SERIES AS A GLARTER NCTE, 8 10 AN EIGHTH ane Gab SERIE. THE BEAT UNIT. NOTE, 16 TOA SiNtBENTH NOTE, COMPOHNP TIME SIGNATURES ARE KIND OF LYING TO YOH- THE TOP NUMBER INDCATES THE NUMBER OF DIVISIONS IN A MEASURE. TO GET THE NUMBER CF BEATS, OVIDE 1 BY THREE. 8 THE BOTTOM NUMBER INDICATES THE TYPE OF NOTE WHICH SERVES AS THE DIVISION. . Viele) dealing lee TO GET THE BEAT UNIT, USE THE NOTE THAT AN EASIER WAY TO NOTATS ‘S$ EGUAL TO THREE OF THESE Notes. COMPOUND METERS? NA COMPOUND METER, THE BEAT UNIT Is ALWAYS A DOTTED NOTE! BORR... THE MAN SavS YOU HAVE 10 90 1 THE OTHER WAY. BY LOOKING at THE TOP NUMBER OF THE TME ScNATURE, YOU CAN TELL TWO THINGS ABOUT RUS ACOs Nee ana ASSEN aac? ieee BEATS ARE IN A MEASURE. BEAMS IN PLACE OF FLAGS. SIMPLE COMPOUND: 2 2 6 HOWEVER, BEAMING |5 ONLY LISED TO GROLIP NOTES WITHIN BEATS. 3 9 FOR THE MOST PART YOU SHOULON'T BEAM Notes BETWEEN B2Ats, NOR SHOULD YOU TIE NOTES WSHIN BEATS. 3 4 4 12 BEATS PER MEASURE “LESseAainer Ora ERAN aac OEE Litwin = ae GUNA Re aDE EY TE ERIE AE EA PATI ET AY Oe REY iu! SPARKY = IMUSIC THEORY DOG! Dear Sparky: Tunderstand that we're supposed to beam rhythms to show the organization of beats in the measure, but is there an easy way to beam complex rhythms? l e NOTES SHOULD BE BEAMED IN GROUPS THAT ILLUSTRATE THE TRANSLATIONS juereg, ror SWiLE RHYTHMS, THIS IS PRETTY BASY TO DOr SIMPLY GROUP ANY NOTES THAT CAN BE BEAMED (EIGHTH NOTES AND SMALLER) INTO GROUPS THAT ARE EQUAL TO THE BEAT LINIT OF THE CURRENT METER- e FOR COMPLEX RHYTHMS) HOWEVER, THINGS CAN GET COMPLICATED... WHEN A RHYTHM INCLUDES THINGS LIKE SYNCOPATIONS OF OTHER OF F-BEAT FIGURES; ILLUSTRATING THE METER May INVOWE DIVIDING NOTES ACROSS BEAT LINITS WITH TIES. FORTUNATELY, THERE IS A STEP-BY-STEP SYSTEM FOR CORRECTLY BEAMING THESE COMPLICATED RHYTHMS! FOR EXAMPLE, LET'S TAKE THIS RHYTHM, WHICH IS WRITTEN WITHOUT BEAMING. — @) FIND THE SMALLEST NOTE VALUE LISED, AND FILL 4 COMPLETE MEASURE WITH THIS TYPE OF STEP NOTE, BEAMED IN GROUPS THAT ARE EQUAL TO A BEAT LINIT IN THE CURRENT METER- STEP 2: 202 TIES BETWEEN INDIIDUIAL NOTES TO RECREATE THE ORIGINAL RHYTHM. MAKE SURE THAT * BACH TIED GROUP CORRESPONDS To A NOTE IN THE RHYTHM YOU STARTED WITH! YES, | KNOW IT LOOKS WEIRD... BUT WE'RE NOT DONE yeT! ORIGINAL RHYTHM: yt tooo STEP 32 FIND EVERY GROUP OF TWO OR MORE NOTES THAT ARE BOTH TIED TOGETHER AND % BEAMED TOGETHER, AND REPLACE THEM WITH A SINGLE NOTE OF EQUIVALENT VALUE. IF YOU HAVE NOTES THAT ARE TIED OR BEAMED, BUT NOT BOTH; THEN LEAVE oe THEM ALONE! A CORRECTLY BEAMEP RHYTHM May INCLUDE TIES, BIT IT WILL ry ; =f VERY CLEARLY SHOW THE BEATS IN THE MEASURE. WHICH, IN = TURN, MAKES IT BASIER FOR THE PERFORMER TO READ! an suPy 1 DOING STUFF THE SPARKY WAY IS ALWAYS FUN! Lis Ginw Greer a EAMONN CRANAARERNAE ONE inal = ain: SNES PR ncSE ET OE EI A NEL: PUR SY eT AE eT ONE OF THE REASONS THAT A PARTICULAR PIECE OF e ajor ca g MUSIC SOUNDS THE WAY IT DOES Has TO DO WITH THE GROUP OF NOTES THE COMPOSER DECIDED TO LISE. TAKE THIS MELODY; FOR EXAMPLE... LET'S FIRST REMOVE ALL THE DUPLICATE NOTES) REGARDLESS OF WHICH OCTAVE THEY'ZE IN. NEXT, LET'S PUT THE NOTES IN ALPHABETICAL ORDER, STARTING ON THE NOTE THAT THE MELODY SOUNDED LIKE IT was CENTERING ON. WHAT WE END LIP WITH IS THE "FALETTE” FoR THIS PARTICLILAR PIECE. THERE ARE ACTUALLY MANY DIFFERENT TYPES OF SCALES, EACH WITH @ DIFFERENT PATTERN (OF WHOLE STEPS AND HALF STEPS- A HALF STEP \S THE DISTANCE BETWEEN LIKE THE BOARD ON WHICH A PAINTER HOLDS TWO ADJACENT KEYS: THE BITS OF FAINT BEING USED IN THE PAINTING ON THE PIANO KEYBOARD, BEING CREATED. REGARDLESS OF COLOR- IN MUSIC; THIS "PALETTE" IS CALLED A SCALE. THOUGH WE USUALLY WRITE SCALES FROM LOW TO HIGH) THE ORDER IS ACTUALLY UNIMPORTANT; IT'S THE NOTES CONTAINED? IN THE SCALE THAT HELP MAKE A PIECE SOUND THE way IT DOES. THIS PARTICULAR ARRANGEMENT, WHERE HALF STEPS OCCLIR BETWEEN STEPS THREE AND FOUR AND BETWEEN STEPS SEVEN AND EIGHT (OR BETWEEN SEVEN AND ONE; SINCE BIGHT AND ONE ARE THE SAME NOTE), IS CALLED THE MAJOR SCALE. - Hee war A WHOLE STEP |S THE pe ee cee i a EQUIVALENT OF “Wee Stee SP TWO HALF STEPS. ster ‘ster CIS SCALE, BY THE way, 1S CALLED THE MAJOR SCALE, CECAUISE IT SIARTS ON G.) KNOWING THIS FORMULA, YOU CAN CREATE A MAJOR SCALE ON ANY NOTE! HE F MAJOR scoe THEO FLAT MAJOR sca.e BUT REMEMBER... wiTH GREAT POWER COMES GREAT RESPONSIBILITY! o ‘ECan TANG ROSIN Sextan aaa HARUN untae = ea CAMERA OCI aeSE ET EE RAIS ST a Pa SE ERS Key Signatures + ¢2-+—- IF YOU START WRITING MAJOR SCALES AND PAY ATTENTION TO THE ACCIDENTALS THAT OccuR, YOU ARE GOING TO START NOTICING A FATTERN.-- FOR EXAMPLE LOOK AT THE FLAT KEYS, STARTING WITH THE KEY THaT Has ONE FLAT; ALL THE way THROUGH THE KEY WITH SEVEN FLATS: THE FLATS AccRUE IN A SPECIFIC ORDER- SAME WITH THE SHARP KEYS! $0 IF YOU LOOK FoR A KEY THAT HAS ONLY A P FLAT, YOU WON'T FIND ITs IF A KEY HAS A D FLAT, IT MUST ALSO HAVE A & FLAT: AN E FLAT AND AN A FLATS 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 1S A GROUP OF ACCIDENTALS PLACED AT THE BEGINNING OF EVERY LINE OF MUSIC, SUST TO THE RIGHT OF THE CLEF, THAT INSTRUCTS THE PERFORMER TO APPLY THOSE ACCIDENTALS TO EVERY CORRESPONDING NOTE IN THE PIECE UNLESS SPECIFIED OTHERWISE. FOR BKAMPLE, THis Key (OH, AND ANOTHER THING: THE ACCIDENTALS HAVE TO BE PLACED IN THE CORRECT ORDER, AND THEY NEED To FOLLOW a PARTICULAR PATTERN OF PLACEMENT THAT VARIES SUGHTLY DEPENDING ON THE CLEF BEING SED! IF YOU DEVIATE FROM THIS; YOU, AS. A COMPOSER, WILL BE MOCKED! TENOR CLEF SHARPS! wHat's YOUR PROBLEM? YOU NEED TO CONFORM! SENATIRE INDCATES THAT EVER FC, AND 6 INTHE ECE SHOILD BB SHARPED, REGARDLESS OF OCTAVE! + BEAD be te # A tt ot Fce d o b a ef B> Gyre BE e e Ba ie FCGVA e og 2 dete seapecr Sa c % —— © e+ ct Z te FCGDAES : Sat o£ SS = BEADG 2 FC - === e g SS = BBA Ore e eS FcCeD F = SSS SS SEs o FA Ee ye dete pcopae o f o aaa BEADeC e hee Ce é zo F e f ae Ea A Bee RS == e A : : Ha Ha... NEVER! [Dein A0tnane a CONEY blaniar Wie aIe Linidis = Wak RRDERMEOLE Peat aceEE EE EE AES A Oe CAE TE See a ETS THEORISTS FIND IT CONVENIENT TO ORGANIZE ALL THE POSSIBLE KEY SIGNATURES INTO 4 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 ADDING ACCIDENTALS) ONE At 4 TIME, TO THE KEY SIGNATURES AROUND THE PERIMETER. WE'LL RETURN TO THIS CHART AS WE CONTINUE LEARNING ABOUT HOW COMPOSERS USE KEYS. AS YOU MOVE CLOCKWISE AROUND THE CIRCLE, YOU ADD SHARPS TO THE KEY SIGNATURE. AS YOU MOVE COLINTERCLOCKWISE AROUND, YOU ADP 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 Pi ADD ACCIDENTALS TO THE KEY SIGNATURE APPROPRIATELY. BEACGCE # FOR EXAMPLE, WHEN ADDING SHARPS, E FLAT MAJOR USE THE REVERSE HAS THREE FLATS, OF THE ORDER ABOVE. ‘$0 IT SHOULD LOOK LIKE THIS: WHEN ADDING FLATS TO A KEY SIGNATURE, ADD THEM. IN THIS ORDER: THE KEYS DOWN HERE LINE UP ENHARMONICALLY.<. FOR EXAMPLE, THE KEY OF D FLAT MAJOR WILL SOUND GUST LIKE THE KEY OF C SHARP MAJOR. $0 COULD You CONTINUE THE ENHARMONIC Coreg THE KEY OF mR ea BEADGCF PATTERN Db b 4 DOUBLE FLAT POPS UP ALL OVER # IN YOUR ae is = Gb KEY SIGNATURE: wer = ‘Line naince eset UR ARRAN NOLIN Vieni = “Oi EI OO we:SEE EE EE EE SEE SE Se A ES aE Diatonic Intervals asco; THE DISTANCE IN PITCH BETWEEN Two NOTES. ENALES THE MOST BASIC WAY WHICH WE INTERVALS, IDENTIFY DIFFERENT INTERVALS IS BY COUNTING THE STEPS BETWEEN SS THE TWO NOTES. = LarceR INTERVALS. SPECIFICALLY, WE COUNT SCALE DEGREES, BUT THE EASIEST WAY TO DO IT IS TO COUNT LINES AND SPACES WHEN COUNTING ON THE STAFF THE LINES AND SPACES) We > ‘CAN SAFELY e een ora IGNORE Ny BEGIN wr ACCIPENTALS. e BOTTOM NOTE as a (ONE AN? COUNT THis INTERVAL S UNTIL You REACH is also. a THE TOP NOTE. SEVENTH. WEL Discuss How IT'S THIS INTERVAL 16 8 SEVENTH (ear 200M! é i > § fF FF TWO NOTES ON THE DISTANCE FROM A NOTE TO THE NEXT THE SAME LINE Of THAT'S LATIN FOR AND THAT'S LATIN SPACE IS CALLED NONE SOLIND”! Eoamenny . Oss Noe wi A UNISON. THE SAME LETTER Name IS CALLED AN OCTAVE. AND WHEN YOU SWAP THE TWO NOTES WHEN WE ARE TALKING ABOLIT (MOVE THE LOWER NOTE UP BY AN OCTAVE INTERVALS WE SOMETIMES DISCLISS SO IT BECOMES THE HIGHER NOTE), HARMONIC INTERVALS AND THAT IS CALLED INVERTING THE INTERVAL. MELODIC INTERVALS- £ 2ND 7TH IVS HELPFUL TO REMEMBER SRP 6TH HARMONIC MELODIC THAT SECONDS ALways INVERT 4TH 5TH INTERVAL INTERVAL TO SEVENTHS, THIRDS TO SIXTHS; AND SO FORTH... 57H aT A HARMONIC INTERVAL 16 SIMPLY — — TWO NOTES PLAYED SIMULTANEOUSLY: THE FACT THAT EACH OF A MELODIC INTERVAL 1S ONE NOTE ‘MESE pare ADD ur TONNE [ies 2ND PLAYED AFTER THE OTHER- IS KNOWN TO THEORISTS AS ‘me rue or nines.” Ol? NIIINIES -{iGiee TAREE TREAT RAIA WCE nn a A POREE ET EE AIOE SP SE ES THE DISTANCE OF AN INTERVAL IS ONE PART OF ITS. erfect Intervals 228s sees QUALITY TO IT, WHICH WE'LL CALL ITS INFLECTION- INFLECTION IS A BIT HARDER TO UNDERSTAND, PARTLY BECAUSE IT DEPENDS ON THE TYPE OF INTERVAL. $0 LET'S START BY LOOKING AT HNISONS, FOURTHS, FIFTHS ANP OCTAVES- no, tfimemreeéie UNISONS ANP OCTAVES ARE THE EASIEST TO Lael: IF THE TWO NOTES ARE THE SAME (FOR FOURTHS ANP FIFTHS EXAMPLE, 8 FLAT AND & FLAT), REQUIRE A LITTLE MORE EXPLAINING. THEN THE INFLECTION IS PERFECT: SUCH AN INTERVAL IS CALLED a PERFECT LINISON OR A PERFECT OCTAVE. IF YOU LOOK AT ALL THE FOURTHS AND FIFTHS YOU. CAN CREATE USING ONLY THE WHITE NOTES ON THE PIANO KEYBOARD (IN OTHER WORDS, USING ONLY NOTES WITHOUT ACCIPENTALS): # : | e = P EACH ONE IS PERFECT EXCEPT FOR THOSE WHICH USE F AND BY > ae —ee wel 7= = zt U- 4 nr WELL, IF YOU WERE TO COUNT THE HALF-STEPS THAT MaKe UP S' EACH INTERVAL, YOU'D NOTICE THAT ALL THE OTHER ONES ARE lel Teh ole 9. com Bens — EGUAL IN SIZE, OUT THE 8 TO F INTERVALS ARE NOT. F To 8 IS DIFFERENT? A HALF-STEP LARGER THAN A PERFECT FOURTH, AND 8 TO EF IS A HALF-STEP SMALLER THAN A PERFECT FIFTH. WHICH RAISES THE @HESTION: IF THE INTERVAL 1S NOT PERFECT; THAN WHAT IS IT? == 62 &= ad 4 23 eli Pe YOU CAN SO FURTHER: TO DOUBLY AUGMENTED AND DOUBLY DIMINISHED INTERVALS, BUT... DO YOU REALLY WANT To? AN INTERVAL THAT IS 4 HaLF-STEP LARGER THAN PERFECT IS CALLED AN AUGMENTED INTERVAL. AND THERE'S NO SUCH THING As 4 DIMINISHED LINISON.-- ust Like Wo THINGS CANT 82 NEGATIVE TWO FEET AWAY FROM EACH OTHER! AN INTERVAL THAT 16 4 HALE-STEP [Dim Fl HED] SMALLER THAN PERFECT IS calLeD A DIMINISHED INTERVAL. [iSeielimin Roni “a AMR OAR ase annlat IEA LEON Contin = elie GEO AERA ROE OSLE EY NE EAE OT EA PATI ES ERY ie RET WENE TALKED ABOUT LINISONS; FOURTHS; FIFTHS Vi AND OCTAVES, BUT WHAT ABOUT THE REST? ARE THESE OTHER INTERVALS SOMEHOW IMPERFECT? o = * . z , Gr t @@r WELL, YES, BLIT NCT BECALISE THEY ARE SOMEHOW INFERIOR TO PERFECT INTERVALS... SECONDS, THIRDS, SIXTHS AND SEVENTHS SUST WORK A LITLE DIFFERENTLY! FOR ONE THING, THE INFLECTION FOR THESE INTERVALS IS NEVER PERFECT? IT WILL BE EITHER MAJOR OF MINOR. MINOR INTERVALS ARE A HALF-STEP SMALLER Au ED] THAN MAJOR INTERVALS. LIKE PERFECT INTERVALS, THOUGH, THEY CAN ALSO BE AUGMENTED OF DIMINISHED? AUGMENTED INTERVALS ARE A HALF-STEP LARGER THAN MaJOR, AND DIMINISHED INTERVALS ARE A HALF-STEP SMALLER THAN MINOR. HOW DO WE KNOW IF AN INTERVAL IS MAJOR OR MINOR? WE CAN ACTUALLY USE THE MAJOR SCALE TO FIND OUT. NOTICE THAT, IN THE MAJOR SCALE, INTERVALS FROM THE TONIC UP TO ANOTHER SCALE DEGREE ARE MAJOR- = = = = a aeons LIKEWISE, INTERVALS FROM THE TONIC DOWN TO ANOTHER SCALE DEGREE ARE MINOR. Br ED hi r MINOR MINOR MINOR MNNoR seconr “Taiko EXT SEVENTH KNOWING THIS, WHEN YOU ARE CONFRONTED WITH A SECOND, THIRD, SIXTH OF SEVENTH, YOU CAN FIND ITS INFLECTION BY THINKING ABOUT THE KEY SIGNATURE OF THE TOP AND/OR BOTTOM NOTE. WE KNOW THIS IS A MAJOR SIXTH AND THis 16 2 MINOR SEVENTH BECAUSE D, THE TOP NOTE, IS IN BECAUSE 8, BOTTOM NOTE, IS IN THE KEY OF F MAJOR fo THE KEY OF 4 MAJOR = = (He gottom NOTE). (HE ToP NOTED IF THE TOP NOTE IS IN THE MasOR KEY OF THE BOTTOM NOTE; THE INTERVAL IS MAJOR- IF THE BOTTOM NOTE |S IN THE MAIOR KEY OF THE TOP NOTE, THE INTERVAL IS MINOR. WHEN THE NOTES OF THE INTERVAL HAVE ACCIPENTALS) THE ASSOCIATED KEY SIGNATURES CAN BE MORE COMPLICATED... SO IT'S EASIEST TO TEMPORARILY IGNORE THE ACCIDENTALS, DETERMINE THE INTERVAL, AND THEN ADD THE ACCIPENTALS BACK ONE AT 4 TIME AND TRACK HOW THE INTERVAL CHANGES! Penne AONG BacK aoONG BaGE ACK! wat 16 eee, THe FLAT maxes THe SHARP Taare wes : ” a: THE INTERVAL Makes It EVEN FiRst HOE THE ee’ SMALLER, 50 SMALLER... eo scavenmas... “ef eee eS itsNewa elf A DMINIGHED M6 SENT m6 MINOR SixtH... d6 ‘SIXTHL ee eeEE TEE A AAS OE RE Nae PM Ie TENE AG AOE iu! SPARRKY = MUSIC THEORY DOG! Dear Sparky: Binoe we are supposed to use different approaches for identifying perfoot and imperfect intervals, can you summarize them all into one system? ~LM., Staten Island, NY a raccrr UA, ; Oe THE FOLLOWING CHART SHOWS AN APPROACH FOR IDENTIFYING TRANSLATIONS Any INTERVAL. A susiLaz APPROACH CAN EE USED WHEN YOU NEED TO WRITE A PARTICULAR INTERVAL ABOVE OR BELOW A GIVEN NOTE: FIRST, ADD A NCTE ABOVE OR BELOW THE GIVEN NOTE AT THE CORRECT DISTANCE, THEN FOLLOW STEPS 2 THROUGH 4 OF THIS CHART TO IDENTIFY IT. THEN, IF NECESSARY, ALTER THE NOTE YOU ADDED WITH AN ACCIDENTAL TO CREATE THE INTERVAL CALLED FOR. DETERMINE THE DISTANCE OF THE INTERVAL Ree B® COUNTING LINES AND SPACES. CONTINUE FINTL Et REACH THE TOP NOTE. STEP Dp coe: ccocevras. e eo TEP DETERMINE THE INFLECTION OF THE INTERVAL IN FRONT OF YOU 9B CTHE ONE WITHOUT ACCIPENTALS!) AS FOLLOWS: ieinisa einisa eins SECOND, THIRD, UNISON OR OCTAVES FOURTH OF FIFTH: SIXTH oO SEVENTH: 1E THE INTERVAL USES 1 THE TOP NOTE 1s THE INTERVAL SHOWN THE NOTES F AND By Wye BOTiOM NOTE iaie IT ig EXTHER aN THE INTERVAL IS ita ae HNISON AUGMENTED FOURTH MAIOR- ona PERFECT OCTAVE. DIMINISHED FIFTH. IF THE BOTTOM NOTE 1s IN THE MasoR KEY OF REALLY. OTHERWISE, THE THE TOP NOTE, mer ies INTERVAL 1S, THE INTERVAL 1S. PERFECT. MINOR. 20° THE ORIGINAL ACCIPENTALS Back, ONE AT A TIME, AND TRACK HOW THE INTERVAL CHANGES INFLECTION. Pug tke Cae Sek SE REMEMBER: ACCIDENTALS CAN NEVER AFFECT THIS METHOD May SEEM COMPLICATED at FIRST, THE DISTANCE OF AN INTERVAL... ALL THEY CaN GUT IT BECOMES EASIER AND FASTER WITH EVER DO IS CHANGE THE INFLECTION/ PRACTICE... AND IT GIVES YOU THE CORRECT ANSWER EVERY TIME! DOING STUFF THE SPARKY WAY IS ALWAYS FUN! Tian Aainw Gem a GSRGIUNAN © 2 oe NOW, REMEMBER... THE REASON WE RAISED THE LEADING TONE IN THE FIRST PLACE was To CREATE TENSION FROM THE SEVENTH SCALE DEGREE TO TONIC. BUT 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 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! Saealia SAR A PANE LAR Ila =< R C POE SREE ET EE AEE AIOE ST I PM SE ERS ALTHOUGH A CHORD 1S TECHNICALLY ANY COMBINATION OF NOTES PLAYED SIMULTANEOUSLY, IN MUSIC THEORY WE USUALLY DEFINE CHORDS AS THE COMBINATION OF THREE OR MORE NOTES. Triads SECUNPAL TERTIAL QUARTAL QUINTAL gy HARMONY HARMONY HARMONY HARMONY é gos age | 2 . trae : : — in ! r ‘ gs 3 8 Bee eer \eeeeeemresn (eee eee || eee st! SECONDS FORM THIRDS (noRE PERFECT FOURTHS PERFECT FIFTHS = 7 32 TONE CLUSTERS, SPECIFICALLY, FROM CREATE ADIFFERENT caN ae RESrELLED as 9292 WHICH ARE NOT = MAJOR THIRDS AND = SOLIND, USED IN GQUARTAL CHORDS, Oud HARMONIC SO MUCH MINOR THIRDS) COMPOSITIONS FROM AND AS SUCH THEY, «tg 2N AS TMBRAL- FORM THE BASIS OF THE EARLY 1900« DONOT create a «HERS eeu A Cne cman” «|| ommnare evoten o@ | S22 THE COMMON HARMONY. ace PRACTICE PERIOP. WELL, DIMINISHED THIRDS SOUND GUST LIKE MAJOR SECONDS, AND AUGMENTED THIRDS SOUND JUST Luke PERFECT FOURTHS; So. IS THE CHORD STILL TERTIAL IF IT IS BUILT FROM DIMINISHED THIRDS OF AUGMENTED THIRDS? No. THE LOWEST NOTE IN THE CHORD == WHEN WE stack THE CHORD IN THIRDS WITHIN ONE OCTAVE, WE GET WHAT IS CALLED THE SIMPLE FORM OF THE CHORD. LETS GET sTaRTED (ON TERTIAL HARMONY WITH THE SMALLEST CHORD POSSIBLE: THE TRIAD. a WHEN THE CHORD IS IN SIMPLE FORM \S CALLED, ——______ THE ROOT. THE NAMES OF THE aa OTHER NoTES THIRC ARE BASED ON oor THEIR INTERVAL ABOVE THE ROOT. A TRAD |S DEFINED AS A THREE*NOTE CHORD, INCIDENTALLY, FOUR-NOTE CHORDS ARE TECHNICALLY BUT IN PRACTICE IT IS ALMOST ALWAYS SED CALLED TETRADS, BLT WE LISHALLY CALL THEM TO REFER TO TERTIAL THREE-NOTE CHORDS. SEVENTH CHORDS; SINCE THEY ADD A SEVENTH. THERE ARE FOUR WAYS TO CREATE A TRIAD USING MAJOR AND MINOR THIRDS: ey? oe «Sot EAA we \ gar" wo weer? Wo MINOR THIRDS STACKED TOGETHER A MAJOR THIRD ON 107 AMINOR THIRD ON BOTION 4 MINOR THIRD ON 707 A MAJOR THIRD ON BOTTOM WO MAJOR THIRDS STACKED TOGETHER Mas 300 7 mat 30 T > wn 320 MN 37 = MIN 3D = mas 3R7 ~ mas 3m eg é C Ct WE LABEL TRIADS LISING THEIR ROOT ("A C MINOR TRIAD"). THE ABBREVIATIONS SHOWN ABOVE, WHICH LIS UPPER CASE; LOWER CASE; AND SYMBOLS TO SHOW CHORD TPS, ARE CALLED MACRO ANALYSIS. “LESSeMEinar ici Gomat a RROD SECANLANASUIR GRISEA LSA = Set “RUIN RN ancl Mas 360EE EY EE ACES EE A EIS I ERY Ne SOAR Triads in Inversion ...c...::. MOVEMENT FROM HIS 1767 LADIES AND GENTLEMEN, IT'S FRANZ JOSEPH HAYDN! SONATA IN G MAJOR- THANK YOU FOR HAVING ME IN THIS PIECE 1 USE QUITE A FEW TRIADS. OOH! LET'S SEE 'EM! — HERE'S ONE: IT Has THE NOTES ete ee BAND G. IT'S AC MAJOR =e: i i S TRIAD! VERY Nick. ft pee eee — THANK YOU. SEE HOW THE NOTES = = ARE SPREAD OUT: AND NOT JUST J STACKED IN THIRDS? IT'S STILL A TRIAZ, THOUGH. (ees da THIS ONE IS G; By AND Z2-- 4 G MAJOR TRIAD! BUT IT SOUNDS DIFFERENT; SOMEHOW. Pe [FFI |e 3 THATS BECAUSE THE THIRD OF THE CHORD IS IN THE BASS... WHEN THAT HAPPENS, WE SAY THE CHORD IS IN FIRST INVERSION. FIRST INVERSION? WHAT IS IT CALLED WHEN THE ROOT IS IN THE BASS) LIKE THE FIRST CHORD WE LOOKED aT? THAT'S CALLED ROOT POSITION. 1 rt ab: SO THIS ONE WITH & Fy AND A | 3 te 15 AD MINOR TRIAD... IN § t i SECOND INVERSION! P = EXACTLY! BECAUSE THE Be hae fr FIFTH 1S IN THE ass. SO THE THING THAT MAKES A TRIAD ROOT POSITION, FIRST INVERSION OR SECONP INVERSION IS SIMPLY WHICH NOTE IS IN THE B4SS? THAT'S RIGHT! AND EACH ONE HAS ITS OWN CHARACTER. IS HARD TO BELIEVE THAT THE SOUND OF THE CHORD CAN CHANGE SO MUCH JUST BECAUSE OF THE Bass NOTE. T KNOW, RIGHT? I'S AWESOME. ‘Snide SRG a CRNA RENAE IEA ania = in SAS OE asSEE EE EE EE SOE FE Se NS TE a MUSICAL WORKS WRITTEN IN THE BAROQUE ERA WOULD OFTEN I ure ass INCLUDE A PART CALLED THE BASSO CONTINHO WHICH WOULD CONSIST OF A SINGLE BASS CLEF MELODIC LINE WITH VARIOUS = NUMBERS AND ACCIDENTALS PRINTED BENEATH THE NOTES. # >, [Ss NO, NO; NO... THERE WASN'T AN ACTUAL INSTRUMENT caLLED A BASSO CONTINUO! THE PART Was PLAYED By TWO INSTRUMENTS: A 8255 CLEF INSTRUMENT LIKE CELLO Of BASSOON, AND 4 KEYBOARD INSTRUMENT LIKE A HARPSICHORD. IN PERFORMANCES, THE 8465 CLEF INSTRUMENT WOULD SIMPLY PLAY THE GIVEN NOTES) BUT THE KEYBOARD PLAYER WOULD IMPROVISE A FART BASED ON THE NOTES AND THE SYMBOLS BELOW THE PART! $0 THs... Figute 1. The Basso Continuo z a : : COULD BE PLAYED AS THIS! THE NUMBERS AND SYMBOLS PRINTED BELOW THE Basso CONTINUO PART ARE CALLED THE FIGURED BASS. SO HOW PO YOU TURN FIGURED Bass INTO CHORDS? FIRST OF ALL, IT'S IMPORTANT TO KNOW THAT THE NOTE GIVEN ON THE BSS CLEF PART IS ALWAYS: THE BASS NOTE OF THE CHORE. AND REMEMBER: THE BASS IS NOT NECESSARILY THE ROOT! ‘SECOND, THE NUMBERS — — See aes HES ABOVE THE BASS, EVEN __ O_O THOUGH SOME NUMBERS 6 é ARE USUALLY LEFT OUT. C G iF THERE ARE A SIK BY it6ELE A SIK AND a FOUR NOTE AtaIespreva-S NO NUMBERS; NoicaTes A'SIXTH NOCATE A SIXTH ARE BEWAIS BIATONIC. ADD A THIRD AND AN? A THIRD ABOVE AND A FOURTH DON'T WORRY ABOUT A FIFTH ABOVE THE THE BASS, WHICH ABOVE THE BASS, INFLECTION.-- SUST USE BASS... YOU GET A CREATES A FIRST GWG YOU A SECOND THE NOTES FROM THE ROOT POSITION TRIAD! INVERSION TRIAD! INVERSION TRIAD! KEY SIGNATURE! LASTLY, ACCIPENTALS are APPLIED TO THE INTERVAL Ee o— _ They aereae Wate Tend eS SEE o— i aro AVE aN acciPENTaL BY ITSELF; \T APPLIES TO THE THIRD ABOVE THE Bass 46 4 46 HERE, THE SHARP HERE, THERE 16 NO NOTE THat THERE 16 NS ee eRe, e, THERE re that THERE i APPLIES TO THE NUMBER NEXt TO THE ANATHRAL, NOTA FLAT, yl SHE COMPOSER WANTS sae NO A NOTE RAISED 8Y A HALE SIXTH above THE ‘SHARP, 60 We APPLY NEXT 10 THE 6X a La £2ss,SOWE ADA «TO THE THIRD ABOVE © Were artaywe STEP AND IT's PLATTE ‘SHARP TO THE 6. THE Bass NOTE. WOLLD WRITE AC FLAT. THE KEY SIGNATURE, THE FIGURED BASS WILL HAVE A NATURAL, NOT A SHARF- BY THE TIME THE CLASSICAL PERIOD Got REALIZING FIGURED Bass (WRITNG CHORDS GONG, COMPOSERS STOPPED INCLLIDING A GEN A FIGURED BASS LINE) MAKES FOR AN, BASSO CONTINHO PART; AND SO FIGURED EXCELLENT EXERCISE FOR SIUPENTS TO LEARN BASS FELL OUT OF LSE... WITH ONLY ONE HOW TO WRITE 'N THE COMMON PRACTICE EXCEPTION: MUSIC THEORY CLASSES! PERIOP STILE! wooo! ‘RONeeY WSN ACER anERe een cole = sane oem eo:SEE EE EE EE HOE EN PR Se NOY NS NE 1 thi: 7 NOW THAT WE'RE FAMILIAR WITH HOW I | TRIAS WORK, IT'S TIME TO PUT THEM INTO THE CONTEXT OF A KEY SINCE WRITING MUSIC IN 4 PARTICULAR KEY MEANS LISING THE NOTES IN THAT KEY SIGNATURE, IT STANDS TO REASON THAT MOST OF THE CHORDS WILL BE BLIILT FROM THOSE SAME NOTES! CHORDS WHICH LISE NOTES FROM 4 PARTICULAR KEY SIGNATURE ARE SAID TO BE DIATONIC TO THAT KEY. DIATONIC MEANS "FROM THE KEY.” THAT MEANS NO ACCIPENTALS! WE CAN QUICKLY SHOW ALL THE DIATONIC TRIADS IN A PARTICULAR KEY BY WRITING A SCALE IN THAT KEY AND BUILDING TRIADS ON EACH NOTE, USING ONLY THE NOTES IN THAT KEY. we serene ii iii IV Vv vi vii° THESE CHORDS with ROMAN NUMERALS AS “SHOWN HERE. notcsHow = YQ X & S & & Wy CHORD TPE > S 2 2 2 2 2 Ssromey Se 2 z q zt zq 5 coms =O 95 x 3 3 x 9 LOWER CASE? BR v i s s a v acm fe iss for for fey ie sometmes wereeeez ioe =O Q Q to < THEIR OFFICIAL NAMES = N a x Q Ay q ww tT 3 at ay THIS PATTERN OF ieee Meet Ne ee WHY IS THE SIXTH CHORD CALLED THE SHBMEDIANT? ET ts ately VE re a KEY WELL, JUST aS THE MEDIANT CHORD Is HALFWAY THE SUBCOMINANT TRIAP 1S ALWays MAJOR, BETWEEN THE TONIC AND DOMINANT CHORDS, ee eae ONE page THE SUBMEDIANT CHORD IS HALFWAY BETWEEN THE ENS EE CW eel es ie nacealN TONIC.+. AND THE SUBPOMINANT A FIFTH BELOW! C MAJOR OF F SHARP MAJOR! BECALISE THE DOMINANT AND LEADING-TONE TRIAS BOTH HAVE 4 STRONG TENDENCY TO RESOLVE TO TONIC; WE SAY THEY | HAVE A "DOMINANT FLINCTION." THE SUBPOMINANT AND SUPERTONIC CHORDS BOTH TEND TO RESOLVE To THE DOMINANT; SO WE SAY THEY BOTH HAVE A "SUBDOMINANT FLINCTION-” 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 PERIOD COMPOSERS RAISED THE LEADING TONE ONLY OVER DOMINANT FUNCTION HARMONY: THE ZOMINANT AND LEAPING-TONE TRIAPS! same NAMES AND ROMAN NUMERALS... ee veel ii® Ill iv Vv VI vii? So a a aaEE SRE LOT EE RE ea SE ee ee Introduction to;Part-Writing AS WE LOOK AHEAD, WE'RE CONFRONTED WITH AN GLY TRUTHs THERE IS A LOT OF Music IN THE HISTORY OF THE WORLD THAT IS WORTH STUDYING. MUCH MORE THAN WE CAN HOPE TO COVER IN THE SPAN OF 4 FEW SEMESTERS. SINCE WE CAN'T COVER IT ALL, WE HAVE TO CHOOSE A SPECIFIC MUSICAL LANGUAGE TO STUDY IN DEPTH. LET'S START BY NARROWING THINGS DOWN TO THE COMMON PRACTICE PERIOZ 8 8 8 8 8 8 8 5 8 i & RENASGANCE BAROQUE ‘ciassica. || Romannic ||" || _ contempowaey THE COMMON PRACTICE PERIOD IS THE MUSIC OF THE BAROQUE, CLASSICAL ANP ROMANTIC ERAS IN EUROPE AND AMERICA. THE NAME COMES FROM THE FACT THAT MOST COMPOSERS LISED A COMMON MUSICAL LANGHAGE DURING THIS TIME. BUT THERE IS A TON OF COMMON PRACTICE PERIOP MUSIC... MORE THAN WE CAN HOPE TO COVER. IS THERE A REPRESENTATIVE STYLE WE CAN SINK OUR ACADEMIC TEETH INTO? IMS ESPECIALLY WORTH L sTupyINe BECALISE |> MOST OF THE PIECES COMMONLY PERFORMED IN CONCERT ARE FROM THIS PERIOD... < .-AND THE LANGUAGE FORMS THE BASIS FOR THE MOST POPULAR MUSICAL STYLES TODAY. FOUR-VOICE CHORALE WRITING \5 A GOOD STYLE TO STUDY FOR SEVERAL REASONS: CHORALES HAVE A FAST HARMONIC RHYTHM, ALLOWING |] COMMON PRACTICE PERIOD MUSIC FOR 4 LARGER NUMBER OF CHORDS PER EXERCISE. LARGE PERCENTAGE OF CAN BE EASILY REDUCED TO FOUR-VOICE COLUNTERPOINT. THE CANTATAS OF J-S5. BACH PROVIDE US WITH A TREMENDOUS JAMOUNT OF CONSISTENTLY-WRITTEN FOUR-VOICE CHORALES. ONE OF THE CHANGES TO THE CATHOLIC CHURCH PROPOSED BY MARTIN LUTHER WAS TO ALLOW MEMBERS OF THE CONGREGATION TO PARTICIPATE IN THE SINGING OF THE LITURGY. (OF COURSE, LUTHER was BRANDED A HERETIC FOR HIS PROPOSALS, AND BEGAN HIS OWN CHURCH IN WHICH TO IMPLEMENT HIS IDEAS. FOR CONGREGATIONAL SINGING. MORE THAN TWO HUNDRED YEARS LATER, J.-S. BACH WAS APPOINTED MUSICAL DIRECTOR AT THE $7 THOMAS CHURCH IN LEIPZIG; GERMANY AND, IN THE SPIRIT OF LUTHER, WROTE FIVE YEARS’ WORTH (OF LITURGICAL MUSIC- BACH OF THESE WORKS, CALLED CANTATAS) WERE BUILT AROUND A HYMN MELODY HARMONIZED IN FOUR PARTS BY ANALYZING BACH'S CANTATAS, WE CAN CONSTRUCT A SET OF "RULES” FOR WRITING IN FOUR-VOICE COMMON PRACTICE PERIOD MUSICAL STYLE) ALLOWING US TO STUDY IT IN DEPTH. CSN LANE UA NNNE CMAN UREA CCN = NT NRE PR I.AE EE EE SOS SE OT POPES OY OE SON Part-Writing: The Vertical Rules TO BEST UNDERSTAND HOw COMMON PRACTICE PERIOD COMPOSERS: WROTE MUSIC, WE ARE GOING TO LEARN HOW TO WRITE MUSIC USING THEIZ MUSICAL STYLE. SO THE PATTERNS WE SEE IN THEIR MUSIC, THE THINGS THEY CONSISTENTLY FI OR DION'T DO; ARE GOING TO BECOME "RULES" FOR @ US IN OUR WRITING. LASTLY, BACH VOICE SHOULD ‘Stay IN ITS RANGE. THESE ARE CONSERVATIVE RANGES FOR MODERN SINGERS, BUT REMEMBER THAT BACH'S CHORALES WERE REALLY SOPRANO WRITTEN FOR AMATEURS THE COMMON PEOPLE WHO ATTENDED CHURCH IN LEIPZIG! IT'S WRONG TO THINK THESE WERE "RULES" FOR THE COMPOSERS... THEY WERE SLIST WRITING WHAT SOUNDED GOOP To THEM. NOR SHOULD WE TREAT THESE AS RULES FOR WRITING MUSIC IN GENERAL... EACH STYLE OF WRITING Has IT'S OWN SET OF PATTERNS, AND THUS I'S OWN "RULEBOOK." AS A COMPOSER, YOU GET TO WRITE YOUR OWN RULES FOR YOUR OWN STYLE! WE'RE GOING TO START WITH THE VERTICAL RULES--. THAT 1S, THE RULES THAT PERTAIN TO BUILDING 4 SINGLE CHORD IN FOUR-VOICE HARMONY FIRST, THE DISTANCE BETWEEN SOPRANO AND ALTO AND BETWEEN ALTO ANP TENOR MUST BE AN OCTAVE OR LESS. THE TENOR AND BASS CAN BE As FAR APART AS YOU WANTS SECOND, THE VOICES MUST BE KEPT IN THEIR PROPER ORDER? FOR EXAMPLE, THE TENOR SHOULDN'T BE HIGHER THAN THE ALTO. (BACH DIP THIS Now AND THEN, BUT IT WAS ONLY WHEN HE WANTED TO INCORPORATE SOME SPECIAL MELODIC SHAPES.) THIRD, SINCE WE Have FOUR VOICES AND ONLY THREE NOTES IN 4 TRIAP, ONE OF THE NOTES SHOULD BE DOUBLED. FOR TRIADS IN ROOT POSITION, WE TYPICALLY DOUBLE THE ROOT OF THE CHORD UNLESS FORCED (@Y OTHER RULES) TO 90 OTHERWISE. Ta aE GREE RUAN ANAL ieee SaSE SOT AE EC TOE I CCE Oe NOT I OE: Part-Writing: The Horizontal Rules THE SUPREME GOAL OF PART-WRITING IS GOOP VOICE LEADING... MAKING EACH INDWIPLIAL VOICE PART EASY TO SING BY AVOIDING AWKWARD INTERVALS OR LARGE LEAPS! BEFORE WE GET TO THE SPECIFIC DOS AND DON'TS, LET'S TAKE A LOOK AT SOME IMPORTANT CHARACTERISTICS OF FOUR-VOICE PART-WRITING: IN SOME CASES, THE VoIcE ‘CAN SIMPLY STAY ON THE SAME NOTE. THIS 1S CALLED KEEPING THE COMMON TONE, AND IT'S ALWAYS COOL! NOTE HOW EACH VOICE MOVES AS LITILE AS POSSIBLE, GONG TO THE NEAREST CHORD TONE IN BACH SUBSEGUENT CHORD! IT'S COMMON FOR THE BASS TO. MOVE IN THE OPPOSITE DIRECTION OF THE UPPER THREE VOICES. THIS IS CALLED CONTRARY MOTION AND IT HELPS MAINTAIN VOICE INDEPENDENCE. VOICE INEPENDENC! FOUR-VOICE HARMONY IS A FORM OF COUNTERPOINT; WHICH IS THE COMBINATION OF MORE THAN ONE THE ASS LINE, SINCE IT PROVIDES THE FOLINDATION OF THE HARMONY IN EACH CHORD, TENDS TO INCLUDE LARGER LEAPS THAN THE OTHER THREE VOICES, BUT THATS OKay. THERE ARE ALSO 4 FEW OTHER RULES THAT APPLY TO THIS STYLE: MELODY PLAYED SIMULTANEOUSLY. IN COUNTERPOINT, EACH VOICE 1S E@UALLY IMPORTANT; NO VOICE IS GIVEN A ROLE OF ACCOMPANIMENT TO ANOTHER VOICE. IN COUNTERPOINT, IT IS IMPORTANT FOR EACH VOICE TO BE INDEPENCENT; THAT 1S) NO TWO VOICES SHOULD BE DOING THE EXACT SAME THING. IF TWO (OR MORE) VOICES WERE MOVING IN PARALLEL, THE RICHNESS: OF THE TEXTURE WOULD BE REDLCED. AS A RESULT, COMMON PRACTICE COMPOSERS WERE VERY CONSISTENT IN AVOIDING TWO OR MORE VOICES THAT MOVED IN PARALLEL PERFECT OCTAVES, PARALLEL PERFECT FIFTHS, Of PARALLEL PERFECT LINISONS! fe ii | ( PARALLEL UNISONS! PARALLEL FIFTHS! PARALLEL OCTAVES! WHEN YOU HAVE THE LEADING TONE IN AN OUTER VOICE (SOPRANO OR BASS) IT MUST RESOLVE TO THE TONIC IN THE NEXT CHORD. YOU MAY NOT MOVE ANY Voice BY AN INTERVAL OF AN AUGMENTED SECOND: OR AN AUGMENTED FOURTH. THE GOOD NEWS: YOU CAN AVOID ALL THREE OF THESE BY DOING THE FOLLOWING WHENEVER POSSIBLE: 4. KEEP THE COMMON TONE! 2. MOVE TO THE NEAREST CHORD TONE! 3- USE CONTRARY MOTION! cele WARN RGN RAI EE a Ee AEE ET EE EIS ST a Pa SE ES Part-Writing: Using inversions WHEN COMMON PRACTICE COMPOSERS LISED INVERTED CHORTS IN FOUR-VOICE WRITING, THEY FOLLOWED SOME GENERAL PATTERNS REGARDING WHICH NOTE OF THE CHORD SHOULD BE DOUBLED. ROOT POSITION FIRST INVERSION SECON? INVERSION THE DOUBLING OF FIRST INVERSION TRIADS DEPENDS (ON THE TYPE OF THE CHORD BEING WITTEN. IN ROOT N SECOND POSITION TRAPS, INMAJOR FiRst = INMINOR FiRst IN DIMINISHED INVERSION TADS, COMPOSERS LISUALLY «INVERSION TRADS, INVERSION TRADS, FIRST NVERSION COMPOSERS UISIALLY POUBLED THE ROOT, composes: COMPOSERS TRADS, THEY DOUBLED THE FIFTH, WHICH IS IN THE DOUBLED THE DOUBLED THE PousLED THE WHICH IS IN THE BASS SOPRANO BASS BASS BASS OF THE Howe. oF THE cow, SOPRANO OF THE cHoee. c= THE cHoen. OF THE CHORD. HERE'S ANOTHER WAY TO THINK OF ITs THE ONLY TIME YOU CAN'T DOUBLE THE BASS IS IN FIRST INVERSION MAJOR TRIADS; WHERE YOU SHOULD DOUBLE THE SOPRANO INSTEAD. OKAY, WE KNOW HOW TO LISE INVERSIONS IN FOUR-PART WRITING... BUT WHEN CAN WE USE THEM?) THE ONLY "RULE" REGARDING OTHER THAN THAT, YOU CAN IS ROOT POSITION TRIAD: ROOT POSITION AND FIRST INVERSION and Piet NVERBION TRADE ESSENTIALLY WHENEVER YO WANT! IS THAT PMUNIGHED, TRIACS O6e, I'S SECOND INVERSION TRIADS THAT ALWAYS PLACED IN FIRST INVERSION. HAVE THE BIG RESTRICTIONS: THE CAPENTIAL 4 CHORD THE PASSING 4 CHORD 16 4 TONIC TRIAD IN 16 A CHORD PLACED IN SECOND INVERSION ‘SECOND INVERSION FOLLOWED BY A WHERE THE Bass 1S ROOT-FOSITION TREATED LiKE A DOMINANT CHORD PASSING TONEs AT A CADENCE. THE MIDDLE NOTE OF A STEPWISE LINE i B® Vf 1 MOWING UP OF DOWN. Tue Pepa 4 CHORD IF You write a 1S A SECOND INVERSION SECOND INVERSION TRIAD AND CHORD WHERE THE IT'S NOT ONE OF THESE THREE SITUATIONS, BASS IS TREATED LIKE THEN YOU ARE NOT WRITING IN THE COMMON A PEDAL TONE: PRACTICE PERIOD STYLE! THE COMPOSERS OF A NOTE PRECEDED AND THE STYLE JUST DION'T USE THESE CHORDS FOLLOWED BY THE WILLY-NILLY. SAME NOTE. Eo. Vi 1 SS a eeES TT LL EN AO AOE, ORR E NE Der SORE Se OES Part-Writing: Melodic Minor a manne, COMPOSERS LISED ‘SO ANYWAY, HARMONIC MINOR AFTER We GOT @y Derault. BUT HIM TRANSPOSED ATTENTION! ATTENTION! WHEN AUGMENTED BACK TO TONIC, HE WE NEED assistance SECONDS OCCURRED, BEGAN TO MODLILATE WITH 4 NEW PATIENT THEY TURNED TO A AGAIN, AND... IN EMERGENCY TREATMENT HERO FOR HELP: ROOM 38... STAT! MELODIC MINOR! (pe nites a SEEMS To BE i WELL, I THOUGHT I'D TRANSPOSE TO (pe nites a PROBLEM: Size, MINOR) YOU KNOW, TO SURPRISE THE FAMILY... $0 1 DID, AND THEN 1 RAISED ALL MY LEADING TONES; BECALISE | TIM A COMMON PRACTICE PERIOD a ee RIGHT? Kay, —— SO WHAT'S WRONG? WE GOT AUGMENTED SECONDS! PAGING... PR. MELODIC MINOR! CAN WE DO? FOR THIS CASE OF ASCENDING AUGMENTED SECONDS, % I PRESCRIBE A RAISED SIXTH SCALE DEGRE! Ft tNe Le Nt = j VV AND FOR THESE “SN. | DESCENDING z : AUGMENTED SECONDS, eS “rem cons tous HO DIN THat 21 (aN aNeaiser SEVEN: maxes a | (EE * LJ gd 5 = MINOR V f f= f PAIN ALL IN A DAY'S WORK, t My GOOD MAN ) NOW LET'S TURN To: THE UNPLEASANT MATTER OF THE BILL. THEYRE cuRrer! J (¥ SS f \ CURE YOUR AUGMENTED SECONDS WITH MELODIC MINOR TODAY! Jao 2 TCpAdinD Alera a LMAOINAANT aXmAIaAsOLa IpeaaR AIT Levi: = aes Sea cet maceEE TEE EE SCE ONE EN PPE LY TY We EERSTE The Harmonic Cadences A CADENCE |S GENERALLY CONSIDERED TO BE THE LAST TWO CHORDS OF A PHRASE, SECTION OR PIECE. THERE ARE FOUR TYPES OF CADENCES, EACH WITH THEIR OWN SPECIFIC REQUIREMENTS AND VARIATIONS- AN AUTHENTIC CADENCE CONSISTS OF A DOMINANT FLNCTION CHORD (V OF VII) MOVING To TONIC. TO 82 CONSIDERED A PERFECT AUTHENTIC CADENCE, A CADENCE MUST MEET ALL OF THE FOLLOWING CRITERIA: HT Must Use AV CHORD IF THE CADENCE (NOT 4 WIN) DOESN'T MEST Bot CHORDS Must 8 ALL om Hose IN ROOT POSITION CRITERIA, IT'S THE ScPRANO Must EB Ncrenezad Me iD ON THE TONIC ee IMPERFECT THE sormANo Must iid Move BY STEP CapENce! Gv I G: vii 1 A PLAGAL CADENCE CONSISTS OF A SUBDOMINANT FLNCTION CHORD GV OR II) MOVING TO TONIC. TO B= CONSIDERED A PERFECT PLAGAL CADENCE, A CADENCE MUST MEET ALL OF THE FOLLOWING CRITERIA: HT Must Use a WW CHORD (Not 4 1) CTH CHORDS MUST BE IN ROOT POSITION IF THE capeNce DOESNT MEET ALL OF THOSE CRIERA, IT's THE SOPRANO MUST CONSIDERED TO of ‘al END ON THE TONIC Be a THE SOPRANO Must pant KEEP THE COMMON TONE eee GIVI Give I Gi -r A HALF CADENCE \S ANY CADENCE THAT ENDS ON THE DOMINANT CHORD (V)- A SPECIFIC TYPE OF HALF CADENCE |S THE PHRYGIAN CADENCE, WHiCH MUST MEET THE FOLLOWING CRITERIA: IT CCcLIRS ONLY IN MINOR It USES A 1V CHORD MOVING TO V THE SOPRANO AND Bass MOVE BY STEP IN CONTRARY MOTION GI Vv THE SOPRANO AND Bass BOTH ew V cea Vv END ON THE FIFTH SCALE DEGREE A DECEPTIVE CADENCE \S 4 CADENCE WHERE THE DOMINANT CHORD (V) RESOLVES TO SOMETHING OTHER THAN TONIC... ALMOST Always THE SUBMEDIANT CHORD (V1). REALLY, IT'S THE PSYCH-OUT CADENCE, IN THAT YOU EXPECT IT TO RESOLVE TO TONIC, BUT IT DOESN'T. AND, IN FACT, IT'S MORE COMMON TO SEE THIS IN THE MIDDLE OF THE PHRASE RATHER THAN THE END... WHERE YOU MIGHT CALL IT A "CADENCE-LIKE STRUCTURE"! GiVvoovi Leesan BRENT ecnenanan pane Uitmite =aSEES SES Pe ICO TONY SEN: Pee Oe ee Te PE: HOW DID COMPOSERS OF THE COMMON PRACTICE PERIOD DECIDE WHICH ORDER To PUT CHORDS IN? DID THEY JuéT THROW THEM DOWN ON PAPER HAPHAZARDLY? AS A MATTER OF FACT, THERE ARE CERTAIN CHORD PROGRESSIONS THAT APPEAR MORE FREQUENTLY: AND THERE ARE OTHERS THAT ARE AVOIDED PRETTY CONSISTENTLY. WHILE THE CHOICES WERE ALWAYS BASED ON WHAT SOUNDED GOOD To THE COMPOSER, AS THEORISTS THERE IS A PATTERN IN THEIR CHOICES THAT WE CAN LSE TO EASILY REMEMBER WHICH CHORD PROGRESSIONS WORK AND WHICH ONES DON’T. ONE Way TO HNDERSTAND THIS PATTERN IS TO THINK IN TERMS OF ROOT MOVEMENTS. A ROOT MOVEMENT IS THE BASIC INTERVAL BETWEEN THE ROOT OF ONE CHORD AND THE ROOT OF THE NEXT CHORD. YOU DONT HAVE TO WORRY ABOUT THE INTERVAL'S INFLECTION, SUST ITS DISTANCE AND DIRECTION. ATO B 1S DOWN A SEVENTH, BUT SINCE OCTAVES DON'T marTER, WE INVERT IT To UP 4 SECOND. FOR EXAMPLE, TO DETERMINE THE ROOT MOVEMENT HERE, WE LOOK AT THE ROOT (NOT BASS) OF EACH CHORD AND FIGURE THE INTERVAL BETWEEN THEM. SO HERE'S THE PATTERN: COMMON PRACTICE PERIO? COMPOSERS GENERALLY USED ROOT MOVEMENTS OF LIP A SECOND; DOWN A THIRD; AND DOWN A FIFTHS ar’s Nor oe at Mey NEVER USED OTHER ROOT MOVEMENTS, BUT IT DIDNT HAPPEN VERY OFTEN. SEQUENCES OF CHORDS THAT REMEMBER... SINCE DON'T FOLLOW THIS PATTERN INFLECTION DOESN'T ARE CALLED RETROGRESSIONS, MATTER, WE CAN AND THEY ARE CONSIDERED IGNORE ACCIPENTALS UNSTYLISTIC- WHEN WE FIGURE THE ROOT MOVEMENTS. S al POLITE Way OF SaYNG “THE COMPOSERS DIDN'T PO IT $0 YOU SHOULON'T $0, FOR EXAMPLE, A G CHORD To AN DO IT EITHER" E CHORD |S DOWN A THIRD, BUT SO 1S 6 10 F FLAT, AND G SHARP TO E FLAT! THERE ARE ALSO FOUR SIMPLE EXCEPTIONS TO THIS PATTERN: >t I> --V wil (ANY CHORD CAN TONIC CAN MOVE ANY CHORD CaN AND THE LEADING-TONE Mowe TO Toney NO any CHORD «MOVE TODOMNANT, TRIAD MUIST MOVE TO TONIC. ' : of ersten. y 2h ou og 85 vt tocrae fe Tyee Take Tah Sie eeo ENS Sead y 3x8 §8 ‘Ss 3 Topecre wit 308 gp BGO =S— ES See gh Fa Fos 200 GO Torouow SS of SE *a8 gee cit Siti vir® «oy OFS I [Uninc Deere UTR CERAM Na cm Ce ESN HlEE AEE LE EAE OE EA RE SE TN SE ET: Diatonic Common Chord Modulation MOPULATION 1S THE PROCESS OF CHANGING TO A DIFFERENT KEY WITHIN A PIECE OF MUSIC. THERE ARE SEVERAL DIFFERENT ways TO MODULATE? PERHAPS THE SIMPLEST IS THE UNPREFARED MOPULATION, WHERE THE MUSIC PALISES AND SUDDENLY CHANGES. KEY, OFTEN UP A HALF-STEF. EY... WHAT IS THIS PORTRAT DONG HERE?, LET'S SAY WE'RE STARTING OFF IN C MAJOR... HERE IS A LIST OF ALL THE KEYS WHICH HAVE CHORDS IN COMMON WITH C MAIOR (THE SPECIFIC CHORDS ARE HIGHLIGHTED): coe wee, Pepe p Set THE I CHORD “et NG MAJOR i v 6 6-B-C... o& a COMMON PRACTICE PERIOD COMPOSERS, HOWEVER, PREFERRED A PARTICULAR TYPE (OF MODULATION THAT REQUIRED A LITTLE MORE PLANNING: THE DIATONIC COMMON CHORP MOPULATION. AS THE Name SUGGESTS, THIS USES A CHORD WHICH IS DIATONIC IN BOTH THE OUTGOING KEY AND THE NEW KEY WHICH Is e t ei jw) om)w) ¥v jv) we NOTICE HOW THESE KEYs ARE ALL CLOSE 10 ONE KEYS WHICH Have Sy ANOTHER ON THE CHORDS IN COMMON CIRCLE OF FIFTHS. KE THis ARE CALLED RELATED KEYS. Gr i i Mo» Vo ov owe TO USE THis TYPE OF MODULATION, A comPosER 1 HARMONY HORD THAT Fit NTO BOTH KEYS. AS THEORISTS, WE SHOW THis PIVOT CHORD BY ANALYZING THE CHORD IN BOTH KEYS. NOTE THat THE POT CHORD IS ALWAYS THE LAST CHORD THAT CAN Be ANALYZED IN THE OLD KEY... THE FIRST ACCIDENTALS WILL ALWAYS OCCUR IN THE CHORD IMMEDIATELY FOLLOWING VoVEw Vii THE PIVOT CHORD! ichaiekinn SOSrmiN a SERGI CENT INARA Leiba = Sitin SORIA a asEE EE EE NE A SE PM ne TERE AG ET Non-Harmonic Tones » A NON-HARMONIC TONE |S A NOTE THAT DOESN'T FIT INTO A CHORD. WE CLASSIFY NON-HARMONIC TONES BY HOW THEY ARE APPROACHED AND RESOLVED! we oe ee C x6 of “ é a @ we ResoEs By cONTNUING IN eee) Pr STEP STEP the cae Discron ae HE “arrroaci, RESOUES BY RETIRING 10 NMGEONS if STEP sTep “he Note rasceone TE NeNCHAReVONG TONE resowrs 1N orros: APPOGGIATHRA APP LEAP SEE ewer Rescues IN oFros ESCAPE TONE = ET STEP LEAP ase Saou nerencn, cuaNene WO NON-HARMONE TONES OF ANY STEP “oN sien ane oF He TONES Now oF FESCUITON. ; A choR® TONE PLsrED ANTICIPATION ANT = ANY = COMMON SEE a at oF SUSPENSION SUS TONE THE CHORD ARRVES. COMMON NOTE HELD OVER FROM TONE STEP A PREVOLIS CHORD AND RESOLVED DOWN. wn ANOTE HeW0 ove Fam RetaRpaTION RET COMMON srep “Sl Szevouie cnck ane Tmccueb un PEDAL TONE FEO SUSPENSIONS ARE TYPICALLY FURTHER IDENTIFIED BY NUMBER. THE FIRST NUMBER REPRESENTS THE INTERVAL BETWEEN THE NOTE OF SUSPENSION AND THE BASS. THE SECOND NUMBER REPRESENTS THE INTERVAL BETWEEN THE NOTE OF RESOLUTION AND THE Bass. THE EXCEPTION TO THIS RULE IS THE 2-5 OF BASS SUSPENSION, WHERE THE NUMBERS REPRESENT THE INTERVALS BETWEEN THE Bass QWHERE THE SLISPENSION OCCURS) AND Ore WHICHEVER VOICE HAS THE NOTE WHICH IS A eT SECOND (NOT COUNTING OCTAVES) ABOVE THE Bass. ae sus Eee ON cee Colne eK cena 5 Sees “fone “Tone Storae species eo eS 7 Tal (op SS ey \") \ tee ted aie. 2-8 sus ee CREEERE TESTE AE AAS SORE DENS EERO EE AG TT la. GPARKY = MUSIC THEORY DOG! Dear Sparky: Can you elaborate on why suspensions are identified by numbers? Also, what should one wateh out for when writing suspensions in four-part harmony? “MOOR! ‘e WHEN ANALYZING SUSPENSIONS, IT 1S IMPORTANT To IDENTIFY TRANSLATION: actu THe NOTE OF SUSPENSION (THE NON-HARMONIC TONE ~8.8., Detroit, MI ITSELF) AND THE NOTE OF RESOLUTION (THE NOTE THAT COMES RIGHT AFTER THE NON-HARMONIC TONE IN THE SAME VOICE). THs A's THE 1 DOBEN'T BELONG IN THIS 6 MAJOR TRIAD. T RESOLVES TO THIS G WHICH DOES Fit IN THe CHORD. 1S THE NOTE OF RESOLUTIONS c:Iv- ve WHEN WRITING AN EXAMPLE WHICH INCLUDES A SUSPENSION, IT 1S VERY OFTEN USEFUL TO BEGIN BY WRITING THE CHORD THAT IS GOING TO CONTAIN THE SLISPENSION, THEN ADDING THE SUSPENSION, AND FINISHING BY WRITING THE CHORD OF APPROACH. pa laid NOTE OF SUSPENSION. IN ALMOST EVERY Case, THE SUSPENSION IS THEN LABELED USING TWO INTERVALS: THE INTERVAL BETWEEN THE NOTE OF SUSPENSION AND THE BASS) AND THE INTERVAL BETWEEN THE NOTE OF RESOLUTION AND THE Bass. 0 IT'S A 76 SUSPENSION! THE ONLY EXCEPTION To THIS IS THE 2-3 SUSPENSION, WHERE THE SUSPENSION OCCURS IN THE BASS. FOR THIS ONE, WE LOOK AT THE INTERVAL BETWEEN THE NOTES OF SLISPENSION AND RESOLUTION AND THE NEAREST CHORD TONE, WHICHEVER VOICE IT May BE IN. THE REAL TRICK, THOUGH, 1S TO PLAN AHEAP..- IF YOU ARE PLANNING TO WRITE A PARTICLILAR TYPE OF SUSPENSION, YOU NEED TO THINK ABOUT THE INTERVAL THAT NEEDS TO BE PRESENT IN THE CHORD THAT INCLUDES YOUR SLISPENSION. FOR THE 9-8 SUSPENSION, THE SUSPENSION RESOLVES TO AN OCTAVE ABOVE THE BASS... THAT'S EASY SINCE ANY CHORD CAN INCLUDE: aN octave. FOR THE 7-6 SUSPENSION, THE SUSPENSION RESOLVES To AN SIXTH ABOVE THE BASS. THAT MEANS YOU. CAN'T USE A CHORD IN ROOT POSITION, BECAISE THEY HAVE @ FIFTH AND A THIRD ABOVE THE Bass. YOU NEED A FIRST OF SECOND INVERSION TRIA7! FOR THE 4-3 SUSPENSION AND 2-3 SUSPENSION; YOU NEED A CHORD WITH A THIRD ABOVE THE Bass... WHICH MEANS YOu CAN USE ANYTHING EXCEPT a SECOND INVERSION TRIA0- DOING STUFF THE SPARKY WAY IS ALWAYS FUN! ‘Lisanne At RR ARRAN MOLI Vien = is EO OO weSE EE EE IE SFT LONE WE SET OE Motivic Development WE'RE GOING TO TAKE A LITTLE BREAK FROM THE LISUAL STUFF AND... HEY, ITS LUDWIG VAN BEETHOVEN! TILL TELL YOu WHAT'S GOING ON: I'M GRUMPYL I BET ARCHDUKE RUDOLPH 20 GULDEN THAT x COULD weITe 500 MEASURES (OF MUSIC THIS WEEK AND SO FAR INE ONLY COME LIP WITH FOUR STINKIN’ NOTES! WHAT'S GOING ON, MAESTRO? HEY: IT'S COOL, MR. B- WE CAN LSE THESE NOTES AS A MOTIVE, AND CREATE A TON MORE Music BASED ON THEM. waTCH! ORIGINAL MOTIVE THE simpLest FORM OF MoTWc DEVELOPMENT: REPEATING A PHRASE REPETITION (MED ATELY GES YOU WCE AS MUCH MUSIC! MOTE REPETITION REPEATING A MONE At A HIGHER (OP LOWER LEVEL PCH. Ae WH SEQUENCE AL OF THESE, THE INTERVALS DON'T HAVE TO MATCH BxACTLY. MONE SEQUENCE SEQUENCE FUPPNG THE MOTVE UPSIDE-DOWN: THe ORONAL MOTE LEAS INVERSION DOWNWARD, AN INVERSION WiLL LEAP HPWARD, INVERSION OF ORGNAL MOTE: INTERVAL CONTRACTION — MAKING THE INTERVALS WITHIN THE INTERVAL EXPANSION OWE saith (conteacrex) of MOTWE INT. EXPANSION PIMINUTION CHANGING THE SPEED OF THE MOTE " Nui AUGMENTATION eee ee AUGMENTATION OF ORONAL MOTE RHYTHMIC ANY CHANGE OF THE McTVE's RurtHK Ptr oer test Eee METz PI (OTHER THAN JUST CHANGING THE — TAMO' lOSIS TEMPO, AS DESCRIBED ABOVE) — METAMORPHOSIS OF ORENAL MOTE AN NECHO" EFFECT BETWEEN DIFFERENT VOCES IMITATION: (BETWEEN INSTRUMENTS IN AN ENSEMBLE, FOR IMTatiON EXAMPLE, OR BETWEEN REGISTERS ON THE PIANC) MOTE eae ne AW, DaNe! THAT GETS Us TO 255 Let's co MEASURES... POUBLE OR YOU SLY FOX... Ne: Walt... WE ARE IN 506 MEASURES! 4/4 TIME; RIGHT? woooet! WH, YEAH... READ IT AND WEEP, RUDY! $0 LET'S USE 2/4 TIME IsTeAD! ene nara