Music Theory III COURS
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Day 17 AP Music Handout, Scale Degress.Mus
Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale. -
Discover Seventh Chords
Seventh Chords Stack of Thirds - Begin with a major or natural minor scale (use raised leading tone for chords based on ^5 and ^7) - Build a four note stack of thirds on each note within the given key - Identify the characteristic intervals of each of the seventh chords w w w w w w w w % w w w w w w w Mw/M7 mw/m7 m/m7 M/M7 M/m7 m/m7 d/m7 w w w w w w % w w w w #w w #w mw/m7 d/wm7 Mw/M7 m/m7 M/m7 M/M7 d/d7 Seventh Chord Quality - Five common seventh chord types in diatonic music: * Major: Major Triad - Major 7th (M3 - m3 - M3) * Dominant: Major Triad - minor 7th (M3 - m3 - m3) * Minor: minor triad - minor 7th (m3 - M3 - m3) * Half-Diminished: diminished triad - minor 3rd (m3 - m3 - M3) * Diminished: diminished triad - diminished 7th (m3 - m3 - m3) - In the Major Scale (all major scales!) * Major 7th on scale degrees 1 & 4 * Minor 7th on scale degrees 2, 3, 6 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 7 - In the Minor Scale (all minor scales!) with a raised leading tone for chords on ^5 and ^7 * Major 7th on scale degrees 3 & 6 * Minor 7th on scale degrees 1 & 4 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 2 * Diminished 7th on scale degree 7 Using Roman Numerals for Triads - Roman Numeral labels allow us to identify any seventh chord within a given key. -
Major and Minor Scales Half and Whole Steps
Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale. -
Brain Tumors : Practical Guide to Diagnosis and Treatment
Brain Tumors DK616x_C000a.indd 1 09/01/2006 8:49:40 AM NEUROLOGICAL DISEASE AND THERAPY Advisory Board Gordon H. Baltuch, M.D., Ph.D. Department of Neurosurgery University of Pennsylvania Philadelphia, Pennsylvania, U.S.A. Cheryl Bushnell, M.D., M.H.S. Duke Center for Cerebrovascular Disease Department of Medicine, Division of Neurology Duke University Medical Center Durham, North Carolina, U.S.A. Louis R. Caplan, M.D. Professor of Neurology Harvard University School of Medicine Beth Israel Deaconess Medical Center Boston, Massachusetts, U.S.A. Mark A. Stacy, M.D. Movement Disorders Center Duke University Medical Center Durham, North Carolina, U.S.A. Mark H. Tuszynski, M.D., Ph.D. Professor of Neurosciences Director, Center for Neural Repair University of California—San Diego La Jolla, California, U.S.A. DK616x_C000a.indd 2 09/01/2006 8:49:43 AM 1. Handbook of Parkinson’s Disease, edited by William C. Koller 2. Medical Therapy of Acute Stroke, edited by Mark Fisher 3. Familial Alzheimer’s Disease: Molecular Genetics and Clinical Perspectives, edited by Gary D. Miner, Ralph W. Richter, John P. Blass, Jimmie L. Valentine, and Linda A. Winters-Miner 4. Alzheimer’s Disease: Treatment and Long-Term Management, edited by Jeffrey L. Cummings and Bruce L. Miller 5. Therapy of Parkinson’s Disease, edited by William C. Koller and George Paulson 6. Handbook of Sleep Disorders, edited by Michael J. Thorpy 7. Epilepsy and Sudden Death, edited by Claire M. Lathers and Paul L. Schraeder 8. Handbook of Multiple Sclerosis, edited by Stuart D. Cook 9. Memory Disorders: Research and Clinical Practice, edited by Takehiko Yanagihara and Ronald C. -
When the Leading Tone Doesn't Lead: Musical Qualia in Context
When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony. -
The Perceptual Attraction of Pre-Dominant Chords 1
Running Head: THE PERCEPTUAL ATTRACTION OF PRE-DOMINANT CHORDS 1 The Perceptual Attraction of Pre-Dominant Chords Jenine Brown1, Daphne Tan2, David John Baker3 1Peabody Institute of The Johns Hopkins University 2University of Toronto 3Goldsmiths, University of London [ACCEPTED AT MUSIC PERCEPTION IN APRIL 2021] Author Note Jenine Brown, Department of Music Theory, Peabody Institute of the Johns Hopkins University, Baltimore, MD, USA; Daphne Tan, Faculty of Music, University of Toronto, Toronto, ON, Canada; David John Baker, Department of Computing, Goldsmiths, University of London, London, United Kingdom. Corresponding Author: Jenine Brown, Peabody Institute of The John Hopkins University, 1 E. Mt. Vernon Pl., Baltimore, MD, 21202, [email protected] 1 THE PERCEPTUAL ATTRACTION OF PRE-DOMINANT CHORDS 2 Abstract Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being more attracted to the dominant. -
Evaluating Prolongation in Extended Tonality
Evaluating Prolongation in Extended Tonality <http://mod7.shorturl.com/prolongation.htm> Robert T. Kelley Florida State University In this paper I shall offer strategies for deciding what is structural in extended-tonal music and provide new theoretical qualifications that allow for a conservative evaluation of prolongational analyses. Straus (1987) provides several criteria for finding post-tonal prolongation, but these can simply be reduced down to one important consideration: Non-tertian music clouds the distinction between harmonic and melodic intervals. Because linear analysis depends upon this distinction, any expansion of the prolongational approach for non-tertian music must find alternative means for defining the ways in which transient tones elaborate upon structural chord tones to foster a sense of prolongation. The theoretical work that Straus criticizes (Salzer 1952, Travis 1959, 1966, 1970, Morgan 1976, et al.) fails to provide a method for discriminating structural tones from transient tones. More recently, Santa (1999) has provided associational models for hierarchical analysis of some post-tonal music. Further, Santa has devised systems for determining salience as a basis for the assertion of structural chords and melodic pitches in a hierarchical analysis. While a true prolongational perspective cannot be extended to address most post-tonal music, it may be possible to salvage a prolongational approach in a restricted body of post-tonal music that retains some features of tonality, such as harmonic function, parsimonious voice leading, or an underlying diatonic collection. Taking into consideration Straus’s theoretical proviso, we can build a model for prolongational analysis of non-tertian music by establishing how non-tertian chords may attain the status of structural harmonies. -
Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L
Document généré le 1 oct. 2021 12:21 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L. Hicken Numéro 1, 1980 URI : https://id.erudit.org/iderudit/1013738ar DOI : https://doi.org/10.7202/1013738ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Hicken, K. L. (1980). Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 130–146. https://doi.org/10.7202/1013738ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1980 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ TONAL ORGANIZATION IN SCHOENBERG'S SIX LITTLE PIANO PIECES, OP. 19 Kenneth L. Hicken What is the nature of Schoenberg's so-called atonality? Does his atonal organization of pitch truly involve abandonment of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an exten• sion of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op. -
In Search of the Perfect Musical Scale
In Search of the Perfect Musical Scale J. N. Hooker Carnegie Mellon University, Pittsburgh, USA [email protected] May 2017 Abstract We analyze results of a search for alternative musical scales that share the main advantages of classical scales: pitch frequencies that bear simple ratios to each other, and multiple keys based on an un- derlying chromatic scale with tempered tuning. The search is based on combinatorics and a constraint programming model that assigns frequency ratios to intervals. We find that certain 11-note scales on a 19-note chromatic stand out as superior to all others. These scales enjoy harmonic and structural possibilities that go significantly beyond what is available in classical scales and therefore provide a possible medium for innovative musical composition. 1 Introduction The classical major and minor scales of Western music have two attractive characteristics: pitch frequencies that bear simple ratios to each other, and multiple keys based on an underlying chromatic scale with tempered tuning. Simple ratios allow for rich and intelligible harmonies, while multiple keys greatly expand possibilities for complex musical structure. While these tra- ditional scales have provided the basis for a fabulous outpouring of musical creativity over several centuries, one might ask whether they provide the natural or inevitable framework for music. Perhaps there are alternative scales with the same favorable characteristics|simple ratios and multiple keys|that could unleash even greater creativity. This paper summarizes the results of a recent study [8] that undertook a systematic search for musically appealing alternative scales. The search 1 restricts itself to diatonic scales, whose adjacent notes are separated by a whole tone or semitone. -
Secondary Dominant Chords.Mus
Secondary Dominants Chromaticism - defined by the use of pitches outside of a diatonic key * nonessential chromaticism describes the use of chromatic non-chord tones * essential chromaticism describes the use of chromatic chord tones creating altered chords Secondary Function Chords - also referred to as applied chords * most common chromatically altered chords * function to tonicize (make sound like tonic) a chord other than tonic * applied to a chord other than tonic and typically function like a dominant or leading-tone chord - secondary function chords can also be used in 2nd inversion as passing and neighbor chords - since only major or minor triads can function as tonic, only major or minor triads may be tonicized - Secondary function chords are labeled with two Roman numerals separated by a slash (/) * the first Roman numeral labels the function of the chord (i.e. V, V7, viiº, or viiº7) * the second Roman numeral labels the chord it is applied to - the tonicized chord * secondary function labels are read as V of __, or viiº of __, etc. Secondary Dominant Chords - most common type of secondardy function chords * always spelled as a major triad or Mm7 chord * used to tonicize a chord whose root is a 5th below (or 4th above) * can create stronger harmonic progressions or emphasize chords other than tonic Spelling Secondary Dominant Chords - there are three steps in spelling a secondary dominant chord * find the root of the chord to be tonicized * determine the pitch a P5 above (or P4 below) * using that pitch as the root, spell a -
Transfer Theory Placement Exam Guide (Pdf)
2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide! Texas woman’s university ! ! 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This! guide is meant to help graduate and transfer students prepare for the Graduate/ Transfer Theory Placement Exam. This evaluation is meant to ensure that students have competence in basic tonal harmony. There are two parts to the exam: written and aural. Part One: Written Part Two: Aural ‣ Four voice part-writing to a ‣ Melodic dictation of a given figured bass diatonic melody ‣ Harmonic analysis using ‣ Harmonic Dictation of a Roman numerals diatonic progression, ‣ Transpose a notated notating the soprano, bass, passage to a new key and Roman numerals ‣ Harmonization of a simple ‣ Sightsinging of a melody diatonic melody that contains some functional chromaticism ! Students must achieve a 75% on both the aural and written components of the exam. If a passing score is not received on one or both sections of the exam, the student may be !required to take remedial coursework. Recommended review materials include most of the commonly used undergraduate music theory texts such as: Tonal Harmony by Koska, Payne, and Almén, The Musician’s Guide to Theory and Analysis by Clendinning and Marvin, and Harmony in Context by Francoli. The exam is given prior to the beginning of both the Fall and Spring Semesters. Please check the TWU MUSIc website (www.twu.edu/music) ! for the exact date and time. ! For further information, contact: Dr. Paul Thomas Assistant Professor of Music Theory and Composition [email protected] 2 2016-17 ! ! ! ! table of Contents ! ! ! ! ! 04 Part-Writing ! ! ! ! ! 08 melody harmonization ! ! ! ! ! 13 transposition ! ! ! ! ! 17 Analysis ! ! ! ! ! 21 melodic dictation ! ! ! ! ! harmonic dictation ! 24 ! ! ! ! Sightsinging examples ! 28 ! ! ! 31 terms ! ! ! ! ! 32 online resources ! 3 PART-Writing Part-writing !Realize the following figured bass in four voices. -
The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg
International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.