Theory of Music Clefs and Notes Treble Clef Bass Clef Major and Minor scales Smallest interval between two notes is a semitone. Two semitones make a tone. C# D# F# G# A# Db Eb Gb Ab Bb C D E F G A B Major scale pattern: (i.e. 1st to 2nd note, 2ns to 3rd, 3rd to 4th etc.) Tone-Tone-Semitone-Tone-Tone-Tone-Semitone Minor scale pattern: Tone-Semitone-Tone-Tone-Semitone-Tone-Tone
Degrees of the scale (e.g. C major scale) C# D# F# G# A# Db Eb Gb Ab Bb C D E F G A B I II III IV V VI VII Tonic Supertonic Mediant Subdominan t Dominant Submediant Leading Note Key Signatures Each major key signature shares its key signature with a minor key. The difference is that the seventh degree of the scale in a minor key is raised by a semitone in the form of an accentual throughout a piece of music. The expression used is 'relative' (e.g. relative minor, relative major) Refer to chart for key signatures:- # sharp b flat m minor 4 # 3# 2# 1# 0 1 b 2b 3 b 4 b # or b Major E A D G C F Bb Eb Ab Minor C#m F#m Bm Em Am Dm Gm Cm Fm # or b F#,C#, F#,C F#,C F# Bb Bb,E Bb,Eb, Bb,Eb,Ab, used G#,D# #,G# # b Ab Db
Modes A set of notes. The forerunner to the scale patterns particularly used in mediaeval music (pre 1450) and modern pop music as the basis for guitar improvised solos. Aurally, they feel like they are neither major nor minor. Indeed, the Ionian and Aeolian mode eventually became the major and minor scales respectively. The Aeolian Mode:- The Dorian Mode:- The Mixolydian mode Alternative Scale patterns Pentatonic Scale Five notes found from the following pattern:- Three notes, miss one, two notes, miss one e.g. C D E G A Whole tone scale The interval between each note is a whole tone (i.e. no semitones in the scalic pattern) There are only two forms of the whole tone scale:- C D E F# G# A# and C# D# F G A B Blues scale For example, the Blues scale in C major:- C Eb F G Bb. It sounds like a pentatonic scale. It is a derivation of the major scale with three blues notes: Flattened third, flattened fifth and less commonly used as an additional note, the flattened fifth.
Intervals An interval is the distance between two notes. Two notes played at the same time will form a harmonic interval. Count the first note as 1, and then count all the notes in between and finally the top note. Examples of more popular intervals:- All the above examples are known as 'major' intervals (e.g. major fifth) A 'minor' interval is created when the major interval is flattened by a semitone (i.e. the top note is flattened) Intervals of a fourth or fifth cannot be made into a 'minor' interval; they are called 'diminished' intervals. An 'augmented' interval is created when the major interval is enlarged by a semitone (generally, the top note has been raised up a semitone). Positions of Triads (including the figured bass Roman numerals - signifying the intervals between the notes) 5 6 6 3 3 4 How the notes of a chord are placed in pitch is referred to as Voicing, as if you are writing harmony notes for voices in a choir.
Melodic Decoration Diatonic notes Notes that are from the key of the music; notes found in the scale of that key e.g. C major: Diatonic notes would be C D E F G A B Diatonic Harmony Harmony that relates to the given key e.g. C major key signature: C Dm Em F G Am (B) (i.e. no inclusion of additional notes other than those already found in the scale of C major) Chromatic notes Notes used in a melody (or accompanying part) that are not part of the given key/scale e.g. C major C# Eb F# Ab Bb etc. Passing Note Note used to enable the melody move from one note of the chord (triad) to another note without causing a leap. e.g. C major The passing note (the note D') takes its value from some of the value of the previous note (note C'):- Appoggiatura An added note that creates tension, only to e resolved by a chordal note. Appoggiaturas can be reached through a leap:- Appoggiaturas can also be written as smaller printed notes with a stem in the opposite direction. Such a note adopt half the value of the note that follows it.
Suspension A note that appears to be 'left behind' creates a suspension, that is, it belongs to the previous chord. All suspension notes produce dissonances and consequent tension, which needs to be resolved (in other words, movement from the tension note to a note of the newly formed chord). Motif A short, recognisable melodic or rhythmic pattern. Motifs are manipulated and changed in various manners in order to advance forward the music. Melodic Sequence A melodic motif is repeated but at a higher or lower pitch. Subtle interval changes may occur in order to keep the motif in the same key. Melodic variation A motif is changed in some way, whether by pitch or rhythmic adjustment to provide a variant.. Melodic Extension A motif is extended slightly, possibly through the inclusion of new notes or extended note duration values. Musical Phrase Above is an example of a musical phrase. It is quite equal in its design as there are four bars, with the third bar commencing with a short motif that reassembles the opening motif in bar 1. Much of the successful music that has been composed in former eras has been constructed upon equal lengths of phrases, the most popular length of a phrase being four bars; another popular length is two bars.
Cadences Cadences are used to conclude phrases or sections of music. It can be compared to a punctuation mark in a sentence or paragraph (comma, full stop). There are four types of cadences:- Perfect Imperfect Plagal Interrupted A full, secure finish to the musical phrase. V I An incomplete finish to a musical phrase, as if more should follow. The cadence finishes with the chord V I V II V VI V A completion that sounds rather like 'Ammen' (used to round off some hymns). Formal conclusions. IV I It appears to be a perfect cadence, however, it is interrupted at the last chord, by the chord VI V VI Added Note Chords An additional note is added to the notes of the chord (i.e. a note not part of the triad) e.g. C major Added note chord variation: C6 = CEGA (The sixth degree of the scale, or interval or a sixth from C, is added to the triad notes) Popular added note chords (examples quoted in C major):- C4 or C11 C6 C maj 7 (CEGB) C7 (CEGBb)
Modulation Through the subtle use of accidental notes and perfect cadences, the whole piece is transported into a new key. The overall key signature does not change. Figurations Instead of rather static and uninteresting use of chords, composers tend to allocate a rhythmic pattern or pitch feature to the chord progressions. Typical figures include: Arpeggio Broken chord Stride bass Alberti bass Syncopation Unessential (Passing) notes