RCM Theory - Level 8

Transposition of a melody to concert pitch for trumpet

* B flat instrument * The interval of transposition will be a major 2nd below.

Bb Major scale

2 flats

D Major scale

2 sharps

Eb Major scale

3 flats

C Major scale

No sharps or flats

Staff

a set of five horizontal lines and four spaces that each represent different musical pitch

Notes moving by step

difference in pitch between two consecutive notes of a musical scale

Simple interval

intervals less than an octave

Modern vocal score (in short and open score)

In the rich tradition of choral music, composers including Bach, Handel, Haydn, Mozart, Beethoven, and Mendelssohn have all written works involving four-part choir. The abbreviation "SATB" is used to refer to the four voices: soprano, alto, tenor, and bass. Modern vocal score is written for: • Soprano (in the treble clef) • Alto (in the treble clef) • Tenor (in the treble clef, written one octave higher than the actual sound. Sometimes a small number 8 is attached to the bottom of the treble clef to indicate the octave transposition) • Bass (in the bass clef) In modern vocal score, the text for each voice is given directly beneath the notes

Hybrid triple meter

Three beats in each measure; a combination of dotted and undotted beats including: • One dotted beat and two undotted beats o Top number is 7 • Two dotted beats and one undotted beat o Top number is 8 Bottom number can be 2, 4, 8, or 16 Can be grouped as one of the following: • Top number is 7: o 3 + 2 + 2 o 2 + 2 + 3 o 2 + 3 + 2 • Top number is 8: o 3 + 3 + 2 o 2 + 3 + 3 o 3 + 2 + 3

Hybrid duple meter

Two beats in each measure: • One dotted beat and one undotted beat Top number is always five Bottom number can be 2, 4, 8, or 16 Can be grouped as one of the following: • 2 + 3 • 3 + 2

Hybrid meter

* Also called irregular time signatures * A mixture of simple and compound time signatures with two, three, and four asymmetrical larger groups * Composers sometimes show the groupings of this meter through the time signature

Transposition of a melody to concert pitch for clarinet

* B flat instrument * The interval of transposition will be a major 2nd below.

Major pentatonic scales, starting on any pitch (using key signatures and/or accidentals)

* Consists of 5 different pitches. Penta is Greek for "five." * Widely used in music of many different cultures and traditions. In late 19th and early 20th centuries, composers used them to evoke exotic cultures of faraway lands. More recently, they have been embraced as a melodic source in classical, jazz, and popular styles. To write this scale: • Write a major scale, omitting ^4 and ^7 • The resulting pattern will be: maj 2, maj 2, min 3, maj 2, min 3

Minor pentatonic scales, starting on any pitch (using key signatures and/or accidentals)

* Consists of 5 different pitches. Penta is Greek for "five." * Widely used in music of many different cultures and traditions. In late 19th and early 20th centuries, composers used them to evoke exotic cultures of faraway lands. More recently, they have been embraced as a melodic source in classical, jazz, and popular styles. To write this scale: • Write a minor scale, natural form, omitting ^2 and ^6 • The resulting pattern will be: min 3, maj 2, maj 2, min 3, maj 2

Blues scales, starting on any pitch (using key signatures and/or accidentals)

* Consists of 6 different pitches. Can be referred to as a hexatonic scale. It is used in jazz and blues styles. To write this scale: • Write a minor pentatonic scale, adding either a raised ^4 or lowered ^5 (adding a half step between ^4 and ^5 of the original minor scale) • The resulting pattern will be: min 3, maj 2, min 2, min 2, min 3, maj 3

Octatonic scales, starting on any pitch (using key signatures and/or accidentals)

* Consists of 8 different pitches that alternate half steps and whole steps. Octa is Latin for "eight." * May begin with either a half step or whole step and can be notated using sharps, flats, or combination of both, depending on its context in the music. There are only 3 possible forms (or transpositions) of this scale. * Used by 20th-century composers including Debussy, Bartók, Messiaen, and Igor Stravinsky. Also used in European folk music. In the jazz tradition, it is referred to as the diminished scale. When composers use scales in their music, they often use fragments of the scale rather than complete scales. To write this scale: • Alternate half steps with whole steps, beginning with either interval: o H-W-H-W-H-W-H-W o (OR) W-H-W-H-W-H-W-H • Do not change the starting note enharmonically • One of the half steps will be written as a chromatic half step

Chromatic scales, starting on any pitch (using key signatures and/or accidentals)

* Constructed entirely of half steps. * Consists of 12 different pitches. All notes are separated by the same interval. Pitches will always be the same, but accidentals used may vary. * Often used as transitions from one section to another and to display virtuosity of the performer. When composers use scales in music, they often use fragments of the scale rather than complete scales. To write this scale: • Build a series of half steps using accidentals to raise notes when ascending and to lower them when descending • Use a bar line after the upper tonic to cancel all previously used accidentals • Do not use more than 2 notes with the same letter name consecutively within the ascending or descending segment • Do not change the starting note enharmonically

Whole-tone scales, starting on any pitch (using key signatures and/or accidentals)

* Constructed of only whole steps. * Consists of 6 different pitches. All notes are separated by the same interval. Also referred to as a hexatonic scale. Hexa is Greek for "six". * May start on any pitch and can be notated in various ways. * Six different letter names are used. At one point a letter name will be missing. The diminished third that results is the enharmonic equivalent of the major second interval. Placement of the diminished third may vary. * Used in works of 20th-century composers including Claude Debussy, Béla Bartók, and Olivier Messiaen. When composers use scales in music, they often use fragments of the scale rather than complete scales. To write this scale: • Build a series of whole steps using accidentals as required • Do not change the starting note enharmonically

Transposition of a melody to concert pitch for english horn

* F instrument * the interval of transposition will be a perfect 5th below.

Transposition of a melody to concert pitch for french horn

* F instrument * the interval of transposition will be a perfect 5th below.

D Minor scale

* Natural Form: 1 flat * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

E Minor scale

* Natural Form: 1 sharp * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

G Minor scale

* Natural Form: 2 flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

B Minor scale

* Natural Form: 2 sharps * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

C Minor scale

* Natural Form: 3 flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

F# Minor scale

* Natural Form: 3 sharps * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

F Minor scale

* Natural Form: 4 flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

C# Minor scale

* Natural Form: 4 sharps * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

G# Minor scale / Ab Minor scale

* Natural Form: 5 sharps / 7 flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

D# Minor scale / Eb Minor scale

* Natural Form: 6 sharps / 6 flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

A# Minor scale / Bb Minor scale

* Natural Form: 7 sharps / 5 flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

A Minor scale

* Natural Form: No sharps or flats * Harmonic Form: raise the 7th note a semi-tone on the way up and down * Melodic Form: raise the 6th and 7th note a semi-tone on the way up. Lower the 6th and 7th note a semi-tone on the way down.

Breve rest

* a double whole rest * sometimes used for a full measure of silence in 4/2, 9/4, and 12/4

String quartet score (in short and open score)

* a favorite form of chamber music since the Classical era. * Haydn, Mozart, Beethoven, and Schubert were important composers of this. * written for: • First violin (in the treble clef) • Second violin (in the treble clef) • Viola (in the alto clef) • Cello (in the bass clef)

Time Signature: 6/4

* compound duple meter * 6 quarter note beats per bar

Time Signature: 6/16

* compound duple meter * 6 sixteenth note beats per bar

Time Signature: 12/8

* compound quadruple meter * 12 eighth note beats per bar

Time Signature: 12/16

* compound quadruple meter * 12 sixteenth note beats per bar

Time Signature: 6/8

* compound triple meter * 6 eighth note beats per bar

Time Signature: 9/8

* compound triple meter * 9 eighth note beats per bar

Time Signature: 9/4

* compound triple meter * 9 quarter note beats per bar

Time Signature: 9/16

* compound triple meter * 9 sixteenth note beats per bar

Time Signature: 2/8

* duple meter * 2 eighth note beats per bar

Time Signature: 2/2

* duple meter * 2 half note beats per bar

Time Signature: 2/4

* duple meter * 2 quarter note beats per bar

Time Signature: 5/4

* hybrid duple meter * 5 quarter note beats per bar

Time Signature: 10/16

* hybrid quadruple meter * 10 sixteenth note beats per bar

Time Signature: 7/8

* hybrid triple meter * 7 eighth note beats per bar

Compound interval

* intervals wider than an octave * To name this type of interval: • Determine the size by counting • Determine the quality by compressing the interval to its simple form, either by transposing the bottom note up one octave or by transposing the top note down one octave. The quality of this interval will be the same as that of its simple form (for example: ". . ." maj 3 is the same as maj 10)

Time Signature: 4/8

* quadruple meter * 4 eighth note beats per bar

Time Signature: 4/2

* quadruple meter * 4 half note beats per bar

Time Signature: 4/4

* quadruple meter * 4 quarter note beats per bar

Time Signature: 3/8

* triple meter * 3 eighth note beats per bar

Time Signature: 3/2

* triple meter * 3 half note beats per bar

Time Signature: 3/4

* triple meter * 3 quarter note beats per bar

F Major scale

1 flat

G Major scale

1 sharp

A Major scale

3 sharps

Ab Major scale

4 flats

E Major scale

4 sharps

B Major scale / Cb Major scale

5 sharps / 7 flats

F# Major scale / Gb Major scale

6 sharps / 6 flats

C# Major scale / Db Major scale

7 sharps / 5 flats

Notes moving by skip

A step is the difference in pitch between two consecutive notes of a musical scale. Anything larger than that is this

Diatonic half step

Contain half step motions but use different letter names. For example: E and F, F# and G, and A and Bb

Chromatic half step

Contain the same letter name. For instance, C and C#, Eb and E, and G and G#

Relative major and minor keys (including enharmonic equivalents)

From the major key, count up by 6, including the tonic note

Diatonic modes starting on any pitch (using key signatures and/ or accidentals)

Ionian (major), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (natural minor), and Locrian

Tenor clef

a clef placing middle C on the fourth line of the staff

Alto clef

a clef placing middle C on the third line of the staff

Bass clef

a clef placing the F below middle C on the fourth line of the staff

Treble clef

a clef that places G above middle C on the second line of the staff

Measure

a group of notes and rests, separated from other groups by vertical lines, into which a line of written music is divided

Parallel major and minor keys (including enharmonic equivalents)

a minor scale that starts on the same tonic as the major key. It will always have a different key signature.

Upbeat (anacrusis)

a note or series of notes that comes before the first complete measure of a composition; an introductory (and optional) measure that does not hold the number of beats expressed by the time signature.

Grand staff

a pair of five-line staffs connected by a brace that contain the music for a single instrument

Time Signature: 12/4

compound quadruple meter 12 quarter note beats per bar

Notes that repeat

the same note is played again

Bar line

the vertical line marking the boundary between one bar and the next

Melodic intervals up to and including an octave

two notes are played in sequence, one after the other.

Harmonic intervals up to and including an octave

two notes are played together at the same time

Hybrid quadruple meter

Four beats in each measure, a combination of dotted and undotted beats including: • One dotted beat and three undotted beats o Top number is 9 • Two dotted beats and two undotted beats o Top number is 10 • Three dotted beats and one undotted beats o Top number is 11 Bottom number can be 2, 4, 8, or 16 Groupings include one of the following: • Top number is 9: o 3 + 2 + 2 + 2 o 2 + 2 + 2 + 3 o 2 + 3 + 2 + 2 • Top number is 10: o 3 + 3 + 2 + 2 o 2 + 2 + 3 + 3 o 2 + 3 + 2 + 3 • Top number is 11: o 3 + 3 + 3 + 2 o 2 + 3 + 3 + 3 o 3 + 2 + 3 + 3

Ionian (major) mode

Sounds like major scale Tonic to tonic

Phrygian mode

Sounds like natural minor with lowered ^2 Mediant to mediant

Dorian mode

Sounds like natural minor with raised ^6 Supertonic to supertonic