MUS 101 Unit(s) 1, 2,3

Treble Clef Features

!: Stylized G, upper potion shows uppercase G, lower portion highlights lowercase g 2: The Loop: the space above the top line is a G. 2nd line is also a G, Loops shows where G falls on staff.

The Composer

"Push the envelope" of what is possible musically, and they aim to create new works that aren't based on existing compositions. Bring new music and sounds.

Guido D'Arezzo

"the father of modern music" 15h and 16th century. Musical career at Benedictine monastery in Pomposa, Italy. Made 4-line staff system popular by using precise notation where the position of the note on the staff indicated the exact pitch. -"Micrologus" year 1026 -Solfege system

First 16 partials of the overtone series

-1st pitch heard is an octave above the fundamental. -interval b/t the 2nd and 3rd partials is a PERFECT 5th -b/t 3rd and 4th partials is a PERFECT 4th -b/t 5th and 6th partials is MAJOR 3rd -b/t 6th and 7th partials is a MINOR 3rd

Calculating Perfect Fifths

-5 scale degrees -7 half steps

Practical and Theoretical Key Signatures

-Calculating certain intervals. -F flat major: make what is already flat in key signature double flats while making everything else a flat.

Early Staff Systems

-Contour vs. Precision: didn't specify precise pitches, only melody -Neumes: indicate the placement of pitches

Chromatic Intervals II - Chromatic Scale

-Counting half steps on the piano: There are two half steps between C and D. There are four half steps between C and E. There are six half steps between C and F♯.

Chromatic Notes

-Half Steps -Accidentals: symbols are used to identify wether one of the seven notes from the musical alphabet is higher, lower, or played w/out change to original pitch -Enharmonic: 2notes will have same pitch but diff. notes

Neumes

-Simple: a collection of up to 3 pitches -Compound: more than 3 -Liquescent: indicated the performer should play a passage quietly, and performance preferences -Ornamenting: indicated particular style.

History of Accidentals

-The B-natural was originally written as a square-shaped B. -The B-flat was represented by a rounded B

Implied accents

-helps provide a sense of forward motion that propels the pieces forward to the next beat

Minor scales

-natural: minor key signature -harmonic: natural minor scale w/ raised seventh -melodic: natural minor scaled w/ 6th and 7th ascending and natural minor descending

Eight Note Beaming

-no beams: indicate a separation b/t each 8th note -By beat: since 2 8th notes are equal to a single quarter note -By Accent: notes are broken up into groups of four.

Ties

-occur b/t identical notes -used to extend the value of a note. -extending a note across the barline

Parallel and relative minor

-parallel key signature: same tonic: diff. key signature. major/minor key both have same starting pitch -relative key signatures: same key signature but diff. tonic. major/minor have same key signature but diff. tonic, two scales are relative to each other.

Classifying time signature

-simple time: beat is divided into 2 equal parts with more than 1 beat in the measure, ex. 2/4, 3/4, 4/2 -Compound time: the subdivision of the beat is divided into 3 equal parts w/ more than 1 beat in the measure, ex: 6/8, 9/8, 6/4 -Complex or Irregular Time: subdivision of the beat alternates b/t 2 and 3 equal parts, ex. 5/4, 11/16, 7/8

Traids in Inversion

. In this way, root position triads maintain the root of the chord as the bass. First inversion triads have the third of the triad in the bass. Second inversion triads have the fifth of the triad in the bass. In essence, restructuring a triad and putting it in an inversion involves moving the bass note up an octave until the proper inversion is obtained.

INTERVAL TABLE

0 Half Steps Perfect Unison 1 Half Steps Minor Second 2 Half Steps Major Second 3 Half Steps Minor Third 4 Half Steps Major Third 5 Half Steps Perfect Fourth 6 Half Steps Augmented Fourth/Diminished Fifth (Tritone) 7 Half Steps Perfect Fifth 8 Half Steps Minor Sixth 9 Half Steps Major Sixth 10 Half Steps Minor Seventh 11 Half Steps Major Seventh 12 Half Steps Perfect Octave

Quarter note/rest

1 beat in 4/4 time

Basic note values

1 or more beats. Time signatures

Enharmonics

1 pitch that is notated in 2 possible ways.

Eigth note/rest

1/2 beat

sixteenth note/rest

1/4 beat in 4/4 time

Bass Clef Features

1: stylize F: Stem: cursive, Arm and Leg: cursive F correspond to the 2 dots on the bass clef 2: The Dots: surround the F-line 3; Ball of the Bass Clef: circles the F-line

Guido's 4-line staff

1st line was blue, D 2nd line was colored red, indicated the note F 3rd not was black, A 4th (top) line was yellow, note C -interval (distance) b/t red and yellow is a perfect 5th

half notes and rest

2 beats

cut time

2/2 time signature

Implied Accents- time signature

3/4 time: weak-weak 4/4 time: strong-weak, medium-weakest 2/2 Time and 2/4 time: strong-weak 6/8 time: strong-weak-weak, meadium-weak-weak 9/8 time: strong-weak-weak, medium-weak-weak, medium-weak-weak

whole notes and rest

4 beats

The Math in Tempo Marking

40 BPm to 60: values increased by 2 ticks -60 to 72: 3 ticks -72 to 120: four -120 to 144: 6 -144 to 208: 8

Staff system: Lines vs. Spaces

5 lines 4 space Each line as one space expect the 5th line

6/8 time signature

6 beats per measure, eighth note gets the beat

The Musical Alphabet

A circular pattern -A to G -Octave: distance b/t 1 note or pitch and it's next occurrence. From one A to another A.

Volta Brackets

A repeated passage is to be played with different endings on different playings

Octave Register

All pitches from one C up to but not including the next C

The triads of music

All triads chords, but not all chords are triads. The Four Basic Triads: Major (M), minor (m), Augmented (aug), diminished (dim) .

The Notes of the Alto/Tenor Clef

Alto: third line is middle C, sound highers than tenor. Tenor: fourth line is middle C

Barlines and Measures

Barlines are vertical lines. Measures are the spaces between the barlines.

Breaks and Caesura

Breath marks: b/t notes place a short separation Caesura(railroad tracks): indicate that the performer should pause until conductor indicate to resume

Figured bass numbering system for triads

Chord members are each given a number that indicates their distance from the remaining chord members. However, if only a single number is indicated for a triad, the musician must know the figured bass conventions for determining the remaining notes.a numbering system known as figured bass was used to make it easier for keyboard players to accompany instrumentalists and vocalists.

Open and close position

Close position occurs when the top three notes, excluding the bass, are in the closest position to each other possible

Johann Nepomuk Maelzel

Created the wooden metronome 1816

Ancius Manlius Severinus Boethius

De Institutione Musica: describes a system of music notation with an extended alphabet used in ancient greece.

Determine the Division of the Beat

Determine the Division of the Beat -Simple Time, top number is 2,3 4 -Compound time: top # is 6,9, 12 -Complex time: top # 2,3,4,6,9 or 12 Determine the Division of the Meter -is beat is simple time, top # to determine duple, triple or quadruple

Augmented and Diminished Intervals

Diminished Intervals: Lower a perfect interval, it becomes diminished. Or, lower a minor interval by a half step, it also becomes diminished. Augmented Intervals: Raise a perfect interval, it becomes augmented. Or, raise a major interval by a half step, it also becomes augmented. d = Diminished (lowercase d) A = Augmented (uppercase A)

Seventh chords

Dominant seventh - major triad with a minor seventh Major seventh - major triad with a major seventh Minor seventh - minor triad with a minor seventh Diminished seventh - diminished triad with a diminished seventh Half-diminished seventh - diminished triad with a minor seventh

Double sharps and flats

Double sharps: raise the pitch 2 half steps/ 1 whole step Double Flats: Lower the pitch by 2 half steps/ 1 whole step

Duple, Triple and Quadruple

Duple: two beats per measure Triple: 3 beat in measure Quadruple: 4 beats in measure

Final Barline

Ending measure of a piece. Always includes two bar lines, one regular-sized and one extra thick.

Order of sharps and flats

Flats: BEADGCF Sharps: FCGDAEB

Theoretical Scales

For example, the Fb major scale consists of the following notes: F♭ | G♭ | A♭ | B♭♭ | C♭ | D♭ | E♭ Fb major is the same scale as the simpler E major scale: E | F♯ | G♯ | A | B | C♯ | D♯ Enharmonically, this is identical to an E major scale: F♭=E | G♭=F♯ | A♭=G♯ | B♭♭=A | C♭=B | D♭=C♯ | E♭=D♯

Generic Interval B/t C4 and G4

G4 to C5 = Fourth (G4, A4, B4, C5) A3 to C4 = Third (A3, B3, C4) D4 to C5 = Seventh (D4, E4, F4, G4, A4, B4, C5) C5 to D4 = Seventh (C5, B4, A4, G4, F4, E4, D4. Note: This particular interval goes down.)

Single barline

General divider into bars Most Common

CALCULATING SPECIFIC/CHROMATIC INTERVALS

Generic Interval: The generic interval gives you an approximate distance between notes. Interval Quality: The interval quality tells you whether a note is major, minor, perfect, augmented, or diminished. Review the chart of major and minor intervals: Major Intervals:M2 = 2 Half StepsM3 = 4 Half StepsM6 = 9 Half StepsM7 = 11 Half StepsMinor Intervals:m2 = 1 half stepm3 = 3 half stepsm6 = 8 half stepsm7 = 10 half steps

common tempo markings

Grave - slow and solemn (20-40 BPM) Lento - slowly (40-45 BPM) Largo - broadly (45-50 BPM) Adagio - slow and stately (literally, "at ease") (55-65 BPM) Adagietto - rather slow (65-69 BPM) Andante - at a walking pace (73-77 BPM) Moderato - moderately (86-97 BPM) Allegretto - moderately fast (98-109 BPM) Allegro - fast, quickly and bright (109-132 BPM) Vivace - lively and fast (132-140 BPM) Presto - extremely fast (168-177 BPM) Prestissimo - even faster than Presto (178 BPM and over)

Quintal Harmony

Harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth.

Modern Modes

Henry of Clarus, named the modes incorrectly. C: Ionian (Major): R, W, W, h, W, W, W, h D: Dorian: R, W, h, W, W, W, h, W E: Phrygian: R, h, W, W, W, h, W, W F: Lydian: R, W, W, W, h, W, W, h G: Mixolydian: R, W, W, h, W, W, h, W A: Aeolian (Natural Minor): R, W, h, W, W, h, W, W B: Locrian: R, h, W, W, h, W, W, W (Mode Legend: R = Root (The first note of the mode.) W = Whole step (A whole step occurs immediately before this note of the mode.) h = Half Step (A half step occurs immediately before this note of the mode.)

Plagal & Authentic Modes

I: Dorian: D E F G A B C D (Authentic) II: Hypodorian: A B C D E F G A (Plagal) III: Phrygian: E F G A B C D E (Authentic) IV: Hypophrygian: B C D E F G A B (Plagal) V: Lydian: F G A B C D E F (Authentic) VI: Hypolydian: C D E F G A B C (Plagal) VII: Mixolydian: G A B C D E F G (Authentic) VIII: Hypomixolydian: D E F G A B C D (Plagal)

Modes Added Later by Henry of Glarus

IX: Aeolian: A B C D E F G A X: Hypoaeolian: E F G A B C D E XI: Ionian: C D E F G A B C XII: Hypoionian: G A B C D E F G

Calculating a figured bass numbers

In a triad in root position, the fifth, third, and root are given the numbers 5-3-1 respectively. In a triad in first inversion, the root is assigned the number 6, the fifth is given the number 3, and the third in the bass is set with the number 1. In a triad in second inversion, the third is assigned the number 6, the root is given the number 4, and the fifth in the bass is set with the number 1.

scale degree (major)

Indicates the location of the note in a scale. 1 to 7: tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone (major) or subtonic (minor)

The Tritone

It's the interval that spans six half steps, which equally divides the octave. This interval is made up of three whole tones and is called a tritone. Tri = Three Tone = Pitch Tritones are technically either an augmented fourth or a diminished fifth. C to F♯ C to G♭ B♯ to G♭ B♯ to F♯

Ledger Lines

Lines above or below the staff

interval quality

Major (M) Minor (m) Augmented (A) Diminished (d) Perfect (P)``

Interval relationships between chord members

Major Triad M3 (Root to 3rd) m3 (3rd to 5th) Minor Triad m3 (Root to 3rd) M3 (3rd to 5th) Augmented Triad M3 (Root to 3rd) M3 (3rd to 5th) Diminished Triad m3 (Root to 3rd) m3 (3rd to 5th)

Major and Minor Scale

Major: 4 then 3 Major: 3 then 4

Middle C

Middle C is known as C4 Lower notes (Bass): C3, C2, C1, C0 Higher notes (Treble): C5, C6, C7, etc

Treble Clef

Middle C name for the note that has note that has one short line through the middle of the note and is placed BELOW the staff. -indicated notes played HIGHER than middle C.

Bass Clef

Middle C name for the note that has one sort line through the middle of the note and is placed ABOVE the staff. Middle C: C4 Lower: C3, C2, C1, C0 Higher: C5, C6, C7, etc -Performer plays LOWER than middle C

Sixteenth Note Beaming

No Beams: 1st measure, 16th notes are shown w/out a beam.. -Half Beat: second measure never done -Beat: third measure

Perfect Intervals

Perfect Fourth: The perfect fourth must be a generic interval of a fourth and contain five half steps (500 cents) between the two notes. Perfect Fifth: The perfect fifth must be a generic interval of a fifth and contain seven half steps (700 cents) between the two notes. Perfect Octave: The perfect octave must be a generic interval of an eighth and contain 12 half steps (1200 cents) between the two notes.

Minor, Diminshed and Augmented Intervals

Raised Half Step: Augmented second Lowered Half Step: Minor second Lowered Whole Step: Diminished second

The Beat/Pulse

Regular pattern within a bar or measure. To identify the beat of a piece by listening for an accent

The Conductor

Responsible for making sure the ensemble plays in time. Role in interpretation of music. Theory makes easier to identify important melodic components, such as motives in musical work.

Seventh chords in inversion

Root position seventh chords have the root in the bass. They are abbreviated using only the number 7. First inversion seventh chords have the third in the bass. They are abbreviated using the numbers 6-5. Second inversion seventh chords have the fifth in the bass. They are abbreviated with the numbers 6-3. (This is why the first inversion triad does not use 6-3 to identify its inversion). Third inversion seventh chords have the seventh in the bass. They are abbreviated with 4-2 since the 6-4 abbreviation is used by the second inversion triads.

chord structure

Root position: lowest note of a chord in thirds. Close Position: top three notes stacked in thirds. Open Position: anything not in close position, more than a sixth b/t the top and third highest note of the chord.

Chord member position and resonance

Root: lowest note Third: second note of a chord in root position. Fifth: third note of a chord in root position.

second inversion triad

Second inversion triads occur when the fifth of the chord is in the bass.

Repeat Symbols

Segno: indicate where to jump when repeating a section Coda: final section of work Repeat Sign: forward and backward repeats

Dynamic Markings

Symbols that indicate loudness or softness of the music/ Help to identify the beginning of melody, climaxes, and diff. sections w/in a musical work.

root position triad

The first position refers to the triad that is stacked in thirds with the root of the triad acting as the bass note. When a triad is placed in root position, the fifth of the triad is in an optimal position to resound strongly with the root of the chord

Stem Direction

The placement of the stem on a note head determined by the placement of the pitch of the note.

half step (semitone)

The smallest interval possible; from one tone to the next possible tone

Augmented Triads

This triad doesn't occur naturally in the major scale. It can be found in the harmonic minor scale if you build a chord on the third scale degree using the notes from the harmonic minor scale.

The Grand STaff

Treble Staff and Bass Staff connected with a bar line

Octave Clef

Treble and bass clefs can also be modified by octave numbers. An eight or fifteen above a clef raises the intended pitch range by one or two octaves respectively. Similarly, an eight or fifteen below a clef lowers the pitch range by one or two octaves respectively. A treble clef with an eight below is the most commonly used, typically used for guitar and similar instruments, as well as for tenor parts in choral music.

Common Music Clefs

Treble: G-clef since the clef wraps around the G-line Bass: F-clef since the two dots appear on either side of F-line Alto: center show where Middle C is on staff systems - 3rd line Tenor: enter show where Middle C is on staff systems - 4th line

The Notes of the Treble/Bass Clef

Treble: G-line Bass: F-line

Chords and Triads

Triads: Standard three note chord.

Musical Tempo

We use Italian terms to designate musical tempo. Allegro (fast;cheerful), moderato (medium;moderate), adagio (quite slow), accelerando (speeding up), ritardando (slowing down), grave (solemn; very,very, slow), largo (broad; very slow), andante ( a walking pace), vivace (lively), and presto (very fast).

First inversion triad

When the root of the chord is no longer in the bass and the third takes its place, the triad is said to be in first inversion.

Terms for Overtone Series

`Fundamental: The base tone in the overtone series. This is the pitch that produces all of the pitches "over" the initial "tone." Partial: Any tone in the overtone series or harmonic series, including the fundamental. Partials are labeled from the lowest to the highest tone present. Overtone: The tones above but not including the fundamental. Therefore, the second partial is the first overtone. Harmonics: The true overtones that are found in nature and follow a specific and predictable ratio of frequencies.

augmented interval

a major or perfect interval raised by a half step

Double Barline

a set of two barlines that indicate the end of a piece or section of music

Scientific Pitch Notation

a system that numbers each octave on the piano keyboard to easily identify specific notes, defining middle C as C4

simple time signature

a time signature where the beat can be divided into two. 2/4 - simple duple 4/4 - simple quadruple 3/16 - simple triple

compound time signature

a time signature where the beat is dotted and sub-divides into groups of three, as in 6/8 which has two dotted crotchet beats, each of which comprises three quavers. -If top number can divided by 3 it's compound. 12/4- Compound quadruple 9/8-compound triple

The Theorist

analyze music to uncover basic principles that guide the structure of a piece. Analyze and uncover principles in existing works. Develop techniques and tools for musicians.

Note and Rest Chart

basic note values

Chromatic Intervals I - Major Scale

called a specific interval, provides both the distance and the quality of the interval. E4 to E4 is a perfect unison. E4 to F♯4 is major second. E4 to G♯4 is a major third. E4 to A4 is a perfect fourth. E4 to B4 is a perfect fifth. E4 to C♯5 is a major sixth. E4 to D♯5 is a major seventh. E5 to E6 is a perfect octave.

Chords

combo of 3+ notes and pitches that maybe played melodically (broken up) or harmonically (simultaneously).

pitch class

contains all notes of the same name regardless of octave

Ties, Slurs, Phrasing and Bowing

context usually provides a clue to determine type of performance indicator.

Tuplets / Triplets

describe a set of notes are usually placed over//under a bracket to change the note value

The Guidonian Hand

device used to teach a choir how to sing a new piece of music. Guido would point to segments of his hand, indicated particular sequence of notes that singers should sing.

One-line staff system

eleventh century, general melodic contour, notes increased in pitch the higher they are placed

Identifying Octaves

from one letter to the next on the scale is an octave.

Tertian harmony

harmonic system based on the interval of the third

quartal harmony

harmony based on combinations of the interval of the 4th

time signature top number

how many beats per measure

Benefits of music theory

improved understanding of the structure of music. Insight and helps with detection of 'errors' in musical work.

Bowing

indicate the direction a string player should move their bow by using a symbol that looks like a slur. -Frog: bottom portion of the bow -Tip:top portion of the bow

Midi Pitch notation

instead of C4, middle C is often written as C3 or C5.

Phrasing

look like slurs, used to indicate the shape and contour of a melody.

Scales

major and 3 forms of the minor scale. Scales are collection of pitches that are arranged in a consecutive order from the lowest to the highest sounding pitch. Major/minor scales contain 7 unique notes.

Major Triads

major triad, the chord must have three half steps between the top two notes and four half steps between the bottom two notes

generic interval

measured on the staff, distance b/t two notes.

4-Line Staff system

medieval score, dominant staff system, nuemes played from bottom to top, no rhythmic values, indicates exact pitches.

Dashed Barline

more complex meters to indicate the division of the beat when the number of beats in a measure is not equally divided.

The Arranger

musician who take a musical work and modifies it to create something new. Take an existing piece and create a new work from the composition. Aural and theoretical understanding of chords/progressions.

Note vs. Pitch

note: is written on musical staff, visual representation pitch: sound that is heard when a note is played Ledger line: short line that extends through a note to extend the staff higher/lower

Melodic

notes that are played consecutively in a linear and horizontal manner rather than being played vertically or simultaneously. any sequences of notes.

Metronome Markings

number of beats per minute and/or verbal tempo indications

beats per minute/bpm

number of heart beats per minute -Solo number: number appears by itself -note value: number is accompanied by a note value -M.M; Maelzel's Metronome; indicates number should be used along with metronome -Combination: modern works, Andante or Moderato

Tempered system

only intervals in our scales that conform to the overtone series are the perfect unison, the perfect fourth, the perfect fifth, and the perfect octave

The Performer

person who sings and plays an instrument in a concert. Create a recording of a new musical work. Theory helps performer visualize and conceptualize a piece.

dynamic markings (from softest to loudest)

pianissimo (pp): very soft, piano (p): soft, mezzo piano (mp): medium soft, mezzo forte (mf):medium loud, forte (f):loud, fortissimo (ff):very loud

Moveable Clef

position determines the notes -odd placements: wastes rehearsal time, contribute poor interpretations

Dictation

process of notating a musical performance. Requires a well-developed ear. Accurately identify that pitched in real-time.

Transcribe

process of rewriting a musical work for different instrument(S). Transcription is another one of those difficult words that people often confuse with other words like dictation or notation. Transcribing involves making the work suitable for a collection of instruments other than the original.

Role of Performance Indicators

provide guidelines for helping musicians to create a musical work in a similar fashion. -fast/slow a perform a piece -provide clue to interpretation the composer intends. -helps determine musical performance

Harmonic

refers to 2+ sounds heard at the same time with the notes stacked in a vertical manner in the score. As the formation of sound by producing 2+ notes. Relates to the background parts.

Da Capo (the head)

repeat from the beginning

D.C. al Fine

repeat from the beginning and end at Fine

D.C. al Coda

repeat from the beginning and play to coda, then skip to the coda

Dal Segno (D.S.) "The Sign"

repeat from the sign

Common Time

same as 4/4 time

Octaves and Unisons

same note in the same octave register, it's known as a unison. For example, C4 to C4 is known as a unison. eighth between the notes, or the difference of one octave register, it's called an octave. For example, A4 to A5 is known as an octave.

The Chromatic Scale

scale that makes use of all twelve pitches, equally divided, within the octave -sharps ascending -flats descending

key signature

sharps or flats placed at the beginning of a selection indicating its key

The Educator

solid understanding of music theory to explain concepts in more than 1 way. Teach in variety of situations and can be found in private and public schools. Stewards of knowledge and firm grasp of music theory.

counting the basic pulse

speaking the number of each beat in a measure

Constructing Triads

starting with root of the chord and adding a third and a fifth above the root.

Accidentals (pitch)

symbols that make a slight change to the pitch of the notes that follow them on the same line or space within a measure, unless cancelled by another accidental. (sharp sign, flat sign, natural sign)

octave displacement

taking a melodic line and moving some of the notes into a different octave. 4 types of Ottave and Quindicesima: -Ottave Alta: raises the pitch 1 octave -Ottava Bassa: Lowers pitch 1 octave - Quindicesima Alta: raises pitch 2 octaves - Quindicesima Bassa: lowers pitch by 2 octaves

time signature bottom number

tells what type of note gets the beat

musica ficta

the addition of accidentals in performance not notated in the score. -B-flat used to avoid the tritone.

Pitch

the aural representation of sound. specific sound that can be written using musical notes.

Minor Triads

the chord must have four half steps between the top two notes and three half steps between the bottom two notes.

Diminished Triads

the chord must have three half steps between the top two notes and three half steps between the bottom two notes.

Interval

the distance b/t two pitches/notes. played harmonically or melodically. one of the most basic harmonic elements in a musical work.

OVertone Series

the fundamental pitch and a simultaneously sounding series of progressively higher overtones present in one tone

Modern Staff system

the higher the line/space the higher the pitch. The Mosquito emits a very high 8 kHz pitch that many teenagers can hear (Campbell).

Aural

the perception of any musical event(s) perceived by the ear. to describe the development of the ear.

Slurs

to connect 2 diff. notes in manner that eliminates all separation b/t the notes. -passage sound smooth and connected. Legato, indicated to performer to breath

The Minor circle of fifths

total of 7 sharps keys and flat keys plus A. -ascending sharps -descending flats

The Major circle of fifths

total of 7 sharps keys and flat keys plus C. -ascending sharps -descending flats

Treble and Bass Clef

treble: higher pitches bass: lower pitches

Enharmonically equivalent keys

two keys that sound the same (C# major and Db major)

Church Modes

used before the system of major and minor scales were created -called Medieval or Gregorian modes List of Corresponding Modes: Hypodorian = Aeolian Hypolydian = Ionian Hypomixolydian = Dorian Hypoaeolian = Phrygian Hypoionian = Mixolydian *Hypophrygian = Locrian

Solfege

used to prepresent specific notes names (pitch classes), sing melodies into major and minor scales (tonality) - Ut, Re, Mi, Fa, Sol, La, *Si -Poeam "John the Baptist" by "Paul the Deacon" uses sapphic stanza form by greek poet, Sappho -Modern Solfege: Do ,Re, Mi, Fa ,Sol, La ,Ti (Si)

Notation

visual representation of a musical performance. Essentially a system used to represent in a written form the pitches and how they are performed in a musical work. Formatting and structure that is used for written music. Tells performer how to interpret the music. Symbols can be used in a score to indicate how loud a particular section should be.

Note

visual/written representation of sound

Roman numeral analysis of seventh chords

when a dominant seventh chord is used in a Roman numeral analysis, it will typically occur on the fifth scale degree. In the penultimate chord, it's possible to see how a dominant seventh chord might be analyzed using Roman numerals.

A matter of degrees

x - y + 1 = z where x is the larger scale degree, y is the smaller scale degree, and z is the answer. Question 1: What is the distance between the first (unison) and seventh scale degree? Answer 1: 7 - 1 + 1 = 7 (seventh)