Music Theory I - Notes - Summary Tonal Harmony PDF

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Music Theory I Notes from chapters 1 to 9.
7th edition of Tonal Harmony - Kostka, Payne...

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Intervals & Keys Wednesday, October 11, 2017

1:32 PM

Scales

Interval - distance between 2 notes

Inversions - when lower note shifts to a higher octave

Modifier - (P, M, m, +, o) + numerical name Harmonic Interval - 2 notes played at the same time Melodic Interval - 2 notes played one after the other Simple Interval - smaller than 1 octave Compound Interval - larger than an octave

- Dim (o) -- > P -- > Aug (+) - (o) --> m -- > M -- > + Types of Inversions Consonant - all P & 3 or 6 (M & m) Dissonant - 2/7 & all + or o - P4 above bass note

Quick Trick S --> S L --> L

Examples _________________________________________________________________________ _____________________________ _________________________________________________________________________ ______________________ ______ ____________ __________________________________________________ __________________ ___________________ _______________________________________________________________ _______________________________ ______

S --> L L --> S S = note on a space L = note on a line

Perfect Interval - 1, 4, 5, 8 in both M & m keys M/m - 2, 3, 6, 7 - M2, M3, M6, M7 in M - M2, m3, m6, M7 in harmonic keys

Quick Interval Trick w/n an 8va : subtract numeral number from 9 to find out what a numeral would become when it's inverted - Modifier : P P M m o +

Major Scale Degree Names

Major Scale Intervals

Minor Scales - Degree names of notes on the scale are the same except if the 7th is lowered it's called a sub Natural

When Inverted: +5 -- > 04 M2 -- > m7 M6 --> m3 +4 --> o5 O 7 -- > +2 m7 -- > M2 How to use Quick Interval Trick w/n an 8va ___________ ________________ ____________________________________ ____________________________________ _______________________ __________________ ____________________________________________________________ ___________________________________________________ __________________________________________ ________

Harmonic

______________________________________ ________________________________________________________________

Melodic (ascending & descending)

Keys

F d

t l P

1

Rhythm Thursday, October 12, 2017

2:47 PM

Simple - beat divided into 2 equal parts - Have 2, 3, or 4 on top - Ex. 24 316 44 Simple Time Signatures Examples Time Sig Beats/measure Beat note Division of the beat 2 2 3 3 4 4

4

2

2 or

2

16

3

4

3

8

4

4

or C

4

Compound - beat divided into 3 equal parts - have 6, 9, or 12 on top with a dot on the note Beat Note Division of the beat

Meter - pattern of beats Meter Type Beat Type

Duple

Triple

Quadruple

Simple

2

3

4

Compound

6

x x

9

x x

x

12

x

Intro to Triads and 7th Chords Thursday, October 12, 2017

3:12 PM

Types of Triads ___________________________________________________________________ ___________________________________________________________________ ___________________________________________________________________ ________________________ __________________________________________ ___________________________________________________________________

Types of 7ths ___________________________________________________________________ ___________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________

Inversions Triad Inversions ____________________________________________ ______________________ _____________________ ____________________________________________ ____________________________________________ ____________________________________________

7th Chord Inversions _________________________________________________________ ___________________________________________________________ ________ ________________________________________________ ________ ________________________________________________ _________________________________________________________

Various Inversion Symbols Figured Bass (Baroque style/ Arabic Num. Analysis) - Accidental next to # to raise or lower note - Accidental by itself referring to the 3rd above the bass - / or + next to # means to raise the note Roman Numeral Analysis - I, ii, iii, IV, etc. + BPS symbols - BPS: #s that represent intervals above bass

(664) 765 - 4342

Slash-chord notation - Root of chord/note in the bass

Diatonic Chords in Major & Minor Keys Thursday, October 12, 2017

4:04 PM

Diatonic - containing the notes that make up a major or minor scale Diatonic Chord - chord made up of only diatonic notes - Use roman numerals to distinguish chords Diatonic Triads in Major M

I, IV, V

m

ii, iii, vi

O

viiO

+

n/a

Diatonic Triads in minor M m O

+

Diatonic 7th Chords in Major IVM7

Diatonic 7th Chords in mino

M7

IM7,

M7

IIIM7, VIM7

i, iv

Mm7

V7

Mm7

V7

viiO, iiO

m7

ii7, iii7, vi7

m7

I7, vi7

O7

viiO7

O7

iiO7

O7

viiO7

III, IV, VI

n/a

Principles of Voice Leading Thursday, October 12, 2017

4:08 PM

Rules for a Melodic Line 1. Rhythm a. Should be equal or longer than the beat b. Final note on a strong beat 2. Harmony a. Every note should belong to its harmonizing chord 3. Contour a. Conjunct (stepwise); interesting, clear, and simple shape b. One Focal Point (highest note) 4. Leaps a. No augmented, 7ths, or and interval larger than P8 b. Dim. Should immediately be followed by opposite direction by step c. Interval > P4 should be approached & followed by opposite directions d. Consecutive smaller leaps in the same direction should outline a triad 5. Tendency Notes a. 7 moves to 1 i. Exception: line of 1 - 7 - 6 - 5 b. 4 moves to 3 i. Not as common as 7 - 1

Rules for 2 Voices 1. 5 Motions Between Any 2 Voices a. Static: neither moves b. Oblique: only one part moves c. Contrary: both move in opposite directions d. Similar: both move in same direction by different interval e. Parallel: both move in same direction by the same interval 2. No-no's a. Parallel P5 or P8 b. Contrary P5 --> P5 or P8 or P8 c. O5 --> P5 UNLESS includes bass i. S - B, A - B, T - B d. Direct P5 or P8 i. Exceptions: 1) S - B 2) Similar motion ending on P5 or P8 3) S has a leap

Rules for Notating Chords in a 4-Part (Chorale- SATB) Style 1. Directions of stems & Middle C a. Single Staff: i. Top Part: Stems up (S & T) ii. Bottom Part: Stems down (A & B) b. Grand Staff i. When C4 is doubled, it should be on both clefs ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________

___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________

2. 2 Structures 1. Close Structure: P8 between S & T ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________

___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________ ___________________________________________________________

* Put an over incorrect voicing 3. 2 Rules in Spacing 1. Don't allow any part to cross above the Soprano or below the Bass i. A & T may cross briefly only if there's a musical reason 2. No more than an octave between S & A and A & T i. May be more for T & B

Root Position Part Writing Thursday, October 12, 2017

4:09 PM

Interval Between Roots

Instrumental Ranges and Transposition

1. Repeated roots (triads) a. Apply to 2 & 4 as well b. In 4-Part Textures: i. Usually include all 3 notes of triad 1) Exception: Final I can be R,R,3rd ii. Root is usually doubled iii. 7 NOT doubled c. In 3-Part Textures: i. R,3rd,5th or R,R,3rd 1) Final I can be R,R,R ii. .Same as in 4-Part Texture 1) R is usually doubled 2) 7 NOT doubled 2. With Roots a 4th or 5th Apart a. In 4-Part Textures: i. Method #1 • Keep common tone (static motion) and other voices move stepwise (similar motion) ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

i. Method #2 □ Move ALL voices in similar motions by 2nd or 3rds  7 doesn't have to resolve to 1 when it happens in an inner voice ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

Method #3 • Keep Common Tone (Static Motion), 1 voice moves stepwise & other moves a Tertiary Leap  Tertiary Leap: 3rd -->3rd in the same voice ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

B. 3-Part Textures 1) Same as in "with repeated Roots" a) R,R,3rd 2) Smooth voice leading is prior to making complete chords

Di t

i Ti d P

6

3. With Roots a 3rd or 6th Apart a. In a 4-Part Textures i. Keep the two common tones and move the remaining voice by a step ii. When the Root descends a 3rd apart, the stepwise ascends & vice versa ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

Ranges Woodwinds Flute

C4 - C7

Oboe

C4 - E6

Clarinet in Bb

D3 - F6

Bassoon

Bb1 - Bb4

Alto Sax in Eb

Db3 - Ab5

Tenor Sax in Ab Ab2 - Eb5 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

a. In a 3-Part Textures i. When the Roots ascend 3rds apart, 5th SHOULD NOT be omitted 1) Otherwise it' the same as the 1st inversion of the 1st chord ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________

4. With Roots a 2nd or 7th Apart a. In 4-Part Textures i. All 3 upper voices move contrary to the bass movement ii. Deceptive Progression (V - vi & V - VI) • 7 --> 1, parallel to bass, the 2 voices go contrary to the bass, 3rd of chord is ALWAYS doubled • 7 --> 6 in an inner voice only in Major • 7 --> 6 in Minor should be avoided because it results in +2 ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

Brass Horn in F

C2 - F5

Trumpet in Bb E3 - Bb5 Trombone

E2 - Bb4

Tuba

E1 - A3

Strings Violin

G3 - B6

Viola

C3 - B6

Cello

C2 - C5

Double Bass E1 - G3 Transposition Concert Pitch - What you hear Written Pitch - What you see • Trick: CP is higher than the WP like your eyes are higher than you Clarinet in Bb CP is M2 lower Trumpet in Bb CP is M2 lower A. Sax in Eb

CP is M6 lower

T. Sax in Bb

CP is M2 + P8 lower

Horn in F

CP is P5 lower

Double Bass

CP is P8 lower

Harmonic Progression & the Sequence Thursday, October 12, 2017

4:09 PM

Sequence - a pattern repeated immediately in the same voice on a different pitch class Types of Sequence Diatonic (Tonal) - keep the pattern in a single key _________________________________________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ __________________________________ __________ __________

Real (Modulating) - Transposes the pattern to a new key _________________________________________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ ________________________________ ___________ ____________

Circle of 5th Progression - a series of roots by descending 5ths (ascending 4ths) including P5 (P4) & o5 Major:

• • • •

V - I is the most essential in tonal music I can be followed by any chord IV chord may be expand to the pre-dominant area by moving first to ii or iii - IV harmonizing a 1 - 7 - 6 melody line

Minor: Modified - neither Tonal nor Real Imitation - When the repetition of the pattern occurs in a different voice - Real Imitation - Transposed Imitation • III chord is very commonly used in the minor key • v6 - vi6 : the 7th moves to the lowered 6th ▪ Minor v chord doesn't have a dominant function

Triads in 1st Inversion Thursday, October 12, 2017

4:09 PM

I. 3 Uses of 1st Inversion 1. To improve the contour if the bass line i. Ex. ii6 - V 2. To provide a variety of pitches in the bass line i. Ex. I - I6 - I 3. To lesson the weight of V - I chords that don't serve as the goals of harmonic motion i. Ex. I - V6 - I (I) II. Rules 1. O6 - O triad mostly used in 1st inversion to avoid the interval of O5 (+4) 2. DON'T use V - vi6 BUT V - vi is OK 3. I - vi6 - ii i. Ok, b/c vi6 prolongs the tonic ii. vi6 in part of a sequential pattern III. Inversions in Lead Sheets (slash chords) 1. C/E in C major is the same as I6 2. C7/E in F major is the same as V6/5 IV. Parallel 6ths 1st Inversion Chords Found in Sequences 1. Often serve passing chords i. Root in the top voice to avoid parallel 5ths; in a 4-voice texture, one voice should leap to avoid objectionable parallels (5ths & 8ths)

Part Writing 4-Part Textures • Chords are complete including all R, 3rds & 5ths • One of the chord notes has to be doubled to make a 4-Part • DO NOT double the Leading Tone Order of Preference for doubling 1. S -I 2. B - I 3. S - B 4. I - I ___________________________________________________________ __________________________________ ______________________________________________________________________________________________ ______________________________________________________________________________________________ ______________________________________________________________________________________________ _____________________________________________________________________ ________________________

______________________________________________________________________________________________ _________________________ ____________________________________________________________________ _____________________________________________________________________________________________ ______________________________________________________________________________________________ ______________________________________________________________________________________________

3-Part Textures • More complete chords used compared to root position triads ○ If one has to be omitted, it should be the 5ths ○ The Root can be omitted in I6 when it follows the V chord ○ When the Root is omitted in ii6, it can be analyzed as IV/ii6 since both have the same pre-dominant function

Triads in 2nd Inversion Thursday, October 12, 2017

4:09 PM

2nd Inversion • Less stable sonority than Root & 1st inversion chords ○ P4: a dissonance when the bass is the bottom pitch of the interval Bass Arpeggiation • Appears with a root position triad or a 1st inversion triad __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________

__________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________

Melodic Bass • Inversions shouldn't be indicated when the bass has a melodic line. Instead, indicate the roman numerals only, without the BPS Cadential 64 • V is delayed by a I64 in a metrically stronger beat • Resolves to the root position of the V • Not a tonic triad ○ Dominant prolongation • I64 - V makes voice leading smooth _________________________________ _________________________________ _________________________________ _________________________________ _________________________________

Passing 64 • When harmonizing the middle of a three scalar notes for smooth voice leadi • Usually on a weak beat...