M3 + m3 on top (P5 created from root to 5 th ) Created by
taking the 1 st, 3 rd, and 5 th notes of a major scale
Slide 10
m3 + M3 on top (P5 created from root to 5 th )
Slide 11
m3 + m3 on top (dim 5 th created from root to 5 th )
Slide 12
M3 + M3 on top (aug 5 th created from root to 5 th )
Slide 13
TONIC (I/i) SUPERTONIC (II/ii) MEDIANT (III/iii) SUBDOMINANT
(IV/iv) DOMINANT (V) SUBMEDIANT (VI/vi) LEADING TONE [SUBTONIC]
(VII/vii)
Slide 14
MajorMajor seventh (M7) Major triad + Major 3 rd on top
Majorminor seventh (Mm7) Major triad + minor 3 rd on top minorminor
seventh (m7) minor triad + minor 3 rd on top halfdiminished seventh
( 7) diminished triad + Major 3 rd on top fullydiminished seventh (
7) diminished triad + minor 3 rd on top
Slide 15
An inversion is changing the order of the notes in a triad.
When there is an inversion of a triad, the note names do not
change.
Slide 16
Root position 1 st inversion 2 nd inversion 3 rd inversion (7
th chords only!)
Slide 17
The standard position of a triad Root on the bottom 3 rd in the
middle 5 th on top
Slide 18
3 rd on the bottom
Slide 19
5 th on the bottom
Slide 20
7 th on the bottom Seventh chords only!
Slide 21
To determine the quality of a triad, it MUST first be in ROOT
POSITION.
Slide 22
Step 1: Write letter names for the pitches Step 2: Stack them
in thirds Step 3: Determine the quality of chord Step 4: What note
is on the bottom of the original chord? Step 5: What note is on the
bottom of the inversion?
Slide 23
1 st Inversion (3 rd on the bottom): I 6 3 C/E 2nd Inversion (5
th on the bottom): I 6 4 C/G
Slide 24
Root Position (root on the bottom): I 7 5 3 C7 1 st Inversion
(3 rd on the bottom): I 6 5 3 C7/E
Slide 25
2 nd Inversion (5 th on the bottom): I 6 4 3 C7/G 3 rd
Inversion (7 th on the bottom): I 6 4 2 C7/Bb
Slide 26
Root, 3 rd, 5 th Root position Stacked in thirds Root on the
bottom 1 st inversion 6/3 (C/E) 3 rd on the bottom Interval of a 3
rd between the bottom note & the middle note Interval of a 6 th
between the bottom note & the top note 2 nd inversion 6/4 (C/G)
5 th on the bottom Interval of a 4 th between the bottom note &
the middle note Interval of a 6 th between the bottom note &
the top note
Slide 27
Root, 3 rd, 5 th, 7 th Root position 7 (C7) Stacked in thirds
Root on the bottom 1 st inversion 6/5 (C7/E) 3 rd on the bottom
Interval of a 3 rd between the bottom note & the 2 nd note
Interval of a 5 th between the bottom note & the 3 rd note
Interval of a 6 th between the bottom note & the highest
note
Slide 28
2 nd inversion 4/3 (C7/G) 5 th on the bottom Interval of a 3 rd
between the bottom note & 2 nd note Interval of a 4 th between
the bottom note & 3 rd note Interval of a 6 th between the
bottom note & the highest note 3 rd inversion 4/2 (C7/Bb) 7 th
on the bottom Interval of a 2 nd between the bottom note & the
2 nd note Interval of a 4 th between the bottom note & the 3 rd
note Interval of a 6 th between the bottom note & the highest
note Whats the difference between 7 th chords and V7 chords?
Slide 29
In order to figure out triads & 7 th chords, you MUST know
your key signatures and major scales. STEP 1: Always look at what
key you are in. STEP 2: Write out the major scale and scale degrees
for that key if necessary. STEP 3: Apply the scale degrees that are
necessary to build your triad or 7 th chord. STEP 4: Create and
inversion of that chord if necessary.
Slide 30
Because the I, IV, & V chords contain all the notes in a
given major scale, they can be used to accompany simple melodies.
The V7 chord is often substituted for the V chord. In order to
avoid a choppy chord progression, the most common major chord
progression is: I IV6/4 I V6 or V6/5 I C F/C C G/B or G7/B C G C/G
G D/F# or D7/F# - G F Bb/F F C/E or C7/E F Octave displacement is
sometime necessary!
Slide 31
There are 15 major keys, each with a unique key signature. For
every major key, there is a RELATIVE minor key that has the same
key signature. Each relative minor scale begins on the 6th note
(scale degree) of the relative major scale. The 6 th scale degree
is the keynote/tonic of the minor scale and the note from which
that scale gets its name.
Slide 32
The tonic of a relative minor scale may also be found by
descending a minor 3 rd or ascending a major 6 th from the tonic of
the major scale. The tonic of the relative major scale can be found
by ascending a minor 3 rd or descending a major 6 th from the tonic
of the minor scale.
Slide 33
C major / a minor = relative C major / c minor = parallel
Slide 34
Uses only the tones of the relative major scale. Ascending: A,
B, C, D, E, F, G, A Descending: A, G, F, E, D, C, B, A
Slide 35
Raises the 7 th scale degree by a half step when ascending and
descending. The most frequently used of the three types of minor
scales. Ascending: A, B, C, D, E, F, G#, A Descending: A, G#, F, E,
D, C, B, A
Slide 36
Raises the 6 th and 7 th scale degrees by a half step when
ascending. Descends just like the natural minor scale. Ascending:
A, B, C, D, E, F#, G#, A Descending: A, G, F, E, D, C, B, A
Slide 37
For all harmonic minor intervals, the following is true: P1,
M2, m3, P4, P5, m6, M7, P8 Compared to all harmonic major
intervals: P1, M2, M3, P4, P5, M6, M7, P8
Slide 38
MINOR: i, ii , III, iv, V, VI, vii , I MAJOR: I, ii, iii, IV,
V, vi, vii , I
Slide 39
Just like a major or minor scale, a mode is a scale of 8 notes
in alphabetical order. A mode can begin on any scale degree of a
major or minor scale using the key signature of its parent scale.
All modes have Greek names.
Slide 40
Modes related to MAJOR: Ionian (scale degree 1) A major scale
(half steps: 3/4 & 7/8) Mixolydian (scale degree 5) A major
scale with the 7 th lowered by a half step (half steps: 3/4 &
6/7) Lydian (scale degree 4) A major scale with the 4 th raised by
a half step (half steps: 4/5 & 7/8)
Slide 41
Modes related to MINOR: Aeolian (scale degree 6) A natural
minor scale (half steps: 2/3 & 5/6) Dorian (scale degree 2) A
natural minor scale with the 6 th raised by a half step (half
steps: 2/3 & 6/7) Phrygian (scale degree 3) A natural minor
scale with the 2 nd lowered by a half step (half steps: 1/2 &
5/6) Locrian (rarely used) (scale degree 7) A natural minor scale
with the 2 nd and the 5 th lowered by a half step (half steps: 1/2
& 4/5)
Ionian: Major (the majority of Western music) Dorian: Celtic
Phrygian: Modern composers/guitarists Lydian: Jazz Mixolydian:
Popular for solo musicians Aeolian: Blues (natural minor) Locrian:
Unstable & unsatisfying
Slide 44
MAJOR: Scale degrees 1, 3, 5 = I chord Scale degrees 2, 4, 5, 7
= V (or V7) chord Scale degrees 1, 4, 6 = IV chord When harmonizing
with the V7 chord, the 5 th is often omitted. Most harmonizations
begin with a I chord Typical progression at the end of a piece:
iiviVI IVVI
Slide 45
MINOR: Scale degrees 1, 3, 5 = i chord Scale degrees 2, 4, 5, 7
= V (or V7) chord Scale degrees 1, 4, 6 = iv chord When harmonizing
with the V7 chord, the 5 th is often omitted. Most harmonizations
begin with a i chord Typical progression at the end of a piece:
iiviV(7)I IVV(7)I
Slide 46
A progression of at least two chords that end a phrase,
section, or piece of music. Authentic Cadence: V(7)I or V(7)i
Plagal Cadence: IVI or IVI (Amen) Half Cadence: any cadence ending
on V Deceptive Cadence: Vchord other than I (typically ii, IV6,
iv6, vi or VI)
Slide 47
BROKEN CHORDS: A way to harmonize a melody in which the chord
notes are broken up (not played simultaneously). Opposite of Block
chords (when the notes of a chord are played together at the same
time). ARPEGGIOS: When the notes of a chord are played
sequentially; one after the other. Arpeggio comes from the Italian
word, arpeggiare, meaning to play on a harp. An arpeggio may be
extended to an octave or more.
Slide 48
Most melodies include tones that are not part of the chord used
for the harmony. These nonchord tones are called nonharmonic tones.
When a melody passes from one chord tone to a different chord tone
with a nonharmonic tone in between, the nonharmonic tone is called
a PASSING TONE. When a melody passes from one chord tone back to
the same chord tone with a nonharmonic tone in between, the
nonharmonic tone is called a NEIGHBORING TONE. Upper & lower
neighboring tones
Slide 49
To change a major scale into a blues scale, do the following:
Completely remove the 2 nd and 6 th scale degrees Flat the 3 rd and
7 th scale degrees Add a flatted 5 th before the regular 5 th scale
degree C Major: C D E F G A B C C Blues:C Eb F Gb G Bb C A blues
scale only has SEVEN (7) pitches! The flatted notes (3, 5, 7) are
often called blue notes.
Slide 50
Technically speaking, any scale composed of five notes can be
called a pentatonic scale (penta=five). Learning only two different
pentatonic scales will cover 99% of the playing situations that you
will encounter. These two scales are referred to as the MAJOR
PENTATONIC and the MINOR PENTATONIC. The major pentatonic is built
from these intervals: R-2-3-5-6 In the key of C, that would be:
C-D-E-G-A This scale works very well over chord progressions that
are based on major chords, such as I-IV-V-I, V-IV-I-V or I-iv-IV-V-
I. The minor pentatonic is built from these intervals: R-b3-4-5- b7
In the key of C, that would give us: C-Eb-F-GBb This scale works
well for chord progressions based on minor chords, such as
iv-ii-iii-iv or ii-iii-IV-ii.
Slide 51
The Blues has its roots in Americas south, where musicians
combined west African rhythms and gospel singing with European
harmonies. The blues can often be found in jazz, rock, and pop
music.
Slide 52
A blues chord progression is usually 12 measures (or bars)
long. While there are many variations, a traditional blues
progression generally consists of: the I chord (4 measures) the IV
chord (2 measures) the 1 chord (2 measures) the V or V7 chord (1
measure) the IV chord (1 measure) The I chord (2 measures)
Slide 53
A short melodic, rhythmic, or harmonic element that is used
repeatedly throughout a piece of music. Most music is based on the
development or expansion of one or more motives.
Slide 54
A short section of music that may be either a complete or
incomplete musical idea. A phrase may contain one or more motives
in their original form(s) or in some variation. The end of a
musical phrase provides a lift or breath for the singer or
instrumentalist.
Slide 55
A twopart form in which the musical material from the first (or
A) section contrasts with the second (or B) section. Sometimes, the
two sections may share a motive or end similarly, but each section
is musically distinct from the other. Verse/refrain (chorus)
Slide 56
A threepart form that consists of two musically distinct
sections (like AB form). In this form, however, there is A
(statement of a musical idea), B (a contrasting statement of new
musical material), and A (a restatement of the original A section.
One of the most common forms in music used in all types of music
from folk songs to symphonies.
Slide 57
A form that consists of an A section alternating with other
contrasting sections of musical material. A always comes back after
each new section. Most common rondo forms: ABABA ABACA ABACABA