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Music Theory Review
Music Theory Review
Music Theory Review
Intervals:
The Space between two notes.
Generic (NEVER CHANGES): 2nd, 3rd, 4th, 8ve
Quality:
Perfect: Unison: 4th, 5th, and Octaves
Major-Minor: 2nd, 3rd, 6th, 7th
Stretching: Diminished 0P + Augmented
Shrinking: Diminished minor Major Augmented
Analysis: Start from bottom note and build on that notes major scale. First
start with the generic, 4 above, 5 above, then sharp or flat either side as
needed.
Key doesnt exist- cover sharp or flat, do it in a key that exists, then add
flat to top note.
Below Analysis: M7 below E
Generic Value 7 Take Key
Cant Touch This Top Note
Take
Inversion:
Flip M3 to m6
Flip m6 to M3
Flip Aug 4th to Dim 5th.
Flip M2nd to m7th
Dom 7th or Mm7 Upper Case Fully Dimished o7 Lower Cased
Cb Eb Gb Bbb C Eb Gb Bbb
C E G Bb C# E G Bb
C# E# B# B D F Ab Cb
Db F Ab Cb D# F# A C
D F# A C E G Bb Db
Eb G Bb Db E# G# B D
E G# B D F Ab Cb Ebb
F A C Eb F# A C Eb
F# A# C# E Gb Bb Db Fb
Gb Bb Bb Fb G# B D F
GBDF A C Eb Gb
G# B# D# F# A# C# E G
Ab C Eb Gb B D F Ab
A C# E G B# D# F# A
Bb D F Ab
B D# F# A Half Dimished Raise 7th step
7th Chords
First Letter Describes Tirad
Dom7 Mm7 Dominant
M7- MM7 Major 7th
m7 mm7 Minor Minor 7th
o7 dd7 Fully Diminished 7th
7 dm7 Half Diminished 7th
Part Writing
1. Never double leading tone
2. Never space Sop and Alto over an octave.
3. No Voice Crossing Tenor and Alto
Major
I7- Tonic
ii7- Supertonic
iii7- Medianant 3 over TOnic
IV7- Subdominant -5 underneath the tonic
V7- Dominant
vi7- Submediant 3 under tonic
vii7- Leading Tone
Minor
i7
ii7
III7
iv7
V7
VI7
viio7
Non-Chord Tones
Phrase Model:
A relatively independent musical idea concluded with a cadence (a point of
repose at the end of a phrase).
IV viio6
First Level Analysis I III vi ii V I
Second Level Analysis T- (PD) PD D T
Cadences
IV - I Amen
V-vi Deceptive Cadence
Phrase Model:
Moves only
Left Right
Down
Doubling:
Always Double Bass. NEVER double Leading Tone
Voice Crossing:
Stem
Space
Spelling
Checking Spacing
S-A S-T S-B
Fouth Movements
Part writing:
Common Tone Step: Find the common tone and part write that in the next chord and then
move by step in the other voices. Basses arent involved (They can always jump). This helps
piece to be sight-readable.
Everyone Moves:
No one moves more than a 3rd
IV-I
I-V
ii-V
vi-ii
V-I
DLT- Double Leading Tone - Never double a tone that will go somewhere
DB- Doubled something weird
CM5th - Pitch inventory
VO - Horizontal
VC - Vertical
P=5
(3) - Missing 3rd
2nd Movements - Contrary Motion (IF Bass goes up, everyone goes down. If the Bass goes
down, everyone goes up)
VII-i
I-ii
iii-IV
i-VII
IAC PAC
1. viio6 - I (leading tone cadence) or V 6, 65 1. V-I, V7-I
2. Inverted 2. Root Position
3. Do is NOT in the soprano. 3. Do is in Sop (I)
PC HC
1. IV-I 1. ?-5
2. ii-I
Phrygian Half Cadence HC
1. Minor Key 1. ?-5
2. IV6- V FaSo and DoTi
3. Bass - Le So
DC V7 - I Complete to Incomplete c-i
1. V-vi 1. R 3 5 7 to Root Root Root 3rd
2. ReDo and TiDo and Bass SolLa 2. 7th of chord down by one step
(Always), Leading tone (ti) up
V7-Incomplete to Complete i-c V7 I Complete to Complete with
Frustration
1. R R 3 7 to R 3 5 7 1. R 3 5 7 to R 3 5 7
2. 7th Down, Leading tone up 2. 7th Down, LT Down a 3rd
Triads
V65 - I
V43 - I -I6
V42 - I6
64 Chord Uses
4. Arpeggiating
2. Roman Numeral Exercise - know inversion symbols, major, minor, and fully and half
diminished chords in Major and Minor Keys
63 64
653 643 642
Major
I ii iii IV V vi viio6 First inversion to avoid Tri Tone.
I7 ii7 iii7 IV7 V7 vi7 vii7
Minor
i iio6 III vi V VI viio6
i7 ii7 III7 iv7 V7 VI7 viio7
5. Cadences
PAC- Do in Soprano - Both V and I in Root Position, No inversion. Anything else= IAC
IAC - Do NOT in Soprano
DC - V-6
PC- IV - I
Anything to V
Secondary Dominants
1. A dominant seventh Chord
2. If itd dominant its 5 of something, if its diminished, its the 7 of something.
2. NOT the dominant of the tonic
V/III has no accidentals
Tonisizing or tasting the bottom like Jakes ass.
My not tonisize the dimished
Motive - short 4-6 note rhythmic and/or melodic idea that retains its identity
Phrase Segment - of a phrase
Phrase- a relatively independent musical idea, has to conclude with a cadence .
Period- a weakly conclusive phrase paired with strong conclusive phrase. The WHOLE idea
is stronger! Antecedent and consequent (question and answer) 4 measure phrase phrase
followed by a 4 measure phrase.
Sequence- to repeat a melodic idea sounding lower or higher in range.
To Chart Phrases -
1. Number Phrases (bubble)
2. Letters (all about the tune, the melody)First Bubble the Phrases, if it starts with the same
melodic material, remember to do a prime marking.
3. Cadences (two) need to go weak, strong. Two strong phrases make a phrase group
4. Name the form-
a. Is it a period? Yes
b. a and a means parallel period
c. a and b means contrasting period
5. Double Period - first two phrases end with weak cadence, second two end with a strong
cadence.
Sentence- often a, a, b.
V7 to I
V65 to I
V43 to I6
V42 to I6
Modulation: A shift of tonal center that happens within an individual movement.
Mvt. I in A
Mvt II in E
Mvt III in A
Keys Keys Keys at the Cadence points, Cadence points, Cadence points
A. Cadence points
First Notes
B. Leading tone
C. V to I polarity/ phrase model
D. Other accidentals
E. Key Signatures
I. KKK-CCC
II. Track left to right
III find the birth of the new key or death of the old key
IV Go one chord back
V Does it work as a pivot?
Use Chair, Top of chair is old key, and bottom is new key. Cases music match. Both major,
minor, dimished, augmented, . Then put new key on outside of choir with a big colon.
Sequential Modulation
1. Same melodic material repeated at a different pitch level, the beginnings of the phrase is
the important part
2. Harmonic sequence is harmonic material in couplets repeated at a different pitch level
Ex of writing.. No Chairs,
Bb:
seq
Mode Mixture
i iio6 or ii65 bIII iv v bVI VI viio7 bVII
Extended Tonisiztion
1. Several secondry dominants in a row
2. different than modulation cause it lacks a major cadence point.
Dimished-
You can tonisize borrowed chords.
Neapolitan Chord
bII or N
Called Neapolitan 6th because usually always in first inversion.
Part Write - Ra, Ti, Do, Can stop for Do on the way down.
Ra, Fa, Le (RaFaEl Hotel), Bass is Fa
Ra goes to Ti, dont double the tendency tone!
NO Ra Re, either Ra Ti, or Ra Do Ti,
Bass goes fa so, fa fi so or fa so so
F: viio7/V is B, D, F, Ab
Aug 6th
75% is built on Le Fi
o Le to Sol
o Fi to Sol
o Le is Lowerd La
o Fi is Raised Fa
25% is built on any other thing
Italian -It+6
M3 above Le
All roads lead to Italy first, you need the M3 first.
Double the Italy Note (the M3)
So only 3 notes
French - Fr+6
M3 Above Le
M2 Above Italy Note (Major 2nd above M3)
Second is Sexy, French is Sexy
German - Gr+6
M3 above Le
m3 above Italy Note (M3)
German is heavy and sad cause holocaust
Enharmonic modulations
Voice Leading is V64 -53 (I64 to V)
In Major, respell German note as enharmonically on note value less so F will become
E#
Always goes i64 to V53 (V64 to V53)
Augmented Dominants
V+7
V+6/IV is I+ but not written that way. Means augmented chord in first inversion.
#vio7o
Embellishes the dominant chord.
viio7
g: F#ACEb
e: F#ACD# is viio65
Enharmonic Modulation
1. German (to Dominant)
2. Dominant (to German)
3. Fully Diminished (viio7o to viio7o or viio7o over V, ii, IV)
C: viio7/V
e: viio65
Centricity:
Music that features a pitch that establishes a sense of hierarchy.
Find centric note:
1. First and last pitches
2. Repeated Ostinato Pedal tones
3. Accented metrically
4. focal high pitches
Tonality:
music with a tonal center based on major and minor scales using harmonies that are
related to one another and the tonal center.
Aeolian-
Ionian-
Pentatonic -
5 Notes
Major
Original Position Do Re Mi So La So Mi Re Do
First Rotation - Start on Re
Second Rotation -
Minor pentatonic with fi is Blues Do me Fa Fi so Te Do
Minor
Do me Fa So te Do
Final Prep
1. Pg 341 5s of things
-No modulate, applied chords, no NCT
338 7s of things
So, So I64 - V53 NO V64 - V53
3. Part Writing
-Applied, Aug 6, Neopolitan
No Ra RE going to V or EVER.
-No modulating
-Fr
4. Enharmonic Modulation
1. Pivot Chord. German to Dom or viio7 to viio7