Chapter 1: Pitch and Pitch Class
PITCH AND THE KEYBOARD
Chapter 1 is when we started to learn the basics of music theory such as the names of pitches. There are seven letters in the musical alphabet (A-G). Along with pitch names, we learned the anatomy of a keyboard. The keyboard contains white keys, which are your natural pitches, and black keys which are your half steps. There's a whole step between each white key except E & F and B & C, all the other ones have black keys inbetween them. The black keys represent sharps or flats depending on the key you're in.
Chapter 1 is when we started to learn the basics of music theory such as the names of pitches. There are seven letters in the musical alphabet (A-G). Along with pitch names, we learned the anatomy of a keyboard. The keyboard contains white keys, which are your natural pitches, and black keys which are your half steps. There's a whole step between each white key except E & F and B & C, all the other ones have black keys inbetween them. The black keys represent sharps or flats depending on the key you're in.
C-CLEFS
SHARPS & FLATS
Sharps and flats are accidentals that make music more interesting. Sharps make a note go UP and half step and flats make a note go DOWN a half step.
For example, if you want to find C#:
1. Find C on the keyboard
2. Go one key to the RIGHT to find the key which will be black
If you want to find Db:
1. Find D on the keyboard
2. Go one key to the LEFT to find the key which will be black
When writing an accidental sign next to a note, the accidental needs to be to the left of the note head on the same line or space the note is placed.
Sharps and flats are accidentals that make music more interesting. Sharps make a note go UP and half step and flats make a note go DOWN a half step.
For example, if you want to find C#:
1. Find C on the keyboard
2. Go one key to the RIGHT to find the key which will be black
If you want to find Db:
1. Find D on the keyboard
2. Go one key to the LEFT to find the key which will be black
When writing an accidental sign next to a note, the accidental needs to be to the left of the note head on the same line or space the note is placed.
ENHARMONIC NOTES
Enharmonics notes are notes with the same sound, but different names. Take C# and Db for example. On the keyboard below, you see that C# and Db share the same black key.
Enharmonics notes are notes with the same sound, but different names. Take C# and Db for example. On the keyboard below, you see that C# and Db share the same black key.
PITCH CLASS
Each group of note names have a class. The furthest C-B to the left on the keyboard are pitch class 2, so the furthest C to the left would be called C2, and C2 is also the lowest C on the bass staff. C3 would be the C in the bass of the bass staff. The C right in the middle of the keyboard would be C4, and C4 is that middle note between the bass staff and treble staff on a grand staff. C5 would be the C towards the middle of the treble staff. The furthest C to the right of the keyboard would be C6 and that's the highest C note on a treble staff. All of this can be visualized down below.
Each group of note names have a class. The furthest C-B to the left on the keyboard are pitch class 2, so the furthest C to the left would be called C2, and C2 is also the lowest C on the bass staff. C3 would be the C in the bass of the bass staff. The C right in the middle of the keyboard would be C4, and C4 is that middle note between the bass staff and treble staff on a grand staff. C5 would be the C towards the middle of the treble staff. The furthest C to the right of the keyboard would be C6 and that's the highest C note on a treble staff. All of this can be visualized down below.
Chapter 2: Simple Meters
DIVIDING MUSICAL TIME
Chapter 2 is when we start to dig into the organization of music in time. We learn how beats are grouped and didvided to create meter, witht he focus on simple meters. Simple meters are meters than can be divided into two parts.
Chapter 2 is when we start to dig into the organization of music in time. We learn how beats are grouped and didvided to create meter, witht he focus on simple meters. Simple meters are meters than can be divided into two parts.
CONDUCTING PATTERNS
Conducting patterns are the patterns that conducters move their hands so their band/orchestra/choir/etc. can see the beat and tempo they should be playing or singing. Conducting patterns are the same for if the piece is in a simple or compound meter. The motion of your hand on beat 1 is the downbeat. The upbeat is the upward lift of your hand on the final beat in the meter.
Conducting patterns are the patterns that conducters move their hands so their band/orchestra/choir/etc. can see the beat and tempo they should be playing or singing. Conducting patterns are the same for if the piece is in a simple or compound meter. The motion of your hand on beat 1 is the downbeat. The upbeat is the upward lift of your hand on the final beat in the meter.
RHYTHMIC VALUES
Rhythm is the combination of long and short durations in time. Durations are notated with either unfilled or filled noreheads. Unfilled noteheads can appear with or without a stem, filled noteheads always appear with a stem. There are seven types of notes that can be seen in music and each have their own rest, some of which can be seen below.
Rhythm is the combination of long and short durations in time. Durations are notated with either unfilled or filled noreheads. Unfilled noteheads can appear with or without a stem, filled noteheads always appear with a stem. There are seven types of notes that can be seen in music and each have their own rest, some of which can be seen below.
TEMPO
METER SIGNATURES
A meter signature is also known as a time signature. It's placed at the beginning of a score, after the clef sign and key signature, which establishes the meter type and beat unit. The beat unit is the note value that gets one beat. Meter signatures are written with two numbers, one on top of the other. The upper number tells how many beats are in a measure. In simple meters, these numbers can be 2, 3, or 4. They represent simple duple, triple duple, or quadruple meter. The lower number indicates the beat unit. A 2 would mean the half note gets one whole beat, a 4 would mean the quarter note gets one whole beat, an 8 would mean an eighth note would get one whole beat, or a 16 would mean a sixteenth note would get one whole beat. This can be visualized below.
A meter signature is also known as a time signature. It's placed at the beginning of a score, after the clef sign and key signature, which establishes the meter type and beat unit. The beat unit is the note value that gets one beat. Meter signatures are written with two numbers, one on top of the other. The upper number tells how many beats are in a measure. In simple meters, these numbers can be 2, 3, or 4. They represent simple duple, triple duple, or quadruple meter. The lower number indicates the beat unit. A 2 would mean the half note gets one whole beat, a 4 would mean the quarter note gets one whole beat, an 8 would mean an eighth note would get one whole beat, or a 16 would mean a sixteenth note would get one whole beat. This can be visualized below.
COUNTING RHYTHMS
You need to count your beats in a piece so you get your rhythm correct. Personally, it's easier for me to visualize it than verbally explain so I'll just add lots of pictures.
You need to count your beats in a piece so you get your rhythm correct. Personally, it's easier for me to visualize it than verbally explain so I'll just add lots of pictures.
RESTS
Rests are durations in time of silence in a musical piece whether you stop playing or stop singing. How long you pause depends on the type of rest note that appears. Each note has an equal value of a rest. This can be visualized above.
Rests are durations in time of silence in a musical piece whether you stop playing or stop singing. How long you pause depends on the type of rest note that appears. Each note has an equal value of a rest. This can be visualized above.
DOTS
Dots next to a note always adds half of its own value. Double dots, although rare, can be seen in music too. It adds half of the note's value plus another quarter of that note's value.
Dots next to a note always adds half of its own value. Double dots, although rare, can be seen in music too. It adds half of the note's value plus another quarter of that note's value.
Chapter 3: Pitch Collections, Scales, and Major Keys
CHROMATIC AND DIATONIC COLLECTIONS
Chapter 3 is when we started to get into the quality of a musical piece, the ins and outs of what makes a piece so unique. Chromatic is used to describe the "color" added to a piece such as accidentals. Diatonic is used to describe a piece without any "color" so just your standard C Major scale.
Chapter 3 is when we started to get into the quality of a musical piece, the ins and outs of what makes a piece so unique. Chromatic is used to describe the "color" added to a piece such as accidentals. Diatonic is used to describe a piece without any "color" so just your standard C Major scale.
CHROMATIC SCALE
The chromatic scale is similar to just a regular major scale (C,D,E,F,G,A,B,C), but consists of those notes and the half steps inbetween. A major scales steps normally go W,W,H,W,W,W,H, but a chromatic scale just has 12 half steps.
The chromatic scale is similar to just a regular major scale (C,D,E,F,G,A,B,C), but consists of those notes and the half steps inbetween. A major scales steps normally go W,W,H,W,W,W,H, but a chromatic scale just has 12 half steps.
SCALE DEGREES AND SOLFEGE
Scale degrees are the number names given to a note in a scale. Scale degrees are written as numbers with carrots (^) above them. Solfege are syllables assigned to a note in a scale. Solfege goes in the order of do, re, mi, fa, sol, la, ti, do. For example, in a C Major scale, C would be scale degree 1, and the solfege would be do.
Scale degrees are the number names given to a note in a scale. Scale degrees are written as numbers with carrots (^) above them. Solfege are syllables assigned to a note in a scale. Solfege goes in the order of do, re, mi, fa, sol, la, ti, do. For example, in a C Major scale, C would be scale degree 1, and the solfege would be do.
KEY SIGNATURES
The key signature is written at the beginning of a score to specify consistent accidental for the whole piece. There are 15 different key signatures. One is no flats and no sharps, seven are sharps, and seven are flats. The key signatures are placed in certain orders. Flats are FCGDAEB and flats are BEADGCF.
The key signature is written at the beginning of a score to specify consistent accidental for the whole piece. There are 15 different key signatures. One is no flats and no sharps, seven are sharps, and seven are flats. The key signatures are placed in certain orders. Flats are FCGDAEB and flats are BEADGCF.
CIRCLE OF FIFTHS
The circle of fifths is a diagram to represent the key sigantures. The sharps are on the right side on the circle, the flats are on the left side, and the enharmonic key signatures are at the bottom.
The circle of fifths is a diagram to represent the key sigantures. The sharps are on the right side on the circle, the flats are on the left side, and the enharmonic key signatures are at the bottom.
SCALE DEGREE NAMES
Scale degrees have formal names. They are (in numerical order) tonic, supertonic, mediant, subdominant, dominant, submediant, and leading tone.
Scale degrees have formal names. They are (in numerical order) tonic, supertonic, mediant, subdominant, dominant, submediant, and leading tone.
PENTATONIC SCALE
The major pentatonic scale is just like a major scale but without the 4th and 7th scale degree.
The major pentatonic scale is just like a major scale but without the 4th and 7th scale degree.
Chapter 4: Compound Meters
COMPOUND METER SIGNATURES
We've already learned about simple meters, but chapter 4 is when we start to learn about compound meters. I'm not going to lie, I struggled a little bit with this topic, but I managed to get through it. Compound meters are different than simple meters in the way that the bottom number of a compound meter signature represents the beat division rather than the beat unit as it is in a simple meter signature. The top number in a compound meter signature can be 6, which represents duple meter, 9, which represents triple meter, or 12, which represents quadruple meter. Dividing one of those three numbers by 3 will give you the beats per measure. The bottom number in a compound meter signature is typically 8, but can also be 4 or 16, and sometimes, but very rarely, 2. The bottom number expresses the type of note that represents the division of the beat. It's typically an eighth note and if you add three of those notes together you get the beat unit, which would be a dotted quarter note. Below are images that really helped me understand the concept of compound meters.
We've already learned about simple meters, but chapter 4 is when we start to learn about compound meters. I'm not going to lie, I struggled a little bit with this topic, but I managed to get through it. Compound meters are different than simple meters in the way that the bottom number of a compound meter signature represents the beat division rather than the beat unit as it is in a simple meter signature. The top number in a compound meter signature can be 6, which represents duple meter, 9, which represents triple meter, or 12, which represents quadruple meter. Dividing one of those three numbers by 3 will give you the beats per measure. The bottom number in a compound meter signature is typically 8, but can also be 4 or 16, and sometimes, but very rarely, 2. The bottom number expresses the type of note that represents the division of the beat. It's typically an eighth note and if you add three of those notes together you get the beat unit, which would be a dotted quarter note. Below are images that really helped me understand the concept of compound meters.
Chapter 5: Minor Keys and the Diatonic Modes
PARALLEL KEYS: SHARED TONIC
We've already learned about major key signatures, but chapter 5 is when we start to discuss minor key signatures and how different they are. Parallel keys are when you've got a major and a minor key signature with the same tonic such as an A Major scale and an a minor scale. They both have the same tonic, but the makeup of the scales are different than one another.
We've already learned about major key signatures, but chapter 5 is when we start to discuss minor key signatures and how different they are. Parallel keys are when you've got a major and a minor key signature with the same tonic such as an A Major scale and an a minor scale. They both have the same tonic, but the makeup of the scales are different than one another.
RELATIVE KEYS
Relative keys are when you have two different tonics, but they have the same key signature. Take G Major and e minor for example; they have different tonics but they both have 1 sharp in their key signature: F.
Relative keys are when you have two different tonics, but they have the same key signature. Take G Major and e minor for example; they have different tonics but they both have 1 sharp in their key signature: F.
FORMS OF MINORS
- Natural minor- the scale whose accidentals exactly match the key signature of the relative major.
- Harmonic minor- raises the seventh scale degree a half step to create a leading tone. It has a distinctive "snake charmer" sound quality to the scale.
- Melodic minor- differs in its ascending and descending forms. Ascending, the 6th and 7th scale degrees are raised, just like a major scale, but descending it's just like the natural minor.
SOLFEGE
Three solfege names change in minors: mi, la, and ti. In natural minor, mi becomes me, la becomes le, and ti becomes te. In harmonic minor, mi becomes me, la becomes le, and ti stays the same. In melodic minor, mi becomes me, la stays the same, and ti also stays the same.
Three solfege names change in minors: mi, la, and ti. In natural minor, mi becomes me, la becomes le, and ti becomes te. In harmonic minor, mi becomes me, la becomes le, and ti stays the same. In melodic minor, mi becomes me, la stays the same, and ti also stays the same.
MINOR PENTATONIC SCALE
The minor pentatonic scale is missing scale degrees 2 and 6. I like the example they gave us in the book because I've sang the song for chorus a while back so I know what is sounds like representing a minor pentatonic scale.
The minor pentatonic scale is missing scale degrees 2 and 6. I like the example they gave us in the book because I've sang the song for chorus a while back so I know what is sounds like representing a minor pentatonic scale.
Chapter 6: Intervals
MELODIC VS HARMONIC INTERVALS
Intervals between successive pitches are melodic intervals. Intervals between two pitches sounding simultaneously are harmonic intervals.
Intervals between successive pitches are melodic intervals. Intervals between two pitches sounding simultaneously are harmonic intervals.
HOW TO FIND INTERVALS
You need to look at the lowest note that's on the staff, that line or space that lowest note is on would be the first one you count, then you count every single line and space after that note until you reach the note above it. So take the note G to D, that would be 5 scale steps on the staff. Once you've figure that out, you go over to your handy-dandy cheat sheet (if you don't know your majors and minors by heart), look for 5 half steps, and see that interval would be a P4. While learning the majors and minors, I liked to use color to help me learn better so below is how my notes looked while learning them.
You need to look at the lowest note that's on the staff, that line or space that lowest note is on would be the first one you count, then you count every single line and space after that note until you reach the note above it. So take the note G to D, that would be 5 scale steps on the staff. Once you've figure that out, you go over to your handy-dandy cheat sheet (if you don't know your majors and minors by heart), look for 5 half steps, and see that interval would be a P4. While learning the majors and minors, I liked to use color to help me learn better so below is how my notes looked while learning them.
INVERTING INTERVALS
It's quite simple actually. You just take the lower note on the staff and put it up an octave higher. So something like F4 to C5, which is a P5, will look like C5 to F5, which is now a P4.
It's quite simple actually. You just take the lower note on the staff and put it up an octave higher. So something like F4 to C5, which is a P5, will look like C5 to F5, which is now a P4.
Chapter 7: Triads
IDENTIFYING TRIAD QUALITY
There are 4 types of triads: major, minor, augmented, and diminshed. Below is how to identify those.
There are 4 types of triads: major, minor, augmented, and diminshed. Below is how to identify those.
INVERTING TRIADS
Basically, root position is when the root of the chord is in the bass (when the triad looks like a snowman). First inversion is when the third (or the stomach of the snowman) is in the bass. Second inversion is when the fifth (or the head of the snowman) is in the bass.
Basically, root position is when the root of the chord is in the bass (when the triad looks like a snowman). First inversion is when the third (or the stomach of the snowman) is in the bass. Second inversion is when the fifth (or the head of the snowman) is in the bass.
SEVENTH CHORDS
There are 5 different types of seventh chords: major 7th (MM7: M3, m3, M3), dominant 7th (Mm7: M3, m3, m3), minor 7th (mm7: m3, M3, m3), half-diminished 7th (dim m7: m3, m3, M3), and fully-diminshed 7th (dim dim7: m3, m3, m3). Each chord has a name depending on what note the chord is built on and what key the chord is in. I used colors and chart to help me learn all of that.
There are 5 different types of seventh chords: major 7th (MM7: M3, m3, M3), dominant 7th (Mm7: M3, m3, m3), minor 7th (mm7: m3, M3, m3), half-diminished 7th (dim m7: m3, m3, M3), and fully-diminshed 7th (dim dim7: m3, m3, m3). Each chord has a name depending on what note the chord is built on and what key the chord is in. I used colors and chart to help me learn all of that.
Semester Overview
Over all, I really, really enjoyed this class, it was honestly one of my favorite classes this semester. It's a great combination of music (which is what I love), fun, and challenging. This class really pushed me to be a better student and work harder. I was surpised that I managed to keep a high B in this class and I'm very proud that I did. It's not necessary for me to take this class since music theroy does not pertain to my major, but I'm glad I took this class because I have learned so much. Throughout the semester, this class helped me grow as a vocalist too and made things in choir go a little bit more smooth. I'm thrilled that I got the opportunity to be in this class the first year we offered it and I don't regret signing up for it.