Andrew Lewis Music 133

ENTRY 7  Triads * Triads are made up of three notes, once in root position, the bottom note is the root note and the notes above it is a third and a fifth from the root. * In root position, the fifth can either be perfect, augmented or diminished, an augmented fifth, is made up of two major thirds and a diminished fifth, is made up of two minor thirds. The triad of a perfect fifth can either be major or minor, the major triad is consist of a major third at the bottom while a minor triad is made up of a minor third at the bottom.    * In a major scale, all of the notes can be used to build triads. Once all of the notes are belonging to the scale the first, fourth and fifth degree, are major triads and the second, third and sixth, degree are minor triads while the seventh degree is a diminished triad. * The notes of a minor scale can also be used to build triads, This time the first, second and fourth are minor triads and the third, fifth and sixth are major triads while the seventh is s

  LESSON 6 INTERVALS * In music intervals are the distance between any two notes.  * There are two ways in which intervals are constructed, either harmonically or melodically. The construction of harmonic intervals are a note above the other's and the melodic intervals are one note after another. * Intervals are made up of two parts the numbe r and the quality . The numeric calculation of intervals begins with the letter name of the bottom note and it involves all of the other letters leading up to the top note, including the top note. For example, using C as a bottom note and G as the top note, the notes involved are C, D, E, F and G which includes 5 letters the numeric value is a 5th. The quality of these intervals can either be major, perfect, minor, diminished or augmented. To recognize the quality of a major interval, the top note of the interval must be belonging to the scale of the bottom note and it should be either a 2nd, 3rd, 6th or 7th degree. When a major interval is ta

  ENTRY 5 THE DIATONIC MODE About the diatonic scale, it has seven modes in each of them the tonic note is those that come from the major scales. Each one of these modes has it's own name, beginning with the first degree of the major scale which is the Ionian and next is the Dorian, Phrygian, Lydian, Mixolydian, Aeolian and the Lucian. In each mode, the tone/semitone patterns arranged differently, creating a different sound in each scale mode. Furthermore, the Ionian mode is known as the major scale and the Aeolian the minor scale.  Each one of these modes has it's own chord, some of the chords made up of different triads such as the Ionian, Lydian and Mixolydian that are major the Dorian, Phrygian and Aeolian are the minor triads and Lucian the only one that is a diminished triad.   The Seven Mode of The Diatonic Using C Major Mode   Degree of The Scale Tone/Semitone Pattern Scale Ionian Major Scale 1 st T T S T T T S C D E F G A B C Dorian   2 nd T S T T T S T D E F G A B C D

  ENTRY 4 Minor Scales * To each major scale there is a relative minor and the relative minor scale begin with using the 6th degree of the major scale along with the same accidentals. * There are two additional forms of the minor scales and they are the harmonic minor and the melodic minor. * The harmonic minor forms when the 7th degree of the minor scale is taken a semitone higher ascending and descending.   * The melodic minor forms when the 6th and 7th degree of the minor scale is taken a semitone higher ascending only when descending, the 6th and 7th degree is lower by a semitone which is the notes of the natural minor.   * The minor scale also has its parallel major scales, these scales have the same tonic note but the third, sixth and seventh degree of the minor scale is lower by a semitone.  This is the A Minor scale which is the relative to C Major   Parallel Minor Scales to C Major This is a melody by Chopin it is in the key of A minor and it has a few harmonic and melodic run

Entry 3 Major Scales * Major scales have 8 notes beginning and ending on the same letter name with a set interval of tones and semitones which is tone, tone, semitone, tone, tone, tone, semitone when ascending.   *  The interval pattern of tones and semitones are maintained when sharps or flats are added to these scales.       * Sharps or flats can be placed just before the head of notes in major scales or in the key signature to create an effect on the tone semitone patterns in major scales.  * The arrangement of sharps and flats in the key signature has a set pattern using either all sharps or all flats but not both sharps and flats at the same time.  * When using sharps in the key signature one must begin with the highest F in the staff down to the nearest C, up to the nearest G, down to the nearest D, down to the nearest A, up to the nearest E and down to the nearest B. Using flats in the key signature one would begin with B in the staff, up to the nearest E, down to the nearest A,

ENTRY 2    Simple Time Meter Rhythm * The top number will tell you how many beats are in each bar and the bottom number tells what not will get one beat. With 8 at the bottom, the quaver gets one beat. * Cut time is the same as 2/2 which means, 2 beats in a bar and the minim gets one beat.  * Three beats in a bar and the mini gets one beat. * Four beats in a bar and the minim gets one beat Rhythmic Notation in Simple Meters In a simple meter, every beat is a crotchet beat.  Rhythm Meter In Compound Time In compound time every beat is a dotted crotchet beat. 12/8  compound quadruple  9/8  compound triple 6/8  compound duple Hemiola and Syncopated Rhythms  In this syncopated melody, the accent begins on the second half of the first beat and last for one beat and continue with the same pattern. At the beginning of each bar, there is a half-beat rest that begins each bar on the offbeat and continues with the other two beats in each bar as an offbeat.    A Melody Written as Hemiola Rhythm  

  ENTRY 1  Ledger Lines * Ledger lines notes are also arranged in alphabetical order when going above the staff, for example, the top line of the treble clef is F and the note above it is G and it continues as A, B, C and on and on.  * The ledger line notes below the staff move in the opposite direction of the alphabet, for example, the bottom line note of the treble clef is E and the note just under it is D and it continues as  C, B, A and on and on.  * Knowing that a sharp will take the note a semitone higher and a flat will lower it by a semitone. A double sharp used before the head of a note will raise it by two semitones and a double flat will lower it by two semitones. These are also ways in which notes are recognized as enharmonic equivalent to other notes. For example, C double sharp is also D natural and C double flat is also B♭. Normally these type of accidentals is used in melodies where the notes are already affected by an accidental in the key signature.