Chapter 3 Ap Muic theory

Circle of Fifths

Demonstrates the relationship of the tonal centers to each other.

Diatonic scales/Chord names

Notes that are played within the scale, with no additional accidentals.

Tonic

The tonal center or Do.

Supertonic

Re or the second scale degree, above the tonic.

Mediant

Mi or the third scale degree.

Subdominant

The fourth scale degree or Fa.

Dominant

A perfect fifth above the tonic. or Sol

Submediant

La or the sixth scale degree; becomes the raised submediant in melodic minor on the way up.

Subtonic/Leading tone

The seventh scale degree; becomes the Subtonic in natural minor.

Key signature

Written at the beginning of every staff to indicate which pitches are to be sharp or flat consistently throughout the piece, and helps determine the key or tonal center.

For sharps, raise the last sharp by half a step. for flats, look at the last sharp or the last flat, which is Fa.

Major scale

221 (2) 221 or WWH (W) WWH

Natural minor

212 (2) 122 or WHW (W) HWW

Harmonic minor

212 (2) 122 or WHW (W) HWW

Melodic minor

ascending: a natural minor scale but with the 6th and 7th scale degree raised one half step

descending: a natural minor scale

212 (2) 211 ( asending ) then down 2 then down 2

Parallel key

Major and minor keys that have the same tonic (first scale degree or Do).

Relative key

Two key signatures that have the same pitches, such as C major and A minor.

Scalar variance

The use of natural, harmonic, and melodic minor within one composition.

chromatic scale

scale with only half steps (has 12 notes)

whole tone scales

scale with only whole steps, an artificial scale (has 6 notes)

artificial scales

scales that don’t accurately represent they key that it is in (i.e. whole tone scales)

pentatonic scales

has 5 notes, is the 1st, 2nd, 3rd, 5th, and 6th scale degrees of a major scale, and for minor its the 1st 3rd, 4th, 5th, and 7th scale degrees