Grade 5 Music Theory

Major Scale TS Pattern

TTS TTT S

Harmonic Minor TS pattern

T S TT S T1/2 S

Technical names in order

Tonic, supertonic, mediant, subdominant, dominant, submediant, leading note

Enharmonic Equivalence

Notes that sound the same but are named differently

Melodic Minor assending TS pattern

TSTTTTS

Melodic Minor descending TS Pattern

TTSTTST

Why melodic minor more melodic?

It gets rid of the akward tone and a half jump in the harmonic minor scale resulting in a combination of tones and semitones that are more melody friendly

Augmented Interval

One semitone larger than major/ perfect

Diminished interval

One semitone lower than major/perfect

Inversion (intervals)

Invert quality and use 9-og quantity

Diatonic

Any major or minor interval

Chromatic

Only chromatic intervals

Perfect consonances

Perfect unison, perfet fourths, perfect fifths, perfect octaves

Imperfect consonances

major/minor 3rds and 6ths

Dissonant

Requires resolution, augmented/ diminished, seconds or sevenths

Modulation to dominant key (major)

sharpened 4th

Modulation relative minor

Sharpened 5th

Modulation dominant (minor)

Sharpened 4th or 6th

Modulation relative major

Unraised 7th

Modulation to subdominant

is either key +1 sharp or 1 flat (flat 7 major) (sharp third or flat second/ unraised 7th in minor)

Chord II

In a minor key is a dimished triad (interval from lowest to highest is diminished fifth[tritone]- needs to be resolved down a semitone

Chord IIb

More flexible, leads smoothly to V, double the bass or sixth above, do not double the third

Chord VIIb

Most often between I and Ib (for melodies that begin with scale degrees 3-2-1

Chord Ic

also called 6 4 chord bass always doubled, Ic-V approach from IIb or IVb or I or Ib between Ic to V 6th falls to 5

Watch out for (harmony)

concecutive fifths/ octaves

In 8 bar melodies

Imperfect cadence or interrupted or plagal, imperfect or interrupted, interuppted or imperfect, perfect or plagal

Imperfect

I V or IV V

Interrupted

V VI

Plagal

IV I

Perfect

V I

Pianostyle

Bas son its own other 3 parts condensed. Move/transopose tenor line to transform

Chord Progressions

IVb-Vb-I , II- IIb-V , I-IVb-V

Orchestra periods

Classical Period (1750-1820) pairs of each instrument

Romantic Period (1800-1900) 3 of each

3rd flute (piccolo)

3rd clarinet (bass or E flat)

3rd Oboe (Cor anglais)

3rd bassoon (contrabassoon)

Transverse instrument

Held sideways to right of player

Developement of the flute (keys)

One key, 3 chromatic keys, 8 keys standard

Flauto traverso

six finger holes, two joints, semitones produced by crossfingering

Boehm system

new system of keys rods and levers, enlarged flute’s ranger, ensures greater security in chromatic passages and gives new flexibility, cy;indrical bore

flute range

C below stave C above stave with 8ve

Flute tone

low- breathy, middle- bright and clear, high-piercing and brilliant

Oboe info

French origin, mid 17th, by end of 17th principal instrument in orchestra, double reed, conical ore, has octave key (overblowing redundant)

Oboe tone

low- reedy, middle- swetly expressive, high- piercing intense

Oboe range

B flat beneath stave G leger lines above

Clarinet origin/ development

1690 invented by Johann Cristoph Denner (Numberg, Germany), based on chalumeau, classical period added to orchestra, 1843 Boehm system remodelled

2 different clarinets

B flat (down a tone) A (up a minor third)

Why transposing instruments?

two reasons:

In 19th centurydifferent sizes need for chromatic passages in different kes

One set of fingerings

What bore is a clarient

cylindrical

Clarinet range

E below stave C octave above top stave

clarinet tone

chalameau register (Up to written Bflat above middle C)- dark rich, clarion register- bright and expressive, altissimo register- very bright piercing

bassoon info

conical, double reed

bassoon origins

dulcians, rackett, 16th century both double reeds but onlu dulcian U shapoe, originall 3 or 4 keys, 18th century 6 keys, 19h first hald, 8 keys, finally Heckel style (22-28 keys)

bassoon components

double reed, crook, wing joint, long joint, boot joint, bell joint

bassoon range

bass cleff Bflat below stave to treble D in stave

bassoon range

low- forceful dark, middle- vocal in quality, high- thin and intense

Explain embouchure

Different for each instrument, flute lower lip short distance for embouchure hole, activation of muscles around lip,

clarinet roll lower lip across teeth, rest top teeth on mouthpiece, seal with upper lip,

dble reed: both lips cover teeth

Explain overblowing

Overblowing is a technique that can be used to reach higher notes in their range

Instruments overblow at which interval

flute: octave, oboe:octave, clarinet: twelfth, bassoon: octave

Why is the second minuet the trio?

From the 17th century, the second minuet became known as the trio which alludes to the usage of 3 instruments alone, also corresponds to a lightening of texture and change in mood

Explain vcompound ternary in minuet and trio

In the Baroque period has 3 section AA’BB’AA’ the A section after the B section but without written repeats. From classical ABCDAB as more contrasts

Grace note official name

appogiatura

What large scale works contain Minuet and Trio

Symphony, Concertos, sonatas, string quartets ect.

Which two composers are most associated with transformation of Minuet and Trio into Sherzo

Haydn, Betethoven

Discuss the transformations made to establish sherzo and trio form

Haydn: string quartets Op.33 firstu sed sherzo to describe 3rd movement as it means joke in Italian which signalled he wanted it to be more playful. Beethoven firmly established this with very fast tempos and generated humour via accents that went against the metre, syncopations and rapid changes in dynamics and texture

Composers of the Romantic Period that wrote sherzos (piano)

Chopin Brahms

Composers who wrote sherzo as independent orchestral work

Richard Strauss, Paul Dukas

What pre-existing forms can be start of variations

Simple motives, sequence of harmonies, base line alone

List of possible variations

Elaborating ont theme with ornamentation

Reversing hands/ instruments

Enriching harmonies (chromaticism, added notes)

Imitation or contruptual process

Varied rhythm/ metre

Changes of register

Textural changes

Use of relative keys

Changes in tempo, mood, articulation, dynamics

Varied instrumentation

Example of work that is stand-alone Theme and Variations for orchestra

Brahms: variations on a theme by haydn, Elgar: enigma variations, Tchaikovsky: rococo variation

Cotninuo

Any instrument capable of playing bass line or harmony

Figured bass

A simple bass line which includeds numbars fromw hich players can derive harmonies in the baroque period

What is da capo aria

Form similar to ABA formn with A section in triple time and B in duple time

What scale works can da capo aria be found

operas, oratios, cantata, passion

Function of arias

Singer reflects, porttrays emotion, displays beauty of voice

Why da capo aria limtiing

Became more about virtuosity of the peformer and wa shighly repetitve and often dramtically static

Function of recitative

A sort of sung speech used to drive forward the plot and carries dialogue

recitative secco

A dry recitative with strict rhythms notate but singers free to sing the textas they like

recitative accompagnato

Speech has stricter rhythms and more flesthed out accompainiment which makjes it more emotive and dramatic

order arias andr ecitative

recitative secco, accompagnato, aria