Pre-Music Theory

Semitone

located between two adjacent keys on the piano; EF and BC are exceptions on a keyboard or scale

Wholetone

two semitones up or down; in a key in between two playable notes

Sharps

raise a note a semitone (#)

Flats

lower a note to one semitone (b)

Natural

cancel out any sharps or flats

Tempo

rate of pulse

Downbeat/ First Beat

the beginning beat of the measure; has the strongest pulse

Time Signature

bottom number indicates pulse; top number indicates the metric grouping

Compound Meter

the pulse divides into 3

Staff

five lines on which pitches are written

Rest

indicates a duration of silence

Dotted Half-rest

hangs above third measure line

Anacrusis

a note or sequence of notes that appear before the first beat of a musical phrase (pickup note)

Clef

associate of lines and spaces on the staff with specific pitches

Major Scale Pattern

W-W-S-W-W-W-S

Minor Scale Pattern

W-S-W-W-S-W-W; 3,6,7 are lowered a semi

Harmonic Minor Scale Pattern

W-S-W-W-S-A2-S

Melodic Minor Scale Pattern

W-S-W-W-W-W-S; 6-7 are raised ascending; 6-7 revert to natural form when descending

Gmaj/Emin

one sharp

Dmaj/Bmin

two sharps

Amaj/F#min

three sharps

Emaj/C#min

four sharps

Bmaj/G#min

five sharps

F#maj/D#min

six sharps

C#maj/A#min

seven sharps

Fmaj/Dmin

one flat

Bbmaj/Gmin

two flats

Ebmaj/Cmin

three flats

Abmaj/Fmin

four flats

Dbmaj/Bbmaj

five flats

Gbmaj/Ebmin

six flats

Cbmaj/Abmin

seven flats

Parallel Keys

share the same key note (tonic/pitch); Ex: Cmaj/Cmin (both share the tonic C)

Relative Keys

share the same key signature but start on different notes (tonic/pitch); Ex: Cmaj/Amin both have the same key signature

Scale

organized with reference to a central tonic pitch; a collection of notes; written within an octave

Caret Markings

indicate scale degrees

Tonic

Scale Degree Number One/Eight

Supertonic

Scale Degree Number Two

Mediant

Scale Degree Number Three

Subdominant

Scale Degree Number Four

Dominant

Scale Degree Number Five

Submediant

Scale Degree Number Six

Subtonic

Scale Degree Number Seven

Interval

distance between two notes

Harmonic Interval

two notes played at the same time

Melodic Interval

two notes played one after the other

Simple Interval

when the interval fits within the octave

Compound Interval

when the interval is greater than the octave

Interval Size Smallest to Largest

diminished-minor-major-augmented

Major Intervals

one semitone larger than minor intervals; 2nd, 3rd, 6th, and 7th scale degrees (M symbol)

Minor Intervals

2nd, 3rd, 6th, and 7th scale degrees

Perfect Intervals

unison, 4th, 5th, 8th; perfect, augmented, or diminished

Augmented

one more halfstep (semitone) than major intervals; one semitone larger than perfect

Diminished Interval

one semitone smaller than minor interval; one semitone smaller than perfect

Interval Size

the number of lines and spaces it spans

Interval Quality

the number of semitones contained within the interval

Odd Intervals

always use the line/line or space/space

Even Intervals

always use line/space

Dissonant

unstable feeling

Consonant

stable feeling; divided into imperfect/perfect

Diminished 5th/ Augmented 4th

defining characteristic of each major scale

Major Scale

intervals above the tonic are major/perfect

Natural Minor Scale

intervals above the tonic are minor/perfect; EXCEPT the major interval between 1 and 2

Inverting an Interval

transpose either the lower or the upper note up an octave

Bass Clef

also known as F Clef

Alto Clef

all notes are one whole-step down from treble clef

Tenor Clef

all notes are a whole-step up from treble clef

Dotted Rhythms

divide often into two unequal parts

Finding a Relative Minor Key

count down from the tonic (starting note) to the 6th scale degree; half-step plus whole step below tonic

Finding a Relative Major Key

move up three half-steps from the root note (tonic) of the minor key

F#/Gb—-Db/C#—-Cb/B

three enharmonically equivalent major keys

Increase Semitones in an Interval

you either raise the top note or lower the bottom note

Decrease Semitones in an Interval

you either raise the bottom note or lower the top note

Chorale Style

used to write things sung by choir led voices (SATB)

Bass Range

low E to high C

Soprano Range

low C to high C

Tenor Range

mid C to high G

Alto Range

low G to D

Three Upper Voices

SAT should be no more than an octave next closest voice

Right Hand

take upper voices and stems them together SAT (all upwards notes)

Left Hand

hold bass note to maintain balance (regular balanced notes)

Doubling Tones

double the specific note you need; EXCEPT the leading notes

Tendency Tones

leading feeling notes; usually the 7th and the 4th