Chapter 3 Ap Muic theory

Circle of Fifths: demonstrates the relationship of the tonal centers to each other

Diatonic scales/ Chord names: notes that you play that are within the scale, no additional accidentals.

Tonic: the tonal center or Do

Supertonic: re or above the tonic

Mediant: Mi

Subdominant: scale degree 4 or Fa

Dominant: a perfect fifth above the tonic

Submediant: La or the 6^th scale degree (becomes the raised submediant in melodic minor on the way up

sub tonic/ Leading tone: the 7^th scale degree, (becomes the Subtonic in natural minor

Key signature:  written at the beginning of every staff to show which pitches are to be sharp or flat consistently throughout the piece, and is a clue to help you determine they key or tonal cen

1. For sharps: raise the last sharp a half step

2. For flats- look at the last sharp or the last flat 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: you start with a minor pentachord (the first five notes) then raise both the 6^th and 7^th scale degrees.  The upper tetrachord (last 4 notes are the same as a parallel

1. 212 (2) 211 ( ascending ) then down 2 then down 2

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

Relative key: two key signatures that have the same pitches (like  C major and A minor)

Scalar variance: the use of natural, harmonic, and melodic minor within one composition