music theory

Unit 1: Music Fundamentals I: Pitch, Major Scales and Key Signatures

Lesson One: Pitch and Pitch Notation

• Pitch: Highness or lowness of sound; also known as tones/notes.

• Middle C: Central pitch, on the first ledger line above the bass clef and the first below the treble clef.

• Notation: Signs/symbols to represent musical pitches.

• Staff: Arrangement of 5 lines and 4 spaces where notes are placed, varies with clef.

• Notes:

  • In spaces: Located between lines.

  • On lines: Positioned directly on the lines.

• Treble Clef: Represents high pitches (above Middle C).

  • Note names: Spaces - FACE; Lines - EGBDF.

• Bass Clef: Represents low pitches (below Middle C).

  • Note names: Spaces - ACEG; Lines - GBDFA.

• Alto Clef: Middle C on the middle line.

  • Note names: Spaces - GBDF; Lines - FACEG.

• Melody: A series of single pitches, often the memorable part of a song.

• Clefs: Symbols indicating pitch range (e.g., bass, alto, treble).

Lesson Two: Basic Terms

• Alto Staff: Middle C is the middle line.

• Bass: Pitches below Middle C.

• Octave: Distance between pitches of the same name.

• Chord: 2+ pitches played simultaneously (usually 3).

• Harmony: Sound resulting from 2+ tones played together.

• Consonance: Harmonically pleasing chords.

• Dissonance: Harmonically tense chords.

• Half Step: Smallest musical interval (e.g., C to C#).

  • Sharps (#): Raise pitch by half step.

  • Flats (b): Lower pitch by half step.

  • Naturals (♮): Cancels sharps/flats for the measure.

• Whole Step: Equivalent to two half steps.

Unit 2: Music Fundamentals II: Minor Scales and Key Signatures

Lesson One: Minor Scales

• Relative Minor: Minor scale based on the 6th degree of the major scale.

• Natural Minor Scale: Minor scale played in the relative major's key.

• Harmonic Minor Scale: Natural minor with raised 7th degree.

• Melodic Minor Scale: Natural minor with both 6th and 7th degrees raised while ascending.

Lesson Two: Determining Key Signatures

• Key names derived from their relative major scales:

  • A Minor: No sharps/flats.

  • E Minor: F#.

  • B Minor: F#, C#.

  • F# Minor: F#, C#, G#.

  • C# Minor: F#, C#, G#, D#.

Unit 3: Music Fundamentals III: Triads and Seventh Chords

Lesson One: Chord Qualities

• Chord Qualities:

  • M (Major): First chord in major.

  • m (Minor): Second chord.

  • d (Diminished): Seventh chord in minor.

  • A (Augmented).

Lesson Two: Diatonic Chords and Roman Numerals

• Roman Numerals:

  • I (Tonic): Major Key, Major Chord.

  • ii (Supertonic): Major Key, Minor Chord.

  • iii (Mediant): Major Key, Minor Chord.

  • IV (Subdominant), V (Dominant), vi (Submediant).

  • i (Tonic, Minor Key).

Unit 4: Voice Leading and Cadences

Lesson One: Soprano-Bass Counterpoint

• Types of Voices: Voice leading rules for counterpoint.

• Conclusive: Resolutions of specific bass notes to achieve a finality.

Lesson Two: SATB Voice Leading

• Guidelines: Manage voice crossing, spacing, and common tones.

• Common Tone Management: Keeping common tones during chord transitions.

Unit 5: Harmony and Voice Leading II: Chord Progressions

Lesson One: Functions of Chords

• Tonic: Stability, does not demand progression.

• Dominant: Needs to resolve to tonic.

• Pre-dominant: Leads to dominant.

• Cadences: Essential for marking musical phrases.

Unit 6: Modes and Form

Lesson One: Definition of Modes

• Modes Types:

  • Ionian: Major scale.

  • Dorian: Natural minor with raised 6.

  • Phrygian: Lowered 2.

  • Lydian: Raised 4.

Lesson Two: Phrase Relationships

• Phrases: Combine to create periods with distinct cadences.

• Form Types: Parallel, contrasting, sequential.

Unit 7: Secondary Function and Variations

Lesson One: Tonicization

• Definition: Treatment of non-tonic pitches as temporary tonics.

• Secondary Dominants: Resolve to harmony other than tonic.

Lesson Two: Part Writing for Secondary Dominants

• Tonicization vs Modulation: Establishing new tonics without changing key.

Unit 8: Repetitions and Variations in Cadences

Lesson Three: Part Writing of Secondary Leading Tone Chords

• Identifying and writing: Using chromatic chords, raised notes.

• Establishing clarity and function in resolutions.