Category: lectureNotes_musth1

From grading the first homework there are several issues that are popping up across the class. Write clearly. Distinguish between lowercase m and uppercase M. ° and + signs go before size number. Know the quality familes. 1, 4, 5, and 8 are Perfect intervals (°, P, A). 2, 3, 6, 7 are Major/minor intervals…

For Friday, 8/28, read chapter B in the Roig-Francoli (RF), and the following information about beaming and ties, from Professor Oravitz. If you’d like to print out the following to have and to hold, look for rhythmic_beaming.pdf in my iLocker account. To Beam or not to beam: an initial guide to using beams in rhythmic/metric…

Pitch Notation – Register We will name pitch register using middle C as C4. Going down is C3, C2, etc., and up is C5, C6, etc. The register break for numbering happens between B – C, no matter what accidentals are involved. For example, the B# above middle C is B#4, despite being the enharmonic…

The book chapter (Ch. 12: Phrase Structure and Grouping) is relatively clear, so I’m not going to rehash everything from it, or class, here. I’ll just post some useful things to remember. Phrase lengths are typically multiple measures of two, with four being the most common. Since pickups balance out at beginning and end to…

The Basics Dominant seventh chords, built on the fifth scale degree (with the leading tone raised in minor), are the only diatonic seventh chords to have a Mm7 quality. Since the interval of a seventh is dissonant by definition, chordal sevenths are tendency tones, and seventh chords require special treatment with regard to the approach…

Harmonizing Melodies: Analyze the melody for scale degrees. Figure out possible chords for each scale degree. (Write them below the lower staff.) Only I, IV, and V are permissible for now. Choose harmonies for each scale degree (or group, if slower harmonic rhythm). As you choose harmonies, you eliminate harmonies that would create bad progressions…

Primary Triads The primary triads in any key are tonic, dominant, and the subdominant. These fit into the T (tonic), D (dominant), and P (predominant) categories, respectively. Some theorists actually refer to the categories as T, D, and S, for subdominant. In major, the qualities are I, IV, and V (all major). In minor the…

Using Roman Numerals to Label Harmonies We’re moving away from using commercial chord symbols to label harmonies. From now on, we’ll be using Roman numerals to label harmonies within a key. (diatonic harmonies) The scale degree of the root is the Roman numeral you use to label. Uppercase and lowercase (with superscript) denotes quality. Uppercase…

From grading the homework there are a few problems that need to be addressed. Not all embellishing tones are dissonant.  Consonant embellishing tones do not have any designation (or name) other than consonant.  Unaccented is assumed unless otherwise indicated. When labeling non-harmonic embellishing tones, you do not have to write “U” for unaccented. An unaccented…