C
#
C
Db
D
#
D
Eb
E
F
#
F
Gb
G
#
G
Ab
A
#
A
Bb
B
C
#
C
Db
D
#
D
Eb
E
Practice Keyboard
F
#
F
Gb
G
#
G
Ab
A
#
A
Bb
B
Elements of Music
The 9 Basic Components That Make Up Music
1. Rhythm: Beats, Meter
2. Pitch: Notes, Melody
3. Harmony: Chords, Scales, Accompaniment
4. Tempo: Speed
5. Dynamics: Volume
6. Articulation: Style, Attack, Decay
7. Form: Structure, Layout
8. Texture: Number of Voices, Interaction
9. Timbre: Quality of Sound, Orchestration
All of these elements can be found in every style of music and every culture.
However, not all of these components are necessary to create music.
Each element can be used to varying degrees of importance
to create different musical styles.
Music Basics
1)
4)
Musical Staff
2)
b4
b
{& 4
6)
5)
9)
3)
Key Signature
Time Signature
Ledger Lines
Measure
7)
Bar Lines
8) Double Bar Line
Treble Clef
(Final Bar Line)
Bass Clef
10)
11)
Whole Rest
?b
b w
13)
Whole Note
∑
14)
12)
Half Rest
˙ Ó
Half Note
Quarter Rest
œŒ Ó
15)
Quarter Note
Notes & Rests
Whole
(1/1)
°
Notes
w
Half
(1/2)
˙
Quarter
(1/4)
œ
Eighth
(1/8)
œ
J
Sixteenth
(1/16)
œ
R
Thirty-Second
(1/32)
Sixty-Fourth
(1/64)
˙.
=
˙
¢
+
Rests
œ
∑
˙
œ
œ
J
Ó
œ
œ
œ
Œ
œ
œ
œ
œ
‰
œ
≈
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R
œ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ
RÔ RÔ
®
œœ
Ù
Dotted Half Note
œ.
=
œ
+
j
œ
Dotted Quarter Note
j
œ.
=
j r
œ +œ
Dotted Eighth Note
w.
=
w
+
˙
Dotted Whole Note
Dynamics
The volume of music
f – Forte = Loud
ff – Fortissimo = Very Loud
p – Piano = Soft
pp – Pianissimo = Very Soft
mp – Mezzo Piano = Medium Soft
fff – Triple Forte = Extremely Loud
mf – Mezzo Forte = Medium Loud
ppp – Triple Piano = Extremely Soft
sub. – Subito = Suddenly
sub. f – Subito Forte = Suddenly Loud
sub. p – Subito Piano = Suddenly Soft
fp – Forte-Piano = Loud than Immediately Soft
sfz or sf – Sforzando = Loud Attack (Strong Accent)
sffz or sff– Sforzando = Very Loud Attack (Very Strong Accent)
rfz – rinforzando = Reinforced
ppp
n – Niente = Nothing
pp p mp mf f ff fff
cresc. – Crescendo = Increase Volume
decresc. – Decrescendo = Decrease Volume
dim. – Diminuendo = Diminish Volume
poco a poco = Little by Little
grad. = Gradually
morendo = Dying Away
Crescendo
Decrescendo
Comparison of Clefs
Treble Clef (G Clef)
1
2
& 44 f f f f f f f f f f f f f f
f ffffF
f
f
f
f
f
Middle C
Bass Clef (F Clef)
ffff fffffff fff fff ffffF
f
f
f
?4
4
Middle C
B 44 f f f f f
f ffffff
Alto Clef (C Clef)
3
f fffffff ffffF
f ffffff
f
f
f
B 44 f f
f fffffff ffffF
Middle C
Tenor Clef (C Clef)
4
Middle C
44
f ffffff
f
f
f
B f f
f fffffff ffffF
Middle C
Soprano Clef (C Clef)
5
fffff
f
f
f
f
f
B4 f f
f fffffff ffffF
4
Baritone Clef (C Clef)
6
Middle C
fffff
4
f
f
f
f
f
B4 f f
f fffffff ffffF
Middle C
Mezzo-Soprano Clef (C Clef)
7
4 f fffff fffffff fff fff ffffF
&4
f
‹ Middle C
Treble Clef (Sounding One Octave Lower)
8
Meters
Meter - the division of beats within a measure.
There are two ways of dividing pulse:
/ 42 ff
Simple
Compound
iq
iiq
Divides by 2
Divides by 3
ff
f
f
3f
f
f
/ 4f f f f f f
/ 44 ff f ff f ff f ff f
/ 22 Ff
Ff
f
f
3f
f
f
/ 8f f f f f f
/ 23 Ff f Ff f Ff f
Complex:
/ 58 ff f
iq
iiq
ff . f f
j
5 ff . f f
/ 16
j
ff f
Duple/
Simple
Triple/
Simple
Quadruple/
Simple
Duple/
Simple
Triple/
Simple
Triple/
Simple
.
.
/ 68 ff f f ff f f
9 f. f. f.
/ 8 fffffffff
. . . .
/ 12
8 ff ffff ffff ffff ff
/ 42 ff f f ff f f
3 f.
/ 8f
3
f
3
f
.
.
/ 46 Ff f f Ff f f
Duple/
Compound
Triple/
Compound
Quadruple/
Compound
Duple/
Compound
Single/
Compound
Duple/
Compound
Combines Simple & Compound
Duple/
Complex
Duple/
Complex
.
/ 78 ff f ff f ff f f
j
j j
.
7 ff f f ff f ff f
/ 16
Triple/
Complex
Triple/
Complex
Chromatic Scale
Chroma = Color
Chromatic - the entire spectrum of colors
Chromatic Scale - a scale that is made up entirely of half steps
which produces the entire spectrum of notes
4
& 4 f # f f #f
& f f bf f
? 44 f #f f #f
? f f bf f
f f #f f
bf f bf f
f f #f f
bf f bf f
#f f #f f
f bf f bf
#f f #f f
f bf f bf
w
w
w
w
Enharmonic - notes that look different but sound the same:
(A# = Bb) (C# = Db) (D# = Eb) (F# = Gb) (G# = Ab)
"Tricky" Enharmonics - because there is only one half step
between the notes (B - C) and (E - F):
(B# = C) (Cb = B) (E# = F) (Fb = E)
Major Scales
& f
& f
&
A Major scale is a group of notes in alphabetical order
following a specific pattern of intervals.
f
Whole Whole
Half
f
Whole
f
f
Half
Whole
f
f
w
f
f
f
f
f f f
C Major
# G Majorf f f f #f w
& f f
##D Major
& f f #f f f f #f w
f w
f
f
b
b
f
f
& f f
F Major
Whole
Whole
f
f
f
f
f
f
Whole Whole
Half
Whole
w
Half
Whole
w
f f f f f
f f w
f #f f f f
f f w
f #f f f f
#f f w
f f f f
bf f f w
Circle of Fifths
C
1b
2b’s
3b’s
G
F
1#
Bb
D
Eb
A 3#’s
b
A
4b’s
E 4#’s
C# 7#’s
D b 5b’s
Order of Flats
B b Eb Ab Db Gb C b Fb
B
E
A
D
Go
Call
Fido
Gb
F
2#’s
Db
C
F # 6#’s
G b 6b’s
B 5#’s
C b 7b’s
Order of Sharps
# # # # # #
F C G D A E B
#
Fat
Cats
Go
Down
Alleys
Eating
Brownies
B
Ab
G
Eb
D
Bb
A
F
E
B
minor Scales
minor Scales - every Major Scale has a Relative minor scale
using the exact same notes and key signature
f
&
&
&
f
f
Whole Whole
f
Half
f
f
f
f
f
w
Whole Whole Whole
f
w
Half
The Relative minor scale starts on the 6th scale degree of the Major scale (or 2 steps down).
f
f
Whole Half
f
f
Whole Whole
f f w
f
f
f
f f
Leading Tone
1/2 Step
C Major
w
f
f
f
f
& f f f
A Natural minor
Whole Step
#f w
f
f
f
f
& f f
A Harmonic minor
Leading Tone
1/2 Step
Aug. 2nd
w
#
f
#
f
f
f
& f f f
A Melodic minor
Leading Tone
1/2 Step
Maj. 2nd
Half Whole Whole
f f f f f
f f w
f f f f f
f f w
The Natural minor scale has no leading tone.
f #f f f
f f f w
The Harmonic minor scale adds a leading tone
creating an Augmented 2nd.
f nf nf f
f f f w
The Melodic minor scale adds a leading tone
and raises the 6th to remove the Augmented 2nd.
Both altered notes are lowered back to Natural
when descending.
Circle of Fifths
(Relative minors)
C
1b
2b’s
3b’s
F
a
e
d
Bb
D
g
Eb
f#
f
bb
a#
C# 7#’s
D b 5b’s
Order of Flats
B b Eb Ab Db Gb C b Fb
B
E
A
D
Go
Call
Fido
Gb
F
Db
C
2#’s
b
c
b
A
4b’s
1#
G
eb
d#
c#
ab
g#
F # 6#’s
G b 6b’s
E 4#’s
B 5#’s
C b 7b’s
Order of Sharps
# # # # # #
F C G D A E B
#
Fat
Cats
Go
Down
Alleys
Eating
Brownies
B
Ab
G
A 3#’s
Eb
D
Bb
A
F
E
B
Relative vs. Parallel
Relative - scales that begin on different notes but share the same key.
Parallel - scales that begin on the same note but have different keys.
&
w
f
f
f
f
f f f
Parallel
C Major
b
&b b
w
f
f
f
f
f f f
c natural minor
Relative
&
f w
f
f
f
f
f f
a natural minor
Gb Major
fw
b
f
b
f
b
f
&b b b f f f
bb
w
f
f
b
f
f
& fff
Eb Major
Relative
b
b
& b
fw
f
f
f
f
ff
c natural minor
Parallel
Relative
bbb b
w
f
f
b
f
f
& b fff
eb natural minor
Major Key Signatures
Key Signature - the arrangement of sharps or flats (or absence of)
at the beginning of a musical staff which defines
the scale and tells you what your root note is.
{
Sharps have to be arranged
in the following order:
#### ##
& #
? #### ##
#
{
{
The Key of C Major has no sharps or flats.
& w f f f f f f w
? w f f f f f f w
b
& b bbbbb
? bb b b
bbb
C Major
The Rule for Sharps:
Look at the last sharp on the right and go up a 1/2 step and that is the name of the key.
f f w
f
f
f
f
& w
G Major
#
?#
{
{
Flats have to be arranged
in the following order:
f f w
f
f
f
f
w
### f f f f f f w
& w
A Major
? ###
f w
f
f
f
f
w f
{
##
&
{
w
f
f
f
f
w f f
D Major
? ##
w
f
f
f
f
w f f
f f f w
f
f
f
w
E Major
####
&
? ####
f f f w
f
f
f
w
{
B Major
####
& #
ff fw
f
f
f
w
? #### w f ff ff fw
#
{
Cb Major
wf
fw
ffff
? bb b b w f f f f f f w
bbb
#### ##
& #
? #### #
w
# w fff ff f
{
bbb b f f f f f f w
b
& b w
Ab Major
? bb b f f f f f f w
b w
Bb Major
f f w
f
f
f
f
w
? bb w f f f f f f w
b
&b
Gb Major
? bb b b f f f f f w
b b wf
f w
f
b
f
b
f
f
&b b w f
{
{
fw
f
f
f
f
wf
? #### ## w f fff ff w
#
C# Major
The Rule for Flats:
Memorize that F Major has Bb then
look at the second to last flat from the right and that is the name of the key.
b
& b bbbbb
{
{
#### #
fw
f
f
f
#
f
&
wf
F# Major
{
{
b
& b bbb w f f f f f f w
w
? bb b w f f f f f f
bb
Db Major
b
f w
&b b w f f f f f
{
Eb Major
? bb
bw f f f f f f w
f w
f
f
b
f
f
& w f
F Major
?b
f w
f
f
f
f
w f
minor Key Signatures
minor Keys - minor keys share the exact same key signature as their
relative Major, they just begin on a note a minor 3rd
(or 3 half steps) below the root note of the Major key.
{
Sharps have to be arranged
in the following order:
#### ##
& #
? #### ##
#
{
{
The Key of "a" minor has no sharps or flats.
f f w
f
f
f
f
& w
b
& b bbbbb
? bb b b
bbb
a minor
?
f f w
f
f
f
f
w
The Rule for Sharps:
Determine the Major key by going up a half step from the last sharp, then go down a minor 3rd.
w
& w f f f f f f
e minor
#
?#
{
{
Flats have to be arranged
in the following order:
f w
f
f
f
f
w f
###
f w
f
f
f
f
& w f
f# minor
? ###
f w
f
f
f
f
w f
{
b minor
f f w
f
f
f
f
w
? ## w f f f f f f w
##
&
{
f w
f
f
f
f
w f
? #### w f f f f f f w
c# minor
####
&
{
w
####
f
f
f
f
& # w ff
g# minor
? ####
fw
# w fffff
{
ab minor
fff w
? bb b b f f f f f f w
bbb w
{
b
w
& b bbbb w f f f f f f
f minor
? bb b
w
b w f f f f f f
w
f
b
f
f
f
&b w f f
g minor
? bb
eb minor
? bb b b
w
b b w ffffff
bbb
f f w
f
b
f
f
&
w f
{
{
#### ## f f f f ff w
& # w
a# minor
? #### ## f f f f ff w
# w
The Rule for Flats:
Determine the Major key by looking at the second to last flat, then go down a minor 3rd.
b
& b bbbbb w f f f
{
{
#### #
& # w f f f ff f w
? #### #
# w f f f ff f w
d# minor
w
f
f
f
f
w f f
{
{
bb minor
ffw
f
f
f
f
w
? bb b w f f f f f f w
bb
b
& b bbb
b
&b b w f f f f f f w
? bb w f f f f f f w
b
{
c minor
&b w f f f f f f w
?b
f f w
f
f
f
w f
d minor
Intervals
There are 2 ways of defining intervals:
Major/minor
Perfect
Augmented
Augmented
Major
minor
Perfect
diminished
diminished
Aug. 1st
Aug. 8th
Perfect 1st (Unison)
Perfect 8th (Octave)
dim. 1st
dim. 8th
Aug. 2nd
Aug. 7th
Major 2nd
minor 2nd
Major 7th
minor 7th
dim. 2nd
dim. 7th
Aug. 3rd
Aug. 6th
Major 3rd
minor 3rd
Major 6th
minor 6th
dim. 3rd
dim. 6th
Aug. 4th
Aug. 5th
Perfect 4th
Perfect 5th
dim. 4th
dim. 5th
B
Interval Examples 1
Basic diatonic intervals in an ascending Major scale:
#
& ˙ ˙
1) P1
˙ ˙
2) M2
˙ ˙
3) M3
˙ ˙
4) P4
˙ ˙
5) P5
˙
6) M6
Basic diatonic intervals in a descending Major scale:
&
#˙ ˙
1) P1
˙ ˙
2) m2
˙ ˙
3) m3
˙ ˙
4) P4
˙ ˙
5) P5
˙
& ˙ #˙
1) A1
˙ b˙
2) m2
˙ b˙
3) m3
˙ #˙
4) A4
˙ b˙
5) d5
Altered intervals in a descending Major scale:
&
# ˙ b˙
1) A1
˙ n˙
2) M2
˙ b˙
3) M3
˙ b˙
4) A4
˙ #˙
5) d5
˙
6) m6
Altered intervals in an ascending Major scale:
#
˙
˙
b˙
6) m6
˙
b˙
6) M6
˙
˙
˙
˙
7) M7
8) P8
˙
˙
˙
7) m7
˙
n˙
8) P8
˙
b˙
7) m7
8) d8
˙
˙
b˙
7) M7
˙
#˙
8) d8
Interval Examples 2
Basic unaltered intervals:
1
& ˙ ˙
1) P1
2
& ˙ ˙
1) M2
3
& ˙ ˙
1) M3
4
& ˙ ˙
1) P4
5
& ˙ ˙
1) P5
6
& ˙ ˙
1) M6
7
& ˙ ˙
1) M7
8
& ˙ ˙
1) P8
˙ ˙
2) P1
˙ ˙
2) M2
˙ ˙
2) m3
˙ ˙
2) P4
˙ ˙
2) P5
˙
˙
2) M6
˙
˙
2) m7
˙
2) P8
˙
˙ ˙
3) P1
˙ ˙
3) m2
˙ ˙
3) m3
˙ ˙
3) P4
˙
˙
3) P5
˙
˙
3) m6
˙
˙
3) m7
˙
3) P8
˙
˙ ˙
4) P1
˙ ˙
4) M2
˙ ˙
4) M3
˙ ˙
4) A4
˙ ˙
4) P5
˙
˙
4) M6
˙
˙
4) M7
˙
4) P8
˙
˙ ˙
5) P1
6) P1
˙ ˙
5) M2
˙ ˙
5) M3
˙ ˙
5) P4
5) P5
˙
˙
5) M6
˙
5) m7
˙
5) P8
˙ ˙
6) M2
˙ ˙
6) m3
˙ ˙
˙
˙
˙
6) m6
˙
˙
6) m7
˙
6) P8
˙ ˙
7) m2
˙ ˙
7) m3
˙ ˙
7) P4
˙ ˙
6) P5
˙ ˙
7) P1
6) P4
˙ ˙
˙
˙ ˙
˙
˙ ˙
7) d5
˙
˙
7) m6
˙
˙
7) m7
˙
7) P8
˙
Interval Examples 3
Basic and altered intervals:
1
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ n˙ ˙ #˙ b ˙ n˙ b ˙ #˙ #˙ b ˙
1) P1
2
7
8
6) A1
7) A1
8) AA1
9) AA1
2) M2
3) M2
4) m2
5) m2 6) A2
7) A2
8) AA2
9) d2
2) M3
3) M3
4) m3
5) m3 6) A3
7) A3
8) AA3
9) d3
2) P4
3) P4
4) d4
5) d4
6) A4
7) A4
8) AA4
9) dd3
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ #˙ b ˙ ˙ b ˙ #˙ #˙ b ˙
1) P5
6
5) A1
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ #˙ b ˙ ˙ b ˙ #˙ #˙ b ˙
1) P4
5
4) A1
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ #˙ b ˙ ˙ b ˙ #˙ #˙ b ˙
1) M3
4
3) P1
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ #˙ b ˙ ˙ b ˙ #˙ #˙ b ˙
1) M2
3
2) P1
2) P5
3) P5
4) d5
5) d5
6) A5
7) A5
8) AA5
9) dd5
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ #˙ b ˙ ˙ b ˙ #˙ #˙ b ˙
1) M6
2) M6
3) M6
4) m6
5) m6 6) A6
7) A6
8) AA6
9) d6
1) M7
2) M7
3) M7
4) m7
5) m7 6) A7
7) A7
8) AA7
9) d7
1) P8
2) P8
3) P8
4) d8
5) d8
7) A8
8) AA8
9) dd5
? ˙ ˙ #˙ #˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ #˙ b ˙ ˙ b ˙ #˙ #˙ b ˙
? ˙ ˙ #˙ # ˙ b ˙ b ˙ ˙ b ˙ #˙ ˙ ˙ # ˙ b ˙ ˙ b ˙ # ˙ #˙ b ˙
6) A8
Chords
l
The quality of Chords are determined by stacked intervals:
rd
Maj.3
min.3rd
w
{w b
{w
5
5
3
3
1
1
minor
min.3rd
min.3rd
wb
{wb
{w
5
3
1
diminished
rd
Maj.3
min.3rd
min.3rd
Maj.3rd
Major
w
{ wb
{w
minor
w
w}
w}
5
3
1
5
3
1
w
w}
w}
min.3rd
rd
#5
3
Maj.3
Major
1
w
w}
w}
Maj.3rd
Maj.3rd
Augmented
A C Eb
A C E
A C# E
A C# E#
B D F
B D F#
B D# F#
B D# FX
C Eb Gb
C Eb G
C E G
C E G#
D F Ab
D F A
D F# A
D F# A#
E G Bb
E G B
E G# B
E G# B #
F Ab Cb
F Ab C
F A C
F A C#
G Bb Db
G Bb D
G B D
G B D#
Dominant Chords
l
Dominant chords are Major chords (usually with a minor 7th)
a Perfect 5th above a root. They are the same in Major or minor keys.
5
3
1
w
w}
w}
1
7
w
w}
Maj.2nd
min.3rd
7
=
5
3
rd
Maj.3
1
The easiest way to determine the notes of a
Dominant 7th chord is to first build a Major chord
off of the root note. Then, to find the 7th,
go down one whole step from the root note.
w}
w
w}
w}
min.3rd
min.3rd
Maj.3rd
Dominant 7th
(V7)
Common Dominant 7th Chords
C E G Bb
C# E# G# B
D F# A C
Db F Ab Cb
E G# B D
E b G B b Db
F A C Eb
F# A# C# E
G B D F
G# B# D# F#
A C# E G
Ab C Eb Gb
B D# F# A
Bb D F A
Diminished Chords
l
There are 3 types of diminished Chords:
diminished, fully diminished, and half diminished.
5
3
1
w
w}
w}
7
min.3rd
min.3rd
5
3
1
diminished
(viio)
w}
w
w}
w}
7
min.3rd
5
min.3rd
3
min.3rd
1
fully diminished
(viio7)
w
w}
w}
w}
Maj.3rd
min.3rd
min.3rd
half diminished
(viiø7)
Common diminished 7th Chords
C Eb Gb Bbb
C# E G B b
C Eb Gb Bb
C# E G B
D F Ab C b
D# F# A C
D F Ab C
D# F# A C#
E G B b Db
E# G# B D
E G Bb D
E# G# B D#
F Ab Cb Ebb
F# A C Eb
F Ab Cb E b
F# A C E
G Bb Db Fb
G# B D F
G B b Db F
G# B D F#
A C Eb Gb
A# C# E G
A C Eb G
A# C# E G#
B D F Ab
B# D# F# A
B D F A
B# D# F# A#
fully diminished
(viio7)
half diminished
(viiø7)
4-Part Writing in a Major Key
4-Part Writing - Dividing a given chord between four voices
on a Grand Staff. (Soprano, Alto, Tenor, and Bass)
& w
w
w
Tonic
{
fff
ff
f
C Major
w
w
w
w
w
w
fff
fff
w
w
w
Subdominant Dominant
Tonic
Supertonic Mediant
Submediant Leading Tone
4-Part Spacing - It is best to maintain an even spacing between the top three voices.
F
F
F
F
F
F
F
F
C: I
ii
iii
IV
V
& FF
F
? F
FF
F
F
FF
FF
FF
FF
FF
F
F
ii
iii
IV
V
& FF
{
FF
FF
FF
FF
? FF
{
F
F
F
F
F
F
vi
viiº
I
Open Position - The spacing between the Soprano and Tenor is more than one octave.
FF
FF
FF
Closed Position - The spacing between the Soprano and Tenor is less than one octave.
C: I
F
Choral Voice Ranges:
Soprano
& F
?
f
f
It is best to
stay within
this safe range
Alto
F
F
f
f
Safe range
FF
F
F
FF
F
F
vi
viiº
Tenor
F
FF
FF
I
Bass
F
f
f
Safe range
F
F
f
f
Safe range
4-Part Writing in a minor Key
minor Key Exceptions - Writing in a minor key follows all of the same rules
as a Major key, except that we usually raise the 3rd of the Dominant chord to
create a leading tone. This can also result in a raised Leading Tone triad.
bb
b
& w
w
w
Tonic
{
fff
fff
c minor
F
F
F
F
F
F
F
F
F
nF
i
iiº
III
iv
v
bb F
b
& F
F
? bb F
b
FF
F
F
FF
FF
FF
FF
FF
FF
iiº
III
iv
v
b
& b b FF
Open Position
? bb FF
b
{
{
FF
Closed Position
C: i
Exceptions
F
b
&b b F
F
nF
v
V§
Major Dominant Chord
FF
?b
bb
w
w
w
Subdominant Dominant
Tonic
Supertonic Mediant
Submediant Subtonic
4-Part Spacing
c:
fff
fff
nw
w
w
w
w
w
FF
FF
FF
F
F
F
F
F
F
VII
F
F
Vª
VI
VII
i
nFF
FF
FF
F
F
FF
F
F
FF
Vª
F
F
ªviiº
i
F
nF
bF
F
FF
F
F
Raised Leading Tone viiº
F
F
F
F
VI
Picardy Third
(usually at the
end of a piece)
F
nF
F
F
Iª
FF
VII
FF
FF
F
F
i
The 7th scale degree
is generally not raised
in the Mediant triad
F
F
F
F
F
F
nF
F
III
III+
Inversions
In an inverted chord, the root note is not in the bass position.
Triads can be written in
Root Position, 1st Inversion,
and 2nd Inversion.
Dominant 7 chords can be written in
Root Position, 1st Inversion,
2nd Inversion, and 3rd Inversion.
E
1C
B
1G
7F
5D
3
1
G
3E
1C
C
G
3E
5
5
Root
Position
5
1st
Inversion
D
3B
1G
7F
5
3
G
7F
5D
3B
1
F
5D
3B
1G
7
G
2nd
Inversion
Root
Position
1st
2nd
Inversion Inversion
3rd
Inversion
Due to the changing positions, the inversions are labeled with the resulting intervals.
{I5£}
{I6£}
C
{I6$}
6th
E
C
4th
5th
G
E
C
Written as: I
6th
3rd
G
E
I6
3rd
{V5£6 }
{V5‰£}
G
5th
I6$
F 7th
D
B3rd
G
Written as: V7
5th
G6th
F
D3rd
B
V6%
{V4£6 }
4th
B6th
G
F3rd
D
V4£
{V4"6 }
4th
D6th
B
G2nd
F
V2
Inversions Notated
G
3E
1C
5
E
1C
3
1
G
3E
1C
5
{
Root
Position
C: I
1st
Inversion
˙
? ˙
C: I
˙
& ˙
˙
? ˙
C: ii
5
F
5D
3B
1G
Root
Position
˙˙
˙
˙˙
˙
˙˙
˙
˙˙
˙
I6
I6$
I
˙˙
˙
˙
˙˙
˙˙
I6
I6$
I
˙˙
˙
˙
˙˙
˙˙
˙
˙
˙
˙
ii6
˙˙
˙˙
ii6$
ii
G
7F
5D
3B
1
G
2nd
Inversion
B
1G
7F
5D
3
7
˙˙˙
˙˙˙
Choral Voicing:
˙
& ˙
{
G
3E
5
Piano Voicing:
& ˙˙˙
? ˙˙˙
{
C
D
3B
1G
7F
5
{
Root
Position
˙˙˙
& ˙
1st
2nd
Inversion Inversion
˙˙˙˙
˙˙˙˙
3rd
Inversion
˙˙˙
˙
? ˙˙˙
˙
˙˙˙˙
˙˙˙˙
˙˙˙
˙
V4£
V2
˙
& ˙
˙
˙
˙˙
˙˙
C: V7
V6%
V4£
V2
& ˙˙
˙˙
˙
˙
˙˙
˙˙
V6
V6$
V
{
C: V7
? ˙
˙
{
? ˙
˙
C: V
V6%
˙
˙
˙
˙
˙˙
˙˙
˙˙
Cadences
Cadence - a resting point in music, generally at the end of a phrase.
{
There are 6 types of cadences in 4 groups: Authentic, Half, Deceptive, and Plagal Cadences.
Authentic Cadences [V - I]
Perfect Authentic Cadence (P.A.C.)
& ˙˙
˙
˙
˙˙
C: V7
I
? ˙
˙
{
Both chords must be in root position.
The Soprano must end on the root.
Half Cadence (H.C.) [I - V]
˙
& ˙
˙
? ˙
{
C:
I
˙˙
˙
˙
V
Any cadence ending on a Dominant function chord.
Any inversion is acceptable.
IV-V, ii-V, vi-V, etc. are all types of H.C..
Deceptive Cadence (D.C.) [V - vi]
& ˙˙
? ˙
˙
C: V7
˙˙
˙
˙
vi
A deceptive ending when an authentic cadence is
expected. It is usually followed closely by an
Authentic Cadence. V-vi, V-IV6, and V-V7/V are
all types of D.C..
{
Imperfect Authentic Cadence (I.A.C.)
˙
& ˙
? ˙
˙
{
C: V7
I
Either chord may be in any inversion.
The Soprano may end on any note.
viiº - I is also an I.A.C.
Phrygian Cadence (Ph.C.) [iv6 - V#]
& ˙˙
? ˙˙
{
˙
˙
˙
˙
a:
iv6
˙˙
#˙˙
Vx
A special type of Half Cadence found in minor keys.
iv must be in first inversion. The 6th scale degree
descends by half step to the 5th in the bass and the
4th scale degree ascends by whole step to the 5th
establishing the relative phrygian mode root.
Plagal Cadence (P.C.) [IV - I]
˙
& ˙
˙
?
˙
C: IV
˙
˙
˙
˙
I
Also known as the "Amen" cadence because of it's
frequent setting to the text. It usually follows an
Authentic Cadence. IV-I, ii6-I, and ii-I, are all types
of P.C.
Second Inversion Chord Progressions
{
There are only 4 ways to use Second Inversion chords:
Cadential - {I6$ - V7 - I}
4
&4
œ
œ
œœ
?4
4
{
Pedal - {I - IV6$ - I}
œ
œ
œœ
? 44
C:
œœ
œ
œ
IV6$
I
œœ
œ
œ
? 44
C:
I
?4
4
C:
œ
œ
œ
œ
I
œ
œ
œ
œ
V6$
V7
w
w
w
w
œ
œ
œœ
œœ
œ
œ
w
w
w
w
vi6
œœ
œ
œ
œœ
œœ
œœ
œ
œ
I6
I6$
I6
Passing - {I - V6$ - iii}
& 44
I6$
œœ
œ
œ
I
Arpeggiated - {I - I6 - I6$}
& 44
{
œ
œ
œ
œ
IV
I
C:
& 44
{
œ
œ
œ
œ
I
I
w
w
w
w
I
˙
˙
˙˙
œ
œ
œœ
œœ
iii
IV
vi6$
œœ
˙
˙
˙
˙
ii
Dominant Resolution
V7 - I - When a dominant chord resolves,
the 3rd of the dominant chord must resolve up to the tonic and
the 7th of the dominant chord must resolve down to the mediant.
F
5D
3B
1G
7
In the
key of
C Major
G
3E
1C
Resolves
Down
5
Resolves Up
by half step
V7
{
F
5D
3B
1G
7
In the
key of
C Major
& ˙˙
˙
˙
˙
˙
? ˙˙
{
V7
I
C: V7
In the
key of
c minor
I
V7Z
E
3C
1A
F
5D
§ 3 B§
1G
Resolves
Down
5
Resolves Up
by half step
F
5D
§ 3 B§
1G
{
vi
˙
˙
? bb n˙˙
b
vi
V7
V7Z
G
3 Eb
1C
5
Resolves Up
by half step
i
Resolves
Down
7
bb ˙
b
& ˙
˙˙
˙˙
˙˙
In the
key of
c minor
Resolves
Down
7
Eb
3C
1 Ab
5
Resolves Up
by half step
˙
˙
˙
˙
VI
n˙˙
˙˙
˙˙
V7Z
VI
i
c: V7Z
˙
˙
In a root position progression, three notes have predetermined resolutions.
2 Using all chord tones of a V7 and I Chord will inadvertantly result in parallel fifths.
To avoid parallel fifths you must omit the fifth of either the V7 or I Chord and double or triple the root.
1
3
˙
& ˙
1
? ˙˙
2
Resolves
Down
Resolves Up
by half step
Bass must stay
on root of chord
C: V7
˙
˙
˙
I
P5
˙
˙
˙˙
˙˙
˙
˙
I
Incorrect
V7
3
(
P5
˙˙
)
˙˙
Omit 5th
Double Root
˙˙
˙
˙
I
Correct
V7
˙
˙
˙˙
˙
˙
˙
˙
I
Correct
V7
Omit 5th
Triple Root
diminshed Resolution
viiº - I - When a diminished chord resolves,
the root of the diminshed chord must resolve up to the tonic and
the 5th of the diminished chord must resolve down to the mediant.
F
3D
1B
Resolves
Down
5
In the
key of
C Major
G
3E
1C
5
In the
key of
c minor
Resolves Up
by half step
viiº
F
3D
§ 1 B§
Resolves
Down
5
G
3 Eb
1C
5
Resolves Up
by half step
§viiº
I
i
viiº7 - I - In a fully diminished viiº7 chord,
the lowered 7th will also resolve down to the dominant.
Ab
5F
3D
1B
b7
In the
key of
C Major
Resolves
Down
G
3E
1C
5
In the
key of
c minor
Resolves Up
by half step
viiº7
Ab
5F
3D
§ 1 B§
7
Resolves
Down
Resolves Up
by half step
G
3 Eb
1C
b
5
§viiº7
I
i
viiØ7 - I - In a half diminished viiØ7 chord,
the 3rd and 7th are not tendency tones.
A
5F
3D
1B
7
{
In the
key of
C Major
Resolves
Down
˙
& ˙
˙
? ˙
*
C: viiº
˙˙
˙
˙
I
G
3E
1C
5
Resolves Up
by half step
viiØ7
I
b˙˙
˙
˙
viiº7
Ab
5F
3D
§ 1 B§
7
˙˙
˙
˙
I
{
In the
key of
c minor
*
b
˙
b
b
& ˙
˙
? bb n˙
b
c: §viiº
Resolves
Down
Resolves Up
by half step
§viiº7
˙˙
˙
˙
i
G
3 Eb
1C
b
5
§viiº7 is always
fully diminished
in a minor key
i
˙˙
˙
n˙
§viiº7
*Because the root and 5th of the diminished triad are tendency tones, the 3rd must be doubled.
˙˙
˙
˙
i
Non-Chord Tones
Also known as Non-Harmonic Tones,
these are notes that occur outside of a given chord.
Passing Tones (P.T.)
w
œ
w
wœ
w
w wœ
œ
œw
wœ
w œ w
wœw
wœ œw
P.T.
Auxiliary Tones:
Upper Neighbor Tone (U.N.T.)
Lower Neighbor Tone (L.N.T.)
Double Neighbor Tones (D.N.T.)
Escape Tones (E.T.)
Échappée
Appogiaturas (App.)
Free Neighbor Tone
or Incomplete Neighbor Tone
Anticipations (Ant.)
arrives before the beat
Suspension (Sus.)
Retardation (Ret.)
arrives after the beat
Pedal Tones (Ped.)
U.N.T.
w œ
w
P.T.
L.N.T.
wœ
E.T.
w
œ w
E.T.
w
w
œw
App.
App.
wœ w
wœ w
w œ w
w œ w
Ant.
Sus.
Ant.
Ret.
w œ w wœœw
Ped.
Ped.
P.T.
D.N.T.
P.T.
wœ œ w
D.N.T.
{
Non-Chord Tones Examples
1) Passing Tone
& œœ œW œœ
P.T.
œœ
œ
? œ
{
I
V
5) Upper Neighbor Tone
œ œW œ
& œ
œ
U.N.T.
œ
œœ
? œ
{
I
iii
9) Escape Tone
& œœ œW œœ
E.T.
œœ
œ
? œ
{
I
œ œ œœ
& œ W
I
œ
œ
Ant.
œ
œ
IV
3) Double Passing Tones
œ
œ
œ œW œ
œ
œ
P.T.
I
œ
œ
œ
œ
I
IV
ii
œ
œ
œœ
œ œW œœW œ
œ
vi
I
œ œW œ
œ
œ
L.N.T.
I
œ œW œ
œ
œ
I
I
E.T.
œ
œ
œ
œ
œ
œ
œ
œW œ
œœ
V7
App.
œœ
W œ
8) Double Neighbor Tones
œ
œ
œœ
D.N.T.
œ œW œW œœ
œ
œ
œ
œ
œ
I
I
œ
œ
œ œW œ
App.
œ
œ
œ
œ
iii
œœW œ
Ret.
œ
œ
IV
IV
12) Appogiatura (Unaccented)
œ
œ
15) Retardation
iii6$
I
œ
œ
11) Appogiatura (Accented)
ii
Sus.
œ
œœ
œ
D.P.T.
œ œW œW œ
œ
œ
vi
œ
œ
œ
œ
14) Suspension
I
D.N.T.
œ
œ
10) Escape Tone
œ
œ
4) Double Passing Tones
œ P.T. œ P.T.
œ œW œW œ
6) Lower Neighbor Tone 7) Double Neighbor Tones
V
13) Anticipation
œ
? œ
2) Passing Tone
I
vi6
16) Pedal Tone
œ
œ
œ
œ
I6
œ
œ
œ
œW
Ped.
iv
œ
œ
œœ
iii
Secondary Dominants
Secondary Dominant chords are embellishing chords which
function the same as regular Dominant chords.
They occur as Major chords a perfect 5th above non-root chords.
D
3B
1G 5G
3E
1C
5
{
V
I
& ˙˙˙ ˙˙˙
? ˙ ˙
{
C: V
I
E
3 C#
1A 5A
3F
1D
5
F#
3 D#
1B 5B
3G
1E
5
G
3E
1C
C
3A
1F
A
3 F#
1D 5D
3B
1G
V/IV IV
{I}
V/V V
{ii}
5
5
5
B
3 G#
1E 5E
3C
1A
5
V/ii ii
{vi}
V/iii iii
{viiº}
#˙˙˙ ˙˙
˙
##˙˙˙ ˙˙
˙
˙˙˙ ˙
n˙˙
#˙˙˙ ˙˙
˙
# ˙˙˙ ˙˙
˙
iii
˙ ˙
˙ ˙
˙ ˙
˙ ˙
V/ii ii
˙ ˙
V/iii
V/IV IV
V/V
V
V/vi vi
{iii}
V/vi
vi
An accidental is generally a good indicator of a secondary Dominant.
V7 chords can be easier to recognize because the use of 4 notes is a good indicator of
a Dominant chord. It also solidifies the V/IV chord as a secondary Dominant which
could also be taken as a Tonic I chord otherwise.
˙˙˙
& n˙ ˙˙
˙
? ˙ ˙
C: V7
I
˙
#˙˙˙ ˙˙
˙
˙ ˙
V7/ii ii
##˙˙˙˙ ˙˙
˙
b ˙˙˙
˙ n˙˙˙
˙
#˙˙˙ n˙˙
˙
iii
˙ ˙
˙ ˙
˙ ˙
V7/iii
V7/IV IV
V7/V
V
˙
# ˙˙˙ ˙
˙˙
˙
V7/vi
˙
vi
{
Secondary Dominant Uses
#˙
& #˙
? ˙
˙
{
˙
˙
˙˙
C: V7/iii iii
˙ ˙
˙ ˙
#˙˙ ˙
˙
V7/vi vi
# ˙˙
˙
˙
V7/ii
#˙˙ ˙
˙
˙ ˙
˙ ˙
˙˙
˙
˙
ii
V7/V
˙˙
˙
˙
V
˙˙ ˙
b˙ ˙
˙
˙
˙˙
˙
˙
I
V7
V7/IV IV
They can also immediately replace the resolution chord (mm. 1-3).
The resolution can be deceptive by resolving to what would be vi of the V7/IV (m. 4)
#˙
& ˙
#˙
? ˙
{
Secondary Dominant chords are used to embellish diatonic chords.
They are also often found in consecutive succession (chains)
taking you counterclockwise around the circle of 5ths.
C: V7/iii
˙
˙
#˙˙
n˙
˙
#˙
˙
V7/vi
V7/ii
#˙
˙
n˙
˙
n˙
˙
V7/V
˙
˙
V7
˙
˙
˙
˙
b˙
˙
˙˙
w
w
V7
I
˙˙
V7/IV
{F: V7
˙
˙
ii
vi}
w
w
They can also be used for modulation to a new key.
˙
& ˙
? ˙˙
C:
I
˙˙
˙
˙
˙˙ #˙˙
˙ ˙
˙ ˙
V
I
n˙
˙
˙
˙
˙ b˙
˙ ˙
V7/V
V7 V7/IV
{F: V7/V
V7
˙
˙ b˙˙
˙ ˙
˙ b˙
IV
I
[¨VII
IV
˙˙ ˙˙
˙ b˙
˙ ˙
IV6$
I6$
I7
V7
w
w
w
w
IV]
I}
Secondary diminished
Secondary diminished chords are embellishing chords which
function the same as regular diminished chords.
They occur as diminished chords a half step below non-root chords.
5G
F
3E
3D
1C
1B
5
{
viiº I
& ˙˙ ˙˙˙
˙
? ˙ ˙
{
C: viiº
I
5A
G
3F
3E
1D
1 C#
5
5B
A
3G
3F#
1E
1 D#
5
5C
Bb
3A
3G
1F
1E
5
5D
C
3B
3A
1G
1 F#
5E
D
3C
3B
1A
1 G#
5
5
viiº/ii ii
viiº/iii iii
viiº/IV IV
viiº/V V
viiº/vi vi
˙˙˙
˙
˙
#˙
˙˙˙
˙
#
˙
#˙
b˙˙˙ ˙˙˙
˙˙˙
˙
˙
#˙
˙˙˙
˙
˙
#˙
#˙ ˙
#˙ ˙
˙ ˙
#˙ ˙
#˙ ˙
viiº/ii ii
viiº/iii
iii
viiº/IV IV
viiº/V
V
viiº/vi
vi
An accidental is generally a good indicator of a secondary diminished.
viiº7 chords can be easier to recognize because the use of 4 notes
can be a good indicator of a secondary diminished. viiº7 and viiØ7 both
function in a similar way so can be used interchangeably.
& b˙˙˙ ˙˙
˙ ˙
? ˙ ˙
C: viiº7
I
˙˙ ˙˙
# ˙˙ ˙
˙˙˙ ˙˙
#
#˙ ˙
b˙˙˙ ˙˙˙
˙
b˙˙ ˙˙
#˙˙ ˙
˙˙˙ ˙˙
#˙ ˙
#˙ ˙
#˙ ˙
˙ ˙
#˙ ˙
#˙ ˙
viiº7/V V
viiº7/vi vi
viiØ7/ii ii
viiº7/iii iii
viiØ7/IV IV
Theory Terminology
{
Music theory is difficult because there are many ways of describing similar things.
In addition, the same terms are often used to describe different things.
Notes:
&
?
w
w
w
w
w
w
w
w
#w
w
w
w
w
w
#w
w
Letters:
G
A
B
C
D
E
F#
G
Numbers:
Solfeggio:
1
2
3
4
5
6
7
1
Do
Re
Mi
Fa
Sol
La
Ti
Do
Sol
La
Si
Do
Re
Mi
Fi
Sol
(Moveable "Do")
Solfeggio:
(Fixed "Do")
Function: Tonic
Roman
I
Numerals:
Modes:
Ionian
Chord
Changes:
(Alternate)
Supertonic
Mediant Subdominant Dominant Submediant Leading Tone Tonic
ii
iii
Dorian
Phrygian
IV
V
vi
Lydian Mixolydian Aeolian
viiº
I
Locrian
Ionian
G^7
A-7
B-7
C^7
D7
E-7
F#Ø7
G^7
GMaj7
Amin7
Bmin7
CMaj7
D7
Emin7
F#dim7
GMaj7
All of these terms are frequently used in an interchangeable manner
but are often in reference to the same thing.
It can get even more confusing when we start talking about the 5th note of the Dominant
(5 notes above "D" or "V/V") which would be the note "A."
The second note of the scale, "A," is the 5th note of the Dominant V.
A Mixolydian mode can be used over a Dominant 7 chord containing the notes
Sol, Ti, Re, & Fa.
The 5th note above "E" is the root of the Phrygian mode.
A "ii-V-I" chord progression uses the 2nd, 5th, and tonic notes "A," "D," and "G."
The dorian mode can be used over the "ii" chord, the Dominant scale can be used over
the "V" chord, and the "G" scale can be used over the "I."