key = central tone = point of departure from which other tones move and the goal to

which they are directed

scale degree/steps
tonic
supertonic
mediant
subdominant
dominant
submediant
leading tone/subtonic

tonic functions as goal to which other tones are directed

major scale is diatonic scale

diatonic scale = 5 whole 2 semi

intervals
horizontal and vertical

chords

tonal motions comes from rhythm

active, stable tones
tonal organization
scales other than tonic is active
scale of tonic is stable
most melodies begin on 3 or 5

passing tones or neighboring tones*** active tones

motion along the scale = motion with passing notes
basic melodic progression
neighbor = move away and back to tone

half step as melodic intensifier

P or N in half step = intense
7 is very strongly attracted to 8
4 to 3

incomplete neighbors, double neighbors

neigbor will only move either to or from stable but not both
inc = connected with one
double = two notes apart

transposition
key signatures
recapitulation = the opening idea returns
accidentals
GDAEBF#C#
FBEADGc

chromaticism = use of tones not in key

chromatic half step
emphasize scale degree by means of melodiccally intense half-step progression
functions as passing notes
embellish

enharmonics
equally tempered scale

minor keys
natural form
-leading tone is called subtonic
harmonic form
-raising the 7th degree
-not suitable for normal melodic prog
-between 6 and 7 is a gap
melodic form
-raises 6 and 7

Relative major and minor

different keys, diff tonic
tonic = 6 major to minor
tonic = 3 minor to major

parallel major and minor; mixture

parallel = diff sig but same tonic
mixture = using maj and min

modes; the diatonic order

different tonal systems
ionian(major)
dorian
phrygian
lydian
mixolydian
aeolian(minor)
Locrian

tonality
music organized around central tone
major-minor tonality

The contrast between major and minor

the relation of major as beinng happy and minor as sad

intervals in a key
intervals between scale degree

each scale degree gives unique intervals

diminished 5th and augmented 4th in major

dim/augmented 5th/4th = tritone / three whole steps
resolution = the motion of dissonant interval to the consonance that acts as its
goal.
resolving: d5 to M3 ;; A4 to m6
key defininng progression 4 and 7
diminished 5th B-F
augmented 4th F-B
only in C major

use tritone to define the key

diminished 5th and augmented 4th in minor

diminished and augmented are all dissonant

enharmonically equivalent intervals

Rythm

music oraganization = duration accent grouping

segment = successionn of beats

tempo = pace

accent = emphasis = played more loudly

long duration,dissonant,chromatic, very high, low creates ephasis

meter and metrical accent

meter = repetitive pattern with accented and unaccented beats, strong beats and
weak bbeats
metrical accent
subsidiary accennt

time signatures

rhythmic vs metrical accent

syncopation = placing accent on metrically weak place
hemiola

rhythmic groups
longer than a bar
overlapping

measure groups and prases

hypermeasure

phrase = tonal and rhythmic

end of group measures coincide with a goal of tonal motion

four bar phrases are common

rhythm and dissonance treatment

dissonance, duration, accent
The effective functioning of a dissonant element depends on its relation to the
consonnances surrounding it
rhythmic aspect
diss. should be shhort and placed in weak beats
accented passing n neighboring tones
appogiaturas = accented incomplete neighhhbors

suspention = type of dissonance, consequence of syncopation

Triads as basic chord

qualities = Major minor diminised augmented
major minor = consonant
dim aug = dissonant