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Fundamentals of Western
Music
Page 1
Musical Notation
Page 4
Scales
Page 7
Intervals
Page 10
Rhythm
Page 14
Page 17
Modes
Page 21
Page 24
Page 27
Page 31
A natural.
B flat
B natural or C flat
C natural
D Flat
D natural
E flat
E natural or F flat
F natural
G flat
G natural
Enharmonic Notes
=
G#
A
B
=
A#
C
=
B
C
=
B#
D
=
C#
D
E
=
D#
F
=
E
F
=
E#
G
=
F#
G
A natural
A sharp
B natural
C natural or B sharp
C sharp
D natural
D sharp
E natural
F natural or E sharp
F sharp
G natural
The distance between two neighboring notes in a given scale is a step. If the
notes have another note between them, they are a whole step apart.
Examples of a half step would be C to D as well as E to F.
Half steps are also known as semitones.
Examples of a whole step would be C to D as well as F# to G#.
Whole steps are also known as whole tones.
Fig. 2 Whole steps and half steps identified on the piano:
Musical Notation
3
In musical notation, the foundation for writing pitches and rhythms is the
staff. The vertical direction of the staff represents pitch height, or how high or low
a note will sound. Therefore, the pitch of a note is represented by how high or low
it is placed on the staff. The horizontal direction of the staff represents time. Time
in music is read left to right just like the English language. Therefore, if note #1
placed to the left of note #2, #1 will occur before #2.
Fig. 3 The basics of musical notation:
The staves (plural of staff) consist of alternating lines and spaces. Each line
or space stands for a letter in the musical alphabet. Sharps and flats are written in
directly before each note, so that all the twelve pitch classes of the octave can be
included. When a note falls above or below the staff additional lines are written in.
These lines are called ledger lines.
Fig. 4 Notating the scales on a staff:
If one is playing music in which a sharp or flat is called for consistently for a
significant duration, a key signature is added. A key signature is a set of sharps
and flats at the left side of a staff that indicate whether some notes will sharped or
flatted. For example, should a passage use C minor exclusively, it becomes too
tedious to write a flat before every E, A and B that occurs. Sharps and flats
that are written in the music and that are not in the key signature are called
accidentals.
Fig. 5 Key Signatures:
The symbols you see at the beginning of the staves in figure 8 are the clefs.
The clefs in figure 8 are treble clefs. There are many different clefs, but the two
most basic are the treble clef and the bass clef. Each clef shows a different range
of notes. The notes in the bass clef are lower sounding than those in the treble clef.
For instruments which have a very large range of notes, like the piano, a grand
staff is sometimes used, in which there is both a treble clef and a bass clef.
Fig. 6 The Grand Staff:
Register is a term that refers to the overall height and range of a musical
passage or an instrument. For example, one could say that the flute plays in a
higher register than does the bass guitar. Each octave of pitch is given a number to
show what register it is. The C natural one ledger line below the treble staff (a
staff with a treble clef) is called C4 or middle C. Every note within an octave
of and above a given C natural is labeled with the same number. For example,
the A directly above middle C is A4. The A directly below middle C is
A3.
Fig. 7 The octaves:
Scales
6
Scales (2)
A Chromatic Scale is a scale in which all neighboring scale tones are one
half step or one semitone away from each other. The complete chromatic scale
contains all of the 12 pitch classes.
Fig. 9 The chromatic scale shown on the piano:
Most scales are spelled using only sharps or flats and without repeating any
of the letters A G, but spelling the chromatic scale requires that some letters
be used more than once. To avoid confusion, the chromatic scale is generally
spelled using all sharps or all flats, like the major scale.
If we choose to spell this scale in sharps we have two qualities of C, D,
F, G, and A. If we choose to spell this scale in flats we have two qualities of
D, E, G, A and B.
Scales (3)
8
Intervals
9
An interval is the distance between two notes. Two things determine the interval
between notes:
1. A number that designates the number of letter names two notes are
away from each other. The distance between C# and D natural,
for example, is a second. So is the distance between C# and D#.
The distance between C# and E, however, is a third.
2. A word that designates the quality of the interval. Intervals can be
major, minor, perfect, diminished and augmented.
The distance between a note and itself is called a unison.
In a C major scale, the tonal center or tonic is C natural. C natural is the
first scale degree of the C major scale. As major is a seven note scale, there are six
other scale degrees: D natural is the second or supertonic, E natural is the third or
mediant, F natural is the fourth or subdominant, G is the fifth or dominant, A is
the sixth or submediant and B is the seventh or leading tone. As was mentioned
earlier in the section on intervals, every interval is given both a number and a
quality. The intervals between the scale degrees of the major scale are as follows:
Scale Degrees of the C
major scale
Scale Degree 2 or D
Scale Degree 3 or E
Scale Degree 4 or F
Scale Degree 5 or G
Scale Degree 6 or A
Scale Degree 7 or B
Intervals (2)
Scale Degrees of the C
minor scale
Scale Degree 2 or D
Major second
Scale Degree 4 or F
Perfect fourth
Scale Degree 5 or G
Perfect fifth
Unaltered seconds, thirds, sixth and sevenths will either be major or minor in
quality. Unaltered fifths, fourths, octaves and unisons will be perfect in quality.
Expanding any interval by a semitone makes it an augmented interval. Collapsing
an interval by a semitone makes it a diminished interval.
An augmented fourth is the same interval (in equal temperament) as the
diminished fifth. This interval has a special name called the tritone, because it is
the distance of three whole tones.
Intervallic
Distance
Enharmonic
Equivalent
11
Range of Notes
C to C
C to C#
C to D
C to D#
C to E
C to E#
C to F
C to F#
C to G
C to G#
C to A
C to A#
C to B
Perfect Unison
Augmented Unison
Minor Second
Major Second
Diminished Third
Augmented Second
Minor Third
Major Third
Diminished Fourth
Augmented Third
Perfect Fourth
C to D
C to E
C to E
C to F
C to F
Perfect Fourth
Augmented Fourth
Diminished Fifth
Perfect Fifth
Diminished Sixth
Augmented Fifth
Minor Sixth
Major Sixth
Diminished Seventh
Augmented Sixth
Minor Seventh
C to G
C to A
C to A
C to B
C to B
Major Seventh
Intervals (4)
The inversion of an interval is the interval required to complete a perfect
octave.
Fig. 12 Interval Inversion
12
In order to find the inversion for any interval in the chromatic scale, subtract
its numerical value from nine and change its quality as follows:
Minor inverted becomes Major
Major inverted becomes Minor
Diminished inverted becomes Augmented
Augmented inverted becomes Diminished
A major 6th becomes a minor 3rd
(9 6 = 3)
Rhythm
When we refer to time in the everyday sense, we often speak of units of time
such as seconds, minutes or hours. These units help us to measure and to
discriminate between different lengths of time as it passes.
In music, there is a similar system. Instead of measuring time by seconds
and minutes, music is measured in units like beats, notes, rests and measures. A
measure can last for only a second, or it can last for four seconds. The actual
length of any musical duration is determined by the tempo and time signature.
13
Basic Vocabulary
1. Beat a. A location or single point in musical time. Ex. On the third
beat of measure four.
b. A steady rhythm or groove. Ex. I like the song with the bossa
nova beat in it.
2. Rest A period of time in which one is not actively playing.
Sometimes a rest is a period of silence.
3. Tempo The speed of the musical beat. Tempo is usually measured
in beats per minute or BPM. March tempo is 120 BPM.
4. Meter/Time Signature The way in which a rhythm is grouped.
This term refers to whether eighth notes, quarter notes, half notes, etc.
(see below for discussion of these terms) are associated with the beat
of a particular piece. Is also determines the number and grouping of
beats within a measure.
5. Time Signature - A symbol placed at the beginning of a staff or
measure to indicate a particular piece of musics meter.
6. Measure A measure is a well defined length of musical time. A
measure will consist of a specific number of beats. A measure which
has four beats at a tempo of 60 BPM lasts four seconds. (Obviously 1
beat at 60 BPM lasts exactly one second.)
Most of the time, when musicians refer to rhythm, they do not talk about
beats. The term beat is rather vague and confusing. In musical terms, it is more
accurate to speak in terms of quarter notes, eighth notes, half notes and whole
notes. These notes bear the relationship shown on Table 2:
Rhythm (2)
Table 2 Note Durations
=
+
=
+
14
= +
=
+
The system continues towards finer and finer subdivisions of rhythm. Just
as sixteenth notes have one more flag on their stem than do eighth notes; thirty
second notes and sixty fourth notes, etc. can be drawn by adding additional flags
on the stem of each note.
A given measure of music will be assigned one of the previous note
durations as the basis for its meter. A measure will last, for example, for the
duration of four quarter notes or for two half notes.
Fig. 13 The Time Signature
The bottom number of the time signature refers to what note duration from
Table 2 corresponds to the beat. The top number refers to how many beats per
measure. In this case the time signature is pronounced, three four. It means that
the quarter note receives the beat and that there are three beats per measure.
Rhythm (3)
Table 3 - Rests
= +
=
+
=
+
15
=
+
Dotted Values
A note that is dotted looks like a normal note, only with a tiny dot directly to
its right. That dot indicates that the note is to be held for 1 times its normal
duration. A quarter note, which is normally worth two eighth notes, when dotted,
is worth three eighth notes. An eighth note, normally worth two sixteenth notes,
when dotted, is worth three sixteenth notes. This same principle applies to rests as
well.
. =
++
. =
++
. =
++
. =
++
16
18
3. Quadruple A quadruple meter means that there are four beats per
measure
The type of meter that a beat has is most often one of the two following
types:
1.
2.
With almost all time signatures, the division of the measure and the beat
creates a pulse within each measure. Some beats within a measure are said to be
strong, while others are weak. For example, in 4/4, or common time, there are
four beats and beats 1 and 3 are the strong beats. Beats two and four are the weak
beats.
Singing the natural accents of two 4/4 measures sounds like this,
ONE two THREE four ONE two THREE four
A measure of 6/8 has strong beats on beats 1 and 4. Singing two measures
of 6/8 sounds like this,
ONE two three FOUR five six ONE two three FOUR five - six
REMEMBER: Identifying time signatures and meters is often a matter of
interpretation, not of right and wrong.
Duple
Triple
Quadruple
Simple Duple
Simple Triple
Simple Quadruple
Compound
Compound Duple
Compound Triple
Compound
Quadruple
19
Duple
Triple
Quadruple
2/4, 2/2
3/4, 3/2
4/4, 4/2
Compound
6/8, 6/4
9/8, 9/4
12/8, 12/4
There six common types of meter listed above: Simple Duple, Simple
Triple, Simple Quadruple, Compound Duple, Compound Triple and Compound
Quadruple.
It is understood that in signatures such as 4/4, the beat is divided into two
parts. This is not to suggest that other beat divisions do not ever occur; but if they
do, they will be accompanied by a notation of some kind that will indicate it.
Another confusing point about identifying time signatures is that the bottom
number of the signature is said to identify what value gets the beat. In the case of
6/8, the 8 on bottom suggests that, the eighth note gets beat. The six on the
top of the signature means that there are six beats.
In many cases however, because 6/8 has strong beats on beats 1 and 4, a bar
of 6/8 will feel like there are only two beats. Try singing Take Me Out to the Ball
Game while tapping your foot on the beat. Sing it once very slowly and once
very quickly. Do you notice how the feel changes? Do you notice that the number
of beats seems to change from 6 to 2? This is one of the reasons that identifying
meter is often a matter of interpretation.
Modes
By now we know that a major scale consists of a series of notes defined by
their distances from one another. These distances are measured in whole steps and
half steps and the order of these intervals is Whole, Whole, Half, Whole, Whole,
Whole and Half.
If we were to start on the second note of the major scale (so in C major, to
start on D) and continue upward until we reach the octave, the pattern of steps
would be: Whole, Half, Whole, Whole, Whole, Half and Whole. The resulting
20
WWHWWWH
WHWWWHW
HWWWHWW
WWWHWWH
WWHWWHW
WHWWHWW
HWWHWWW
These seven modes are often referred to as the church modes. Modes
were the basis of western music for many centuries way back in the glory days of
chant.
The modes can be understood in two groupings: ones that are similar to the
major scale and ones that are similar to the minor scale.
Similar to Major
Similar to Minor
Dorian Minor with natural 6th
Phrygian Minor with flat 2nd
Aeolian Minor
Locrian Minor with flat 2nd and
flat 5th
Modes (2)
Ionian Major
Lydian Major with #4th
Mixolydian Major with flat 7th
2. Dorian
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3. Phrygian
4. Lydian
5. Mixolydian
6. Aeolian
7. Locrian
Modes (3)
There are many important aspects of the church modes that explain why they
have been so popular throughout history. All of the church modes are diatonic (see
below for discussion of diatonicism) to the major scale as well as to each other.
Here are some of the properties that make the modes of major such versatile
musical resources:
1. There are no steps larger than a major 2nd This means that melodies
traveling up and down the scale wont go through any large leaps.
22
2. The scale is asymmetrical This means that every note in the scale has a
unique position relative to all the others. There are no points in the scale in
which the pattern of whole steps and half steps looks the same both up and
down the scale.
3. The two half steps are distributed as evenly as possible
4. There are twelve transpositions of each mode
The importance of these properties will become more apparent the further you
travel into music theory and musical experience in general.
Every scale degree of a given scale has its own unique triad that is
associated with it. There are three possible triad qualities found within the C major
scale.
1. Major The distance between chord tones 1 and 3 is a major third. The
distance between 3 and 5 is a minor third. The distance between 5 and 1 the
octave above is a perfect fourth.
2. Minor The distance between chord tones 1 and 3 is a minor third. The
distance between 3 and 5 is a major third. The distance between 5 and 1 the
octave above is a perfect fourth.
3. Diminished The distance between 1 and 3 is a minor third. The distance
between 3 and 5 is a minor third. The distance between 5 and 1 the octave
above is an augmented fourth.
Fig. 14 Diatonic Triads in major and minor keys
25
There are four qualities of seventh chord diatonic to the major and minor
scales:
1. Major Seven It is constructed major third, minor third, major third, minor
second. In major keys, this chord is diatonic on scale degrees 1 and 4. In
minor, this chord is diatonic on scale degrees 3 and 6.
2. Major Minor Seven - It is constructed major third, minor third, minor third,
major second. In major keys, this chord is diatonic on scale degree 5. In
minor keys, this chord is diatonic on scale degree 7.
3. Minor Seven It is constructed minor third, major third, minor third, major
second. In major keys, this chord is diatonic on scale degrees 2, 3 and 6. In
minor keys, this chord is diatonic on 1, 4 and 5.
4. Half Diminished Seven It is constructed minor third, minor third, major
third, major second. In major keys, this chord is diatonic on scale degree 7.
In minor, this chord is diatonic on scale degree 2.
Fig. 16 Seventh chord constructions
26
Notice that the G major scale is spelled using one sharp. The G major scale
is therefore one accidental away from C major; that is, one sharp. There is also a
scale which is one flat away from C major: F major.
Fig. 18 The F major scale on the piano
If we were to play a musical passage which consistently used only the notes
of a particular scale, we are said to be playing in that key.
Fig. 19 A passage in F major:
The keys two accidentals away from C major on either side are known as
closely related keys. The closely related major keys of C major are G major (1
sharp), D major (2 sharps), F major (1 flat), and B flat major (2 flats). Closely
related keys also include closely related relative minor and relative major keys.
Relative minor and major keys are covered on the next page.
Of the seven church modes, only two can really said to be keys in the normal
sense: Major (Ionian) and Minor (Aeolian). Although it is not unthinkable that
someone would play a piece, in the key of D Dorian, the use of these modes is
greatly overwhelmed by the occurrence of the major and minor modes.
major is A minor and the relative minor of E major is C# minor. The relative minor
of a given major scale always starts a minor 3rd down from the tonic of the major
scale.
Fig. 20 Relative and Parallel Minor Scales
30
These rules have become the foundation for the tradition of western harmony; a
tradition that has influenced western music all the way to the present.
In the last chapters we identified the constructions of diatonic chords and
scales. We must now find out how these resources have been used in the history of
western music.
Chord Progression A chord progression is a series of consecutive chords.
Usually chord progressions end with a cadence or with something that gives the
listener a sense of finality or resolution.
Cadence A cadence is a resolution of a phrase. The most common
historical cadences occur at the end of tonal chord progressions. The cadences of
the common practice era are characterized by a V I resolution.
There are certain rules and logical orders that most chord progressions
adhere to:
1. The most common root movement is up by fourth. So for example, it is
very common for ii to progress to V and for V to lead into I.
2. Root motion does not go up by third, but it often travels down by third.
Patterns like I vi IV ii are common.
3. The VII and v chords in minor are changed to vii dim. and V see below
for further discussion.
Some common chord progressions found in pop, jazz and classical music:
Major Progressions
I vi ii V I
I vi IV ii vii I
I IV I V I
I IV V I
I ii V vi IV V - I
Minor Progressions
i VI iv ii V i
i VI iv ii vii dim. i
i iv i V i
i iv V i
i ii V VI iv V i
leading tone are III, V and vii. Of these chords, only III does not go directly to
I.
The pull of the leading tone towards scale degree one is one of the central
defining aspects of western music. It is this pull that has popularized the
progression V I so greatly.
One potentially confusing point is that the v chord in minor keys is a minor
chord. Most of the time, scale degree seven in minor is raised one half step so that
it can act as the leading tone; thus making the chord starting on the fifth scale
degree major.
Fig.22 The V chord in minor
Because the 7th scale degree is often raised a half step in minor keys, there is
a distance of an augmented second between scale degrees 6 and 7. Play up and
down the minor scale once through, raising scale degree 7 one half step. Do you
hear the large leap from scale degree 6 to scale degree 7? A minor scale which has
this leap between scale degrees 6 and 7 is called a harmonic minor scale.
In order to get rid of this large leap, scale degree 6 is also raised by a half
step. The resulting scale is called the melodic minor scale and it is used to
accommodate the necessary leading tone in the V chord. The melodic minor scale
is usually only used when ascending the scale.
In general, the progression of diatonic chords within one key can move as
follows:
33
Major Key
anywhere
vii, V
vi, IV
ii, vii, V, I
I, vi
ii, IV, vii, V
V, I
Minor Key
anywhere
vii, V
VI, iv
ii, vii, V, i
i, VI
iv, ii, V
V, i
Final Thoughts
There is a lot more that needs to be said about counterpoint, voice leading,
key modulation and many more subjects for one to have a full understanding of the
subject of traditional western music theory. These subjects, however, are outside
of the scope of this book. This text has been prepared to provide a foundation for
34
the aspiring musician or student in the field of music theory and only covers
diatonic harmony and scales. I hope you have found this text to be helpful.
35