Thursday, October 13, 2011. Music Sharing: Mitchell & Hunter K. (CHS) Let’s review… Triads...

Thursday, October 13, 2011

Music Sharing: Mitchell & Hunter K. (CHS)

Let’s review…• Triads (and inversions)• 7th Chords (and inversions)• Figured Bass

What’s new?• Major chord progressions• The wonderful world of minor!

In order to figure out triads & 7th chords, you MUST know your key signatures and major scales.

STEP 1: Always look at what key you are in.

STEP 2: Write out the major scale and scale degrees for that key if necessary.

STEP 3: Apply the scale degrees that are necessary to build your triad or 7th chord.

STEP 4: Create and inversion of that chord

if necessary.

Root, 3rd, 5th Root position

• Stacked in thirds• Root on the bottom

1st inversion – 6/3 (C/E)• 3rd on the bottom• Interval of a 3rd between the bottom note & the middle

note• Interval of a 6th between the bottom note & the top note

2nd inversion – 6/4 (C/G) • 5th on the bottom• Interval of a 4th between the bottom note & the middle

note• Interval of a 6th between the bottom note & the top note

Root, 3rd, 5th, 7th

Root position – 7 (C7)• Stacked in thirds• Root on the bottom

1st inversion – 6/5 (C7/E)• 3rd on the bottom• Interval of a 3rd between the bottom note & the

2nd note• Interval of a 5th between the bottom note & the

3rd note • Interval of a 6th between the bottom note & the

highest note

2nd inversion – 4/3 (C7/G) • 5th on the bottom• Interval of a 3rd between the bottom note & 2nd note• Interval of a 4th between the bottom note & 3rd note• Interval of a 6th between the bottom note & the highest

note

3rd inversion – 4/2 (C7/Bb)• 7th on the bottom• Interval of a 2nd between the bottom note & the 2nd note• Interval of a 4th between the bottom note & the 3rd note • Interval of a 6th between the bottom note & the highest

note

What’s the difference between 7th chords and V7 chords?

Because the I, IV, & V chords contain all the notes in a given major scale, they can be used to accompany simple melodies.

The V7 chord is often substituted for the V chord.

In order to avoid a “choppy” chord progression, the most common major chord progression is:• I – IV6/4 – I – V6 or V6/5 – I • C – F/C – C – G/B or G7/B – C • G – C/G – G – D/F# or D7/F# - G • F – Bb/F – F – C/E or C7/E – F•

Octave displacement is sometime necessary!

There are 15 major keys, each with a unique key signature.

For every major key, there is a RELATIVE minor key that has the same key signature.

Each relative minor scale begins on the 6th note (scale degree) of the relative major scale.

The 6th scale degree is the keynote/tonic of the minor scale and the note from which that scale gets its name.

The tonic of a relative minor scale may also be found by descending a minor 3rd or ascending a major 6th from the tonic of the major scale.

The tonic of the relative major scale can be found by ascending a minor 3rd or descending a major 6th from the tonic of the minor scale.

C major / a minor = relative C major / c minor = parallel

Uses only the tones of the relative major scale.

Ascending: A, B, C, D, E, F, G, A

Descending: A, G, F, E, D, C, B, A

Raises the 7th scale degree by a half step when ascending and descending.

The most frequently used of the three types of minor scales.

Ascending: A, B, C, D, E, F, G#, A

Descending: A, G#, F, E, D, C, B, A

Raises the 6th and 7th scale degrees by a half step when ascending.

Descends just like the natural minor scale.

Ascending: A, B, C, D, E, F#, G#, A

Descending: A, G, F, E, D, C, B, A

For all harmonic minor intervals, the following is true:

P1, M2, m3, P4, P5, m6, M7, P8

Compared to all harmonic major intervals:

P1, M2, M3, P4, P5, M6, M7, P8

MAJOR = Major 3rd + minor 3rd (on top) MINOR = minor 3rd + Major 3rd (on top) AUGMENTED = both 3rds are Major

• Raise the 5th by a half step DIMINISHED = both 3rds are minor

• Lower the 5th by a half step• Remember, the 3rd should already be

lowered (made minor)

MINOR:•i, ii∘, III, iv, V, VI, vii∘, I

MAJOR:•I, ii, iii, IV, V, vi, vii∘, I