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Theory 4
Tonal Scales and Modes
| Question | Answer |
|---|---|
| Diatonic Scales | different ordering of tones & semi-tones. White keys on a piano. |
| 7 Diatonic Church Modes | 1.Ionian, 2.Dorian, 3.Phrygian, 4.Lydian, 5.Mixolydian, 6.Aeolian, 7.Locrian |
| Arabic Maqamat | Transpositions of aeolian mode. Over 120 maqamat. Each maqam has its own rules governing the use of microtones, ornamental pitches, trichord and tetrachord subdivisions, and overall mood. |
| 2 Types of mqam: | maqam nahawand maqam farahfaza Each are very different maqamat |
| Gamelan & 2 "essential" scales | Indonesian orchestra of metallophones, gongs, drums, flutes, singers. Essentially two scales slendro (pentatonic) and pelog (often 7-note. |
| Anhemitonic AKA | Major pentatonic (there are many different pentatonic scales)- 1,2,3,5,6,8 |
| Whole Tone Scale | Scale built entirely on whole tones. scale in which each note is separated from its neighbors by the interval of a whole step |
| Hexatonic Scale AKA | Half-step minor third. Highly semetical scale although not overly pleasing. a scale with six pitches or notes per octave. 1,#1,3,f,#5,6,8 |
| Octatonic Scale | semetrical. alternates whole tones and semi-tones. Only 3 diff. scales. any eight-note musical scale. |
| Lydian-Mixolydian | C - D - E - F# - G - A - Bb Normally after Lydian-Mixolydian you see (#4/b7) |
| Blues | C - Eb - F - F# - G - Bb - C (1,b3,4,#4,5,b7,8) used to describe a few scales with differing numbers of pitches and related characteristics |
| Gypsy | C - D - Eb - F# - G - Ab - B refers to one of several musical scales named after their association with Gypsy music |
| Pentatonic Scale | musical scale or mode with five notes per octave in contrast to a heptatonic (seven note) scale such as the major scale and minor scale. Minor - 1,b3,4,5,b7,8 |
| Hirajoshi | 1,2,b3,5,b6,8 |
| Polychords | Polychords are built from combos of tertian chords (usually triads or 7th chords) with different tonal centres For example, a C major triad combined with an F# minor triad)These chords are usually named by naming each separate chord (eg. C/F#m) |
| Components of a polychord are called | chordal units |
| Split-Third Chord | polychord that represents both major and minor qualities built on the same root |
| Bitonality or Polytonality | Polytonality refers to the juxtaposition of two (in the case of bitonal music) or more clearly different tonal centres Some composers will actually indicate two separate key signatures |
| Quartal Harmony | Chords built on 4ths known as quartal harmony Quartal harmony often used by contemporary jazz musicians |
| Secondal Harmony | Chords built using 2nd called secondal hramony or tone clusters |
| Clusters | Some variations on this include the used of white bands for diatonic clusters and dark bands for chromatic clusters No conventional naming system though often the bass notes are used to distinguish the cluster |
| Who coined the term cluster? | American composer Henry Cowell |
| What did Henry Cowell do? | Cowell devised a new notation system for clusters (see. P. 515) – note the bitonal key signature |
| Parallelism | Tonal music emphasizes specific root movements with movement by 5ths predominating Parallel root movement destroys the sense of tonal progression |
| Planing | Chords move up or down by seconds |
| Pandiatonicism | Use of a diatonic scale or mode No tonal centre All tones are equal Often no functional tonality |
| Set Theory | The theory of pitch class sets was developed initially as a way of analyzing atonal music |
| Pitch Class | Set theory utilizes the concept of the pitch class Specific pitches correspond to particular frequencies Pitch classes include all related pitches. Pitch classes are considered equivalent no matter which octave they are in or enharmonic spelling |
| Integer Notation | Pitch classes are identified by integer with C as PC 0, C# is PC 1 etc. To avoid confusion, Bb and B are often labeled t and e (for 10 and 11) or A and B (hexadecimal notation) Useful to think of pitch class in terms of a clock |
| Labels for Ordered Pitch Class: | use angular brackets eg. A, D, Bb = <92t> |
| Unordered Pitch Classes are labeled: | using curly brackets eg. Eb, G, C, A# = {0, 3, 7, t} |
| Transposition | Pitch class transpositions result from simple addition For example, transposing PC 3 (Eb) up 4 semitones = PC 7 (G) 3+4=7 Transpose a c minor triad up 6 semitones PCs 0,3,7 +6 = 6, 9, 13! |
| Symbol for transposition: | Use the symbol Tn for transposition with n as the transposition factor Tn(x) = x+n |
| Modulo 12 | Pitch class set theory uses a modulo 12 system Same as a clock. 7+6 = 1 (modulo 12). To get mod 12 pc, subtract 12 (if larger than 12) |
| Inversion | term inversion is used differently in set theory than it is in tonal theory Inversion refers to the mirror image on the pitch class clock wrt pc 0 |
| Symbol for inversion: | Labeled In with n as the inversion factor In(x) = n-x (mod 12) I3 for example is the inversion that will map pc 0 onto pc 3 |
Created by:
hayleycmacleod