m2= 1 halfstep
M2= 2 halfsteps
m3= 3 halfsteps
M3= 4 halfsteps
P4= 5 halfsteps
Aug4: Dim5: TriTone= 6 halfsteps
P5= 7 halfsteps
m6= 8 halfsteps
M6= 9 halfsteps
m7= 10 halfsteps
M7= 11 halfsteps
Ionion – Major Scale. WWhWWWh
Dorian – Starting on ^2 (D in C Major) – WhWWWhW
Phrygian (fridgin) – Starting on ^3 (E in C Major) – hWWWhWW
Lydian – Starting on ^4 (F in C Major) – WWWhWWh
Mixolydian – Starting on ^5 (G in C Major) – WWhWWhW
Aeolian (Natural Minor) – Starting on ^6 (A in C Major) – WhWWhWW
Locrian – Starting on ^7 (B in C Major) - HWWhWWW
Ionion - Major Scale
Dorian – to go from Natural Minor Scale to Dorian, raise ^6 by half step
Phrygian – To go from Natural Minor Scale to Phrygian, lower ^2 by half step
Lydian – To go from Major Scale to Lydian, raise ^4 by half step
Mixolydian – To go from Major Scale to Mixolydian, lower ^7 by a half step
Aeolian – Same as Natural Minor
Locrian – To go from Natural minor scale to Locrian, lower ^2 & lower ^5
TRIADS STARTING ON LOWEST NOTE
Ab Major – Ab C Eb
D Major – D F# A
B Minor – B D F#
D Dim. – D F Ab
F# Aug. – F# A# Cx
A Minor – A C E
Triads
Root – nothing
First Inversion - 6
Second inversion – 6 4
Seventh Chords
Root – 7
First Inversion – 6 5
Second Inversion – 4 3
Third Inversion – 4 2
Major
I ii iii IV V vi vii
Minor
i ii III iv V VI vii
Harmonic minor - Natural Minor with a raised 7th
I – Tonic
II – Supertonic
III - Mediant
IV – Subdominant
V – Dominant
VI –Submediant
VII – Leading Tone
Major Scale Seventh Chords
I M7
ii 7
iii 7
IV M7
V7
vi 7
vii half dim. 7
Minor Scale Seventh Chords
i7
ii half dim. 7
III M7
iv 7
V7
VI M7
vii7
Cadences
Cadence – two chords that make up the end of a phrase
V-I – Authentic Cadence
V7-I – Authentic Cadence
Conclusive – stronger
Perfect Authentic Cadence (PAC)
1. Both chords of cadence are in root position
2. The top voice is Do in the last chord
Imperfect Authentic Cadence (IAC)– anything that is not this (PAC) it is an imperfect authentic cadence
Half Cadence – x to a V chord H.C.
Deceptive Cadence – V to a VI (vi) D.C
Plagal Cadence – Some IV to some I
Phrygian Half Cadence
1. Minor
2. iv6 to V
Melody
Range – Low to High
Interval Structure
Conjunct Motion – My Country Tis of Thee
Disjunct Motion – Star Spangled Banner
Gesture/Contour
Arch
Inverted Arch
Ascending
Descending
Motive – Small idea
Repeat
Vary
Create something new
Sequence – Numbers are the same
Real Sequence – The exact Transposition
Tonal Sequence – Each note is raised the same interval
Embellishing Tones / Non – Chord Tones
Passing Tones – Arrive from step
Leave by a step (in the same direction) / \
Unaccented/accented
Chromatic/Diatonic
Neighbor Tone – Arrive from a step
Leave by a step (in the opposite direction) v
Step/Leap Combo
Appogiatura (App) – Arrives from a leap
Leaves by a step (in the opposite direction)
APPOGIATURA MUST BE ACCENTED
Escape Tone – Arrives from a step
Leaves by a leap (in the opposite direction)
ESCAPE TONE MUST BE UNACCENTED
Double Neighbor – Same note (Original, one down from original, one up from original, back to
original) ((or vice versa))
ANTICIPATION – Arrive from a step
Leave to the same note EARLY (Unaccented)
SUSPENSION – Arrive from the same note
Leaves by a step LATE (Accented)
Period
2 phrases
1. sdfalksdf
2. More Conclusive
Parallel – Begins in a similar way
Contrasting - opposite of parallel
Less conclusive (not a period) = Phrase group – Same level of conclusiveness
Melody ends on ‘Do’
HARMONY II
Open position
Closed position
Parallel Movement
o Two voices move the same amount in the same direction
Similar Movement
o Same direction but different amounts
Oblique Movement
o One voice stays the same
Contrary Movement
o Opposite directions
Counterpoint
o Melodic line
o Countermelody
****NO PARALLEL FIFTH/OCTAVES…EVVVVVER!!!!!!!!!!!!****
Doubling
Spacing
o SA
o AT
Must be octave or less
o TB
Doesn’t matter
DO NOT DOUBLE TENDENCY TONES!!!!
Major and Minor Triads
o Double the bass in root position or 2nd inversion
o 1st inversion dbl the Soprano or Bass
Augmented or Diminished
o Be in 1st inversion double the bass
Voice crossing
Voice overlap
Root motion of 4th or 5th
o 4th or a 5th
o Use a common tone
o Other two voices move by step
Root motion of 3rd or 6th
o Keep common tones (2)
o Other voice step-wise
Root motion of 2nd
o There are no common tones
o Voices move contrary to the bass
Adding Suspensions in part writing
o Look for a second
Rules for Part writing with inversions
o No P8 or P5
o Do not double the leading tone
o In 1st inversion double the Soprano or the Bass
Except if the leading tone is in the bass
o In 1st in version diminished chord double the bass
o Avoid unequal fifths
o Spacing in SAT
Less than an octave
o Voice crossing and voice overlap
o Avoid melodic +2,+4, dim 5
o Leading tone must resolve to ‘Do’ in SB only
Guidelines to Part writing with inversions
o Keep common tones
o Stepwise
o Avoid large leaps
o Move voices contrary to the bass
2nd Inversions
o RARE
Cadential 6/4
o I 6/4 – 5
Passing 6/4
