Basic Elements of Music Theory Sound and Music

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  1. Basic Elements of Music Theory

    1. Sound and Music

      1. Music is Sound Organized in Time

        1. All that is required is a time frame, sound waves, and a cognizant mind to perceive and interpret those sounds.

        2. Improvisation – simultaneous composition and performance

      2. Music and the Western World

        1. In some languages there is no separate word for “music”.

        2. Globalization

    2. The Physics of Musical Sound

      1. Sound Wave

        1. Sound is described as a wave of energy

          1. Has both amplitude and frequency.

        2. Amplitude affects the decibel level

        3. Frequency affects pitch

          1. The highness or lowness of a sound

          2. 20 – 20,000 cycles per second = normal human ear can hear in a single sustained tone.

          3. 440 HZ  A above middle C

          4. Two kinds of musical sound: pitched and non-pitched.

      2. Instruments as Sound Sources

        1. Ethnomusicologists – the modern term for scholars who study the music of other cultures, or who study other cultures comparatively

        2. Curt Sachs and Erich von Hornbostel (ethnomusicologists)

          1. Four Groups of instruments

            1. Chordophones – vibrating string creates sound wave

            2. Aerophones – vibrating columns of air

            3. Membranophones – vibrating membrane stretched across some frame

            4. Idiophones – the body of the instrument itself vibrates

            5. Electrophones – sound waves using mechanical device known as an oscillator and are dependent on electricity.

          2. Western Instrument Families

            1. Strings

            2. Brass

            3. Woodwind

            4. Percussion

            5. And occasionally…keyboard

        3. The next important step in electronic instruments came at the end of WWII.  Radios, recording tapes, etc.

          1. Musique concrete – term used is French due to the fact that the first practitioners were based in Paris.

            1. Basic techniques of tape music are looping and splicing.

            2. Rome, Paris, Cologne, and NYC were (STILL ARE) famous postwar centers for electronic music.

    3. Pitch, Rhythm, and Harmony

      1. Pitch

        1. Pitch Frequency, and Octaves

          1. Pitch is the highness or lowness of a sound

          2. A – 440Hz

            1. A string on a guitar = A – 110

            2. When you halve the length of the string (220 Hz), it naturally vibrates twice as fast…octave!

        2. Pitch on a Keyboard

        3. Pitch on the Grand Staff

        4. Fundamental and Overtones

          1. The lowest A is called the fundamental—by far the loudest and strongest.

            1. It is “colored” by the faint presence of the higher pitches, which are called overtones.

        5. Equal Temperament: Generating the Twelve Pitches by Dividing the Octave

          1. In a world of pure sound waves and overtones, pitches follow mathematical patterns.

            1. In the Western tradition, after 1750, a system of tuning called equal temperament has dominated.

            2. Equal temperament tuning, the mathematical ratios are adjust so that the octave is divided into TWELVE EQUAL PARTS.

              1. Twelve different pitches in ascending order are called the chromatic scale.

              2. Distance between two consecutive pitches in the chromatic scale is called a half-step.

            3. Each black key has two names – Sharp (#) means “raised” and flat (b) means “lowered”.

              1. Thus Eb and D# are identical in pitch; we call them enharmonic pitches.

                1. In older tuning systems they are not identical but differ slightly…

        6. Scales: Leading Tone, Tonic, and Dominant

          1. In the Western tradition, most music is based on seven of the pitches.

            1. When arranged in ascending order, the seven pitches fall into one of four different patterns called scales.

              1. Major, melodic minor, harmonic minor and natural minor.

          2. The seventh scale degree is known as the LEADING TONE because to Western ears it begs to resolve upward to the C above.

          3. “Resting tone” or “Do”  tonic pitch

          4. Fifth scale degree is called the DOMINANT PITCH

            1. It functions like a second gravitational center that sets melodies in motion by pulling them away from the tonic.

        7. Intervals

          1. Distance between any two pitches is called an INTERVAL

          2. Half-step = semitone

          3. Can be harmonic – two pitches occur simultaneously

            1. Or melodic – two pitches occurring in succession

            2. Melodic intervals are either ascending or descending

          4. Major and minor ninth and major and minor tenths exceed octave

        8. Intervals of the Major Scale

          1. Scale – succession of whole and half steps

            1. Major Scale – WWHWWWH

        9. Minor Scales

          1. Three slightly different varieties: natural, harmonic, and melodic

          2. All minor scales feature a lowered third scale degree

          3. Half steps are located between 2 – 3, and 5 – 6

          4. Many pieces of music in the minor mode raise the seenth scale degree by adding a sharp or natural  this is HARMONIC MINOR

          5. Melodic minor is the final option:

            1. Figure 1 – 9

            2. Sense of upward motion to the higher tonic and a pull downward to the fifth scale degree.

          6. Relative major and minor – two keys that use the same pitches but different tonics

            1. Typically 4 half steps apart.

            2. Major and minor scales that begin and end on the same tonic pitch are called parallel.

          7. A scale with blues inflections combines elements of both major and minor.

            1. In a blues scale, scale degrees 3 and 7 can be either lowered, as in a minor scale, or normal as in a major scale, or somewhere in between using a pitch “between the keys” of the piano.

        10. Melody Defined with an Example Using Scale Degrees

          1. Melody is a series of successive pitches perceived by the ear to form a coherent whole.

          2. If two pitches occur together, you have either a HARMONY or COUNTERPOINT.

          3. You can TRANSPOSE the melody to any major key by beginning the same pattern of intervals on a different note.

        11. Contour

          1. All melodies have a contour, or profile.

            1. A conjunct melody moves smoothly in stepwise motion,

            2. A disjunct melody contains proportionally more leaps.

        12. Range and Tessitura

          1. The high , middle and low parts of an instruments range are often called the high, middle, and low register.

            1. A melody with a high tessitura calls for more pitches in the performer’s high register than does a melody with a medium or low tessitura.

    4. Rhythm

      1. Rhythm is the way music is organized in time.

      2. Beat is the steady pulse that underlies most music

    5. Tempo

      1. Speed of the beat is called the TEMPO

      2. Numbers in the left column indicate the approx. number of beats per minute.

      3. Italian terms predate the invention of exact timekeeping, so they originally indicated mood or expressive qualities related to tempo (i.e. allegro means “happy”)

        1. Slow down = ritardando

        2. Speed up = accelerando

        3. Gradually = poco a poco

        4. Suddenly = subito

        5. No steady tempo is called unmetered

          1. If there is a perceived beat, but it speeds up and slows down for expressive effect, the term is rubato.

    6. Meter: Duple and Triple

      1. All beats are equal length, but not all beats are of equal importance.

        1. Normally beats are grouped into measures (or bars) which are separated by bar lines.

        2. First beat is called the downbeat or strong beat

      2. Meter describes the pattern of emphasis superimposed on groups of beats.

        1. Meters are duple, triple, compound, or irregular.

        2. Most common are groups of four  1 being the strong beat and 3 being the secondary beat.

          1. Before the downbeat is called the “pickup” or anacrusis.

    7. Rhythmic Notation

      1. Time Signature

        1. Consists of two numbers

        2. Upper number gives the # of beats per measure

        3. Lower number tells which durational value receives one beat.

      2. Compound Meter

        1. If the beat has a triple subdivision, then the meter is compound.

        2. Rhythms used in swing music are notated as if they are in 4/4 time but played as if they are in 12/8

      3. Mixed and Irregular Meter

        1. Mixed meter, and irregular or asymmetrical meter are variations on the grouping of beats.

          1. Mixed meter measures that have different meters occur in rapid succession.

          2. Irregular meter features measures have different meters alternation in an irregular pattern.

          3. Irregular meter may also mean there is a steady beat, but it is grouped unpredictably or inconsistently.

        2. When two or more meters are operation simultaneously, it is refereed to as polymeter.

          1. i.e. a melody with three large beats per measure played over a bass line with four beats per measure—with the downbeats (but not the weaker beats) aligned—would be an example of polymeter.

      4. Syncopation

        1. When accented or emphasized notes fall on weak beats.

      5. Polyrhythm

        1. Also called cross-rhythm

          1. Occurs when two conflicting rhythmic patterns are present simultaneously.

    8. Harmony

      1. Occurs whenever two or more tones are sounding simultaneously

      2. Common-Practice Tonality

        1. The system of organizing pitch and harmony that we find intuitive today in Western cultures

          1. Developed in Europe beginning in the Middle Ages and was codified by about 1750.

      3. Chords

        1. Three or more pitches sounding simultaneously

        2. Triad – a three n0te chord consisting of two intervals of a third

          1. Four qualities: major, minor, diminished, augmented.

          2. Major triad has a major third on the bottom and a minor third on top.

          3. Minor triad has a minor third on the bottom and a major third above.

          4. Diminished triad – two minor thirds

          5. Augmented triad – two major thirds

          6. Root is the lowest of the three notes

          7. Middle note is called the third

          8. Highest note is called the fifth

            1. When root is on the bottom the chord is in root position.

        3. Inversions

          1. Third of the triad is on the bottom the chord is in the first inversion

            1. Indicated by a six following the chord symbol

          2. Fifth on the bottom is in second inversion.

            1. Indicated by a six and a four aligned vertically like a fraction with the line missing

          3. Any tried may be inverted  the bottom pitch determines the inversion.

      4. Keys

        1. Key in music theory is the gravitational center of a key  tonic pitch

        2. Unless otherwise noted a key is major

        3. If other pitches occur, they are called chromatic pitches – and are usually decorative or expressive, but not structural.

        4. Key signatures:

          1. Set of accidentals (sharps or flats) at the beginning of a written piece of music that indicates the key of music.

          2. Naturals – when a sharp or flat is “undone”

          3. When music is notated, all three types of minor scales use the same key signature—the one for natural –and add accidentals to individual notes throughout the score for harmonic or melodic inflections.

        5. Hierarchy of Keys: Circle of Fifths

          1. Twelve major and twelve minor scales

            1. Relative major and relative minor (4 half steps apart)

            2. Because those scales have to preserve a certain order of whole and half steps, there are only twenty-four possible keys.

        6. Harmonic Progression

          1. A series of chords or intervals that move from tension(dissonance) toward resolution(consonance).

          2. Dissonance – the quality of a pitch, interval, or chord that makes it seem “unstable” or tense.

          3. Consonance – the quality of a pitch, interval, or chord that makes it seem a suitable point of rest or resolution.

            1. The most consonant chords are ones that stress the lower pitches of the overtone series.

          4. Ears accustomed to Western music expect dissonance to resolve.

            1. Triton – a musical interval composed of three whole tones.

          5. Diatonic triads

            1. Diatonic – “within the key”; a chord or melody is diatonic if no accidentals are needed other than those already indicated in the key signature.

              1. The quality (major, minor, diminished, or augmented) of a diatonic triad depends upon which scale degree is its root.

            2. If a melody or a chord borrows notes from outside the key, then it is chromatic.

            3. Tonic triad – also called the tonic chord or simply the tonic) is a diatonic triad built on the tonic pitch.

              1. Most stable chord in a key.

              2. Nearly all pieces of music end on the tonic chord.

              3. In a major key, the tonic triad is always major.

            4. The triad built on the seventh scale degree is unique, consisting of two minor thirds  diminished triad

              1. Highly unstable; intuitively the listener wants to hear it resolve

            5. Single diminished triad is lower case with a small superscript circle added.

              1. Capitalized letters indicate major triads and lower case letters indicate minor triads.

          6. The dominant triad’s special role

            1. Aside from the tonic chord, the dominant chord (V) is the most important.

              1. It contains the leading tone and the fifth scale degree, both of which resolve to the tonic pitch.

            2. Other harmonies in turn “pull” to the dominant: these are called predominant harmonies.

            3. Triads built on the second and fourth scale degree (ii, supertonic and IV, the subdominant) are the most common predominant harmonies.

            4. A chain of triads, each pulling to the next is called a chord progression.

              1. The most common chord progression is predominant-dominant-tonic.

            5. More often, som of the chords are inverted, to create what is called smoother voice leading.

              1. If you think of the three chords as three horizontal layers, each layer is relatively conjunct and easy to sing.

              2. This is due to the fact that when Western art music developed, the vast majority of music was written for the voice.

          7. Bass Lines

            1. Lowest “voice in a series of chords

            2. Often but not always consist of the root of the harmony

            3. Most “final” sounding, strongest kind of bass lines is one that descends a fifth.

              1. Most common bass motion at astrong cadences like those which occur at the end of pieces or significant sections of music.

          8. Dominant seventh chord

            1. To intensify its pull to the tonic triad, the dominant triad is often turned into a dominant seventh chord.

            2. Contains a tritone (^7 - ^4)

              1. Great deal of tension

            3. Leading tone pulls strongly to ^1

              1. But the additional pitch ^4 (a seventh above the root) pulls just as strongly down a half step to ^3.

      5. Other Diatonic Chords

        1. The most common embellishing notes are sixth, seventh, and ninth above the root of the chord.

        2. Aside from the dominant seventh chord, other diatonic seventh chords can be used to create a more complex sophisticated sound

        3. They can be built on any scale step by adding an interval of a seventh above the root to any diatonic triad.

          1. The addition of the fourth pitch, particularly when it is diatonic, rarely changes the function of the original triad, but it does add richness or atmosphere to the music.

        4. Chromatic harmonies and Modulation

          1. Simple harmony is diatonic.

          2. Complex harmony uses more chromatic pitches.

          3. One or two pitches of the basic triad are altered, resulting in a modal mixture.

            1. This normally happens between a major key and its parallel minor key

          4. Natural minor scale has no leading tone.

          5. Another way that harmony can be made more complex is to modulate (that is, change keys) frequently

          6. After a modulation, if the music remains in the new key for a significant amount of time, a double bar appears, and the new key signature is inserted.

        5. Beyond Common Practice

          1. Throughout common practice, resolution of dissonance is the driving force behind harmony.

          2. Another way of increasing complexity (and, composers believed, expressivity) was to delay the resolution to the tonic.

            1. Sometimes through deceptive harmonic turns and temporary modulations to ever-more-distant keys, it could take five or ten minutes for a dominant harmony to resolve to a tonic.

          3. 1910, a composer named Arnold Schoenberg concluded that music had become so chromatic that the only possible next step forward was to “free” dissonance from the need to resolve to the tonic.

            1. “emancipation of the dissonance”

            2. Called for composers to abandon the conventions of common-practice harmony

            3. Lacking a fixed tonal center, this music soon became known as “atonal music.”

          4. By 1925, Schoenberg developed a new system for determining pitch relationships.

            1. Known as the “twelve-tone method”

            2. Instead of a scale, each piece had its own “tone row” (sometimes more than one) consisting of all twelve chromatic pitches.

          5. Shoenberg’s protégés, Anton Webern and Alban Berg, used his methods extensively in the 1930s, but twelve-tone techniques (as they are now called) and other “serial” techniques (a term that reflects the serial ordering of pitches in the row) caught on more widely only after WWII.

          6. Luigi Tussolo sought to generate and categorize “noises.”

          7. Claude Debussy and Igor Stravinsky were among composers who sometimes used familiar chords from the common-practice tradition without ever resolving them (non-functional harmonies), adopted unusual scales (including pentatonic and octatonic), and sometimes wrote music in two different keys to be performed simultaneously (polytonality).

    9. Other Aspects of Musical Sound

      1. Texture, Counterpoint, Instrumentation, and More Timbre

        1. Texture – describes the number of things that are going on at once in a piece of music.

          1. Four types of texture in Western music are: monophony, heterophony, homophony, and polyphony.

          2. Monophonic music consists of a single unaccompanied melodic line.

            1. Multiple instruments or voices may be playing that melody, but they are all performing the same pitch at the same time—that is they are playing the melody in unison.

          3. Heterophony music involves producing the same melody at the same time but not playing in unison.

          4. Homophonic texture has two different things going on at once: a melody and a harmonic accompaniment.

          5. Polyphonic texture has two or more melodic lines unfold simultaneously.

        2. Counterpoint is the process developed by Western composers after about 1350 to create polyphony (that is music with polyphonic texture)

          1. Melodies usually in different registers but fit into the same harmonic progression.

        3. Instrumentation – instrument or combination of instruments used, is among the most noticeable features of a given piece of music.

        4. Arranging – the art of taking an existing piece of music (melody, harmony, rhythm) and giving instructions as to what each individiaul performer should play.

        5. Each instrument has a unique pattern of overtones

          1. With a clarinet for instance the fundamental first and third overtones are very strong.

          2. Few extraneous sounds occur when a clarinet is played.

          3. Sometimes the overtones with bells are so strong that they seem to drown out the fundamental and the listener may wonder what the “real” pitch is supposed to be.

        6. Timbre of a pitch is also affected by the thickness and density of the instrument’s material and the amount of resonance.

    10. Dynamics, Articulation, and Ornamentation

      1. Dynamics – the loudness and softness of a sound.

      2. Early in the history of the modern piano, it was called the pianoforte

        1. Because unlike other instruments it could play both quiet (piano) and loud (forte)

      3. A gradual increase in dynamics is called a crescendo ( < or cresc.)

      4. A gradual decrease in dynamics is called a decrescendo or diminuendo (> or dim.)

      5. Articulation – mechanics of starting and ending a sound

        1. Staccato – a pitch is attached with force and allowed to die quickly

        2. Legato – multiple pitches are played in a smooth, connected manner

        3. Pizzicato – finger pluck

        4. Accent – more sudden sound than staccato, and unlike staccato, silent space before the next pitch is not required.

      6. Ornamentation – refers to localized embellishments, which are often not written down

    11. Form in Music

      1. Form – how music is organized on a larger time scale

      2. Perceiving musical form

        1. Score – musical notation

        2. Memory and anticipation are key components to the listening experience.

          1. Expectations may be met, thwarted, or deferred.

          2. Tension and release lend shape to a chord progression or melody

          3. The primary way that tension is created is through harmonic dissonance.

          4. Besides dissonance, tension can be created in other ways including increased dynamic level, increased tempo, or increased rhythmic activity using shorter durations.

        3. Elements of Form

          1. Motive – smallest unit of form

            1. Smallest identifiable recurring musical idea

            2. Leif Motif

          2. Phrase – cohesive musical thought

            1. Come in related pairs

            2. Antecedent phrase is the first part

            3. Consequent phrase is the second part

            4. Almost like a call and response.

          3. Cadence – resting point in a piece of music

            1. Half cadence rests on the dominant harmony

            2. Full cadence aka authentic cadence uses the progression V-I, as the second short phrase does.

          4. Theme – set of phrases that make a complete melody

        4. Common Forms

          1. Repetition – literally, repeating musical material, using the identical pitches, rhythms, and harmonies, or at least a very close approximation.

            1. Musical idea (usually two measures or less) is repeated at a different pitch level, it is called a sequence.

          2. Variation – repetition with enough alterations that the listener sense both continuity and contrast

            1. Theme and variations

              1. Piece starts with a straightforward statement of the theme.

              2. Then follows with a new section that repeats the theme but makes significant changes

              3. A variation is diagrammed by adding a “prime” mark to the same capital letter used for the theme

            2. Twelve-Bar Blues

              1. Also a variation form

              2. Twelve –measure chord progresseion is repeated with variation in the melodic material for several minutes or more

              3. Basic shape

                1. Lays out the tonic harmony with the singer’s main lament

                2. Second line stars with a harmonic attempt to escape the tonic, but is pulled back down while the singer repeats the complaint.

                3. Third line begins with an even stronger effort to rise above the tonic but it too sinks quickly back to the starting point

            3. Improvisation

          3. Contrast

            1. Ternary and Rondo Forms

              1. Ternary form aka ABA form

              2. Each of the three sections is self-contained; each normally ends with an authentic cadence.

              3. In classical music, ternary form is often used for the inner movement(s) of multi-movement works.

              4. First movements more often use sonata form

              5. Last movements are usually in sonata or rondo form

                1. Typical diagrams for rondo form include ABACABA or ABACA

              6. Thirty – Two – Bar Form

                1. Each section usually consists of two four bar phrases.

            2. Development

              1. Fugue – not actually a standard form but a technique

                1. Single theme called a fugue subject

                  1. Composer develops using techniques of counterpoint.

                  2. Companion theme is called a countersubject

                2. Imitation – the approximate repetition of a melodic idea at a different pitch level, is central to fugal technique.

                3. At the beginning of a fugue the subject is usually heard alone without accompaniment or harmony.

                4. A second line of music then enters imitating the subject

                  1. Usually a fourth lower or a fifth higher.

                5. Soon a third or fourth line enters, also imitating the subject until a thick polyphonic texture has been created

              2. Sonata Form

                1. Three main sections – exposition, development, and recapitulation—and two main musical ideas.

                2. Exposition presents the first idea in tonic key, modulates to a different key (usually dominant) and presents the second idea in the new key.

                3. The key change, or transition is usually characterized by increased rhythmic activity, louder dynamics, turbulent or unstable harmonies and new accidentals.

                4. The development section of sonata form is harmonically unstable and exploratory.

                  1. Ends in half cadence on the dominant chord of the original key.

                5. Recapitulation order is restored.

                6. Sonata typically follows a fast-slow-fast

    12. Which is the Real Music

      1. Christopher Small

        1. In addition to marveling at the intricate structure of Western music, we should also study the human activity he calls, “Musicking.”

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