Final Study Guide

Montville Township High School Date: _____________

1. 
   Key Signatures and Major/Minor Scales
   
   1. 
      Major/Minor scales
      
      1. 
         Major Scales Formula = WWhWWWh
         
      2. 
         Natural Minor Scales Formula = WhWWhWW
         
      3. 
         Harmonic Minor Scales Formula = WhWWh(+3)h
         
      4. 
         Melodic Minor Scales Formula = WhWWWWh
         
         1. 
            Raise the 6^th and 7^th scale degree when ascending, lower when descending
            
      5. 
         Relative Major/minor Scales
         
         1. 
            You have the major and need to find the minor = count down 3 half steps
            
         2. 
            You have the minor and need to find the major = count up 3 half steps
            
   2. 
      Identifying Key Signatures
      
      1. 
         Order of Sharps: F#, C#, G#, D#, A#, E#, B#
         
      2. 
         Order of Flats: Bb, Eb, Ab, Db, Gb, Cb, Fb
         
      3. 
         To name a key signature that uses sharps, go up 1 half step from the last sharp
         
      4. 
         To name a key signature that uses flats, flat before last and name it
         
      5. 
         Circle of 5ths (see diagram below) – Major on the outside, minor on the inside
         

2. 
   Meter (time signatures)
   
   1. 
      Top number = # of beats per measure
      
   2. 
      Bottom number = what type of note gets the beat
      

3. 
   Interval Classification (numeric value and quality)
   
   1. 
      Major (M), minor (m), Perfect (P), diminished (o), augmented (+)
      

4. 
   Triads and 7^th Chords
   
   1. 
      Triads
      
      1. 
         Major Triad = M3 + m3
         
      2. 
         Minor Triad = m3 + M3
         
      3. 
         Diminished Triad = m3 + m3
         
      4. 
         Augmented Triad = M3 + M3
         
   2. 
      7^th Chords
      
      1. 
         MajorMajor 7^th Chord = M3 + m3 + M3
         
      2. 
         Majorminor 7^th Chord = M3 + m3 + m3
         
      3. 
         minorMajor 7^th Chord = m3 + M3 + M3
         
      4. 
         minorminor 7^th Chord = m3 + M3 + m3
         
      5. 
         Half Diminished 7^th Chord = m3 + m3 + M3
         
      6. 
         Fully Diminished 7^th Chord = m3 + m3 + m3
         

5. 
   Diatonic Chords in Major/minor keys
   
   1. 
      Major Keys: I ii iii IV V vi vii^o I
      
   2. 
      Minor Keys: i ii^o III iv V VI vii^o i
      
      1. 
         V is always major unless otherwise stated (raise the 3^rd of the triad/chord)
         
      2. 
         vii is always diminished unless otherwise stated (build the chord on the raise 7^th scale degree for minor keys)
         
   3. 
      Be able to analyze and construct chords in their harmonic progressions – SATB form
      
      1. 
         Soprano – top voice in the treble clef
         
      2. 
         Alto – bottom voice in the treble clef
         
      3. 
         Tenor – top voice in the bass clef
         
      4. 
         Bass – bottom voice in the bass clef
         

6. 
   Harmonic Progressions and Voice Leading
   
   1. 
      If roots are… (applies to chords in root position only)
      
      1. 
         4^th or 5^th apart
         
         1. 
            Option 1: One common tone, 2 voices by step
            
         2. 
            Option 2: All voices by either a 2^nd or 3^rd
            
         3. 
            Option 3: One common tone, 1 voice by step, 1 by 4^th
            
      2. 
         3^rd or 6^th apart
         
         1. 
            2 common tones, one voice moves by step
            
      3. 
         2^nd or 7^th apart
         
         1. 
            All voice parts move to the closest chord tone, in opposition to the bass. If the bass descends by step, all other voices ascend. If the bass part ascends by step, all other voices descend.
            

7. 
   Cadences
   
   1. 
      Authentic Cadence V – I
      
      1. 
         Perfect Authentic Cadence V – I (both chords in root position and 1 is in the soprano)
         
      2. 
         Imperfect Authentic Cadence V-I (one, or both chords not in root position, 1 not in the soprano, V is replaced with vii)
         
   2. 
      Plagal Cadence IV – I
      
   3. 
      Deceptive Cadence V – vi
      
   4. 
      Half Cadence - ends on V
      
   5. 
      Phrygian Half Cadence – ends on V (in a minor key)
      

8. 
   Non-Chord Tones
   
   1. 
      A Non-Chord tone (NCT) is a tone, either diatonic or chromatic, that is not a member of the chord.
      
      1. 
         Passing Tone (P) – approached by step, left by step in the same direction
         
      2. 
         Neighboring Tone (N) – approached by step, left by step in the opposite direction
         
      3. 
         Suspension (S) – approached by same tone, left by a step down
         
      4. 
         Retardation (R) – approached by same tone, left by a step up
         
      5. 
         Appoggiatura (App) – approached by leap, left by step
         
      6. 
         Escape Tone (E) – approached by step, left by leap in opposite direction
         
      7. 
         Neighbor Group (n.gr) – involves a combination of two NCTs (escape tone first, then appoggiatura)
         
      8. 
         Anticipation (ant) – approached by step or leap, left by same tone (or leap)
         
      9. 
         Pedal Point (ped) – begins as chord tone, then becomes NCT as the harmonies around it change, then becomes chord tone again.
         

9. 
   V7 Chords – in root position
   
   1. 
      Dominant 7^th Chord – almost always Majorminor 7^th Chords (M3 + m3 + m3)
      
      1. 
         The 7^th of the chord must resolve down.
         
      2. 
         The 7^th scale degree (of the key), must resolve up.
         
   2. 
      The approach to the 7^th. If the chord preceding the 7^th is…
      
      1. 
         the same pitch class as the 7^th, we use the term suspension figure
         
      2. 
         a step above the 7^th, we use the term passing tone figure
         
      3. 
         a step below the 7^th, we use the term neighbor tone figure
         
      4. 
         none of the above, we use the term appoggiatura – least common approach to the 7^th
         

10. 
    The II7 and VII7 Chords
    
    1. 
       Rules:
       
       1. 
          The 7^th of the chord almost always resolves down by step.
          
       2. 
          The 7^th of the chord may be approached in various ways – especially common is the suspension figure, although the passing tone figure also works well. Neighbor and appoggiatura figures are less common.
          
       3. 
          Incomplete chords must contain at least the root and the 7^th.
          
       4. 
          Doubled tones should not be the chord 7^th or the leading tone.
          
    2. 
       II7
       
       1. 
          ii7 – I6/4 – V
          
       2. 
          ii6/5 – V
          
       3. 
          ii7 – vii6
          
       4. 
          ii6/5 – V4/2
          
       5. 
          ii4/3 – V7
          
       6. 
          ii4/2 – V6/5
          
    3. 
       VII7 in Major
       
       1. 
          vii7 – I
          
       2. 
          vii7 – V6/5 – I
          
       3. 
          vii6/5 – I6
          
       4. 
          vii4/3 – I6
          
    4. 
       VII7 in minor
       
       1. 
          vii6/5 – i6
          
       2. 
          vii4/3 – i6
          
       3. 
          vii4/3 – i
          
       4. 
          vii4/2 – V7
          
       5. 
          vii4/2 – i6/4 – V7
          

11. 
    Other Diatonic Seventh Chords (work in both major and minor keys)
    
    1. 
       IV7
       
       1. 
          ii, V, I6/4
          
    2. 
       VI7
       
       1. 
          ii7, IV, ii, V
          
    3. 
       I7
       
       1. 
          IV7, ii4/2, IV, ii4/3, vi
          
    4. 
       III7
       
       1. 
          Used in sequence: V i iv7 VII7 III7 VI7 ii^o7 V7 i
          

12. 
    Secondary Dominant Chords
    
    1. 
       Three steps involved in spelling a secondary dominant
       
       1. 
          Find the root of the chord that is to be tonicized
          
       2. 
          Go up a P5
          
       3. 
          Using that note as the root, spell a major triad (for V of ?) or a major-minor seventh chord (for V7 of ?)
          
    2. 
       Recognizing Secondary Dominants – if you encounter an altered chord in a passage, there is a good chance that it will be a secondary dominant. These steps will work in most cases:
       
       1. 
          Is the altered chord a major triad or major-minor seventh chord? If not, it is not a secondary dominant.
          
       2. 
          Find the note a P5 below the root of the altered chord.
          
       3. 
          Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dominant.
          
    3. 
       The Secondary Dominant Chord will usually resolve to the key it is tonicizing. Ex. V7/V resolves to V etc.
       

13. 
    Secondary Leading Tone Chords
    
    1. 
       Three steps involved in spelling a secondary leading tone chord:
       
       1. 
          Find the root of the chord that is to be tonicized.
          
       2. 
          Go down a m2
          
       3. 
          Using that note as the root, spell a diminished triad (for vii^o of), a diminished seventh chord (for vii ^o7 of), or a half diminished seventh chord (for vii^o7 of).
          
    2. 
       Recognizing Secondary Leading-Tone Chords – if you find an altered chord in a passage and it is not a V/, there is a good chance it will be a secondary leading tone chord. These steps will work in most cases:
       
       1. 
          Is the chord a diminished triad, a diminished seventh, or a half-diminished seventh chord? If not, it is not a secondary leading-tone chord.
          
       2. 
          Find the note a m2 above the root of the altered chord.
          
       3. 
          Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is probably a secondary leading-tone chord.
          
    3. 
       The Secondary Leading-Tone Chord will usually resolve to the key it is tonicizing. Ex. vii7/V resolves to V etc.
       

14. 
    Modulations Using Diatonic Common Chords
    
    1. 
       Key relationships
       
       1. 
          Enharmonically Equivalent = C# = Db, same note – different name
          
       2. 
          Parallel Keys = C Major and c minor (same starting note/tonic)
          
       3. 
          Relative Keys = C Major and a minor (same key signature)
          
       4. 
          Closely Related Keys = No more than one sharp or flat difference in their key signature
          
       5. 
          Foreign Keys = no relation whatsoever!
          
    2. 
       Common Chord Modulation
       
       1. 
          The common chord (common in both keys) serves as the hinge/or pivot linking the two tonalities.
          
       2. 
          Analyzing Common Chord Modulations
          
          1. 
             Listen to the passage carefully.
             
          2. 
             Find the point of modulation, that is the first chord that seems to be functioning more naturally in the second key than in the first one.
             
          3. 
             Back up one chord from the one you identified in step 2. If there is a diatonic common chord, it should be in this position.
             

15. 
    Larger Forms
    
    1. 
       Binary Forms
       
       1. 
          A (a, a’) B (b, b’)
          
    2. 
       Ternary Forms
       
       1. 
          A B A or A’
          
    3. 
       Rounded Binary Forms
       
       1. 
          A (a, a’) B (b) 1/2A(a’)
          
    4. 
       Sonata Form
       
       1. 
          Exposition – Primary Theme, Transition, Secondary Theme, Closing Section
          
       2. 
          Development
          
       3. 
          Recapitulation – Primary Theme, Transition, Secondary Theme, Closing Section
          

16. 
    Mode Mixture and the Neapolitan
    
    1. 
       Borrowed chords in minor
       
       1. 
          Picardy third – minor piece ends on Major I.
          
    2. 
       Borrowed chords in major
       
       1. 
          The use of flat scale degree 6.
          
    3. 
       Neapolitan Chord
       
       1. 
          bII – eventually moving to V
          
       2. 
          How to build! Lower the 2^nd scale degree and build a major chord from there.
          

17. 
    Augmented Sixth Chords
    
    1. 
       Characteristic Elements:
       
       1. 
          Chord being approached is the V chord
          
       2. 
          The minor-mode 6 (chromatically lowered if in a major key) appears in the bass.
          
       3. 
          The #4 is in an upper part.
          
    2. 
       Italian Augmented Sixth Chord (It+6)
       
       1. 
          Flat scale degree 6
          
       2. 
          Augmented 6^th above that
          
       3. 
          M3 from the bass note
          
       4. 
          How to build: Flat scale degree six + M3 + aug4
          
    3. 
       French Augmented Sixth Chord (Fr+6)
       
       1. 
          Flat scale degree 6
          
       2. 
          Augmented 6^th above that
          
       3. 
          M3 from the bass note
          
       4. 
          M2 from that note
          
       5. 
          How to build: Flat scale degree six + M3 + M2 + M3
          
    4. 
       German Augmented Sixth Chord (Ger+6)
       
       1. 
          Flat scale degree 6
          
       2. 
          Augmented 6^th above that
          
       3. 
          M3 from the bass note
          
       4. 
          m3 from that note
          
       5. 
          How to build: Flat scale degree six + M3 + m3 + aug2