-J

Summary of NCTs

NCT                                                    Approach                                 left by

Reminder – Homework is Chapter 5 Benward, A-C.  Due Wednesday!

http://musictheory.net/lessons/html/id55_en.html

Here’s the tutorial on NCTs

http://musictheory.net/lessons/html/id53_en.html

Everyone should check out the tetrad tutorial at Ricci Adam’s site:

http://musictheory.net/lessons/html/id45_en.html

And the figured bass examples at Brian Blood’s site:

http://www.dolmetsch.com/musictheory18.htm#fbnotation

 He will also have a seventh chord tutorial, but it tells you WAY too much information.  Check it out, if you like Jazz chords!

http://www.dolmetsch.com/musictheory17.htm#seventh

Review for Test II

This test will cover interval identification (pp 55-64) and triad construction (pp. 73-75).

If you have not already read the text pages above, please do so.

Things to Know:

Know the intervals in major scale (tonic to another scale step)

Know the chord qualities in C major scale (build a triad on each scale step).

Which 4ths are perfect (if both notes = same accidental then all 4ths are perfect except for the one built on _______).

Which 5ths are perfect ( Ditto except for the one built on _____).

What are the intervallic definitions of :

            Major triad

             Minor triad

            Diminished triad

            Augmented triad

What is a tritone?  Be able to build one enharmonically as a 4^th or 5^th.

Be able to explain the principle of interval inversion.

All triads will be identified or built in root position, not the SATB style from recent worksheets.

After the break everything we will use the workbook a lot.  Make sure you have one.

We continued to explore aspects of 16th century counterpoint.  Topics for today included

Parallel Motion

Oblique Motion

Similar motion

Contrary Motion

Dealing with Tritones

Constructing Major, Minor and Diminished triads.

Homework for Friday:

Homework for Monday.

yankeedoodlecf      Expect your counterpoint to be played in class. 

Some intervals have 4 possibilities, others have only 3.  Please refer to the illustration in your text.

The accidentals that affect the quality of an interval do not change the letter names of the notes or the name of an interval.  B# does not become C!  Fb does not become E!

Qualities of intervals in a major scale

Tonic to Tonic (same note) =

Tonic to Supertonic =

Tonic to Mediant =

Tonic to Subdominant =

Tonic to Dominant =

Tonic to Submediant =

Tonic to Leading Tone =

Tonic to Tonic (8va higher) =

These are the old “Rules” I told you about.  If it helps, use them.

Unisons and Octaves =   If both tones of the interval have the same accidental, unisons and octaves are perfect.

Fifths – If both tones of the interval have the same accidental, all fifths are perfect EXCEPT for the one above __________, which is diminished.

Fourths- If both tones of the interval have the same accidental, all fourths are perfect EXCEPT for the one above ____________, which is augmented.

Thirds – If both tones of the interval have the same accidental, the thirds above C F and G are major, the rest are minor

Sixths – If both tones of the interval have the same accidental, the sixths above C,D, F and G are major, the others  are minor.

Seconds – The seconds that consist of 2 half steps are major,  the ones that are only one half step are minor.  The two notes must not have the same letter name.

Sevenths – the seventh that is one half step smaller than a perfect octave is major.  The seventh that is one whole step or two half steps smaller than an octave is minor.

Inversion = the arithmetic sum of the names of the interval and its inversion is always nine.  To get the inversion, subtract the beginning interval’s number from 9.

The inversion of perfect intervals remains perfect.  The inversion of major intervals is minor and vice versa.  The inversion of a diminished interval is augmented and vice versa.

Below is a teaser: (Caution – Explicit Language)