Music Resource Guide PDF 2024-2025

OUR CHANGING CLIMATE Cranston High School East - Cranston, Ri...

OUR CHANGING CLIMATE Cranston High School East - Cranston, Ri MUSIC Music and the Natural World Resource Guide 2 0 24 – 2 0 25 The vision of the United States Academic Decathlon® is to provide students the opportunity to excel academically through team competition. Toll Free: 866-511-USAD (8723) Direct: 712-326-9589 Fax: 712-366-3701 Email: [email protected] Website: www.usad.org This material may not be reproduced or transmitted, in whole or in part, by any means, including but not limited to photocopy, print, electronic, or internet display (public or private sites) or downloading, without prior written permission from USAD. Violators may be prosecuted. Copyright ® 2024 by United States Academic Decathlon®. All rights reserved.  Table of Contents INTRODUCTION.................. 5 Polyrhythm........................... 21 Rhythm: Summary................... 21 SECTION I: BASIC ELEMENTS OF Harmony............................ 21 MUSIC THEORY.................. 6 Common-Practice Tonality............ 21 Chords............................... 22 Sound and Music................... 6 Triads........................................22 Definitions........................... 6 Inversions.................................... 22 Music Is Sound Organized in Time...... 6 Music of the Western World............ 6 Keys................................. 22 Cranston High School East - Cranston, Ri Key Signatures................................23 The Physics of Musical Sound.......... 6 Hierarchy of Keys: Circle of Fifths............... 23 Sound Waves.......................... 6 Instruments as Sound Sources.......... 6 Harmonic Progression................. 26 Dissonance and Consonance....................26 Pitch, Rhythm, and Harmony........ 8 Diatonic Triads................................ 27 Pitch................................ 8 The Dominant Triad’s Special Role................. 28 Pitch, Frequency, and Octaves.......... 8 Bass Lines................................... 28 Pitch on a Keyboard................... 9 The Dominant Seventh Chord................... 28 Pitch on a Staff....................... 10 Example: A Harmonized Melody................. 29 Pitch on the Grand Staff.............. 10 Other Diatonic Chords................ 29 Overtones and Partials................. 11 Chromatic Harmonies and Equal Temperament: Generating the Modulation............................ 29 Twelve Pitches by Dividing the Octave.. 11 Beyond Common Practice............. 30 Scales: Leading Tone, Tonic, Dominant. 12 Intervals.............................. 13 Other Aspects of Musical Sound.... 31 Intervals of the Major Scale............ 13 Minor Scales and Blues Inflections......14 Texture, Counterpoint, Instrumentation, Melody Defined with an Example Using and More Timbre..................... 31 Scale Degrees........................ 15 Dynamics, Articulation, Contour.............................. 16 Ornamentation....................... 33 Range and Tessitura.................. 16 Form in Music..................... 33 Rhythm............................. 17 Perceiving Musical Form............. 33 Beat..................................17 Elements of Form................... 34 Tempo............................... 17 Motive............................... 34 Meter: Duple, Triple, and Quadruple.... 17 Phrase.............................. 34 Rhythmic Notation....................18 Cadence............................. 34 Time Signature....................... 18 Theme............................... 34 Simple and Compound Subdivision.... 20 Introduction and Coda................ 35 Mixed and Irregular Meter............. 20 Syncopation.......................... 21 Common Forms..................... 35 Repetition............................ 35 2024–2025 Music Resource Guide Revised Page October 15, 2024 2  Variation............................. 35 LISTENING COMPANION 5: Hermit Thrush Theme and Variations.......................... 36 at Morn, Op. 92, No. 2 (1921) – Twelve-Bar Blues.............................. 36 Amy Beach.......................... 65 Improvisation................................. 36 Section II Summary............... 67 Contrast............................. 37 Ternary and Rondo Forms....................... 37 SECTION III: CELEBRATING THE 32-Bar Form.................................. 37 PLANET........................ 70 Verse-Chorus Form............................ 37 Singing the Seasons............... 70 Development......................... 37 Medieval Merriment.................. 70 Fugue........................................ 37 LISTENING COMPANION 6: Sumer is Sonata Form.................................. 38 icumen in (c.1250) – Anonymous....... 73 Which Is the Real Music? Scores, Trees of Green, Red Roses Too...... 76 Recordings, and Performance...... 39 Counting the Blessings............... 76 LISTENING COMPANION 7: “What a Section I Summary................ 39 Wonderful World” (1967) – Bob Thiele [“George Douglas”] and George David SECTION II: THE NATURAL Weiss.............................. 79 Cranston High School East - Cranston, Ri WORLD........................ 41 Warming Up After the Cold War....81 Marvels Made Musical..............41 Hope for Humanity................... 81 Grofé and the Grand Canyon.......... 44 LISTENING COMPANION 8: Global LISTENING COMPANION 1: Grand Canyon Warming (1990) – Michael Abels.......83 Suite, “On the Trail” (1929–31) – Ferde Grofé.........................46 Section III Summary............... 87 Stormy Weather.................. 50 SECTION IV: WORDS OF Beethoven Lets It Thunder............ 50 WARNING..................... 89 LISTENING COMPANION 2: Symphony You Don’t Know What You’ve Got ‘Til No. 6, Op. 68 “Pastoral,” Mvt. 4, “Gewitter It’s Gone......................... 90 Sturm: Allegro” (“Thunderstorm: Allegro”) Paving Paradise...................... 91 (1808) – Ludwig van Beethoven........ 52 LISTENING COMPANION 9: “Big Yellow The Globe’s Growing Things....... 54 Taxi” (1970) –Joni Mitchell............. 93 Takemitsu and a Tree................. 55 Poison Is the Wind that Blows..... 95 LISTENING COMPANION 3: Ame no ki Gaye Goes Green.................... 95 (Rain Tree) (Excerpt) (1981) – Tōru LISTENING COMPANION 10: “Mercy Takemitsu.......................... 56 Mercy Me (The Ecology)” (1971) – Playing with Pollinators........... 58 Marvin Gaye........................ 98 The Antics of an Insect............... 58 Post-Modern Anxiety.............. 100 LISTENING COMPANION 4: The Tale of Tsar Ice Age Coming ….................. 100 Saltan, “Flight of the Bumblebee” (1900) – LISTENING COMPANION 11: “Idioteque” Nikolai Rimsky-Korsakov............. 60 (2000) – Thomas Yorke, Philip Selway, Birds as Composers................ 62 Edward O’Brien, Colin Greenwood, Hearing a Hermit Thrush............. 63 Jonathan Greenwood (Radiohead), and Paul Lansky........................ 101 2024–2025 Music Resource Guide Revised Page October 15, 2024 3 Calling for Action................ 105 LISTENING COMPANION 14: Elegy for the Dangers Up Ahead.................. 105 Arctic (2016) – Ludovico Einaudi....... 120 LISTENING COMPANION 12: “Despite Repeated Warnings” (2018) – Paul Section IV Summary............. 121 McCartney.......................... 107 CONCLUSION................. 124 Why Don’t We Listen?............. 111 Celebrity Obsession.................. 111 TIMELINE..................... 125 LISTENING COMPANION 13: “Feels Like GLOSSARY.................... 129 Summer” (2018) – Donald Glover [“Childish Gambino”].......................... 113 NOTES........................ 133 Is It Too Late?..................... 117 BIBLIOGRAPHY................ 140 Eight Million Voices.................. 118 Cranston High School East - Cranston, Ri 2024–2025 Music Resource Guide Revised Page October 15, 2024 4  Introduction When we consider the environment, we do not always that—despite their immediate appeal—challenge us think about sound as an aspect of our world. Still, the to consider the risks we run when we do not balance role of music in our lives is very important, and many our needs with the requirements of the planet. The modern pieces as well as works from the past draw environment can be fragile, and humans need to be our attention to our ecological surroundings. Both careful stewards of the earth’s ecosystems. instrumental and vocal compositions have addressed features of the globe and have served various purposes: To help readers understand the musical features of the music helps us enjoy our planet, but it also warns us of diverse compositions that we will be studying, Section our need to protect that biosphere. I provides an overview of the specialized vocabulary and notation system used in Western music. It explains Cranston High School East - Cranston, Ri Section II of the resource guide, called “The Natural many of the ways that musical pitches are manipulated World,” showcases pieces that convey the marvels that and combined, and it identifies a number of larger exist in nature, from its most grandiose geographic relationships and structures that can be crafted from wonders to the tiniest creatures that inhabit Earth. All these components. Although the listening examples are the selections are instrumental, and the composers use quite varied, they all depend on these same foundational various ingenious techniques to paint mental images, musical elements. In that way, they resemble our own ranging from features of the landscape to the behaviors core dependency on the earth’s resources: the air we of various living things that reside on the globe. breathe, the water we drink, and the food we eat. Music helps us to appreciate the importance of these planetary “Celebrating the Planet” is the focus of the resource gifts, and it admonishes us to do our part in sustaining guide’s third section. Via a mix of vocal and the world’s precarious balance. instrumental pieces, we will examine music that rejoices in various aspects of the environment: its seasons, its beauties, and even the potential ability of NOTE TO STUDENTS: Throughout the resource guide its inhabitants to co-exist. you will notice that some terms have been boldfaced and underlined. These terms are included in the glossary of terms The final section of the resource guide concentrates at the end of the resource guide. on “Words of Warning”: engaging compositions 2024–2025 Music Resource Guide Revised Page October 15, 2024 5  Section I Basic Elements of Music Theory SOUND AND MUSIC extensions in the Americas. Definitions The Physics of Musical Sound Music Is Sound Organized in Time Sound Waves The broadest definition of music is “sound organized In the abstract, sound is described as a wave of energy. in time.” Many kinds of sounds—including noises and As a wave, it has both amplitude and frequency. The tones produced by any means, not only by musical amplitude affects the decibel level, or how loud or instruments—can be used to create music, particularly soft the tone is. The higher the amplitude of a sound in the modern era. All that is required is a time frame, wave, the louder it is. The frequency affects the pitch, sound waves, and a cognizant mind to perceive and Cranston High School East - Cranston, Ri which is the highness or lowness of the sound. The interpret those sounds. Common but not required factors greater the frequency of a sound wave, the higher its include a person (often called a composer) who first pitch. When the frequency of a wave is between 20 and imagines the music, human or mechanical performers 20,000 cycles per second, the normal human ear hears to generate the sounds, and a mechanical means of it as a single, sustained tone. A pure sine wave at 440 recording and reproducing them. Sometimes the Hz (cycles per second) sounds like an A above middle composition and performance happen simultaneously C. Orchestral musicians in the United States usually (often as improvisation, but sometimes via electronic tune their instruments to “A-440,” meaning 440 Hz. composition). Some degree of human intention and Of course, not every sound has a regular frequency. perception are necessary for music to exist, but When you drop a book on the floor, the sound quickly defining this exactly continues to puzzle scientists dies down and has no discernable pitch because the and philosophers, who debate questions like whether wave pattern is so irregular and short. Thus, there birdsong can qualify as music, whether accidental sound are two kinds of musical sounds: pitched and non- can be music, or whether a phonograph playing in the pitched. Percussion instruments provide most of the forest is music if no one hears it. non-pitched sounds in music. Music of the Western World Instruments as Sound Sources It should be noted that many cultures have markedly How is a musical sound wave produced? In the late different views of music; indeed in some cultures, nineteenth century, two ethnomusicologists (the music is so interconnected with ritual, language, modern term for scholars who study the music of other dance, and other aspects of life that in some languages cultures, or who study multiple cultures comparatively), there is no separate word for “music.” At certain Curt Sachs and Erich von Hornbostel, categorized times in history, Western traditions have encountered instruments into four groups. Chordophones, such as and incorporated the music of non-Western cultures. violins, harps, and guitars, have one or more strings, The reverse process is also sometimes true. And, in which are plucked, bowed, or struck; the vibrating recent decades, globalization has made the boundaries string creates the sound wave. Aerophones (brass between Western and non-Western culture increasingly and wind instruments such as the many varieties of permeable. Nonetheless, the material in this guide will horns and flutes) feature a vibrating column of air. pertain to what is called the “music of the Western Membranophones have a skin or other membrane World”—the musical traditions that developed in stretched across some kind of frame. The membrane, Europe in the past two millennia and their cultural but not the frame, vibrates when struck. With 2024–2025 Music Resource Guide Revised Page October 15, 2024 6 TABLE 1–1 SACHS/HORNBOSTEL FAMILY NAME CLASSIFICATION Violin, viola, cello, double bass; also guitar Stringed instruments Chordophones and lute Piccolo, flute, oboe, clarinet, bassoon; also Woodwinds Aerophones saxophone Trumpet, trombone, French horn, tuba; also Brass Aerophones flugelhorn, baritone, bugle Timpani, bass drum, snare drum, Membranophones tambourine Percussion Marimba, xylophone, vibraphone, tubular Idiophones bells, gongs, cymbals, triangle, wood block Cranston High School East - Cranston, Ri Keyboards Piano, harpsichord, organ, celesta Varies The most common Western orchestral instruments. idiophones, the body of the instrument itself vibrates when struck. Some examples of idiophones are bells, woodblocks, and xylophones. Ferde Grofé includes a timpani membranophone in “On the Trail” from the Grand Canyon Suite (Listening Example 1), while vibraphones and marimbas (idiophones) perform during Rain Tree (Listening Example 3). A fifth category was added later: electrophones, which create sound waves using a mechanical device known as an oscillator and are dependent upon electricity. Radiohead’s “Idioteque” employs synthesizers (Listening Example 11). Centuries before Sachs and Hornbostel, Western orchestral instruments were grouped into “families.” These categories are still used for Western instruments today. Strings or stringed instruments are usually bowed or plucked. (A violin plays an extended solo at the beginning of “On the Trail,” [Listening Example 1].) Brass instruments, which are aerophones made of metal, are sounded by the performer’s buzzing lips, which make the column of air vibrate. (A French horn is prominent in “On the Trail,” Listening Example 1.) The theremin’s inventor, Russian physicist Woodwind instruments are also aerophones in which Léon Theremin (1896–1993), with his the column of air is moved by breath alone—as in the instrument. case of flutes, recorders, and related instruments—or 2024–2025 Music Resource Guide Revised Page October 15, 2024 7  3. pitch on keyboard The diagram below identifies middle C, A440, A 220, A 110, and the names of other Cs FIGURE 1–1 labeled with pitch names and octave numbers.* Note that As always appear between the upper two of the three black keys on the keyboard. C3 C4 C5 A2 A3 C A4 A5 110 Hz 220 Hz middle 440 Hz C Pitch on a keyboard. The diagram identifies middle C, A440, A220, A110, and the names of other Cs labeled with pitch names and *Note thatoctave numbers.*number the octave Note that changes As always appear between at C, not A. the upper two of the three black keys on the keyboard. *Note that the octave number changes at C, not A. Cranston High School East - Cranston, Ri by one or two vibrating reeds usually made from wood. of tape music (later followed by more purely electronic Percussion instruments include membranophones as music produced on computers) are looping and well as idiophones, plus some chordophones that are splicing, both of which permit compositions that struck rather than bowed or plucked, such as the piano. cannot be reproduced by a human performer. Rome, In some cases, keyboard instruments constitute a fifth Paris, Cologne, and New York City all had famous category. Table 1−1 lists the most common members of postwar centers for electronic music. each family of instruments. PITCH, RHYTHM, AND HARMONY The first electronic instruments began to appear in the A single, isolated musical sound has four properties: first decades of the twentieth century. The theremin pitch, duration, volume, and timbre. is one of the best known early electronic instruments and is still occasionally used today. When playing this Pitch instrument, the performer regulates frequency with Pitch, Frequency, and Octaves one hand and amplitude with the other by disturbing Pitch is the highness or lowness of a sound. A the electrical fields that surround the protruding bars. Chihuahua has a higher-pitched bark than a St. Bernard; The next important step in electronic instruments a kitten’s meow is higher-pitched than a tomcat’s yowl. came at the end of World War II. Enormous advances A tuba is pitched lower than a piccolo. When musicians in electronics and radio technology had been made speak of “a pitch,” they are referring to a single tone for wartime purposes, but after the war, many whose highness or lowness does not change—that is, a state-of-the-art studios were no longer needed for sound that consists of a steadily oscillating sound wave, military purposes. Within a few years, scientists and like A-440. composers began collaborating to make art with the If you pluck the A string on a guitar (A-110), find the new equipment. Electronically generated sounds and exact midpoint and press it firmly to the fret board, and sounds produced by live instruments were recorded then pluck the now-half-as-long string (either side), you on tape, where they could be edited, manipulated, and will hear the next-higher A. This is because when you mechanically recombined to form collages of sound halve the length of the string, it naturally vibrates twice that were “performed” via loudspeaker. This type of as fast (220 Hz), producing a pitch twice as high. The composition was first known as musique concrète; musical term for the distance (or interval) between A the term used is French due to the fact that the first and the next higher or next lower A is called an octave. practitioners were based in Paris. The basic techniques 2024–2025 Music Resource Guide Revised Page October 15, 2024 8  FIGURE 1–2 The Three Main Clefs: G-clef, F-clef, and C-clef (with C-clef shown in its two most common positions). The bold-face letters on the staff lines show the pitch name indicated by each clef; the whole notes show where Middle C would appear in each clef. Pitch on a Keyboard Figure 1–1 identifies middle C, A440, A 220, A 110, and A piano keyboard provides an excellent visual aid for the names of the other keys on the keyboard. Note that understanding pitch and harmony. High-sounding all the As appear between the upper two of the three pitches are to the right; low-sounding pitches are black keys on the keyboard. The distance between any to the left. Therefore, moving from left to right is two adjacent keys on the keyboard is called a half step, called moving “up” the keyboard, while moving from or semitone, the smallest interval normally used in Cranston High School East - Cranston, Ri right to left is called moving “down.” Middle C is Western music. A whole step is the distance between roughly equidistant from either end. The black keys every other key (regardless of color, black or white). are arranged in alternating groups of two and three. Both half steps and whole steps are the basic intervals Middle C is located to the left of the group of two of any scale (a sequence of pitches in ascending or black keys closest to the middle of the keyboard. descending order) in Western music. The white keys are usually called the natural keys, spanning seven FIGURE 1–3 Grand staff, with all sharps and flats. Vertical lines from below point to white notes, and lines from above point to black notes. 2024–2025 Music Resource Guide Revised Page October 15, 2024 9  FIGURE 1–4 Cranston High School East - Cranston, Ri Diagram of overtone series on a staff and a keyboard. (Note: the 8va written at the top of this figure is shorthand for one octave higher than written.) alphabetical letters, A through G. The symbol that [𝄢], which indicates that the fourth line from the bottom represents a natural note is ♮. (If the natural sign is of the staff should be read as the pitch “F”; and the omitted, musicians still assume the pitch is natural, but “C-clef” [𝄡], which is centered on a line that is read as sometimes the symbol is included for clarification.) The “middle C.” The “C-clef” has different nicknames since signs ♯ (sharp) and ♭ (flat) indicate that a given pitch, it is a movable clef. (The F- and G- clefs used to move, such as A♮, has been raised or lowered, respectively, but that practice has died out.) When the C-clef indicates by a half step. So the next note to the right of A on the that the pitch C should be placed on the middle line keyboard is A♯. But, you can also look at that same A♯ of the staff, we call it the alto clef. But, if the C-clef is key as being a lower neighbor of the key to its right—in centered on the fourth line from the bottom of the staff, other words, if you move a half step to the left from B♮, it is called the tenor clef. Figure 1–2 presents each of the same A♯ key can also be called B♭, since it is half a the standard clefs (along with the location of the pitch step (one key) below the B. that each clef emphasizes), and the pitch “middle C” is shown on the appropriate places on the staff, depending Pitch on a Staff on the clef being used. Music notation uses a five-line staff as a type of a ladder to indicate pitches. Each line or space on the staff is Pitch on the Grand Staff assigned to a letter of the musical alphabet—but the In piano music, two bracketed staves (the plural of assignment can vary, depending on the clef symbol at “staff”) are used, known as the grand staff. In general, the left-hand end of the staff. “Clef” comes from the the left hand plays the music notated on the lower staff, French word “key,” and each clef symbol is the “key” usually containing a bass clef, and the right hand plays for reading the lines and spaces of the staff. Each clef the notes written on the upper staff, which usually focuses on one line of the staff; musicians can then contains a treble clef. Figure 1–3 shows a grand staff figure out the remaining lines and spaces based on that with the pitches labeled that correspond to the white one reference point. There are three main clefs in use notes and black notes on the keyboard. (Notice, too, that today: the treble clef, or “G-clef” [𝄞], which indicates the sharp or flat symbol follows the letter when we refer that the second line from the bottom of the staff is the to pitches in prose—e.g., F♯, A♭, etc.—but the symbol pitch “G”; the bass (pronounced “base”) clef, or “F-clef” precedes the notehead when we write pitches on a staff.) 2024–2025 Music Resource Guide Revised Page October 15, 2024 10  FIGURE 6. 1–5 with all chromatic pitches labeled use pdf keyboard half step whole step C# D# F# G# A# C# D# F# G# A# C# D# F# G# A# Db Eb Gb Ab Bb Db Eb Gb Ab Bb Db Eb Gb Ab Bb C D E F G A B C D E F G A B C D E F G A B C whole step OCTAVE half step half step Cranston High School East - Cranston, Ri Keyboard with all chromatic pitches labeled. Overtones and Partials But it is “colored” by the faint presence of the higher Very few pitches consist of a single, pure frequency. pitches, which are called partials, or overtones. Figure Rather, one frequency dominates, but many other 1–4 shows sixteen overtones, or partials, above an A frequencies are also present at very faint volume. For fundamental. example, when the A string of a guitar is plucked, the strongest sound wave produced is 110 Hz. But many Equal Temperament: Generating the Twelve other waves can exist on the string at the same time. Pitches by Dividing the Octave One is half the length of the string, another is one-third In the world of pure sound waves and overtones, the length of the string, another is one-quarter the pitches follow mathematical patterns. But, in the length of the string, and so on. The lowest A is called Western tradition, after about 1750, a system of tuning 7. C scale labeled with scale degrees the fundamental. It is by far the loudest and strongest. called equal temperament became dominant. With FIGURE 1–6 ^ ^ ^ ^ ^ ^ ^ ^ 1 2 3 4 5 6 7 1 Diagram of keyboard with the C scale degrees labeled 1̂, 2̂, 3̂, etc. 2024–2025 Music Resource Guide Revised Page October 15, 2024 11 music. music. When When arranged arranged in in ascending ascending order, order, the the The The piano piano keys keys needed needed for for this this scale scale are are shown shown in in seven pitches are known as a diatonic scale, and Figure igure 1–6. igure TABLE 1–2 TABLE 2. Cranston High School East - Cranston, Ri The most common intervals. The The The Most Most Most Common Common Common Intervals. Intervals. Intervals. equal temperament tuning, the mathematical ratios half step to the right of the B key is another white key, are adjusted so that the octave is divided into twelve C—but the enharmonic name for C is B♯. Similarly, an 222000111444–––222000111555 U S A equal parts. Equal temperament is so common that it enharmonic name for the U USSB AADkey D D M M MUUis U SIIIC♭. S S C C CRR S REEES SOO OUU URR RCC CEEE G G GU I 14 14 14 U U UIIID D DEEE X is now assumed; tuning systems are mentioned only if they differ from equal temperament, and this is very There are also symbols that indicate a pitch should be rare. The twelve different pitches in ascending order raised by two half steps, or a “double-sharp” ( ). The are called the chromatic scale. The distance (interval) symbol for lowering a pitch by two half steps is called a between any two consecutive pitches in the chromatic double-flat (𝄫). Both of these symbols occur only rarely. scale is the half step or semitone. Figure 1–5 identifies Scales: Leading Tone, Tonic, Dominant each note name on the piano keyboard. “The Flight of In the Western tradition, most composers choose a set the Bumblebee” (Listening Example 4) opens with a of seven pitches as the basis for a piece of music. When rapid descending chromatic scale. arranged in ascending order, the seven pitches are Each of the black keys derives its labeling from its known as a diatonic scale, and the pitches fall into one neighboring white keys, and so each black key has two of four different patterns (major and three varieties of names. As noted earlier, sharp (♯) means “raised” by minor). The C major scale is perhaps the most common a half step and flat (♭) means “lowered” by a half step. scale; the piano keys needed for this scale are shown in For instance, notice that E♭ and D♯ refer to the same Figure 1–6. black key. This means that they are identical in pitch; C (1̂) – D (2̂) – E (3̂) – F (4̂) – G (5̂) – A (6̂) – B (7̂) – C we call two different labels for the same piano key enharmonic pitches. (Note: In older tuning systems, When playing or writing down a scale, the first pitch an E♭ and a D♯ are not identical and differ slightly in is normally repeated at the top, as the last pitch. It the number of cycles per second.) Some of the white would sound very unstable to stop at pitch number 7. keys have additional names as well. For instance, one The seventh scale degree is known as the leading tone 2024–2025 Music Resource Guide Revised Page October 15, 2024 12  9.FIGURE 1–7 intervals of C and G major scales             |__||__|V|__||__||__|V |__||__|V|__||__||__|V Diagram of keyboard with C scale, left, and G scale, right, with symbols beneath to indicate intervals. because to Western ears it begs to resolve upward to are either ascending (the lower pitch occurs first) or the C above. descending. In the C major scale and the melodies that use it, A few intervals that exceed an octave are the major C is the anchor, a point of repose and completion. and minor ninth and the major and minor tenth. They Sometimes called the “resting tone” or “Do” (as in can be thought of as an octave plus an m2 (spanning 13 “Doe, a deer….” from The Sound of Music), it is most half steps), M2 (14), m3 (15), and M3 (16 half steps). Cranston High School East - Cranston, Ri often known as the tonic pitch. In a C scale, C is the tonic pitch. In an A scale, A is the tonic pitch. In an A♭ Intervals of the Major Scale scale, A♭ is the tonic pitch, and so on. A scale can be described as a succession of whole and half steps (or major seconds and minor seconds). The fifth scale degree, called the dominant pitch, Referring back to the C major scale on the keyboard, is nearly as important as the tonic. In non-technical you can see that the distance between 1̂ and 2̂, in this terms, it functions like a second gravitational center case C to D, is a whole step, or M2. (The C♯/D♭ key, that sets melodies in motion by pulling them away which is skipped over, is the intermediate half step in from the tonic. The dominant pitch may appear in a between.) Pitch numbers 2̂ and 3̂ are also a whole step melody more often than the tonic pitch, though the apart. (D to E♭ is one half step; E♭ to E makes two tonic remains the final resting point. In the key of C, G half steps, which added together make a single whole is the dominant pitch, and B is the leading tone. step.) Between pitch numbers 3̂ and 4̂, however, there is no intermediate piano key. The E and the F are only Intervals a half step, or an m2, apart. Figure 1–7 reproduces the The distance between any two pitches is called an C major scale on the piano keyboard, with the melodic interval. Remember that the smallest distance between intervals labeled. You can see that they follow a pattern any two adjacent keys on the piano is a half step (or of whole steps (marked with square brackets “⊔”) and semitone). Any larger distance between two piano keys half steps (marked by angled, or pointed, brackets can be measured by the number of half steps it spans; “∨”). Therefore, a major scale’s sequence of intervals these distances are shown in the first column of Table consists of whole step–whole step–half step–whole 1−2. However, other terms for intervals are derived step–whole step–whole step–half step (or ⊔-⊔-∨-⊔-⊔- from the alphabetical letter names of the two pitches. ⊔-∨). For that reason, although the interval from C to E spans four half steps, it is called a “Major third” (M3) By using that same sequence of melodic intervals, because of the three letter names between the lower you can create a major scale starting on any key of and upper pitches (C to D to E). Table 1−2 gives the the piano. For instance, a G major scale proceeds up names for the most common intervals. the keyboard looking very much like a C scale (all white notes), until you get to the seventh scale degree. Any interval can be performed so it is harmonic (the By definition, if a scale is major, 6̂ to 7̂ must be a two pitches occur simultaneously) or melodic, with the whole step, and 7̂ to 8̂ a half step apart. A whole step two pitches occurring in succession. Melodic intervals above 6̂ (E) is F♯. Why not call this note G♭? The 2024–2025 Music Resource Guide Revised Page October 15, 2024 13 diagram, is identical to the C and G major scales, and every other major scale, regardless of the starting pitch. FIGURE 1–8 C# F# G# A B D E A V V Diagram of an A major scale. seven pitches of any major scale are properly spelled All minor scales feature a lowered third scale degree, Cranston High School East - Cranston, Ri using seven different letters, so you would not want meaning the interval from the tonic to the third pitch of to have a G♭ and a G♮ in the same scale. Also, an E the scale is a minor third, not a major third (the interval to a G♭ would properly be called a diminished third, that occurs in the major scale). Note that the half steps not a major second—and a major scale should consist of the natural minor scale are located between 2̂ and 3̂, only of major and minor seconds. (When a minor and 5̂ and 6̂. The major scale’s upward pull from 7̂ to interval is made smaller, either by lowering the top 8̂ is not present in the natural minor. Try playing the note using an accidental, or by raising the bottom note scale through. It can just as easily fall back down to 6̂, using an accidental, the resultant interval is said to be then 5̂, as it can rise to 8̂. In order to create that pull, “diminished.”) So, for example, E to G (3 half-steps) is many pieces of music use the harmonic minor mode, a minor third. When you keep the same letter names which is created by raising the seventh scale degree but lower the G to G♭, it is still a third, but it is no one half step (by adding a sharp or natural). Melodic longer minor, since it consists of only two half-steps. minor, shown with intervals marked in Figure 1–9, It is now a diminished third. Compare the keyboard is the final option. Both the sixth and seventh scale diagrams shown in Figure 1–7, and you will see the degrees are raised a half step as the scale ascends, and same sequence of intervals is preserved (⊔-⊔-∨-⊔- then they are restored to their normal “natural minor” ⊔-⊔-∨), even though one begins on G and the other pitches as the scale descends. The alterations here begins on C. encourage a sense of upward motion to the higher tonic and a pull downward to the fifth scale degree. Figure 1–8 shows an A major scale. The sequence of intervals, labeled below the diagram, is identical to Because C natural minor and E♭ major use the same the C and G major scales. The sequence of whole and seven pitches—just different tonics—they are called the half steps will be the same in every other major scale, relative major and minor to each other. (These relative regardless of the starting pitch. scales are shown in Figure 1–10.) Their relationship is still relative even when the natural minor is altered to Minor Scales and Blues Inflections make the harmonic or melodic minor scales. In contrast, The next most common scale is the minor scale. There major and minor scales that begin and end on the same are three slightly different varieties: natural (or pure) tonic pitch are called parallel. Relative major and minor minor, harmonic minor, and melodic minor. Figure scales are perceived as being more closely related to 1–9 shows each of the three, beginning on A. (Like the each other than parallel scales since they use the same major scale, each scale has its own pattern of whole collection of pitches. and half steps.) 2024–2025 Music Resource Guide Revised Page October 15, 2024 14  FIGURE 1-9 FIGURE 1−10 FIGURE 1–9 Relative minor and major scales, both with three flatted pitches (B♭, E♭, and A♭). C natural minor (left) and E♭ major (right). Cranston High School East - Cranston, Ri using a pitch “between the keys” of the piano. Often the ner,” for instance, uses far more leaps than steps, so it is pitch is part of a small slide—for example, from ♭3 to disjunct. There is even a melodic leap of a major tenth 3. Less commonly, the 5th scale degree is lowered in a (equivalent to sixteen half steps) between “gleam-ing” similar manner. In the song “I Got Rhythm” (LISTENING and “… and the rockets’ red glare.” EXAMPLE 1), a number of words are sung to “blue notes.” Another way to describe a melody’s contour is by di- MELODY DEFINED WITH AN EXAMPLE USING rection. Melodies may ascend, descend, or move in a SCALE DEGREES wavelike manner. “Row, Row, Row Your Boat” ascends A melody is a series of successive pitches perceived by to the first “merrily,” then mainly descends to the end. the ear to form a coherent whole. Only one pitch occurs A very common contour for melodies is that of an arch, at a time in a melody; if two pitches occur together, you ascending at the beginning, reaching a climactic high have either harmony or counterpoint. Most melodies point, and descending toward the end. Contour is nor- use the seven notes of a single scale. The song “Happy mally described in general terms. Exact intervals and Birthday,” which is in the major mode, uses the scale de- pitches are named when more precision is needed. grees shown in the box at the bottom of this page. RANGE AND TESSITURA It follows the same scale degrees whether you use the Every instrument (including the human voice) has a B C major, F major, E♭ major,Minor A major, or any natural, scales: range of possible of the fif- harmonic, pitches that it is capable of producing. and melodic. teen major scales. You can transpose the melody Happy In order to indicate exactly which A, B, or C , etc., is Birthday to any major key by beginning the same pattern being played or discussed, each pitch is numbered from of intervals$%&).%$ -%,/$9 on a different 7)4( note, and it will remain the the !. %8!-0,% bottomBirthday” “Happy of the grand staff up: follows theC1 through same B1/C♭1, scale degrees fol- same melody. 53).' 3#!,% $%'2%%3 lowed whether Minor scales: natural, harmonic, by C2 andyou through B2/C♭2, and so on. A  viola’s use the C major, F major, E major, A melodic. range (C3 to E6) major, or is anyhigher andfifteen of the slightlymajor narrower thanYou scales. a cello’s can CONTOUR A MELODY is a series of successive pitches per- (C2 to A5). The high, middle, and low parts of an instru- All melodies contour, havetoa form A conjunct or profile.whole. TRANSPOSE the melody “Happy Birthday” to any Only ment’s range are often called the high, middle,oforinter- islow ceived by the ear a coherent Amelody scale with blues inflections combines elements of in from major to 3.byLess b3key commonly, beginning the the same5th scale patterndegree one pitch occurs at a time in a melody;that moves smoothly, in stepwise motion, if is, two register; in “Ol’ Man River” (LISTENING EXAMPLE 2), the both major and mostly minor scales.steps. blues scale, In a “Row, scaleYour lowered vals on in dropsa similar manner. a different note, and it will remain the same pitcheshalf steps occur and whole together, you have Row,HARMONY either Row singer melody. into a very low register. A melody with a degrees Boat” is3 and 7 can be a familiar either tune usinglowered, conjunct or COUNTERPOINT. Most melodies use the seven as motion. in a minorApart high tessitura calls for more pitches in the performer’s from scale, “merrily, merrily, merrily, merrily,” all the intervals Melody Defined with an Example Usingor low notesorofnormal a singleasscale. in a major scale,“Happy The song or somewhere in Birthday,” high register #/.4/52 than does a melody with a medium are whole between, which isusing steps and in the half a pitch major steps. “between A mode,the disjunct keys” uses the piano. Scale melody, on theoffollowing the Degrees tessitura. This Italian All melodies have aterm is applied CONTOUR, most often or profile. to vocal A CONJUNCT other Often hand, contains proportionally more leaps (intervals A melody music. is a series of successive pitches perceived scalethe larger pitch is part of a small slide—for example, than a major second). “The Star Spangled Ban- melody moves smoothly, in stepwise motion, that degrees: 5ˆ 5ˆ 6ˆ 5ˆ 1ˆ 7ˆ 5ˆ 5ˆ 6ˆ 5ˆ 2ˆ 1ˆ 5ˆ 5ˆ 5ˆ 3ˆ 1ˆ 7ˆ 6, ˆ 4ˆ 4ˆ 3ˆ 1ˆ 2ˆ 1ˆ Hap-py birth-day to you, hap-py birth-day to you! Hap-py birth-day, dear Susie, hap-py birth-day to you! R ESOURC E GUID E USA D MUSIC 2 0 15 s 17 2 0 14 –  2024–2025 Music Resource Guide Revised Page October 15, 2024 64"%
.VTJD
3FTPVSDF
(VJEF
t
– 15  FIGURE 1–10 Relative minor and major scales, both with three flatted pitches (B♭, E♭, and A♭). C natural minor (left) and E♭ major (right). Cranston High School East - Cranston, Ri by the ear to form a coherent whole. Only one pitch direction. Melodies may ascend, descend, or move in a occurs at a time in a melody; if two pitches occur wavelike manner. “Row, Row, Row Your Boat” ascends together, you have either harmony or counterpoint. to the first “merrily,” then mainly descends to the end. Most melodies use the seven notes of a single scale. A very common contour for melodies is that of an The song “Happy Birthday,” which is in the major arch, ascending at the beginning, reaching a climactic mode, uses the scale degrees shown in the box at the high point, and descending toward the end. Contour is bottom of the previous page. normally described in general terms. Exact intervals and pitches are named when more precision is needed. It follows the same scale degrees whether you use the C major, F major, E♭ major, A major, or any of the Range and Tessitura fifteen major scales. You can transpose the melody of Every instrument (including the human voice) has a “Happy Birthday” to any major key by beginning the range of possible pitches that it is capable of producing. same pattern of intervals on a different note, and it will In order to indicate exactly which A, B, or C♯, etc., is remain the same melody. being played or discussed, each pitch is numbered from the bottom of the grand staff up: C1 through B1/C♭1, Contour followed by C2 through B2/C♭2, and so on. A viola’s All melodies have a contour, or profile. A conjunct range (C3 to E6) is higher and slightly narrower than a melody moves smoothly, in stepwise motion, that is, cello’s (C2 to A5). The high, middle, and low parts of an in mostly half steps and whole steps. “Row, Row, Row instrument’s range are often called the high, middle, or Your Boat” is a familiar tune using conjunct motion. low register. Joni Mitchell sings in her highest and then Apart from “merrily, merrily, merrily, merrily,” all lowest register in the last two lines of “Big Yellow Taxi” the intervals are whole steps and half steps. The (Listening Example 9) A melody with a high tessitura descending melody in “What a Wonderful World” calls for more pitches in the performer’s high register (Listening Example 7) is very conjunct. A disjunct than does a melody with a medium or low tessitura. melody, on the other hand, contains proportionally This Italian term is applied most often to vocal music. A more leaps (intervals larger than a major second). For female singer who performs most comfortably in a high instance, the French horn melody of “On the Trail” tessitura is called a soprano; a lower-register female (Listening Example 1) leaps upward and back down singer is called an alto. For men, the higher register is through several large intervals, so it is disjunct. called tenor, while a low-register male voice is a bass Another way to describe a melody’s contour is by (pronounced “base”). 2024–2025 Music Resource Guide Revised Page October 15, 2024 16  TABLE 1–3 BEATS PER MINUTE ITALIAN TERM MEANING (APPROX.) 200 Presto very fast 120 Allegro fast 108 Moderato moderate 84 Andante “at a walking tempo” 72 Adagio slow 40 Lento or Grave very slow Common tempo markings. Rhythm beats-per-minute. Rhythm is the way music is organized in time. Tempo can slow down (ritardando) or speed up (accelerando), and it can do either gradually (poco a Cranston High School East - Cranston, Ri Beat Beat is the steady pulse that underlies most music. poco) or suddenly (subito). When there is no steady Sometimes the beat is audible, sometimes not, but it tempo—which is the same as no discernable beat— is present, like the silent or ticking second hand on a music is said to be unmetered. If there is a perceived mechanical clock. beat, but it speeds up and slows down for expressive effect, it is called rubato. Tempo The speed of the beat is called the tempo. Table 1−3 Meter: Duple, Triple, and Quadruple shows different tempos and their traditional Italian All beats are of equal length, but not all beats are names. The Italian terms predate the invention of of equal importance. Normally, beats are grouped exact timekeeping, so they originally indicated mood into measures (or more informally, bars), which are or other expressive qualities as related to tempo. For separated by bar lines. The first beat of any measure example, Allegro means “cheerful” in Italian, and is usually the strongest, so it is customarily called the so the music should be executed in a fairly lively, or downbeat or strong beat. slightly “fast” manner. (Allegro music is not always Meter describes the pattern of emphasis superimposed cheerful, however. Beethoven’s “Thunderstorm” on groups of beats. In general terms, meters are movement in Symphony No. 6 [Listening Example 2] duple, triple, quadruple, or irregular (also called calls for an Allegro tempo, but is quite ominous.) The asymmetrical). Music with groups of two beats numbers at the left indicate the approximate number (alternating as STRONG-weak-STRONG-weak, etc.) is of beats per minute. Substantial variations exist in the FIGURE 1–11 Figure 1‐11 1 2 3 4 1 2 3 4 Are you sleep‐ ing, Are you sleep‐ ing Quadruple meter in “Are You Sleeping?” Quadruple meter in “Are You Sleeping?” 2024–2025 Music Resource Guide Revised Page October 15, 2024 17  FIGURE 1–12 16. Happy Birthday rhythm 1 2 3 1 2 3 1 2 3 1 2 3 Hap-py birth- day to you, hap-py birth- day to you! [Hap-py...] “Happy Birthday”—four measures with words and beat numbers. in duple meter, as you can hear in the rapid “Flight of sixteenth notes, thirty-second notes, and so forth. the Bumblebee” (Listening Example 4). Triple meter The relationships of the most common note symbols has a three-beat pattern with a STRONG-weak-weak- are shown in Figure 1–13. (Notice that multiple flagged STRONG-weak-weak (etc.) pulsation, illustrated in notes have an alternate notation, called beams; these the slow waltz-like pulse of Hermit Thrush at Morn horizontal connecting lines are sometimes easier for (Listening Example 5). Most common is quadruple a musician to read quickly, since it is customary to meter, in which there are groups of four beats, with 1 “beam” together a beat’s worth of notes.) being the strongest beat, 3 being the second strongest beat, and 2 and 4 being weak beats. However, it is often Another device used in rhythmic notation is the dot. difficult to distinguish duple from quadruple by ear, so A dot adds half the original value to a note—so a dot Cranston High School East - Cranston, Ri quadruple is sometimes treated as a “duple” meter by following a half note would represent a quarter note, listeners (and the opposite is also true—duple meter and thus the total duration of a dotted half note should is sometimes treated as quadruple meter). Figure 1–11 be a half note plus a quarter note. Also, notes of the shows two measures from “Are You Sleeping?” with the same pitch can be connected with a curved line called quadruple beats numbered. Irregular (or asymmetrical) a tie; it “ties” their values together, so that the note meters are other groupings that cannot be divided into lasts as long as their combined values. The Hermit steady pulsations of two, three, or four beats. The most Thrush at Morn (Listening Example 5) begins with a common irregular meters are five-beat or seven-beat dotted rhythm. measures. The note value symbols in the top half of Figure 1–13 The song “Happy Birthday,” with its groupings of indicate how long musical sounds should last—but three beats, is in triple meter as is shown in Figure musicians can also be told how long not to make 1–12. The first word falls before the downbeat. This is sound. These symbols for silence are called rests, and called a “pickup” or anacrusis (pronounced “Anna- they follow a similar hierarchy as the note values; the croo-sis”). Another illustration of triple meter occurs lower half of Figure 1–13 illustrates the standard rest in “America (My country, ‘tis of thee)”; this song symbols (and their equivalent note symbols), and how begins on the downbeat. each rest should be placed on a staff. (The placement is especially important for whole rests and half rests; they Rhythmic Notation look identical otherwise.) A variety of symbols indicate how long a note should last. An oval note, called a whole note, is the longest Time Signature symbol used today. A line called a stem can be added In music notation, the meter is indicated with a time to that oval, and that oval-plus-stem symbol indicates signature, which usually consists of two numbers. a time value that is half as long as the whole note, or a The lower number indicates a durational value, with 2 half note. When the oval, or note head, is solid black meaning the half note, 4 the quarter note, 8 the eighth, (with a stem), that indicates a quarter note: a note and 16 the sixteenth note. (This is not a fraction! Note that is half as long as a half note (and one-fourth the that there is no line between the two numbers.) The duration of a whole note). When a flag is added to the upper number indicates how many of those durational stem, the quarter note is halved in duration, so that is values (or their equivalents) will occur in one measure. called an eighth note. Additional flags can be added, Thus, if the time signature is 68 , the measure will each subdividing the value of the note by half again: contain the combined time value of six eighth notes. 2024–2025 Music Resource Guide Revised Page October 15, 2024 18  FIGURE 1–13 Cranston High School East - Cranston, Ri Symbols for Notes and Rests. The hierarchy of notes is illustrated by their alignment: 1 whole = 2 half notes = 4 quarter notes = 8 eighth notes = 16 sixteenth notes = 32 thirty-second notes (etc.). The same relationships are true for rests as well. 2024–2025 Music Resource Guide Revised Page October 15, 2024 19  FIGURE 1–14 Swing example: Notated (left); performed (right). Two other symbols are often used to represent the time triplets on the second and third staves. signature: a large capital C (called “common time”) is equivalent to 44 time, and a vertical slash through the C Mixed and Irregular Meter (C) indicates that the time signature is 22 ; this symbol is Mixed meter and irregular or asymmetrical meter usually called “cut-time,” although its original name are variations on the grouping of beats. In mixed meter, is “alla breve”; “On the Trail” (Listening Example 1) measures that have different meters occur in rapid uses this time signature. succession. Irregular meter features measures that have different meters alternating in an irregular pattern. Simple and Compound Subdivision Cranston High School East - Cranston, Ri Irregular meter may also mean there is a steady beat but Normally each beat is divided in half (1 & 2 & 3 & it is grouped unpredictably or inconsistently. A measure or 1 & 2 & 3 & 4 &), which is referred to as simple of seven beats, for example, may go ONE-two-three subdivision. If the beat is subdivided into three equal ONE-two ONE-two, or ONE-two ONE-two ONE-two- parts, then the subdivision is compound. For example: three. (See Figure 1–15; the > symbol above or below a 8 meter can be counted 1 2 3 4 5 6, 1 2 3 4 5 6, or note head is called an “accent.” An accent indicates that 6 ONE-&-a TWO-&-a, ONE-&-a TWO-&-a; Sumer the note is to receive a greater stress than the unaccented is icumen in (Listening Example 6) and the “Irish” notes around it.) melody in Global Warming (Listening Example 8) both illustrate compound subdivision, while “Flight of the When two or more meters are operating simultaneously, Bumblebee” (Listening Example 4) is an example of it is referred to as polymeter. “On the Trail” (Listening simple subdivision. The rhythms used in swing music Example 1) contains a polymetric passage, where cut- are notated as if they are in 44 time, but played as if they time and 68 meters operate simultaneously. are 128 , as shown in Figure 1–14. Figure 1–16 illustrates FIGURE 1–15 Examples of asymmetrical (irregular) meters. 2024–2025 Music Resource Guide Revised Page October 15, 2024 20  FIGURE 1–16 2 4            2 4     2     4 Cranston High School East - Cranston, Ri 2     4 Two against three (top) and three against four (bottom) polyrhythms. Syncopation Rhythm: Summary Rhythm is syncopated when accented or emphasized The important distinction to keep in mind is that notes fall on weak beats or in between beats. The rhythm is a collection of varying durations, and it is rhythms in “Happy Birthday” are regular and coincide always audible. Beat refers to a regular underlying with the beat, so it is not considered syncopated. pulse that is not always audible but is always felt or Many of this year’s vocal selections use a great deal imagined, and meter is the grouping of beats and the of syncopation, including “Mercy Mercy Me (The associated patterns of strong and weak beats. Ecology)” (Listening Example 10) and “Feels Like Summer” (Listening Example 13). Harmony Harmony occurs whenever two or more tones are Polyrhythm sounding simultaneously. Polyrhythm, also called cross-rhythm, occurs when two conflicting rhythmic patterns are present Common-Practice Tonality simultaneously. The most common, as shown in Figure Common-practice tonality (also called common- 1–16, are two against three (the upper example) and practice harmony) is the system of organizing pitch three against four (the lower example). Note that the and harmony that we find intuitive today in Western meter does not change. Polyrhythms are common cultures. It developed in Europe beginning in the Middle in jazz, but the classical composer Beethoven also Ages and was codified by about 1750. Since then, layers employs 4-against-5 patterns during parts of the of complexity have been added, vigorous challenges “Thunderstorm” of Symphony No. 6 (Listening have been made by various composers, and knowledge Example 2). of non-Western music traditions has increased 2024–2025 Music Resource Guide Revised Page October 15, 2024 21  FIGURE 1–17 Examples of triads: C-E-G, C-E♭-G, A-C♯-E♯, B-D-F, B-D♯-F♯. dramatically. Despite these changes, conventions of in second inversion. When describing inverted common-practice tonality govern nearly all of the music chords, first inversion is indicated by a “six” produced or consumed in the Western world. following the chord symbol; second inversion is indicated by a six and a four aligned Chords vertically, rather like a fraction with the line A chord is three or more pitches sounding missing. First- and second-inversion triads are simultaneously. A book, or a forearm, pressed down on also illustrated in Figure 1–18. Cranston High School East - Cranston, Ri a piano keyboard creates a chord. However, the most common and useful chords do not employ immediately Any triad may be inverted. The bottom pitch adjacent pitches. determines the inversion; the other pitches may be in any order, and any of the triad’s 6 Triads three pitches may be duplicated in the same, or A triad is a three-note chord consisting of different, octaves without changing the chord’s two intervals of a third. Triads come in four classification as a triad. qualities: major, minor, diminished, and Keys augmented. A major triad (abbreviated as In music theory, the key is the world of pitch “M”) has a major third interval between its relationships within which a piece or substantial lower two pitches and a minor third between section of music takes place. “Key” in music theory is the upper two pitches. A minor triad (m) has not to be confused with the piano key that you press a minor third on the bottom and a major third to produce a single pitch. In terms of harmony, the above. Less common are the diminished triad “key” of a piece of music is the set of seven notes, or (d) (two minor thirds) and the augmented scale, that has been selected for use in that piece. The triad (A) (two major thirds). Triads of various gravitational center of a key is the tonic pitch, which qualities are shown in Figure 1–17. The basic in turn lends its name to the entire key. A piece of chords in any piece of music are the triads built music whose tonic pitch is D is said to be in “the key above each note of the scale. of D;” similarly, an A major piece consists of the seven The root is the lowest of the three notes in pitches of the key (or scale) of A. Whether the key a triad. The middle note is called the third, is major or minor depends upon other scale degrees, and the highest note is called the fifth. When namely 3̂, 6̂, and 7̂. Within a key, pitches and harmonies the root is on the bottom, the chord is in root relate to one another in specific ways. Each chord has a position. Root-position triads are shown as the different relationship to the tonic. first four chords of Figure 1–18. Unless otherwise specified, “the key of C” means 6 Inversions “the key of C major.” (The other options in common- Any pitch of a triad can be moved up or down practice tonality are C natural minor, C harmonic any number of octaves. When the third of the minor, and C melodic minor.) Music in the key of C triad is on the bottom, the chord is in first major uses mainly the seven pitches of a C major scale, inversion. When the fifth is on the bottom, it is 2024–2025 Music Resource Guide Revised Page October 15, 2024 22  FIGURE 1–18 Example: C triad plus its inversions, all three with different spacing: CEG CGE CGEC CGCE // EGC ECG ECGC // etc. and their octave transpositions. If other pitches occur, minor scales use the same key signature—the they are called chromatic pitches—and are usually one for natural minor—and add accidentals decorative or expressive, but not structural. to individual notes throughout the score for harmonic or melodic inflections. 6 Key Signatures The key signature is a set of sharps or flats at The key signature is a convenience. See the Cranston High School East - Cranston, Ri the beginning of every staff that indicates the E major scale in Figure 1–19, shown on the key of the music. The key signature signals keyboard and in two versions on the staff. The which seven pitches make up the scale for first notated version uses an accidental in front that piece by indicating which pitches will be of each affected pitch. The second notated consistently raised or lowered. When an F♯ version begins with a key signature of four appears in the key signature at the beginning sharps (F♯, C♯, G♯, and D♯), indicating that the of the piece, that means all Fs in the entire performer needs to sharpen any F, C, G, or D composition are automatically raised, unless pitches they encounter. otherwise indicated (which would be done with 6 Hierarchy of Keys: Circle of Fifths a natural sign in front of the individual note). Key signatures fall into a fascinating pattern. There are only two scales that need only an Remember, there are fifteen major scales. F♯: G major and E minor (which are relative There are also fifteen minor scales. Each scale scales to each other). A scale beginning on E corresponds to a key of the same name. And, needs only the second note (F) raised to have each major scale contains the same pitches as the order of whole and half steps common to one of the natural minor keys. (Remember the all natural minor scales. A scale starting on example in Figure 1–10: C minor is the relative G needs only the 7th degree (F) raised to fall minor of E♭ major; E♭ is the relative major into the major scale pattern of whole and half of C minor.) There are fifteen key signatures steps. When music is notated, all three types of needed. Because the major and natural minor FIGURE 1–19 E major scale on a keyboard (left); E major scale on a staff without key signature (center); E scale on a staff with key signature (right). 2024–2025 Music Resource Guide Revised Page October 15, 2024 23 FIGURE 1–20 Cranston High School East - Cranston, Ri Circle of Fifths. 2024–2025 Music Resource Guide Revised Page October 15, 2024 24 24. dissonance and co