Music 11 Midterm Review Sheets PDF

Music 11 Review Sheet – Rhythm and Meter Note and rest values Dots – add half the value of the note they are attached to Ties – combine the value of the two notes they connect Meter Terminology Simple meter – division of the beat into twos, counted 1-&, 2-& Compound meter – division of the be...

Music 11 Review Sheet – Rhythm and Meter Note and rest values Dots – add half the value of the note they are attached to Ties – combine the value of the two notes they connect Meter Terminology Simple meter – division of the beat into twos, counted 1-&, 2-& Compound meter – division of the beat into threes, counted 1-la-li, 2-la-li Duple, triple, and quadruple meters – beats grouped into 2s, 3s, or 4s, respectively. Time signatures Simple meter – top number = beats/measure; bottom number = note that gets the beat Compound meter – top number = divisions/measure (=3x # of beats); bottom number = note that gets the beat division. Remember that a dotted note gets the beat. Common time (C) and cut time (¢) are used for 4/4 and 2/2, respectively. Terminology for Tempos Fast tempos: presto, vivace, allegro Medium tempos: moderato, andante Slow tempos: largo, grave, lento, adagio Other Terminology for Rhythm Syncopation – placing emphasis on normally unaccented parts of the beat or measure (e.g. emphasizing beats 2 and 4 over beats 1 and 3 or emphasizing the & of the beat over the beat itself). Anacrusis / pick-up note – a partial measure before the first down beat of a piece. This value is usually subtracted from the final measure of the piece. Triplets and duplets – triplets mark three divisions in the space of two; duplets mark two divisions in the space of three. These can be used to temporarily switch between the feeling of simple and compound meters. Other “tuplets” are also possible.  Music 11 Review Sheet – The Keyboard and Pitch Notation The Notes of the Keyboard Accidentals and Enharmonic Note Names: Flats (♭) are used to lower a note by one half-step Sharps (♯) are used to raise a note by one half-step Naturals (♮) are used to cancel a flat or sharp Double flats (𝄫𝄫) and double sharps (𝄪𝄪) lower or raise a note by two half-steps Note that each note on the keyboard has multiple names, especially if we include double sharps and double flats (e.g. C = D𝄫𝄫 = B#). Staff Notation and Clefs Treble clef – marks a G as the second line, you can remember the lines as E-G-B-D-F and spaces as F-A-C-E Bass clef – marks F as the fourth line, you can remember the lines as G-B-D-F-A and spaces as A-C-E-G Grand staff – connects the treble and bass clefs with a ledger line on middle C. Remember that the staff can be extended with ledger lines. A note can rest above ledger line or sit below a ledger line.  Music 11 Review Sheet – Major Scales and Keys The Major Scale Has a pattern of whole and half steps: W-W-H-W-W-W-H We can name the different scale degrees with numbers, solfege syllables, or names. Remember that scale degrees ^1, ^3, and ^5 (tonic, mediant, and dominant) are important for determining the key. The C major scale uses no accidentals, but transpositions of the scale to other starting notes will require accidentals, which are usually collected in the key signature. Major Key Signatures Key signatures follow the circle of fifths, to supply the number of sharps or flats required for each key (C = 0, G = 1#, D = 2#s, etc., F = 1♭, B♭ = 2♭s, etc.) The order of flats is always the same: B-E-A-D-G-C-F The order of sharps is always the same (the opposite order of the flats): F-C-G-D-A-E-B The sharps and flats will always appear on the same line or space of the staff as follows: Hints A shortcut for identifying sharp keys from the key signature: the last sharp is leading tone (^7) go up a half step to find the tonic. A shortcut for identifying flat keys: the second-to-last flat is the tonic (if there is only one flat it is F major).  Music 11 Review Sheet – Minor Scales and Keys Minor Scales The minor scale is often adjusted with accidentals: raising the leading tone to make the harmonic minor scale or raising ^6 and ^7 to make the melodic minor scale. Minor Keys Minor keys can often be understood in relation to major keys Parallel minor – has the same tonic, but a different key signature. Add three flats (or take away three sharps) to go from the major to the parallel minor. Relative minor – has the same key signature, but a different tonic. Go up to ^3 to go from the minor to the relative major. Conversely, from the major to the relative minor, go down a m3 (or up to ^6). To identify a minor key from its key signature: figure out what the major key with the same key signature is, then go down a minor third (e.g. two flats would be Bb major – go down a m3 to find G minor). To figure out the key signature of a given minor key, either: go up a minor third and use that major key signature; or take the major key signature for the same tonic and add three flats (or take away three sharps). So, to find the key signature for F minor you can go up a m3 to Ab and use the key signature for Ab major, or you can start with the key signature for F major and add three more flats. Either way you should get 4bs. These can be seen on the complete circle of fifths diagram (see the last page).  Music 11 Review Sheet – Intervals Interval Size Count the number of lines and spaces or the number of letter names (including the starting and ending points) Remember that odd intervals (3rds, 5ths, 7ths) go from line to line or space to space; even intervals go from line to space or space to line. Interval Quality Perfect intervals include unisons, fourths, fifths, and octaves. If they are made a half- step larger they become augmented and if made a half-step smaller, diminished. Major and minor intervals include seconds, thirds, sixths, and sevenths. Minor is a half-step smaller than major. Diminished is a half-step smaller than minor. Augmented is a half-step larger than major. You can determine the quality of an interval by one of these three methods o Memorizing the intervals without accidentals: all 2nds are major except E-F and B-C; all 4ths are perfect except F-B; M3 = C-E, F-A, G-B; m3 = A-C, B-D, D-F, E-G. You can then use inversions to figure out larger intervals. o Major scale: pretend the lower note is the tonic of a major scale, if the upper note fits in that scale, it will be a perfect or major interval. o Half steps: use the keyboard to count the number of moves by half step. 0 1 2 3 4 5 6 7 8 9 10 11 12 PU m2 M2 m3 M3 P4 TT P5 m6 M6 m7 M7 P8 Inversions When you invert an interval (change which note is on top or on bottom) two changes occur: The size of the intervals adds up to 9 (2nds invert to 7ths, 3rds to 6ths, and 4ths to 5ths). The quality of the intervals switch (major inverts to minor, diminished to augmented, and perfect to perfect) Compound Intervals Are intervals greater than an octave. We can calculate them in two ways: Sometimes we will count the actual size, greater than the octave, as a 9th, 10th, 11th, etc. Often, we will think of them as an octave plus a simple interval. The quality of a compound interval will always reflect this, so a major 9th is an octave plus a M2, a minor 10th is an octave plus a m3, a perfect 11th is an octave plus a P4, etc. Enharmonic Interval Names Just like pitches can have multiple enharmonic names, intervals can, too. For example an A2 (F-G#) is the same distance as a m3 (F-Ab). These occur in different contexts, and it is important to reflect the size of the interval (second vs. third) as written. Consonance and Dissonance Consonances are intervals that seem stable, harmonious, and at rest; dissonances are intervals that seem tense or in need of resolution. Usually, one or both notes of a dissonance will move by step to resolve to a consonance. These categories have changed over time and across different genres of music, but for most Western music from the Renaissance to the 20th Century: o Consonances include: perfect unisons, octaves, and fifths; major and minor thirds and sixths o Dissonances include: major and minor seconds and sevenths, all augmented and diminished intervals o The perfect fourth is consonant, except when it occurs as a harmonic interval above the lowest sounding note. The Circle of Fifths with All Major and Minor Key Signatures