Monday, September 24, 2012

Review: Perfect and major intervals Review: Minor intervals Introduce: Augmented & diminished

intervals Aural Skills: Identifying intervals Introduce: Solfège & Transposition ET9 Homework: L37 & L38 Homework: Print out Noteflight composition

(#2) as it is currently (dynamics, articulation markings, etc.)

An interval is the distance between two pitches.

The interval is counted from the lower note to the higher note, with the lower note counted as 1 (count every line and space going up the staff).

Intervals are names by the number of the upper note (2nd, 3rd, 4th, 5th, 6th, 7th) with two exceptions:

The interval that is between notes that are identical is called a UNISON (unis.) (or a prime).

An interval of an 8th is called an octave (8va). Melodic intervals are sounded separately. Harmonic intervals are sounded together. Even numbered intervals (2nd, 4th, 6th, 8va)

are written from line to space or space to line.

Odd numbered intervals (unis., 3rd, 5th, 7th) are written from line to line or space to space.

Two note combinations are also known as dyads.

Perfect Intervals: Unison 4th

5th

Octave Major Intervals:

2nd

3rd

6th

7th

When the tonic and the upper note of an interval are from the same major scale, it is called a diatonic interval.

All diatonic intervals in the major scale are either perfect (P) or major (M).

This is true for ALL major scales. P1 = perfect unison P8 = perfect octave P1, M2, M3, P4, P5, M6, M7, P8

When the interval between the two notes of a major interval (2nd, 3rd, 6th, or 7th) is decreased by a HALF step, it becomes a minor interval.

A small letter “m” is used to signify a minor interval.

Only major intervals can be made into minor intervals; perfect intervals cannot.

Augmented = to be made largerWhen a perfect or major interval

is made larger by a HALF step, it becomes an augmented interval.

To raise a sharp note by a half step, use a double sharp.

Diminished = to be made smaller With the exception of a perfect unison,

any perfect or minor interval that is made smaller by a HALF step becomes a diminished interval.

To lower a flat note by a half step, use a double flat.

Since lowering either note of a perfect unison would actually increase its size, the perfect unison cannot be diminished; only augmented.

Perfect: Unison (unis.), 4th, 5th, octave (8va)

Major: 2nd, 3rd, 6th, 7th

Minor: 2nd, 3rd, 6th, 7th

Augmented: unis., 2nd, 3rd, 4th, 5th, 6th, 7th, 8va

Diminished: 2nd, 3rd, 4th, 5th, 6th, 7th, 8va

When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval.

Minor, augmented, and diminished intervals are always chromatic intervals in all major keys.

Chromatic intervals are the “opposite” of diatonic intervals.

Solfège is a system of note reading that assigns a different syllable to each scale degree in a major scale.

1 = Do 2 = Re 3 = Mi 4 = Fa 5 = Sol 6 = La 7 = Ti 8 = Do

MOVEABLE DO = the syllables apply to the same scale degrees, regardless of what key you are in.

When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a different key.

The easiest way to transpose is by interval. In the eleventh century, the music theorist,

Guido of Arezzo, developed a six–note ascending scale that went: ut, re, mi, fa, sol, and la. A seventh note, “si” was added shortly after. The names were taken from the first verse of the Latin hymn, Ut queant laxis,where the syllables fall on their corresponding scale degree.

Ut queant laxis resonāre fibrisMira gestorum famuli tuorum,Solve polluti labii reatum,Sancte Iohannes.