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Test Review – Chapter 5, 6, and 7

Chapter 5 – Compound time (Simple Time)

Compound time – beat divided into 3 equal parts The unit in compound time is always a dotted note value The subdivision is into 6 equal parts. The borrowed division in compound time is a duplet (comes from Simple Time) The upper number in the time signature will be 6, 9, 12,

Simple time – beat divided into 2 equal parts The unit in simple time is an undotted note value. The subdivision is into 4 equal parts. The borrowed division in simple time is a triplet (comes from compound time) The upper number is 2,3, etc.

In either of these times, a division that is not normally found in the time which requires you to write a number over the notes is known as an irregular grouping.

In a time classification such as simple duple- simple means the beat is divided into 2 parts, and duple means there are two beats per measure.

The borrowed division in compound time is known as a duplet.

The borrowed division in simple time is known as a triplet.

Tuplet: "any [|rhythm] that involves dividing the [|beat] into a different number of equal [|subdivisions] from that usually permitted by the [|time-signature] (e.g., triplets, duplets, etc.)" (Humphries 2002, 266). This is indicated by a number (or sometimes two), indicating the fraction involved.

In compound time, the number of units is calculated by dividing the upper number of the time signature by the number 3. Ex. 9/8 has three dotted quarter note values. The lower number will tell you the value of the division (in 9/8 the division is represented by an eighth note)

In any notation, it is important to reinforce where the beat occurs. Notes should be beamed to reflect the beat. Rests should also be notated to clearly reflect the beat units.

Hemiola: a special syncopation occurring in compound time (can be written in simple as well) that has the three part division played against the 2 part division.

3 against 2

Chapter 6 – Intervals

An interval is the space between two notes. Intervals can be melodic or harmonic. To name an interval you need to indicate the quality and then the number. When calculating the number always start with one and then could every line or space until you reach the second number.

Group One Intervals – 1, 4,5, and 8

As these intervals occur in a major scale they are called Perfect. ½ step larger than Perfect is Augmented, ½ step less than Perfect is Diminished.

Group One Intervals – 2,3,6,7

As these intervals occur in a major scale they are called Major. ½ larger than Major is Augmented, ½ smaller than Major is Minor, ½ smaller than minor or 1 full step lower Major is known as diminished.

You always calculate the quality of the interval by making the lowest note be the key note or tonic or scale.

One quick way to spell an interval is to imagine that the interval is in a key, where the bottom note is the tonic and the upper note lies somewhere in the scale.

If the interval is Perfect – Augmented is ½ step larger, diminished ½ step smaller.
 * 1) Always begin by writing the generic interval first (by counting lines and spaces.)
 * 2) If the interval you want is perfect (unison, fourth, fifth, or octave) or major (second, third, sixth, or seventh) add an accidental to the upper note so that if conforms to the major key signature of the bottom note. (if necessary)
 * 3) A minor interval will be ½ step smaller than a major. A Diminshed interval ½ step smaller than minor. Augmented a ½ step larger than major.

P1,4,5,8 intervals are perfect consonances. M3,m3,M6,m6 are imperfect consonances.

M2,m2,M7,m7 and tritones are dissonant intervals.

Intervals the span the same number of semitones but have different interval names are said to be enharmonically equivalent.

An interval that is over an octave in size (ex. M9) is a compound interval.

Intervals can be inverted *(positions changed)

When inverting intervals the following occurs:

Majors become minors Minor becomes Major Augmented become diminished Diminished become augmented.

The number of the interval should change so that the two numbers added together Equal 9

Example: a major third inverts to a minor sixth

Intervals played together are harmonic Intervals played separately are melodic

Chapter 7

Chord – a group of pitches that form a single harmonic idea. Chords can be written as a stack of some type of third. (This is different than a tone cluster which has numerous notes playing at the same time)

Triads: there are four types of triads: Major, minor, diminished, and Augmented.

major triad minor Major

Minor triad minor Major

Diminished triad minor Minor

Augmented Major Major

Figured bass: a shorthand system used during the Baroque period to tell a continuo player (keyboard continuo) was to play above a given bass line.

5 3 or nothing write/play a root position chord above the bass

6 6 3 or write/play a first inversion chord 6 4 write/play a second inversion chord above the bass


 * 1) sharp the third above the bass

b flat the third above the bass

natural cancel the effect of a sharp of flat for the third above the bass

/ sharp the third above the bass

+ A sharp beside a note means to raise that number above the bass by a half step.

These accidentals can be used in front of other numbers raising/lowering/cancelling the indicated number by a half step.

Triads and inversion

Root position: all notes are stacked in thirds in the following order root, third, fifth Arabic indication 5/3 or nothing

First position: the third of the chord is in the lowest position. The other two notes can be in any order. Arabic indication 6/3 or 6.

Second position: The fifth of the chord is in the lowest position. The other two notes can be in any order. Arabic indication 6/4

For triads:

Major is indicated by upper case Roman numeral.

Minor is a lower case Roman numeral.

Diminished lower case Roman numeral with a degree sign.

Augmented upper case Roman numeral with a plus sign.

If you harmonize a major scale the following triad qualities result:


 * 1) Major I tonic
 * 2) Minor ii supertonic
 * 3) Minor iii mediant
 * 4) Major IV subdominant
 * 5) Major V dominant
 * 6) Minor vi submediant
 * 7) Diminished vii leading tone

If you harmonize an harmonic minor scale the following triad qualities result:


 * 1) minor I tonic
 * 2) diminished ii supertonic
 * 3) Augmented III+ mediant
 * 4) Minor iv subdominant
 * 5) Major V dominant
 * 6) Major VI submediant
 * 7) Diminished vii leading tone

There are seven types of seventh chords:


 * 1) Major major – Major 7
 * 2) Minor minor – minor 7
 * 3) Major minor – Mm7 – Dominant 7th
 * 4) Minor major – mM7
 * 5) Augmented Major – AM7
 * 6) Diminished minor – dm7
 * 7) Diminished diminished – dd7

The quality of a seventh chord is calculated by the quality of the triad followed by the quality of the seventh.

There are 4 positions of the seventh chord because there are 4 notes:

Root position – Arabic numeral = 7 This implies there is a 5/3 also to get the 4 members of the triad

First inversion – Arabic numeral – 6/5 The third is the lowest note. This also implies a 3 above the bass to have all four members.

Second inversion – Arabic numeral – 4/3 The fifth is the lowest note. This also implies a 6 above the bass to have all four members.

Third inversion – Arabic numeral – 4/2 or 2. The seventh is the lowest note. This also implies a 6 above the bass to have all four members.

Harmonies based on the interval of a third are known as tertian harmony.

Around 1600, composers in Italy began experimenting with a new radical style which featured one solo musicl line with a back ground chordal accompaniment called monody. Rather than writing out the entire accompaniment, which was much less important then the melody, composers wrote out a bass line and indicated some of the intervals to be played in the upper parts (figured bass)

Prior to the use of monody, equal, independent musical lines were put together in what is called counterpoint to form the compositions.

Figured bass is much like modern day lead sheet notation.

Triads and sevenths can be arpeggiated – notes played one at a time.

Arpeggiation allowed for interesting accompaniments in bass lines. One particular accompaniment that developed from this is known as Alberti bass (occurring in left hand of a piano part) They are named for Domenico Albert (1710-40) who used them extensively.