Meter Explanations

4

7

10

11

2

4

2

4

3

4

3

4

2

2

2

2

2

8

3

4

2

8

3

4

3

2

3

2

3

8

3

8

4

4

4

4

4

4

4

4

6

8

6

8

9

8

9

8

4

2

4

2

4

8

4

8

6

8

6

8

9

8

9

8

12

8

12

8

Simple= Beats can be divided in 2Duple= 2 beats per measure

Simple= Beats can be divided in 2Triple= 3 beats per measure

Quadruple= 4 beats per measureSimple= Beats can be divided in 2

Compound= Beats can be divided in 3Duple= 2 beats per measure

Compound= Beats can be divided in 3Triple= 3 beats per measure

Simple Duple= 2 on top

Simple Triple= 3 on top

Simple Quadruple= 4 on top

Compound Duple= 6 on top

Compound Triple= 9 on top

12

13

15

12

8

12

8

5

8

7

8

5

8

7

8

5

8

5

8

8

8

8

8

8

8

8

8

10

8

10

8

11

8

11

8

Compound= Beats can be divided in 3Quadruple= 4 beats per measure

Order doesn't mattersimple beat, simple beat, compund beat

ex.)simple beat, compound beat, simple beatcompound beat,simple beat, simple beat

Odd meters

Compound Quadruple= 12 on top

2

W=Whole Steph= half step= flat= double-flat#= sharpx= double sharp=natural

Scale formulas

3

7

5

4

4

1 2

1 2

3 4

3 4

5 6 7

5 6 7

8

8

1

1

2

2

3

3

4

4

5 6

5

7

6 7

8

8

Major

Natural Minor- Typically used when decending

W W h W W W h

Melodic Minor-Typically used when ascending

Harmonic Minor

W

W

W

h

h

W

W

W

W

h W W

h

h

W+h

W

W W

W

W

h

Note names

3

4

4

1Tonic

2Supertonic

3/3SubdominantMediant

4

Tonic1

Supertonic2

SubdominantMediant3 4

5SubmediantDominant

6/6Leading tone*

87Tonic

SubmediantDominant5

Subtonic**76

Tonic8

Major, Melodic Minor, and Harmonic Minor scale note names

W hWNatural Minor scale note names

W Wh W

WW W h

h W W*only when natural**only when flatted

This follows the "circle of fifths", meaning that each key is a fifth of the previous. As you go on, you gain flats, and then you switch to sharps. Once you start on sharps, you lose a sharp each tim

Key Signatures

3

5

7

9

4

4

4

4

C major/A minor*

F major/D minor

B major/G minor

E major/C minor

A major/ F minor

*Note: "Minor" here refers to the natural minor. To make natural minor harmonic, sharp the 7, and to make natural minor melodic, sharp the 6 and the 7.

11

13

15

17

19

21

D major/B minor

G major/E minor

C major/A minor

C# major/A# minor

F# major/D# minor

B major/G# minor

2

23

25

27

29

31

E major/C# minor

A major/F# minor

D major/B minor

G major/E minor

C major/A minor

3

Intervals

29

4

4

# of half-stepsSpecial Name

Name 1

0Prime

2nd

2Major 2nd

Perfect 5th5th

7Major 6th

6th

9

Major 3rd3rd

4

4thPerfect 4th

5

Major 7th7th

11Perfect 8th / Octave

8th

12

Name

# of half-stepsSpecial Name

Name

# of half-stepsSpecial Name

Augmented 5th

Name

A5

8

A1

Minor 2nd

1Augmented 1st

1

m2

Augmented 2ndA2

3Minor 3rd

m3

3

Augmented 6thA6

10

d2 d3

# of half-stepsSpecial Name

Diminished 6thd6

7

0Diminished 2nd

Diminished 7th

Diminished 3rd2

d7

9

Augmented 3rdA3

8Minor 6th

m6

5

Augmented 7thA7

12Augmented 8th

d4

Minor 7th

Augmented 4thA4

10

m7

6

A8

13

d5Diminished 4th

4

Diminished 8thd8

11

Diminished 5th6

Generic Intervals

Minor Intervals-Only 2nds,3rds,6ths,7ths

Augmented Intervals

Diminished Intervals

5Chord Triads

9

13

17

Root Third

Root Major Third

Fifth Triad

Perfect Fifth Triad

Root

Root

Root

Major Third

Minor Third

Minor Third Diminished Fifth

Augmented Fifth

Perfect Fifth

Triad

Triad

Triad

Generic Triads

Major Triads

Minor Triad

Augmented Triad

Diminished Triad

2Chord Inversions

3

5

4

4

4

The bottom note is called bass note, and it determines the name of the inversion. In this case it is C.

The root is the bass note, making this root position

Once we bring the bottom note up an octave,the fifth is the bass note, making this second inversion

Once we bring the bottom note up an octave,the third is the bass note, making this first inversion

Once we bring the bottom note up an octave,the root is the bass note again, making this root position

Root position

First Inversion

Root position(again)

Second Inversion

6

Seventh Chords

11

16

21

26

31

36

41

4

4

Root Major 3rd Perfect 5th

Root

Root

Major 3rd

Minor 3rd

Perfect 5th

Perfect 5th

Minor 7th 7

Minor 7th

Major 7th M7

m7

Root

Root

Root

Minor 3rd

Minor 3rd

Minor 3rd

Root Major 3rd

Minor 5th

Minor 5th

Perfect 5th

Augmented 5th

Root Major 3rd

Root First Inversion

Augmented 5th

Second Inversion

Minor 7th

Diminished 7th

Major 7th

Major 7th

7

7

mM7

+M7

Minor 7th

Third inversion

+7

Dominant 7th

Major 7th

Minor 7th

Half-Diminished 7th

Diminished/Fully-Diminished 7th

Minor-Major 7th

Augmented-Major 7th

Augmented 7th

Inversions

M=Majorm=Minord=DiminishedA=Augmented

3

Diatonic Chords

5

7

4

4

M m m M

m d M m

M m d M

m M M m

m

m

m

d

A

A

M

m

M

M

d

M

d

d

m

m

Major Scale

Natural Minor

Harmonic Minor

Melodic Minor

I,II,III,etc.=Major Triadsi,ii,iii,etc.=Minor TriadsI+,II+,III+,etc.=Augmented TriadsI,II,III,etc.=Diminished Triads

3

Ruman Numeral Analysis

5

M=Majorm=Minor

d=DiminishedA=Augmented

7

9

12

4

4

M

I1

m

ii2

m

iii3

M

IV4

m

i1

d

ii2

M

III3

m

iv4

M

V5

m d

vi6

vii7

M

I8

m

v5

M M

VI6

VII7

m

i8

i1m

m

i1

ii2d

m

ii2

m

i1

d M

ii2

III3

III+3A

A

III+3

iv4m

M

IV4

A

III+3

m M

iv4

V5

m

i1

d M

ii2

III3

m

iv4

M m

V5

v5

V5M

M

V5

VI6M

d

vii7d

d

vi6

vii7

m M

v5

VI6

M

VII7

vii

i8m

m

i8

d m7

i8

M M

VI6

VII7

d

vii7

m

i8

Major Scale

Natural Minor

Harmonic Minor

Melodic Minor

"Messy"l Merged Minor

Pure Merged Minor (no III+)

15

17

19

21

23

M7 m7

I71

m7

ii72

d7

m7 M7

iii73

M7

IV74

m7

i71

m7

ii72

d71 2

III73

A7

iv74

m73 4

7 m7 7

VI75

m7

vi76

vii77

M7 M7

M7

I78

m7

v75

M7

VI76

VII77

M7 d75 6 7

i78

m8

i71m

i7

Root Position

ii72m

ii7

I

III+73A

III+7

First Inversion

IV74M

iv7

Ib

V75M

V7

Second Inversion

vi76d

VI7

vii77d

vii7

Third InversionIc

i78m

i7

Id

Major Scale 7ths

Natural Minor 7ths

Harmonic Minor 7ths

Melodic Minor 7ths

Inversions

2

Chord Voicing

6

11

4

4

4

4

We can arrange the notes in any order as long

We can arrange the notes in any order as long

as C,E, and G are used and C is the lowest note

as C,E, and G are used and E is the lowest note

We can arrange the notes in any order as long as C,E, and G are used and G is the lowest note

Root Position

First Inversion

Second Inversion

Nonharmonic tones (or non-chord tones) are notes that do not belong in a certain chord.

Nonharmonic Tones

3

7

11

15

4

4

4

4

Step Step Skip Skip

PT

NT

Ant.

>PT

>NT

Ant.

In this example, the F is a nonharmonic tone because it does not fit into the I chord (which contains C, E, and G).

A step is equal to an interval of a generic second A skip is equal to an interval of a generic third or more.

A passing tone (PT) is approached by step and then continues by step in the same direction.

A neighboring tone (NT) is approached by step and then returns by step to the original note

An anticipation (Ant.) is approached by step and then remains the same. It is basically a note of the second chord played early.Anticipations are not accented.

If a passing tone occurs with the second chord (instead of in the middle of the two chords),it is called an accented passing tone (>PT).

If it occurs with the second chord, it is called an accented neighboring tone (>NT).

19

21

23

27

ET

App.

Sus.

CT

Ret.

An escape tone (ET) is approached by step and then skips in the opposite direction.Escape tones are not accented they occur in between the two chords.

An appoggiatura (App.) is approached by skip and then steps in the opposite direction.Appoggiaturas are accented they occur with the second chord.

A suspension (Sus.) keeps a note the same and then steps downward.Both the retardation and suspension are accented.

Changing tones (CT) use two nonharmonic tones in succession.The first nonharmonic tone is approached by step and then skips in the opposite direction to the second nonharmonic tone.The second nonharmonic tone then resolves by step.They are sometimes called double neighboring tones or a neighbor group

A retardation (Ret.) keeps a note the same and then steps upward.

2

A phrase is a series of notes that sound complete even when played apart from the main songA cadence is a two-chord progression that occurs at the end of a phrase.

Phrases and Cadences

9

17

19

Phrase Phrase

I

V

ii V7 HCI V

viiOb I Vb

IV iiiii6

I

vi ii V AC I

I V I

If a phrase ends with any chord going to V, a half cadence (HC) occurs.

Perfect Authentic Cadence (PAC)

Imperfect Authentic Cadence (IAC)-Don't meet PAC reqs.

1.V is used instead of viiO2.Both chords in root position3.Highest note of the I/i chord mut be the tonic.

Imperfect b/c a viio is used instead of a V Imperfect b/c first chord is not in root position

Most half-cadences are followed by authenic cadencesAn authentic cadence occurs whenever a phrase ends with Vor viio going to I (or i if minor).

Imperfect b/c highest note of the I chord is not the tonic of the scale

25

28

I Vc Ib

I ii V7 HCI V

IV IPC

iibIV iii vi ii V viDC

Plagal Cadence (PC)

If a phrase ends with IV (or iv) going to I (or i), a plagal cadence (PC) occurs.

Deceptive Cadence (DC)- often used in place of authentic cadence

If a phrase ends with V going to a chord other than I (or i), a deceptive cadence (DC) occurs.

2

Root motion is the movement from one chord's root to another chor'd root.A circle progression occurs when root motion is equal to up a fourth or down a fifth

Circle Progressions

9

4

4

4

4

I IV viio iii vi ii V I

i iv VII III VI iio V i

Major Circle Progressions

Minor Circle Progressions

Triads in chord progressions

11

17

23

4

4

4

4

I V vi V I

I I IV

I V vi Vb I

I Ib IV

I V Ib

I IV I

I Vc Ib

I IVc I

First Inversions #1-Used to smooth out bass line

First Inversions #2-Used when repeating chords

Second Inversion #1-Used to smooth out bass line

Second Inversion #2-Used to straighten out bass line

A second inversion triad used to eliminate movement in the bass line is called a pedal six-four chord

A second inversion triad used to make the bass line move by step and become smooth is called a passing six-four chord.

29

34

I IV Ic

Contains diminished fifthRare

Contains no augmented or diminished intervalsCommon

V I

Contains augmented fourthVery Rare

Second Inversion #3-Used before a V chord in cadence, and makes it stronger

On the chord progression chart, the cadential six-four occurs in between predominants and dominants.

Diminished Inversions-

2

A Neapolitan chord is simply a major triad that is built on a special note.This note is the lowered second degree (the supertonic) of a major or minor scale.

Neapolitan Chords

2

3

6

4

4

4

4

Supertonic

Ib=First Inversion, takes place of I6Ic=Second Inversion,takes place of I64

Building Neapolitan Chords1. Find the second scale degree. In Cm, this is D

2. Lower it one half-step. In this case, it results in D

3. Build a major triad. In this case, it results in D-F-A

A D chord is the Neapolitan of C Minor

712

22

NUncommon

iiob Nb

Neapolitan sixthCommon

i VI iiob V i

iv NcUncommon

i VI Nb V i

i iv ic V i i Nb ic V i

Using Neapolitan Chords

The Neapolitan sixth's bass note is the same as a first inversion iio (or ii) or a root position iv (or IV).For this reason, it often substitutes for these chords. Hence, it primarily functions as a predominant.

Example #1

Example #2

We can replace the iib chord with a Neapolitan sixth.

This time, we will replace the IV with a Neapolitan sixth.

2