Significant Scale Notes Intervals

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Slide 1

Significant Scale Notes & Intervals Note number A half stride (H) is the "separate" between fusses or between any two adjoining keys on a piano. An entire stride (W) is the "separate" between two worries.

Slide 2

Major & Chromatic Scale Notes Note: A C Major scale has no sharps (#) or pads (b).

Slide 3

Chromatic Scale Notes & Intervals

Slide 4

Chromatic Scale Notes & Intervals Note number

Slide 5

(octave) 8 th 7 th 6 th 5 th 4 th 3 rd 2 nd Intervals

Slide 6

Building a Major Chord Any significant harmony is worked from the 1 , 3 , & 5 in respect to the foundation of the harmony. (octave) 8 th 7 th 6 th 5 th 4 th 3 rd 2 nd C E G 1 st It can incorporate the 8 th , and in jazz incorporates the 7 .

Slide 7

Building a Minor Chord Any significant harmony is worked from the 1 , b3 , & 5 in respect to the base of the harmony . A b3 rd is additionally called a minor 3 rd . (octave) 8 th b7 th 6 th 5 th 4 th b3 rd 2 nd C Eb G Bb 1 st It can incorporate the 8 th , and in jazz incorporates the b7 .

Slide 8

Within a key, Major harmonies are doled out UPPERCASE Roman numerals ( I, II, III , and so forth), while minor harmonies are relegated lowercase Roman numerals ( i, ii, iii , and so forth)

Slide 9

If we begin numbering at C, Major harmonies would be C D E F G A B C I II III IV V VI VII I, however not these Major harmonies sound great in movement. In the event that we begin numbering at C, minor harmonies would be Cm Dm Em Fm Gm Am Bm Cm i ii iii iv v vi vii I, however not these minor harmonies sound great in movement.

Slide 10

A harmony movement is harmonies played in arrangement, for example, I V I . In the key of C major, the harmonies would be C G C , which is the least complex harmony movement. The following least complex harmony movement in any key is I IV V I . In the key of C major, the harmonies would be C F G C .

Slide 11

Why do these movements sound so normal to us? This is on the grounds that the harmonies C F G C all contain just notes from the C real scale: C Major harmony = C, E, G = 1, 3, 5 in key of C F Major harmony = F, A, C = 4, 6, 1 in key of C, however can likewise be considered as = 1, 3, 5 in key of F G Major harmony = G, B, D = 5, 7, 2 in key of C , yet can likewise be considered as = 1, 3, 5 in key of G

Slide 12

F Major harmony notes (octave) 8 th 7 th 6 th 5 th 4 th 3 rd 2 nd Major scale notes F A C F G A Bb C D E F 1 st G Major harmony notes (octave) 8 th 7 th 6 th 5 th 4 th 3 rd 2 nd Major scale notes G A B C D E F# G B D 1 st

Slide 13

When we add minor harmonies to a tune that is in a noteworthy key, there are two harmonies that are destined to sound characteristic, in light of the fact that those two harmonies (the ii and vi harmonies) additionally contain just notes from the I significant scale (C major in case underneath). A common such movement would be C Dm F Am G C = I ii IV vi V I. The C and Am harmonies just vary by one note, and the F and Dm harmonies just contrast by one note.

Slide 14

The vi harmony is given a unique name: the relative minor, in light of the fact that the key mark (number of sharps & pads) is the same for the keys of C and Am (in the key of C, these are the I and vi harmonies).

Slide 15

"7 th" harmonies When you see a harmony outline with images like G7 or D7, these images are for an "overwhelming" 7 th (= b7 th ), not a noteworthy 7 th harmony, which has a 7 th . A Gma7 harmony has the notes G E D F# 1 3 5 7 , though a Gdom7 = G7 = G b7 harmony has G E D F 1 3 5 b7 . Why? G7 is the V harmony for the key of C, which has no F#, but instead has a F, which is the b7th to G

Slide 16

Building a minor Dominant seventh Chord When you see a harmony outline with images like Am7 or Dm7, these images are for an "overwhelming" 7 th (= b7 th ). Any minor prevailing harmony is worked with a b3 and b7 (in respect to the foundation of the harmony). An Am7 harmony "fits" the key of C on the grounds that each note in Am7 (the vi7 if C is the I) is in the key of C: (octave) 8 th b7 th 6 th 5 th 4 th b3 rd 2 nd 1 st A B C D E F G A C = Am scale notes beginning on A W H W H W What might the ii7 harmony be in the key of C? Dm7

Slide 17

Why ought to a bass player mind? What number of country bass players does it take to change a light? I V I V I … Which can get entirely old before long. The primary "employment" of the bass player is to (quite often) play the root on the downbeat, then some different note(s). The bass can likewise help characterize whether the harmony is a: noteworthy (by playing a noteworthy 3 rd ) minor (by playing a minor or level third) predominant (by playing an overwhelming or level 7 th ) You don't need each bass player in the group of onlookers saying, "Detestations. He simply played a noteworthy 3 rd over that minor harmony!"

Slide 18

Why ought to any of you think about hypothesis? Knowing only a little hypothesis can help you comprehend tunes and learn by ear considerably speedier. It will help you bode well out of harmony movements by improving theories with respect to what the "off harmony" is. On the off chance that you keep at it, you will begin to state things like "Goodness, this piece of the tune is much the same as the movement in that other tune… … " You'll likewise have the capacity to peruse harmony outlines.

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