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SHALAKHO

Music Theory

The staff is the foundation upon which notes are drawn.

• The modern staff comprises five lines and four spaces.

• Every line or space on the staff represents a white key on the keyboard.

• Clefs assign individual notes to certain lines or spaces.

• Two clefs are normally used: The Treble and Bass clefs.

• First, we will discuss the Treble Clef (also called the G Clef).

• The staff line which the clef wraps around (shown in red) is known as G. Any note placed on this line becomes G.

• The note on the space above G is A. (Remember, there is not an “H” note).

• The note on the line above A is B.

• This process continues.

• Uh-oh. We just ran out of room to place notes, what happens now?

• Ledger Lines will solve our dilemma.

• A ledger line is a small line that extends the staff when we run out of room.

• With the ledger line drawn, we can place the A.

• Next, let’s discuss the Bass Clef (also called the F Clef).

• The staff line in between the two dots of the clef is F.

• We can now fill the rest of the staff with notes.

• Finally, we will discuss the Grand Staff, a theoretical staff consisting of eleven lines.

• Watch what happens when we eliminate the middle line - we end up with two regular staffs.

• By adding a Treble Clef to the top staff and a Bass Clef to the bottom staff, we can see the relationship between the two staffs.

• Notice how the two clefs are “joined” by the C (shown in red).

• This C is commonly called “middle C” since it corresponds to the middle staff line on the Grand Staff.
•  
  Note Duration
  • The length of time that a note is played is called its note duration, which is determined by the type of note.

  • The whole note has the longest note duration in modern music.

  • The half note has half the duration of a whole note.

  • Two half notes occupy the same amount of time as one whole note.

  • The quarter note is a fourth (or a quarter) of a whole note.

  • Four quarter notes occupy the same amount of time as one whole note. Two quarter notes equal the duration of a half note.

  • Notes smaller in duration than a quarter note have flags. Each flag halves the value of a note.

  • An eighth note has one flag.

  • Therefore, two eighth notes occupy the same amount of time as one quarter note.

  • A sixteenth note has two flags, halving the value again.

  • Two sixteenth notes equal the duration of an eighth note.

  • Four sixteenth notes occupy the same amount of time as one quarter note.

  • Although it is possible to have notes with three or more flags, they are seldomly used.

  • This chart displays the relationship of all five note types discussed in this lesson.

  • The length of time that a note is played is called its note duration, which is determined by the type of note.

  

  • The whole note has the longest note duration in modern music.

  

  • The half note has half the duration of a whole note.

  

  • Two half notes occupy the same amount of time as one whole note.

  

  • The quarter note is a fourth (or a quarter) of a whole note.

  

  • Four quarter notes occupy the same amount of time as one whole note. Two quarter notes equal the duration of a half note.

  

  • Notes smaller in duration than a quarter note have flags. Each flag halves the value of a note.

  

  • An eighth note has one flag.

  

  • Therefore, two eighth notes occupy the same amount of time as one quarter note.

  

  • A sixteenth note has two flags, halving the value again.

  

  • Two sixteenth notes equal the duration of an eighth note.

  

  • Four sixteenth notes occupy the same amount of time as one quarter note.

  

  • Although it is possible to have notes with three or more flags, they are seldomly used.

  

  • This chart displays the relationship of all five note types discussed in this lesson.

   
  

  Measures and Time Signature

  • Vertical black bars called bar lines divide the staff into measures.

  • This staff has been split into two measures.

  • Time signatures define the amount and type of notes that each measure contains.

  • The first measure is in 4/4 time and the second measure is in 3/4 time.

  • The first measure (4/4) contains four quarter notes.

  • The second measure (3/4) contains three quarter notes.

  • Next, we will discuss non-quarter-note time signatures.

  • 6/8 time contains six eighth notes.

  • 3/2 time contains three half notes.

  • This chart displays all of the time signatures that we discussed.

  

  • Vertical black bars called bar lines divide the staff into measures.

  • This staff has been split into two measures.

  

  • Time signatures define the amount and type of notes that each measure contains.

  • The first measure is in 4/4 time and the second measure is in 3/4 time.

  

  • The first measure (4/4) contains four quarter notes.

  

  • The second measure (3/4) contains three quarter notes.

  

  • Next, we will discuss non-quarter-note time signatures.

  

  • 6/8 time contains six eighth notes.

  

  • 3/2 time contains three half notes.

  

  • This chart displays all of the time signatures that we discussed.

  
•  
  

  Rest Duration

  • Rests represent periods of silence in a measure.

  • Each type of rest shares a duration with a certain type of note.

  • For example, both a quarter rest and a quarter note occupy the same amount of time.

  • While the note would make a sound, the rest is silent.

  • To demonstrate this, let's fill a measure of 4/4 time with quarter notes.

  • Listen to this example.

  • Next, we will replace the second quarter note with a quarter rest.

  • The second beat is now silent.

  • Next, let's discuss the other types of rests.

  • A whole rest occupies the same amount of time as a whole note.

  • It is drawn as a box descending from the fourth staff line.

  • A half rest occupies the same amount of time as a half note.

  • It is drawn as a box ascending from the middle staff line.

  • Like notes, rests can have flags.

  • With one flag, an eighth rest has the same duration as an eighth note.

  • With two flags, a sixteenth rest has the same duration as a sixteenth note.

  • Although rarer, rests can have three or more flags.

  • Use this chart for reference to rest duration.

  

  • Rests represent periods of silence in a measure.

  • Each type of rest shares a duration with a certain type of note.

  

  • For example, both a quarter rest and a quarter note occupy the same amount of time.

  

  • While the note would make a sound, the rest is silent.

  • To demonstrate this, let's fill a measure of 4/4 time with quarter notes.

  

  • Next, we will replace the second quarter note with a quarter rest.

  

  • The second beat is now silent.

  

  • Next, let's discuss the other types of rests.

  

  • A whole rest occupies the same amount of time as a whole note.

  

  • It is drawn as a box descending from the fourth staff line.

  • A half rest occupies the same amount of time as a half note.

  

  • It is drawn as a box ascending from the middle staff line.

  • Like notes, rests can have flags.

  

  • With one flag, an eighth rest has the same duration as an eighth note.

  

  • With two flags, a sixteenth rest has the same duration as a sixteenth note.

  

  • Although rarer, rests can have three or more flags.

  

  
  

  Dots and Ties

  
  

  • Augmentation dots and tenuto ties are two types of markings used to alter a note's duration.

  

  • A dot increases duration by one half.

  

  • Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.

  

  • As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.

  • A dotted quarter can also equal three eighth notes.

  

  • Ties merge multiple notes of the same pitch.

  • They are used to let the duration of a note travel across barriers (such as the measure line in this example).

  

  • The fourth and fifth notes are now combined.

  

  • If the measure line were not there, we could have written a half note instead.

  

  • Use this chart for reference to augmentation dots.

  

• Each time signature can be classified into a certain meter.

• The terms duple, triple, and quadruple refer to the number of beats in a measure.

• The term simple means that each of these beats can be broken into two notes.

• For example, 2/4 time is classified as simple duple.

• “Duple” refers to the two beats per measure.

• “Simple” states that each of these beats can be divided into two notes.

• 2/2 and 2/8 are also simple duple.

• 3/4 time is classified as simple triple.

• “Triple” refers to the three beats per measure.

• Again, “simple” states that each of these beats can be divided into two notes.

• 3/2 and 3/8 are also simple triple.

• 4/4 time is classified as simple quadruple due to its four beats which can be divided into two notes.

• 4/2 and 4/8 are also simple quadruple.

• Notice that a time signature in simple meter will always have a 2, 3, or 4 for the top number.

• While beats in simple meter are divided into two notes, beats in compound meter are divided into three.

• To demonstrate this, we will examine 6/8 time.

• Notice that the six eighth notes can either be divided into two beats (compound duple) or three beats (simple triple).

• Since the simple triple pattern already belongs to 3/4 time, 6/8 is compound duple.

• Notice that each beat in 6/8 is a dotted quarter note. In fact, all compound meters will have some dotted note as its beat.

• Any time signature with a 6 on top is compound duple. 6/8 and 6/4 are the most commonly used.

• 9/8 time is classified as compound triple.

• There are three beats (three dotted quarter notes), thus making the meter triple.

• Since each beat is made up of three notes, the meter is compound.

• Any time signature with a 9 on top is compound triple. Although 9/8 is the most common; 9/2, 9/4, and 9/16 can also be used.

• Finally, 12/8 time is classified as compound quadruple.

• There are four beats, thus making the meter quadruple.

• Since each beat is made up of three notes, the meter is compound.

• Any time signature with a 12 on top is compound quadruple. 12/8 and 12/16 are the most commonly used.

 

Odd Meter

• An odd meter is a meter which contains both simple and compound beats.

• The first odd meter that we will discuss is 5/8 time. It contains one simple beat and one compound.

• The order of the beats does not matter. If the compound beat comes first, it is still 5/8 time.

• Next, we will discuss odd meters with three total beats.

• 7/8 time contains two simple beats and one compound beat.

• Again, the order of the beats does not matter.

• The compound beat can even be positioned between two simple beats.

• 8/8 time contains two compound beats and one simple beat.

• Sometimes, people confuse 8/8 with 4/4, since both meters have 8 eighth notes.

• Notice that 4/4 divides the meter into four beats of two eight notes (simple quadruple), while 8/8 divides it into three odd beats.

• Our last two odd meters have a total of four beats.

• 10/8 time has two compound beats and two simple beats.

• 11/8 time has three compound beats and one simple beat.

• An odd meter is a meter which contains both simple and compound beats.

• The first odd meter that we will discuss is 5/8 time. It contains one simple beat and one compound.

• The order of the beats does not matter. If the compound beat comes first, it is still 5/8 time.

• Next, we will discuss odd meters with three total beats.

• 7/8 time contains two simple beats and one compound beat.

• Again, the order of the beats does not matter.

• The compound beat can even be positioned between two simple beats.

• 8/8 time contains two compound beats and one simple beat.

• Sometimes, people confuse 8/8 with 4/4, since both meters have 8 eighth notes.

• Notice that 4/4 divides the meter into four beats of two eight notes (simple quadruple), while 8/8 divides it into three odd beats.

• Our last two odd meters have a total of four beats.

• 10/8 time has two compound beats and two simple beats.

• 11/8 time has three compound beats and one simple beat.

 

Steps and Accidental

• A half step is the distance from one key on the keyboard to the next adjacent key.

• Key 1 to Key 2 is a half step since they are next to each other.

• A half step is not always from a white key to a black key.

• In this example, Key 1 and Key 2 are still next to each other.

• A whole step is the same distance as two half steps.

• Key 1 to Key 3 is a whole step.

• Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.

• An accidental is a sign used to raise or lower the pitch of a note.

• The first accidentals that we will discuss are the flat and the sharp.

• The flat lowers a note by a half step while the sharp raises a note by a half step.

• When typing, you can use a # to represent a sharp and a b to represent a flat.

• Let's examine the black key in between C and D.

• This key could be called C# since it is a half step above C.

• It could also be called Db since it is a half step below D.

• Another example would be E and F.

• E could also be called Fb since it is half step below F.

• Likewise, F could be called E#.

• Whenever a certain pitch has multiple names, it is called an enharmonic spelling.

• Next, let's discuss the double flat and the double sharp.

• While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.

• When typing, you can use a x to represent a double sharp and a bb to represent a double flat.

• For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.

• D also sounds the same as Cx since it is a whole step above C.

• Finally, a natural cancels out any accidental and returns a note to its original white key.

The Major Scale

• • A scale is a selection of certain notes within an octave. The first scale that we will discuss is the major scale.

  • The major scale is constructed with this formula. W's represent whole steps and h's represent half steps.

  

  • Let's build a C Major Scale. Our starting note will be C.

  

  • From the C, we will take a whole step to D.

  

  • From the D, we will take another whole step to E.

  

  • Next, we will go up a half step to F.

  

  • From F, the whole step will take us to G.

  

  • Next is another whole step to A.

  

  • The last whole step takes us to B.

  

  • Finally, the half step returns us to C.

  

  • Next, we will build the Eb Major Scale. Our starting note will be Eb.

  

  • The first whole step takes us to F.

  

  • The second whole step takes us to G.

  

  • Notice that the half step from G takes us to Ab, not A.

  

  • The whole step from Ab takes us to Bb.

  

  • The next whole step takes us to C.

  

  • The next whole step takes us to D.

  

  • Finally, the half step from D returns us to Eb.

  

  • Notice that Eb Major has three flats (Both Eb's only count once).

  

  • For our final scale, we will build the D Major Scale.

  

  • The first whole step takes us to E.

  

  • From the E, the second whole step takes us to F#.

  

  • The half step takes us to G.

  

  • The whole step takes us to A.

  

  • From A, the whole step takes us to B.

  

  • From the B, the whole step takes us to C#.

  

  • Finally, the half step returns us to D.

  

  • Notice that D Major has two sharps.

  

  • It is possible to build any major scale - just start on the first note and follow the formula.

  • While there is only one major scale, three different variations of the minor scale exist.

  • The first minor scale that will we discuss is natural minor. It is constructed with this formula.

  

  • Let's build an A Natural Minor Scale. Our starting note will be A.

  

  • From A, we take a whole step to B.

  

  • Next, we take a half step to C.

  

  • From C, a whole step takes us to D.

  

  • Another whole step takes us to E.

  

  • From E, we go up a half step to F.

  

  • From F, a whole step takes us to G.

  

  • Finally, the last whole step returns us to A.

  

  • Notice that the A Natural Minor Scale has no notes with accidentals.

  

  • Let's build an G# Natural Minor Scale. Our starting note will be G#.

  

  • From G#, we take a whole step to A#.

  

  • Next, we take a half step to B.

  

  • From B, a whole step takes us to C#.

  

  • Another whole step takes us to D#.

  

  • From D#, we go up a half step to E.

  

  • From E, a whole step takes us to F#.

  

  • Finally, the last whole step returns us to G#.

  

  • Notice that the G# Natural Minor Scale has five sharps.

  

  • Next, we will construct the C Natural Minor Scale. Our starting note will be C.

  

  • The whole step takes us to D.

  

  • From D, a half step takes us to Eb.

  

  • The following whole step takes us to F.

  

  • From F, a whole step takes us to G.

  

  • The half step from G takes us to Ab.

  

  • From Ab, we take a whole step to Bb.

  

  • The final whole step returns us to C.

  

  • Notice that the C Natural Minor Scale has three flats.

  

  • Next, we will discuss harmonic minor.

  • To convert any natural minor scale into harmonic minor, raise the seventh note by a half step.

  

  • Let's convert C Natural Minor into C Harmonic Minor.

  • Simply raise the seventh note (Bb) by a half step, resulting in B.

  

  • Finally, we will discuss melodic minor.

  • To convert a natural minor scale into melodic minor, raise both the sixth and seventh notes by a half step.

  • For example, to convert C Natural Minor into C Melodic Minor, simply raise the Ab and Bb a half step to A and B.

  

  • Usually, melodic minor is used only when ascending. When descending, composers prefer to use the natural minor scale.

  • Each note of a scale has a special name, called a scale degree.

  • The first note is called the tonic.

  

  • The fifth note is called the dominant.

  

  • The fourth note is called the subdominant (meaning lower dominant).

  

  • Since it is in the middle of the tonic and dominant, the third note is called the mediant.

  

  • Likewise, the sixth note is called the submediant since it is in the middle of the upper tonic and subdominant.

  

  • The second note is called the supertonic. Super is Latin for “above”.

  

  • While the scale degrees for the first six notes are the same for both major and minor scales, the seventh one is special.

  

  • If the seventh note is a half step below the tonic, it is called a leading tone.

  

  • Play the C Major Scale, notice how the seventh note wants to lead into the tonic.

  • Leading tones also occur in harmonic minor and melodic minor.

  • In natural minor, the seventh note is a whole step below the tonic. In this case, the note is called a subtonic.

  

  • Play the C Natural Minor scale, notice how the seventh tone lacks the desire to lead into the tonic.

  source: http://www.musictheory.net/