Transcript Music 1133 Music Theory 1

Music 1133
Music Theory 1
J. Hennessy
What is Music Theory?
 Music Theory attempts to explain the complex and
abstract organization of sounds we call music
 Music Theory establishes conventions for notating
musical information and for communicating
musical relationships
 Music theory forges links between the sonic
creations of people and cultures, the systems of
thought and organization of societies, and the
physical laws that determine the nature of sound
What is Music Theory not?
 Music Theory is not simply a set of arcane
rules that govern how all music is made
 Music Theory is not a strict science that can
be used to measure or explain any musical
system or idea
 Music Theory is not independent of people,
cultures, and societies - it is determined by
them.
 Music Theory is not music
Why Study Music Theory?
 Music is a very complicated phenomenon - it is a
complex interaction of sound objects that evolve
in “real time”
 Musical ideas are difficult to communicate using
subjective impressions and descriptive language
 Music theory allows musicians to examine music
from a slightly removed perspective, and provides
symbols and strategies for articulating musical
ideas and relationships
 Ultimately this allows musicians to develop new
musical ideas and concepts
What if that’s not a good enough
reason?
 Tough - you need this course for your
degree!
 Despite this, I hope your study of music
theory will enhance your appreciation of
music, and ultimately make you a better
musician.
Elements of Music Theory
 Rudiments
 Harmony
 Counterpoint
 Form/Structure
 Analysis
 Composition
Rudiments
 Staff Notation
 Scales/Key Signatures
 Intervals
 Transposition
 Triads/Chords
 Time Signatures - proper beat notation
 Expressive/Tempo terms (often Italian)
Harmony
 The “vertical” dimension of music
 Notes sounding simultaneously
 Resulting chords have functions within a
given key
 Progression of harmony forms the structure
of musical sections - from the smallest to
largest (phrases to whole pieces)
Counterpoint
 The “horizontal” dimension of music
 Composed of melodies interacting with each other
in different ranges
 Progression of consonant and dissonant intervals
 Resolution of contrapuntal dissonance - one of the
main features of tonal music
 Counterpoint determines harmony
Form/Structure
 Tonal Music often has a structure that is
determined by harmony - cadences, key
relationships
 Common Practice Era music often conforms
to established formal archetypes - forms
(binary, ternary, sonata, rondo)
Analysis
 Analysis involves studying an existing piece or
excerpt of music and determining its most salient
features
 Often this “deconstructs” the piece to identify how
the composer put it together
 Analysis often takes place within an historical
context - particularly regarding established styles
or schools of composition
 Analysis should not, however, simply determine
how well a piece fits some “ideal”
 Analysis should determine what is unique about a
piece
Composition
 Composition involves creating new music
 Within the context of a theory course, we
will compose excerpts and pieces according
to the style or method we are studying
 You will often be given a set of restrictions
within which to compose something
original
Strategies for Success
 Many students find theory to be a very
difficult subject, often having to repeat the
course in order to gain credit.
 Here are a few strategies for ensuring that
this does not happen
Attend Class
 While attendance will not be taken for lectures or
tutorials, it is in your best interest to attend all
classes.
 Textbook explanations of theory are often difficult
to grasp and the classes will focus on trying to
clarify seemingly difficult concepts.
 This is also your best opportunity to ask questions.
Do Your Assigned Work
 Like anything else, theory requires practice.
 Often something that seems difficult at first begins
to make more sense the more often it is applied.
 Conversely, you may think you completely
understand a concept when it is presented in class,
only to realize when it’s too late (ie during the
exam) that you never really learned the concept
completely.
 Setting aside time each day to work on theory will
ultimately improve your chances of success.
Try not to simply memorize rules
 Theory does have a set of procedural rules,
but it is important that you understand the
concepts behind these rules rather than just
memorize them.
 Once the rules make practical sense to you,
they become ingrained in your vocabulary
and memorization becomes irrelevant.
 The only way to accomplish this is to
practice doing assigned exercises.
Give Yourself Manageable Tasks
 When confronting a theory problem,
address one thing at a time rather than
worrying about the ultimate solution.
 Accomplishing smaller tasks builds your
confidence and helps you to better
understand general concepts.
 Strategies for this will be discussed
extensively in tutorials.
Get Help If You Need It
 I am available for extra help during office hours or
by appointment and am happy to discuss any
problems you are having.
 As well, you are encouraged to help each other.
 Get together in small groups on a regular basis to
work on assignments, study for exams, get your
frustrations out about theory, or just
therapeutically trash the prof!!
It’s Up To You!
 I will do whatever I can to present the material in
a non-threatening, yet challenging manner but it is
ultimately up to you to keep up with the work.
 Theory is a cumulative subject and often if you
miss one concept, it affects your ability to process
new material.
 Don’t let things slide. Last time I taught this
course, final grades ranged from 100% to 8%!
 I would like nothing better than to pass all of you,
and for many of you to achieve an A - but nothing
will be given away for free!
 Good luck!!
Diagnostic Test
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1. What is the name of the symbol on the far left?
2. What is another way of notating the 2nd symbol?
3. How many 8th notes could fit into one bar according to the time signature?
4. What is the duration in quarter notes of the note shown?
5. What pitch does this note represent?
6. Write the key signature for the major key for which this note is the tonic pitch.
7. What is the tonic pitch of the relative minor key?
8. Write the key signature for the minor key for which this note is the tonic pitch.
9. Write the melodic minor scale scale using accidentals for the scale in which this pitch is
the supertonic (2nd) scale degree.
10. Write the major scale including the key signature for the parallel major key.
11. Notate the pitch a major 6th above the note shown, using the treble clef.
12. Invert this interval and rename it.
13. Write the pitch an augmented 4th below the note shown.
14. Invert this interval and rename it.
15. What is a common name used to refer to both of these intervals (in 14 and 15)?