Scales

                 · Natural minor scale has lowered third, sixth and seventh

                 · Harmonic minor scale has lowered third and sixth

                 · Melodic minor scale has lowered third only

                 · Pentatonic scale features the tonic, second, third, fifth and sixth

                 · Six-tone scale…???

Modes

Common Modulations

                 · Up one-half step (common in popular music)

                 · Up a fourth (more common in classical music)

                 · Up a fifth (more common in classical music)

Chord Definitions

                 · Major chord: uses the tonic, major third and fifth tones (e.g. C Maj)

                 · Minor chord:  uses the tonic, minor third and fifth tones (e.g. C min or Cm)

                 · Diminished chord:  a minor chord with a diminished fifth (e.g. C dim or C°)

                 · Augmented chord:  a major chord with an augmented fifth (e.g. C aug or C+)

                 · Dominant Seventh chord:  major triad with minor seventh added

                 · Major Seventh chord:  major triad with major seventh added (e.g. C Maj7 or CM7)

                 · Minor Seventh chord:  minor triad with minor seventh added (e.g. C min7 or Cm7)

                 · (Other Seventh chords:  add a major or minor seventh to any major, minor, diminished or augmented chord)

                 · Sixth chord:  add a major or minor sixth above a major, minor, augmented or diminished chord

                 · Ninth chord:  add another major or minor third above a seventh chord

                 · Altered chords:  other variations possible; e.g. C Maj7(b5) = C Major 7th with lowered fifth, Cm(add9) adds 9th to

   minor chord without the 7th

                 · Suspended chords:  moves the normal major third up the a fourth (must be resolved immediately)

                 · Power chords: played using only the root and fifth without the third

                 · Inverted chords: moving root to above fifth is first inversion, moving third up next creates second inversion; e.g.

   Am7/E indicates second inversion of Am7 chord (you can also call for a non-chord bass tone this way)

Compositional Types

· Concerto:  A composition written for a solo instrument, backed by an orchestra

· Sonata:  A musical piece written for piano, usually in three movements

· Symphony:  A work written for an orchestra, usually in three movements

Tempo/Dynamics

          Slow tempos (40-75 bpm)

                 · Grave:  very slow; solemn

                 · Largo:  slow and dignified

                 · Larghetto:  a little faster than largo

                 · Lento:  slow

                 · Adagio:  moderately slow

                 · Adagietto:  a little faster than adagio

          Moderate tempos (70-115 bpm)

                 · Andante:  a “walking” tempo

                 · Andantino:  a little faster than andante

                 · Moderato:  moderate pace

                 · Allegretto:  not quite as fast as allegro

          Fast tempos (110-220 bpm)

                 · Allegro:  fast and cheerful

                 · Vivace:  lively

                 · Presto:  very fast

                 · Prestissimo:  very very fast

          Changing tempo:

                 · Accelerando (accel.):  gradually speed up

                 · Ritardando (rit., retard.):  gradually slower

                 · Rallentando (rall.):  same as ritardando

                 · Ritenuto (riten.):  hold back the tempo

                 · Doppio Movimento:  twice as fast

                 · A Tempo:  return to the previous tempo

                 · Tempo Primo:  return to the beginning tempo

           Dynamic markings:

                 · Pianisssissimo (ppp):  very very soft

                 · Pianissimo (pp):  very soft

                 · Piano (p):  soft

                 · Mezzo Piano (mp):  medium soft

                 · Mezzo Forte (mf):  medium loud

                 · Forte (f):  loud

                 · Fortissimo (ff):  very loud

                 · Fortississimo (fff):  very very loud

                 · Forzando (fz):  sudden accent

                 · Sforzanto (sf):  forced

                 · Sfozando (sfz):  even more forced

                 · Crescendo:  gradually increase volume

                 · Decrescendo:  gradually decrease volume

                 · Calando:  decreasing tone and speed

                 · Con Sordino (sordini):  muted (horns use mute)

                 · Senza Sordini:  without mutes

                 · Diminuendo (dim.):  gradually less powerful; diminished intensity

                 · Incalzando:  increasing tone and speed

                 · Leggiero:  light and delicate

                 · Mancando (or Morendo or Perdendosi or Smorzando):  dying away

                 · Marcato (marc.):  marked or emphasized

                 · Martellato:  hammered out

                 · Mezza Voce (or Sotto Voce):  in an undertone (half voice)

                 · Strepitoso:  boisterous

                 · Tacet:  silent

                 · Tutta Forza:  as loud as possible

                 · Una Corda:  pianos use soft pedal

           Other:

                 · Molto:  means “very”

                 · Fermata:  name of note “hold” symbol (looks like an eye)

                 · Accent (>):  play louder than other neighboring notes

                 · Marcato (^):  play very loud

Melody Checklist

                 · Center on a “home” pitch (commonly the tonic, third or fifth)

                 · End up at home

                 · Stay within the scale

                 · Use the big five (tonic, second, third, fifth, or sixth) extensively

                 · Incorporate a motif (or “hook”)

                 · Create variations (e.g. rhythm or pitch) for the motif

                 · Write four (or eight or sixteen) measure melodies (except 12-bar blues)

                 · Make it move (i.e. give it an upward or downward direction of pitches)

                 · Take small steps

                 · Stay in range

                 · Avoid unsingable intervals (e.g. sixths, sevenths, some fourths, non-diatonic intervals, diminished fifth tritone)

                 · Keep the rhythm simple (until ready to try syncopation)

                 · Stay in time (i.e. make sure the phrasing is correct for the time signature)

                 · Set up and resolve tension or a call and response

                 · Establish symmetry (e.g. by mirroring rhythms or tones)

                 · Balance repetition and variety

                 · Follow the chord progressions, the form (e.g. verse-verse-chorus-verse), and the words

                 · Write for a specific instrument or voice

This page was last updated on  February 12, 2023

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