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    Music Theory Revision

    Uploaded by

    Scott McGill
    The document discusses a revision session on music theory concepts for first year popular music students. It uses a matrix technique to help visualize topics like scale and chord construction, modes, and roman numeral analysis. Key points covered include the construction of major, minor, and pentatonic scales; modal scales; triad and seventh chord types; and how these concepts are derived from the major scale.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Music Theory Revision

    Uploaded by

    Scott McGill
    383 views24 pages
    The document discusses a revision session on music theory concepts for first year popular music students. It uses a matrix technique to help visualize topics like scale and chord construction, modes, and roman numeral analysis. Key points covered include the construction of major, minor, and pentatonic scales; modal scales; triad and seventh chord types; and how these concepts are derived from the major scale.

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    Music Theory Revision

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    The document discusses a revision session on music theory concepts for first year popular music students. It uses a matrix technique to help visualize topics like scale and chord construction, modes, and roman numeral analysis. Key points covered include the construction of major, minor, and pentatonic scales; modal scales; triad and seventh chord types; and how these concepts are derived from the major scale.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    383 views24 pages

    Music Theory Revision

    Uploaded by

    Scott McGill
    The document discusses a revision session on music theory concepts for first year popular music students. It uses a matrix technique to help visualize topics like scale and chord construction, modes, and roman numeral analysis. Key points covered include the construction of major, minor, and pentatonic scales; modal scales; triad and seventh chord types; and how these concepts are derived from the major scale.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 24

    Music Theory

    Revision
    SCOTT MCGILL
    Purpose and Technique

    Revision session for first year popular music students


    Utilizing a Matrix or Grid technique for learning basic and essential
    music theory concepts
    Helping to visualize Music Theory concepts especially helpful for
    percussionists/drummers and vocalists to visualize Music Theory
    materials
    Good deal of material in a short amount of timestop and revise as
    needed
    Topics

    Scale Construction (Major and Minor types)


    Mode Construction
    Chordal Construction
    Roman Numeral Usage-Chordal Analysis (Nashville Chart)
    Transposition
    Scale Construction-Major Scales

    Drawing The Matrix beginning with a C Major Scale for Sharp and Flat
    Keys
    Two types of Major ScalesSharp Keys and Flat Keys each with its own
    Matrix
    Sharp Keysbring over 5th tone and raise 7th tone a semitone (Raised
    tones underlined)
    Flat Keysbring over the 4th tone and lower the 4th column a semitone
    Lowered tones are underlined)
    Note: All Major Scales with a Flat sign in the name such as Bb Major and
    Db Major for example are Flat Keys with F Major being the exception.
    Note Key Signature Order: Last Column of Sharp Keys 2nd column down
    and Last Column of Flat Keys from 1st column down (In Blue Letters)
    Each tone of scale is designated by a number (1,2,3, etc.) which
    determines scale degree (raise the fifth, lover the third etc.)
    Major Scale Matrices
    Sharp Keys Flat Keys

    1 2 3 4 5 6 7 1 2 3 4 5 6 7

    C D E F G A B C D E F G A B
    G A B C D E F# F G A Bb C D E
    D E F# G A B C# Bb C D Eb F G A
    A B C# D E F# G# Eb F G Ab Bb C D
    E F# G# A B C# D# Ab Bb C Db Eb F G
    B C# D# E F# G# A# Db Eb F Gb Ab Bb C
    F# G# A# B C# D# E# Gb Ab Bb Cb Db Eb F
    C# D# E# F# G# A# B# Cb Db Eb Fb Gb Ab Bb
    Scale Construction-Minor Scales

    Derivative approachMinor Scales derived from Major Scales


    Melodic Minor ScaleLower the 3rd tone of Major Scale
    Harmonic MinorLower the 3rd and 6th tone of Major Scale
    Parallel because scale begins on same root
    Natural Minor Scale6th Column of each Major Scale (Relative
    Minor)
    Wrap around to spell scale
    Pentatonic Scalesgapped scales
    Major Pentatonic: 1,2,3,5,6 of Major Scale
    Minor Pentatonic: 1, b3, 4, 5, b7 of Major Scale
    Formation of Minor and Pentatonic
    Scales from Major Scales
    1 2 3 4 5 6 7

    D Major Scale: D E F# G A B C#

    D Melodic Minor Scale: D E F G A B C#

    D Harmonic Minor Scale: D E F G A Bb C#

    D Natural Minor Scale: D E F G A Bb C

    D Major Pentatonic Scale: D E F# A B

    D Minor Pentatonic Scale: D F G A C


    Major, Minor, and Pentatonic
    Scales in Standard Notation
    Mode Construction

    Modal Scales are rotations of the Major Scale constructed by


    beginning on different tones of the Major Scale
    Greek Names
    Names and positions of Modal Scales (I Ionian, II Dorian, III Phrygian,
    IV Lydian, V Mixolydian, VI Aeolian, VII Locrian)
    Find different Modal Scales using both Sharp and Flat key Matrixes
    (short quiz)
    Guitarists and Bassistsconstruct scale fingerings using Matrix
    Drummers and Vocalistsplay scales on keyboard and sing scales
    for intonation and to hear tonality
    Scale Degree Positions of the Modal
    Scales
    1 2 3 4 5 6 7
    Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian

    C D E F G A B
    G A B C D E F#
    D E F# G A B C#
    A B C# D E F# G#
    E F# G# A B C# D#
    B C# D# E F# G# A#
    F# G# A B C# D# E#
    C# D# E# F# G# A# B#

    F G A Bb C D E
    Bb C D Eb F G A
    Eb F G Ab Bb C D
    Ab Bb C Db Eb F G
    Db Eb F Gb Ab Bb C
    Gb Ab Bb Cb Db Eb F
    Cb Db Eb Fb Gb Ab Bb
    Formation of Modes from Major
    Scale
    D Ionian E F# G A B C#
    D Ionian Mode (I degree)
    D Dorian E F G A B C
    D Dorian Mode (II degree)
    D Eb F G A Bb C
    D Phrygian Mode (III degree) Phrygian

    D Lydian Mode (IV degree) D Lydian E F# G# A B C#

    D Mixolydian Mode (V degree) D Mixo-


    lydian
    E F# G A B C

    D Aeolian Mode (VI degree) D


    Aeolian
    E F G A Bb C

    D Locrian Mode (VII degree) D Eb F G Ab Bb C


    Locrian
    Modal Scales in Standard Notation
    Chordal Construction-Triads

    Three note chords based on thirds or every other tone of a scale


    Derivative approach
    Four Types: Major (1,3,5), Minor (1, b3, 5), Augmented (1, 3, #5) and
    Diminished (1, b3, b5)
    Chord Symbols for each type (C Maj, C Min, C Cug, C Dim)
    Quiz on types of triad chords
    Major Triads based on the 1 st

    (Root), 3rd, and 5th of each Major


    Scale 1 2 3 4 5 6 7

    C D E F G A B
    G A B C D E F#
    D E F# G A B C#
    A B C# D E F# G#
    E F# G# A B C# D#
    B C# D# E F# G# A#
    F# G# A# B C# D# E#
    C# D# E# F# G# A# B#
    F G A Bb C D E
    Bb C D Eb F G A
    Eb F G Ab Bb C D
    Ab Bb C Db Eb F G
    Db Eb F Gb Ab Bb C
    Gb Ab Bb Cb Db Eb F
    Cb Db Eb Fb Gb Ab Bb
    All Four Triad Types on the root
    notes D and Ab
    Major (D Maj) Minor (D Min) Augmented (D Aug Diminished (D Dim or
    (Ab Maj) (Ab Min) or D+, Ab Aug or Do, Ab Dim or Abo)
    1, 3, 5 1, b3/-3, 5 Ab+) 1, b3 or -3, b5 or -5
    1, 3, #5 or +5
    D, F#, A D,F,A D, F#, A# D, F, Ab

    Ab, C, Eb Ab, Cb, Eb Ab, C, E Ab, Cb, Ebb


    Chordal Construction-Seventh
    Chords
    Four note chords based on thirds or every other tone of a scale
    Derivative approach
    Five Principle Types: Major 7th (1,3,5,7), Dominant 7th (1, 3, 5, b7),
    Minor 7th (1, b3, 5, b7), Minor 7th b5 or Half Diminished (1, b3, b5,
    b7), and Diminished 7th (1, b3, b5, bb7)
    Chord Symbols for each type (C Maj7, C7, C Cmin7, C Min7b5, C
    Dim 7)
    Quiz on types of triad chords
    Major Seventh Chords based on the 1st (Root),
    3rd, and 5th of each Major Scale
    1 2 3 4 5 6 7

    C D E F G A B
    G A B C D E F#
    D E F# G A B C#
    A B C# D E F# G#
    E F# G# A B C# D#
    B C# D# E F# G# A#
    F# G# A# B C# D# E#
    C# D# E# F# G# A# B#
    F G A Bb C D E
    Bb C D Eb F G A
    Eb F G Ab Bb C D
    Ab Bb C Db Eb F G
    Db Eb F Gb Ab Bb C
    Gb Ab Bb Cb Db Eb F
    Cb Db Eb Fb Gb Ab Bb
    All Five Basic Seventh Chord Types
    on the root notes D and Ab
    Major 7th (D Dominant 7th Minor 7th (D Minor 7th b5/-5 Diminished (D
    Maj7) (Ab (D7) (Ab7) Min7) (Ab or Half Dim 7 or Do7,
    Maj7) 1, 3, 5, b7/-7 Min7) Diminished 7th Ab Dim or
    1, 3, 5,7 1, b3/-3, 5, (D Min7b5/-5, Abo7)
    b7/-7 Ab Min7b5) 1, b3 or -3, b5
    1, b3 or -3, or -5, bb7)
    b5/5, b7/-7
    D, F#, A, C# D, F#, A, C D, F, A, C D, F, Ab, C D, F, Ab, Cb

    Ab, C, Eb, G Ab, C, Eb, Gb Ab, Cb, Eb, Gb Ab, Cb, Ebb, Ab, Cb, Ebb,
    Gb Gbb
    Roman Numeral Analysis: Usage

    Common Pop/Rock/Jazz and Classical vernacular when discussing


    chord sequences for performance (Blues I, IV, V in Dominant 7th
    chords, Jazz Musicians II, V, I progressions, III, VI, II, V, etc.
    Each column or tone of each scale (scale degree) has a number
    that can be designated by a number/Roman Numeral
    Chords of any type can be placed on each scale degree of a
    Major Scale, or degrees falling in between any scale degree of a
    Major Scale
    Chord built upon the root of a scale/key is called I, chord built upon
    the second degree of a scale/key is called II, etc.
    Nashville Number System is based on this form of analysis
    Roman Numeral Analysis

    I Cant Help Myself The Four Tops (Motown)


    Key of C Major
    Chord Sequence: C Major (2 bars) G Major (2 bars) D Minor (2 bars)
    F Major (1 bar) G Major (1 bar)
    Roman Numeral Analysis: Imaj (2 bars), VMaj (2 bars), IIMin (2 bars),
    IVMaj (1 bar) Vmaj (1 bar)

    C (I) D (II) E (III) F (IV) G (V) A (VI) B (VII)

    C Maj G Maj D Min F Maj G Maj

    I Maj V Maj II Min IV Maj V Maj


    Transposition

    Transposition-playing a specific chord sequence or melody based in


    one scale or key to another scale or key
    Reasons: Instrumental and Vocal Ranges, Overall Sound of Band or
    Ensemble
    Roman Numeral Analysis is a blueprint or recipe for transposing
    I Cant Help Myself in C Major transposed to D, Ab, and B Major

    I Maj V Maj II Min IV Maj V Maj

    C Maj G Maj D Min F Maj G Maj

    D Maj A Maj E Min G Maj A Maj

    Ab Maj Eb Maj Bb Min Db Maj Ab Maj

    B Maj F# Maj C# Min E Maj F# Maj


    Transposition of I Cant Help Myself in Standard
    Chord Chart Notation (from the key of C Major to D,
    Ab, and B Major
    Review of Topics Covered

    Matrix or Grid System as one approach to learn Music Theory


    Materials
    Scales (Major, Melodic, Harmonic, and Natural Minor Scales, Major
    and Minor Pentatonic Scales)
    Modes (based on the Major Scale-common practice)
    Chordal Construction (Triads and Seventh Chords)
    Roman Numeral Analysis
    Transposition
    Thank You

    Scott McGill
    [email protected]

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