Harmonic Organization I: Intervals, Triads, and Seventh Chords + Intervals * Triads Compound Interval ‘Augmented (A or +) ‘Consonant Interval Diminished (dim o: °) Counterpoint ‘Major (M) Diatonic Interval Minor (m) Dissonane Interval Inversions of Triad Enharmonic Interval Root Position Half Step First Inversion (Ist Inversion) Harmonic Tutcrval Second Inversior. (2nd Inversion) Harmony + Seventh Chords Inversion ‘Major Major (MM) Interval Quality fajor-Minor Seventh (Mm, Perfect (P) Dominant 7th Chord) Major (M) Minor Seventh (mm) Minor (m) Diminished minor | Augmented (A or +) (Half-Diminished Seventh, *”) Diminished (dim or °) Diminished Diminished | Doubly Augmented (Fully-Diminished Seventh, ”) | Doubly Diminished Inversions of Seventh Chords Melodic Interval Root Position ‘Numerical or Interval Quantity First Inversion (Ist Inversion) Simple Incerval Second Inversion (2nd Inversion) Trisone Third Inversion (rd Inversion) Unison Whole Step armony refers to the way notes are simultaneously soundec creating a vertical element to music. A single melody line or linear voice added to another line ot voice is called counterpoint. This combination of voices, each significant by itself, creates this “note against note.” It is unique to music to be able t9 comprehend two things being ‘said” at the same time. While a composer may weave together wo or 104102 AP Music Theory three (or more) melodies (lincaz), he also recognizes what combining those melodies creaces harmonically (vertical). In the next three chaprers we learn how chords are constructed and how they follow each other (progression) through a musical com- position. As a melody progresses, it gives clues for harmonizing in 2 multitude of convincing ways, Well begin by putsing notes together—ewo at atime. INTERVALS ‘The ability to identify intervals aurally and visually is a critical building block of AP Music Theory. Ie is based on recognition of scales and key signatures. Intet- vval knowledge leads to chords and chord knowledge leads co the understanding of harmonic function. Intervals will aid you in voice leading, composition, and transposition as well as sight-singing and dictation, ‘An interval is che distance between ewo pitches. Intervals are melodie—sounding one after another as in a melody, or harmonie—two pitches sounding at the same time. We describe exact interval size by quantity (size) and quality. Quanticy is expressed by a number and is determined by simply counting the distance between cone letcer name and the next lewer name. Remember to always count the bottom note as “1,” From a line to a line (or space to space) is always an odd number and from a line 10 space is always an even number. TP In this guide all Identifying Interval Quality All intervals buile from the tonic up to notes within a major scale are either major t ee i. or perfect. The perfect intervals are unison (sometimes called prime) (P1), perfect wer eS | fourth (P4), perfect fifth (P5), and perfect eighth or octave (P8); therefore, the GeP andiajor | major intervals are major second (M2), major third (M3), major sixth (M6), and | ‘intervals will be | major scyenth (M7). Unisons, fourths, fifths, and octaves can never be major or | beled using —|—-minos, and seconds, thirds, sixths, and sevenths are never perfect. ‘uppercase ML Intervals in a major scale, in this case F Major: Pearect Mason Major Penrecr Perrecr Mason = Mayor Prnvucr: UNISON 2nD 3RD 4mm sm 6 ” c be PL M2 MB Pa PS Mo M7 PSHarmonic Organization |: Intervals, Triads, and Seventh Chords 103 Intervals built from the tonic to notes within the natural minor scale include major, minor, and perfect. A minor interval is one half step smaller than major. TIP In this goide ll minor iwervals will be beled asin lowercase m. Intervals in the F natural minor scale: k = — be: bes———e ee PI M2 m3 Pa PS m6 m7 PS So now let's look at the intervals side by side and compare: Mayor SCALE aS wrervals py Minor SCALE, iS INTERVA! PL M2 Notice ehae che perfect intervals are the same in major or minor. The intervals that are differen ate the third, sixth, and seventh, As discussed in Chapter 3, scale degrees 3, 6, and 7 give major or minor their characteristic sound. The intervals from 1-3, 1-6, and 1-7 are major in a major tonality and minor in a minor tonality. (>) Anincerval that is one half step smaller than perfect o: minor Y is diminished. ‘An interval that is one half step larger than major or perfect is | augmented. Augmented A. or + Augmented Aor + Major M Perfect P Minor m Diminished dim or * Diminished dim or® A Major om dim A Perfect dim104 AP Music Theory = Here are some major and perfect intervals transformed into diminished and ang- mented intervals, Notice what happens when the accidental is on the bottom note. ea ee = $ AB Ad dims dims os ENIARMONIC INTERVALS. ‘The most prominent diminished interval that occurs diatonically (between notes within the same key ot tonality) is the diminished fifth that occurs between Tiand Fa in major and harmonic minor. This interval inverted (by transfecring the upper note an octave lower) is the augmented fourth. The augmented fourth is commonly called a tritone because it contains three whole steps. Tito Fat in major or harmonic minor. TH Faw Ti FAIN Tr Faw ‘Ab Maga, Gannon By Mayor X Rh = = — fc id © dims +4 dims TP ae Enharmonic intervals sound the same but are spelled differently and therefore area ae differently. C4and Do are th hi; however, th d pis gulls | function differently. Cand D> are the same pitch; however, they are not notaes cae iia | the same on the staff. The same is true of intervals. For example, F to Ab is a minor Gimor’ and aug | third, but F to Ge is an augmented second. Even though Ab and Gi sound the same inented incervals | you cannot call the interval F to Gt a minor third because its numeric quantity is ‘will be labeled A 2; therefore it has to be some kind of second. The function refers to the pull a chro- ie matic note has either up or down, ‘The Ab has a natural pull to G because flats lead downward, where the Gt would lead upward to Ab,Harmonie Organization |: Intervals, Tiads, and Seventh Chords Examples of Enharmonic Intervals: = —————— M2 m3 M3 AA PS m6 fTT+i oon oo oa dim3 A2 ot dimS tae fe AG dim8 ‘Doubly augmented intenal ‘When major or perfect interval is made one whole step larger, without changing the letter names of the pitches, itis called doubly augmented. When a minor or perfect interval is made one whole step smaller without changing the letter names of the pitches it is called doubly diminished. These intervals will usually require the use of the double flat or the double sharp sign, a IF-THEN Intervals NU/ A great way to learn to idemtify or “spell” intervals that also reinforces key signatures and scales is by thinking of the interval in she key of the bottom note. Ask yourself, “IF the bottom note is tonic of a major key, THEN is the top note diatonic (found within the notes of the scale) in the key (of the bottom note)?” 4 IF the top note is in the major key of the bottom note, THEN ic is major or perfect. + TF the top note is a half step dower than the diatonic note would be, THEN it is a minor or diminished interval * IF the top note is a half step higher than the diatonic note would be, THEN itis an augmented interval: 105106 AP Music Theory = More IF-THEN Considerations IF an interval is perfect, THEN both che top and bottom pitch is in the other's major key. IF the same accidental is added to both the upper and lower pitch, THEN the interval remains the same. IF an accidental is added only to the bottom pitch, THEN the accidental has the opposite effect than when added to the note above: — Ifa flat is added to the lower pitch, the interval is larger. — Ifa sharp is added to the lower pitch, the interval is smaller. TE the lower note does not represent a standard key, THEN determine what the interval would be withour the accidental and adjust. For example: Gio E= mG ~ Because Gt isnot a standard key signacure we decermine that G to E = M6 | and because the boctom note is sharp, it ceduces the quality by one half step to m6. | Remember that IF you ate spelling intervals below a given pitch, THEN you must still associate the top note to the major key of the bottom note, You cannot change the given note, Intervals chat are one octave of smaller in quantity are called simple intervals. Intervals that are larger than an octave are called compound intervals. The most common ate the ninth, tenth, cleventh, and twelfth, which correspond to an octave plus a second, third, fourth, and fifth. + Compound intervals are reduced to a simple interval by subtracting seven. For example: a major ninth (-7) reduces to 2 major second, + To expand a simple interval to compound, add seven, For example; a minor thitd (+ 7) becomes a minor tenth. + The gualty of the interval docs not change when reducing or expanding. Maxine SIMPLE InTERVALS ComPoUND m2 i ee ie c= Ge oe oe = Ge eo : ™ BU 9 M3 MIOHarmonie Organization |: intervals, Triads, and Seventh Chords 107 ‘As mentioned earlier, intervals are inverted by transferring the lower note an octave higher or by transferring the higher note an octave lower: ‘Major intervals inyere to minor intervals. ‘Augmented intervals invere to diminished intervals. Perfect intervals invert to perfect. A second inverts to a seventh, \ ‘The Rule of Nine: When any simple inter- A third inverts to a sixth. val is inverted, the sum of che ascending and A fourth inverts to a fifth, descending intervals must add up to nine. INVERTING INTERVALS Wrru Tae RULE OF NINE 3 + 6 =9 7+ 239 a+ 44 529 Z3= & #3 — = rss ie eo s M3 m6 m7 M2 Pa PS Ad dimS Strategies for Difficult Intervals Lets look at a few examples and develop a strategy for identifying and building intervals that ate a liede more difficult. 4 5 6 my dims * may There are two methods to identify difficult intervals: (1) invert and identify or (2) cover up one or both of the accidentals to determine whar yox know for sure— then adjust accordingly. In the first example the quantity isa sixth. Use the second ‘method and cover up the double sharp on the top pitch. What note is a M6 (dia~ tonic) in the key of F# Major? Answer: Di. Therefore, since a double sharp makes the interval larger, the answer is AG (a half step larger than major). Do the same thing for example 2. By removing the flat, the interval is a P5. By adding a flat on. the bottom, the interval is made larger. F> to C-would be an AS. Or, invert interval 2 by placing the F> above the C, creating a dim4, The inversion cf a dim4 is an AS108 AP Music Theory For example 3, invert the G3, F#to Gtis a M2 so the inversion is m7. Use the same methods for constructing intervals. To find a m7 below BE (example 4), remove the sharp and determine what pitch is a m7 below Bs, Answer: Cé. Therefore, by adding a sharp to the top pitch, you must also add a sharp to the lower pitch to maintain the quality of the interval. A m7 below B¢ is Cx. In example 5, a P5 above Ph is Co. “Therefore, to create a diminished fifth the upper note is lowered to Ci. In example 6, invert and find a m2 above E2. Still not sure? Take away the sharp sign. What is a m2 above E? Answer: B Therefore, by adding a sharp to both the top and bottom pitch you maintain the same interval quality and quantity—a m2 above E¢ is Fs therefore, an F inverted is a M7 below E&. Intervals are classified as either consonant (stable) or dissonant (unstable—the impression of activity or tension), Consonant intervals are the P1, P5, P8, M3, m3, M6, m6, and sometimes the P4, depending on context. Melodically a P4 is always a consonance. + The unison (P1) and the octave (P8) are the most stable consonances. + The lack of tension in these intervals is why composers end pieces on unisons or octaves, Dissonant intervals are M2, m2, M7, m7, all augmented and diminished incer- vals, and sometimes the P4 (which is generally considered a dissonance when used harmonically above the bass). + In Chapter 3 we saw that 3, 4, 6, and 7 function as active tones that tend to lead to 1, 3, and 5. The division of the scale into active and stable tones relates directly to consonance and dissonance of intervals. + A fundamental characteristic of the treatment of dissonances in tonal music is the approaching and leaving of the dissonance by step. This means that the pitches in a dissonant interval such as an A4 will move by step to a consonant interval such as a PS or a M3. This ensures a close connection between the dis- sonance and the consonances around it. The tension and energy of dissonant intervals becomes a powerful force for music direction. * The motion of the dissonant interval to the consonant that acts as its goal is called resolution. ‘Two Examp.es ov RESOLUTION OF 4 DISSONANCE TO A CONSONANCE Miresolves tom6 dims resolves to M3Harmonie Organization I: Intervals, Triads, and Seventh Chords 108 REVIEW Naather Notice Aurelia thae within any four-part composition there is a possibility of six intervals between voices. Those intervals are between: AS T-A Ts BS BA BT (Alto and Soprano) (Tenor and Alto) (Tenor and Soprano) (Bass and Soprano) (Bass and Alto) (Bass and Tenor) For practice, ler's identify all the intervals found in this four-measure phrase and see what is revealed about intervals within a composition. Fill in the chart below Samuel Wesley (1810-1876) 2 13 and circle the intervals that are considered dissonant. Answers follow. Chord#} 1 | 2] 3 | 4) 5) 6} 71 8] 9 | 10 | mw] 12] 13 AS M3 T-A P4 T-S MG BS M3 BA Pg B-T PS110 AP Music Theory = Answers: chord#] 1] 2/314] 5) 6/7) 8] 9[oluli eis As |v3 M3] M3 | pa | ms | m3| m3 | Pi | ma | Me | Ps |@im3) M3 TA | P4| Pa | pa | mal p4| pa] M3 | Pa! P5 [(m7)| mo | M3| Pa TS [M6] Mo| M6 | mo) Mo | M6) PS | P4 [Gn7)| Ps | m3 [m7] Mo ps [M3 M3 M3 [(Pa)| ma | o| 6 | mo] Ps [M3 | Ps [(m7) M3 BA | P8| P8| PS PS | Ps |(Pa|(Ad)| mo| M3 | Ps [(P4)] M3] Ps Bet | Ps | ps | ps | Mo| ps | Ps [(12)| m3 | Mo | mo | Mo | Ps | Ps Observations: ‘There are seventy-eight intervals in these thirteen chords! The circled intervals are dissonant. Notice that the majority of these dissonances occur at the end of the phrase and all the dissonant intervals (except one) resolve to a consonant interval. For example, in chord 7 the A4 resolves to a m6 and the m7 in chord 9 resolves to PS, Chord 12, the penultimate chord, has three dissonant intervals creating inten- sity in the music right before the end of the phrase. Also note thar all the dissonant intervals contain one or BOTH of the most active scale members Fa (G) and 7 (CA). If we isolate the most active chord (12), we see that the active notes resolve correctly with Fa (G) resolving down by step to Mi (F#) and Ti (C2) resolving upward to Do (D). Why is the Pé circled in chords 4, 6, and 11 and not in the other places the P4 occurs? The answer is that in common-practice style, the interval of a fourth against she bass was considered dissonant. This is imporcant to remember and is discussed in future chapters. TRIADS ‘A chord is a group of pitches that forms a single harmonic idea. The use of chords is the basic foundation of harmony. A triad is a three-note chord (built like a snowman) made up of two intervals stacked in thirds. ‘The lower note of the chord is called the root, the middle note is the third because it is an interval of a third above the root, and the upper note is called the fifth, a fifth above the root.Harmonie Organization I: Intervals, Triads, and Seventh Chords 111 Building Triads [A triad is ewo intervals—both thirds, stacked on top of each other, snowman style. ‘The Common Practice Period uses this type of tertian harmony (harmony built on thirds). A triad actually contains three separate intervals. From the toot co the third is one interval a third, From the third to the fifth is the second itterval— other third, The ewo outside tones, the root and the fifth, also create an interval—a fifth HOW TO BUILD A TRIAD 1. Build the “snowman” in thirds above the root. Tertian harmony thirds will either be all lines or all spaces. 2. Identify the quality of the lower thitd as major or minor. 3. Identify the quality of the fifth (between the root of the triad and the fifth) as perfect, diminished, or augmented. 4, Identify the chord with a letter (the root of the “snowman’). 5. Identify the quality of the tiad: ‘M3 + PS = major triad (or M3 + m3) m3 + P5 = minor triad (or m3 + M3) m3 + dim5 = dit ished triad (or m3 + m3) M3 + AS = augmented triad (or M3 + M3) How ro Bump a Triap ———————— ° = oo M3 + PS = GMajor/GM. m3 + PS) = aminor/am ‘ > = gS —- 88g m3 + dimS = cdiminished/c® M3 + AS = Daugmented/D+ Ifyou know what the major triad is, chen you can easily adjust the third and the fifth to create the other chord qualities. + From major, raise the fifth to create an augmented criad, + From major, lower the third to create a minor triad, + From major, lower che third and the fifth to create a diminished triad, oF lower only the fifth from the minor triad.142 AP Music Theory EM FM BM Lal JIN a! ule® raisé lower “ower raisé lower ‘lower ise” lower “lower Sh 3d Sesh Sth Suk deh wv en eo # é # eo y eo bs 8 é é eo Et Em B® Fe Fm re Be Bom Be Roor PosrTion Bede oe HEBD Sce Appendix A for more information on visually identifying major chords Recognizing Triads Once you are comfortable with building triads in all qualities, its time to look at real music and recognize chords in context, Much of the music we study in AP Music Theory has four parts, or voices. When we have four parts and only three chord members, then one nore of the chord has to be doubled, usually the root. ‘When you ate analyzing music for chord quality, the firse thing that has to be deter- mined is the toot of the chord. Chords are nor always written in nice, neat order. ‘The lowest sounding nove is not always the root, so + Stack your snowman in thirds. + Find the root, and determine the quality of the triad. + Label the chord by the root name and quality (such as GM, gm, @, or G*). CHORD INVERSIONS Triads that have a chord member other than the root as the lowest sounding voice (the bass) are called inversions. When you move the position of any of the chord members, an interval inverts. Any member of the chord may sound in the bass Since there are three notes in a triad, there are three possible positions. + Root position—the root of the chord is in the bass. + First inversion—the third of the chord is in the bass. * Second inversion—the fifth of the chord is in the bass. Roor Isr Roor 2np POSITION INVERSION POSITION INVERSION = FeHarmonie Organization I: fotervais, Triads, and Seventh Chords ‘When a chord is in root position the intervals above the bass note (the root) are a third and a fifth. When a chord is in first inversion the intervals above the bass are a third and a sixth, When a chord is in second inversion, the bass note is the fifth of the chord and the intervals above the bass are a sixth and a fourth. Yes, the fourth above the bass in the second inversion triad is a dissonant interval and must be handled with care. If you go back to the interval exercise we did on Aurelia you will notice that chords 4, 6, and 11, which have the P4 against the bass, are all second inversion chords. We will revisit chis information again when discussing chord symbols and inversions, but for naw le’s move on to the discussion of chords with four different notes—seventh chords. SEVENTH CHORDS A seventh chord contains four notes—the root, third, fifth and an added seventh. Because this arrangement of tones contains an interval of a seventh, which is a dis- sonant interval, all seventh chords are considered dissonant (unstab.e). Bi ing and Recognizing Seventh Chords Given the types of triads combined with the types of sevenths, there are sixteen pos- sibilities of seventh chords. Although other types are possible, five types of seventh chords are most often used in common-practice music and are prevalent on the AP Music Theory exam. Five Basic Seventh Chords () + Maior seventh (Major tad, Major seventh—MIM7) or M3, m3, M3 + Dominant seventh or Major-minor seventh (Major triad, minor seventh—Mm7) or M3, m3, m3 ‘+ Minor seventh (minor tiad, minor seventh—mm7) or m3, M3, m3 ‘+ Half-diminished seventh (diminished triad, minor seventh—dim m7) or m3, m3, M3 + Fully-diminished seventh (diminished triad, diminished seventh— dim dim7) or m3, m3, m3 Lets build these five seventh chords on G: it Dosuraxer tt br gs a_i Tenders eal © MEM? Mtn7 mtm7 © dimtm? usteD, FULLY-DMNisHED -+dim7 113114 AP Music Theory ~ With a four-note chord you must first stack the pitches in snowman style to be able to identify the root of the chord, chen you must identify the quality of the triad and the quality of the seventh, Sometimes it is difficult to rearrange the four chord. members inco a snowman. Try these helpful hint + Remember that a seventh inverts to a second, so find the two notes that are a second apart—the root of the chord is the higher of the two notes. + Another way to “stack the snowman” is by memorizing the combinations. As with triads, there are only seven combinations of letcer names: DFA EGB FAC GBD ACE BDF GB DEAC E-G-B-D BAC-E G-BD-F A-C-E-G B-D-F-A Ifyou have spent time identifying intervals, chen triads and seventh chords are just an extension of that information, Seventh chords are also found in root position and inverted. Because there are four notes, there are four possible chord positions: ‘Tue Four Posrrions oF G? i os So > Roor == ES sae oS) Root in bass. 3rd in bass Sth in bass ‘7th in bass. Now Aad inverts 07% so when you see wo pots a ad apart the high of che? pitches ‘The intervals above the lowest sounding note—(the bass) that are created when a seventh chord is inverted will be discussed in more detail in Chapter 6. At this point we want to simply recognize a seventh chord, identify che note that is the root of the chord, determine the quality of the triad and the seventh, and determine the inversion if appropriate. In order to apply this information, le’ go back ro the chorale on page 109 and identify the chords, quality, and inversions within the First phraseHarmonic Organization I: intervals, ‘riads, and Seventh Chords 115 REVIEW Step 1: Identify the key. The key is D Major. Let’ begin. Srp 2: Create the chord stack by putting the chord members in ‘snowman style” and identifying the root of the chord by putting it on the bottom of the stack. Iden- tify the notes that are doubled by pucting them side by side in the stack. Circle the notes that are in the bass—this will tell you the inversion. Ifi¢sa seventh chord— just keep stacking. Aurelia Sarmuel Wesley (1810-1876) Step 3: What do we know now? Based on the chord stack and the circles we know that chord numbers 1 (also 2, 3), 5, 12, and 13 are in root positior. All the triads in root position have the root of the chord doubled in this example. Chord numbers 4and 11 ate in second inversion. In chese ewo chords the fifth of the chord has been doubled. Chord numbers 7, 12 and 9, 10 are seventh chords (7 and 12 are che same chord, and 9 and 10 are the same chord). Of these four seventh cords, only one (12) isin toot position, Chord number 7 has the seventh of the chord as the lowest sounding note, while 9 and 10 are first inversion seventh chords. Chord 8 is a first inversion triad, Chord numbers 1, 5, 6, 8, 1L, and 13 are D Major chords—tonic in this key. Iris the chord most often used.146 AP Music Thoory ‘Srp 4: Determine the quality and inversion of cach triad or seventh chord, 1,23 4 eA 9, 10 iL 12 13 FOR YOUR INFORMATION We will mention at this point the chord symbols used for chords and inversions ‘Although i is not tested on the exam, many students are familiar with this way of labeling chords and often find i helpful when learning the concepts of chord iden- tification and inversion. In chord symbols a root position G Major triad is simply written G. The G Major triad with an added minor seventh is written G?. The G minor triad is written Gm, The G Major chord in first inversion is labeled G/B and the G Major chord in second inversion is labeled G/D. The pitch after the slash indicates the lowest sounding pitch in the chord. If there is no slash the chord is in root position, Chord symbols are placed above the staff. Here’s what the chord symbols would look like added to our Atelia example: Aurelia ‘Samuel Wesley (1810-1876) D GD D D/A AYG D/FR Em/G D/A AT D + ® DD G A —>@a @ EF Aa BB EA Fe ———> B FF FR a e@ ©@ co OF ma =e @p D A DD E E @® Op ewe dee sid ses 7 8 9 10 no.Harmonie Organization |: lntervais, Triads, and Seventh Chords Here are the answers to Step 4: 1(2, 3) = D Major triad in root position 4/= G Major triad in second inversion D Major triad in root position 6 = D Major triad in second inversion 7 = A Major triad with m7 (Mm7 chord) "The seventh of the chord is in che bass. (Yes, that would be third inversion.) 8 = D Major triad in firse inversion 9(10) = E minor triad with m7 in first inversion (mm7 chord) 11 = D Major triad in second inversion 12 = A Major triad with m7 in root position (Min7 chord) 13 = D Major triad in root position HEBD For additional seudy, see Abide With Me (or any other hyma tunes available in Appendix B ) as well as the full chorale of Aurelia Do an analysis of the chords by stacking like a snowman with the coot on the bottom. Label the chord with letter name and quality. Circle the nore that is in the bass, Note that some chords are inverted. Chapter Summary ‘An interval is the distance between two noces. Literals are melodic (sound , or harmonic («wo notes sounding at che ing one after another as in a melody same time. + We describe exact interval size by quantity (size) and quality. ‘* Intervals diatonic in a major scale are PL M3, P4, P5, M6, M7, P8. © When the quantity remains the same, an interval that is one half step smaller than major is minor. + When the quantity remains the same, an interval that is one half step smaller than perfect or minor is diminished. + When the quantity remains the same, an interval that is one half step larger than major ot perfect is augmented. + Enharmonic intervals sound the same but are spelled differenti. + The only diatonic augmented or diminished intetval is the augmented fourth or diminished fifth. The augmented fourth is commonly called a tritone. + When a major or perfect interval is made one whole step larger, without chang ing the letter names of the pitches, ic is called doubly augmented. When a tminot or perfect interval is made one whole sep smaller without changing the letter names of the pitches it is called doubly diminished. + Intervals are inverted by transferring the lower note an octave higher or by transferring the higher note an octave lower «+ Jntervals that are one octave of smaller are called simple intervals. + Intervals that are larger chan an octave are called compound intervals. The most common are the ninth, tenth, eleventh, and twelfth, which correspond to an octave plus a second, third, fourch, and fifth 47118 AP Music Theory + Consonant intervals are the P1, P5, P8, M3, m3, M6, m6, and sometimes the PA, depending on context. + Dissonant intervals are M2, m2, M7, m7, all augmented and diminished incervals, and sometimes the P4, which is generally considered a dissonance when used harmonically above the bass. + ‘The motion of the dissonant interval to the consonant that acts as its goal is calied resolution. + A triad is a three-note chord made up of two intervals stacked in thirds. The lower note is called the root, the middle note is the third because i isan incer- val of a third above the root, and the upper note is called che fifth, a fifth above the root = M3 and PS = major triad — m3 and P5 = minor triad — MB and AS = augmented triad — m3 and dim5 = diminished triad # Ifyou know what the major chord is, then you can easily adjust the third and the fifth to create the other chord qualities. — From major, raise the fifth of the chord to create an augmented chord, — From major, lower the third to create a minor chord. = From major, lower the third and the fifth to create a diminished chord, or lower only the fifth from the minor chord. # Triads that have a chord member other than the root as the lowest sounding voice (the bass) are called inversi = Root position—when the root of the chord is in the bass — First inversion—when the third of the chord is in the bass = Second inversion—when the fifth of the chord is in the bass * ‘The chord buile on the seventh scale degree in natural minor is called the subronic triad. + A seventh chord contains four notes—the root, third, fifth, and seventh. Because this arrangement of tones contains an interval of a seventh, which is a dissonant interval, all seventh chords are dissonant (unstable). + Five basic seventh chords: — Major seventh (Major triad + Major seventh) — Dominant seventh or Major-minos seventh (Major triad + minor seventh) Minor seventh (minor triad + minor seventh) Half diminished seventh (diminished triad + minor seventh) Fully-diminished seventh (diminished triad + diminished seventh)Harmonic Organization |: Intervals, Triads, and Seventh Chords 119 Practice Exercises Questions 1-7 are based on phrase 1 of the hymn Aberystwyzb, Aberystwyth «The key of this excerpt is (A) G Major (B) G minor (C) Eminor (D) B minor Identify the chord and inversion of chord 1. (A) B minor in root position (B) E minor in first inversion (©) E minor in second inversion (D) G Major in frst inversion ‘What chord member is doubled in chord 1? {A) The root is doubled. (B) The third is doubled. (© The fifth is doubled. (D) No note is doubled. What chord member does the alto sing in chord 3? (A) The thied of an E. minor triad (B) The fifth of an E minor triad (©) The root of a B Major triad (D) The root of a B Major seventh chord Joseph Parry (1841-1903) . All of the following are true of chord 2 except (A) Ieisa B Major triad with an added seventh in the tenor (after the beat). (B) Ir has So in the bass. (©) Dt is che third of the chord and the leading tone in E haemonic minor, (D) It contains an interval of a P4 against the 2ass. . Chord 4 would be identified as an E minor chord {A) in root position (B) in first inversion (©) in second inversion (D) with an added seventh Chord 5 would be identified as a B Major (A) seventh chord (B) triad in root position (© chord in fist inversion {D) choxd in second inversion120 AP Music Theory Questions 8-16 are based on the string parts from this Concerto Gros by Corelli. We have seen this example before; however, this time we will look at interval, chords, and inversions. Concerto Grosso Op. 6, No. 8 (“Christmas Concerto”—excerpt of string section parts) Arcangelo Corelli (1653-1713) Vivace Violin I Violin IT Viola ‘Violoncello 8, The key of this example is 10, The chord on the downbeat of measure 2 is (A) Bb Major (A) an A Major chord in root position @) G minor (B) an A minor chord in root position (© G Major (© 2D Major chord in second inversion () D minor (D) an F¢ diminished chord in first inversion 9. The F# in this example would be identified as the 11. The intecval beeween the notes in first and ee second violin in this chord (m2, beat 1) is (B) subtonic (A) P& © leading tone @) Ps (D) median © dims (D) As13. 14 15. 16. Harmonic Organization |: Intervals, itiads, and Seventh Chords The interval between the cello and the viola (in the same chord) is a compound interval ‘This interval reduces to (A) M2 (B) M3 (© m3 (D) P4 ‘The chord at the fermata is a (A) D Major triad (B) D Major triad with an added seventh (©) G Major triad (D) G minor triad The viola plays what chord member in the chord at the fermata? (A) The root of the chord (B) The third of the chord (©) The fifth of the chord (D) The seventh of the chord What position is the chord at the fermata? (A) Root position (B) First inversion (C) Second inversion (D) Third inversion The chord immediately preceding the fermata is identified as (A) Bb Major in root position (B) By minor in root position (©) C minor in first inversion (D) A minor in first inversion 421 17. Which of the following is not a minor sixth incerval? 18. All of the following are true of this chord, except (A) Ics ¢ major chord with an added m7. (B) Ie in first inversion. (©) The root of the chord is E. (D) The fifth of the chord is G. 19, All of che following intervals are enharmonic equivalents except (A) M2and dim3 (8) M7 and m2 (C) dimS and A4 (D) m6 and AS 20. The difference between a half-diminished seventh chord and a fully-diminished seventh chord is the (A) quality of the tiad (B) third is lower in half-diminished (©) fife is lower in fully-diminished (D) quaity of the seventh