Understanding Basic Music Theory, 2013a

More documents

Recommendations

Info

4.8.6 Modes and Ragas Many music traditions do not use scales. The most familiar of these to the Western (Section 2.8) listener are medieval chant and the classical music of India. In these and other modal traditions, the rules for constructinga piece of music are quite dierent than the rules for music that is based on a scale. Please see Modes and Ragas (Section 6.3) for more information. 4.8.7 Other Scales There are many, many other possible scales that are not part of the major-minor system. Some, like pentatonic and octatonic scales, have fewer or more notes per octave, but many have seven tones, just as a major scale does. A scale may be chosen or constructed by a composer for certain intriguing characteristics, for the types of melodies or harmonies that the scale enables, or just for the interestingor pleasant sound of music created usingthe scale. For example, one class of scales that intrigues some composers is symmetrical scales. The chromatic scale (p. 117) and whole tone (Figure 4.48: A Whole Tone Scale) scales fall into this category, but other symmetrical scales can also be constructed. A diminished scale, for example, not only has the "symmetrical" quality; it is also a very useful scale if, for example, you are improvisinga jazz solo over diminished chords (Section 5.2.2: Augmented and Diminished Chords). 153 A Diminished Scale Figure 4.54: Like chromatic and whole tone scales, a diminished scale is "symmetrical". Some scales are loosely based on the music of other cultures, and are used when the composer wants to evoke the music of another place or time. These scales are often borrowed from Non-western traditions, but are then used in ways typical of Western music. Since they usually ignore the tuning, melodic forms, and other aesthetic principles of the traditions that they are borrowed from, such uses of "exotic" scales should not be considered accurate representations of those traditions. There are examples in world music (Section 2.8.2: Jazz, Blues, and World <strong>Music</strong>), however, in which the Non-western scale or mode (Section 6.3) is used in an authentic way. Although there is general agreement about the names of some commonly used "exotic" scales, they are not at all standardized. Often the name of a scale simply reects what it sounds like to the person usingit, and the same name may be applied to dierent scales, or dierent names to the same scale. Available for free at Connexions
154 CHAPTER 4. NOTES AND SCALES Some "Exotic" Scales Figure 4.55 You may want to experiment with some of the many scales possible. Listen to one version each of: "diminished" scale 94 , "enigmatic" scale 95 , "Romanian" Scale 96 , "Persian" scale 97 and "Hungarian Major" Scale 98 . For even more possibilities, try a web search for "exotic scales"; or try inventing your own scales and using them in compositions and improvisations. An "Enigmatic" Scale Figure 4.56 94 See the le at 95 See the le at 96 See the le at 97 See the le at 98 See the le at Available for free at Connexions
Page 2:
Understanding Basic Music Theory Co
Page 5 and 6:
This selection and arrangement of c
Page 7 and 8:
iv Attributions ...................
Page 9 and 10:
2 sometimes use dierent terms for t
Page 11 and 12:
4 CHAPTER 1. NOTATION The Sta Figur
Page 13 and 14:
6 CHAPTER 1. NOTATION 1.1.2 Clef 3
Page 15 and 16:
8 CHAPTER 1. NOTATION C Clefs Figur
Page 17 and 18:
10 CHAPTER 1. NOTATION Figure 1.11:
Page 19 and 20:
12 CHAPTER 1. NOTATION Figure 1.14
Page 21 and 22:
Page 23 and 24:
16 CHAPTER 1. NOTATION Using double
Page 25 and 26:
Page 27 and 28:
Page 29 and 30:
22 CHAPTER 1. NOTATION Exercise 1.1
Page 31 and 32:
24 CHAPTER 1. NOTATION 1.1.5.3 Enha
Page 33 and 34:
26 CHAPTER 1. NOTATION not have a h
Page 35 and 36:
28 CHAPTER 1. NOTATION Example 1.2
Page 37 and 38:
30 CHAPTER 1. NOTATION Stem Directi
Page 39 and 40:
Page 41 and 42:
Page 43 and 44:
Page 45 and 46:
38 CHAPTER 1. NOTATION But the cond
Page 47 and 48:
40 CHAPTER 1. NOTATION If there is
Page 49 and 50:
Page 51 and 52:
44 CHAPTER 1. NOTATION Some Borrowe
Page 53 and 54:
46 CHAPTER 1. NOTATION The rst meas
Page 55 and 56:
Page 57 and 58:
50 CHAPTER 1. NOTATION 1.2.9 Repeat
Page 59 and 60:
52 CHAPTER 1. NOTATION Repeat Endin
Page 61 and 62:
Page 63 and 64:
56 CHAPTER 1. NOTATION Gradual Dyna
Page 65 and 66:
58 CHAPTER 1. NOTATION 1.3.2.3 Comm
Page 67 and 68:
60 CHAPTER 1. NOTATION Slurs vs. Ti
Page 69 and 70:
62 CHAPTER 1. NOTATION Solutions to
Page 71 and 72:
Page 73 and 74:
Page 75 and 76:
Page 77 and 78:
70 CHAPTER 2. DEFINITIONS • Rhyth
Page 79 and 80:
72 CHAPTER 2. DEFINITIONS You can a
Page 81 and 82:
74 CHAPTER 2. DEFINITIONS Anteceden
Page 83 and 84:
76 CHAPTER 2. DEFINITIONS Theme fro
Page 85 and 86:
78 CHAPTER 2. DEFINITIONS 2.4.2.3 P
Page 87 and 88:
80 CHAPTER 2. DEFINITIONS explained
Page 89 and 90:
82 CHAPTER 2. DEFINITIONS When ther
Page 91 and 92:
84 CHAPTER 2. DEFINITIONS Describin
Page 93 and 94:
86 CHAPTER 2. DEFINITIONS can play
Page 95 and 96:
88 CHAPTER 2. DEFINITIONS chord tha
Page 97 and 98:
90 CHAPTER 2. DEFINITIONS • From
Page 99 and 100:
92 CHAPTER 2. DEFINITIONS Available
Page 101 and 102:
94 CHAPTER 3. THE PHYSICAL BASIS Fi
Page 103 and 104:
96 CHAPTER 3. THE PHYSICAL BASIS wa
Page 105 and 106:
98 CHAPTER 3. THE PHYSICAL BASIS 3.
Page 107 and 108:
100 CHAPTER 3. THE PHYSICAL BASIS N
Page 109 and 110: 102 CHAPTER 3. THE PHYSICAL BASIS 3
Page 111 and 112: 104 CHAPTER 3. THE PHYSICAL BASIS r
Page 113 and 114: 106 CHAPTER 3. THE PHYSICAL BASIS b
Page 115 and 116: 108 CHAPTER 3. THE PHYSICAL BASIS H
Page 117 and 118: 110 CHAPTER 3. THE PHYSICAL BASIS S
Page 119 and 120: 112 CHAPTER 4. NOTES AND SCALES Hig
Page 121 and 122: 114 CHAPTER 4. NOTES AND SCALES Nam
Page 123 and 124: 116 CHAPTER 4. NOTES AND SCALES Key
Page 125 and 126: 118 CHAPTER 4. NOTES AND SCALES Lis
Page 127 and 128: 120 CHAPTER 4. NOTES AND SCALES Fig
Page 129 and 130: 122 CHAPTER 4. NOTES AND SCALES Thr
Page 131 and 132: 124 CHAPTER 4. NOTES AND SCALES sam
Page 133 and 134: 126 CHAPTER 4. NOTES AND SCALES Rel
Page 135 and 136: 128 CHAPTER 4. NOTES AND SCALES Dor
Page 137 and 138: 130 CHAPTER 4. NOTES AND SCALES 4.5
Page 141 and 142: 134 CHAPTER 4. NOTES AND SCALES Maj
Page 143 and 144: 136 CHAPTER 4. NOTES AND SCALES Som
Page 145 and 146: 138 CHAPTER 4. NOTES AND SCALES Inv
Page 147 and 148: 140 CHAPTER 4. NOTES AND SCALES •
Page 149 and 150: 142 CHAPTER 4. NOTES AND SCALES Bug
Page 151 and 152: 144 CHAPTER 4. NOTES AND SCALES hor
Page 153 and 154: 146 CHAPTER 4. NOTES AND SCALES If
Page 159: 152 CHAPTER 4. NOTES AND SCALES An
Page 165 and 166: 158 CHAPTER 4. NOTES AND SCALES Enh
Page 173 and 174: 166 CHAPTER 4. NOTES AND SCALES Ava
Page 175 and 176: 168 CHAPTER 5. HARMONY AND FORM Exe
Page 177 and 178: 170 CHAPTER 5. HARMONY AND FORM Fig
Page 179 and 180: 172 CHAPTER 5. HARMONY AND FORM Exe
Page 183 and 184: 176 CHAPTER 5. HARMONY AND FORM In
Page 185 and 186: 178 CHAPTER 5. HARMONY AND FORM Cho
Page 187 and 188: 180 CHAPTER 5. HARMONY AND FORM 5.4
Page 189 and 190: 182 CHAPTER 5. HARMONY AND FORM Add
Page 193 and 194: 186 CHAPTER 5. HARMONY AND FORM Cho
Page 195 and 196: 188 CHAPTER 5. HARMONY AND FORM Typ
Page 197 and 198: 190 CHAPTER 5. HARMONY AND FORM and
Page 199 and 200: 192 CHAPTER 5. HARMONY AND FORM the
Page 201 and 202: 194 CHAPTER 5. HARMONY AND FORM mos
Page 203 and 204: 196 CHAPTER 5. HARMONY AND FORM 5.7
Page 205 and 206: 198 CHAPTER 5. HARMONY AND FORM Lis
Page 207 and 208: 200 CHAPTER 5. HARMONY AND FORM •
Page 211 and 212:
204 CHAPTER 5. HARMONY AND FORM Fig
Page 213 and 214:
206 CHAPTER 5. HARMONY AND FORM Sol
Page 215 and 216:
208 CHAPTER 5. HARMONY AND FORM Fig
Page 217 and 218:
210 CHAPTER 6. CHALLENGES So, you o
Page 219 and 220:
212 CHAPTER 6. CHALLENGES 6.1.2.5 R
Page 221 and 222:
214 CHAPTER 6. CHALLENGES Harmonic
Page 223 and 224:
216 CHAPTER 6. CHALLENGES sharp/A a
Page 225 and 226:
218 CHAPTER 6. CHALLENGES most pitc
Page 227 and 228:
220 CHAPTER 6. CHALLENGES Comparing
Page 229 and 230:
222 CHAPTER 6. CHALLENGES of the so
Page 231 and 232:
224 CHAPTER 6. CHALLENGES Compariso
Page 233 and 234:
226 CHAPTER 6. CHALLENGES Western (
Page 235 and 236:
228 CHAPTER 6. CHALLENGES Figure 6.
Page 237 and 238:
230 CHAPTER 6. CHALLENGES Example w
Page 239 and 240:
232 CHAPTER 6. CHALLENGES 6.4 Trans
Page 241 and 242:
234 CHAPTER 6. CHALLENGES Find the
Page 243 and 244:
236 CHAPTER 6. CHALLENGES Transposi
Page 245 and 246:
238 CHAPTER 6. CHALLENGES in A at,
Page 247 and 248:
240 CHAPTER 6. CHALLENGES (a) (b) F
Page 249 and 250:
242 CHAPTER 6. CHALLENGES Figure 6.
Page 251 and 252:
244 CHAPTER 6. CHALLENGES • If yo
Page 253 and 254:
246 CHAPTER 6. CHALLENGES Solutions
Page 255 and 256:
248 INDEX Index of Keywords and Ter
Page 257 and 258:
250 INDEX Half-cadence, 193 half-di
Page 259 and 260:
252 INDEX rhythm harmonic rhythm,
Page 261 and 262:
254 ATTRIBUTIONS Attributions Colle
Page 263 and 264:
256 ATTRIBUTIONS Module: "Tempo" By
Page 265 and 266:
258 ATTRIBUTIONS Module: "Harmonic
Page 267 and 268:
260 ATTRIBUTIONS Module: "Form in M
show all

Understanding Basic Music Theory, 2013a

Create successful ePaper yourself

Delete template?

Save as template?