The Complete Musician: Chapter 3 Notes

The Complete Musician: Chapter 3 Notes

Intervals and Melody

dyad = two notes articulated at the same time
interval = the distance between the two pitches in a dyad

Naming Generic Intervals

generic interval = 1st, 2nd, etc.
1st = unison = prime
melodic interval = A then B
harmonic interval = A and B (at the same time)
simple interval > octave > compound interval
any interval larger than a twelfth is changed to it's simple form (compound 2nd/octave plus a 2nd)

Tips for Identifying Generic Intervals

same line = odd
different line = even

Naming Specific Intervals

Intervals must be identified by their quality and their generic name, producing their "specific size".
P stands for Perfect. Perfect intervals include the unison (P1), the fourth (P4), the fifth (P5), and the octave (P8). Perfect intervals ARE ALWAYS PERFECT, NO EXCEPTIONS.
M stands for Major
m stands for minor
every other interval (2, 3,6, 7) can be either major or minor.
Major intervals are found in the major scale, minor intervals in the minor scale, (except for M2, which is in the minor scale (But who knows why???)

Transforming Intervals: Augmented and Diminished Intervals

(A/+) Augmented is one semitone above
(M) Major which is one semitone above
(m) minor which in one semitone above
(d/°) diminished

(A/+) Augmented is one semitone above
(P) Perfect which is one semitone above
(d/°) diminished

Interval Inversion

inversion = moving the lower pitch up one octave
the inversion of generic intervals always sums to 9
the interval's quality is reversed
the number of half-steps in the inverted and uninverted interval always sums to 12
tritone = 3 whole step intervals

Generating All Intervals

There are two methods for generating inverted intervals:
1. is to invert it (again) and transpose it down an octave.
2. is count by generic intervals, then match a quality to it.

Enharmonic Intervals

Same sound, different name

Consonant and Dissonant Intervals

consonant intervals = the unison, the third, the fifth (perfect only), the sixth and the octave (the stable ones)
dissonant intervals = the second, the seventh, all diminished and all augmented intervals. (unstable) perfect fourth is usually seen as dissonant
perfect consonances = P1, P5, P8
imperfect consonances = M/m 3/6
perfect dissonances = all frms of 2nds, 4ths and 7ths
imperfect dissonances = all augmented and diminished interals

Melody: Characteristics, Writing and Listening 

counterpoint = combined melodies
harmonies = the "vertical pillars" that result from counterpoint
So when does a melodic interval need to be labeled and given a contour? And if it is not always necessary, when? And how many notes rising or falling in succession do I  need to find before it qualifies? What do specific intervals mean? How do I know this for sure?
motives = short rhythmic and melodic patterns
melodic cadence = the "approach to the final pitch by step
conjunct motion = moving by steps
disjunct motion = moving by skips or leaps
tendency tones = tones that tend to resolve to a more stable note one half step away.
law of recovery = "change of direction by step before and after a leap"
skip = jump by a third
leap = fourth or higher (larger?)

Melody Writing 101

Begin with a tonic, subdominant or dominant
End with leading tone->tonic or supertonic->tonic
Keep the highest and lowest notes within a tenth of each other
Keep most of the notes within a sixth of each other (tessitura)
Move mostly by steps. Use skips/leaps under the following conditions:
Keep them smallish (like a third).  1/2 big leaps are okay ONLY  if no larger than minor 6th.
No dissonant leaps. They should lead to a change of direction in order to fill in at least some of the musical space they created
2 skips in a row ONLY if they are thirds and you change direction after that.
Avoid repeated notes and repetitive patterns (Philip Glass says hi) or sequences because such patterns result in a highly predictable melody. It is best to restrict the use of patterns to one repetition.
Aim for a logical shape. Only one (1) melodic climax  per melody. Usually they occur around half way through the piece. Aesthetic bonus points for reaching the climax in steps, not leaps.
melodic climax = "a single melodic high point"

Melodic Dictation

dictation = memorising and notating melodies ,counterpoint and harmony without a score
Dictation tips:
DO NOT WRITE DOWN EVERY NOTE AS YOU HEAR IT!!! You will lose focus of the musical context when you focus on one note (This sounds suspiciously like he's advocating for movable-do solfege). Also note by note approach is bad. Trying to notate while listening to the music is a bit stupid- it will be too fast for you and you will have to listen to it again!
 What is needed is LONG-TERM MEMORY.

Terms and Concepts

chromatic and diatonic half steps
climax, Melodic
compound and simple intervals
conjunct and disjunct motion
consonances: perfect vs. imperfect
diatonic intervals
dissonance, dissonant intervals
enharmonic intervals
generic interval vs specific interval; intervallic quality
harmonic interval vs. melodic interval
 interval types: augmented, diminshed, major, minor, and perfect intervals
intervallic consonance vs dissonance
inversion of intervals law of recovery
tendency tones
tritone