Music Theory?

[Just Me]

Here's an Interactive Circle of Fifths:

http://randscullard.com/CircleOfFifths/

Since that works off-line, I see it as being very handy. Thanks.

[latigid on]

My 0.02:

Don't forget the flat scales!

Battle Ends And Down Goes Charles Father (the flats used in the scales).

So the scales are: C, F, Bb, Eb, Ab, Db, Gb, Cb (B), Fb (E).

C Major: no flats
F Major: Bb
Bb Major: Bb, Eb
etc.

Like the sharp scales, you add a flat each time you go DOWN a perfect fifth (which is an octave lower than a perfect forth ABOVE the tonic/root (it's a frequency thing...)).

It's easy to remember which scale you're in, because the second to last flat used (excluding C Major and F Major) is the name/tonic of the scale.

Confused?

[DeFrag]

Here's an Interactive Circle of Fifths:

http://randscullard.com/CircleOfFifths/

Since that works off-line, I see it as being very handy. Thanks.

You can actually save a copy of that page with IE into a .MHT file for offline use.

[hieronymous]

I learned the naughty versions in my high school jazz band class:

Fred Can Get Drunk At Every Bar (order of sharps)

Can Girls Do Anything Else But Flirt Constantly (circle of fifths)

[Voltor07]

Here's an Interactive Circle of Fifths:

http://randscullard.com/CircleOfFifths/

Since that works off-line, I see it as being very handy. Thanks.

You can actually save a copy of that page with IE into a .MHT file for offline use.

I do like that interactive Circle of Fifths. Very nice find!

[DeFrag]

Scales & Intervals

Really geared toward guitarists but the theory is the same...

There are hundreds of scales but you really only need to know one pattern. The pentatonic scale is the most widely used scale by guitarists and is the scale of choice in soloing. Blues and rock use the pentatonic minor heavily while country leans more towards using the pentatonic major. The major and minor pentatonic scale, share the same pattern & each major key, chord, and scale have corresponding relative minor positions. The 1st and the 5th scale degrees are common to both the major pentatonic and the minor pentatonic, To change keys you'll simply move the pattern up or down the neck. For the pentatonic scales (major and minor) there are only 5 different patterns. By learning these 5 patterns (and realizing where the root note lies in the major and minor patterns) you are in fact learning 24 scales. The 5 patterns run the entire scale of the fret board, so mastering all 5 will give you the means to play them anywhere on the neck.

All you have to do to play them in different key signatures is to play them so as the root note matches the key. If you're playing in the key of Am, you can play any of the minor pentatonic patterns so as the root note is on A. If you're playing in the key of C you can play the any of the major pentatonic patterns so that the root note is on C. In effect you don't have to learn them in every key. You just have to learn the patterns. Practice a scale pattern until you become familiar with all the tones in it, so you can move to whatever tone you want without delay. If you've noticed, a lot of great players like to toss lead licks in here and there during their rhythm playing. This is easier done if you use a scale that is on the same location of the neck as the chord your using.

You should learn and practice major scales in the first position in the common keys of C, G, D, A, E, and for the ambitious, the relative minors of these major keys and movable scale patterns. Major scales that begin with the 2nd finger on the 6th string, as well as the pattern that begins with the 2nd finger on the 5th string should be learned. After that, the major scale pattern that begins with the 4th finger should be learned, first from the 6th string, then the 5th.

Major
W W H W W W H

Minor
W H W W H W W

Melodic Minor
W H W W W W H

Harmonic Minor
W H W W H A2 H

Common Intervals
Minor Second = 1 half step
Major Second = 2 half steps
Minor Third = 3 half steps
Major Third = 4 half steps
Perfect Fourth = 5 half steps
Tritone = 6 half steps
Perfect Fifth = 7 half steps
Minor Sixth = 8 half steps
Major Sixth = 9 half steps
Minor Seventh = 10 half steps
Major Seventh = 11 half steps
Octave = 12 half steps

Scale Degrees
First note: Tonic
Second note: Supertonic
Third note: Mediant
Fourth note: Subdominant
Fifth note: Dominant
Sixth note: Submediant
Seventh note: Leading/Subtonic
Eighth note: Octave

Chromatic from any Root

Half Steps/Common Names
0 Perfect Unison (PU)
1 Minor Second (m2)
2 Major Second (M2)
3 Minor Third (m3)
4 Major Third (M3)
5 Perfect Fourth (P4)
6 Diminished Fifth (D5) Augmented Fourth (A4)
7 Perfect Fifth (P5)
8 Minor Sixth (m6) Augmented Fifth (A5)
9 Major Sixth (M6)
10 Minor Seventh (m7) Augmented Sixth (A6)
11 Major Seventh (M7)
12 Perfect Octave (P8 )
13 Minor Ninth (m9)
14 Major Ninth (M9)
15 Minor Tenth (m10)
16 Major Tenth (M10)

The 2nd, 3rd, 6th and 7th are considered major intervals.
If you lower (flat) a major interval it becomes minor.
The unison, 4th, 5th and octave are considered perfect intervals.
If you lower a perfect interval, it becomes diminished.
If you raise (sharp) a perfect interval it becomes augmented.

Modes (Major, minor, & diminished)

Lydian (Maj)
Very bright, upbeat - Pop music

Ionian (Maj)
Sweet, happy, & bright - Love songs

Mixolydian
Medium-bright scale - Light rock, pop, & country

Dorian (min)
Perfect middle ground, not too bright or dark - Rock, blues, & country

Aeolian
Gritty, bluesy, warm sounding scale - Standard for rock & blues

Phrygian
Dark, classical metal sound - Randy Rhoads favorite

Locrian (dim)
Very dark, dissident, brooding - Heavy metal & dark classical

Harmonic Properties

The major scale may predominate because of its unique harmonic properties. It allows:

Major or minor chords, both stable and consonant, on every scale degree but the seventh

A diminished fifth in the seventh chord built on the fifth degree, the dominant
motion by a minor second from the leading tone to the tonic

Root motion by fifths, the strongest root motion, from nearly every degree in either direction, the exceptions being up a fifth from the seventh degree, down a fifth from the fourth degree.

[frankiben123]

wow....nice post.....
sales tracking software

[Voltor07]

Epic, DeFrag! I'll need to read that post several more times before I completely understand it, but I really appreciate that. Thanks!

[ColorForm2113]

This has been a great thread! I can't wait to get home and check out the interactive circle of 5ths!

[DeFrag]

This has been a great thread! I can't wait to get home and check out the interactive circle of 5ths!

Be sure to hold your mouse button down as you go over the keys & modes to see the circle "spin"!

Btw, I plan on posting theory every day or so until I run out.
So please stand by.

[Voltor07]

Btw, I plan on posting theory every day or so until I run out. So please stand by.

Thank you! That would be most helpful. I really do appreciate it.

[DeFrag]

Chromatic Scale

This scale comprises all 12 notes in an octave. The notes are arranged in consecutive order, either ascending or descending in half steps. Generally, sharps are used when ascending & flats are used when descending.

Diatonic Scales
Diatonic scales comprise of a series of consecutive half steps & whole steps in alphabetical sequence that uses all 7 note names. The pattern of steps determines the type of scale. The pattern is consistent from octave to octave. The two most commonly used diatonic scales are: major & minor.

Major Scale

The major scale is a series of eight pitches where the 8th note is the same as the 1st note but an octave higher. This scale comprises of half steps between steps 3 & 4 & half steps between 7 & 8. All other steps are whole. Major scales that begin & end on a note other than the scale name are known as modes. The scale pattern is: W W H W W W H

Natural Minor Scale

The scale pattern is: W H W W H W W

Harmonic Minor Scale

This is identical to the natural minor scale with the exception that the seventh step of the scale is raised. This creates a 1½ step gap (minor 3rd interval) between the 6th & 7th degrees: W H W W H m3 H

Melodic Minor Scale

This scale uses a different interval pattern when ascending & descending. The ascending pattern is identical to the natural minor but with raised 6th & 7th degrees: W H W W W W H The descending pattern of the melodic minor scale is the same as that of the natural minor.

Scale degrees

1. Tonic, 1st degree - determines the key/tonality
2. Supertonic, 2nd degree - “super” = above
3. Mediant, 3rd degree - midway between tonic & dominant
4. Subdominant, 4th degree - sub meaning ‘below’
5. Dominant, 5th degree - second only to tonic in terms of importance
6. Submediant, 6th degree - midway between tonic & subdominant
7. Leading tone, 7th degree - leads back to tonic.

Whole Tone Scales

There are only two possible whole tone scales: C & C#. This scale comprises of 6 notes separated by whole step intervals.

Tonal Pentatonic Scales These scales do not contain half steps, only intervals of a whole step or longer.

Major – W W m3 W m3

Minor – m3 W W m3 W

Semitonal Pentatonic scales This scale contains half step intervals.

Major - m3 H W m3 H

Minor – m3 W m3 H W

Blues Scale This is one of the more popular scales, especially with the major third & flat fifth.

The interval pattern is:
M3 H H H H m3 W

Key Signatures

A song that uses the same scale of notes above a certain tonic is referred to as being in the key of that tonic. Apart from the keys C major & A minor, all keys must use one or more accidentals (sharps & flats). These are placed at the beginning of each staff to avoid having to place them against each note where an accidental would be used. The music is therefore less cluttered & much easier to read.

Major Keys - Sharp Keys

C (no sharps)
C D E F G A B C
G Major (one sharp)
G A B C D E F# G
D Major (two sharps)
D E F# G A B C# D
A Major (three sharps)
A B C# D E F# G# A
E Major (four sharps)
E F# G# A B C# D# E
B Major (five sharps)
B C# D# E F# G# A# B

Major Keys - Flat Keys

C (no flats)
C D E F G A B C
F Major (one flat)
F G A Bb C D E F
Bb Major (two Flats)
Bb C D Eb F G A Bb
Eb Major (three flats)
Eb F G Ab Bb C D Eb
Ab Major (four flats)
Ab Bb C Db Eb F G Ab
Db Major (five flats)
Db Eb F Gb Ab Bb C Db

Minor Keys

A minor key has the same key signature as the major key that lies a minor third above it.A minor has the same key signature as C major.

Parallel Keys

A major key & minor key that share the same letter are called parallel keys. B major is the parallel key of B minor. In music, the parallel minor or tonic minor of a particular major key is the minor key with the same tonic; similarly the parallel major has the same tonic as the minor key. For example, G major & G minor have different modes but both have the same tonic, G; so we say that G minor is the parallel minor of G major.

To the Western ear, the switch from a major key to its parallel minor sounds like a fairly simplistic "saddening" of the mood (while the opposite sounds like a "brightening"). This change is quite distinct from a switch to the relative minor.

Flats always appear in the order B-E-A-D-G-C-F. Sharps always appear in the order F-C-G-D-A-E-B. For example, if there are 3 flats in the key signature, those flats would be B, E, & A. If there are 2 sharps in the key signature, they would be F & C. To find the parallel minor of a key, add 3 flats to the key signature. For example, F major has 1 flat (B). Adding 3 flats would yield 4 flats, meaning F minor consists of B, E, A, & D flat. B major has 5 sharps (F, C, G, D, A). To find B minor, add 3 flats. Since flats cancel out sharps, one is left with 2 sharps (F & C). To find the parallel major, add 3 sharps. E minor to E major: E minor has 1 sharp (F). Add 3 to get 4 sharps (F, C, G, D). F minor to F major: F minor has 4 flats (B, E, A, D). Add 3 sharps to get 1 flat (B).

Relative Keys

A major & minor key that have the same key signature are called relative keys. A minor is the relative minor key of C major & C major is the relative major key of A minor:

Major/Relative Minor
G/E
D/B
A/f#
E/c#
B/g#
F#/d#
C#/a#

Major/Relative Minor
C/A
F/D
Bb/G
Eb/C
Ab/F
Db/Bb
Gb/Eb
Cb/Ab

Enharmonic Keys

This is where two keys sound the same but are referred to by different names. There are three pairs of enharmonic major keys & three pairs of enharmonic minor keys:

Major
C#/Db
F#/Gb
B/Cb

Minor
Bb/A#
Eb/D#
Ab/G#

Circle of Fifths

All keys & their enharmonic relationships are summarized using the Circle of Fifths. The twelve keys are arranged in a fashion where the number of sharps in the signature increases as you go clockwise. As you go anti-clockwise, the number of flats increases.

Intervals

An interval is the distance between two specific pitches measured by the number of half steps/whole steps it contains. C to G is a fifth because it encompasses five letter names: C D E F G. Melodic intervals occur sequentially. Harmonic intervals occur simultaneously. Intervals can be perfect, major, minor, augmented or diminished.

Interval Quality

If you look at a major scale of C using the lower pitch as the root (tonic). If the upper pitch is one of the notes of the major scale & is the same note, fourth, fifth or an octave higher than the tonic, this is called perfect (P). If the upper pitch is a second, third, sixth or seventh above the tonic, the interval is called major (M).

• If a major interval is reduced by half a step, this is called a minor.

• A major or perfect interval that is increased by a half step is called augmented (aug).

• A minor or perfect interval decreased by a half step is called diminished (dim).

Compound Intervals

This is an interval that spans greater than one octave. A simple interval is are equal to or less than an octave in distance.

Chords

A chord is a simultaneous sounding of three or more pitches. Traditionally, in harmony, chords are constructed on a system of superimposed thirds.

Triads

A triad is basically a three note chord. The chord is made up of the first, third & fifth degrees of a scale. The lowest note sounded in the chord is in the ‘root position’ – the root of the chord.

Chord Quality

Depending on how they are constructed, chords may be any of the following: Major, minor, augmented, or diminished.

Major triads - a major triad consists of the first, third, & fifth degree of the scale

Minor triads - these are the first, minor third, & fifth degree of the scale

Diminished - these chords consist of the first, minor third, flat fifth, & double flat seventh degree of the scale. Note that double flat seventh is the same note as the sixth, but by convention it is usually written as double flat seventh!

Augmented - these are the first, third, & sharp fifth of the scale.

Extended Chords

These are defined as chords with four or more notes. They are named according to the highest interval:

Seventh Chord – adds the seventh degree of the scale above the basic triad.

Ninth Chord – add the ninth degree above the basic triad along with the seventh.

Eleventh Chord – adds the eleventh degree above the basic triad along with the seventh. The ninth degree can be included or omitted for it to still be considered an eleventh chord.

Thirteenth Chord – adds the thirteenth degree above the basic triad along with the seventh. Still referred to as a thirteenth chord even if the ninth & eleventh degree are not present.

Dominant Chords

A major triad built on the fifth degree of the scale with a minor seventh tone added is referred to as a dominant seventh chord. A dominant seven chord with the addition of the ninth is called a dominant nine chord.

Chord Inversions

A chord is in the root position as long as the root note is the lowest of all the notes within any given chord.
If any other note in the chord, other than the root is lowest, the chord is considered inverted.

First Inversion Chord – if the third degree of the chord is on the bottom.

Second Inversion Chord – if the fifth degree of the chord is on the bottom.

Note: Chord with extensions above the triad have additional inversions depending on the number of notes in the chord.

Chord Type/Formula

Major Triad = 1, 3, 5 of major scale
Minor Triad = 1, b3, 5
Augmented Triad = 1, 3, #5
Diminished Triad = 1, b3, b5
Sus2 = 1, 2, 5
Sus4 = 1, 4, 5
5th = 1, 5
6th = 1, 3, 5, 6
Minor 6th = 1, b3, 5, 6
Minor #6th = 1, b3, 5, #6
Major 7th = 1, 3, 5, 7
Minor 7th = 1, b3, 5, b7
7th (dominant) = 1, 3, 5, b7
Diminished 7th = 1, b3, b5, 6
7sus2 = 1, 2, 5, b7
7sus4 = 1, 4, 5, b7
9th = 1, 3, 5, b7, 9
Minor 9th = 1, b3, 5, b7, 9
Major 9th = 1, 3, 5, 7, 9
6/9 = 1, 3, 5, 6, 9
11th = 1, 3, 5, b7, 9, 11
13th = 1, 3, 5, b7, 9, 13

Or more simply:

Chord Type/Easy Formula
Major Triad = 1+3+5 of major scale
Minor Triad = 1+b3+5
Diminished Triad = 1+b3+b5
Augmented Triad = 1+3+#5
Major Seventh = 1+3+5+7
Dominant Seventh = 1+3+5+b7
Diminished Seventh = 1+b3+b5+6
Minor Seventh = 1+b3+5+b7

[Just Me]

Too big a bite. Can someone break this down into manageable bits?

Especially "Modes"
Saying what they feel like isn't helping understand them. What are they and what is the differance in the intervals between them?

[Bryan T]

Too big a bite. Can someone break this down into manageable bits?

Especially "Modes"
Saying what they feel like isn't helping understand them. What are they and what is the differance in the intervals between them?

Modes of the major scale:

Ionian: 1 2 3 4 5 6 7
Dorian: 1 2 b3 4 5 6 b7
Phrygian: 1 b2 b3 4 5 b6 b7
Lydian: 1 2 3 #4 5 6 7
Mixolydian: 1 2 3 4 5 6 b7
Aeolian: 1 2 b3 4 5 b6 b7
Locrian: 1 b2 b3 4 b5 b6 b7

Ionian you probably already know, as it is the major scale. Aeolian is what is referred to as the natural minor scale.

People talk about modes in different ways. Some well say, "D Dorian is just a C major scale, but starting on the D note." While that is true, for me, it misses the fact that Dorian has its own inherent sound. It doesn't sound like C major, it sounds like D Dorian.

Modes are used in a lot of different ways. You can exploit the sound of one in crafting a melody, to bring out different sounds against a single chord, or you can craft a chord progression to bring out the sound of the mode.

I like to play a droning note and then try the different modes against it. Play a C and then play C Ionian, C Dorian, C Phrygian, etc.

Bryan

[Hit]

Modes ...

The easy way to see them is to consider just the white keys on the keyboard

Recall that CMaj is CDEFGABC ... this is the Ionian Mode (WWHWWWH)
and Amin is ABCDEFGA ... this is Aeolian (WHWWHWW)

The rest are

Locrian BCDEFGAB (HWWHWWW)
Dorian DEFGABCD (WHWWWHW)
Phrygian EFGABCDE (HWWWHWW)
Lydian FGABCDEF (WWWHWWH)
Mixolydian GABCDEFG (WWHWWHW)

Ionian, Lydian and Mixolydian are considered major modes or scales as they have the major third. Aeolian, Dorian and Phrygian are considered minor modes as they contain the minor third. Locrian has the minor third but also the diminished fifth and is considered a diminished scale.