Writing and Identifying 6ths and 7ths

Writing 6ths and 7ths:

Identifying 6ths and 7ths:

(Why does YouTube keep choosing a screenshot of me with my eyes closed?)

Review Videos on Writing/Identifying Intervals

Sorry for the late homework, which should have just received via email.  We'll go over it, and the minor scales from Friday's homework, in class tomorrow (Monday) morning.

We've now reached the point where if you aren't fluent in both clefs, and you don't remember that there's only a half-step (and no black key on the keyboard) between B/C and E/F, you're going to find this very confusing.

• If you're not fluent in a clef, go through all the exercises and the "trainer" at www.musictheory.net.
• If you don't remember E&F and B&C, then say them over and over every day!

On Friday, we learned 2 methods for identifying and writing intervals.  

The whole/half step system

One is to remember how many whole and half steps there are in each interval.

Steps      Intervals--most common and (less common enharmonic equivalent)

0             P1 (d2)

0.5          m2 (A1)

1             M2 (d3)

1.5          m3 (A2)

2             M3 (d4)       

2.5          P4 (A3)

3             A4 and d5

3.5         P5 (d6)

4            m6 (A5)

4.5         M6 (d7)

5            m7 (A6)

5.5         M7 (d8)

6            P8

I prefer to think in terms of whole and half steps.  Some people find it easier to remember the total number of half steps.  If you are one of them, multiply each number of whole steps above to get the number of half steps.  (So a m2 is 1 hs, a M2 is 2 hs, a M& is 11 hs, etc.)

Writing/Identifying 4ths and 5ths using Whole/half step system:

(Watching this video I see that when I finish writing the augmented fourth, I proudly proclaim it an augmented 2nd--it still is a fourth!  Similarly, at one point I write an e-flat and call it an "e" a couple of times before I start calling it an e-flat.  It's an e-flat all along!  I need a producer/director, I guess.)

The major scale system

The other is to think in terms of a major scale, with the bottom note as the tonic.  In a major scale, from the tonic to any note in the scale, the quality is either major or perfect.  So 1-2 is a M2, 1-3 a M3, 1-4 a P4, 1-5 a P5, 1-6 a M6, 1-7 a M7, 1-8 a P8.  

So when identifying an interval, use the the bottom note as the tonic, determine the key signature for the major key, and see if the top note is in the major key.  If it is, the interval is major or perfect.  If not, determine if it's bigger or smaller and then you can easily name the quality.

When writing an interval, if the bottom note is given, first write the generic interval.  Determine the key signature using the bottom note as the tonic, then adjust the top note as needed.  If the top note is given, write the generic interval, determine the key signature for the bottom note, see if the top note is in that key (which will tell you the quality of the interval as you've just written it), and if necessary adjust the bottom note so the interval is the correct size.  

Review Videos: 2nds and 3rds, Double Accidentals, and Harmonic Minor Scales

Here's a passel of review videos.  Have fun with the homework.

Double Flats and Double Sharps

Major, Minor, Diminished, and Augmented Seconds

Remember:

• d (diminished) 2nd: 0 half steps (enharmonic equivalent)
• m (minor) 2nd: 1 half step
• M (Major) 2nd: 2 half steps
• A (Augmented) 2nd: 3 half steps 

Thirds: M, m, d, and A

How many half steps?

• d3: 2 half steps (same as a major second)
• m3: 3 half steps (1.5 steps)
• M3: 4 half steps (2 steps)
• A3: 5 half steps (2.5 step)

Questions?

I hope so!  Post them in the comments below.

Review Videos for 3/6/2013

I've sent you an email with the homework for Wednesday 3/6.  Here are video reviews of the material we covered.  (A previous post has a video on writing and identifying generic intervals.)

Identifying and Labeling Relative Major and Minor Key Signatures

Tetrachords!

Writing Ascending Melodic Minor Scales Using Key Signatures and Accidentals