An octave is equal in size to twelve semitones. A semitone, on the other hand, is the distance between a pitch and the very next pitch above or below it-middle C and the B directly below it, for example. An octave is the distance from one pitch to the next pitch above or below it that has the same letter name-for example, middle C to the next C above (or below) it. There, we discussed two different intervals: semitones and octaves. In Chapter 5 we introduced the concept of an interval as the perceived distance between two pitches. While the keynote may be the most important and defining pitch of any given scale, it is the organization of the remaining notes-the other six scale degrees-that give each scale its unique identity. Major scales-and minor scales, as we will discuss shortly-are named after their keynotes: C-major scales have C as their keynote, A b-major scales have A b as their keynote, and so on. Although this scale is spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G #). You may even repurpose the whole lab to target a single skill, like sight reading or ear training, or to warm up for a piece you're practicing in the same key.This scale is spelled incorrectly. Try using the simpler activities to warm up your fingers or to reinforce your musical understanding. Don’t feel the pressure to complete all the exercises lab in one sitting. Take your time: feel free to slow down the video using the settings and replay activities until you’re comfortable with a given skill. Feel free to check it out for a more in-depth look into this process.ĭepending on your current skill level and practice goals, you can approach this lab in different ways. How to approach the exercisesĪs mentioned before, these exercises go hand in hand with our comprehensive video lab, which you can access for free here. Pay attention to how composers use these functional harmonies with respect to the scalar lines within each passage. Tonal phrases tend to move from tonic (roman numeral I, built on scale degree 1) to dominant (roman numeral V, built on scale degree 5), and back, with other harmonies, especially ii and IV, used to prepare the dominant. Labels harmonies according to the root, with chords built on a given scale degree assigned a roman numeral corresponding to that number.
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