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Sight singing and Ear training week 2

by: Jesyka

Sight singing and Ear training week 2 Music 1A

Fresno State
GPA 2.95

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About this Document

these notes cover modal minor scales and the rules for identifying and building intervals
Gary Gilroy
Class Notes
Music, MusicTheory, Intervals, minorscales
25 ?




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Popular in Ear Training & Sight Singing I

This 2 page Class Notes was uploaded by Jesyka on Sunday September 4, 2016. The Class Notes belongs to Music 1A at California State University Fresno taught by Gary Gilroy in Fall 2016. Since its upload, it has received 21 views. For similar materials see Music in Ear Training & Sight Singing I at California State University Fresno.

Popular in Ear Training & Sight Singing I


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Date Created: 09/04/16
Notes from ear training and sight singing; music 1A Week 2 Day 3 • Follow the process for interval identification • When the upper note is in the major key of the lower note, but the lower note is not in the major key of the upper note, the interval is major • When the upper note is nothing the major key of the lower note, but the lower note is in the major key of the upper note, the interval is minor • When the upper note is in the major key of the • lower note, and the lower note is in the major key of the upper note, the interval is perfect • Diminished: half step SMALLER than a minor or perfect • Augmented: half step LARGER than a major or perfect - Need a 3 loop m to mark minor • Make sure at all times to be very specific with drawing accidentals. Accidentals music be one the line or space that the note in question is on. Day 4 (Natural) Minor keys • Take a major key and add 3 flats/ lower three notes, - Lower the 3rd, 6th, and 7 - With sharps it will be subtracting 3 #'s ( if there are only 2#'s, subtract them and add a b) - Harmonic minor keys • Only lower the 3rd and the 6th th • Raising the 7th back up creates a Aug. 2nd interval to the 7 - Melodic minor • Only lower the 3rd on the way up, then lower the 3rd, 6th, and 7th (creating a natural minor) on the way down. - Relative scales share the exact same key signatures but start on different notes • Also be aware to find a relative minor to a major take your major key, add 5 letter notes (or subtract 2) and pay attention to the accidentals of that key; example: D major- b minor, both have 2#'s - Parallel scales start on the same note but have different key signatures.


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