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3.1. MELODY
3.1.1. Intervals
3.1.2. Accidentals
3.1.3. Scales
3.1.4. Structure of a melody
3.2. HARMONY
3.1. MELODY
We call melody the lineal sequence of pitches of sound that expresses a musical idea. All melodies are made within a certain system of scales, that is, within a certain organization of pitches of sound.
3.1.1. Intervals
An interval measuresmide the distance between two notes. We obtain its name by counting the number of notes. The first and last note must be counted and you must know the order of the musical notes to be able to count the notespara ser capaz de contar las notas.
However, not all intervals of the same numerical classification are of the same size. That is why we need to specify the quality by finding the exact number of whole and half stepstonos y semitonos in the interval.
3.1.2. Accidentals
Accidentals are symbols that modify the pitch. The Sharpsostenido (#) symbol raisessube, eleva a note by a half-step, while the flatbemol (b) symbol lowersbaja the note, also by a half-step. The becuadro cancels the effect of the sharp or the flat.
3.1.3. Scales
A scale is a series of notes arrangedordenadas from low to high or vice versa. Most of the our western music is built upon the diatonic scale. It is made up of five tones and two semitones. Depending on the distribution of tones and semitones, diatonic scales can be major or minor.
Since scales can be made beginning with any note, we need to maintain the distribution of tones and semitones of the patternpatrón using accidentals so that they keep the same sonority. These accidentals, characteristic of each scale, are always placed at the beginning of the piece and behind the clef, forming what we call the key signatureArmadura.
3.1.3. Structure of a melody
The same way we distinguish syllables, words, sentences, etc. in spoken language, which are placed to express an idea, in the language of music melodies are also made upconstruidas of small structures. Therefore, in a melody we can distinguish:
- Motif: it would be the equivalent of a word, or a small group of notes with musical meaning. It is the basic cellcélula of the melody.
- Phrase: it is the same as in a grammatical sentence; a melody with actual meaning which ends in a cadence.
- Cadence: it is the equivalent of pauses in languages. Cadences can have more or less conclusive nature. A phrase will end with a weaker or stronger cadencecadencias más suspensivas o más conclusivas depending on if it is an antecedent (when the musical idea is not finished) or consequent phrase (when the musical idea is finished).
-Theme: it is the melody that becomes the core of a musical piece. The main idea around which the whole composition is built.
2. HARMONY
In Western music, harmony is the use of different pitches simultaneouslysimultáneamente and often refers to the "vertical" aspects of music, distinguished from ideas of melodic line, or the "horizontal" aspect.
Three or more notes simultaneously sounded form a chord. We can feel different sorts of feelings when we hear a chord. Normally, we differentiate between consonant (relaxation) and dissonance (tension). Typically, a dissonant chord (chord with a tension) will will become a consonant chordresolverá en un acorde consonante. (become: hacerse, volverse; en música lo traduciremos como resolver). A good harmonization usually sounds pleasant to the ear when there is a balancehay un equilibrio between the consonant and dissonant sounds. To simplify, that occurs when there is a balance between "tension" and "relax" moments. Due to thisDebido a ésto, tensions are usually 'prepared' and then 'resolved'.
PRACTICE
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