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Music Theory for Guitar > FretBoard Mastery > Flashcards

FretBoard Mastery Flashcards

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1
Q

timbre

A

the quality of the sound or tone of the instrument

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2
Q

interval

A

the distance between two pitches

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3
Q

unison interval

A

0

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4
Q

major 2nd interval

A

1 whole step (2 half steps)

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5
Q

major 3rd interval

A

2 whole steps (4 half steps)

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6
Q

Perfect fourth interval

A

2.5 whole steps (5 half steps)

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7
Q

Perfect 5th interval

A

3.5 whole steps (7 half steps)

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8
Q

major 6th interval

A

4.5 whole steps (9 half steps)

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9
Q

major 7th interval

A

5.5 whole steps (11 half steps)

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10
Q

Octave interval

A

6 whole steps (12 half steps)

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11
Q

enharmonic

A

same pitch but represented differently depending on context e.g. A# and Bb, C# and Db

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12
Q

Simple Intervals

A

those contained within one octave

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13
Q

melodic interval

A

pitches played separately e.g. arpeggio

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14
Q

harmonic interval

A

pitches played together e.g. chord

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15
Q

consonance and dissonance ordering of intervals

A

(More Consonance) (more dissonance)

Unison > octave > 5th> maj 3rd > maj 6th&raquo_space; 4th&raquo_space; maj 2nd > maj. 7th

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16
Q

Perfect Intervals

A

Unison, 4th, 5th, octave

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17
Q

Imperfect Intervals

A
  • major/minor intervals

- 2nd, 3rd, 6th, 7th

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18
Q

minor interval

A

flat/half step below

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19
Q

diatonic scale

A

a scale containing 7 degrees

5 whole steps, 2 half steps

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20
Q

augmented and diminished

A

augmented: up a half step
diminished: down a half step

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21
Q

tritone

A

augmented 4th / diminished 5th

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22
Q

triad

A

three note chord (i.e. played harmonically)

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23
Q

Diminished triad

A

1-b3-b5

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24
Q

augmented triad

A

1-3-#5

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25
Q

chord tones vs. non-chord tones

A

chord tones: the scale pithces of the chord
- sound harmonious played over the chord

non-chord tones: the scale pitches not in the chord

  • create tension, e.g. sus2, sus4, 6th
  • tend to want to resolve to the nearest chord tone
26
Q

resolution

A
  • motion of pitch from tension to rest
  • half steps pull harder than whole steps
  • resolving up is a leading tone
  • resolving down is a leaning tone
27
Q

conjunct vs. disjunct motion

A

conjunct: moving through scale stepwise
disjunct: skipping scale tones

28
Q

chromatic scale

A

scale where each interval is a half step

29
Q

Standard Tuning Intervals

A

E-A-D-G-B-e
4th-4th-4th-maj 3rd-4th
any pattern that crosses the 2nd sting ascending is up a half step
any pattern that crosses the 2nd string descending is down a half step

30
Q

chord voicing

A

the ordering of the tones within a chord

31
Q

compound intervals

A

intervals greater than an octave e.g. 9th (octave + 2nd), 11th (octave + 4th), 13th (octave + 6th)

32
Q

seventh chord types

A

dominant 7th / ‘7th chord’: 1-3-5-b7
minor 7th: 1-b3-5-b7
major 7th: 1-3-5-7
minor major 7th: 1-b3-5-7

the major/minor 7ths are from the major and minor scales. the dominant and m(maj7) are a mix.

33
Q

Modes

A
  • same notes but different root
  • called displaced or relative scales (from the key/ major / ionian)
  1. Ionian
  2. Dorian
  3. Phrygian
  4. Lydian
  5. mixolydian
  6. Aeolian (relative/natural minor)
  7. Locrian
34
Q

Parallel Modes

A

have the same roots but different notes

e.g. A ionian and A Dorian

35
Q

circle of fifths

A
  • arranges the key signatures in fifths
  • adjacent keys are most similar, differ by one sharp/flat (i.e. one note different)

(0 sharps flats) C G D A E B Gb/F# (6 sharps/flats) Db Ab Eb Bb F (1 flat)

36
Q

Key

A
  • defines a set of notes.
  • in musical notation defined relative to c major by added sharps/flats
  • does not define root/tonal centre
37
Q

Seventh Chords Major Pattern

A

Imaj7, iim7, iiim7, IVmaj7, V7, vim7, vii07

38
Q

basic major chord resolutions

A

V7-I > IV-V-I > V-I > IV-I

39
Q

basic minor resolutions

A

increase strength of minor progression resolutions by changing v-i to V-i (harmonic minor) or iv-v-i to IV-V-i (melodic minor)

40
Q

Inversion Forms

A

First Inversion: 3rd in the bass

Second Inversion: 5th in the bass

41
Q

Riffs

A
  • short, repeated phrase
  • often vamps on a single implied chord (corresponding to the most important pitches)
  • common riff structures: AAAA, ABAB, ABAC, AAAB
42
Q

Advanced Resolutions

A 
vii0 - I
V7b9 - I
vii07 - I
bII7 - I
vii7b5 - I
43
Q

complementary intervals

A
  • intervals that add up to an octave
  • inverting one of the intervals makes that other
    e.g. maj 2nd and minor 7th
    inverted maj 3rd = minor 6th
44
Q

parallel harmony

A

when the harmony part plays the same part as the original but maintaining a specific scale degree separation

45
Q

Diminished 7th arppegio

A

1-b3-b5-bb7
each note is seperated by a minor 3rd
no clear root
pulls strongly to the tonic, half a step above

46
Q

Diminished Scales

A

Whole-Half = 1 2 b3 4 b5 b6 6 7
(alternate whole then half)

Half-Whole = 1 b2 b3 b5 5 6 b7
(alternate half then whole)

octatonic scales

47
Q

Whole tone scale

A

1 2 3 #4 #5 b7

each degree is seperated by a whole step, i.e. each interval is a whole step

hexatonic scale

atonal, no tonal centre

48
Q

9th Chords

A

9 = 1 3 5 b7 9 (4 stacked thirds)
maj 9 = 1 3 5 7 9
m9 = 1 b3 5 b7 9
add9 = 1 3 5 9

49
Q

Extended Chords

A

9ths (octave + 2)
11ths (octave + 4)
13ths (octave + 6)

50
Q

Diminished 7th

A

1-b3-b5-bb7

  • each pitch is equidistant apart (3 semitones)
  • no definite root
  • arpeggio is the same over each pitch (repeats every 3 frets)
  • pulls towards chords that have a root a semitone away
51
Q

Diminished Scales

A

Whole-half scale: starting with whole tone alternate with semitone

half-whole scale: starting with half-tone, alternate with whole tone

(both are octatonic scales)

52
Q

whole tone scale

A

Scale that contains only whole tone intervals

53
Q

half diminished 7th

A

1 b3 b5 b7

also called m7b5

54
Q

hybrid scales

A

scales formed by combining the pitches of two smaller scales

55
Q

playing extended chords

A
  • always includes named pitch
  • usually drop the 5th
  • Generally keep the colour notes (root, 3, 7) others can be dropped
  • root can be dropped if in bass line
56
Q

playing chords with 11ths

A
  • avoid clash of 11th and 3rd by replacing 3rd with 5th/9th
  • maj 11th chords generally sound better with #11 to avoid tritone between 7th and 11th
  • generally drop 11th when playing dominant or major 13th (to avoid clash with 3rd), alternatively play 13#11
57
Q

Altered chords

A

dominant 7th chords with altered 5th/9th

e.g. E7b9, E7#5#9

58
Q

minor 2nd interval

A

1 semitone / fret

59
Q

minor 3rd interval

A

3 semitones / frets

60
Q

minor 6th interval

A

8 semitones / frets

61
Q

minor 7th interval

A

10 semitones / frets

Music Theory for Guitar (3 decks)

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