Primary Triads

Just as there are three primary colours, every scale has three primary triads.  The primary triads are built upon the FIRST, FOURTH and FIFTH notes of any scale.

The technical name of the FIRST NOTE of the scale is the ______________________.  So, the triad built upon this note is called the ________________ TRIAD.

The FOURTH NOTE of the scale is also called the ______________________. So, the triad built upon this note is called the ________________ TRIAD.

The FIFTH NOTE of the scale is also called the ______________________. So, the triad built upon this note is called the ________________ TRIAD.

Primary triads have two important features.

Firstly, they contain all notes of the scale to which they belong.  Find all the notes of the scales above in the three primary triads.  Which scale degrees occur twice? ________________________.

Secondly, notice the distance between the tonic triad and the other two.  If you place the subdominant triad below and the dominant triad above, the distance is ______________.

This means that the three primary triads are next to each other on the circle of fifths.  Therefore, the subdominant triad and the dominant triad also represent the two most closely related keys to the tonic.

You will find the worksheet for this topic here:
https://docs.google.com/file/d/0B9JdpU-tw7FuRHlOekFycFhBcFU/edit?usp=sharing

We also did some Music Theory craft!  The following worksheet has two pages.  The first contains two strips.  Cut each strip out and glue them together using the spare tabs at the end of each strip.  Provided you glue them together with both parts upright, there is only one way to do this.  This is the circle of fifths.  The second page has an irregular shape in the middle, which you need to cut out (I laminated mine).  When this is placed over the loop created from the first page, it shows you every possible key signature with the primary triads of both the major and minor scales.  If you wish to you can cut out the slots on either side of the centre cutout, to thread the loop through (but you would need to glue the last part of the lop together after you do this).

You will find this worksheet here:
https://docs.google.com/file/d/0B9JdpU-tw7FudXRLeVRHWVF2aUk/edit?usp=sharing

Harmony: Using Primary Triads

In class, we used the melody, "Michael, Row the boat ashore" as a first example, using primary triads to create a four part vocal arrangement.  You will find it on our worksheet for this topic.

Write the primary triads in C major, labeling them I, IV and V.

Write the melody out, with all stems pointing upwards.  This will be your Soprano part.  Then, follow the steps below to provide a simple harmonization in four part vocal style using the primary triads.

1. Familiarise yourself with the RULES TO FOLLOW [see below].
2. Identify which triad[s] can be used to harmonize each note.
3. Write the root of each chord in the bass, stem pointing down.  This will be the Bass part.  Check for consecutives [see rule 4].  If you get this right now it is much easier to complete the internal parts.
4. Are there any places where it would be appropriate to write a FIRST inversion chord for a little variation?  If you make any changes, check for consecutives again.  [Second inversions should only be used in very specific ways you don’t know about yet].
5. Insert the Alto [stems pointing down on the treble clef] and Tenor [stems pointing up on the bass clef].  You will find this easiest if the two inner parts are as BORING AS POSSIBLE, that is, making frequent use of repeated notes and small steps.  Rewrite the Bass as necessary as you go, checking for consecutives with the Soprano if you make any changes.
6. Check all possible pairs or parts to make sure that you have not written consecutive fifths, unisons or octaves.  Pay special attention to the pairs that use different clefs, as these are hardest to spot (Soprano-Tenor, Soprano-Bass, Alto-Tenor, Alto-Bass).

RULES TO FOLLOW:

1. Each part should adhere to the notes of its own range.
2. Every chord must contain its root and its third.  The fifth of the triad is optional.
3. You may double the root or the fifth, but you may not double the third.
4. You must avoid consecutive perfect fifths, unisons and octaves at all times.  That is, no two parts should move in such a way that they are a fifth, octave or unison apart for two consecutive chords.  However, two parts MAY repeat the intervals of a fifth, unison or octave (that is, they may repeat the same notes).
5. There should be no more than an octave between the Soprano and the Alto or between the Alto and the Tenor.  However you may have any distance between the Tenor and the Bass.
6. Parts cannot CROSS.  That is, every chord should have the Soprano on the top, Alto underneath, Tenor underneath that, and Bass at the bottom.
7. Parts cannot OVERLAP.  That is, two parts MAY sing the same note, and they may repeat it, but they should approach it and leave it in opposite directions (alternatively, one may repeat it again while the other approaches and / or leaves it from its own direction).

You will find the worksheet for this session here:
https://docs.google.com/file/d/0B9JdpU-tw7FuRDlra05mU3BGNDQ/edit?usp=sharing