Chapter 3 - Scales, Keys, and Modes

________- The principle of organizing a composition around that keynote or tonic.

________ are used for the descending scale.

________ are used for the ascending scale.

The ________ of fifths- Demonstrates the relationship of the tonal centers to each other.

________ scales- There are seven tones in the scale.

Phrygian, Aeolian, and ________ are minor modes.

It has a diminished ________, so its not a major or minor.

Relative- Major and minor scales that have the same pitches and ________.

________- The beginning pitch of the scale.

________ is similar to Ionian with a raised 4th scale degree.

________ is similar to Ionian with a lowered 7th scale degree.

________ is similar to Aeolian with a lowered 2nd scale degree.

Lydian, Mixolydian, and ________ are major modes.

________- Same pattern as the major scale.

________- When forms of the minor vary from the key signature and require the use of additional accidentals to create the scale.

________ of minor- The 7th scale degree is raised both ascending and descending.

________- Symmetrical scale with all pitches spaced a half step apart.

________- The use of natural, harmonic, and melodic minor within one composition.

Symmetrical scale with all pitches spaced a half step apart

Created using a pattern for whole and half steps

A scale containing five whole steps and two half steps

First rotation, it is a major scale pattern

Sixth rotation, its a minor scale pattern

A specific series of pitches based on a pattern of whole and half steps that define a tonality

The series of notes using the major scale pattern centered around, or starting with G

The principle of organizing a composition around that keynote or tonic

An issue of scale type

A form of shorthand that dispenses with the writing of accidentals (sharps and flats) for the notes affected by the pattern

The last sharp in the key signature is scale degree 7, so the name of the key is up one-half step

The last flat in the key signature is scale degree 4, so the name of the key is the next to the last flat in the key signature

Demonstrates the relationship of the tonal centers to each other

The sixth scale in the rotation of church modes

Major and minor scales that have the same pitches and key signature

Natural, harmonic, and melodic

Same first five notes that the three forms of minor start with

Major and minor keys with different key signature but same tonic

No alterations to the key signature

The 7th scale degree is raised both ascending and descending

The 6th and 7th scale degrees are raised

The use of natural, harmonic, and melodic minor within one composition

When forms of the minor vary from the key signature and require the use of additional accidentals to create the scale

Each step of the scale

The beginning pitch of the scale

The tone on which the scale is built, the tonal center

Above the tonic

Halfway between the tonic and dominant

A fifth below the tonic

Perfect fifth above the tonic

In between the subdominant and the tonic

Half step below Do

Scale degrees 4, 6, and 7

There are seven tones in the scale

There are six tones in this scale

Each pitch is a whole step apart

Has five tones

To build it, in the Circle of Fifths, start from C up to 5 consecutive pitches

It uses the same pitch as the C pentatonic but it starts on A

Same pattern as the major scale

Same pattern as the natural minor scale