TETRACHORDS
tetrachords
The four scale formulas are: |
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Major Scale 2-2-1(2)2-2-1 (2 major tetrachords with 2 half-steps between);
* Natural Minor Scale 2-1-2(2)1-2-2 (a minor tetrachord followed by a natural tetrachord with 2 half-steps
between);
* Harmonic Minor Scale 2-1-2(2)1-3-1 (a minor tetrachord followed by an harmonic tetrachord with 2
half-steps between);
* Melodic Minor Scale 2-1-2(2)2-2-1 (a minor tetrachord followed by a major tetrachord with 2 half-steps
between). |
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| A tetrachord is a series of four tones on successive degrees of the staff with an interval of five half steps between the first and last tones. The tetrachord is used in constructing and analyzing scales. |
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| The major tetrachord is composed of two half steps, two half steps, and one half step ascending on four successive staff degrees. WWH |
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| The minor tetrachord is composed of two half steps, one half step and two half steps ascending on four successive scale degrees WHW |
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| The natural tetrachord is composed of one half step, two half steps and two half steps ascending on four successive staff degrees HWW |
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| The harmonic tetrachord is composed of one half step, three half steps, and one half step ascending on four successive staff degrees H 3H H |
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| All the major and minor scales can be constructed by using combinations of the four tetrachords: |
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Major 2-2-1;
Minor 2-1-2;
Natural 1-2-2;
Harmonic 1-3-1.
2 half-steps always separate the tetrachords. |
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| The four scale formulas are: |
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Major Scale 2-2-1(2)2-2-1 (2 major tetrachords with 2 half-steps between);
* Natural Minor Scale 2-1-2(2)1-2-2 (a minor tetrachord followed by a natural tetrachord with 2 half-steps
between);
* Harmonic Minor Scale 2-1-2(2)1-3-1 (a minor tetrachord followed by an harmonic tetrachord with 2
half-steps between);
* Melodic Minor Scale 2-1-2(2)2-2-1 (a minor tetrachord followed by a major tetrachord with 2 half-steps
between). |
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| A tetrachord is four pitches within the span of 5 semitones (the interval called a perfect 4th). |
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It was the smallest system used in ancient Greek music (around 700 BC) and probably derived from the four notes on the early lyre.
Later, tetrachords were used to construct modes (predecessors of our present scales). |
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| Four tetrachords relevant to our present Western music system and to Jazz are the |
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Major tetrachord tone – tone – semitone
Dorian tetrachord tone – semitone – tone
Phrygian tetrachord semitone – tone – tone
Gypsy tetrachord semitone – tone and a half – semitone |
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| The major scale consists of two major tetrachords separated by a whole tone |
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tone – tone – semitone – tone – tone – tone – semitone
In the key of C :
C – D – E – F —– G – A – B – C |
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The F major scale must have a semitone between the 3rd and 4th note of the scale. (the last note of the lower tetrachord).
Therefore the B is lowered one semitone to a Bb. (This is easiest achieved by placing a Bb in the key signature at the beginning of the staff.)
This produces a semitone between A and Bb and a whole tone between Bb and C.
The semitone between the 7th and the tonic of the scale (F) is formed by the white notes E and F.
By the way, did you notice that the upper tetrachord of the F major scale is the same as the lower tetrachord of the C major scale (C – D – E – F) ? |
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| There are only ? ways to arrange a tetrachord. Here is an arrangement of ? ways to play C-D-E-F. |
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24 ways
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CDEF CEFD CFDE CFED CEDF CDFE DEFC DFCE DCEF DCFE DFEC DECF EFCD ECDF EDFC EDCF ECFD EFDC FCDE FDEC FECD FEDC FDCE FCED
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| The tetrachords can be combined on two different ways: |
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| with a conjunction, where the last note of the tetrachord coincides with the first note of the following tetrachord; or with a disjunction, where there is a whole tone between two tetrachords. But we can stick to the disjunctured forms in these scales |
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| MODES HAVE TETRACHORDS, TOO. |
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| Modes are scales of a kind, so they have tetrachords, too. Lets use the fourth mode of the A Major scale for an example. The fourth mode of A Major starts on the fourth degree of the scale, which is a D. The mode consists of A Major from D to D (D-E-F#-G#-A-B-C#-D). The first tetrachord of this mode is D-E-F#-G#, and the second tetrachord is A-B-C#-D. |
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| MODES HAVE TETRACHORDS,ISN’T THIS MAKING IT MORE COMPLICATED? TOO. |
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| Greater simplicity is the beauty of a tetrachordal approach to modes. How? Well, get this: There are 7 modes in any major scale, but there are only four different tetrachords! This is the part I love. The following examples are all going to be in the key of A Major. |
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| FIRST MODE OF THE MAJOR SCALE |
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| IONIAN: FIRST MODE OF THE MAJOR SCALE
the first mode of the major scale is divided into two tetrachords? The coolest thing is that the two tetrachords are “shaped” exactly the same! I think of this as the major tetrachord because this tetrachord is used twice in the Ionian mode. (Very few people bother calling it the Ionian mode, they just call it “the major scale.” Seems like a good idea to me). |
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| SECOND MODE OF THE MAJOR SCALE? |
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DORIAN: SECOND MODE OF THE MAJOR SCALE
The second mode of a major scale is called the Dorian mode. Since we are in the key of A, and B is the second degree of the A Major scale
you can play this mode/shape from the 2nd degree of any major scale.
See anything similar? They are again exactly the same tetrachord! The intervallic structure of the tetrachord that makes up the Dorian mode is W-H-W. Regardless of the key, or whether you want to play ascending or descending |
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| THIRD MODE OF THE MAJOR SCALE |
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PHRYGIAN: THIRD MODE OF THE MAJOR SCALE
The third mode of a major scale is called the Phrygian mode. Since we are in the key of A Major and C# is the third degree of the scale,
You can play this mode/shape from the 3rd degree of any major scale.
See anything similar? They are again exactly the same tetrachord! The intervallic structure of the tetrachord that makes up the Phrygian mode is H-W-W. Regardless of the key, or whether you want to play ascending or descending |
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| HOW MANY TETRACHORDS ARE THERE IN MAJOR? |
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| There are four tetrachords in major. |
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| FOURTH MODE OF THE MAJOR SCALE |
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LYDIAN: FOURTH MODE OF THE MAJOR SCALE
The fourth mode of a major scale is called the Lydian mode. Since we are in the key of A Major and D is the fourth degree of the scale,
You can play this mode/shape from the 4th degree of any major scale. The cool thing about the Lydian note is that it naturally (without alteration) contains a #11; it is called the Lydian note.
It sounds like a whole tone tetrachord, and it is! That is why I like to call it the whole tone tetrachord. The intervallic structure of the Lydian tetrachord is W-W-W.
Look at the other tetrachord. Does it look familiar? It is the major tetrachord. So, the words “Lydian mode” sounds like it should be some weird sound or hard, but it is simply made up of the whole tone tetrachord and the major tetrachord. Regardless of the key, or whether you want to play ascending or descending |
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| FIFTH MODE OF THE MAJOR SCALE |
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MIXOLYDIAN: FIFTH MODE OF THE MAJOR SCALE
The fifth mode of a major scale is called the Mixolydian mode. Since we are in the key of A Major and E is the fifth degree of the scale,
Again, does anything look familiar? The first tetrachord is the major tetrachord, and the second tetrachord is the Dorian tetrachord. So, Mixolydian mode is simply the major tetrachord and the minor tetrachord. Regardless of the key, or whether you want to play ascending or descending |
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| SIXTH MODE OF THE MAJOR SCALE (THE NATURAL MINOR) |
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AEOLIAN: SIXTH MODE OF THE MAJOR SCALE (THE NATURAL MINOR)
The sixth mode of a major scale is called. Since we are in the key of A Major and F# is the sixth degree of the scale
See how the first tetrachord is the minor sound, and the second tetrachord is the Phrygian sound? So, Aeolian mode is simply the minor tetrachord and the Phrygian tetrachord. Regardless of the key, or whether you want to play ascending or descending |
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| SEVENTH MODE OF THE MAJOR SCALE |
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LOCRIAN: SEVENTH MODE OF THE MAJOR SCALE
The seventh mode of a major scale is called Locrian. Since we are in the key of A Major and G# is the seventh degree of the scale |
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| Tetrachords and Minor Scales |
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There are three forms of the minor scale: Natural Minor, Harmonic Minor, and Melodic Minor.
Notice the interval content of the tetrachords.
The first tetrachord is the same for all three forms. There is a space of 2
half-steps between the 1st and 2nd tetrachords in all three forms of the minor scale – – the same interval between the two tetrachords of the major scale.
Each of the scales has the same first tetrachord: 2-1-2. This will be referred to as the Minor Tetrachord.
The second tetrachord of the Natural Minor scale is 1-2-2. This will be referred to as the Natural Tetrachord.
The second tetrachord of the Harmonic Minor scale is 1-3-1. This will be referred to as the Harmonic
Tetrachord.
The second tetrachord of the Melodic Minor scale is 2-2-1. This is the Major Tetrachord. |
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| All the major and minor scales can be constructed by using combinations of the four tetrachords: |
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Major 2-2-1;
Minor 2-1-2;
Natural 1-2-2;
Harmonic 1-3-1.
2 half-steps always separate the tetrachords. |
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| The four scale formulas are: |
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* Major Scale 2-2-1(2)2-2-1 (2 major tetrachords with 2 half-steps between);
* Natural Minor Scale 2-1-2(2)1-2-2 (a minor tetrachord followed by a natural tetrachord with 2 half-steps
between);
* Harmonic Minor Scale 2-1-2(2)1-3-1 (a minor tetrachord followed by an harmonic tetrachord with 2
half-steps between);
* Melodic Minor Scale 2-1-2(2)2-2-1 (a minor tetrachord followed by a major tetrachord with 2 half-steps
between). |
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Since major scales are constructed of two tetrachords linked by a whole step (or 2 half-steps), we can say each major scale has two parts – an upper tetrachord and a lower tetrachord. In the C major scale, for example, the upper tetrachord is C-D-E-F and the lower tetrachord is G-A-B-C. In the G major scale the upper tetrachord is G-A-B-C and the lower tetrachord is D-E-F#-G. Notice the lower tetrachord of the C major scale is identical to the upper tetrachord of the G major scale. Due to this upper and lower tetrachord matching the major scales form an interlocking series known as the circle of fifths. The image below shows this series starting from the F major scale.
FGABbCDEF
CDEFGABC |
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| A perfect 5th = how many half steps on the keyboard? |
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| Recall from the lessons on intervals that a perfect fifth of any given note is seven half-steps above that note [not below so as to remember]. So a perfect fifth above F is C. A perfect fifth above C is G etc. The tetrachord matching of major scales naturally aligns on the fifth interval of each scale. Hence the name circle of fifths.That,s going clockwise on the scale and up on the keyboard.If you move in the other direction you get a circle of 4ths.So if you went 7 half steps down the keyboard you would always be at the perfect 4th.From your original root note. |
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| how many possible tetrachords are there? |
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| what are the five possible tetrachords? |
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major, minor, phrygian, diminished,
augmented |
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| a major tetrachord starting on c would read? |
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| a MINOR tetrachord starting on c would read? |
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| a PHRYGIAN tetrachord starting on c would read? |
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| a DIMINISHED tetrachord starting on c would read? |
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| an AUGMENTED tetrachord starting on c would read? |
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| A MAJOR SCALE IS WHAT TETRACHORDS? |
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| TWO MAJOR TETRACHORDS A WHOLE STEP APART |
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| A DORIAN SCALE IS WHAT TETRACHORDS? |
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| TWO MINOR TETRACHORDS SEPARATED BY A WHOLE STEP |
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| A PHRYGIAN SCALE IS WHAT TETRACHORDS? |
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| TWO PHRYGIAN TETRACHORDS SEPARATED BY A WHOLE STEP |
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| A DOMINANT 7 SCALE IS WHAT TETRACHORDS? |
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| ONE MAJOR AND ONE MINOR TETRACHORD SEPARATED BY A WHOLE STEP |
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| A DOMINANT 7 #4 SCALE IS WHAT TETRACHORDS? |
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ONE AUGMNENTED AND ONE MINOR TETRACHORD
SEPARATED BY A HALF STEP THIS TIME |
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| MELODIC CONSTRUCTION QUESTION WHAT ARE THE 4 COMPONENTS OF THE ABOVE |
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| CASA= chord tones on strong beats/scale passages/arpeggios/apprach notes |
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| THE LYDIAN SCALE HAS WHICH NOTE # |
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| THE LYDIAN DOMINANT SCALE HAS WHICH NOT # AND WHICH NOTE FLAT |
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| THE C LYDIAN DOMINANT SCALE WOULD BE WHICH MAJOR SCALE WITH A FLAT 7? |
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| THE MAJOR PENTATONIC SCALE IS WHICH 5 NOTES OF ANY GIVEN MAJOR SCALE |
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| DESCRIBE THE MINOR PENTATONIC SCALE? |
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| A MINOR TRIAD [1,b3,5] PLUS THE NOT A WHOLE STEP UP FROM b3 and plus the note a whole step down from the root |
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| describe the 6 note blues scale the one with the flat 5 ? |
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| the minor triad [1,b3,5] add the flat 5 plus the note a whole step up from th eb3 and plus the note a whole step down from the root |
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| Describe the Gypsy TETRACHORD |
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| SEMITONE-WHOLE TONE PLUS A HALF-SEMITONE |
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| Describe the harmonic minor scales two tetrachords? |
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| minor tetrachord and a gypsy tetrachord separated by a whole tone |
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| THE HARMONIC MINOR SCALE IS ALSO THE MAJOR SCALE WITH WHICH TWO FLATTED NOTES |
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| Flatted b3 and flatted b6 |
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| Which note is dominant 7 in the harmonic minor scale? |
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| WHICH NOTE IS DOMINANT 7 IN THE NATURAL MINOR SCALE? |
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| which note of the major scale if flatted constructs the melodic minor scale |
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| WHICH TWO NOTES OF THE MELODIC MINOR SCALE ARE DOMINANT 7 |
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| which scale has a dominant 7 ii chord |
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| which scale has dominant 7 I and ii chords? |
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| Which scale has a dominant 7 vii chord |
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| which scale has dominant 7 iv and v chords ? |
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| Which minor scale has a v chord dominant 7 ? |
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