Teoría Musical

El pentagrama es un grupo de cinco lineas y cuatro espacios en donde se escriben todos los signos musicales, las lineas se cuentan de abajo hacia arriba.

Clave de Sol: es el signo que fija la altura y entonación de las notas, la nota escrita en la segunda linea recibirá el nombre de la clave.

Como las cinco lineas y los cuatro espacios no alcanzan para todo el rango sonoro se utilizan las llamadas lineas y espacios adicionales inferiores y superiores                                                 

Ubicación de las notas en el pentagrama : cada combinación de linea o espacio con una figura musical determinada recibirá el nombre especifico de una nota                            

                                

            Signos y Figuras Musicales:  los signos utilizados en la escritura musical son muy diversos, vamos a focalizarnos inicialmente en los más básicos : 

                                                     

Figuras y Silencios: 

Algunos ejemplos de figuras básicas en el pentagráma:

En los siguientes Links les dejo información relacionada por distintos autores:

Victor De Rubertis (Teoría completa de la música)

Teoría de la Música (Irving Anthony Zambrano)

Lectura musical (Julio S. Sagreras)

Acordes, lectura, armonía, técnicas,etc (Mark Phillips y Jon Chapell)

Teoría musical y armonía moderna 1 (Enric Herrera)

Teoría musical y armonía moderna 2 (Enric Herrera)

Lectura Rítmica (Pilar Pascual Mejía)
Curso completo de teoría de la música
Pentagrama
Software Music
Grabación y edición
Software
Cualidades del sonido
Lenguaje Musical II

Rhythm guitar encyclopedia from xxx83

Clinicas de Frank Gambale

Joe Satriani (Escalas Modales)

Leonard Bernstein (Modos Griegos)

"Variantes en cuerpos de GUITARRA"

"Estructuras de Acordes con 7"

chord name triad seventh abbreviation other comments dominant seventh major minor Mm7 the most common type of 7th chord having the simplest name, just the number 7 added to the root letter. For example: C7, F7, E7 all indicate dominant 7th chords. major seventh 'major major' chord Delta chord or Δ chord major major MM7 named with the abbreviation Ma7 or Δ For example: CMa7, CΔ, F#Ma7 indicate major 7th chords. The abbreviation M7 may also be used. For example: CM7 minor seventh minor minor mm7 named with the addition of mi7 or -7 to the letter name. For example: Cmi7, Gmi7, Dmi7 all indicate minor 7th chords. C-7, D-7, A-7 may also be used. diminished seventh (also called 'fully diminished seventh') diminished diminished dd7 named with the small raised circle and a 7. For example: C°7, B°7, and D°7 all indicate a fully diminished 7th chord. half diminished seventh (also called 'minor seventh flat five' or 'Tristan chord') diminished minor dm7 the name relates them to the minor 7th, but with a lowered or flattened 5th. For example: Cmi7(b5), Ami7(b5) indicate half diminished chords. Note: Sometimes half diminished is indicted by a small circle with a slash through it (ø). This symbol is more common in Roman numeral analysis than chord names. augmented triad, major seventh (also called 'augmented major seventh') augmented major aM7 augmented triad, minor seventh (also called 'augmented seventh' or 'augmented minor 7th') augmented minor am7 minor triad, major seventh minor Delta chord or -Δ chord (also called 'minor major seventh') minor major mM7 'Delta' notation is often used for chords like this. C-Δ is a seventh chord with a minor third, in this case the notes C, E flat, G, B We also summarise the degree of the scale where each type of seventh chord occurs. major scale natural minor scale harmonic minor scale melodic minor scale dominant 7th. V VII V IV, V major 7th. Delta chord I, IV III, VI VI minor 7th. II, III, VI I, IV, V IV II diminished 7th. VII half diminished 7th. minor 7th flat 5 VII II II VI, VII augmented major 7th augmented triad, major seventh III III minor triad, major seventh minor Delta chord I I

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Dominant Seventh Chord One area of confusion when naming or identifying seventh chords is the use of the term dominant seventh chord. If you look at the table above summarising the degree of the scale where each type of seventh chord occurs, you will see that the dominant seventh need not lie only on the Vth degree of the scale, the degree we call the dominant. Indeed, in the natural minor scale, the dominant seventh chord lies on the VIIth degree not on the Vth degree. The point to remember is that the dominant seventh chord is any chord formed by adding a minor seventh to a major triad. Remember too that the chord's note name is determined by its root note. So the chord G B D F is written G7 because the root note is G. G B D is a major triad and F is the minor seventh above G. This chord, therefore, is a dominant seventh chord. In the key of C major, the notes G B D F form a seventh chord on the Vth degree, i.e. a dominant seventh on the dominant of the scale. This is also true for the C minor natural and C minor melodic scales. However, the same notes, G B D F, are a G7 chord and a dominant seventh on the fourth (IV) degree of the D melodic minor scale. For completeness, we note finally that the notes G B D F are also a G7 chord and a dominant seventh on the seventh (VII) degree of the A natural minor scale.

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Naming Seventh Chords One useful convention for naming any seventh chord is: root pitch letter, then chord tokens representing triad quality and seventh quality For example, an Ab major minor 7 chord: the first term (Ab) tells us the root of the chord; the second term (major) identifies the quality of the triad that forms the lower three notes of the seventh chord; and, the third term (minor) identifies the quality of the interval of the seventh formed between the root and the seventh. long name examples short or abbreviated name(s) chord notes (root to seventh) F major major 7 FM7, FMaj7, F Major 7 F A C E F major minor 7 F7, also called 'dominant 7' F A C Eb F minor major 7 FmM7 F Ab C E F minor minor 7 Fm7, Fmin7, F minor 7 F Ab C Eb F diminished major 7 FdM7 F Ab Cb E F diminished minor 7 Fø7, Fm7b5 F Ab Cb Eb F augmented major 7 F+M7, FM7#5 F A C# E F augmented minor 7 F+7, F7#5 F A C# Eb F diminished 7 F°7, Fdim7 F Ab Cb Ebb

Fuente:http://www.dolmetsch.com/musictheory17.htm

Teoría Musical (Triadas)

Fuente:http://www.dolmetsch.com/musictheory16.htm

Triads

We examined intervals in an earlier lesson. Intervals are always made up of two notes. We now want to discuss 'chords' and, particularly, chords made up of three notes chosen in a particular way. These 'chords' are called triads. The triad is made up of the root, which is the lowest note in the chord, together with the 3rd and 5th above it. If the root is one of the degrees of a major or minor scale then the triads are given Roman numerals or names identifying that degree, in the following way:

I (tonic triad), II (supertonic triad), III (mediant triad), IV (subdominant triad), V (dominant triad), VI (submediant triad), VII (leading note triad)

The tonic (I), subdominant (IV) and dominant (V) triads are called primary, the remainder (except that on VII) are called secondary. The triad on VII is diminished and is a discord (although its first inversion is not)

In addition, the triads are classified according to the quality of the 3rd or 5th; i.e. whether diminished (for 3rd or 5th), major (for 3rd), minor (for 3rd) or augmented (for 3rd or 5th).

triad quality	how marked	how constructed (I)	how constructed (II)
major triad	unmarked or marked 'ma', with upper case Roman numerals (upper case because the 3rd is major)	a major 3rd with a perfect 5th	a minor 3rd above a major 3rd
minor triad	marked 'mi' or numbered with lower case Roman numerals (lower case because the 3rd is minor)	a minor 3rd with a perfect 5th	a major 3rd above a minor 3rd
augmented triad	marked + or 'aug', with upper case Roman numerals (upper case because the 3rd is major)	a major 3rd with an augmented 5th	a major 3rd above a major 3rd
diminished triad	marked ° or 'dim', with lower case Roman numerals (lower case because the 3rd is minor)	minor 3rd with a diminished 5th	a minor 3rd above a minor 3rd

The notes in a triad can be arranged so that the root is no longer the lowest note of the three. If the 3rd is the lowest note, the triad is said to be a 'first inversion' (using Roman notation, denoted by an additional 'b'; e.g. Vb) and when the 5th is the lowest note, the triad is said to be a 'second inversion' (using Roman notation, denoted by an additional c; e.g. Vc). For completeness, the root position may be denoted by an additional 'a'; e.g. Va.

Triads where all the notes lie in positions closest to the other notes in the chord, are said to be in 'close' position, otherwise the triads are said to be in 'open' position.

Let us now summarise the triad harmonisation of the major and minor scales using numbered chords:

We thank Cedric Debono for helping us correct two misprints in an earlier version of this page.

Notice the  sign in front of III, VI and VII in the natural minor scale. All minor scales are named 'relative' to the major scale on the same key-note. The use of accidental signs in front of numbered chords should be understood to refer to 'raising' or 'lowering' notes in the chord and not necessarily the use of a 'sharp' or 'flat' sign to achieve this. So a 'sharpened' B flat becomes B natural, i.e. 'raised' or 'sharpened' by a semitone.

There is one further important point that should be noted. In the major, harmonic minor and melodic minor scales above the triad on the dominants are major (the third is a B natural). The B natural is the leading note to the tonic C and this is the most important factor in the dominant fifth wanting to move to a triad or chord of the tonic. In the natural minor, the dominant triad is minor (the third is a B flat) and the pull to the tonic is much weaker. Only when the third is a major third is the triad on the fifth adominant triad.