Theory Quiz

[dvenetian]

It looks like it's time to spice up the Theory section again.
The following Quiz will cover a range of questions from beginner to intermediate Theory so everyone can participate if they choose.
Beginner Quiz:
1) What are the 7 notes in the "A" Major scale?

2) What is an Interval?

3) What note needs to change to make a "D" Major chord become a "D" minor chord?

4) What are the notes of the "E" Major chord?

5) What are the notes of the "C" minor chord?

6) What are the 5 notes in the "E" minor Pentatonic scale

7) What is the 5th note in the "G" Major scale?

[dvenetian]

Intermediate Quiz
1) What is the 3rd chord in the key of "G"?

2) What is the "V of V" when the Root note is "A"?

3) What note(s) need to change in the Major scale to make the Dorian mode?

4) What is the Parallel minor to "F#" Major?

5) What are the notes in the "A" Mixolydian mode?

6) What is the Parent scale to the G# Locrian mode?

7) Name "3" Major chords in the key of "E".

[quickfingers]

intermediate:
1. Bmin
2.Bmaj
3.flat 3rd and 7th
4.F#minor
5.(im assuming your talking about the mixolydian in paralell form) so...A, B, C#, D, E, F#, G, A
6.Amaj
7.E, A, B

[Jolly McJollyson]

Intermediate Quiz
1) What is the 3rd chord in the key of "G"?
B minor

2) What is the "V of V" when the Root note is "A"?
B major

3) What note(s) need to change in the Major scale to make the Dorian mode?
drop third a half step, drop seventh a half step

4) What is the Parallel minor to "F#" Major?
D# minor...technically...typically you'd call it Gb major and Eb minor I believe

5) What are the notes in the "A" Mixolydian mode?
A-B-C#-D-E-F#-G-A

6) What is the Parent scale to the G# Locrian mode?
Parent scales are too easily misinterpreted as "key," but the answer is F#

7) Name "3" Major chords in the key of "E".
ok: E major, A major, B major

[Julian Vickers]

This one could be just for Jolly.....who knows.

1. What melodic minor scale/mode would you play over a F7#11?

2. What diminished 7th chord has F# as it's b3rd?

3. Name a 7b9 chord that could be substituted for Bdim7

4. What sort of chord is made from the super locrian scale (the 7th mode of the melodic minor ascending, also called the altered scale) ?

[Jolly McJollyson]

This one could be just for Jolly.....who knows.

1. What melodic minor scale/mode would you play over a F7#11?

2. What diminished 7th chord has F# as it's b3rd?

3. Name a 7b9 chord that could be substituted for Bdim7

4. What sort of chord is made from the super locrian scale (the 7th mode of the melodic minor ascending, also called the altered scale) ?
1. F7#11? Let's see... I assume you mean F dominant 7 so F-A-C-Eb and then the # 11 would be B, so right there you'd have F-A-B-C-Eb. So C melodic minor would be my guess. It works out.

2. You mean fully or half diminished? Fully is D#-F#-A-C

3. Bdim7 is B-D-F-Ab, assuming you mean fully diminished...what 7b9 chord...that's a toughie...ohhhh, I see. Ok, you need to say "enharmonically" substituted. We have Ab, which is also G#, THEN you have G#-B-D-F but wait...then there's no b9...I'm afraid I don't know... I tried working from the Ab, but there's no b9.

4. 'fraid I know absolutely NOTHING about superlocrian mode.

[Julian Vickers]

you got the first 2 right.

3. the notes in Bdim7 are B D F Ab

One answer would be Bb7b9:

Bb7b9 has the notes Bb D F Ab B

4. The Super Locrian scale has both a b5 and a #5 as well as a b9 and #9. the chord that can be made from it is called an altered dominant chord (eg C7alt)

C7alt can be: C7b5b9, C7b5#9, C7#5b9 and C7#5#9

[alucard0941]

How many notes are in a pentatonic scale?

[Jolly McJollyson]

you got the first 2 right.

3. the notes in Bdim7 are B D F Ab

One answer would be Bb7b9:

Bb7b9 has the notes Bb D F Ab B

4. The Super Locrian scale has both a b5 and a #5 as well as a b9 and #9. the chord that can be made from it is called an altered dominant chord (eg C7alt)

C7alt can be: C7b5b9, C7b5#9, C7#5b9 and C7#5#9
Bb7b9 has a Bb...so that wouldn't be the same... See, I thought you meant I had to use ONLY the notes from that chord.

[dvenetian]

How many notes are in a pentatonic scale?
Answer: Pent = 5

[Julian Vickers]

how many notes in a diminished scale?

[txladykat]

i have a question about "intervals".

Interval is defined as being the distance between two notes. If from C to D on the Cmaj scale is a second interval..what the heck is the first interva? I am new to theory, and trying to teach myself. I learn by reading then applying on stuff such as theory than I would in a classroom type setting.

[CSchlegel]

Interval is defined as being the distance between two notes.
Exactly. And in music intervals the basic unit of measurement is the half step (on a guitar that is a distance of one fret).
If from C to D on the Cmaj scale is a second interval..what the heck is the first interva?
The distance from C to D is two half steps or a whole step. It is called an "interval of a second", not a "second interval". The term "second" comes from scale construction.

It can be confusing because sometimes different names point to the same object. But remember the basic unit of measurement in the half step. With that in mind you can apply it to larger intervals or distances between notes.

1 half step (or 1 fret) is a minor second or flat second.
2 half-steps (or 2 frets) is a second (sometimes called a major second).
3 half-steps (or 3 frets) is a minor third or flat third.
4 half-steps (or 4 frets) is a major third.
5 half-steps (or 5 frets) is a fourth.
6 half-steps (or 6 frets) is a sharp fourth or flat fifth.
7 half-steps (or 7 frets) is a fifth.
8 half-steps (or 8 frets) is a augmented fifth or minor sixth or flat sixth.
9 half-steps (or 9 frets) is a major sixth.
10 half-steps (or 10 frets) is a minor seventh or flat seventh.
11 half-steps (or 11 frets) is a major seventh.
12 half-steps (or 12 frets) is an octave.

The trickiest part of learning to apply this idea to the guitar is that frequently the two notes you are trying to "see" the interval between are on two different strings. So, get used to learning intervals on one string, then start to apply it to multiple strings. For example, if you understand the list of intervals I wrote above, you can see that the interval between the notes G and D on the bottom E string is 7 frets, and therefore a fifth:

E |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
B |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
G |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
D |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
A |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
E |---|---|-G-|---|-A-|---|-B-|-C-|---|-D-|---|---|---|---|---|

It can more difficult to "see" the interval of a fifth if the D is on a different string, though:

E |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
B |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
G |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
D |---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
A |---|---|---|---|-D-|---|---|---|---|---|---|---|---|---|---|
E |---|---|-G-|---|---|---|---|---|---|---|---|---|---|---|---|

I wish you success in learning all you can about music theory and how to apply it!

[txladykat]

not to difficult i dont think when on different strings. counting down the strings to count a whole step (two frets on the same string) you simply count back three frets (excepting the 3-2 string) correct?

[jeffhx]

C7alt can be: C7b5b9, C7b5#9, C7#5b9 and C7#5#9

you mean you can actually build a space rocket with that calibration??

theory depresses me :(

[PlatonicShred]

1. Identify the difference between an authentic, plagel, half and deceptive cadence.

2. What is the 'normal' function of the Neapolitan Chord?

3. What is the difference between a scale and a mode?

4. What is voice leading?

5. What notes are in Cmaj9add11?

6. What are the names of the I, ii, iii, IV, V, and VIIdim degrees in the major scale? ((The other names for them that relates to their 'function' so to speak. For example---I = tonic))

7. What is the primary rhythmic division in rock music? --not-- the lead melody rhythmic division, the rhythm.

[Julian Vickers]

1. Identify the difference between an authentic, plagel, half and deceptive cadence.

2. What is the 'normal' function of the Neapolitan Chord?

3. What is the difference between a scale and a mode?

4. What is voice leading?

5. What notes are in Cmaj9add11?

6. What are the names of the I, ii, iii, IV, V, and VIIdim degrees in the major scale? ((The other names for them that relates to their 'function' so to speak. For example---I = tonic))

7. What is the primary rhythmic division in rock music? --not-- the lead melody rhythmic division, the rhythm.

1. The authentic cadence (or full cadence) is a V-I chord progression
A half cadence is a II-V or IV-V chord progression
A Plagal cadance (or modal cadence) is a IV - I chord progression
A Deceptive cadence is a V-VI chord progression

2. The neapolitan 6th chord is usually played as the first inversion of a major chord on the b2 of the major key. It can function as a II chord before going to a V.

3. A mode is a scale that is derived from a parent scale

4. Voice leading is where one plays chords with the top note of the chord suggesting a melody

5. Cmaj9add11 - C E G B D F

Random note: Cmaj9add11 is almost never used in jazz or anything, a more common chord would be Cmaj9#11

6. I = Tonic
II = Supertonic
III = Mediant
IV = Sub dominant
IV = Dominant
VI = Submediant/Superdominant
VII = Leading tone/Subtonic

7. I would go out on a limb and say 8th notes

[PlatonicShred]

1. The authentic cadence (or full cadence) is a V-I chord progression
A half cadence is a II-V or IV-V chord progression
A Plagal cadance (or modal cadence) is a IV - I chord progression
A Deceptive cadence is a V-VI chord progression

2. The neapolitan 6th chord is usually played as the first inversion of a major chord on the b2 of the major key. It can function as a II chord before going to a V.

3. A mode is a scale that is derived from a parent scale

4. Voice leading is where one plays chords with the top note of the chord suggesting a melody

5. Cmaj9add11 - C E G B D F

Random note: Cmaj9add11 is almost never used in jazz or anything, a more common chord would be Cmaj9#11

6. I = Tonic
II = Supertonic
III = Mediant
IV = Sub dominant
IV = Dominant
VI = Submediant/Superdominant
VII = Leading tone/Subtonic

7. I would go out on a limb and say 8th notes

3. Actually, a scale is a set of notes with certain intervallic relationships, yet without a tonal center. A mode has a tonal center. This is why a given scale has several different mode. For example, the C Major scale--when taken to have C as its tonal center--becomes C Ionian. So, a mode is a scale that has a tonal center.

5. Fair enough. I'm not sure why the note was necessary.

2. Eh, I should have been more specific, I was more going for 'to promote a sense of drama.' That's usually what the romantics used it for. But yes, it functions as the supertonic going to the dominant as well.

[Julian Vickers]

how come someone with a name like PlatonicShred is such a theory guru huh? :D

[PlatonicShred]

how come someone with a name like PlatonicShred is such a theory guru huh? :D

I don't know about guru...but, you've got to know your theory. Or rather, I have to know mine---otherwise they'd beat me up here! Ha ha.

.

[Julian Vickers]

I don't know about guru...but, you've got to know your theory. Or rather, I have to know mine---otherwise they'd beat me up here! Ha ha.

.

I almost set my theory thugs on you :cool:

[CSchlegel]

Neat thread! Just a few clarifications.

2. The neapolitan 6th chord is usually played as the first inversion of a major chord on the b2 of the major key. It can function as a II chord before going to a V.
While is does function as a subdominant, preparing for the arrival of the V, as Julian Vickers correctly notes, it can also function in a more "modern way" (especially in jazz & even blues & rock) as a tritone substitution for the V chord itself.

4. Voice leading is where one plays chords with the top note of the chord suggesting a melody.

Voice leading is regarding all the notes that comprise a chord or a whole piece of music as one note of a continuous "voice". As you move to the next chord you regard each note as moving to the next corresponding note in that next chord.

Say you have a C major chord spelled low to high: C, E, G,
Then the next chord is G major spelled low to high: B, D, G

The bottom "voice" moves from C to B, the middle voice moves from E to D & the top voice remains stationary at G. Notice that the bottom voice moves down a half step, middle voice moves down a whole step (direct motion between these 2 - down in the same direction) & the top voice being stationary is oblique motion to give it even more variety. Keep in mind that minimal movement is not always the "rule" or "goal" but it helps to think that way to start with when you are learning.

If I just moved from a C E G up or down to a G B D, then all of my voices would merely go up or down a fifth (not to mention a great deal of "voice crossing" which can be bad depending on the context). I would have no independent voice motion & thus no justification for using more than one note at a time. The other voices would be merely "shadowing" or "mimicing" not voices in their own right.

"Smooth" voice leading is the "goal" of well-constructed music. This is a VERY simple example but it is the basic idea & has amazingly far reaching implications.

Many theorists & composers also regard voice leading as not merely a chordal analysis tool but an essential way of creating independent & yet interweaving melodies. This is very true in Baroque (Bach), Classical (Beethoven) & much Romantic (Brahms) music. For although at any time you can isolate a chord based on all the notes that are sounding at one time the more important thing is that each voice carried it own melodic thread. So if you have (like Bach did in many of his classic 4 part chorales) a piece that all the way through uses four note chords it is constructed in a way that if you follow say the top note of every chord ("the top voice") you will find a complete melody; & likewise for the other 3 voices.

[PlatonicShred]

I almost set my theory thugs on you :cool:

I read your profile, and I think it's really cool that you're doing the whole jazz thing.

[PlatonicShred]

Neat thread! Just a few clarifications.

While is does function as a subdominant, preparing for the arrival of the V, as Julian Vickers correctly notes, it can also function in a more "modern way" (especially in jazz & even blues & rock) as a tritone substitution for the V chord itself.

Voice leading is regarding all the notes that comprise a chord or a whole piece of music as one note of a continuous "voice". As you move to the next chord you regard each note as moving to the next corresponding note in that next chord.

Say you have a C major chord spelled low to high: C, E, G,
Then the next chord is G major spelled low to high: B, D, G

The bottom "voice" moves from C to B, the middle voice moves from E to D & the top voice remains stationary at G. Notice that the bottom voice moves down a half step, middle voice moves down a whole step (direct motion between these 2 - down in the same direction) & the top voice being stationary is oblique motion to give it even more variety. Keep in mind that minimal movement is not always the "rule" or "goal" but it helps to think that way to start with when you are learning.

If I just moved from a C E G up or down to a G B D, then all of my voices would merely go up or down a fifth (not to mention a great deal of "voice crossing" which can be bad depending on the context). I would have no independent voice motion & thus no justification for using more than one note at a time. The other voices would be merely "shadowing" or "mimicing" not voices in their own right.

"Smooth" voice leading is the "goal" of well-constructed music. This is a VERY simple example but it is the basic idea & has amazingly far reaching implications.

Many theorists & composers also regard voice leading as not merely a chordal analysis tool but an essential way of creating independent & yet interweaving melodies. This is very true in Baroque (Bach), Classical (Beethoven) & much Romantic (Brahms) music. For although at any time you can isolate a chord based on all the notes that are sounding at one time the more important thing is that each voice carried it own melodic thread. So if you have (like Bach did in many of his classic 4 part chorales) a piece that all the way through uses four note chords it is constructed in a way that if you follow say the top note of every chord ("the top voice") you will find a complete melody; & likewise for the other 3 voices.

w00tsauce.

[Julian Vickers]

I read your profile, and I think it's really cool that you're doing the whole jazz thing.

Cheers man, I started learning guitar for the meta and rock, now I'm a jazz rocker :cool:
Have you played any jazz?

[PlatonicShred]

Cheers man, I started learning guitar for the meta and rock, now I'm a jazz rocker :cool:
Have you played any jazz?

Of course! I love jazz.

[dvenetian]

Interval Quiz
How many scales/modes can you name when the interval(s) are changed from the original model scale interval(s) below?

PART A
Notes of The C Major Scale 1-2-3-4-5-6-7

1a) with flattened 6th and 7th intervals?

2a) with flattened 3rd, 6th and 7th intervals?

3a) with a flattened 3rd interval?

PART B
Notes of The G Major Scale 1-2-3-4-5-6-7

1b) with flattened 3rd and 7th intervals?

2b) with a flattened 6th interval?

3b) with a sharpened 4th and flattened 7th interval?

PART C
Notes of The Bb Natural minor Scale 1-2-b3-4-5-b6-b7

1c) with a flattened 2nd interval?

2c) with sharpened b6th and b7th intervals?

3c) with a flattened 5th interval?

[Julian Vickers]

Interval Quiz
How many scales/modes can you name when the interval(s) are changed from the original model scale interval(s) below?

PART A
Notes of The C Major Scale 1-2-3-4-5-6-7

1a) with flattened 6th and 7th intervals?

2a) with flattened 3rd, 6th and 7th intervals?

3a) with a flattened 3rd interval?

PART B
Notes of The G Major Scale 1-2-3-4-5-6-7

1b) with flattened 3rd and 7th intervals?

2b) with a flattened 6th interval?

3b) with a sharpened 4th and flattened 7th interval?

PART C
Notes of The Bb Natural minor Scale 1-2-b3-4-5-b6-b7

1c) with a flattened 2nd interval?

2c) with sharpened b6th and b7th intervals?

3c) with a flattened 5th interval?

I'll keep the answers hidden this time:

Part A

1a)
C Mixolydian b6 scale (5th mode of F melodic minor scale)
2a)
C Aelolian Scale (6th mode of Eb major scale)
3a)
C Melodic Minor

Part B

1b)
G Dorian (second mode of F major)
2b)
Probably the G bebop major scale (it has a b6 passing tone)
3b)
G Lydian Dominant (4th mode of D melodic minor)

Part C

1c)
Bb Phrygian scale
2c)
Bb melodic minor
3c)
Bb Locrian #2 (6th mode of Db melodic minor)

I probably got some wrong cause I didn't double check :o

[dvenetian]

Sorry Friends. This quiz may lack clarity, or is too long winded to be any fun. I'll post what I came up with to show some connections.
Interval Quiz
How many scales/modes can you name when the interval(s) are changed from the original model scale interval(s) below?

PART A
Notes of The C Major Scale 1-2-3-4-5-6-7

1a) with flattened 6th and 7th intervals?
Notes: C-D-E-F-G-G#/Ab-A#/Bb.
Scales/Modes= F Melodic minor (Ascending), D Locrian #2, G# Lydian Augmented, E Super Locrian

2a) with flattened 3rd, 6th and 7th intervals?
Notes: C-D-D#/Eb-F-G-G#/Ab-A#/Bb.
Scales/Modes= Eb Ionian, F Dorian, G Phrygian, Ab Lydian, Bb Mixolydian, C Aeolian, D Locrian

3a) with a flattened 3rd interval?
Notes: C-D-D#/Eb-F-G-A-B.
Scales/Modes= C Melodic minor (Ascending), A Locrian #2, D# Lydian Augmented, B Super Locrian

PART B
Notes of The G Major Scale 1-2-3-4-5-6-7

1b) with flattened 3rd and 7th intervals?
Notes: G-A-A#/Bb-C-D-E-F
Scales/Modes= F Ionian, G Dorian, A Phrygian, Bb Lydian, C Mixolydian, D Aeolian, E Locrian

2b) with a flattened 6th interval?
Notes: G-A-B-C-D-D#/Eb-F#
Scales/Modes= C Lydian Diminished

3b) with a sharpened 4th and flattened 7th interval?
Notes: G-A-B-C#/Db-D-E-F
Scales/Modes= D Melodic minor (Ascending), B Locrian #2, F Lydian Augmented, C# Super Locrian

PART C
Notes of The Bb Natural minor Scale 1-2-b3-4-5-b6-b7

1c) with a flattened 2nd interval?
Notes: A#/Bb-B-C#/Db-D#/Eb-F-F#/Gb-G#/Ab
Scales/Modes= F# Ionian, G# Dorian, A# Phrygian, B Lydian, C# Mixolydian, D# Aeolian, E#(F) Locrian

2c) with sharpened b6th and b7th intervals?
Notes: Bb-C-Db-Eb-F-G-A
Scales/Modes= Bb Melodic minor (Ascending), G Locrian #2, Db Lydian Augmented, A Super Locrian

3c) with a flattened 5th interval?
Notes: Bb-C-Db-Eb-E-Gb-Ab
Scales/Modes= Same as (2c) with the notes moved up three half steps.

[Julian Vickers]

So I pretty much got them all right then. Except for the lydian diminished one, not sure about that scale.