{"id":1418,"date":"2023-09-28T14:39:47","date_gmt":"2023-09-28T14:39:47","guid":{"rendered":"http:\/\/localhost\/ecole9ja\/?p=1418"},"modified":"2023-09-28T14:41:08","modified_gmt":"2023-09-28T14:41:08","slug":"week-11-jss-3-first-term-cultural-and-creative-art-cca-lesson-notes","status":"publish","type":"post","link":"https:\/\/ecolebooks.com\/nigeria\/posts\/week-11-jss-3-first-term-cultural-and-creative-art-cca-lesson-notes\/","title":{"rendered":"Week 11 – Jss 3 First Term Cultural and Creative Art (CCA) Lesson Notes"},"content":{"rendered":"

WEEK 11
\n\t\t\t<\/strong>TOPIC: REVIEW OF CHORD AND TRIADS.
\n<\/strong>A chord is any combination of three or more pitch classes that sound simultaneously.
\nA three-note chord whose pitch classes can be arranged as thirds is called a\u00a0triad<\/em>.
\nTo quickly determine whether a three-note chord is a triad, arrange the three notes on the “circle of thirds” below. The pitch classes of a triad will always sit next to each other.
\n\"\"\/\"\"\/Identifying and labeling triads
\nTriads are identified according to their\u00a0root<\/em>\u00a0and\u00a0quality<\/em>.<\/p>\n

Triad roots
\n<\/h3>\n

To find a triad’s root, arrange the pitch classes on a circle of thirds (mentally or on paper). The root is the\u00a0lowest<\/em>\u00a0in the three-pitch-class clump. Expressed another way, if the circle\u00a0ascends<\/em>\u00a0by thirds as it moves clockwise, the root is the “earliest” note (thinking like a literal clock), and the other pitch classes come “later.”
\n\"\"\/\"\"\/
\n\t\tOance you know the root, you can identify the remaining notes as the\u00a0third<\/em>\u00a0of the chord (a third above the root) and the\u00a0fifth<\/em>\u00a0of the chord (a fifth above the root).<\/p>\n

Triad qualities
\n<\/h3>\n

To find a triad’s quality, identify the interval between the root and the other members of the chord. There are four qualities of triads that appear in major and minor scales, each with their own characteristic intervals.<\/p>\n

    \n
  • \n
    major triad: M3 and P5 above the root (as in\u00a0do\u2013mi\u2013sol<\/em>)\n<\/div>\n<\/li>\n
  • \n
    minor triad: m3 and P5 above the root (as in\u00a0do\u2013me\u2013sol<\/em>\u00a0or\u00a0la\u2013do\u2013mi<\/em>)\n<\/div>\n<\/li>\n
  • \n
    diminished triad: m3 and d5 above the root (as in\u00a0ti\u2013re\u2013fa<\/em>)\n<\/div>\n<\/li>\n
  • \n
    augmented triad: M3 and A5 above the root (as in\u00a0me\u2013sol\u2013ti<\/em>)\n<\/div>\n<\/li>\n<\/ul>\n

    \u00a0\"\"\/<\/p>\n

    Lead-sheet symbols
    \n<\/h3>\n

    A triad can be summed up by a single symbol, such as a lead-sheet chord symbol. A lead sheet symbol includes information about both root quality, as well as which pitch class occurs in the lowest voice (called the\u00a0bass<\/em>\u00a0regardless of who is singing or playing that pitch).
    \nA lead-sheet symbol begins with a capital letter (and, if necessary, an accidental) denoting the root of the chord. That letter is followed by information about a chord’s quality:<\/p>\n

      \n
    • \n
      major triad: no quality symbol is added\n<\/div>\n<\/li>\n
    • \n
      minor triad: lower-case “m”\n<\/div>\n<\/li>\n
    • \n
      diminished triad: lower-case “dim” or a degree sign “\u00b0”\n<\/div>\n<\/li>\n
    • \n
      augmented triad: lower-case “aug” or a plus sign “+”\n<\/div>\n<\/li>\n<\/ul>\n

      Finally, if a pitch class other than the chord root is the lowest note in the chord, a slash is added, followed by a capital letter denoting the pitch class in the bass (lowest) voice.
      \nA C-major triad’s lead-sheet symbol is simply\u00a0C<\/strong>. A C-minor triad is\u00a0Cm<\/strong>. A D-sharp-diminished triad with an F-sharp in the bass is\u00a0D#dim\/F#<\/strong>. And so on.
      \n\"\"\/<\/p>\n

      Roman numerals
      \n<\/h2>\n

      Chords are often labeled according to their function within a key. One system for doing so uses Roman numerals to designate the scale degree of the chord’s root. Some musicians also use Roman numerals to describe the quality of the chord. Capital Roman numerals (I, II, III, etc.) are used for major triads. Lower-case Roman numerals (i, ii, iii, etc.) are used for minor triads. Lower-case Roman numerals followed by a \u00ba sign (ii\u00ba, vii\u00ba, etc.) are used for diminished triads. Capital Roman numerals followed by a\u00a0+<\/sup>\u00a0sign (V+<\/sup>, for example) are used for augmented triads. In general, Roman numerals are generally labeled\u00a0below<\/em>\u00a0the score.
      \n(Some musicians prefer to use Roman numerals\u00a0only<\/em>\u00a0to reflect the scale-degree of the chord root. In such cases, all Roman numerals are capital. In this textbook, we use all-capital Roman numerals to refer to chords generally, when quality does not matter. When notating specific chords with specific qualities, we will differentiate those qualities in the Roman numerals.)
      \nIn major keys, chords with the same Roman numeral are made up of the same scale-degrees (using the same solf\u00e8ge syllables), and they have the same quality. In other words, triads labeled “I” in any major key will be major triads containing\u00a0do<\/em>,\u00a0mi<\/em>, and\u00a0sol<\/em>. iii triads will be minor triads containing\u00a0mi<\/em>,\u00a0sol<\/em>, and\u00a0ti<\/em>, etc. The same is true for minor keys (though I in minor is different from I in major).<\/p>\n

      \u00a0\"\"
      \n\t\tTypes of triads<\/em>:\u00a0\"\"\u00a0I\u00a0(help\u00b7info),\u00a0\"\"\u00a0i\u00a0(help\u00b7info),\u00a0\"\"\u00a0io<\/sup>\u00a0(help\u00b7info),\u00a0\"\"\u00a0I+<\/sup>\u00a0(help\u00b7info)
      \nIn\u00a0music, a\u00a0triad<\/strong>\u00a0is a set of three notes (or “pitches”) that can be stacked vertically in thirds.
      \n\t\t\t<\/sup>The term “harmonic triad” was coined by\u00a0Johannes Lippius\u00a0in his\u00a0Synopsis musicae novae<\/em>\u00a0(1612).
      \nWhen stacked in thirds, notes produce triadic chords. The triad’s members, from lowest-pitched tone to highest, are called:<\/p>\n

        \n
      • \n
        the\u00a0root<\/strong>\n\t\t\t\t<\/div>\n<\/li>\n
      • \n
        the\u00a0third<\/strong>\u00a0\u2013 its interval above the root being a\u00a0minor third\u00a0(three semitones) or a\u00a0major third\u00a0(four semitones)\n<\/div>\n<\/li>\n
      • \n
        the\u00a0fifth<\/strong>\u00a0\u2013 its interval above the third being a minor third or a major third, hence its interval above the root being a\u00a0diminished fifth\u00a0(six semitones),\u00a0perfect fifth(seven semitones), or\u00a0augmented fifth\u00a0(eight semitones). Perfect fifths are the most commonly used interval above the root in Western\u00a0classical,\u00a0popular\u00a0and\u00a0traditional music.\n<\/div>\n<\/li>\n<\/ul>\n

        (Note: The notes of a triad do not have to use the root as the lowest note of the chord, due to the principle of\u00a0inversion. A triad can also use the third or fifth as the lowest note of the chord. Inverting a chord does not change the root note.)
        \nSome twentieth-century theorists, notably\u00a0Howard Hanson[2]<\/sup>\u00a0and\u00a0Carlton Gamer,
        \n\t\t\t<\/sup>\u00a0expand the term to refer to any combination of three different pitches, regardless of the intervals amongst them. The word used by other theorists for this more general concept is “trichord”.
        \n\t\t\t<\/sup>\u00a0Others, notably\u00a0Allen Forte, use the term to refer to combinations apparently stacked of other intervals, as in “quartal\u00a0triad”.
        \nIn the late\u00a0Renaissance music\u00a0era, and especially during the\u00a0Baroque music\u00a0era (1600\u20131750), Western art music shifted from a more “horizontal”\u00a0contrapuntalapproach (in which\u00a0multiple, independent melody lines were interwoven) toward\u00a0chord progressions, which are sequences of chords. The chord progression approach, which was the foundation of the Baroque-era\u00a0basso continuo\u00a0accompaniment, required a more “vertical” approach, thus relying more heavily on the triad as the basic building block of\u00a0functional harmony.<\/p>\n

        Function
        \n<\/h2>\n

        Each triad found in a diatonic (single-scale-based) key corresponds to a particular\u00a0diatonic function. Functional harmony tends to rely heavily on the\u00a0primary triads: triads built on the\u00a0tonic,\u00a0subdominant\u00a0(typically the ii or IV chord), and\u00a0dominant\u00a0(typically the V chord) degrees.\u00a0The roots of these triads begin on the first, fourth, and fifth degrees (respectively) of the diatonic scale, otherwise symbolized: I, IV, and V (respectively). Primary triads, “express\u00a0function\u00a0clearly and unambiguously. \u00a0The other triads of the diatonic key include the\u00a0supertonic,\u00a0mediant,\u00a0submediant, and\u00a0subtonic, whose roots begin on the second, third, sixth, and seventh degrees (respectively) of the diatonic scale, otherwise symbolized: ii, iii, vi, and viio<\/sup>\u00a0(respectively). They function as auxiliary or supportive triads to the primary triads.<\/p>\n

        \u00a0
        \n\u00a0
        \n\t\t\t<\/strong>\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

        WEEK 11 TOPIC: REVIEW OF CHORD AND TRIADS. A chord is any combination of three…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,131],"tags":[],"class_list":["post-1418","post","type-post","status-publish","format-standard","hentry","category-posts","category-first-term-jss-3-cca-fine-art"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1418","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/comments?post=1418"}],"version-history":[{"count":1,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1418\/revisions"}],"predecessor-version":[{"id":1419,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/1418\/revisions\/1419"}],"wp:attachment":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/media?parent=1418"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/categories?post=1418"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/tags?post=1418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}