English translation of the archived solfege study notes. The original course terminology and classifications are retained.
Abbreviations: ♯ — sharp; ♭ — flat; dim — diminished; aug — augmented. Note names follow English notation; the Latvian/German H corresponds to English B, and German B to English B♭.
I — The circle of fifths
C major — A minor: no sharps or flats.
| Flat keys | Sharp keys |
|---|---|
| F major — D minor: B♭ B♭ major — G minor: B♭, E♭ E♭ major — C minor: B♭, E♭, A♭ A♭ major — F minor: B♭, E♭, A♭, D♭ D♭ major — B♭ minor: B♭, E♭, A♭, D♭, G♭ | G major — E minor: F♯ D major — B minor: F♯, C♯ A major — F♯ minor: F♯, C♯, G♯ E major — C♯ minor: F♯, C♯, G♯, D♯ B major — G♯ minor: F♯, C♯, G♯, D♯, A♯ |
Enharmonic keys with six accidentals: F♯ major — D♯ minor (F♯, C♯, G♯, D♯, A♯, E♯); G♭ major — E♭ minor (B♭, E♭, A♭, D♭, G♭, C♭).
Enharmonic keys with seven accidentals: C♯ major — A♯ minor = D♭ major — B♭ minor; C♭ major — A♭ minor = B major — G♯ minor.
The circle of fifths arranges keys in fifths, in order of increasing numbers of accidentals.
II — Enharmonic equivalence
Notes, keys and intervals may be enharmonically equivalent: named or written differently, but sung or played at the same pitch. Examples: augmented fourth — diminished fifth; C♯ — D♭; F♯ major — D♯ minor = G♭ major — E♭ minor.
III — Letter names of notes
The source uses C D E F G A H C₁. Its historical explanation connects letter notation with a scale starting on A and explains H as a later addition following G, with B used for B♭. This is the original study note’s explanation, retained as historical course material.
IV — Types of chromatic notes
Passing and auxiliary chromatic notes. An accidental can indicate either type or a brief move towards another key. A chromatic auxiliary note must use an alteration of the neighbouring scale degree. Passing chromatic notes follow the spelling of the chromatic scale.
In the major chromatic scale, degrees III and VI remain unaltered when ascending; I and V when descending. In the minor chromatic scale, I and V remain unaltered in both directions.
V — Tonicisation, modulation and closely related keys
Tonicisation is a brief move to another key; modulation is a complete move to another key. Closely related keys of a major key include its relative key, keys with one more or one fewer accidental, and the harmonic subdominant. For a minor key, they include its relative key, keys with one more or one fewer accidental, and the harmonic dominant.
Example from the source: D major — B minor (two accidentals), G major — E minor (one), and A major — F♯ minor (three).
VI — Modes and their types
Seven-note major-type modes: Ionian, Lydian and Mixolydian. Minor-type modes: Aeolian, Dorian and Phrygian. The pentatonic scale has five notes and no semitones. Twentieth-century music also uses a twelve-note scale.
VII — Tetrachords
A tetrachord is a sequence of four notes. Each scale consists of two tetrachords. The source distinguishes four types. From C: major tetrachords C–F and G–C; minor tetrachord C–F with E♭; Phrygian tetrachord G–C with A♭ and B♭; harmonic-major tetrachords C–F and G–C with A♭.
VIII — Intervals
An interval is the relationship in pitch between two notes. The lower note is its base, and the upper note its top. In a harmonic interval they sound together; in a melodic interval, one after another. The source groups intervals as simple (minor, major and perfect), characteristic of harmonic scales (diminished and augmented), and compound (an octave plus another interval).
An octave plus a second forms a ninth; plus a third, a tenth; plus a fourth, an eleventh. Twelfths, thirteenths, fourteenths and fifteenths also occur. A perfect interval inverts to a perfect interval; a minor interval to a major one; a diminished interval to an augmented one.
Characteristic intervals in harmonic major
| Augmented fourth on IV and lowered VI Diminished fifth on VII and II | Augmented second on VI Diminished seventh on VII | Diminished fourth on III Augmented fifth on VI |
In harmonic major, an augmented second inverts to a diminished seventh. The source also notes: “T can be built into any perfect fourth.”
Characteristic intervals in harmonic minor
| Augmented fourth on VI and IV Diminished fifth on II and raised VII | Augmented second on VI Diminished seventh on raised VII | Diminished fourth on raised VII Augmented fifth on III |
IX — Triads
Triads are chords consisting of three notes arranged in thirds.
X — Seventh chords
A seventh chord is built in thirds and spans a seventh. It has three inversions: 6/5, 4/3 and 4/2.
XI — Time signatures
A time signature indicates the number of beats in a bar and the note value of a beat. The upper number indicates the number of beats; the lower number indicates their note value.
The source groups metres as follows:
- Simple: two or three beats; examples 2/4, 2/8, 2/2 (gavottes), 3/8, 3/4, 3/2 (sarabandes), 3/16.
- Compound: examples 4/4, 4/8, 4/2, 6/8, 9/8, 12/8, 6/4, 12/16.
- Mixed: (2+3)/4 = 5/4, as in Ej, saulīte, drīz pie Dieva; 5/8; (3+4)/4 = 7/4, as in Aiz upītes es uzaugu; 7/8.
- Changing metre: regularly or irregularly changing.