Dots And Ties - Music Theory For The 21st-Century Classroom

Home » What Are Ties In Music » Dots And Ties - Music Theory For The 21st-Century Classroom

Maybe your like

Skip to main content ContentsIndex Search Book close

Search Results:

No results. PrevUpNext \( \newcommand{\lt}{<} \newcommand{\gt}{>} \newcommand{\amp}{&} \definecolor{fillinmathshade}{gray}{0.9} \newcommand{\fillinmath}[1]{\mathchoice{\colorbox{fillinmathshade}{$\displaystyle \phantom{\,#1\,}$}}{\colorbox{fillinmathshade}{$\textstyle \phantom{\,#1\,}$}}{\colorbox{fillinmathshade}{$\scriptstyle \phantom{\,#1\,}$}}{\colorbox{fillinmathshade}{$\scriptscriptstyle\phantom{\,#1\,}$}}} \)
  • Front Matter
    • Colophon
    • Acknowledgements
    • Preface
  • 1 Basic Concepts
    • 1.1 Pitch
    • 1.2 Notation
    • 1.3 Octave Registers
    • 1.4 Accidentals
    • 1.5 Enharmonic Notes
    • 1.6 Practice Exercises
  • 2 Major Scales and Key Signatures
    • 2.1 Half Steps and Whole Steps
    • 2.2 The Major Scale
    • 2.3 Major Key Signatures
      • 2.3.1 Identifying Key Signatures
    • 2.4 Practice Exercises
  • 3 Minor Scales and Key Signatures
    • 3.1 Minor Scales
    • 3.2 Minor Key Signatures
    • 3.3 Scale Degree Names
    • 3.4 Practice Exercises
  • 4 Basics of Rhythm
    • 4.1 Time Signature
    • 4.2 Durational Symbols
    • 4.3 Dots and Ties
    • 4.4 Meter
    • 4.5 Tuplets
    • 4.6 Common Rhythmic Notation Errors
    • 4.7 Practice Exercises
  • 5 Intervals
    • 5.1 Introduction to Intervals
      • 5.1.1 Numeric Size of Interval
      • 5.1.2 Interval Quality: Perfect versus Major/Minor
    • 5.2 How to Identify Perfect, Major, and Minor Intervals
    • 5.3 How to Write Perfect, Major, and Minor Intervals
    • 5.4 Inversion of Intervals Explained
    • 5.5 Augmented and Diminished Intervals
    • 5.6 Practice Exercises
  • 6 Triads
    • 6.1 Introduction to Triads
    • 6.2 Lead-Sheet Symbols
    • 6.3 Inverted Triads
      • 6.3.1 "Slash" Chords
    • 6.4 Analyzing Chords
    • 6.5 Simple “Sus” Chords
    • 6.6 Summary
    • 6.7 Practice Exercises
  • 7 Roman Numerals and Cadences
    • 7.1 Roman Numeral Chord Symbols
    • 7.2 Diatonic Chords in Major
    • 7.3 Diatonic Chords in Minor
    • 7.4 Cadences
      • 7.4.1 Examples of Authentic Cadences
      • 7.4.2 Examples of Plagal Cadences
      • 7.4.3 Examples of Deceptive Cadences
      • 7.4.4 Examples of Half Cadences
    • 7.5 Practice Exercises
  • 8 Seventh Chords
    • 8.1 Introduction to Seventh Chords
    • 8.2 The IV/5 “sus” chord
    • 8.3 Roman Numerals of Diatonic Seventh Chords
    • 8.4 Practice Exercises
  • 9 Harmonic Progression and Harmonic Function
    • 9.1 The Circle of Fifths Progression
    • 9.2 Harmonic Rhythm
    • 9.3 Shorter Progressions from the Circle of Fifths
      • 9.3.1 II-V-I
      • 9.3.2 VI-II-V-I
        • 9.3.2.1 vi-ii-V-I
        • 9.3.2.2 I-vi-ii-V
        • 9.3.2.3 ii-V-I-vi
      • 9.3.3 III-VI-II-V
    • 9.4 Harmonic Function
      • 9.4.1 The Harmonic Flowchart
      • 9.4.2 Tonic-Dominant-Tonic Progression
      • 9.4.3 Tonic-PreDominant-Dominant-Tonic Progression
      • 9.4.4 The Tonic-Tonic Prolongation-PreDominant-Dominant Progression
        • 9.4.4.1 I–vi–IV–V
    • 9.5 Exceptions Created by Harmonic Sequences
    • 9.6 The Subtonic VII Chord in Popular Music
    • 9.7 The Best-Seller Progression
    • 9.8 The i–VII–VI–VII Progression
    • 9.9 Practice Exercises
  • 10 Non-Chord Tones
    • 10.1 Introduction to Non-Chord Tones
    • 10.2 Passing Tones
    • 10.3 Neighbor Tones
    • 10.4 Appoggiatura
    • 10.5 Escape Tone
    • 10.6 Double Neighbor
    • 10.7 Anticipation
    • 10.8 Pedal Point
    • 10.9 Suspension
    • 10.10 Retardation
    • 10.11 Incomplete Neighbor
    • 10.12 Practice Exercises
  • 11 Melodic Analysis
    • 11.1 Motive
    • 11.2 Melodic Alteration
      • 11.2.1 Inversion
      • 11.2.2 Intervallic Change
      • 11.2.3 Augmentation and Diminution
      • 11.2.4 Rhythmic Change
      • 11.2.5 Ornamentation
      • 11.2.6 Extension
      • 11.2.7 Retrograde
    • 11.3 Fragment
    • 11.4 Phrase
    • 11.5 Subphrase
    • 11.6 Practice Exercises
  • 12 Form in Popular Music
    • 12.1 Verse-Chorus Form
    • 12.2 AABA Form
    • 12.3 ABAC Form
    • 12.4 The 12-Bar Blues
    • 12.5 Harmonically Closed and Open Sections
    • 12.6 Practice Exercises
  • 13 Phrases in Combination
    • 13.1 The Perfect Authentic Cadence
    • 13.2 The Sentence
    • 13.3 The Period
      • 13.3.1 Conclusiveness of Cadence
      • 13.3.2 Examples of the “Less Conclusive-More Conclusive” Cadential Formula
      • 13.3.3 Antecedents and Consequents
      • 13.3.4 Parallel and Contrasting Periods
      • 13.3.5 Repeated Phrase
    • 13.4 The Asymmetrical Period
    • 13.5 The Double Period
      • 13.5.1 Repeated Period
    • 13.6 Phrase Groups and Phrase Chains
    • 13.7 The Elision
    • 13.8 Summary of Phrases in Combination
    • 13.9 Practice Exercises
  • 14 Accompanimental Textures
    • 14.1 Texture
    • 14.2 Chorale Texture
    • 14.3 Arpeggiated Accompaniments
      • 14.3.1 Arpeggios
      • 14.3.2 Alberti Bass
    • 14.4 Block Chord Accompaniments
      • 14.4.1 The “1 (2) &” Rhythm
      • 14.4.2 The “Barbara Ann” Rhythm
      • 14.4.3 Repeated 8th-note Chords
      • 14.4.4 Repeated Quarter-note Chords
    • 14.5 Afterbeats and Offbeats
      • 14.5.1 Afterbeats
      • 14.5.2 Offbeats
        • 14.5.2.1 Polka
        • 14.5.2.2 Reggae
    • 14.6 The 3–2 Son Clave
      • 14.6.1 The 3+3+2 Rhythm
        • 14.6.1.1 Habanera and Reggaeton
      • 14.6.2 3+3+3+3+2+2
      • 14.6.3 8 Groups of 3 Plus 4 Groups of 2
      • 14.6.1 Other Combinations of 3s and 2s
    • 14.7 Distinctive Bass Lines
      • 14.7.1 Distinctive Guitar Riffs
  • 15 Creating Contrast Between Sections
    • 15.1 The Elements of Music
    • 15.2 Mozart, Eine kleine Nachtmusik, K. 525, II.
    • 15.3 “Rude” by MAGIC!
  • 16 Figured Bass
    • 16.1 Historical Context
    • 16.2 Figured Bass Inversion Symbols
    • 16.3 The Cadential Six-Four Chord
    • 16.4 Other Occurrences of Six-Four Chords
    • 16.5 Additional Information
    • 16.6 Practice Exercises
  • 17 Secondary Dominant Chords
    • 17.1 Examples with Secondary Dominants
    • 17.2 Tonicization
    • 17.3 Secondary Dominants in Major and Minor
    • 17.4 Analyzing Secondary Dominants
    • 17.5 Writing Secondary Dominants
    • 17.6 Irregular Resolutions of Secondary Chords
    • 17.7 Practice Exercises
  • 18 Secondary Diminished Chords
    • 18.1 Secondary Diminished Chords
    • 18.2 Secondary Diminished Chords in Major and Minor
    • 18.3 Analyzing Secondary Diminished Chords
    • 18.4 Writing Secondary Diminished Chords
    • 18.5 Practice Exercises
  • 19 Mode Mixture
    • 19.1 Mode Mixture
    • 19.2 Harmonization of Borrowed Scale Degrees
    • 19.3 Analyzing and Writing Borrowed Chords
    • 19.4 The Deceptive Cadence with ♭\(\left.\text{VI}\right.\)
    • 19.5 The Picardy 3rd
    • 19.6 Practice Exercises
  • 20 The Neapolitan Chord
    • 20.1 The Neapolitan Chord
    • 20.2 Examples of the Neapolitan Chord
    • 20.3 Practice Exercises
  • 21 Augmented Sixth Chords
    • 21.1 Augmented Sixth Chords
    • 21.2 Types of Augmented Sixth Chords
    • 21.3 Analyzing Augmented Sixth Chords
    • 21.4 Lead-Sheet Analysis of Augmented Sixth Chords
    • 21.5 Examples with Augmented Sixth Chords
      • 21.5.1 The Italian Augmented Sixth Chord
      • 21.5.2 The French Augmented Sixth Chord
      • 21.5.3 The German Augmented Sixth Chord
      • 21.5.4 The Enharmonic German Sixth
    • 21.6 Distingushing Between Chromatic Harmonies
    • 21.7 Descending Chromatic Bass Lines
    • 21.8 Chromatic Pre-Dominant Chords
    • 21.9 Practice Exercises
  • 22 Modulation
    • 22.1 Modulation
    • 22.2 Tonicization versus Modulation
    • 22.3 Key Relationships
    • 22.4 Modulations with Diatonic Pivot Chords
      • 22.4.1 Determining Common Chords Between Keys
      • 22.4.2 Harmonic Functions of Diatonic Pivot Chords
    • 22.5 How to Recognize a Key After a Modulation
    • 22.6 Modulations with Chromatic Pivot Chords
      • 22.6.1 Secondary Common Chord
      • 22.6.2 Borrowed Common Chord
      • 22.6.3 Neapolitan Common Chord
      • 22.6.4 Augmented Sixth Common Chord
    • 22.7 Modulations Without Pivot Chords
      • 22.7.1 Direct Modulation
      • 22.7.2 Common-Tone Modulation
        • 22.7.2.1 Chromatic Mediants
      • 22.7.3 Sequential Modulation
    • 22.8 Practice Exercises
  • 23 Enharmonic Modulation
    • 23.1 Enharmonic Modulation
    • 23.2 The V7 and Ger+6 as Pivot Chords
    • 23.3 The Fully Diminished Seventh as Pivot Chord
    • 23.4 Practice Exercises
  • 24 Binary and Ternary Forms
    • 24.1 Binary and Ternary Form
    • 24.2 Sectional versus Continuous
    • 24.3 Balanced Binary
    • 24.4 Rounded Binary
    • 24.5 Simple Binary
    • 24.6 Binary Principle
    • 24.7 Ternary Form
      • 24.7.1 Compound Ternary
    • 24.8 Distinguishing between Rounded Binary and Ternary
      • 24.8.1 Written-Out Repeats
    • 24.9 Practice Exercises
  • 25 Sonata and Rondo Forms
    • 25.1 Sonata Form
      • 25.1.1 Diagram of Sonata Form
      • 25.1.2 Sonatina Form
      • 25.1.3 Sonata Principle
      • 25.1.4 The Monothematic Sonata
    • 25.2 The Four Structural Functions in Music
      • 25.2.1 Expository Function
      • 25.2.2 Transitional Function
      • 25.2.3 Developmental Function
      • 25.2.4 Terminative Function
    • 25.3 Rondo Form
      • 25.3.1 Sonata Rondo Form
    • 25.4 Rondo Character
    • 25.5 Standard Forms in a Multimovement Classical Piece
    • 25.6 Practice Exercises
  • 26 Voice Leading Triads
    • 26.1 Voice Leading
    • 26.2 Types of Motion
    • 26.3 Objectionable Parallels
    • 26.4 Voice Ranges
    • 26.5 Rules of Melody
    • 26.6 Rules of Spacing
    • 26.7 Voice Leading Root Position Triads in Four Parts
      • 26.7.1 Bass movement of the interval of a 3rd or 6th
      • 26.7.2 Bass movement of the interval of a 4th or 5th
      • 26.7.3 Bass movement of the interval of a 2nd
      • 26.7.4 Repetition of the bass note
    • 26.8 Voice Leading First-Inversion Triads
      • 26.8.1 Voicing a First Inversion Chord
    • 26.9 Voice Leading Second Inversion Triads
    • 26.10 Special Situations
    • 26.11 Types of Six-Four Chords
    • 26.12 Summary of Doubling Rules for Triads
    • 26.13 Practice Exercises
  • 27 Voice Leading Seventh Chords
    • 27.1 Voice Leading Seventh Chords
    • 27.2 Voice Leading Successive Seventh Chords
    • 27.3 Voice Leading the \(\left.\text{V}^{7}\right.\) to \(\left.\text{I}\right.\) Progression
      • 27.3.1 Voice Leading \(\left.\text{I}^{6}_{4}\right.\) to \(\left.\text{V}^{7}\right.\)
    • 27.4 The Special Resolution of vii\(\left.\text{}^{\circ}{}^{7}\right.\) (and vii\(\left.\text{}^ø{}^{7}\right.\))
    • 27.5 When to Use Seventh Chords
    • 27.6 Practice Exercises
  • 28 Voice Leading With Non-Chord Tones
    • 28.1 Voice Leading With Non-Chord Tones
    • 28.2 Avoiding Objectionable Parallels
    • 28.3 Adding Non-Chord Tones to a Chord Progression
    • 28.4 Practice Exercises
  • 29 Voice Leading Chromatic Harmonies
    • 29.1 Voice Leading Secondary Chords
    • 29.2 Voice Leading Borrowed Chords
    • 29.3 Voice Leading the Neapolitan Chord
    • 29.4 Voice Leading Augmented Sixth Chords
    • 29.5 Practice Exercises
  • 30 Introduction to Counterpoint
    • 30.1 Species Counterpoint
    • 30.2 First Species Counterpoint
    • 30.3 Second Species Counterpoint
    • 30.4 Third Species Counterpoint
    • 30.5 Fourth Species Counterpoint
    • 30.6 Fifth Species Counterpoint
    • 30.7 Invention Expositions
      • 30.7.1 How to Write an Invention Exposition
      • 30.7.2 Altering Themes to Fit the Harmonies
      • 30.7.3 Adding Counterpoint to the Theme Statements
    • 30.8 Fugue Analysis
    • 30.9 Practice Exercises
  • 31 Introduction to Jazz Theory
    • 31.1 Jazz Chord Basics
    • 31.2 Chord Symbol Specifics
    • 31.3 Altered Dominant Seventh Chords
    • 31.4 Chord Labels
    • 31.5 How to Write Jazz Chords
    • 31.6 How to Analyze Jazz Chords
    • 31.7 Jazz Chord Voicings
      • 31.7.1 Guide Tones
      • 31.7.2 Jazz Chord Voicings
    • 31.8 Standard Chord Progressions
      • 31.8.1 II–V–I
      • 31.8.2 III–VI–II–V
      • 31.8.3 The Blues Progression
    • 31.9 Scales
      • 31.9.1 The Blues Scale
      • 31.9.2 The Bebop Scale
      • 31.9.3 Table of Scales
    • 31.10 How to Determine Chord-Scale Relationships
      • 31.10.1 List of Chord-Scale Relationships
    • 31.11 Harmonizing the Bebop Scale
    • 31.12 Practice Exercises
  • 32 Impressionism and Extended Tonality
    • 32.1 Impressionism
    • 32.2 Pandiatonicism
    • 32.3 Quartal, Quintal, and Secundal Harmony
    • 32.4 Polychords
    • 32.5 Practice Exercises
  • 33 Set Theory
    • 33.1 Set Theory
      • 33.1.1 Atonal Music
      • 33.1.2 Integer Notation for Pitches
      • 33.1.3 Integer Notation for Intervals
      • 33.1.4 Pitch-Class Sets
    • 33.2 Normal Form
    • 33.3 Prime Form
      • 33.3.1 Application of Normal Form and Prime Form
      • 33.3.2 Segmentation
    • 33.4 Interval Vector
    • 33.5 Forte Numbers
      • 33.5.1 Z-Relations
    • 33.6 Lists of Set Classes
    • 33.7 Transposition (T\(\text{}_{n}\))
    • 33.8 Inversion (T\(\text{}_{n}\)I)
      • 33.8.1 Identifying T\(\text{}_{n}\)I for Inversionally-Related Sets
    • 33.9 Practice Exercises
  • 34 Serialism
    • 34.1 Twelve-Tone Technique
      • 34.1.1 Row Forms
      • 34.1.2 Transposition Numbers
    • 34.2 Determining Row Forms
    • 34.3 Writing Row Forms
    • 34.4 Twelve-Tone Matrix
    • 34.5 Row Form Presentation in Music
    • 34.6 Non-Twelve-Tone Serialism
    • 34.7 Practice Exercises
  • 35 Minimalism
    • 35.1 Additive Minimalism
    • 35.2 Phase Shifting
    • 35.3 Homework Assignments
  • Back Matter
    • A Answers to Practice Exercises
    • B GNU Free Documentation License
    • Index
    • Colophon

Section4.3Dots and Ties

We have a whole note, which lasts for four beats, and a half note, which lasts for two beats, but we don’t have a durational value that lasts three beats. To do so requires using a dot or a tie.🔗 A tie links two notes together to create a new duration. Ties occur between notes of the same pitch. A slur, which looks like a tie, is placed over or under notes of different pitches and means to play them in a connected manner.🔗 A dot added to a note increases the duration of that note by half. A second dot represents half the value of the first dot, or a quarter of the original duration. (These are known as “double-dotted notes.”)🔗 And example illustrating the difference between ties and slurs, and how dots add to the value of a note 🔗 PrevTopNext PreTeXt logoRunstone Academy logoMathJax logo

Tag » What Are Ties In Music