key point

Examples of key point in the following topics:

• Content

  • Each Boundless concept  (the supporting element of the three-part content module) consists of the full text as well as a one-line "brief," key points, and key terms.
  • An concept in turn is constructed of a fixed set of elements: the full text (including any embedded multimedia) as well as multiple forms of summary: a one-line brief, three to six key points, and three to six key terms, all of which are presented in a blue box at the top of the concept page.
  • The key points include three to five bullet points that provide a more detailed summary of the concept.
  • While they are not a substitute for the full text, the key points can help students frame the reading and understand what they should be focusing on.
  • Visible here are the brief, right above the blue box, and then the linked learning objective as well as the key points and key terms.

• Communicating Examples

  • Examples help the audience understand the key points; they should be to the point and complement the topic.
  • Examples are most effective when they are used as a complement to a key point in the presentation and focus on the important topics of the presentation.
  • One method of effectively communicating examples is by using an example to clarify and complement a main point of a presentation.
  • However, a speaker should be careful to not overuse examples as too many examples may confuse the audience and distract them from focusing on the key points that the speaker is making.

• The Do's of Using Visual Aids

  • Visual aids are essential to helping your audience better understand the key points of your presentation.
  • A way to test if your visual aids are addressing the key point is to ask someone who is unfamiliar with your presentation if they can understand what the key point is.
  • If they cannot determine the key point, it may be a good idea to revise your visual aids to include less non-essential information.
  • For example, a visual aid that replaces a presentation could be a PowerPoint that includes big blocks of text that the presenter reads verbatim.
  • The audience should be able to quickly understand the key point of the slide.

• Types of Transitions

  • Internal previews cue the audience to listen for the key elements within major points.
  • Internal summaries, in contrast to internal previews, review the key points a speaker just made.
  • These regular summaries help the audience to remember the key points just articulated by the speaker.
  • Internal summaries reinforce the key issues in the speech.
  • Signposts allow an audience to remember the key points and follow along in the speech.

• Minor Keys

  • The point of the harmonic minor scale is to familiarize the musician with this common feature of harmony, so that the expected chords become easy to play in every minor key.
  • Identify the chords used in the piece, particularly at the very end, and at other important cadences (places where the music comes to a stopping or resting point).
  • Determine both the major key represented by that key signature, and its relative minor (the minor key that has the same key signature).
  • If the final chord is the tonic of either the major or minor key for that key signature, you have almost certainly identified the key.
  • If the final chord is not the tonic of either the major or the minor key for that key signature, there are two possibilities.

• Hybrid Themes

  • Unlike modulation, there is no cadence in a new key, only a short progression of chords borrowed from another key.
  • On the latter point, if the tonicized chord has tonic function in the current key (such as mi–sol–ti or la–do–mi), the applied chord will be an altered dominant of the current key.
  • If the tonicized chord has dominant function in the current key, the applied chord will be an altered subdominant of the current key.
  • If the tonicized chord has subdominant function in the current key, the applied chord will be an altered tonic of the current key.
  • The latter symbol uses a slash to denote "in the key of" and a Roman numeral to denote the tonic of that key relative to the current key.

• Applied Chords

  • Unlike modulation, there is no cadence in a new key, only a short progression of chords borrowed from another key.
  • On the latter point, if the tonicized chord has tonic function in the current key (such as mi–sol–ti or la–do–mi), the applied chord will be an altered dominant of the current key.
  • If the tonicized chord has subdominant function in the current key, the applied chord will be an altered tonic of the current key.
  • Here we show the way the chord is functioning in the home key, not the key from which it is borrowed.
  • The latter symbol uses a slash to denote "in the key of" and a Roman numeral to denote the tonic of that key relative to the current key.

• Relative Minor and Major Keys

  • Each minor key shares a key signature with a major key.
  • A minor key is called the relative minor of the major key that has the same key signature.
  • Even though they have the same key signature, a minor key and its relative major sound very different.
  • What are the relative majors of the minor keys in Figure 4.23?
  • The interval patterns for major and natural minor scales are basically the same pattern starting at different points.

• Modulation

  • A direct modulation occurs when a chord in the previous key is followed directly by a chord in the new key.
  • Examples of phrase modulations abound at the point between the end of the exposition in a minuet or a sonata and the beginning of the repeat of the exposition (if an exposition repeat is present).
  • A direct modulation is noted in a harmonic analysis by following the last chord in the old key with the new key, followed by a colon, and then the first chord in the new key.
  • A pivot-chord modulation makes use of at least one chord that is native to both the old key and the new key.
  • Below that symbol is the new key, colon, and the analytical symbol for the pivot chord in the new key.

• Internal Expansions

  • A direct modulation occurs when a chord in the previous key is followed directly by a chord in the new key.
  • Examples of phrase modulations abound at the point between the end of the exposition in a minuet or a sonata and the beginning of the repeat of the exposition (if an exposition repeat is present).
  • A direct modulation is noted in a harmonic analysis by following the last chord in the old key with the new key, followed by a colon, and then the first chord in the new key.
  • A pivot-chord modulation makes use of at least one chord that is native to both the old key and the new key.
  • Below that symbol is the new key, colon, and the analytical symbol for the pivot chord in the new key.