Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor
|
|
|
- Alison Thompson
- 7 years ago
- Views:
Transcription
1 Level 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor 1. Play Scale (As tetrachord or one octave, hands separate or together) 2. Play I and V chords (of the scale you just played) (Hands separate or together) 3. Play chord progression (of the scale you just played): (or I-V-I) (Hands separate or together) 4. Play arpeggio (of the scale you just played): 5. Applied Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th in the keys of prepared scales up from tonic only, using appropriate black keys 76
2 Level 3 SCALE CHECKLIST C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major a minor e minor b minor f # minor c # minor g # minor e b minor b b minor f minor c minor g minor d minor 77
3 Level 4 Scale Reference Sheet MP: 4 keys 2 major and 2 minor (natural and harmonic minor forms) 1. Play Scale (One octave, hands separate or together) 2. Play Primary Chords in Root position (for the scale you just played), hands separate or together. For minor keys, use harmonic form. 3. Play inversions of the tonic triad up and down, hands separate or together: 4. Play chord Progression: (or I-IV-I-V-I) hands separate or together. In minor keys, use harmonic form. 5. Play 1 handed arpeggio: 78
4 Level Four, continued 6. Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th, 7th, and octave, in the keys of prepared scales, up only, beginning on any pitch in the scale. All intervals will fall within the one octave range of the scale. SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major 79 MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor
5 Level 5 Scale Reference Sheet MP: 6 keys 2 white-key major, 2 black-key major and 2 minor (both natural and harmonic forms) 6. Play Scale (One octave, hands together) 7. Play Primary Triad Inversions (I, IV, V chord), hands separate or together: In minor keys, use harmonic form. 8. Play Chord Progression: (or I-IV-I V-I), hands together. In minor keys, use harmonic form. 4. Play a 1 octave arpeggio, hands together: 5. Play a Dominant 7 th Chord and its resolution in 2 keys (of your choice): 80
6 Level 5, continued 6. Applied Theory - Intervals: Play major and perfect intervals, up from tonic only, in the keys of prepared scales. SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major 81 MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor
7 Level 6 Scale Reference Sheet MP: All white-key major scales. Facilitator will choose 2. Prepare and play 2 black-key major scales Prepare and play 2 minor scales (both natural and harmonic forms) 9. Play Scale (Two octaves, hands separate or together) 10. Play chord progression in 2 ways (1. Chords in both hands and 2. Chords in RH and roots of the chords in the LH): In minor keys, use harmonic form. 11. Play a 2 octave arpeggio, hands separate or together in each key: Play a dominant 7 th chord and its resolution with all inversions in 2 keys of your choice: 82
8 Level 6, continued 6. Applied Theory: Intervals: Play major, minor and perfect intervals, up from tonic only, in the keys of prepared scales Harmonization: Play a simple folk tune with melody in the right hand, harmonized with blocked or broken primary chords in the left hand. (The student and teacher choose the tune, which the student prepares in advance.) TUNE: Chromatic Scale Play a chromatic scale, hands separate, 2 octaves up and down, beginning on the key of the student s choice MINOR SCALE CHECKLIST: MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major 83 a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor
9 Level 7 Scale Reference Sheet MP: Prepare all major scales and all white-key minor scales (natural and harmonic forms). Facilitator will choose 1 white-key major, 1 black-key major and 1 white-key minor scale. Prepare and play 1 black-key minor scale (natural and harmonic forms) 1. Play Scale (2 octaves, hands together) 2. Play Chord Progression Play a first inversion I-IV-I-V-V 7 -I chord progression in the keys of prepared scales, hands together. In minor keys, use harmonic form. Play a I-IV-I-V-V 7 -I chord progression in the keys of prepared scales. Play chords in the right hand and chord roots in the left hand. 3. Play 2 octave Arpeggio (hands together) Example: 4. Applied Theory: Intervals: Play major, minor and perfect intervals, up only, beginning on any white or black key. Chords: *Play major, minor, augmented and diminished triads, root position, from any key *Play major seventh, minor seventh and dominant seventh chords, root position only, on any white or black key. 84
10 LEVEL 7 SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor 85
11 Level 8 Scale Reference Sheet MP: Prepare all major and minor scales (natural and harmonic forms). Facilitator will choose 1 white-key major, 1 black-key major, 1 white-key minor and 1 black-key minor scale for the student to play. 1. Play Scale (4 octaves, hands together) 2. Play Chord Progression a. Play a second inversion I-IV-I-V-V 7 -I chord progression in the keys of prepared scales, hands together. In minor keys, use harmonic form. b. Play a I-IV-I-V-V7-I chord progression in 3 positions in the keys of prepared scales. Play chords in the right hand and chord roots in the left hand. 3. Play a 4 octave root position arpeggio, hands together, in the keys of prepared scales 4. Applied Theory: a. Intervals: 1. Play major, minor and perfect intervals from any key, up and down 2. Play augmented and diminished 4ths, 5ths and octaves up only, from any key b. Chords: 1. Play major, minor, augmented and diminished triads, root position and inversions, on any key 2. Play dominant seventh, major seventh, and minor seventh chords, root position and inversions, on any key 86
12 Level 8 SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor 87
13 Level 8 Scale Reference Sheet MP: Prepare all major and minor scales (natural and harmonic forms). Facilitator will choose 1 white-key major, 1 black-key major, 1 white-key minor and 1 black-key minor scale for the student to play. 1. Play Scale (4 octaves, hands together) 2. Play Chord Progression a. Play a second inversion I-IV-I-V-V 7 -I chord progression in the keys of prepared scales, hands together. In minor keys, use harmonic form. b. Play a I-IV-I-V-V7-I chord progression in 3 positions in the keys of prepared scales. Play chords in the right hand and chord roots in the left hand. 3. Play a 4 octave root position arpeggio, hands together, in the keys of prepared scales 4. Applied Theory: a. Intervals: 1. Play major, minor and perfect intervals from any key, up and down 2. Play augmented and diminished 4ths, 5ths and octaves up only, from any key b. Chords: 1. Play major, minor, augmented and diminished triads, root position and inversions, on any key 2. Play dominant seventh, major seventh, and minor seventh chords, root position and inversions, on any key 88
14 Level 8 SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor 89
15 Level 9 Scale Reference Sheet MP: Prepare all major and minor scales (natural, melodic and harmonic forms). Facilitator will choose 1 white-key major, 1 black-key major, 1 white-key minor and 1 black-key minor scale for the student to play. 1. Play Scale (4 octaves, hands together) 2. Play a I-IV-ii-V-V 7 -I chord progression in all keys. Play chords in the right hand and chord roots in octaves in the left hand. In minor keys, use harmonic form. 3. Play 4 octave major and minor arpeggios, root position and first inversion, hands together, in all keys. 4. Applied Theory: a. Intervals: 1. Play major, minor and perfect intervals from any key, up and down 2. Play augmented and diminished intervals and tritones, up only, from any key 5. Play major seventh, minor seventh, dominant seventh and fully-diminished seventh chords, root position and inversions, from any key. 90
16 LEVEL 9 SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor 91
17 Level 10 Scale Reference Sheet Scales: Prepare all major and minor scales (natural, melodic and harmonic forms). Facilitator will choose 1 white-key major, 1 black-key major, 1 white-key minor and 1 black-key minor scale for the student to play. Scales should be 2 octaves in eighth notes followed by 3 octaves in triplets and 4 octaves in sixteenth notes, played continuously, hands together Use the correct fingering and play with a steady pulse Chord Progressions: 1. Prepare a I-vi-IV-ii-I6,4-V7-I chord progression in all keys. In minor keys, use the harmonic form. Example: Play chords in the right hand and chord roots in the left hand. Facilitator will choose 1 major key and 1 minor key for the student to demonstrate. I vi IV ii I 6 4 V 7 I Arpeggios: 1. Prepare 4 octave major and minor arpeggios, root position and inversions, hands together, in all keys. Facilitator will choose 1 major key and 1 minor key for the student to demonstrate. Use the correct fingering and play with a steady pulse 2. Prepare 4 octave dominant seventh and fully-diminished seventh arpeggios, root position, hands together, on all keys. Facilitator will choose 1 dominant seventh and 1 fully-diminished seventh arpeggio for the student to demonstrate. 92
18 LEVEL TEN SCALE CHECKLIST MAJOR C Major G Major D Major A Major E Major B Major G b Major D b Major A b Major E b Major B b Major F Major MINOR a minor e minor d minor g minor c minor b minor f minor f # minor c # minor g # minor e b minor b b minor melodic melodic melodic melodic melodic melodic melodic melodic melodic melodic melodic melodic 93
At the piano; learning a natural hand position; the steady beat; pre-reading: two black keys Learning finger numbers, posture, and arm weight;
PREPARATORY 0 1 At the piano; learning a natural hand position; the steady beat; pre-reading: two black keys Learning finger numbers, posture, and arm weight; pre-reading: three black keys; double bar
INTERVALS. An INTERVAL is the distance between two notes /pitches. Intervals are named by size and quality:
Dr. Barbara Murphy University of Tennessee School of Music INTERVALS An INTERVAL is the distance between two notes /pitches. Intervals are named by size and quality: Interval Size: The size is an Arabic
MMTA Written Theory Exam Requirements Level 3 and Below. b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B).
MMTA Exam Requirements Level 3 and Below b. Notes on grand staff from Low F to High G, including inner ledger lines (D,C,B). c. Staff and grand staff stem placement. d. Accidentals: e. Intervals: 2 nd
GRADE THREE THEORY REVISION
GRADE THREE THEORY REVISION Note Pitches Use flashcards to make sure you know all your notes including leger lines. Whenever you name a note remember to check the clef, keysignature, and for accidentals
Fundamentals Keyboard Exam
Fundamentals Keyboard Exam General requirements: 1. Scales: be prepared to play: All major and minor scales (including melodic minor, natural minor, and harmonic minor) up to five sharps and flats, ith
Piano Requirements LEVEL 3 & BELOW
Piano Requirements LEVEL 3 & BELOW Technical Skills: Time limit: 5 minutes Play the following in the keys of F, C, G, D, A, E, B: 1. Five-note Major scales, ascending and descending, hands separate or
Guitar Rubric. Technical Exercises Guitar. Debut. Group A: Scales. Group B: Chords. Group C: Riff
Guitar Rubric Technical Exercises Guitar Debut In this section the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below. Groups A and B contain examples
Chords and Voicings Made Simple By: Sungmin Shin January 2012
Chords and Voicings Made Simple By: Sungmin Shin January 2012 I. Intervals An interval is the space between two notes. intervals of a 2nd, 3rd, 6th, and 7th can be diminished, minor, major, or augmented
Foundation Course. Study Kit No 1. Away In A Manger
Foundation Course Study Kit No 1 Away In A Manger Reharmonization Study Kit No. 1 Away In A Manger Author: Rosablanca Suen Web: www.learnpianowithrosa.com Email: Rosa@LearnPianoWithRosa.com Cover Design:
Music Theory Unplugged By Dr. David Salisbury Functional Harmony Introduction
Functional Harmony Introduction One aspect of music theory is the ability to analyse what is taking place in the music in order to be able to more fully understand the music. This helps with performing
7th Chord Scales (Scales that work for the 7th chords)
7th Chord Scales (Scales that work for the 7th chords) Ted Greene 1975, July 15 1) MIXOLYDIAN SCALE: This scale is a major scale with a b7th tone. Try making this alteration to your fingerings of the major
Modulation to Any Key
Modulation to Any Key by James M. Stevens In this exercise, I am demonstrating how to modulate from the key of C to any key. Most pianists are comfortable changing keys that move up a half step, whole
Expanding Your Harmonic Horizons
2016 American String Teachers National Conference Expanding Your Harmonic Horizons Harmony Clinic for Harpists Presented By Felice Pomeranz Publications used as resources from Felice's Library of Teaching
Adding a diatonic seventh to a diminished leading-tone triad in minor will result in the following sonority:
Lesson PPP: Fully-Diminished Seventh Chords Introduction: In Lesson 6 we looked at the diminished leading-tone triad: vii o. There, we discussed why the tritone between the root and fifth of the chord
evirtuoso-online Lessons
evirtuoso-online Lessons Chords Lesson 3 Chord Progressions www.evirtuoso.com Chord Progressions are very popular and a strong foundation for many instruments and songs. Any chords combined together in
KEYBOARD BENCHMARKS First Part
KEYBOARD BENCHMARKS First Part Practice Materials and Study Guide 2 nd Edition Compiled by the Ave Maria University Department of Music 2010. All rights reserved. 2 Contents RATIONALE AND SCHEMAE FOR THE
Crash Course in Music Theory for Guitarists by Andy Drudy
Crash Course in Music Theory for Guitarists by Andy rudy An in-depth knowledge of music theory is essential for any musician. Learning the ropes so-to-speak, will rapidly expand your insight into you own
UNDERGRADUATE MUSIC THEORY PLACEMENT TEST INFORMATION
UNDERGRADUATE MUSIC THEORY PLACEMENT TEST INFORMATION The theory placement test is designed to determine whether you are ready to enroll in MUS 121 (Music Theory I) or whether you must first take MUS 120
Introduction to Chords For Jazz Band
Introduction to Chords For Jazz Band First, let s start with a major scale and review the scale degrees. We refer to the distance between two notes as an interval, and an interval has two aspects: the
Keyboard Basics. By Starling Jones, Jr. http://www.starlingsounds.com& http://www.smoothchords.com
Keyboard Basics By Starling Jones, Jr. In starting on the piano I recommend starting on weighted keys. I say this as your fingers will be adjusted to the stiffness of the keys. When you then progress to
Viola Time Book 2. RGP (Release, Glide and Press) Shifting Method 2
Viola Time Book RGP (Release, Glide and Press) Shifting Method st Finger shifting without accidentals Exercise : st-rd Position shifting in C major Scale and arpeggio of C major Kayaking Down the Tarwin
SUBSTITUTING CHORDS. B C D E F# G Row 4 D E F# G A B Row 5
SUBSTITUTING CHORDS By Karen Daniels Simply put, chord substitution is the use of one chord in place of another chord and using them is one way to give your music interest and a change in sound. Many chord
Bi- Tonal Quartal Harmony in Theory and Practice 1 Bruce P. Mahin, Professor of Music Radford University
Bi- Tonal Quartal Harmony in Theory and Practice 1 Bruce P. Mahin, Professor of Music Radford University In a significant departure from previous theories of quartal harmony, Bi- tonal Quartal Harmony
Music Theory IV. Final Exam. All Chapters H&VL. Prof. Andy Brick. I pledge my honor that I have abided by the Stevens Honor System.
Music Theory IV Final Exam All Chapters H&VL Prof. Andy Brick I pledge my honor that I have abided by the Stevens Honor System. 04/08/08 Due Week of, May 04 2008 Due Week of April 13: Exposition & Development
Learning to play the piano
Learning to play the piano INTRODUCTION TO THE KEYBOARD... 2 STEPPING UP... 2 TREBLE SPACES... 7 BASS SPACES... 9 TIME SIGNATURE... 12 UP AND DOWN THE HILLS... 15 UP AND DOWN THE HILLS IN G MAJOR... 16
Music Fundamentals 5: Triads, Chords, Introduction to Roman Numerals. Collection Editor: Terry B. Ewell
Music Fundamentals 5: Triads, Chords, Introduction to Roman Numerals Collection Editor: Terry B. Ewell Music Fundamentals 5: Triads, Chords, Introduction to Roman Numerals Collection Editor: Terry B.
The pianist has a few functions in a jazz combo. First, he comps for, and interacts with, other players as they solo.
Piano Chord Voicings for jazz combo The pianist has a few functions in a jazz combo. First, he comps for, and interacts with, other players as they solo. Secondly, he acts as a soloist himself. Therefore,
Internet Guitar Lessons Video and Lesson Content
Internet Guitar Lessons Video and Lesson Content Backing Tracks Creating Backing Tracks Improvising over Chord Changes 6 - Backing Track Studio Session Gear Rundown Virtual Gig Part 1 Virtual Gig Part
PERPETUAL MOTION BEBOP EXERCISES
PERPETUAL MOTION BEBOP EXERCISES Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html Bebop is much more than just one particular style, it is pretty much the grammar of modern jazz, and bebop licks are
SVL AP Music Theory Syllabus/Online Course Plan
SVL AP Music Theory Syllabus/Online Course Plan Certificated Teacher: Norilee Kimball Date: April, 2010 Stage One Desired Results Course Title/Grade Level: AP Music Theory/Grades 9-12 Credit: one semester
MU 3323 JAZZ HARMONY III. Chord Scales
JAZZ HARMONY III Chord Scales US Army Element, School of Music NAB Little Creek, Norfolk, VA 23521-5170 13 Credit Hours Edition Code 8 Edition Date: March 1988 SUBCOURSE INTRODUCTION This subcourse will
How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 Revised 4 September 2012
How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 Revised 4 September 2012 There are different forms of jazz improvisation. For example, in free improvisation, the player is under
Open Tunings: Contents
Open Tunings: Contents adgad Chords: 163 adf#ad Chords: 182 adfad Chords: 199 adgbd Chords: 216 gdgbd (Eaeac#e) Chords: 233 Comments I love open tunings. They add moods to music that just don t show up
Intervals Harmony Chords and Scales. Workbook
Intervals Harmony Chords and Scales Workbook Introduction In writing this book I was able to make many discoveries for myself both in methods of teaching and basic use of music theory. In every discipline
Sample of Version 2.0 of Swing & Jump Blues Guitar
The Charlie Christian Approach Charlie Christian (1916 1942) was one of the first real swing guitar players that had a lasting influence on all other swing and jump guitar players after him. Even more
Lesson DDD: Figured Bass. Introduction:
Lesson DDD: Figured Bass Introduction: In this lesson you will learn about the various uses of figured bass. Figured bass comes from a Baroque compositional practice in which composers used a numerical
8 th grade concert choir scope and sequence. 1 st quarter
8 th grade concert choir scope and sequence 1 st quarter MU STH- SCALES #18 Students will understand the concept of scale degree. HARMONY # 25. Students will sing melodies in parallel harmony. HARMONY
The CAGED Guitar System
The CAGED Guitar System First of all, let s look at an example below on how to use the CAGED guitar system: 1 The example showed above demonstrates the general idea of how the CAGED system works in a certain
GUITAR THEORY REVOLUTION
GUITAR THEORY REVOLUTION The Major and Minor Pentatonic Scales Copyright Guitar Theory Revolution 2011 1 Contents Introduction 3 What are the Major and Minor Pentatonic Scales 3 Diagrams for all the Pentatonic
Jazz Theory and Practice Module 1, a, b, c: Tetrachords and Scales
Jazz Theory and Practice Module 1, a, b, c: Tetrachords and Scales A. The basic tetrachords, and other melodic patterns Modules 1 and 2 are about jazz basics: chords and scales. The chords could have come
Tutorial 1J: Chords, Keys, and Progressions
Tutorial 1J: Chords, Keys, and Progressions Welcome! In this tutorial you ll learn how to: Other Level 1 Tutorials 1. Relate chords with keys 1A: Virtual Practice 2. Use basic blues progressions & blues
Bard Conservatory Seminar Theory Component. Extended Functional Harmonies
Bard Conservatory Seminar Theory Component Extended Functional Harmonies What we have been referring to as diatonic chords are those which are constructed from triads or seventh chords built on one of
Students' guide: Area of study 1 (The Western classical tradition 1650-1910)
Students' guide: Area of study 1 (The Western classical tradition 1650-1910) This resource gives students a breakdown of Haydn's Symphony 101 in D major 'The Clock' movt. 2. It also offers guidance on
As Example 2 demonstrates, minor keys have their own pattern of major, minor, and diminished triads:
Lesson QQQ Advanced Roman Numeral Usage Introduction: Roman numerals are a useful, shorthand way of naming and analyzing chords, and of showing their relationships to a tonic. Conventional Roman numerals
Everyone cringes at the words "Music Theory", but this is mainly banjo related and very important to learning how to play.
BLUEGRASS MUSIC THEORY 101 By Sherry Chapman Texasbanjo The Banjo Hangout Introduction Everyone cringes at the words "Music Theory", but this is mainly banjo related and very important to learning how
The Basic Jazz Guitar Chord Book
The Basic Jazz Guitar Chord Book By Dirk Laukens / January 25, 2005 Hello and welcome to the basic jazz guitar chord book, brought to you by www.jazzguitar.be. How are guitar chords built? What makes a
22. Mozart Piano Sonata in B flat, K. 333: movement I
22. Mozart Piano Sonata in B flat, K. 333: movement I (for Unit 3: Developing Musical Understanding) Background Information and Performance Circumstances Biography Mozart was born in Austria on the 27
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 HARMONY
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 HARMONY Introduction All songwriters will use harmony in some form or another. It is what makes up the harmonic footprint of a song. Chord sequences and melodies
MAKING YOUR LINES SOUND MORE LIKE JAZZ!
MAKING YOUR LINES SOUND MORE LIKE JAZZ! BY ALISDAIR MACRAE BIRCH One of the common questions asked by jazz guitar students is, How do I make my lines sound more like jazz? or Why do my improvised lines
An Introduction to Chords
1 An Introduction to Chords by David Gilson A chord is the musical sound produced by playing a number of notes at the same time. The sound of the chord is different depending on the key you are playing
Theory and Ear Training Student Handbook 2015-2016
Theory and Ear Training Student Handbook 2015-2016 Contents Introduction... 4 Proficiency Tests... 5 Manhattan School of Music Mission Statement... 5 Recommended Textbooks... 5 Suggested Web Sites... 5
The Chord Book - for 3 string guitar
The Chord Book - for 3 string guitar Prepared for: 3 string fretted cbg Prepared by: Patrick Curley Forward This short ebook will help you play chords on your 3 string guitar. I m tuned to G, if you re
www.migu-music.com Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano An easy method for creating Walking Bass Lines on Piano
www.migu-music.com Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano An easy method for creating Walking Bass Lines on Piano Table of Contents 3 Explanation of the Contents 5 Introduction to the
A MUSICAL APPROACH TO LEARNING THE BANJO NECK
A MUSICAL APPROACH TO LEARNING THE BANJO NECK Introduction One of the things that has become clear to me, after a number of years of playing banjo, is that if I have any hope of improvising creatively
BEBOP EXERCISES. Jason Lyon 2008. www.opus28.co.uk/jazzarticles.html INTRODUCTION
BEBOP EXERCISES www.opus28.co.uk/jazzarticles.html INTRODUCTION Bebop is all about being able to play any chromatic tone on any chord. Obviously, if we just play chromatically with free abandon, the harmony
Practice Test University of Massachusetts Graduate Diagnostic Examination in Music Theory
name: date: Practice Test University of Massachusetts Graduate Diagnostic Examination in Music Theory Make no marks on this page below this line area Rudiments [1 point each] 1 2 3 4 5 6 7 8 9 10 results
2012 Saskatchewan Curriculum. Jazz Theory. To Accompany Instrumental Jazz 10, 20, 30
2012 Saskatchewan Curriculum To Accompany Instrumental Jazz 10, 20, 0 ISBN 98-1-10-06-2 1. Arts education (Secondary school) - Saskatchewan - Curricula. 2. Competency-based education - Saskatchewan. Saskatchewan.
Swing & Jump Blues Guitar Matthieu Brandt
Swing & Jump Blues Guitar Matthieu Brandt Goto www.swingblues.com for more on Swing and Jump Blues Guitar. 1997-2016 No part of this material (book/cd/website) may be reproduced in any way without prior
Basic Music Theory. Reading Different Clefs
1 Basic Music Theory Reading Different Clefs The most commonly used clefs are the treble and bass. The ability to read both of these clefs proficiently is essential for Leaving Cert. Music. Clef reading
Scales and Arpeggios. Absolute Beginners. By J.P. Dias
Scales and Arpeggios Absolute Beginners By J.P. Dias opyright 2004-2005 To Paula ontents Introduction...8 1. Basic of Reading Music...9 2. Major Modes...10 4. Minor Scales...24 3. Pentatonic Scales...30
A BRIEF GUIDE TO PIANO FOURTH VOICINGS
A BRIEF GUIDE TO PIANO FOURTH VOICINGS INTRODUCTION This article is intended to give you a basic command of the most useful piano chords voiced in fourths (also known as quartal voicings ). This sound
User s guide. EarMaster School 4.0 EarMaster Pro 4.0. MidiTec
EarMaster User s guide EarMaster School 4.0 EarMaster Pro 4.0 MidiTec User s guide EarMaster School 4.0 EarMaster Pro 4.0 EarMaster is a trademark of MidiTec. Copyright 1996-2003 MidiTec, Vegavaenget 26,
HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com
1 HOW SCALES, KEY SIGNATURES, & ARPEGGIOS WORK www.tubapeter.com WHAT IS A SCALE? A scale is all the pitches that you can play in a key signature without playing any accidentals. The key of Bb is Bb and
How To Improvise a Solo A Workshop for Beginners
1 How To Improvise a Solo A Workshop for Beginners 10:00-10:30 am Arrival, Setup and Performance 10:30 to 12:00 pm Interactive Workshop 12:00 to 12:30 Lunch 12:30 to 2:00 pm Workshop 2:00 tp 3:30 pm Open
Jim Hall Chords and Comping Techniques
Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with
GOSPELKEYS TM 202 MASTERING WORSHIP CHORDS TRANSCRIPTS SIDENOTES. www.hearandplay.com www.gospelkeys202.com. Minister Jermaine A.
GOSPELKEYS TM 202 MASTERING WORSHIP CHORDS TRANSCRIPTS & SIDENOTES www.hearandplay.com www.gospelkeys202.com Minister Jermaine A. Griggs, Author 1 INTRODUCTION Hello my friend, and welcome to Gospel Keys
How to create bass lines
First rule: always memorize the melody of the song! Always. Always. Always. You should be able to sing and play it in the original key. If you really want to be totally extra, extra awesome, you will be
Music Theory. Level 1. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 1 Student s Name: Class: American Language Version Printable Music Theory Books Level One Published by The Fun Music Company
Sample Pages. This pdf contains sample pages from the ebook The Easy Guide to Jazz Guitar Arpeggios. To get the full ebook, Click Here
1 Sample Pages This pdf contains sample pages from the ebook The Easy Guide to Jazz Guitar Arpeggios. To get the full ebook, Click Here 2 Contents Introduction....6 What Are Arpeggios?....7 Chapter 1:
Study Kit No 9. Aura Lee (Love Me Tender)
Study Kit No 9 Aura Lee (Love Me Tender) Reharmonization Study Kit No. 9 Aura Lee Author: Rosablanca Suen Web: www.learnpianowithrosa.com Email: Rosa@LearnPianoWithRosa.com Cover Design: Raymond Suen Copyright
Definitive Piano Improvisation Course
Definitive Piano Improvisation Course By Yoke Wong 2007 Harmony and Melody Studio Inc Contents Pages Introduction Pentatonic Scale Improvisation 1 Country Western Style Made Easy 4 Left Hand Harmonizing
Music, Grade 11, University/College Preparation (AMU3M)
Music, Grade 11, University/College Preparation (AMU3M) This course emphasizes the appreciation, analysis, and performance of various kinds of music, including baroque and classical music, popular music,
Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI
Rehearsal Strategies A Night in Tunisia By Reginald Thomas, Professor of Jazz Piano Michigan State University, East Lansing, MI Do you remember the first time you heard this jazz classic, A Night In Tunisia?
AP MUSIC THEORY SUMMER ASSIGNMENT
AP MUSIC THEORY SUMMER ASSIGNMENT AP Music Theory Students and Parents, You are receiving this letter because you or your son/daughter is enrolled in AP Music Theory for this next school year. Please take
Tonic- The main pitch in tonal music, and also the first (and last) letter of a major or minor scale.
Scale- A scale is a series of pitches in ascending order, such as D E F G A B C D. There are many kinds of scales, which differ in how many different pitch names they use, and in the pattern of steps they
The Tuning CD Using Drones to Improve Intonation By Tom Ball
The Tuning CD Using Drones to Improve Intonation By Tom Ball A drone is a sustained tone on a fixed pitch. Practicing while a drone is sounding can help musicians improve intonation through pitch matching,
Slash Chords: Triads with a Wrong Bass Note?
patrick schenkius Slash Chords: Triads with a Wrong Bass Note? In this article the phenomenon slash chord is being examined by categorizing almost all of them and the way these chords function inside the
Virginia Music Teachers Association Theory Testing Program Syllabus (2012) Please note: Information for all levels is cumulative.
Virginia Music Teachers Association Theory Testing Program Syllabus (2012) Please note: Information for all levels is cumulative. Primer Level Note Names:!! the musical alphabet; names of keys on keyboard;
Chord Progressions and Cadences Part I - I, IV, and V
Chord Progressions and Cadences Part I - I, IV, and V In the discussion that follows I m going to use our roman numeral terminology, and I m also going to talk a lot about scale degrees - the specific
Handout #1: Everything you never wanted to know about intervals
Handout #1: Everything you never wanted to know about intervals Much to my surprise, it turns out that making and recognizing intervals is one of the more difficult skills for beginning students to master.
Chords and More Chords for DGdg Tenor Banjo By Mirek Patek
Chords and More Chords for DGdg Tenor Banjo By Mirek Patek This tenth article about the fingerstyle tenor banjo in DGdg tuning will be focused on banjo accompaniment, i.e. on playing chords. The goal is
Cuban Tres Guitar Chord & Scale Book
Cuban Tres Guitar Chord & Scale Book Written by: Rudy Furlan Copyright 2004 This E-book will explain how to tune your C Cuban Tres Guitar and show you how to finger chords and play scales. It is designed
How they invented chord patterns for the guitar. J. Chaurette. Dec., 2012
How they invented chord patterns for the guitar J. Chaurette Dec., 2012 The guitar has a very long history; it has evolved over the ages to what it is now. It has achieved its final distinct form in 1770,
Music Theory: Explanation and Basic Principles
Music Theory: Explanation and Basic Principles Musical Scales Musical scales have developed in all cultures throughout the world to provide a basis for music to be played on instruments or sung by the
Music 42701 (JUN154270101) General Certificate of Secondary Education June 2015. Listening to and Appraising Music. Time allowed 1 hour
Centre Number Surname Candidate Number For Examiner s Use Other Names Candidate Signature Examiner s Initials Question Mark A General Certificate of Secondary Education June 2015 Music 42701 Unit 1 Listening
I II III IV V VI VII I I II III IV V VI VII I
How to use Solfa in the choir with David Vinden Relative Solfa (Curwen s Tonic Solfa) enables the development of the Inner Hearing. It takes time to teach it according to Kodály s principles. Most choir
Romantic and impressionist harmony
Romantic and impressionist harmony Thanks to Ward Meijer amd Walther Pondman, students at the ArtEZ Conservatorium Netherlands, for their inspiration and critical remarks. In this short tet, I will provide
Standard 1: Skills and Techniques 1
1 Standard 1: Skills and Techniques 1 CB.1.1 Instrument Knowledge Skills CB.1.1.1 Instrument in good playing condition- including proper assembly, reed care, and cleaning. CB.1.2 Playing Posture Skills
Music Theory. Basic Level
Music Theory Basic Level June 2005 Introduction... 3 Intervals... 4 Theory... 4 Usage... 5 Chords... 7 Theory... 7 Triads... 8 Four-note chords... 8 Usage... 8 The Major Scale... 10 Theory... 10 Usage...
Reharmonizations and Substitutions
Reharmonizations and Substitutions 7 th chords and scale harmonization Reharmonizing: Substituting chromatic chords within the iii vi ii V I progression For the sake of variety, coloration and creativity,
b 9 œ nœ j œ œ œ œ œ J œ j n œ Œ Œ & b b b b b c ÿ œ j œ œ œ Ó œ. & b b b b b œ bœ œ œ œ œ œbœ SANCTICITY
SANCTICITY ohn Scofield guitar solo from the live CD im Hall & Friends, Live at Town Hall, Volumes 1 & 2 azz Heritage CD 522980L Sancticity, a tune by Coleman Hawkins, is based on the same harmonic progression
DJPW' Dr.'McCurdy s'jazz'pedagogy'workshop' University'of'Southern'California' MUS'213' November'11,'2014'
RamseyCastaneda MUJZ443 Dr.McCurdy ClinicHandout 11/11/2014 DJPW Dr.McCurdy sjazzpedagogyworkshop UniversityofSouthernCalifornia MUS213 November11,2014 SussingouttheSusChord! Presentedby RamseyCastaneda
2-Voice Chorale Species Counterpoint Christopher Bailey
2-Voice Chorale Species Counterpoint Christopher Bailey Preamble In order to make the leap from composing in a 4-part chorale style to composing in a freetexture style, we will first re-think the process
Beginner Guitar Level I
Welcome to Beginner Guitar Level I E A D G B E * Please fill out the student form * Who is this guy? E A D G B E Logistics, etc.. sign in / out everyday start promptly -> don t be late! breaks / bathrooms
Arizona Music Standards
Introduction Music is a subject with its own unique skills and knowledge, a respected repertoire of quality literature, an advanced system of notation and literacy, and a challenging form of cognition.
Jazz Lesson 10. Brenden s Key Point
Jazz Lesson 10 Technique 1. Playing7 th chords with different combinations. a. Playing seventh chords in different inversions is very important for developing your soloing ability and for creating unique
Harmony Review Follow up: This harmony test has 36 questions. - - - - - Section I: Terms (8 questions)
Harmony Review Follow up: This harmony test has 36 questions. Section I: Terms (8 questions) From what we covered last Wednesday, you should be fine on this if you know the terms on the first section of
Open Tunings. instance, the melody C# B G A can be harmonized in the Open G tuning with the two drones B and D.
16 Open Tunings instance, the melody C# B G A can be harmonized in the Open G tuning with the two drones B and D. When the strings of a tuning form a simple chord, the tuning is called open; the strings
HIGH SCHOOL MASTER MUSICIAN
SCHOOL DISTRICT OF HILLSBOROUGH COUNTY HIGH SCHOOL MASTER MUSICIAN TH:22728 08/10/11 Philosophy The Master Musician program is designed to encourage talented music students to continue their progress beyond