Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano An easy method for creating Walking Bass Lines on Piano
|
|
- Francis Perry
- 2 years ago
- Views:
Transcription
1 Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano An easy method for creating Walking Bass Lines on Piano
2 Table of Contents 3 Explanation of the Contents 5 Introduction to the Basics 7 Chapter 1 8 Walking Bass Note Range 8 Diatonic Harmony 8 Walking Bass Two Note Sequence 10 Walking Bass Three Note Sequence 14 The Racing Monkeys (Lead Sheet) 18 The Racing Monkeys (Piano Version) 19 Chapter 2 22 Walking Bass Four Note Sequence 22 Major Triad with the Major Sixth added 22 Mother s Face (Lead Sheet) 25 Mother s Face (Piano Version 1) 26 Major / Minor Triad with the Major Second added 27 Mother s Face (Piano Version 2) 29 Chapter 3 32 Ascending and Descending Scale 32 Red River Valley (Lead Sheet) 37 Red River Valley (Piano Version 1) 38 II V I Major Cadence 43 Aura Lee (Lead Sheet) 44 Aura Lee (Piano Version) 45 Chapter 4 48 Major Triad with the Minor Seventh added 48 Combination of two extended Major Triads 49 Midnight Special (Lead Sheet) 52 Midnight Special (Piano Version) 54 Chapter 5 56 Major Triad with the Minor Third added 56 Walking Bass Five Note Sequence 59 Backwater Blues (Lead Sheet) 60 Backwater Blues (Piano Version) 61 Chapter 6 64 Chromatic Passing Notes 64 Triad with Chromatic Passing Note 64 Chromatic Passing Note with Minor Third 68 Chromatic Passing Note with Major Third 71 Down by the Riverside (Lead Sheet) 73 Down by the Riverside (Piano Version) 75 The Tritone as Chromatic Suspension 80 Walking Train (Lead Sheet) 84 Walking Train (Piano Version) 86
3 4 Chapter 7 88 Typical Bass Lines with Chromatic Passing Note 88 Bass Line 5b 97 Slow Motion Blues (Lead Sheet) 98 Slow Motion Blues (Piano Version) 100 Chapter Typical Harmony Sequences in Minor 104 Wade in the Water (Lead Sheet) 107 Wade in the Water (Piano Version) 108 II V I Minor Cadence 112 Chapter Walking Bass in Octaves 116 Red River Valley (Lead Sheet) 121 Red River Valley (Piano Version 2) 123 Chapter The Diminished Chord 126 The Diminished Scale 127 Typical Harmony Sequences with the Diminished Chord 129 The Man I Love (Lead Sheet) 136 The Man I Love (Piano Version) 139 Tips & Tricks 144 Slash-Chords 144 Counterpoint Outer Voices 145 Comprehensive Symbols for the Bass Line 145 Combination of Major / Minor Chord 146 Melody Interpretation 147 Analysis 147 I Got Rhythm (Lead Sheet) 148 I Got Rhythm (Piano Version) 149 Jingle Bells (Lead Sheet) 152 Jingle Bells (Piano Version) 153
4 Chapter 1 8 Walking Bass Note-Range Usually the bass lies in the lower sound range of the music. Therefore, the bass is played by the left hand on the lower part of the keyboard of the piano. The possible note-range of a walking bass can reach from sub-contra A to middle C. possible note-range of the walking bass sub-contra A middle C It is recommended to put the walking bass line in a note-range between contra F and small g. Bass lines above small g tend to sound thin, while bass lines under contra F sound very dull. recommended note-range of the walking bass contra F small g Diatonic Harmony By diatonic harmony we mean chords that can be formed from the notes of a major scale. If we take the key of C major, the scale looks like this: C major scale As we will see as we go through this course, the notes of the major scale can be played in sequence up and down with a walking bass.
5 Walking Bass Two-Note-Sequence It is possible to create a good bass line using just 2 notes of a chord. A simple major (or minor) chord is composed of the root, third and fifth, as we see in the two illustrations: 10 C major triad root major third fifth C minor triad root minor third fifth In the beginning we can ignore the third of the chord and just use the root and the fifth for a walking bass. We want to practice the walking bass with the help of typical harmony sequences often found in songs. The first harmony sequence that we want to learn, is composed of the I., IV., V. and I. degrees: harmony sequence 1, key of C major C F G C In our first harmony sequence we will practice the walking bass with the root and fifth in three different keys with the examples 1a c: 1a
6 Major / Minor Triad with the Major Second added The second possibility to achieve a four-note-sequence for the walking bass is to take the ordinary major or minor triad and insert a second: 27 major triad with the major second added split into individual notes root second third fifth minor triad with the major second added split into individual notes root second third fifth We will now practice the two new four-note-sequences with harmony sequence 4 (see page 16), with a minor cadence composed from I., IV., V. and I. degree: 11a 11b
7 Mother s Face Version 2 29 Music: Traditional Arr.: Michael Gundlach 13
8 Chapter 3 32 Ascending and Descending Scale In the first two chapters we have dealt with using the notes of a chord for the walking bass. In addition to this you can form a walking bass from the notes of a scale. Take, for example the key of C major, we can use all the notes of the ordinary C major scale. For the beginning, it is advisable to play the notes of the scale in an up or down sequence. For example if we want to go from C major (I. degree) to F major (IV. degree) in a 4/4 beat with a bass line, we can use a downward movement of the scale: downward movement of the C major scale I. IV. Of course we can also connect the two chords together in an upward movement of the scale, however, in order to accomplish this we must repeat one note. In the following example the root is played twice: upward movement of the C major scale I. IV. If we want to go from C major (I. degree) to G major (V. degree) with our bass line, an upward or downward movement could look like this: upward movement of the C major scale downward movement of the C major scale I. V. I. V. We will practice the illustrated bass movements with the examples 14a 15d with combined upward and downward movements.
9 Midnight Special 54 Music: Traditional Arr.: Michael Gundlach 24
10 Backwater Blues Lead Sheet Music: Traditional 60 Backwater Blues is a typical dominant blues with a 12-bar form. As you can imagine from the term dominant blues it is composed only of dominant seventh chords. You could also say that a dominant blues is composed of the three major chords from the I., IV. and V. degree of the ordinary major scale. The I. and IV. degree are changed into dominants by adding the minor seventh, while the V. degree is already from its nature, a dominant. In a blues-song the use of the notes of the major triad with the added minor third makes a very good walking bass. In the piano version we see that this four-note-sequence is used many times. Here is an overview: piano version, bars 1, 3, 7, 13, 15, 25, 27, 37, 39 piano version, bars 2, 4, 10, 14, 29, 38, 42 piano version, bars 9, 21, 41 We have also used the notes of the major triad embellished with the minor seventh (bars 6, 42) or with the sixth (bars 17, 31, 33, 47). Also we have used chromatic passing notes again and again in the bass line of the piano version. In the following chapter this topic will be fully explained.
11 Backwater Blues 61 Music: Traditional Arr.: Michael Gundlach 28
12 Chapter 7 88 Typical Bass Lines with Chromatic Passing Notes If we analyse the walking bass lines from a good bassist in a band, we quickly come to realise that there are bass lines that appear over and over, because they sound so good and have proved themselves successful. It is obvious that we should have a command of these bass lines like a musical vocabulary, so to speak. In chapter 6 we have already learned several possibilities of how we can use chromatic passing notes in a bass line. In this chapter we want to look at more typical bass lines with chromatic passing notes. Bass Line 1 The first bass line that we want to learn, has a downward movement and is composed of the root, the minor seventh, the fifth and the diminished fifth of the underlying chords. Let us suppose that we want to play the dominant G7 (V. degree) of the key of C major, then the bass line would look like this: root minor seventh fifth diminished fifth root of the following chord As the illustration shows, the diminished fifth (note Db ) is the chromatic passing note to the root of the following chord (C major). We can play a chord combination from V. and I. degree for bass line 1. We have already made use of this combination in the song Walking Train (page 87, bar 24). Instead of the dominant, we can also play a minor7 chord in bass line 1 with a chord combination from II. and V. degree, then we would have a bass line like this: root minor seventh fifth diminished fifth root of the following chord And a chord combination from VI. and II. degree in bass line 1 would look like this: root minor seventh fifth diminished fifth root of the following chord
13 Chapter Walking Bass in Octaves The individual notes of the bass lines in this method can be played doubled and also in octaves. Let s take, for example, the notes of the major triad with the added major sixth: C major triad with the major sixth added If we play each note twice, and then place the second note an octave higher, we get the following bass lines: notes from C6 repeated the repeated notes played an octave higher As you can see from the illustration, instead of the usual quarter-note bass line, we now have an eighth-note bass line. The repeated note is played an octave higher. This style of playing, with octaves in the bass line, is very popular, but is not easy to play. Therefore we want practice this new style with the help of repeated exercises. Examples 50a d correspond to exercises 8a c from pages 22 23, except that this time the left hand plays a bass line with eight notes and octaves. In example 51a d we see the five note sequence of the dominant from chapter 5 (page 59), whereas in example 52a d we have used chromatic passing notes in the bass line. All twelve dominants are found in example 53 and can be practiced in a single exercise. The left hand plays one measure with a chromatic passing note and then a bar with a descending scale pattern.
14 118 51a 51b 51c 51d
15 Michael Gundlach DOWNLOAD PDF FILE WALKING BASS for Piano Exercises in all Keys
16 Table of Contents 2 Chapter 1 Walking Bass Two Note Sequence, CD-Exercise Walking Bass Three Note Sequence, CD-Exercise Chapter 2 Major Triad with the Major Sixth added, CD-Exercise Major / Minor Triad with the Major Second added, CD-Exercise Chapter 3 Ascending and Descending Scale, CD-Exercise II V I Major Cadence, CD-Exercise Chapter 4 Major Triad with the Minor Seventh added, CD-Exercise Chapter 5 Major Triad with the Minor Third added, CD-Exercise Walking Bass Five Note Sequence, CD-Exercise Chapter 6 Triad with Chromatic Passing Note, CD-Exercise Chromatic Passing Note with Minor Third, CD-Exercise Chromatic Passing Note with Major Third, CD-Exercise The Tritone as Chromatic Suspension, CD-Exercise Chapter 7 Typical Bass Lines with Chromatic Passing Note, CD-Exercise Chapter 8 Typical Harmony Sequences in Minor, CD-Exercise II V I Minor Cadence, CD-Exercise Chapter 9 Walking Bass in Octaves, CD-Exercise Chapter 10 Typical Harmony Sequences with the Diminished Chord, CD-Exercise
17 3
18 19
Michael Gundlach ROCK & POP PIANO. An easy Introduction to Improvisation For Beginners & Advanced Students
Michael Gundlach ROCK & POP PIANO An easy Introduction to Improvisation For Beginners & Advanced Students e m u l Vo 1 Table of Contents Introduction... 4 Basic Information... 5 Improvisation with 2 notes...
Modern Harmony Method
Modern Harmony Method Michael Griffin A text designed to progressively teach the fundamentals of melodic harmonisation in the jazz and popular genre. 2nd Edition Copyright: 2009 by Michael Griffin. Contents
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
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
Grade Six. MyMusicTheory.com. Harmony Complete Course, Exercises & Answers PREVIEW. (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC
MyMusicTheory.com Grade Six Harmony Complete Course, Exercises & Answers PREVIEW (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC www.mymusictheory.com Published: 7th March 2015 1 This is a preview document
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
9 Other Chords of the Major Key
Chapter 9 - Other Chords of the Major Key 9 Other Chords of the Major Key Scope: This chapter introduces the Super-Tonic, Mediant, Sub-Mediant and Leading Tone Chords of the Major Key. So far in our study,
Columbia Bible College Theory Placement Form
Columbia Bible College Theory Placement Form The diploma program in worship arts at CBC (which is the basis of our BA program), seeks to prepare you for ministry within a local church setting. One of the
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,
AP Music Theory Syllabus
Instructor Information: Mr. Balettie - balettiea@friscoisd.org Office: Band Hall - 469-633-5531 Tutorials - Monday 8:15a, Thursday 4:05p -or- by appointment ALL TUTORIALS SHOULD BE COMMUNICATED WITH MR.
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
Ear Training Software Review
Page 1 of 5 Canada: sales@ Ear Training Software Review Kristin Ikeda, Kelly's Music & Computers Ear training software is a great tool to improve aural discrimination. It s a terrific way to practice and
CHAPTER I. 1.1 A NOTE is a symbol used to represent the pitch (height) and the length of
CHAPTER I THE STAFF 1.1 A NOTE is a symbol used to represent the pitch (height) and the length of a sound. A note with a frequency of 440 cycles per second will be higher than one with a frequency of 30
CHAPTER I THE STAFF. 1.1 The most commonly used CLEFS are the treble and bass clefs.
CHAPTER I THE STAFF 1.1 The most commonly used CLEFS are the treble and bass clefs. The C clef is also used frequently. The centre of this clef shows the position of middle C. When the centre of the C
Prof. Nancy Rogers DIATONIC SEQUENCES
Prof. Nancy Rogers DIATONIC SEQUENCES A sequence is a musical construction in which an interval pattern is repeated at an incrementally higher or lower pitch level. The repetition is generally exact or
Analysis of the First Movement of Bartók s Suite Opus 14 Matt Wright, Music 301B, March 17, 2004
Analysis of the First Movement of Bartók s Suite Opus 14 Matt Wright, Music 301B, March 17, 2004 Tonality The allegretto first movement of Béla Bartók s Suite, Opus 14 from 1916 uses many elements of the
Musicianship II: A Foundation of Vital Skills and Knowledge
Musicianship II: A Foundation of Vital Skills and Knowledge By Mr. Jeff Hart, Instructor 610.853.5900 X2112 jhart@havsd.net 1 st Edition, 2016 Foreword Thank you for choosing to broaden your education
Duke Ellington School of the Arts
Duke Ellington School of the Arts Music Department Course Syllabus and Outline U62-08 AP Music Theory Instructor: Steven M. Allen, DMA Period: 8 Email: steven.allen2@dc.gov Room: 208 Engrade: sallen8519
Contents. Contents...i Acknowledgements...ii Preface...iii CHAPTER Clefs, Pitches and Note Values... 1 CHAPTER Time Signatures...
Contents Contents...i Acknowledgements...ii Preface...iii CHAPTER 1... 1 Clefs, Pitches and Note Values... 1 CHAPTER 2... 12 Time Signatures...12 CHAPTER 3... 19 Grouping...19 CHAPTER 4... 31 Keys...31
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
In General. To interpret the music in dancing boogie woogie the dancer have to know something about the music structure.
In General To interpret the music in dancing boogie woogie the dancer have to know something about the music structure. Boogie Woogie music is mostly played in blues,swing or rock n roll schemes. It derived
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 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
Theory of Music Grade 6
Theory of Music Grade 6 May 2009 Your full name (as on appointment slip). Please use BLOCK CAPITALS. Your signature Registration number Centre Instructions to Candidates 1. The time allowed for answering
In General. To interpret the music in dancing boogie woogie the dancer have to know something about the music form.
In General To interpret the music in dancing boogie woogie the dancer have to know something about the music form. Boogie Woogie music is mostly played in blues schemes. Sometimes you can find swing scheme.
Jazz Bass Line Construction Thelonious Monk Institute of Jazz Online Jazz Handbook
Jazz Bass Line Construction Thelonious Monk Institute of Jazz Online Jazz Handbook welcome to the bass chapter of the Thelonious Monk Institute of Jazz s Online Jazz Handbook! The function of a bass player
MUSIC THEORY GRADES THE EWING PUBLIC SCHOOLS 2099 Pennington Road Ewing, NJ 08618
MUSIC THEORY GRADES 10-12 THE EWING PUBLIC SCHOOLS 2099 Pennington Road Ewing, NJ 08618 Board Approval Date: August 29, 2016 Michael Nitti Written by: D. Blair Olson Superintendent In accordance with The
Complex Chords. Eowyn January 2007
Complex Chords Eowyn January 2007 Table of Content Complex Chords Eowyn January 2007... 1 Table of Content... 1 Introduction...2 Brief Recap... 2 Triads... 2 Four note chords... 3 Chord Tensions... 4 Maj7
DIAMOND PIANO METHOD: CURRICULUM OVERVIEW
METHOD: CURRICULUM OVERVIEW Curriculum Overview Book 1: Pods* 1-8 Book 2: Pods 9-15 Pod 1: G Clef Gets Going: G Clef Hand Introduced in Middle C Position Quarter Notes, Half Notes, Whole Notes G Clef (Treble
Write like Mozart lecture notes Table of Contents
Write like Mozart lecture notes Table of Contents Write like Mozart lecture notes...1 Major Diatonic Chords...4 Triads...4 Seventh chords...4 Minor Diatonic Chords...5 Minor Triads...5 Minor Sevenths...5
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
Musicianship training
Musicianship training The emphasis in Maoin Cheoil is firmly set upon the provision of a complete musical education for all students. The separate but vital skills of Aural Training and Theoretical knowledge
How to Read Music Notation
How to Read Music Notation The New School of American Music IN JUST 30 MINUTES! C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E 1. MELODIES The first thing to learn about reading
First Steps in Keyboard
First Steps in Keyboard Part 2 - hords in the Key of Major These materials are part of the hordmaps.com series of instructional ebooks, encouraging students to explore songwriting and creative musical
UNIT 1: Intervals and Scales
AP Music Theory Quarter 1 UNIT 1: Intervals and Scales Order of flats and sharps Correct location on a staff AP MT.II.3 Notate and identify all major and minor key signatures. AP MT.II.3 Keys can be related
About Nate s Three Finger Piano Method. Seven Flavors of C chords R 7 3 R 3
1 About Nate s Three Finger Piano Method Seven Flavors of C chords Learning a reference point for groups of chords is key to speeding up the learning process. Many chords are one note away from being other
Theory Placement Exam Study Help
Theory Placement Exam Study Help This document is being sent to help you pass the Placement Exam. Maybe you re not sure of the logic of the some of the concepts. Let me supply some of the logic behind
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,
Sample Grade 5 Theory Paper
Sample Grade 5 Theory Paper Paper 1 Section 1 (10 marks) Put a tick (P) in the box next to the correct answer. Boxes for Example Name this note: A * D * C P* This shows that you think C is the correct
CREATIVE CHORD CONSTRUCTION FOR GUITAR. Watch the video first!
CREATIVE CHORD CONSTRUCTION FOR GUITAR Watch the video first! INTRODUCTION BEFORE BEGINNING THIS TRAINING MODULE You will need: An acoustic or electric guitar A connection to the internet Speakers or headphones
An Introduction to Harmony
An Introduction to Harmony Chord types composed of three or four different pitch classes Chordal spelling and notation Chord inversions Two types of chord identification shorthand Chord three or more pitch
Prerequisites (what you need to know to understand this course)
How To Chart a Song Prerequisites (what you need to know to understand this course) 1. How to read music (general basics such as naming notes, counting, key signatures, etc.). 2. Basic theory. You need
Comprehensive Course Syllabus-Music Theory
1 Comprehensive Course Syllabus-Music Theory COURSE DESCRIPTION: In Music Theory, the student will implement higher-level musical language and grammar skills including musical notation, harmonic analysis,
Memorize this pattern. It is the same for all keys. These are the DIATONIC CHORDS in this key.
DIATONIC HARMONY Ever wonder why particular chords sound good together and appear in many different songs, or why others sound dissonant and not right? Odds are its because these chords are DIATONIC to
SAMPLE Placement Exam for Incoming Grads Name: (Compiled by David Bashwiner, University of New Mexico, June 2013)
SAMPLE Placement Exam for Incoming Grads Name: (Compiled by David Bashwiner, University of New Mexico, June 2013) WRITTEN EXAM I. Scales Notate the following scales using accidentals but no key signatures.
8th Grade Music Objectives - Rhythm
8th Grade Music Objectives - Rhythm presentation.1 meaning.1 developing new artistic ideas and work.1 external context.1 1. Students will accurately demonstrate knowledge of beat through performing music
Glossary of musical terms PDF
Glossary of musical terms PDF Compliments of Ricmedia Guitar guitar.ricmedia.com Copyright Ricmedia A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent A beat or note that is significantly louder
Demonstrate technical proficiency on instrument or voice at a level appropriate for the corequisite
MUS 101 MUS 111 MUS 121 MUS 122 MUS 135 MUS 137 MUS 152-1 MUS 152-2 MUS 161 MUS 180-1 MUS 180-2 Music History and Literature Identify and write basic music notation for pitch and Identify and write key
Opera Minora. brief notes on selected musical topics
Opera Minora brief notes on selected musical topics prepared by C. Bond, www.crbond.com vol.1 no.2 In the notes of this series the focus will be on bridging the gap between musical theory and practice.
Higher National Unit Specification. General information for centres. Unit title: Music Theory 1. Unit code: DJ30 34
Higher National Unit Specification General information for centres Unit code: DJ30 34 Unit purpose: This unit is intended as an introduction to the rudiments of music. It is aimed at candidates who wish
Name Teacher. Virginia Music Teachers Association Theory Test LEVEL VI - Sample SCORE
Name Teacher Virginia Music Teachers Association Theory Test LEVEL VI - Sample SCORE 1. Follow instructions to construct a cadence. 8 pts a. Set up the grand staff correctly below. b. Write the key signature
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
If you want to learn more about it, there are lots of ways of doing so, in an elementary, musical and holistic way, inspired, step by step.
4 If you want to learn more about it, there are lots of ways of doing so, in an elementary, musical and holistic way, inspired, step by step. The white keys contain the seven names of the notes. These
L 8-9 Musical Scales, Chords, and Intervals, The Pythagorean and Just Scales
L 8-9 Musical Scales, Chords, and Intervals, The Pythagorean and Just Scales History of Western Scales A Physics 1240 Project by Lee Christy 2010 References to the History Musical Intervals
Delyth Knight. Certified Music Judge LABBS Music Category Director
Delyth Knight Certified Music Judge LABBS Music Category Director 1. No question is a stupid question. If you need to know, ask 2. We will make sure that all the basics are understood 3. All animals are
W.A. MOZART SONATE IN A MINOR K.310 ALLEGRO MAESTRO
W.A. MOZART SONATE IN A MINOR K.310 ALLEGRO MAESTRO Trevor J. Hedrick MUSC 234-001: Music Theory IV May 14, 2013 2 W.A. Mozart Sonate in a Minor K.310 Allegro Maestro Introduction Mozart's famous Piano
Camosun Music Entrance Test: Theory
Camosun Music Entrance Test: Theory Name: Anticipated Program: Camosun Music, 2014 Part 1: Rudiments of Music, Written Major and Minor Scales: please write the requested scale - ascending and descending
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
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
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
Keys Supplementary Sheet 17. Chromatic Scale.
Keys Supplementary Sheet 17. Chromatic Scale. Scales Question 1 Write a chromatic scale, ascending and descending, beginning on C in the bass clef. Scales Question 2 Write a chromatic scale, ascending
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
Triads Part II INVERSIONS and how to use them
Inversions Overview 1 st Inversion 2 nd Inversion Inversion Shapes & Suggested Fingerings How to Prac;ce Inversions Using Inversions - For recognizing chords in music nota;on - Using lead sheets - melody
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
ULTIMATE MUSIC THEORY INTERMEDIATE EXAM
Total Score: _ 0 UMT Tip: Before beginning your exam, write out the Circle of Fifths. Write the order of flats and sharps. Write the Major keys on the outside of the circle and the relative minor keys
Lesson 9 Chord Progressions and The Standard Harmony Rule (DVD 2)
Lesson 9 Chord Progressions and The Standard Harmony Rule (DVD 2) In This Lesson: In this lesson you'll learn the standard harmony rule and how to put chord progressions together in minutes. A Chord Progression
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,
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
WAYS TO REMEMBER MUSIC THEORY
WAYS TO REMEMBER MUSI THEORY ertain things in music theory have to be learned parrot-fashion, just like mathematical tables (2 times 2 4, etc.) Other things you absorb by coming across them time after
Page 1 of 8. G-sharp harmonic minor (ascending only) G-flat major (ascending only)
Page 1 of 8 CalArts official Music Theory Placement Examination is administered during CalArts Orientation Week. It is two hours in duration and comprises four sections corresponding to successive courses
Level 1. What is a half step up from:
Level 1 What is a half step up from: C E A D G B F Show me at your lesson. Challenge #1 Level 1 Write the answers to these puzzles on a separate sheet of paper: 1. Start on E. Go up a skip, Down a step,
1. Review of music fundamentals, including: scales, key signatures, circle-of fifths, intervals, triads, and inversions
AP Music Theory Syllabus Course Overview AP Music Theory is a rigorous course that expands upon the concepts and skills learned in the Introduction to Music Theory Course, and it is designed for students
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
One or more vocalists performing without an accompaniment. A symbol used in musical notation indicating to gradually quicken tempo
MUSIC VOCABULARY Term A cappella Accelerando Accidental Adagio Allegro Articulation Bass Clef Beat Chant Chorale Chord Circle of Fifths Clef Coda Definition One or more vocalists performing without an
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
Tom Pankhurst, King Edward VI, Stourbridge
Chords and Lines (Part C) Although chords and lines is worth 10% of your AS marks, we spend nearly a quarter of our time on preparing for this part of the exam. The reason for this apparent imbalance is
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
HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors
HOWARD COUNTY PUBLIC SCHOOLS PIANO I, II, and III / IV Honors COMPETENCIES GOALS AND OBJECTIVES GOAL I: PERCEIVING, PERFORMING, AND RESPONDING: AESTHETICS The student will demonstrate the ability to perceive,
Advanced Rudiments. Condensed Review for Examination & Common Errors
Advanced Rudiments Condensed Review for Examination & Common Errors QUESTION 1 - TRIADS (10 marks total) This question can be asked in one of two ways. a) You may be asked to analyze the triad - naming
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
Sample Entrance Test for CR125-129 (BA in Popular Music)
Sample Entrance Test for CR125-129 (BA in Popular Music) A very exciting future awaits everybody who is or will be part of the Cork School of Music BA in Popular Music CR125 CR126 CR127 CR128 CR129 Electric
Music Theory Fundamentals/AP Music Theory Syllabus. School Year:
Certificated Teacher: Desired Results: Music Theory Fundamentals/AP Music Theory Syllabus School Year: 2015-2016 Course Title : Music Theory Fundamentals/AP Music Theory Credit: one semester (.5) X two
The Baroque 2/4 ( ) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992)
The Baroque 2/4 (1600 1750) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) NB To understand the slides herein, you must play though all the sound examples to hear the principles
The Treble Clef. The treble clef began as a stylised letter g, and it is used to show where G is on the staff.
The Treble lef The treble clef began as a stylised letter g, and it is used to sho here is on the staff. To dra it start on the second line of the staff (the line) And continue like this: Trace the treble
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
Approaches to Arranging: Developing Harmony by Artemus
Approaches to Arranging: Developing Harmony by Artemus The starting point of any adventure in producing an arrangement would be to have a good idea on what you wish to achieve. What is the purpose of your
Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016)
NCEA Level 1 Music (90016) 2008 Page 1 of 8 Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016) Evidence Statement Q Evidence One SCORE EXTRACT A: Blues for Brass
The 12 bar blues form (most basic) is illustrated here: Let's Have Some Fun With The 12 Bar Blues!
The 12 bar blues form (most basic) is illustrated here: Let's Have Some Fun With The 12 Bar Blues! The basic 12 bar blues form consists of: 4 measures of the I7 Chord (in this case C7) 2 measures of the
CHORALE HARMONIZATIONS USING NON HARMONIC TONES
PGCC Music Theory - 64 CHORALE HARMONIZATIONS USING NON HARMONIC TONES The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if
Piano Performance Grade SYLLABUS. Valid from Current until further notice. Issued by authority of the
Yamaha Grade Examination System Piano Performance Grade Grade 10 SYLLABUS Valid from 2014 Current until further notice Issued by authority of the Copyright 2013 by YAMAHA MUSIC FOUNDATION All Rights Reserved.
Copyright 2008 by Nathan Andersen: PATTERNPIANO.com
C major C minor G, the fifth -- down a fourth from the root (see E, the major third -- the fourth note above the root (i.e. G, the fifth -- down a fourth from the root (see Eb, the minor third -- the third
Tony Grey Bass Academy. Sequential Diatonic Triads From The Major Modes
Tony Grey Bass Academy Sequential Diatonic Triads From The Major Modes Thank you for downloading I hope this lesson give you some ideas for your own improvisations. This lesson will help you develop an
Time allowed: 1 hour 30 minutes
SPECIMEN MATERIAL GCSE MUSIC 8271 Specimen 2018 Time allowed: 1 hour 30 minutes General Certificate of Secondary Education Instructions Use black ink or black ball-point pen. You may use pencil for music
Music and Engineering: Review of the Western Music system for Engineers
Music and Engineering: Review of the Western Music system for Engineers Tim Hoerning Fall 2008 (last modified 9/01/08) Outline Twelve Tones of Equal Temperament Clefs The Staff Pitch & Rhythm Notes & Rests
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
Developing Minor Triads
9 Essential Keyboard Skills Lesson 009 IKS DMT Lesson NINE 107 Lesson Objectives We have discussed that the keyboard player often plays using both hands at the same time. Sometimes the left and right
LESSON ONE. New Terms. arrangement of the notes of a chord in which the root is not the lowest note. continue in the same way; similar
LESSON ONE New Terms chord inversions cantabile simile arrangement of the notes of a chord in which the root is not the lowest note in a singing style continue in the same way; similar Writing Triad Inversions
Page 1 of 36. Companion Workbook. 2005 leadworship.com
Page 1 of 36 Companion Workbook Page 2 of 36 Glossary of Terms: Chord: A combination of 3 or more notes that blend harmoniously when sounded together. Chord Scale: All of the chord combinations that naturally
18. Brahms Piano Quintet in F minor, Op. 34: movement III 3 rd Movement (For Unit 6: Musical Understanding)
18. Brahms Piano Quintet in F minor, Op. 34: movement III 3 rd Movement (For Unit 6: Musical Understanding) Background information and performance circumstances Biography Brahms composed this piano quintet
DADE COUNTY BANDS STUDENT RESOURCE BOOK
DADE COUNTY BANDS STUDENT RESOURCE BOOK TABLE OF CONTENTS Staff and Clef Pg. 1 Note Placement on the Staff Pg. 2 Note Relationships Pg. 3 Time Signatures Pg. 3 Ties and Slurs Pg. 4 Dotted Notes Pg. 5 Counting