CHAPTER I. 1.1 A NOTE is a symbol used to represent the pitch (height) and the length of
|
|
- Richard May
- 7 years ago
- Views:
Transcription
1 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 cycles per second. 1.2 The five horizontal lines and four intermediate spaces on which the notes are written is called the STAFF. The plural of staff is STAVES. 1.3 The position of a note on the staff affects the PITCH of the sound. lf a note is higher in the staff, its pitch will be higher; if a note is lower in the staff, its pitch will be lower. 1.4 A CLEF is a sign placed at the beginning of the staff. It indicates the pitch of the lines and spaces of the staff. The two most common clefs used are the TREBLE and the BASS. 1
2 1.5 The TREBLE CLEF, originally a fancy letter G, centres around the second line of the staff. Therefore, this line is called the G line. The BASS CLEF, originally a fancy letter F, is made up of two dots: one above and the other below the fourth line of the staff. Therefore, the fourth line of the bass staff is called F. It is relatively simple to determine the names of the other lines and spaces once a clef is in place. In music, we use the first seven letters of the alphabet: A B C D E F G These seven letters are placed alphabetically on the staff. The notes in the treble and bass clefs are: 1.6 MIDDLE C is located between the treble staff and the bass staff. 2
3 1.7 LEGER LINES are used to write notes that go beyond the staff. 3
4 CHAPTER II NOTE VALUES 2.l NOTES of different shapes are used to represent the length of a musical sound. 2.2 RESTS are signs used to indicate silence in music. 2.3 Here is a chart of all the SIMPLE NOTE VALUES. 4
5 2.4 The whole note is the basic simple note value. All subsequent notes are fractions of this value. Therefore The following chart shows how the various simple note values relate to one another. 5
6 2.6 A DOT placed after a note or rest, increases its value by half of its initial length. 2.7 A TIE can also increase the length of a note. When a tie joins two notes of the same pitch, their values are added together and played as a single unit. 6
7 2.8 Here are the different parts of a note: When writing notes in the staff, it is important to follow these rules: RULES a) For notes written above the middle line of the staff, stems go down and to the left of the body. b) For notes written below the middle line of the staff, stems go up and to the right of the body. c) For notes written on the middle line of the staff, stems go up or down depending on neighbouring notes. 7
8 d) Flags are always on the right of the stems. e) When writing dotted notes on the staff, always place the dot on the right side of the note. If the note is in a space, the dot goes in the space. If the note is on a line the dot goes in the space above the line. 2.9 Often flagged notes are grouped by beaming the flags together. When this occurs, the stems take the direction of the note which is farthest from the middle line of the staff. In the example below, F is the furthest note from the middle line. Since it also happens to be above, all the stems of the group will go down according to rule a). Here also, the F is the furthest note in the group. Since it is also below the middle line, all the stems of the group will go up according to rule b). 8
9 When all the notes of the group are equidistant from the middle line, the stems can go up or down according to rule c). When both of the outermost notes of the group are equidistant from the middle line, the remaining note or notes will determine the direction of all the stems of the group. 9
10 CHAPTER III RHYTHM & METRE 3.1 RHYTHM is a general term encompassing all of the elements described in this chapter; elements such as metre, bars, note values, speed & time signatures. When these elements are combined, the result is rhythm. 3.2 BAR LINES are vertical lines placed in the staff to group music into organised sets of note values. 3.3 The section between two bar lines is called a MEASURE or BAR of music. Each bar contains an equal amount of note values. 3.4 A DOUBLE BAR LINE is used to indicate the end of a section of music. An END BAR LINE is used in the final bar of a piece of music. 3.5 METRE is the division of a bar into 2, 3, or 4, recurring accents called pulses or beats. SIMPLE METRE is a binary metre where beats and subdivisions of beats can be divided by multiples of 2. 10
11 3.6 A fraction placed at the beginning of a piece of music tells us the number of beats there will be in each bar. This fraction is called a TIME SIGNATURE. Some common time signatures are 4/4, 3/4, 2/4, 2/2, 4/ The numerator of the time signature tells us the number of beats in each bar. The denominator tells us which note value is worth one beat. denominator 1 = the whole note denominator 2 = the half note denominator 4 = the quarter note denominator 8 = the eighth note denominator 16 = the sixteenth note Examples: 3 - The numerator 3 tells us there are three beats per bar. 4 - The denominator 4 tells us the quarter is worth one beat. 3 - three beats per bar. The sixteenth is worth one beat two beats per bar. The eighth is worth one beat. 8 Here are samples of bars in simple metre. 11
12 12
13 CHAPTER IV TONES, SEMITONES 4.1 A SEMITONE or 1/2TONE is the smallest distance between two notes. It is also the distance between two adjacent keys on the keyboard. In the keyboard figure above, you can see that there is a semitone between F and the black key which follows it. Note that there is a semitone between E and F, as well as between B and C. This is because these pairs of white keys are adjacent. 4.2 Here are the most commonly used accidentals. The SHARP which moves a note up a 1/2 tone 13
14 The FLAT which moves a note down a 1/2 tone The NATURAL which cancels a previous sharp or flat. 4.3 There are two other accidental used in music. The DOUBLE SHARP raises the note two semitones or a tone. The DOUBLE FLAT lowers the note two semitones or a tone. 4.4 We use a NATURAL SHARP to lower a double sharp one semitone. We use a NATURAL FLAT to raise a double flat one semitone. We use two NATURALS to cancel a double flat or double sharp. 14
15 4.5 Examine the following: G + 1/2 tone = G# or Ab There are often two solutions to most semitone questions. 4.6 When the name of the note in the solution is the same as in the question, the semitone is CHROMATIC. G + 1/2 tone = G# Here are some examples of chromatic semitones. NOTE: Chromatic semitones are always on the same line or space. 4.7 When the name of the note in the solution is different than in the question, the semitone is DIATONIC. G + 1/2 tone = Ab Here are some examples of diatonic semitones. NOTE: With diatonic semitones, one note is on a line, while the other is in the space above or below that line or vice versa. HINT: Diatonic and Different both start with a D. 15
16 CHAPTER V ACCIDENTALS, KEY SIGNATURES & MAJOR SCALES 5.1 An ACCIDENTAL is a sharp, flat or natural sign placed immediately before a note within a bar of music. This accidental is written only once and affects all subsequent notes of the same pitch within the one bar. 5.2 Instead of accidentals, a KEY SIGNATURE can be used to group all the sharps (or flats) at the beginning of the staff right after the clef. The key signature tells us which notes are to be altered throughout a piece of music. 5.3 a) Here are the first four sharps as they appear in the key signature. F# C# G# D# Here is how they must be placed on the treble & bass clef staves. Note that when read from left to right, the sharps are in the correct order. FCGD FCGD 16
17 b) Here are the first four flats as they appear in the key signature. Bb Eb Ab Db Here is how they must be placed on the treble and bass clef staves. Note that when read from left to right, the flats are in the correct order. BEAD BEAD 5.4 SCALES There are two kinds of scales: DIATONIC and CHROMATIC. 5.5 The CHROMATIC SCALE (chromatic meaning colored) consists of all twelve semitones, starting on a note and ending an octave higher. This scale is part of grade II rudiments. 5.6 The DIATONIC SCALE consists of seven consecutive notes, placed alphabetically, beginning on a note and ending an octave higher. C D E F G A B C Each of the seven note names are used and none are repeated. The notes are spaced out in tones and semitones. The order of these tones and semitones can produce two kinds of diatonic scales: MAJOR and MINOR. 17
18 5.7 MAJOR SCALES To create the sound of the major scale (do, ré, mi, fa, sol, la, ti, do), you must use the following arrangement of tones and semitones. In major scales, semitones always occur between III-IV (mi-fa) and VII- VIII (ti-do ). Roman numerals are used to represent the degrees of scales. 5.8 When using only the white keys of the keyboard, we find that C is the only starting note that will produce the correct major scale sound with tones and semitones in the accepted order. When using G as the starting note, we find that the second semitone is out of place. 18
19 In order to move the semitone from position VI-VII to the accepted position VII-VIII, we must bring the F closer to the G and further from the E by sharpening it, F#. This has the effect of changing the position of the semitone. Likewise, if F is used as the first degree of the scale, the first semitone is in the wrong position. To bring the B closer to the A and further from the C, we must flatten it, Bb. In order to obtain the proper major scale sound (do, ré, mi, fa, sol, la, ti, do ), you must use an F# in G major and a Bb in F major. This is how key signatures came to be. 5.9 The KEY or TONALITY of a song is indicated by its key signature. Here are the first nine MAJOR KEYS and their key signatures. 19
20 20
21 5.10 The first note of every major scale (do), is called the TONIC or first DEGREE. A roman numeral I is used to represent the tonic. The fifth note of every major scale (sol), is called the DOMINANT or fifth degree. A roman numeral V is used to represent the dominant. do ré mi fa sol la ti do1 (tonic) (dominant) (tonic) I V I 5.11 HOW TO WRITE MAJOR SCALES STEP 1 - Read the instructions carefully. Highlight or underline key words to ensure all tasks are completed. STEP 2 - Place the correct clef at the beginning of the staff. 21
22 STEP 3 - Write the notes of the scale ascending and descending (unless specified). Write the top tonic once and use the entire staff to write the scale. Count the letter names as you write to ensure none are missed. If no time value is specified, use whole notes. In the above example, eighth notes are specified. This means you will need to pay attention to the placement of stems and flags. STEP 4 - Identify the key of the scale. STEP 5 - Insert a key signature or accidentals. If a key signature is required, place the altered notes of the scale at the beginning of the staff immediately after the clef. If accidentals are required, as is the case here, place them immediately before the altered notes. Write accidentals in both the ascending and descending form of the scale. 22
23 STEP 6 - If instructed, slur the semitones. In major scales, semitones always occur between the third and fourth degrees (mi/fa) as well as the seventh and eighth degrees (ti/do) of the scale. Connect these degrees with a curved line. STEP 7 - If instructed, indicate the tonic and dominant notes. Write the roman numeral I beneath each tonic (do) of the scale and the numeral V beneath each dominant (sol). STEP 8 - Check your scale. 23
24 CHAPTER VI MINOR SCALES & KEYS 6.1 Here are the first four notes of C major and C minor. Notice how the semitone has shifted. It is the very nature of the lowered third degree which gives the minor scale its distinctive sound. 6.2 Here is the natural A minor scale. Notice that it is exactly like the C major scale, except that it starts on the la or sixth degree of that scale. In music, we say that C major is the RELATIVE MAJOR of A minor and that A minor is the RELATIVE MINOR of C major. This means that when we write the A minor scale, we use the key signature of C major. Since A is the sixth degree of C major, we can conclude that the la of every major scale is its relative minor. 24
25 6.3 Finding the relative minor of a major scale is as simple as locating the sixth degree of the major scale. Doing the reverse is not as simple, hence the advantage of memorizing key signatures. EXAMPLE STEP 1 Begin with the notion that F is the sixth note of the major scale you are trying to locate. Therefore, F is la. STEP 2 If F is la, then ti which is a tone higher, must be G. STEP 3 If G is ti, then do which is a diatonic semitone higher, must be Ab. To verify your answer, simply ask yourself, Is F the sixth note of Ab major? If the answer is Yes, you are correct. Therefore, the key signature of Ab major is used when writing in F minor. 25
26 6.4 Here are the first nine MINOR KEYS, their relative majors and their key signatures. These must be memorized. 26
27 6.5 HOW TO WRITE A HARMONIC MINOR SCALE STEP 1 - Read the instructions carefully. Highlight or underline key words to ensure all tasks are completed. STEP 2 - Place the correct clef at the beginning of the staff. STEP 3 - Write the notes of the scale in the staff ascending and descending (unless specified). Write the top tonic once and use the entire staff to write the scale. Count the letter names as you write to ensure none are missed. If no time value is specified, use whole notes. STEP 4 - Find the relative major of the scale in order to obtain the correct key signature. In the question above, the relative major of F minor is Ab major whose key signature is four flats - Bb Eb Ab Db 27
28 STEP 5 - Insert a key signature or accidentals. If a key signature is required, as is the case here, place the altered notes of the scale at the beginning of the staff immediately after the clef. If accidentals are required, place them immediately before the altered notes. Write accidentals in both the ascending and descending form of the scale. STEP 6 - Use an accidental to raise the seventh degree (sol) of the scale one semitone higher (sol becomes si). In this case, you would place a natural in front of the E. 28
29 STEP 7 - If instructed, slur the semitones. In harmonic minor scales, there are three semitones. They are between the second and third degrees (ti/do), the fifth and sixth degrees (mi/fa), as well as the seventh and eighth degrees (si/la) of the scale. Connect these degrees with a curved line. STEP 8 - If instructed, indicate the tonic and dominant notes. Write the roman numeral I beneath each tonic (la) of the scale and the numeral V beneath each dominant (mi). STEP 9 - Check your scale. 29
30 CHAPTER VII INTERVALS 7.1 An INTERVAL is the distance between any two notes. 7.2 The SIZE of an interval is measured by counting the number of letters or DEGREES between and including both notes. There are eight simple intervals from the unison to the octave. To distinguish one kind of interval from another, each interval is given a QUALITY. Here are some of the symbols used to show the quality of an interval. - + P (minor) (major) (perfect) 7.3 For the time being, you can assume that all unisons, fourths, fifths and octaves are perfect (P). 7.4 Seconds, thirds, sixths, and sevenths can either be major (+) or minor (-). The simplest way to find out, is to assume that the bottom note of the interval in question is the tonic of a major key. If both notes are NORMAL for that key, the interval is major. 30
31 If they are one semitone smaller than normal, the interval is minor. 7.5 Sometimes it is necessary to identify an interval with a key signature. Example Although the key signature is that of Bb major, the interval must be identified from its bottom note. Step 1 Apply the effect of the key signature on the notes of the interval. Step 2 Identify the interval in the usual manner. In the example above, Eb is not the normal seventh note for F major. The interval is one semitone smaller than normal and therefore, is a minor seventh. 31
32 7.6 An interval is HARMONIC when both notes are played simultaneously. An interval is MELODIC when both notes are played consecutively. The procedure used to identify either melodic or harmonic intervals is the same. 32
33 CHAPTER VIII CHORDS 8.1 A CHORD is produced when three or more sounds are played together. The simplest chord form is the TRIAD. 8.2 Here are the three parts of a triad. a) The ROOT is the bottom note. We use this note to name the triad. b) The THIRD of the triad is a third above the root. c) The FIFTH of the triad is a fifth above the root. 8.3 A MAJOR TRIAD is made up of a perfect fifth and a major third above the root. Here are some examples of major triads. 33
34 8.4 A MINOR TRIAD is made up of a perfect fifth and a minor third above the root. Here are some examples of minor triads. 8.5 Here are the triads on the tonic (do) and the dominant (sol) of the scale of D major. Note that both of the above triads are major. This is the case for all tonic and dominant triads of major scales. Conclusion All tonic-[do-mi-sol] triads and dominant-[sol-ti-ré] triads are major. 34
35 8.6 Here are the triads on the tonic (la) and the dominant (mi) of the scale of G minor. Note that the triad on the tonic is minor but that the dominant one is major due to the raised third. This is the case for all tonic and dominant triads of minor scales. Conclusion All tonic-[la-do-mi] triads are minor. All dominant-[mi-si-ti] triads are major. REVIEW Minor triads only occur on the tonic of minor scales. Major triads occur on the tonic of major scales and on the dominants of both major and minor scales. NOTE: It is important to remember that the third of the chord on the dominant of a minor scale is the seventh degree of the scale and must be raised one semitone. 35
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
More informationBasic 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
More informationLearning 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
More informationMusic 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
More informationAs 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
More informationHOW 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
More informationAn 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
More informationMMTA 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
More informationHow 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
More informationMUSIC 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
More informationBasic Music Theory for Junior Cert.
1 Reading Different Clefs Basic Music Theory for Junior Cert. The most commonly used clefs are the treble and bass. The ability to read both of these clefs proficiently is essential for Junior Cert. Music.
More informationLesson 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
More informationThe 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,
More informationUNDERGRADUATE 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
More informationIntroduction 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
More informationChords 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
More informationAP 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
More informationMusic 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
More informationKeyboard 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
More informationAt 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
More informationFractions. If the top and bottom numbers of a fraction are the same then you have a whole one.
What do fractions mean? Fractions Academic Skills Advice Look at the bottom of the fraction first this tells you how many pieces the shape (or number) has been cut into. Then look at the top of the fraction
More informationMusic Theory Worksheet. Music Theory 1
Music Theory 1 Photocopiable Worksheets on Music Theory 1 INTRODUCTION TO THE STAVE & NOTATION The way we write music down has changed a great deal through the centuries but today we use a series of 5
More informationPREPARING TO STUDY JAZZ AT THE NEW ZEALAND SCHOOL OF MUSIC. The Jazz Theory Entrance Test 2010 STUDY GUIDE
PREPARING TO STUDY JAZZ AT THE NEW ZEALAND SCHOOL OF MUSIC The Jazz Theory Entrance Test 2010 STUDY GUIDE The Jazz Theory Entrance Test Study Guide Every concept that you will study in jazz theory, either
More informationTonic- 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
More informationExpanding 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
More informationBi- 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
More informationHow 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
More informationMU 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
More informationThe 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
More information8 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
More informationGuitar 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
More informationHow 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
More informationStudents' 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
More informationMUSIC GLOSSARY. Accompaniment: A vocal or instrumental part that supports or is background for a principal part or parts.
MUSIC GLOSSARY A cappella: Unaccompanied vocal music. Accompaniment: A vocal or instrumental part that supports or is background for a principal part or parts. Alla breve: A tempo marking indicating a
More informationA 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
More informationBell Music Reading Course #1 Introduction 101. D. Rod Lloyd Columbia River Handbells 2010
Bell Music Reading Course #1 Introduction 101 D. Rod Lloyd Columbia River Handbells 2010 1 How Music Works Music is a graphical presentation of sounds played in a precise, predetermined order. Music is
More informationGetting Started with 4-part Harmony
Getting Started with 4-part Harmony Some of you have already written chord progressions in a previous theory class. However, it is my experience that few students come to college with the ability to consistently
More informationLevel 3 Scale Reference Sheet MP: 4 scales 2 major and 2 harmonic minor
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
More informationwww.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
More informationINTERVALS. 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
More informationCrash 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
More informationFundamentals 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
More informationLever Harp Tunings & Major Keys
Lever Harp Tunings & Major Keys As you probably are aware, the levers on your harp raise the pitch of a given string by one half-step. Unlike the pedal harp, where each string can be played as a flat,
More informationAdding 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
More information22. 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
More informationMusical Literacy. Clarifying Objectives. Musical Response
North Carolina s Kindergarten Music Note on Numbering/Strands: ML Musical Literacy, MR Musical Response, CR Contextual Relevancy Musical Literacy K.ML.1 Apply the elements of music and musical techniques
More informationMajor Scale Construction. The musical alphabet is just like the English one except we only go up to G. There is no H so you have to go back to A.
Major Scale Construction The musical alphabet is just like the English one except we only go up to G. There is no H so you have to go back to A. A B C D E F G A B C D E F G etc. Scales are a series of
More informationHow To Determine Chords for Mountain Dulcimer Playing (How The Person Who Wrote the Chord Book Figured It Out)
How To Determine Chds f Mountain Dulcimer Playing (How The Person Who Wrote the Chd Book Figured It Out) by Roger Huffmaster Did you ever wonder how the person who wrote the mountain dulcimer chd chart
More informationTutorial 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
More informationReharmonizations 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,
More informationBEGINNER GUITAR - LESSON 1
BEGINNER GUITAR - LESSON 1 PARTS OF THE GUITAR 1- The headstock. 2- The tuning pegs or machine heads. 3- The nut (where the strings are supported at the top of the fingerboard). 4- The frets (the metal
More informationKEYBOARD 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
More informationIntervals 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
More informationC Major F Major G Major A Minor
For this task you will create a 16 bar composition with a Ground Bass Accompaniment. REMINDER A chord is built on the notes 1 3 5 of a scale. e.g. chord of C would have the notes C E G. The first note
More informationI 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
More informationUkulele Music Theory Part 2 Keys & Chord Families By Pete Farrugia BA (Hons), Dip Mus, Dip LCM
This lesson assumes that you are using a ukulele tuned to the notes G, C, E and A. Ukulele Notes In lesson 1, we introduced the sequence of 12 notes, which repeats up and down the full range of musical
More informationPage 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
More informationMu2108 Set Theory: A Gentle Introduction Dr. Clark Ross
Mu2108 Set Theory: A Gentle Introduction Dr. Clark Ross Consider (and play) the opening to Schoenberg s Three Piano Pieces, Op. 11, no. 1 (1909): If we wish to understand how it is organized, we could
More informationStandard 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
More informationFoundation 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:
More informationModulation 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
More informationThe 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,
More informationMusic 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.
More informationFraction Tools. Martin Kindt & Truus Dekker. ------------ 3n 4 -----
Fraction Tools - + - 0 - n + n Martin Kindt & Truus Dekker 0 Section A Comparing Fractions - Parts and pieces (). Of each figure, color part. Be as precise as possible.. Of each figure, color part. Each
More informationMUSIC A. PROGRAM RATIONALE AND PHILOSOPHY
MUSIC A. PROGRAM RATIONALE AND PHILOSOPHY The systematic development of musical skills, knowledge and perception is fundamental to the total development of the individual. Music education should begin
More informationHarmony 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
More informationHow 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
More informationEveryone 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
More informationGuitar Reference. By: Frank Markovich
Guitar Reference By: Frank Markovich Guitar Reference Introduction The purpose of this book is to give the student the reference materials for learning how to play the guitar. In this book you will find
More informationJim 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
More informationEasy to Follow Guide On: How to Play the Piano
Easy to Follow Guide On: How to Play the Piano Composed by: Kim Gardner - 1 Table of Contents Unit 1 - Beginning in the Middle...Page 3 Unit 2 - Learning to Read the Beautiful Language of Music.Page 6
More informationHow to Practice Scales
How to Practice Scales Step #1). Make a 5-Day Practice Plan In order to cycle through as many areas of scale practice as possible (and not get bored) it is important to have a plan. Your plan should cover
More informationViola 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
More informationevirtuoso-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
More informationPlease Read This Page First
Mandolin and Fiddle Improvisation Using the Chord Tone Scale Copyright 2008 by Pete Martin Please Read This Page First This book is distributed using the shareware system. Try it out, if you like it please
More informationMusic 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
More informationMUSC1 Set work study notes Haydn Symphony No 104 in D major
MUSC1 Set work study notes Haydn Symphony No 104 in D major These study notes are intended to help teachers and students prepare for the new set work. It is not an examination board definitive, nor exhaustive,
More information1. interpret notational symbols for rhythm (26.A.1d) 2. recognize and respond to steady beat with movements, games and by chanting (25.A.
FIRST GRADE CURRICULUM OBJECTIVES MUSIC I. Rhythm 1. interpret notational symbols for rhythm (26.A.1d) 2. recognize and respond to steady beat with movements, games and by chanting (25.A.1c) 3. respond
More informationNon-Chord Tones. What is a harmony?
Non-Chord Tones Non- tones are notes that don t seem to fit into the harmony that is sounding. They often breathe life into the melody by creating motion or adding some interesting tension. What is a harmony?
More informationSample 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
More informationSVL 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
More informationGOSPELKEYS 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
More informationArizona 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.
More informationMTRS Publishing 2004 Copying allowed only for use in subscribing institution www.mtrs.co.uk
20th Century Dance Music The Tango The Tango is a dance from Argentina. It developed in the city of Buenos Aires around the red light areas of the city, around the docks. For a time, it was discouraged
More information2012 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.
More informationUKULELE CHORD SHAPES. More Strumming, Less Memorizing BRAD BORDESSA
UKULELE CHORD SHAPES More Strumming, Less Memorizing BRAD BORDESSA TABLE OF CONTENTS GRATITUDES 2 9th 26 13th 26 INTRODUCTION 3 Altered 27 HOW TO USE THIS BOOK 4 Suspended 2 28 The Fingerboard 5 Suspended
More information1.04 - Treble Clef. Page 1 1.00 - How to Read Music - by Pebber Brown
Page 1 1.00 - How to Read Music - y Peer Brown 1.01 Music is written and notated with a common device called the Staff. There are two parts to the Staff- The upper part is called the "Trele Clef" and the
More informationMIDISAURUS MUSIC ~ Contents Guide ~ MIDISAURUS MUSIC MIDISAURUS MUSIC - Table of Contents Introduction High & Low in Music Fast & Slow in Music Sounds Around Us The Musical Keyboard Black & White Keys
More informationLecture Notes on Pitch-Class Set Theory. Topic 4: Inversion. John Paul Ito
Lecture Notes on Pitch-Class Set Theory Topic 4: Inversion John Paul Ito Inversion We have already seen in the notes on set classes that while in tonal theory, to invert a chord is to take the lowest note
More informationTheory 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
More informationPERPETUAL 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
More informationKeyboard FUNdamentals James Lambert & Judy Moonert
1 I. BASIC MUSIC THEORY A beginning mallet percussionist must memorize the 12 major scales. These scales relate to other harmonic information that the student will need. With each marimba bar one half
More informationIntroduction to Guzheng
Introduction to Guzheng Guzheng is a Chinese musical instrument that has a history dating back to 500 BC It has many descendants all over Asia, such as the koto of Japan, the kayagum of Korea, and the
More informationUser 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,
More informationHandout #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.
More informationMusic Standards of Learning
Music Standards of Learning for Virginia Public Schools Board of Education Commonwealth of Virginia April 2006 Music Standards of Learning for Virginia Public Schools Adopted in April 2006 by the Board
More informationPENTATONICS BY CHORD TYPE
PENTATONICS BY CHORD TYPE Extract from Pentatonic & Hexatonic Scales in Jazz, Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html 1. WHAT TO PLAY ON A MINOR 7TH CHORD AS OF now, we ll be thinking primarily
More informationHow 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,
More informationIlluminating Text: A Macro Analysis of Franz SchubertÕs ÒAuf dem Wasser zu singenó
Illuminating Text: A Macro Analysis of Franz SchubertÕs ÒAuf dem Wasser zu singenó Maureen Schafer In ÒAuf dem Wasser zu singen,ó Franz Schubert embellishes a sentimental poem by L. Graf zu Stollberg to
More information