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_ Practial THEORY Sandy Feldstein Ore A SELF-INSTRUCTION MUSIC THEORY COURSE This combination textbook and workbook teaches music theory in a concise, practical manner. Contains review worksheets and answers to guarantee proper learning, even without a teacher, eBvanvend sary hah eed el or ee teh el wh aR ek ak A th ‘Copyrigh: © MCML3OOKI by Alfred Publishing Co. Ine. ‘Allrighs eserved, Prtndin USA.Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson Lesson 8 Lesson 10: Lesson 11 Lesson 12: Lesson 13: Lesson 14; Lesson 15: Lesson 16: Lesson 17: Lesson 18: Lesson 19: Lesson 20; Lesson 21 Lesson 22: Lesson 23: Lesson 24: Lesson 25: Lesson 26: Lesson 271 Lesson 28: Lesson 29: Lesson 30: Lesson 31 Lesson 32) Lesson 334 Lesson 34 Lesson 35: Lesson 36: Lesson 371 Lesson 38: Lesson 39: Lesson 40) Lesson 41 Lesson 42: Lesson 43; TABLE OF CONTENTS The Staff The Treble Clef and Staff The Bass Clefand Staff Review of Lessons 1-3 Whole—Hali—Quarter Notes Measures-—Bar Lines—Double Bar Lines Time Signatures and Note Values Review of Lessons 5-7 The Grand Staff Leger Lines ‘Whole—Hali—Quarter Rests Review of Lessons 9-11 Another Time Signature Another Time Signature. The Dotted Half Note Review of Lessons 13-15 : Tiesand Slurs , Repeat Signs : First and Second Endings Review of Lessons 17.19 Eighth Notes. Eighth Rest Dotted Quarter Notes Review of Lessons 21-23 Flat Sharp Natural Review of Lessons 25-27 Whole and Half Steps Chromatic Scale The Major Scale Review of Lessons 29-31 Mare Major Scales (F&G) Other Major Scales (8b,Eb,D,A) Key Signatures Review of Lessons 33.35 Circle of Fitths (Major Sharp Keys} Circle of Fiths (Major Flat Keys) Circle of Ftths (All Major Keys) Review of Lessons 37-39 Dynamics D.C. and D'S, Code and Fine SEBS 31 32 33 34 35 36 7 38 39 40, a 42 “a 44 Tempo Markings and Other Musical Symbols 45 Lesson 44: Lesson 45; Lesson 46: Lesson 47: Lesson 48: Lesson 49; Lesson 50: Lesson 51 Lesson 52: Lesson 53: Lesson 54: Lesson 55: Lesson 56: Lesson 57: Lesson $8: Lesson 59: Lesson 60: Lesson'61 Lesson 62; Lesson 63) Lesson 64: Lesson 65 Lesson 66: Lesson 67: Lesson 68) Lesson 69) Lesson 701 Lesson 71 Lesson 72: Lesson 73) Lesson 74; Lesson 75: Lesson 76: Lesson 77: Lesson 78: Lesson 79; Lesson 80) Lesson 81 Lesson 82; Lesson 83) Lesson 84) Review of Lessons 41-43 Sinteenth Notes Sixteenth Rests Dotted Eighth Notes Review of Lessons 45-47 Intervals Diatonic intervals, Chromatic intervals Review of Lessons 49-51 More Time Signatures ‘Another Way to Count Triplets, Syncapation Review of Lessons 53-55 Major Chords—Major Triads Chords Related to a Key Chord Progressions Review of Lessons 57-59 Dominant Seventh Chord lnversions 7 Inversions of the Dominant Seventh Chord Review of Lessons 61-63 Transposition Other TriadsMinor ste Other Chords—Augmented and Diminishe Review of Lessons 65-67, Another Chore! Progression More on inversions Mote Transposition Review of Lessons 69:71 Relative Minor Key Signatures-Natural Minor Harmonic Minor Melodic Minor Review of Lessons 73-75 , Harmonizing a Melody Passing Tones and Neighboring Tones Composing a Melody Review of Lessons 77-79 ‘Chord Progressions in Minor Keys Harmonizing a Melody in Minor Composing a Melody in Minor Review of Lessons 81-83 Manuscript Paper Answers to Review Lessons 56 47 48 49 50 51 52 53 54 55 37 58 59 60. 61 62 63 64 66 6 a) 7 7 73 74 76 7 78 73 80 ai 282 8a 25, 86. 87 2veweeseveves wove Aeon weeweenve % ceed on ea os EM LESSON1 THE STAFF ‘Music is written on a five line staff. Line 5 Between each line there is a space. There are four spaces on a staff. Space 4 Space 3 Space 2 Space1 ‘Musical sounds (low or high) are shown by the position of notes on the staff. Notes on the higher lines andjor spaces are higher in pitch (sound) than those on the lower lines and/or spaces. Sounds Sounds a = higher lower than So o than 1, Draw a staff using the dots as your guide On the staff above, number the lines from low to high. . On the staff above, number the spaces from low to high. 4, By using an arrow, indicate whether the second note of each of the following sets sounds higher -+ orlower ~. in pitch than the first note, = 5, By using the letter H (high) and L (low) indicate whether the first note of each of the following sets sounds higher or lower in pitch than the second note.LESSON 2 THE TREBLE CLEF AND STAFF At the beginning of each staff there is a clef. The treble clef or C clef looks like this: To draw the treble clef, first draw the line add the add the Follow the andtail toploop bottom loop. _— dotted lines, Try drawing five treble clefs. The treble clef establishes the note G on the 2nd line of the treble staff = Notes are named after the first seven letters of the alphabet (A through G). In the beginning, to help you remember the lines and spaces, you may wish to make up a saying that uses the letters of the lines and spaces. For example, to remember the treble clef lines: Every Good Boy Does Fine. The treble clef spaces: FACE ——$<$ 1. Draw the treble clef at the beginning of the line and name the notes indicated. = = 7 = A —— © |] 2. Draw the treble clef at the beginning of the line and draw the notes indicated, If the note can be drawn on more than one place on the staff, choose which one you want to write. D E B F G E F c B 3. Draw the treble clef at the beginning of the line and name the notes. Then using H and L, indicate if the first note of each set sounds higher or lower than the second note. D_is H than B: LESSON 3 * THE BASS CLEF AND STAFF : The bass clef or F clef looks like this: = ‘ To draw the bass clef, first draw ae a solid black add 2-dots ‘ circle on the add inthe 3rd follow the : 4thline thecurve and 4th spaces dotted ines. Try drawing five bass clefs. * = = = 2 ‘The bass clef establishes the note F on the 4th line of the bass staf. J=—=— F gy Notes are named after the first seven letters of the alphabet (A through G). : Beseeeceseee ae a a : In the beginning, to help you remember the lines and spaces, you may wish to make up a ad saying that uses the letters of the lines and spaces. For example, to remember the bass : clef lines: Good Boys Do Fine Always. The bass clef spaces: All Cows Eat Grass. a q —_——<—$—$ $< % l 4 oy 1. Draw the bass clef at the beginning of the line and name the notes indicated. = = = ==] ga 2. Draw the bass clef at the beginning of the line and draw the notes indicated. fy If the note can be drawn on more than one place on the staff, choose which one you é want to write. <4 — = — ——— = s* fa aera Ey D B G A E A c E 3. Draw the bass clef at the beginning of the line and name the notes. Then using H and L, indicate if the first note of each set sounds higher or lower than the second noteLESSON 4 REVIEW OF LESSONS 1-3 1. Music is written on a. line staff. 2. There are. spaces on the staff. 3. Notes on higher lines and/or spaces sound. spaces, 4. The treble clef establishes the note____on the second 5. The bass clef establishes the note. ‘on the than notes on lower lines andjor line. 6. Notes are named after the first. letters of the alphabet ( through ___}, 7. Draw the treble clef and name the notes indicated. = ==. = = = = = 2 8. Draw the bass clef and name the notes indicated, — = 2 ——— = == = 9. Draw the treble clef and write the notes indicated, E A D c 6 B E F 10. Draw the bass clef and write the notes indicated. F E G D G A c B 11 Draw the treble clef, name the notes and indicate if the first note so unds higher (H) or lower (L) than the second note. ‘12, Draw the bass clef, name the notes and indicate if the first note sounds higher (H) or lower (L) than the second note. =1 F L : F i eee LESSON 5 WHOLE —HALF—QUARTER NOTES The duration of musical sounds (long or short) is indicated by different types of notes. WHOLE NOTE HALF NOTE QUARTER NOTE ° d é One whole note equals two half notes. (One half note equals two quarter notes. (One whole note equals four quarter notes. The stems for half notes and quarter notes Stems go down if notes are on or go up if the notes are below the third line above the third line. Stems going up ate attached to the right side Stems going down are attached to of the note head. the left side of the note head —_————————— 1. One whole note equals. half notes, 2. One whole note equals four notes. 3. One half note equals, quarter notes. 4, Four quarter notes equal one. note 5. Draw stems on the notes indicated une — = : = - = A F c B E D F E 7. Draw the bass clef and draw the notes indicated, using quarter notes.LESSON 6 MEASURES—BAR LINES—DOUBLE BAR LINES Music is divided into equal parts called MEASURES. BAR LINES indicate the beginning and end of measures. BAR LINE BAR LINE The distance between two bar fines is called a measure. DOUBLE BAR LINES, one thin and one thick, show the end of a piece. DOUBLE BARLINE BARLINE — BAR LINE = f: MEASURE=}—=MEASURE— | a 1. Draw six bar lines on the staff below. 2, Divide the staff below into six measures and end it with a double bar line, 3. Draw a treble clef, divide the staff into six measures, add a whole note in each measure, name the notes, end the staff with a double bar line. 4. Draw a bass clef, divide the staff into six measures, add two notes in each measure, name the notes, end the staff with a double bar line. 5. Draw a treble clef, divide the staff into six measures, add four quarter notes in each ‘measure, name the notes, end the staff with a double bar line,yw veovesevevveeee eo» Bees vee oe LESSON 7 TIME SIGNATURES AND NOTE VALUES TIME SIGNATURES are placed at the beginning of a piece of music. They contain two humbers that show the number of beats (or counts) in each measure and the kind of note that receives one beat, =e ‘The top number shows the number of beats (or counts) in each measure, ‘The bottom number shows what kind of note gets one beat. means four beats in each measure. == means a quarter note {«) gets one beat. In 4 time, a whole note receives four beats. a | 123 4 Ahalf note receives two beats. yg dd ’ 123 4 A quarter note receives one beat. LT 1. First count the beats, You may wish to tap your foot on each beat. Then clap the rhythm of the notes while counting the beats. ) J eee eee gids pe id pd eS 2, Write in the beats under the notes indicated — remember, there are four beats in each measure. 4 godess yt pd pid te gd ott said sdiddd jedd ii 4 et de te edd La jedd dy 3, Count the beats and clap the rhythm of all of the lines above. 4, Add the bar lines in the following example, gill 1 ds (Ee 5, Count the beats and clap the rhythm of the line above. 4LESSON8 REVIEW OF LESSONS 5-7 1. The duration of musical sound is indicated by different types of, 2. One whole note equals two. —__ notes, 3. Two half notes equal___whole note. 4. Four quarter notes equal__‘half notes. 5. Two quarter notes equal one____ note, 6. Stems go up if notes are below the___ fine. 7. Stems go down if the notes are on or above the —___ tine, 8. Stems going up are attached to the ——— side of the note head, 9. Stems going down are attached to the side of the note head, 10. Music is divided into separated by____lines, 11. The end of a piece of music is indicated bya 12. The top number of a measure, > ——_line. ———— shows the number of beats in each 13. The bottom number of a time signature shows what kind of note gets beat. 14, In4 time, there are___beats ineach measure and a ——— note gets one beat. ‘15, Write the beats under the notes below. | | bid ds d_d did eid Jy el fed iy 16. Add the bar lines in the following example. ged J Joy ditt 4 sJg diddy 17. Fill in the missing beats with the correct note values. Write only one note in each measure. a eggs. "6. Count the beats and clap the rhythm of all the lines aboveLESSON 9 it THE GRAND STAFF Straight | ‘The treble staff and the bass staff can be joined together by a BRACE which ees Consists of a straight line and a curved line. = The combined staffs are called THE GRAND STAFF. . BRACE ALEGER LINE's @ small line which is added above or below either the treble ae or bass stats. —— ‘The note MIDDLE C is on the leger line that joins the treble and bass staffs. curved line ‘THE GRAND STAFF 2, Now add the time signature 3, Draw the brace, treble clef, bass clef, and draw the notes indicated. Use half notes on both staffs If the note can be drawn on more than one place on the staff, choose which fone you want to write. A Dae eG Haupt Riaeee DH Hv GHEE A Ef B G 4, Add the bar lines in their correct place. End the fine with a double bar line,LESSON 10 LEGER LINES LEGER LINES extend either staff upward or downward. 2aSenet Sol cB at a i i Wi a a a : i LESSON 11 eg WHOLE—HALF— QUARTER RESTS The duration of musical silence is indicated by different types of rests. WHOLE REST HALF REST QUARTER REST ‘One whole rest equals two half rests. te oN ‘One half rest equals two quarter rests. = = 22 Xw Ay One whole rest equals fourquarterrests. o~ 7 222? " In 4 time, awhole rest receives four beats q —-——_] 4203 4 Ahalf rest receives two beats. | 123 4 A quarter rest receiyes one beat. ei] 123 4 The combination of notes and rests produces sound and silence within a musical composition ——_—_—_—_—$———— +1. Fill in the missing beats with the appropriate rests. Use only one rest in each measure. Some measures may already be complete. Hos —t—}-+ + Le ee | 2 Fill in the missing beats with the appropriate notes, Use only one note in each measure, Some measures may already be complete. 44d pis fo La d pos dist 3. Fill in the missing beats with either notes or rests. Use as many as you wish, Jaid i | Hieeee Beet eae Le 2 " 1 T i T tl 4, Draw the brace, treble clef, bass clef, and draw the notes indicated. If the pitch indicated ‘can be drawn in more than one place on the staff, choose which one you want to write PRBS Wane) Wale) aseesgoxcaneiute aside atevnjas »Justecrey. entitle tet Seer Aus erat Whole L__Quarternotes_} L_Halfnotex_} Whole L-Half notes} L__Quarternotes—} “ote 5, Now add the time signature (4) and draw the bar lines. End the line with a double bar fineLESSON 12 REVIEW OF LESSONS 9-11 1. The treble clef and bass clef can be joined together by a 2, When the treble clef and bass clef are ‘combined, they form the 3A line is added above or below either staff 4. The duration of musical silence is indicated by different types of, 5. One whole rest equals two___rests, 6. Two half rests equal__ whole rest. 7. Four quarter rests equal, half rests, 8. Two quarter rests equal one___ rest. 9. Name the notes indicated. AB Be Bey Geaeee Cait pei ogeae pacer LHtattootest 1 Searter Hall 1 uarternotes,_J Woot’ RMF (_Quarter_ ara 12. Using all of the notes and rests you know (whole half, quarter) write your own rhythm solo. qe itt gee f » T T 13. Add the counting under each measure of your solo, then clap the rhythm,eee LESSON 13 5 ANOTHER TIME SIGNATURE % TIME The bottom number shows what kind of note gets one beat means two beats in each measure. means quarter note gets one beat. In 3 time, a half note or rest receives two beats. +4 ee “The top number shows the number of beats (or counts) in each measure. ‘A quarter note or rest receives one beat, 4G 1. Count the beats, then clap the rhythm of the notes and rests while counting the beats. did dd id é d J J gd 2, Write the beats under the notes, Remember, there are two beats in each measure 3. Count the beats and clap the rhythm. \ \ ! peep pd dg 4, Fill in the missing beats with notes or rests, then clap the rhythm, q+ tet 5. Draw the brace, treble clef, bass clef and a 3 time signature, then name the notes and add the stems where needed. > 2 “In actual muse notation a whole rest is used to indicate a whole measure of rest regardless of the time signature.LESSON 14 ANOTHER TIME SIGNATURE 3 TIME The top number shows the number of beats (or counts) in each measure. The bottom number shows what kind of note gets one beat ‘means three beats in each measure, means quarter note gets one beat. | In ¥ time, a half note or rest receives two beats. Hey | aaHreeees aed ee gig i A.quarter note or rest equals one beat getty 1203 '4 2 4 ee 1. Count the beats, then clap the rhythm of the notes and rests 2. Write the beats under the notes. Remer 3. Count the beats and clap the rhythm, gi did did wd did tty mber, there are three beats in each measure, 4 Filin the missing beats with notes or rests, then clap the rhythm | eas ody i T T 5. Draw the brace, treble clef, bass clef and a f time signature, Then name the notes and add stems where needed, “Ie actual masic notation a whole rest is used to indicate a whole measure of rest resardless afa8 Pie Bele e £ LESSON 15 ic THE DOTTED HALF NOTE ADOT placed after a note adds one half the value of the original note. in 4 time, a halt note(4 J equals two counts. ‘A dot after a half note (-) adds one count (half of the original value), Therefore, a dotted half note(d-) equals 3 counts, Count the beats and clap the rhythm 4d Ld d . Pauw \ go eee er |_J d ee dij id 1. Write the beats under the notes. Count the beats and clap the rhythm. eeaaeel d. : ge idddtde, 1d joa dd 1 2. Fill in the missing beats with notes or rests, then write the beats and clap the rhythm. J. | I qe} —_ jeep 4 _t4+—4 3, Draw the treble clef, name the indicated notes, add the bar lines and double bar line at the end of the line. = —s ae £ = + Pee uence 4, Draw the bass clef, name the indicated notes, add the bar lines and double bar line at the end of the line, — =e oe z ae zee i 5. Name the notes indicated, then draw the bar lines and clap the rhythm.LESSON 16 REVIEW OF LESSONS 13-15 1. In time, there are___beats in each measure. A quarter note receives_____ beat. 2.1m # time, there are___beats in each ‘measure. A______ note receives one beat, 3.Adotplacedafteranoteadds the value of the original note 4. Add the number of counts and write the sum under each line, d d d ° d d. © On the following lines, draw the bar lines to complete each measure and write the counting under each measure. got, LT gl 7. Draw the brace, treble clef, bass clef, and ‘name the notes indicated. Then add the bar lines and clap the rhythm, =e = = eee = = — : 8. Complete the following rhythmic line with notes and rests, then add the counting under each measure. gid (tamu | !shvvaleesd esavecd ore el cpntnor prided eone LESSON 17 M TIES AND SLURS ATIE is a curved line that connects two adjacent notes of the same pitch. ‘The tone is held as though the two notes are one, 1203 4 123 4 ASLURis a curved line that connects notes of different pitch. ‘a slur indicates that the music is to be sung’or played as smoothly as possible. There ‘should not be any space between the notes within the slur. 4. Write the number of beats that each pair of tied notes would receive. dd = 3 beats od = beats Jd = __beats did ~__ beats dad = beats od: = __ beats od = __beats dud. = beats 2. Write the note that equals the number of beats that each pair of tied notes would receive. eee dd - das donde oe edie 3, Mark the places where you would take a breath if you were singing or playing this music: :_ 4. Add the bar lines in the following examples, then count and clap the rhythms aged dy i dy yd dy a a dy a EU BEE eeu ig ee aeLESSON 18 REPEAT SIGNS Two dots placed before a double bar line =] means go back to the beginning and play again, 1. On the blank staff below, write the indicated piece of music as it would appear without using a repeat sign. (Some notes are indicated as a guide.) 2. On the blank staff below, write the indicated piece of music as it would appear without using the repeat signs. (Some notes are indicated as a guide.) =——— =F ==+ ———“ AR rl 0 1 og iso + f wesdited sets Aves posindemdigednes * * ’ LESSON 19 a FIRST AND SECOND ENDINGS, The repeat sign tells you to go back to the beginning. On the repeat, skip the first ending. and play the second ending. PLAY THIS ENDING FIRST TIME ONLY SECOND TIME ONLY Deer cocoon Ieee EEE ~ J a gee yg SECOND TIME 1. On the blank staff, write this piece of music as it would appear without the first and second endings. —~ GeeecaeeeaaceecalLESSON 20 REVIEW OF LESSONS 17-19 . A tie is a curved line that connects two notes of the pitch, The tone is held as though the two notes were A sluris a curved line that connects two notes of pitch. A slur indicates that the music is to be sung or played as ——____- as possible. Two dots placed before adoublebarisa______sign A repeat sign means goback tothe and play again, Sometimes, you repeat back to another_____—_ sign . Hf a piece has a first and second ending, you play the first ending the______time only. On the repeat you the first ending and play the. ending SNES RYERSS 9. Add the number of counts and write the sums. ded des d Pde a @ aa + + a eo oe dididan ccceeegeeee Sige a d. feae Led: ° up oo I ee a ~ 11. Write the word tie or slur, describing the curved line in each measure. ——LESSON 21 EIGHTH NOTES An EIGHTH NOTE looks like @ quarter note with a flag added to its stem. To draw an eighth note Try making these quarter first draw a quarter note Then add a flag, notes into eighth notes, >[ = SSS Two or more eighth notes are ‘Try drawing two pairs of beamed eighth notes joined together by a beam, (1 pair stems up —1 down). Two eighth notes equal one quarter note wi-J a Four eighth notes equal one half note. JITI-d I ‘ i ‘ Eight eighthnotes equal onewholenote. ddedddad-0 MA KAN In 4 time, an eighth note receives %4 of a beat. the Thay iat atntia tgs 1. Fill in the missing beats with the appropriate notes. Use only quarter andjor eighth notes, ge Te f-——+- 44 eee 2. Add the number of counts and write the sum under each line, eden deere eto) Ee een eee yas aeLESSON 22 EIGHTH REST An EIGHTH REST looks like this, Try drawing 5 eighth rests. Hl Two eighth rests equal one quarter rest. ty eat gaat Four eighth rests equal one half rest. a fu £% AAA GN Eight eighth rests equalonewholeres. oY YY YY YY 4 =~ tery dads In 4 time, one eighth rest equals %4 of a beat. He + a 1. Fill in the missing beats with the appropriate rests, Use only quarter and/or eighth rests. | | | ge id} add id vi | J 2. Fill in the missing beats with the appropriate notes or rests. Use any or as many as you wish, gD) yd. iMod, 1d | fer eee 3, The first measure in each of the lines below is complete. Add the correct time signature and complete the remaining measures, Write in the counting, Then count the blots and clap the rhythm. eed dd Oy wll yd 4d | So . j le r TLESSON 23 ica DOTTED QUARTER NOTES We already know that a dot adds one half the value of the original note. in 4, 9,3 times, a quarter note equals one count. J = one count(d2) A dot after the quarter note adds % count (A of the original value). - = Yacount( 2) ‘Adotted quarter note equals 11% counts. J. = 1% counts (J79) 102 & 3 oat 1 @& 3 Mk 1 Bes GE OI 1. Add the bar lines in the following éxamples, then count the beats and clap the rhythm. eas qi Ms OTs Lo Nyy 2. Add the bar lines and name the pitches. 3. Add the bar lines and draw the pitches indicated. If the pitch indicated can be drawn in more than one place on the staff, choose which one you want to write, Use the rhythm indicated. Promi. Nh omy GS RBeIN EL aee NN Herel eee Ee FGAGA G CDC AG FCF Cc DEF F F 4. Count the beats and clap the rhythm of the lines above.LESSON 24 REVIEW OF LESSONS 21-23 1. An eighth note looks like a quarter note with a. 2. Two or more eighth notes are joined together by a 3. Two eighth notes equal, quarter note. 4. Four eighth notes equal__quarter notes, 5. One whole note equals___half notes, or. 6, Adotted______note receives 1% counts. added to its stem, quarter notes, or. eighth notes. 7. Answer each problem with only one note. ded. dad d+d dene = 8. Answer each problem with only one note, d. aH 9. Write the correct time signature for each of the following measures. py —ddidy pve 4 10. Write the following rhythm on the blank staff using any notes you wish ages ‘1S pd dM deyi 4 3 Bs ees ieosterser ori ” LESSON 25 at FLAT ‘AFLAT SIGN (9) lowers the pitch of a note a half step, If we look at a piano keyboard, we see that the black key to the left of a white key is ahalf step lower. When saying a flatted note’s name, we say the letter name first and the flat next — B flat, When we write it on the music, the flat sign comes first. To draw a flat, first draw the vertical line. Then add a curve. Try drawing 5 flats. —_ 1. Write the names of the notes indicated — = ae | = = : = —= pb ob BD ab B> Gb > ED pb aD 3. Draw the brace and clefs, then name the notes and draw the bar lines, End the line with a double bar, =a ee = ——LESSON 26 SHARP A SHARP sign ($) raises the pitch of a note a half step. Hf we look at @ piano keyboard, we see that the black key to the right of a white key is a half step higher. When saying a sharp note’s name, we say the letter name first and the sharp next — C sharp, When we write it on the music, the sharp sign comes first. To draw a sharp, first draw Then add the the two vertical lines. slanted lines. Try drawing 5 sharps. 1. Draw the notes indicated, aE = = ch oad re FE Reece 2. Write the names of the notes indicated i : lo : —- = —¥5 = — = = 3. Draw the brace and the clefs, then name the notes and draw the bar lines, End the line with a double bar. —— = = = = —LESSON 27 ie NATURAL ch ANATURAL sign () cancels the effect of a flat or sharp. = To draw a natural, Then add another first draw an L. 4 upside down. Try drawing 5 naturals, ‘A natural is centered on the line or space it affects. Flats, sharps and naturals are called ACCIDENTAL signs. When they are placed before a note, they affect every note on the same A natural sign cancels the flat or line or space for an entire measure. jin the same measure. Ko ‘Ako » “Sock « Bb Bo Bh ce ey oe je ar] Abaé line also cancels an accidental, Also Alo. cf op a ye ab bo Bh Be = When a note is tied across the bar line, it’s accidental carries across also. Algo Algo Alo Algo Bb Bb RE ce ct SS - 1, Write the names of the notes indicated 2. Write the names of the notes indicated. 2B arLESSON 28 REVIEW OF LESSONS 25-27 1. A flat sign (b) the pitch of a note one half step. Asharp sign (#)____the pitch of a note one half step. 2. 3, A natural sign (G) cancels the effect of a or. 4 Flats, sharps and naturals are called. 5. Answer the following four questions true or false. A flat or sharp affects every note on the same line or space for an entire measure. ‘A natural sign cancels a sharp or flat within the same measure. A bar line does not cancel an accidental ‘When a note is tied across the bar line, its accidental is cancelled, 6. On the blank staffs below, write the following piece, using three repeat signs and 1st and 2nd endings. Then name the notes, CULMINATION COMPOSITION een CULMINATION COMPOSITION WITH REPEATSi ; LESSON 29 z° WHOLE AND HALF STEPS e Tones of the scale are separated by whole and half steps which are easily seen aa ona piano keyboard. d OCTAVE, t Es kek a? cae F € NZ a? whole half bos step step Eos ts Adjacent piano keys are a half step apart; therefore, to F isa half step while Cto D, which co includes Cf {two keys or two half steps), isa whole step. You will notice that the black keys 4? get their names from the white keys. Each black key has two names. When going up the i keyboard, the black keys are a half step higher than the white keys and are called by their sharp names—C, Cf, D, Df, etc. When going down the keyboard the black keys are a half step lower than the white keys and are called by their flat names~B, 8b, A, Ab, etc. Although the black keys have two names, they have only one sound. Two notes that sound the same but are written differently are called ENHARMONIC notes. * 1, Name the notes and indicate if the distance between the first and second notes is a + whole step (w) ora half step (14), 3. Indicate the distance between the notes. — SSS we ie ae sae cc feLESSON 30 CHROMATIC SCALE The chromatic scale is made up of all of the notes on the keyboard. Therefore, every note of the scale is a half step apart. When going up the scale, we use the sharp name for ! the black keys. When coming down the scale, we use the flat names C ce b DRE F FE G GEA ARR CBR AabGG> YEE DD e Going up the scale is called ascending. Going down the scaie is called descending. —<—<$ | | 1, Write the ascending version of the chromatic scale ‘starting on the note C, then name j Has 2. Write the descendiny ¥@ version of the chromatic scale starting on the note C, then name the notes, 2 Ie \ 9 | |Aone ie di aan an z 1. Write a tetrachord beginning on C. 33 LESSON 31 8 THE MAJOR SCALE 7 ¢ 6 Bl do The majot scale is comprised of eight consecutive Sreooet tones in alphabetical order, from “do’ 4 Ghia to “do” one octave higher. 3 _F J 30 ‘i eee ea 1 DJ me fe do If we start at C and go up the keyboard playing the white notes, we see that all of the tones in the C scale are separated by a whole step with the exception of E to F and B to C, which are half steps. halt step half step “aN a Ysdedets sedate aster estan caterer, uisten ate eae eor dts Rete eee whole whole whole whole whole step step step step step If we divide the eight notes into two groups of four, we see the pattern of whole and half steps is the same for each group (whole step, whole step, half step) half step half step eee pews whole whole | whole whole step. step step step’ tetrachord whole step tetrachord This group of four notes is called a TETRACHORD. When two tetrachords are joined together by a whole step, they make up a major scale. In the C scale, the C tetrachord and the G tetrachord are joined by the whole step between F & G. Write a tetrachord beginning on G. 2. Write a C scale and indicate the whole (W) or half (¥2) steps between each note. SSS SF34 LESSON 32 REVIEW OF LESSONS 29-31 4. Tones of the scale are separated by___—_.. steps. 2. Each black key has___names. 3, The black keys get their names from the keys. “4 When going up the keyboard, the black key names are a half step by using the symbol__for sharp. 5, When going down the keyboard, the black key names are——————# half step by using the symbol__for flat. 6, When two notes sound the same but have different letter names, they are called 7. inthe chromatic scale, each note is a __step apart. 8. The major scale is comprised of ______consecutive tones, 9, The major scale is comprised of ___tetrachords. 10, The formula of whole and half steps for a major scale is: 11. Indicate whether the distance between each group of notes is a half step (4) or a whole step (W)- gr ——————————— 1 oe +42. Write an ascending chromatic scale beginning on the note C. 413, Write @ descending chromatic scale beginning on the note C. 14. Write a C major scale in the two octaves that are indicated by the starting and ending notes35 LESSON 33 MORE MAJOR SCALES (F&G) The pattern of whole and half steps that we saw in the key of C is the same for any major scale, no matter which note we start on. If, for example, we started on the note G, the scale would look like this: half step ee Hats Re Adee BCD eet Pett 1 2 3 4 5 6 7 8 eta whole step You can see that the note F has been changed to Ff. if it were F&, the second tetrachord Since the formula is whole step, would have been: whole step, half step — the F had to be raised to Ff. oN. ee Dane RaG DEG Ee aG: 5 6 tA 8 4 5 6 7 8 ae NANNY Applying the same formula to a scale beginning on F results in the F major scale. Notice that the B has been lowered (b) to Bb. o™ er ae See GEA Hee Bp daeniC HEEL OP aeaEeE PELL 1 a 30 4 5 6 eee Peet ree Nee 1. Draw eight notes on the staff from G to G. Check the whole and half step formula and add any necessary accidentals to make these eight notes a G major scale. é ———— oe 2. Draw eight notes on the staff from F to F. Check the whole and half step formula and add any necessary accidentals to make these eight notes a F major scale. ee SS 3, Write a G major scale ascending and descending. 4. Write an F major scale ascending and descending, 2 SSS SS SS SILESSON 34 OTHER MAJOR SCALES (Bb—E>—D—A) If we use the pattern of whole and half steps, we can construct scales beginning on any note. Remember, a major scale is made up of eight consecutive tones, Think of two tetrachords separated by a whole step. “m™ Lee THe. NN ee whole step tetrachord whole step tetrachord td | al fl c|plelFlc/alsic 1, Start on the note BD. Draw eight consecutive notes. Add the necessary accidentals to make it a BD scale. Then, indicate the whole and half steps. You may use the keyboard to check your scales,{ i at { 4 LESSON 35 a: KEY SIGNATURES ly When constructing the scales, we wrote the sharps and flats before each note in the music. a To make the writing process easier, we can indicate the flats or sharps to be used in a 4 composition at the beginning of the piece. This is called a KEY SIGNATURE and tells the fe performer that the accidentals indicated are in effect throughout the piece. ‘ For example, the F# in this key signature, which appears on the top 17 line of the staff immediately following the clef, indicates that all of the a) F’s in this composition are to be played F%. 7 ‘The key signatures of the scales we already know are: 2 The key of C —no sharps or flats. 9 = + 9 The key of G—1 sharp The key of D —2 sharps The key of F—1 flat ‘The key of Bb —? flats 1, Write the key signatures for each key. The key of C The key of G The key of D The key of F ‘The key of Bb 2. Write the key signatures in bass clef. The keys of: C G D F BbTrue or false LESSON 36 REVIEW OF LESSONS 33-35 5 2 The key of F contains 4 sharp. 3. The key of Bb contains 2 flats. 4 The key of D contains 2 flats. 5. The key of Eb contains 3 flats. 6 following the clef. 7. The key signature is placed at the beginning of a compos The formula of whole and half steps is the same for all major scales. ion, immediately 8. Write the following scales: first write the key signature, then name the notes, Bb major scale D major scale F major scale Es = G major scale The amount of sharps and/or flats in the treble clef signature is different from the amount for the same key in the bass clefa a a Neawaene LESSON 37 34 CIRCLE OF FIFTHS MAJOR SHARP KEYS Keys are related by fits. we start on C (whose key signature has no sharps or fs) and forup the scale five notes, we come to the note G fwhase key signature has } sharp) I we 2 ibe notes up the G scale, we come to D (whose key signature has 2 sharps). This pat fern continues throughout all of the sharp keys. eee Be (hh GEO Gi 7 sharnstF9, C4. sharns (FE gan, ae deat, eetist aats ———_—_—_—————— A fifth above C is the key of which contains sharp. A fifth above G is the key of which contains sharps. A fifth above Dis the key of, which contains sharps. A fifth above A is the key of which contains sharps. A fifth above E is the key of, which contains sharps. A fifth above B is the key of which contains sharps. A fifth above Ff is the key of, which contains ____ sharps, Write the sharps in the order they are added to the key signatures ee Here is a helpful hint for naming sharp keys: THE NAME OF THE KEY 1S ONE LETTER NAME HIGHER THAN THE LAST SHARP IN THE KEY SIGNATURE| \ i } i LESSON 38 CIRCLE OF FIFTHS MAJOR FLAT KEYS Fate Sart on C and go down the scale five notes, we come to the note F (whose key Signature has 1 flat). if we go five notes down the F scale, we come to BP (whose key signature has 2 flats). This pattern continues throughout all of the flat keys, co 2M.) Aha (0h. ,45,0) » lc 7 ant, ab, tha), Db chy 0b, cb... ror fe NBEO few & 1. A fifth below C is the key of 2. A fifth below F is the key of 3. A fifth below Bb is the key of, 4. A fifth below ED is the key of which contains. flats 5. A fifth below Ab is the key of. which contains___ flats, 6. Afifth below Db is the key of ___ which contains flats, 7. Afifth below Gb is the key of which contains flats, which contains___ flat. which contains___ flats, which contains. flats. 8. Write the flats in the order that they are added to the key signatures Bb Eb Here is a helpful hint for naming flat keys: THE KEY OF F MAJOR HAS ONE FLAT. KEYS WITH MORE THAN ONE FLAT ARE NAMED BY THE NEXT TO THE LAST FLAT IN THE KEY SIGNATURE,4 a tener eed eh wl 5 eSeR SR SRR eee cs LESSON 39 4b CIRCLE OF FIFTHS ALL MAJOR KEYS If we put the sharp keys and the flat keys together, the circle would look like this: so shape — teach 2 sharps Ph. ‘asisb) ato &) lt, AD, ‘bb cb,cb a ae The following keys are enharmonic equivalents: Db & C#, Gb & FH, Cb & B. They sound the same but are spelled differently. 1. Write the names of the keys in the circle of 5ths under the staff. Then write the key signatures of all of the keys. Sharp Keys Flat KeysLESSON 40 REVIEW OF LESSONS 37-39 are related by fifths The key of E has. sharps. The key of ____has 3 sharps. The key of Ab has. flats. The key of has 5 flats 1 2 3 4. 5 6 Name the keys indicated by the following key signatures:vow RODD OES se aaa sper avatar nemo rain eased od wed eS: LESSON 41 % very soft soft moderately soft moderately loud loud DYNAMICS Dynamic signs indicate how loudly or softly music should be played. The symbol 7P pianissimo — means: The symbol P piano — means: The symbol mp mezzo piano — means: The symbol mf mezzoforte — means The symbol f forte — means Thesymbol Jf fortissimo — — means: very loud Acrescendo ——===== means: gradually get louder ‘Adecrescendo ——==—_ means: gradually get softer — $$ 1. Write the dynamic symbols for the following volume indications: soft eee loud very loud ee very soft moderately soft moderately loud gradually louder __ gradually softer 2, Define the following dynamic markings: =— =f eee =p PR eee tf ie P —= 3, Clap or tap the following lines, carefully observing the dynamic markings. gee ye pd sed pd Dd m™p ae P f itLESSON 42 D.C. AND D.S., CODA AND FINE The following symbols and terms are often used in music DC. = DaCapo DS. = Dal Segno Fine = the end If we put them together, we get: D.C. al fine = Go back to the beginnin; D\S. al fine = Go back to the sign (${) = Means: go back to the beginning — Means: go back to the sign (SX) '8 and play to the end, indicated by Fine. and play to the end, indicated by Fine. Sometimes @ composition ends with a separate closing section This is called a Coda and is indicated by a Coda sign ®). If we combine Coda with D.C. and D.S., we get: D.C. al Coda= Go back to the beginning and play to the Coda sign (9), then skip to the Coda to end the piece DS. al Coda = Go back to the sign (36) and play to the Coda sign (@), then skip to the Coda to end the piece. : es 7 On the blank lines below, write the first line as it would be played set ae T i +h { { { j { T T T T 1 j | 1 —__| 7 T T T T + ll i } 2. On the blank lines below, write the first line as it would be played. | « Pine DS. a Fine | tedo di dd, bed de ep dy Lydd : a | +4 ae T 3. On the blank lines below, write the first line as it would be played. pd =LESSON 43 TEMPO MARKINGS AND OTHER MUSICAL SYMBOLS ‘Tempo markings tell how slow or fast to play the music. Largo = very slow — broadly Allegro = fast Adagio = slow Presto = very fast Moderato = moderate Accelerando = gradually get faster Ritardando = gradually get slower Other musical symbols guide the performer in interpeting the composer's wishes, ‘> = Fermata — means; hold the note longer than its normal value = = Accent — means: play the note a little louder + = Staccato — means: play the note short - = Tenuto — means: hold the note for its full value SS 1, Write the tempo markings for the following speeds: fast aan gradually getting faster very slow, See moderate very fast _ love arcs ve tae EE EE gradually getting slower 2. Draw the symbol that means: hoid the note longer than its normal value hold the note for its full value play the note short play the note a littie louder ‘ 3. Sing the following lines on the syllable “Tah” carefully observing the tempo markings, dynamics, and other musical symbols, Adagio aged { go. jeddy |. Loe Led pp f é fide dds a mp accelerondo and crescendoLESSON 44 REVIEW OF LESSONS 41-43 Define the following symbols: 1 2 3 4 Sf 5 t 6m of — mp .— Define the following terms PN OMEN 9 10, " 12 13, 14, 15, De. Serre Teper eTeeeer eee eee Eee Ds. aoa a Fine D.C. al Fine DSS. al Fine Coda DC. al Coda s DS. alCoda Presto i eee EEE Allegro ——___ a Moderato - ee eet Adagio Pe eR Ea EEE Largo oe ear Ritardando eo eee Accelerando —_,_ Define the following symbols: a 7 7 (On the blank lines below, write this rhythmic composition as it would be played, 2 4 % e 4 D cote c DS. al Coda 1Gow ow 9 a 5 y » * 2 eboe LESSON 45 i SIXTEENTH NOTES i ‘A sixteenth note looks like an eighth note with a second flag added to its stem. To drawa sixteenth note, then adda Try making these eighth first draw an eighth note, second flag, notes into sixteenth notes, ge = Two or more sixteenth notes are Try drawing two pairs of beamed six- joined together by two beams. teenth notes (1 pair stems up, 1 down) Two sixteenth notes Lo. equal one eighth note. iid ore Four sixteenth notes N Beste equal one quarter note. , iF. ry Eight sixteenth notes fl AA AA ‘equal one half note. SppP lpr?) ddddeday RAAAARAAA si th not mB equal onewhole note. Iddddoddedededed =o Poneieer Darrian! . ° in 4 time, a sixteenth note receives % of a beat, le&a2ekasekateka 1. Fill in the missing beats with the appropriate notes. Use only quarter, eighth, and sixteenth notes. ee aged did Mi Fey J 2. Add the number of counts and write the sum under each line. 4 d TH . F354 d gaa ii 3. Add the number of counts and write one note equal in value to the sum: J. JH J 4. EH 1. A ff Af ot aLESSON 46 SIXTEENTH RESTS A sixteenth rest looks like this. Try drawing five sixteenth rests, Two sixteenth rests equal one eighth rest. Wer a Four sixteenth rests 999 =2 JaNanna Aas, equal one quarter rest, TTF Coeur geetaee Eight sixteenth rests YSIS ye Z\ J\ /\ /N equal one half rest, WY eel Denia inteenth 99. PPP Ts PEP EREMEAT TATA cine ee WITT =~ VETTES vy In 4 time, one sixteenth rest equals % of a beat. Leka2e&r23ekase ka —— 1. Fil in the missing beats with the appropriate rests, using only quarter, eighth, and sixteenth rests, ed od a ei) | 2 Filin the missing beats with the appropriate notes or ests, Use any or as many as you wish, gp d fh ATL TT. d 3, The first measure in each of the lines below is complete. Add the correct time signa- tures and complete the remaining measures. Write in the counting. Then count the beats and clap the rhythm. a ecPAPE SESE EEEEBVOM OH HE woe wees ewes owe LESSON 47 4a DOTTED EIGHTH NOTES We already know that a dot adds one half the value of the original note in 4. 4, % times, an eighth note equals % count 2 = % count (4) A dot after the eighth note adds = % count (J) % count (%4 of the original value). A dotted eighth note equals % count. A= % count (FF) eS 1 &a2 1 &)a2 1 &a (&a 1 @&a 2 | AMDB 1 1 &a2 &a3 (ead 1 (&a2 (a3 a4 Gai 1 @ 3 1, Add the bar lines in the following examples, then count the beats and clap the rhythm. qin») Ew a my ogee a | _ OL Sa 2. Subtract the number of counts and write the answer under each line. a d. 4 d . d J Ea - dL LS LG 3, Subtract the number of counts and write one note equal in value to the answer. f J dh 4. 4 4LESSON 48 REVIEW OF LESSONS 45-47 1, A sixteenth note looks like an eighth note with a second, added to its stem, 2, Two or more sixteenth notes are joined together by two 3, Four sixteenth notes equal eighth notes. 4, Eight sixteenth notes equal one note. 5, One whole note equals sixteenth notes, 6, Adotted____ note equals % of a count. 7. Answer each problem with only one note, 3 tees aaa dud. 8. Answer each problem with only one note. 16d. 57A he Ji erag eS ty aaa ay sae Loe + 9. Write the correct time signatures for each of the following measures. ee oe 10, Write the D & G scales using eighth, dotted eighth, and sixteenth notes. First write the key signature, then the 4 time signature a= py Gscale s : = % 7 ————— oe 11. Write a Bb scale using eighth, dotted eighth, and sixteenth notes. First write the key signature, then the J time signature. : A SSe ee Be OES eo LESSON 49 st INTERVALS in music the term INTERVAL refers to the distance between two notes. intervals are always counted from the lower note to the higher one, the lower note being counted as one. For example, the interval from C to D is a second (C is 1—10 D is 2). =z =——] = ——= So eo eo oe = = = = ToL 1 2 1€2)3 1(23)4 = 1(234) 5 -1:(2345)6 1 (23456)7 1: (234567)8 Called: prime second third fourth fifth sixth seventh octave If the two notes are sounded simultaneously, they are called HARMONIC. If the two notes are sounded in succession, they are called MELODIC. Harmonic Melodic. 1. Count the distance from the lower to the higher note and name the interval ——— oo = e 2. Write the note that completes the melodic interval above the indicated note. ———— and Octave 4th 7th 5th 3. Indicate whether each interval is harmonic (H) or melodic (M).LESSON 50 DIATONIC INTERVALS Hf the upper note of an interval is found in the major scale built on the lower note, ix is a DIATONIC INTERVAL, fa prime, fourth, fifth, or octave are diatonic (both notes appear in the same scale), they are called PERFECT INTERVALS. _ = = = Perfect Perfect Perfect —-Perfect. Prime Fourth Fifth Octave In a major scale, if a 2nd, 3rd, 6th, or 7th are diatonic, they are called major intervals. SS soe = Major Major = Major = Major 2nd 3rd 6th 7th 1, Name the intervals indicated. Use P for perfect, M for major. te SSS SSS i o = = PPrime — P4th Mand Poctave Math M3rd P5th M7th 3. Name the intervals indicatedataaa SCE EHO OBHDD LESSON 51 CHROMATIC INTERVALS If the upper note of an interval is not found in the major scale built on the lower note, it is called a CHROMATIC INTERVAL. If the upper note is ¥4 step lower than a major interval, it is called a MINOR INTERVAL, Major 2nd minor2nd Major 3rd minor 3rd Major 6th minor 6th Major 7th minor 7th If the upper note is % step lower than a minor or perfect interval, it is called a DIMINISHED INTERVAL. = - se se so so se © m2 dim2 m3 dim3 P4 dima P5 dimS m6 dim6 m7 dim7 8 dim& (octave) {octave} If the upper note is % step higher than a major or perfect interval, it is called an AUGMENTED INTERVAL. SS SS SS eee PP augP M2 aug? M3 aug3 P4 augé P5 augS Mo aug6 M7 aug7 P8 augs (octavey(octave) 1, Name the intervals indicated. Ase SSS SS dima aug dima Aug6 augP, dim3 dim P € 3. Name the intervals indicated,LESSON 52 REVIEW OF LESSONS 49-51 1, The term_______refers to the distance between two notes. 2. Intervals are counted from the__note to the higher one. 3. If two notes are sounded simultaneously, they are called 4, If two notes are sounded in succession, they are called 5, . If the upper note of an interval is found in the major scale built on the lower note, it is called a. interval, 6. If the upper note of an interval is not found in the major scale built on the lower note, itis called a interval 7. Name the intervals indicated, fo——__ : ee SS + |) 8. Write the intervals indicated, PP dim2 dima maj2 augs dims min3 ougs & 9. Nae the intervals indicated He i 10. Write the intervals indicated. maj3 min3 augt dime PS min2 dim2 dimeaes Se oo a rel E h easter laee re ee ee LESSON 53 ox MORE TIME SIGNATURES The top number shows the number of beats (or counts) in each measure ‘The bottom number shows what kind of note gets one beat. — means three beats in each measure. means an eighth note gets one beat. In time, an eighth note or rest receives one beat ape | 2 means six beats in each measure. means an eighth note gets one beat. In time, an eighth note or rest receives one beat 4 56 A dotted quarter note or rest receives three beats Lee 23456 1, Count the beats, then clap the rhythm of the notes and rests while counting the beats. eo ee ee 123 Poss) ea tants eae ae a Hatt ees 1(23) 2. Write the beats under the notes. Remember, there are six beats in each measure Count the beats and clap the rhythm. gill. oll yl I py 3. Fill in the missing beats with notes or rests, then clap the rhythm. ge JT) 4: pee) jad ja od te. i pig ier nar jd. ty fb pid} +LESSON 54 ANOTHER WAY TO COUNT When § time is played at a fast tempo, its usually counted “in” +g 1D Ty tealiae When § time is played at a fast tempo, itis usually counted “in 2” area a a Sometimes 4 time is indicated with the letter C which stands for COMMON TIME. It is just another way of saying 4 time &r and GE wesc te aethig If the Cis cut in half (¢) itis called CUT TIME or ALLA BREVE, It means the 4is cutin half to 3. The music would sound the same but itis counted “in two" | Ja | J 7m 102 3846! 1 & 2e&a ‘Write the counting under the following lines. Then count the beats and clap the rhythm, mp Ol 1 mg i I eg lL ol Md I by See ee eGa LESSON 55 Se TRIPLETS A TRIPLET is a group of three notes that are performed in the space normally allotted for two of the same kind of note. 1 triplet 2 triplet 3 wiplet 4 triplet tik 2k : 3 3 3 o z tr & 2 & 3 & F & 1 wiplet 2 cripler A wieplet 2 & | 4 wiplet 2 wiplet SYNCOPATION In jazz, rock, and pop, as well as in classical music, the accents sometimes come on the normally weak divisions of the beat, adding new excitement to the music. This is called syncopation. ' \ | = fsttite = = 1 &Q)& 3 £ 1kQRR 4 1 &@) 3 1 &Q) 3 ‘Add the bar lines in the following lines and write the counting under each measure. Then count the beats and clap the rhythms. pit fl oi MJ bt) om iy fee i eriee =LESSON 56 REVIEW OF LESSONS 53-55 1. Ingtime, an _note receives one beat, 2, Inj time, there are. beats in each measure, 3. In Gtime, there are six beats in each. 4. In § time, an eighth note receives__count, 5. When § time is played fast, it is counted “in__” 6. When § is played fast, itis counted “in__” 7. __ is the symbol for common time, 8. ¢ isthe symbol for____time. 9. Cut time is also called___Breve. 10. A triplets a group of. notes. 11. When accents are placed on weak beats, it is called. Add the bar lines and write the counting under each measure. Then count the beats and clap the rhythm. Fast “in 1" ee Fast “in 2” 16. Write an Eb scale, using a syncopated rhythm pattern, First write the key signature, then the 4 time signature, = = oeae ee wove o a a ® * * LESSON 57 31 MAJOR CHORDS — MAJOR TRIADS ‘A chord is a combination of three or more tones sounded simultaneously. A triad is a 3-note chord. ‘Amajortriad can be constructed by thinking of the Ist, 3rd and 5th notes of a major scale. It gets its name from the root note. C Major Scale C Major Triad 12345678 ‘A major triad can also be constructed by thinking of intervals. The major triad is a major 3rd plus a minor 3rd. Major 3rd Minor 3rd Major Triad = plus eS equals Sun = fifth 1. Name the following major triads. Se & SS a : ; 7 The triad built on D isthe only one in the above example that uses an accidental (Ff). If you did not write an FE, you either did not think about the D scale or about the major 3rd and minor 3rd. 3. Write a D scale. 4, Write a D major triad. 4 === ss SS eoLESSON 58 CHORDS RELATED TO A KEY A chord's relationship to a key and to other chords within that key is indicated by pumbering the chords from 1 to 8. The numbers are shoun with Roman numerals, This example shows that the chord built on the Ist degree of the C scale is the C chord, which is the I chord in the key of C. The chord built one Ath degree of the scale is the F chord, which is the IV chord in the key of C, and the chord built on the Sth degree of the scale is the G chord, which is the V chord in the key of C, es 1. Write the chords indicated, 2. Write the chords indicated in the key of C. oe c r 1 voy 3. Give the letter name of each of 4. Write the chords indicated the following chords, in the key of F, SSS eae feet eee ar 5. Give the letter names of each of 6. Write the chords indicated the following chords. in the key of G. —_ — I Vv vLESSON 59 ut CHORD PROGRESSIONS ' 7 * ® ‘The movement from one chord to another is called a chord progression. One of the most popular chord progressions used in all styles of music, including pop, folk, rock and jazz as well as classical, is the I 1V V | progression. We have already written this progression in the keys of C, F and G. Key of C Key of F key of G : 4s 2. Write the | IV V I progression * in the key of Bb, Then give 1. Write the Bb scaie. the letter name of each chord. 4. Write the 1 IV V | progression zi in the key of D. Then give * 3, Write the D scale. the letter name of each chord. i p : £ - = 3 * eo 3 6. Write the I IV V | progression i in the key of E>. Then give ‘ 5. Write the Eb scale. the letter name of each chord. == — & : = =a & 7 : 8, Write the 1 IV V [progression in the key of A. Then give + 7, Write the A scale. the letter name of each chord. & =LESSON 60 REVIEW OF LESSONS 57-59 1, A chord is a combination of OF more tones sounded simultaneously. 2. Atriad is a note chord. 3. A major triad is made up of a root, and fifth, 4. A major triad gets its name from the note, 5. The natural movement from one chord to anotheriscalleda____— ee 6. Write the chords indicated. 7. Write the chords indicated. 8. Write the | IV V | progression in the following keys. Write the Roman numerals below the staff and the letter names of the chords above the staff A — ——— ae — 1 Vv: LESSON 63 a INVERSIONS OF THE DOMINANT SEVENTH CHORD 4 i The dominant seventh chord has one more inversion than a triad. 4 Root Position 1st inversion 2nd inversion 3rd inversion a c7 a i = iy 3rd on the bottom 5th on the bottom 7th on the bottom > By using inversions, we can make the notes of different chords within a chord progression 7 move smoothly from one to another. This is called smooth voice leading . Chord Progression Chord Progression a all in root position using inversions > CHER HH GTHHIG: c F ct c : SS a — = a I ae I IV wet a 2nd Ist inversion inversion % 4 When played or sung by 3 instruments or vocalists, the Sth (D) would be omitted ——_—_—— 1, Write the I, IV, V7, | progression in the key of F, using smooth voice leading. a Indicate the chord names and the inversions used. ‘ root position 2. Write the I, IV, V7, | progression in the key of G, using smooth voice leading. Indicate the chord names and the inversions used. = i = = — * 3. Write the |, 1V, V7, | progression in the key of Bb, using smooth voice leading. * Indicate the chord names and the inversions used.LESSON 64 REVIEW OF LESSONS 61-63 1. Write the following dominant 7th chords. = G7 br BoT FT Ay a 2, Write the 1st inversions of the following chords. ae ® eo F » c > 3. Write the 2nd inversions of the following chords. D c Ab F Eb Bb c 4. Write the 3rd inversions of the following chords, é : 5 co ay FT Bb7 D7 7 5. Write the |, 1V, V7 progression in the key of D, using smooth voice leading. Indicate the chord names and the inversions used. 6. Write the 1, TV, V7 progression in the key of Eb, using smooth voice leading, Indicate the chord names and the inversions used. 7. Write the |, IV, V7 progression in the key of A, using smooth voice leading, indicate the chord names and the inversions used. & & iLESSON 61 es DOMINANT SEVENTH CHORD woee The term dominant chord is another name for the V chord 9 The term tonic chord is another name for a ! chord. a in the key of C, the C chord is the I chord or tonic chord, and the G chord is the V chord or 2 dominant chord > eS ? is Tonic Dominant 3 g Up til now, we have only learned triads or 3snote chords. Now, we are going to learn a 4-note fe chord, re The dominant 7th chord is a 4-note chord that gets its name from its place in the key (built on the fo Sth note = V chord = dominant chord), and from the interval from its root to its top note (a ha seventh) a A dominant 7th chord terval of . in the key of C is 37th a3 built on the note G 4 Dominant You can also: construct a dominant 7th chord by Interval. Just add another minor 3rd to a major chord, - G major G dominant 7h a plus another equals 3 Es minor 3rd == = toa 1. Write the fallowing chords: Check your intervals. Both the C7 and D7 chords have an accidental, Besides thinking of the interval, remember that C7 is built on the 5th tone of the F scale, which has a BP in its key signature; and the 07 is built on the Sth tone of the G scale which has an Ff in its key signature, 2. Write the chord progression indicated, and write the letter name of each chord above the staff. o-#.LESSON 62 INVERSIONS, When playing chords itis impractical and dull to play all triads and seventh chords in root position. To make chord progressions easier to play at the keyboard or on fretted instruments, and to make them sound smoother, we can rearrange the order of the notes. The rearranged chords are called INVERSIONS. If we move the If we move the $8 bottom note to bottom note to #° the top of the the top again, Root Position chord, we get the Ist inversion. _we get the 2nd inversion. The 3rd is on The 5th is on the bottom the bottom. ————_———— 1. Write the chords indicated in the root position. G D Bb F c Ist inversion 2nd inversion root position ist inversion nd inversionLESSON 65 TRANSPOSITION ot Transposition is the rewriting of music from its original Key to another. You may wish to transpose a song to make it easier to sing, You may also wish to transpose it for another ifatrument. We already know how to transpose harmony or a chord progression. All we fave to do is use the Roman numeral names and move the progression to a new key. The Bathe concept can be done with melodies. You may assign the melody the numbers of the weule (1-8) oF the scale syllables (do, re, mi, etc.) and just begin on the new beginning note. You may also think of intervals between notes. Melody in C Same Melody transposed to F numbers: 1 2 395 6 8 Nee HasHe ot OrEe syllables: do re mi sol la do do re mi sol la do intervals: 2nd 2nd 3rd 2nd 3rd 2nd 2nd 3rd 2nd 3rd — PDE SSS HVIBDDIDEVDOHVE 1. Transpose the following melody to the key of G. e 1 Vv NT 1 2nd inversion Ist inversionLESSON 66 OTHER TRIADS MINOR ‘Any major triad can be made minor by lowering the third degree % step C Major Triad C Minor Triad = ae You can also construct minor triads by interval € Minor Triad J minor 3rd —— 1. Write the following major triads. Then adjust each to make them minor. D Ab Bb c Eb G A F 2. Write the following minor traids. 3. Write the following chords. (Small Roman numerals are used for minor chords.) The i chord in the The i chord in the The i chord in the key of C minor. key of G minor, key of F minor.LESSON 67 OTHER CHORDS AUGMENTED AND DIMINISHED Any major triad can be made augmented by raising the fifth degree ¥ step C Major Triad C Augmented Triad C Augmented Triad You can =f ———— = also construct == major 3rd augmented triads major 3rd by interval. + = augmented C+ = C augmented Any minor triad can be made diminished by lowering the fifth degree Ye step. C Minor Triad C Diminished Triad C Diminished Triad : You can = = _ also construct minor 3rd diminished triads minor 3rd by interval. 0 = diminished C= C diminished 1. Write the foliowing augmented triads. 2. Write the following diminished triads. o $ oe ae Abe pe Bee ce70 LESSON 68 REVIEW OF LESSONS 65-67 1. Transpose the following melodies to the indicated keys. cs transpose to a transpose to transpose to 2. Write the following chord progression 3, Write the same chord progression with smooth voice leading. Indicate the inversions used. ——————— o Cmin = Fmin GT Cmin 4, Write the following chords. ct Bbmin Dmin Abe Pt a Ebmin cr Bb+ D+ Abmin — Cmin oe be At Fe = ee no who ceLESSON 69 4 ANOTHER CHORD PROGRESSION ‘Another chord progression that is very popular in all styles of music combines major and minor chords. The progression is | vi il V7 1 In the key of C, this progression would be: c Amin Dmin a7 c 1, Write the following chords. Gmin Dmin Emin Amin Cmin Bmin 2. Write the | vi ii V7 I progression in the key of F.LESSON 70 MORE ON INVERSIONS The movement from one chord to the next in the | vi ii V7 I progression can be made to sound smoother by using inversions. Amin Dmin fe] c vi ii v7, 1st inversion Ist tnversion When Roman numerals are used, the first inversion is indicated with the number ¢, the second inversion with the numbers §. (Ex:-I chord in Ist and 2nd inversions—ly, |e) When chord symbols are used, the first inversion is indicated with the letter name of the chord first, followed by a diagonal line and the letter name of the bass note. (Ex: G chord in 1st inversion—G/B) The first inversion of the dominant seventh chord is indicated as a Vs. ————— 1. Write the 1, vi, fi, V7, | progression in the key of F, using smooth voice leading. Indicate the chord names and the inversions used. 2. Write the 1, vi, ii, V7, | progression in the key of G, using smooth voice leading. Indicate the chord names and the inversions used, 3. Write the |, vi, ii, V7, | progression in the key of Bb, using smooth voice leading. Indicate the chord names and the inversions used, ES = = — 4, Write the |, vi, ii, V7, | progression in the key of D, using smooth voice leading. Indicate the chord names and the inversions used.yaaa me LESSON 71 43 MORE TRANSPOSITION By using the Roman numerals, we can transpose the two progressions we know to any key. By using numbers, syllables, or intervals, we can transpose any melody to any other Key. Ifsomething new occurs, like a sharp or flat within the melody, or an augmented or diminished chord within the harmony, they would be treated the same way. Melody in Melody transposed to the key of F In the melody in C, the F in In the key of F, the BP would bar 3 is raised ¥2 step to Ff. have to be raised ¥ step to BE. In the example below, look at each chord and think the Roman numerals, Then think the letter names. ' Harmony in C Harmony transposed to the key of F. F Ft Bb FLESSON 72 REVIEW OF LESSONS 69-71 1, Write the | vi ii V7 I progression in the key of Eb, using smooth voice leading. Indicate the chord names and the inversions used. 4 — o 2, Write the | vi ii V7 I progression in the key of C, using smooth voice leading Indicate the chord names and the inversions used. 3. Transpose the following melody to the key of A. 4. Transpose the following melody and harmony to the key of FLESSON 73 * * RELATIVE MINOR KEY SIGNATURES 1s . 7 NATURAL MINOR . ‘All major keys have a relative minor key which uses the same key signature. The key tone 3 ay the minor key is a minor third, or 3 half steps, below the key tone of its relative major ° C Major down a minor 3rd A Minor A minor and C major both . from Cis A have the same key signature, * ° The natural minor scale uses the key signature of the relative major scale. * > A natural minor & = _ Pyare rea irate SHearH@ HEC itn 8. 5 po We Me Fh Se LE TE DP a ———_—_— ft 1. Write the name, key signature, and key tone of the relative minor of the following major keys. a Major Key Minor Key Key Tone ' — - cage cece * c jeseersneraes Een 3 ioe G See : ® boa 2. Write the A natural minor scale. ie —— = 5 £. = = E. Bs £ 3. Write the D natural minor scale. i 4, Write the E natural minor scale. tie c — = ce ——— ia —76 LESSON 74 HARMONIC MINOR ‘The harmonic minor is the most commonly used minor scale in Western music. It is based con the natural minor, but the 7th scale degree is raised % step. A Natural Minor ‘A Harmonic Minor 4 ee 5 67 8 Write the following harmonic minor scales. Then write the natural minor scale. Then rai 1. D Harmonic Minor 2. E Harmonic Minor First write the relative major key signature. ise the 7th scale degree ¥s step. 4, C Harmonic Minorce ee ORR MDT FETISH ITTIFFEIIRER HIS LESSON 75 qt MELODIC MINOR The melodic minor scale is different ascending and descending. Ascending, the 6th and 7th degrees of the natural minor scale are raised % step; descending, the natural form of the minor is used (both accidentals are cancelled). ‘A Melodic Minor ——5—-n-fo—to— 2 $0 ho ae — = Rear stacrstrierigte Stn eO tis eeu stron po fe MER 5% LA TY bo TE Le sa FA ME RE DO —— Write the ascending and descending form of the following melodic minor scales. First write the relative major key signature. Then write the natural minor scale ascending and Gescending. ‘Then raise the 6th and 7thrscale degrees ascending and return them to their original form descending, 1. D Melodic Minor ¢ = ' 2. G Melodic Minor & = = © = 7 = = 3, C Melodic Minor ¥ S eee 4, E Melodic Minor —— = = ==LESSON 76 REVIEW OF LESSONS 73-75 1. The key tone of a relative minor scale is a minor below the key tone of its relative major scale, 2. The__ minor stale uses the key signature of the relative major scale without any accidentals, 3. The harmonicminor scale raises the ______scale degree of a natural minor scale ______ step. 4, The_______ minor is different ascending and descending, 5. The ascending version of the melodic minor scale raises the and_____ scale degrees step, 6. The descending version of the___________ minor scale is the same as the minor. Write the following scales: ‘A Melodic Minor (Ascending and Descending) & ———— = =~ 8. C Natural Minor 9. F# Harmonic Minor 10. B Melodic Minor (Ascending and Descending)LESSON 77 ei HARMONIZING A MELODY It is relatively easy to harmonize a melody. Since you know the notes in the chords, you can analyze the melody to see if the notes outline a chord you know. Usually chords change in each measure. =e - Se eeeaee a 6S = SS c EG A F DF GF E € In measure 1 the notes C, E, G are all found in the C chord. in measure 2 the notes A & F are all found in the F chord. In measure 3 the nates D, F, G are all found in the G7 chord. In measure 4 the notes E & C are all found in the C chord. The chord progression of the melody is C F G7 C or 1IV V7 1 ———_—_—_—_———— 1, Harmonize the following melody. First analyze the notes in each measure. After you have decided the name of the chord, write it above the top staff, and write the notes of the chord on the bottom staff. Then write the Roman numeral to show the chord’s function within the key. The first measure is done for you. 3. On the staff below, rewrite the harmony with smooth voice leading and name the inversions of the chords used.80 LESSON 78 PASSING TONES AND NEIGHBORING TONES Melodies often contain notes that are not contained in the chord. Sometimes, these notes pass from one chord tone to another and are called passing tones. t Passing Y7 passing ' Tone Tone Sometimes notes are above or below a chord tone. They immediately return to the chord tone and are called upper neighbors and lower neighbors, or simply neighboring tones or auxiliary tones. Cc G7 c Tk wf 1 Upper Lower Neighbor Neighbor I Vv v I vr 1 3. Harmonize the following melody, circling any passing tones and neighboring tones, Indicate the chord names above the top staff and write the notes of the chord, with smooth voice leading, on the bottom staff. Write the Roman numerals to show the chord's function within the key and indicate the inversions used.* * * 4 4 5 * 4 5 % ‘ee oe ee LESSON 79 COMPOSING A MELODY In the past lessons, we have added hat mony to an existing melody. It is also possible to compose a melody over an existing harmony. The process is the same: first think of the notes in the chord, then add passing tones and/or neighboring tones to make the melody more interesting c F G7 c 1. Compose a melody over the existing harmony. 2, Compose a melody over the existing harmony. 3. On the staff below, rewrite the harmony with smooth voice leading and name the inversions of the chords used.82 LESSON 80 REVIEW OF LESSONS 77-79 1, Notes that pass from one chord to another are called tones. 2. Notes that are above and immediately return to a chord tone are called upper 3, Notes that are below and immediately return to a chord tone are called lower —_———_——_—. 4, Circle the passing tones in the following melody. D Bmin Emin AT D AT D 5, Circle the neighboring tones in the following melody: ED ab Bb7 eb Bb7 eb 6. Harmonize the following melody, circling any passing tones and neighboring tones. Indicate the chord names above the top staff and write the notes of the chord, with smooth voice leading, on the bottom staff. Write the Roman numerais to show the chord’s function within the key and indicate the inversions used. 7. Compose a melody over the existing harmony.LESSON 81 CHORD PROGRESSIONS IN MINOR KEYS The iiv v v7 chord progression in a minor key is derived from the scale the same as iti major key Amin Dmin__ Emin? Amin e = i iv wv i The above is based on the natural minor scale’ ‘The most popular minor scale is the har- monic minor because the raised 7th makes the last two notes of the scale sound more final (ti, do), If we changed the above scale to harmonic minor, the G would become G# and the v7 chord would become £7 (V7), This major five chord also gives the key a better sense of finality and is the one you will usually use. Amin Dmin _E7 Amin 2. Write the i iv V7 i chord progression in the key of D minor, = 33 Write the i iv V7 i chord progression in the key of E minor, using smooth voice leading, Indicate the inversions used. Write the i iv V7 i chord progression in the key of G minor, using smooth voice leading Indicate the inversions used.LESSON 82 HARMONIZING A MELODY IN MINOR To harmonize a melody in a minor key, use the same procedure as you did for a major key. Analyze the melody to see if it outlines a chord you know. Look for passing tones and neighboring tones which are not members of the chord and are sometimes called nonchord tones. A } cg DE t FE r ct A passing upper passing tone neighbor tone In measure 1 the notes A, C, E are all found in the A minor chord, the B is a passing tone. In measure 2, the notes D & F are all found in the D minor chord, the G is an upper neighbor. In measure 3 the notes E & G# are all found in the E7 chord, the F is a passing tone. in measure 4 the note A is found in the A minor chord. The chord progression of the melody is A minor, D minor, E7, A minor; or iiv V7 iin A minor. . Harmonize the following melody. First analyze the notes in each measure, circling all nonchord tones. After you have discovered the name of the chord, write it above the top staff and write the notes of the chord on the bottom staff, Then write the Roman numeral to show the chord’s function within the key, 2, Harmonize the following melody in the same manner as you did above, but write the harmony with smooth voice leading, Name the inversions used.LESSON 83 COMPOSING A MELODY IN MINOR ve » in the past lessons, we have added harmony to an existing melody. It is also possible to compose a melody over an existing harmony. The process is the same: first think of the notes in the chord, then add passing tones and/or neighboring tones to make the melody more interesting, eee Amin Dmin’ E7 Amin i ive Vg : 3. On the staff below, rewrite the harmony in smooth voice leading and name the inversions of the chords,86 LESSON 84 REVIEW OF LESSONS 81-83 COMPOSING A COMPLETE SONG You now have the knowledge to compose many songs in many keys. You can begin by writing a melody and harmonizing it, or by writing a harmonic progression and adding a melody over it. The only thing we still need is a lyric or the words to the song. Some com- posers write the lyric first and others write the music first, You should try both ways until you see what is the best for you. A fun way to begin isto take a poem you like and set that, to music before you try to create your own lyric. The following is a suggested plan for you to use: Pick a lyric you like (either an existing poem or a lyric you created). Say it aloud many times until you feel its rhythmic flow. Decide on the time signature that fits the lyric’s flow. Underline the strong beats of the lyric—these words should fall on the strong beats of the measure. 5. Sketch the rhythm of the melody. At this point, you have to decide whether you want to write the melody first, or the harmony first. Melody First Pick a key and decide whether your song will be in major or minor. Create your melody, remembering the feeling of the lyric and the mood you are trying to depict. 8. Analyze the melody to see what harmony will sound the best 9. Write the harmony in smooth voice leading. 10. Go back and adjust the melody, chords, and lyric until itis just the way you want it 11, Add a ttle to your song; sing it and play it Harmony First Pick a key and decide whether your song will be in major or minor. Create your harmonic progression with smooth voice leading. Create your melody based on the harmonic progression, remembering the feeling of the lyric and the mood you are trying to depict. 9, Go back and adjust the melody, chords, and lyric until itis just the way you want it. 10. Add a title to your song: sing it and play it euS
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