jble :,: ~Iti * Students fill in missing letter names -... The Musical Alphabet Ledger Lines -&"0'-& 0 Clef Signs Tenor The Staff e T,ecl!

Transcription

1 ;:,weet i\..uelllles.nlernaunal 2003 Internatinal Educatin Sympsium Beginning Music Thery- Part I Handuts Charla Clare Esser Handut #1 When we hear a given music sund, we can react t it in fur different ways simultaneusly: 1) by perceiving hw high r hw lw it is (pitch); 2) hw lng it is held (duratin); 3) what is its quality (that is, is the sund that fa pian, an be, a vice, etc.-timbre); 4) hw lud r hw sft it is (intensity) But since we seldm listen t a single sund, we are als interested in hw pitches are gruped, hw duratins are gruped, and hw they are cmbined with timbres and intensities t create a musical cmpsitin. T accmplish this, we must first knw the symbls used t represent the fur parameters fmusical sund in the preceding list, hw they are placed n paper, and hw t interpret them.

2 ~weet Adelines Internatinal W03- IES Beginning Music Thery- Part I EIanduts Charla Clare Esser Handut #2 The Musical Alphabet -... ABCDEFG... -, ,- r- r- - It B C D E F G It * Students fill in missing letter names The Staff It B C D E F G It lines e e eo e T,ecl!;Jer T,1nes Staff Spaces II II II II Ledger Lines -&"0'-& 0 Clef Signs (Clef jble Signs are used t fix the lcatin fspecific pitch) 0 ~iio 0 G C Bass :,: F Tenr ~Iti 0 c

3 Sweet Adelines Internatinal W03-IES Beginning Music Thery- Part I Handuts Charla Clare Esser The Grand Staff.. I "11 "."" I, " I ~I <~ /;,.,- 111'- Handut #3 Treble Clef Spaces: F A.c E 1 tj T I I T 0 II 0 --e II 0 I I I I I Lines: Every Qd.liy!2es Eine U =zg Bass Clef ~ II Spaces: All.cws Eat Qrass l I I I n 0 n II 0 tl =zg II 0 I I I I I Lines:: Qd.liys 120 Eine Always 0 II 2: II ~ I' 0 I) II 0 0 I) 0 0 II 0 II 0 G E G B D F F A C E F G B D F A A C E G t -;- \ ~ ii'~ E FGIIBCDE

4 sweet Adelines Internatinal W03- IES fjeginning Music Tbery- Part I fianduts 2barla Clare Esser Half Steps & Whle Steps -Handut #4 Mst Basic Elements fpitch EIalf Steps are the smallest unit fpitch in western music. On the keybard any tw adjacent keys are a halfstep :lpart. 1. Fill in the letter names fthe white keys. 2. Identify halfsteps and the nly tw naturally ccurring halfsteps between tw white ntes. r-r- Whle Steps cnsist fany tw cnsecutive halfsteps. 3. Fill in the letter names fthe white keys. 4. Identify whle steps r- r-r- r-r- r-r- r-r-!i Accidentals are symbls that alter the pitch fa nte and they are placed immediately t the left fthe nte they affect. Flat ~ lwers pitch by 1/2 step Sharp #raises pitch by 1/2 step Duble Sharp x raises pitch by 1 step Duble Flat ~ lwers pitch by 1 step Natural ~ cancels pre...ius accidental ~O ~O )EO ~ nte: accidentals d nt carry acrss frm measure t measure unless they appear in the key signature r they are attached t a nte that is carried acrss the bar line due t the use fa rhythmic tie. ; A- li I b6 I -> ~ I./::,. I '\ -Jl.. "

5 weet Adelines Internatinal 003- IES eginning Music Thery- Part I auduts harla Clare Esser The Enharmnic Keybard -Handut #5 Naming Sharps (the key immediately t the right fany white key) and Naming Flats (the key immediately t the left fany white key) -,-... ~,-,-,-,-,...!,,...,-,...,... A B e E F G A m ~'p' r'~'~' Enharmnic Ntes (tw ntes that have the same pitch but are written r spelled differently) A~rB~ O~E~ G~A~B~ The Enharmnic Keybard (each key fthe pian can represent several ntes) Bl ex x FX GX AX ~ E~ F~ A~ B~ e~ c E F G A B e

6 weet Adelines Internatinal O03- IES eginning Music Thery- Part I anduts harla Clare Esser Scales -Handut #6 scale is a series fpitches using, in rder, the seven letter names fthe musical alphabet; beginning n anyne. cales span ne ctave. ach nte fthe scale, r scale degree, has a cnventinal name. The mst imprtant scale degree is the tnic als alled the hme tne, tnal center r key. The secnd mst imprtant is the dminant. The names fthe ther scales egrees reflect their relatinship t the tnic r dminant. Name Tnic Supertnic Mediant Subdmi nant Dminant SUbmediant Subtnic Leadi ng T ne Step f Scale first Secnd (Nte Abve Tnic) Thi rd ( 1/2 Wau Between Tnic- Dmi nant) furth (fifth Belw Tnic) fifth (fifth Abve Tnic) Sixth (112 Way Between Tnic-Subdmi nant) Lwered Seventh (Nte Belw Tnic) Seventh (Leads Int Tnic) Scales used in Barbershp (Majr, Harmnic minr& Chrmatic) The Majr Scale (mst frequently used in BBS) The Minr Scales (all natural minr when descending) C Natural Minr E Majr !.. 2 ~ g n 1 2 liiiin ~ ~ 0 -&-0 II..! Harmnic (used in BBS) G Harmnic Minr ::t ~ 0 ~ 0 = P 0 L...-J L...--J ~~ l...-.j L--J L.--J Meldic E Meldic Minr ~ II lii=i II ~j) - r r- r-r- - r-r- r-r-,,

7 Sweet Adelines Internatinal IES Beginning Music Thery- Part I Handuts Charla Clare Esser Minr Scales t Play "a" minr (natural): Mre Scales -Handut #7 ~~u~ "a" minr (harmnic): (P u -e U "a" minr (meldic): ~ ~ U ~ " 0# "ll<> ""03i" 0 The harmnic minr scale is the ne used in barbershp arranging. n n U -e U Chrmatic Scale -A scale cnsisting fall halfsteps. Chrmatic Scale A chrmatic scale can be built n any line r space f the staff. It is a series f twelve half steps up r dwn. The thirteenth tne is an ctave interval away frm the starting nte. The example which fllws is an ascending chrmatic scale built n C. C d d di D re D# E ri mi F F# fa fi G G# sl si A A# la Ii B ti C d The fllwing example is a descending chrmatic scale built n C: C d B ti B~ te A A~ la Ie G G~ F sl se fa E E~ D D~ mi me re ra C d

8 weet Adelines Internatinal 003-IES eginning Music Thery- Part I anduts harla Clare Esser Intervals have tw parts t their names, size and quality. Naming Intervals- Handut #8 :::i~~~~~~~~~3~ Size = hw many letter names the interval encmpasses ~-e-e- ;ep :# Z :. ~ (II ~ Unisn :nd ::d I I I I t: : F GAB C 5th 7th Octave Quality = is determined by the number fhalfsteps cntained in the interval. 4th 9th 5th I- 10th t Majr 3rd Minr 3rd -~~~ei~e~.,.~e -a-ifi".;. C c~ D D~ E E F F~ G a. Ascending majr andperfect intervals may be calculated by cnsidering the lwer nte fthe interval as the tnic fa majr scale. b. Minr intervals are n halfstep smaller than majr intervals. c. Diminished intervals are ne halfstep smaller than minr rperfect intervals. d. Augmented intervals are ne halfstep larger than majr r perfect intervals. Interval Reference Tables INTERVALS perfl'e! prime!hifl1iicjlted mil1dr m,1!tif ClugHleH!t'd [unischii pnmi' sl'coiui SiYiHfd sami ~~ h~ [:1::= Table f I nte..-val Sizes Ha1f-Ste s Mst Cmmn Names Perfect Unisn (PU) 1 Mi nr Secnd (m2) 2 Majr Secnd (M2) 3 Minr Third (m3) 4 Majr Thi rd (M3) 5 Perfect Furth (P4) 6 Di mi nished Fifth (D5) Augmented Furth (A4) 7 Perfect Fifth (P5) 8 Mi nr Sixth (m6) Augmented Fifth (A5) 9 Majr Sixth (M6) 10 Minr Seventh (m7) Augmented Sixth (A6) 11 Majr Seventh (M7) 12 Perfect Octave (P8) 13 Minr Ninth (m9) 14 Majr Ni nth (M9) 15 Mi nr Tenth (m10) 16 Majr Tenth (M10)

9 Sweet Adelines Internatinal W03-IES Beginning Music Thery- PartI. Handuts Charla Clare Esser Scale Rt The first tne r Tnic in any scale is its rt r key. L d re mi fa sl la ti d Scale Rt and Key- Handut #9 A key signature is made up fthe accidentals (sharps and flats) that are used in the creatin feach scale. These accidentals are gruped tgether n the staffjust after the clefsign. E Majr.. ~ II " Cnstruct a C Majr scale using prper pattern fwhle & halfsteps-l 1 'li 'li!, A I 11 If"" j,~~ I L.'. -s.. I,, Cnstruct an F Majr scale using prper pattern fwhle & halfsteps-l 1 'li 'li r- r-r- r-r- r- r-r- r-r- -r- r- A J 11 I ~ I 4lJ ~ I ~". I,, s..

10 weet Adelines Internatinal 003- IES eginning Music Thery- Part I anduts harla Clare Esser Key Signatures- Handut #10 he key fc majr has n sharps r flats. ~tte 00 the staffinthe fllwing rder: F# C# G# D# A# E# B# (Eat Cats G Dwn Alleys Eating Birds) Cunting up ne half step frm the last sharp can identify key signatures fr majr "sharp" keys. MAJOR KEYS G D A E B F~ c~... MTNOR e minr fft minr gft minr a ft minr KEYS b minr eft minr d" minr Flats in the key signature are always written n the staffin the fllwing rder: ~ B~ E~ A~ D~ G~ C~ F~ Key signatures fr majr "flat" keys are easy t remember because the next t the last flat names the majr key. The nly exceptin is the key ff majr, with ne flat. MAJOR KEYS Db MINOR KEYS d minr g minr e minr fminr b minr e minr a minr

11 weet Adelines Internatinal 03-IES eginning Music Thery- Part I landuts harla Clare Esser The Circle f 5ths- Handut #11 n the circle ffifths diagram, the ascending circle ffifths mves clckwise, while the descending circle ffifths ves cunter-clckwise. fyu start at any pint n the circle and g thrugh 12 cnsecutive fifths, yu'll end up at the nte yu started frm and will use all 12 chrmatic pitches in the prcess. The rder fsharps and flats in the key signatures are based n this circle ffifths. X <> ;t~ ~ C) ~e C F Cntinuus Descending 5ths (ging dwn) Cunter-clckwise arund circle C 6 Cntinuus Ascending 5ths (ging up) Clckwise arund circle B~~ J. E~~.- f~ tj Circle f 5ths ~- A~ tj I Enharmnic Equivalents "'. D~., ft C~ c# G~ B ~ F# ~ ~ ~ ~

12 Sweet Adelines Internatinal IES Beginning Music Thery- Part I Handuts Charla Clare Esser Basic Barbershp Chrds - Handut #12 Triads and Larger Chrds The simplest type fchrd is the triad, a three-nte chrd Triads may be cnstructed abve any letter name fthe simply selecting the third and fifth letter names abve the ABCDEFG The lwest tne in a triad is knwn as the rt, abve which are There are fur types ftriads, each the intervals cntained in them. c Majr IrOOI, majr third, perfect fifth) c ~i lv Diminished I rt. minr third diminished fifth) _ /Fifth -Third 'Rt Minr (rt minr third, perfect fifth I Augmented (rt, malr third augmented fifth) musical alphabet by letter fyur chice. the third and fifth. distinguished by the quality f Chrds larger than a triad are als built n thirds and are identified by the interval between the rt and the [mal nte in the series fthirds. (Ifyu g abve thirteen yu will repeat thert C) Seventh Chrd Ninth Chrel Eleventh Chrd Thirteenth Chrd

13 Sweet Adelines Internatinal 2003-IES Beginning Music Thery-Part I Charla Clare Esser Chrd Chart Transparency/Handut #13 ml~i~i~i~i~i~_ii~i~i~i~i~llml~i~i~~~~.ll~i~~~jiii~i~i~i~i~i ~I~.II~I~I~ rt~~~t~~~~utnnn nl ~ ';':-: -:-: -: -: -: -: -:.:.: -:.: -:.. i~~~~~~~~~~~~~~+~~~~~~~~~~~ 1 ~3 5 nl ~ ::::::::~~j~7:t~::::::::: ! ~ ~ ~ ~ ~ ~ ~ ~it~ wjt~ ~~ ~ ~ ~ ~ ~ ~ ~ ~ 1 I _... - _ - _. _ i : : : : : : :: : : :: ::: : : : : : : : : : : : : : : ~ '. it~~~}mmm~f~~u~t 1 :: : : : ::::: : : : ::::: ::::: : : : : : :: ':::: :pi~~n!s~~:~ntt::::: ::::::::::::::::::::::::::::: ~ : : : : : : ::. : -:: : ::. : : :. : : : : : : : :.::::::: :rt~~~t~"~:::::::: 1 i::::::: :::::::::::.:::: :::: :: i... :... : -:. :... :. :. : (::-:::;: i-:7-t"1i': :-itli-: :gift:::: 1 I..maj.. W. - -" _.:.: -:-:.: -:.:.:.:.:.:.:.:-:. I: -:. : -:. :. :. : -:. :. :. :. :. :. :. : i:::: ::::~ttt Wcittt ~~:::::::: 1 i::::::::::::::::::::::::::::: 3 ~ ~3 5 ~7 3 ~5 ~7 3 ~5 ~7 ~3 ~5 ~7 3 5 ~ ~7 ~9 3 5 ~7 ~ ~5 ~ ~ nl nl nl nl nl nl I I I I L~~#~~*~~)~1~«~~~~ ~7 9 ~11 i. :. :. :. :. :. :. :. : - :. :. :. :. : - :- ihhhhhh1~hhhtu ~ I I ruhh~~~~~~~~~hjuj ~7 ~ i :-:-: :-:-:-: : :-:-:-:-:-: ir.. _I. _ _ _ _. _ _ l.. _ _ _ The Eleven.Main Chrds used in the Barbershp Style - see charts Majr,Minr and Symmetrical

14 IES 2002 MAJOR Imprtant Ntes by Marge Baily rt in bass rt dubled dubled One f the three mst imprtant Vicing with the 5th in the bass 5th is Never chrds in BBS shuld rarely be used, and never rare. duble at the end f the sng, at a stress passing the 3rd The strngest vicing has the pint r at the end. Bass n third nly rt in the bass. fr special effects nly. rt in bass One f the three mst imprtant 7 in Bass 13 in Bass I chrds in BBS 15 in Bass Ipassing& passing effects nly I N tne dubled, n tne mitted 3rd and One f the three mst imprtant While either the rt r the fifth 5th in rt in 7th in Never chrds in BBS may be mitted, missin f the bass bass bass mit 3rd The strength f this chrd varies rt is preferable. Omitting the rt 5th passing & r 7th with the manner in which it is 3rd and the 7th destrys the mitted mitted effects viced, and which tne is quality f the chrd and makes mitted. an incmplete chrd. rt in bass 3rd,5th &6th in bass are rare A weak chrd used primarily in passing, r when the lead nte falls n this tne. Cnsidered a "Mdern" chrd because f the dissnance between the 5th and 6th tnes. rt in bass Rt & 7th tgether nt BBS A weak chrd due t the dissnance created by the half step between the rt and the 7th tne. Anther "Mdern" chrd. Sngs with many Majr 7th's d nt create strng BBS harmny because this {;hrd des nt set up the "ring" that makes BBS unique. rt in bass ONLY mitted 7th tne always Extremely weak chrd in BBS never 3rd I never 5th I never 9th I harmny. Used nly when the meldy nte falls n the 9th tne. Page 1

15 IES 2002 MINOR vnam:l vial" c.,,"'" Imprtant Ntes by Marge Baily fi===:~a ~-. 11~31 5 Any tne can be dubled dubling the rt r 3rd dubling the 5th is used fr passing & effects T enhance the minr flavr, the chrd is strngest with the bass n the rt and the rt dubled. When the minr triad serves as a substitute fr its relative majr, the strngest vicing is with the 3rd in the bass and the 3rd dubled. ~:;il:1 '1 I "s I 5 I 6 I rt in bass 3rd,5th and 6th in bass fr passing & effects A very weak chrd used sparingly but becmes strng when used fr its tensin characteristics in BBS tags and embellishments. The tnes in the minr 6th chrd are the same as thse f a dminant 9th chrd with the rt mitted. Althugh the tnes are the same, the chrd inversin, its use, and its relatinship t the preceding and fllwing chrds determine which is which. R~: 1 1 I "si 5 IIt7I rt in bass 15th in bass ther vicing fr passing, esp., embellishments & tags Cnsidered a weak chrd used primarily fr passing & effects The tnes in the minr 7th chrd als appear in a majr 6th chrd. The difference is us.ually the relatinship f the 5th & 6th tnes. If they are next t each ther, we hear the "Mdern" dissnant flavr that is cmmn t the majr 6th chrd.

16 _ _...-_._.. - IES 2002 SYMMERTICAL Imprtant Ntes by Marge Baily f I>s ~I~ Any tne may be used as the rt A very weak chrd n matter hw it is viced. Primarily used ***~ Dim. 7t,h chrd will be as a passing chrd.since there ccasionally misspelled t avid is an equal distance between the use f duble accidentals the tnes in this chrd (minr and ':'lay be ccasinally spelled 3rd), any tne may be used as a with bth sharps and flats rt f 3 5# Duble the rt, rt in bass can duble any tne Any nte can be called the the rt.

17 .~ <t.; ----D:..t f:q --< ----0