Chapter 1. Pitch and Pitch Class BASIC ELEMENTS
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1 Chapter 1 Pith and Pith Class 1 Chapter 1 Pith and Pith Class ASIC ELEMENTS I. Using keyboard diagrams On the keyboard belo, mark an X on keys that math the pith lasses requested (in any otave). Then beneath the keyboard, identify hether the pithes you marked ill sound as a hole step (W) or half step (H). If the pithes do not form a hole or half step, mark (N) for neither. Fƒ, Gƒ Eß, E G, A Eƒ, F Cƒ, D F, G
2 Chapter 1 Pith and Pith Class 2 II. Staff notation A. For eah of the five alto or tenor lef pithes on the left, notate its equivalent in a different lef of your hoie on the right (hange lefs as neessary, but don t hange otaves). Then label eah pith beneath the staff ith the orret otave designation. (1) (2) (3) (4) (5) (1) (2) (3) (4) (5) # b. Write the pithes speified belo in as many ays as you an. Use hanges of lef, ledger lines, and enharmoni spellings to reate different notations. Cirle the notation you think is easiest to read; put a box around the notation you think is most diffiult to read. C4 Gƒ3 ß4 E2
3 Chapter 1 Pith and Pith Class 3 WRITING EXERCISES I. Arranging Arrangers frequently need to rerite musi in a register that is more omfortable for the singer or instrumentalist. Sometimes arrangers must reopy a melody into a ne lef to aommodate an instrument that reads in that partiular lef ithout hanging the melody s sounding otave. Rerite the melody belo, plaing the pithes one otave loer. Use ledger lines. Do not hange to a ne lef. Stephen Foster, Campton Raes, mm. 9 12a 4 2. r Gine to run all. night!. r Gine to run all. day!
4 Chapter 1 Pith and Pith Class 4 II. rain teaser Ho many ords an you spell ith the letters A C D E F G? Translate these ords into pithes on a staff. Share these in lass or give yours to a lassmate to deode. Inlude ledger lines and lef hanges to make the task more hallenging! Even famous omposers have signed their musi in odes like these, inluding ah (ith the German spelling of for ß and H for ). Here are some other ord possibilities: b n A C H? C A A G E F A D E D
5 Chapter 1 Pith and Pith Class 5 ANALYSIS A. In the examples that follo, irle all pithes ritten ith ledger lines, and identify the orret pith name and otave designation (e.g., Cƒ5). (When a pith is repeated in the same measure, identify it ust one.) Pay attention to lefs! 1. Foster, Campton Raes, mm The Camp - ton la - dies sing this song, Doo - dah! doo - dah! The? F J Œ fl.. Œ fl. 6 Camp - ton rae - trak five miles long, Oh! doo - dah -. day!?
6 Chapter 1 Pith and Pith Class 6 2. Mozart, Symphony No. 41 in C Maor (Jupiter), fourth movement, mm Flute Oboe assoon? Horns in C Trumpets in C Timpani? Violin 1 Violin 2 Viola Violonello?
7 Chapter 1 Pith and Pith Class 7. The melody belo features hole and half steps. Cirle eah hole step, and put a box around eah half step. Ignore for no any pair of pithes that does not span a hole or half step. Look arefully at the lef of the tenor line; this line sounds an otave loer than it ould in the treble lef. Mozart, Dies Irae, from Requiem, mm (horal parts) Soprano # b # b # Alto Tenor ass V? un - ta b. b un - ta un - ta stri - te stri - te b stri - te dis - us - b n dis - us - b # dis - us - su - rus! su - rus! su - rus!. J S. A. T.. 41 un - ta V? #.. #. b stri - te Di - es Di - es J Di - es dis - us - #. i - rae, di - es. i - rae, di - es #. J i - rae, di - es su - rus! Quan - tus # il - la il - la, # il - la tre - mor est fu -
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