SCALES AND KEYS. major scale, 2, 3, 5 minor scale, 2, 3, 7 mode, 20 parallel, 7. Major and minor scales
|
|
- Ira Ramsey
- 6 years ago
- Views:
Transcription
1 Terms defined: chromatic alteration, 8 degree, 2 key, 11 key signature, 12 leading tone, 9 SCALES AND KEYS major scale, 2, 3, 5 minor scale, 2, 3, 7 mode, 20 parallel, 7 Major and minor scales relative major, 13 relative minor, 13 scale, 1 tonic, 2 1. A scale is a series of pitches arranged in ascending or descending order. 2. We ll deal chiefly with two kinds of scales: major and minor. These scales have seven different pitches, or degrees, numbered in ascending order; the letter names of the successive pitches are consecutive; the first degree the tonic is home. 3. Major and minor scales take their names from their tonics. The G major scale, for example, is the major scale whose tonic is G; the F# minor scale is the minor scale whose tonic is F#. 4. Scale degrees are sometimes notated as numerals with carets on top, as on Example 1. G major: ascending descending 1^ 2^ 3^ 4^ 5^ 6^ 7^ 1^ 1^ 7^ 6^ 5^ 4^ 3^ 2^ 1^ Eb major: Example 1. G major and Eb major scales. Major scales 5. As Example 1 shows, major scales create a special pattern of half and whole steps among their seven degrees: half steps lie between 3^- 4^, and between 7^- 1^; between all other adjacent degrees lie whole steps. Scales and Keys, -1-
2 The half steps are marked on the example, which shows G major scales and Eb major scales, ascending and descending. 6. Example 2 spells out all standard major scales. The scales are arranged so that each scale after C includes all the accidentals from the preceding scale, and adds one. C major G major D major A major E major B major F# major C# major C major Bb major F major Eb major Ab major Gb major Db major Cb major Example 2. Major scales. Scales and Keys, -2-
3 Minor scales 7. Minor scales, in turn, create a similar pattern: half steps lie between 2^- 3^, and between 5^- 6^; between all other adjacent degrees lie whole steps. The half steps are marked on Example 3, which shows G minor and Eb minor scales. The major scales on the same tonics are also shown so that you may compare them with their minor counterparts. Major and minor scales that share the same tonic are parallel. G minor: G major: ascending 1^ 2^ 3^ 4^ 5^ 6^ 7^ 1^ descending Eb minor: Eb major: Example 3. G minor and Eb minor scales, with their parallel major scales. 8. In many pieces based on minor scales, 6^ and 7^ are altered slightly so that they do not conform strictly to the pattern shown above, the so-called natural form of the scale. These degrees are chromatically raised to be half step higher than in that pattern. Example 4 illustrates. To raise or lower a scale degree chromatically, apply an accidental either a sharp or a natural, as appropriate. Scales and Keys, -3-
4 a) natural form: b) with 7^ raised: c) with 6^ and 7^ raised: Example 4. G minor scales, in natural form, and with 6^ and/or 7^ raised. In general, raising a scale degree chromatically gives it an ascending tendency; it wants to go up. Likewise, lowering a degree chromatically makes it want to go down. 9. In a minor scale, when 7^ is raised chromatically to lie a half step below the tonic instead of a whole step, as in Examples 4b and 4c, it leads more powerfully up to the tonic. When 7^ lies a half step below the tonic, as it does in the major scale, it s called the leading tone. 10. The leading tone the raised 7th degree of the minor scale lies three half steps above the 6th degree. This interval of three half steps, marked with a square bracket on Example 4b (and here called an augmented second), can be an angular interval in a melody. To soften this angular interval, the 6th degree of the scale is also sometimes chromatically raised, so that the interval between 6^ and 7^ becomes a whole step, as in Example 4c. The chromatically raised 6th degree leads more powerfully up to the raised 7th, which in turn points up to the tonic. Keys 11. A key is a system of pitch relationships based on a particular major or minor scale. A piece in a certain key draws most of its pitches from the scale of the same name, and the tonic of that scale is the musical goal of the piece. A piece in E major, for example, will draw most of its pitches from the E major scale, and the pitch E will be the musical home, on which the piece ultimately comes to a conclusive end. Scales and Keys, -4-
5 Key signatures Key relation 12. The key signature indicates which notes are to be sharped or flatted in the following music; accordingly, it signifies which scale is to be used, hence the key of the music. Key signatures are given in Example 5. C major G major D major A major E major B major F# major C# major A minor E minor B minor F# major C# major G# major D# major A# major C major F major Bb major Eb major Ab major Db major Gb major Cb major A minor D minor G minor C minor F minor Bb minor Eb minor Ab minor Example 5. Signatures for major and minor keys. 13. To each key signature belong two scales (and keys), one major and one minor. These two scales (and the corresponding keys), which use the same pitches, are related. The one is the relative major or relative minor of the other: they share the same pitches. Here s a diagram of this relationship: Scales and Keys, -5-
6 degrees of relative major scale:... 6^ 7^ 1^ 2^ 3^ 4^ 5^ 6^ 7^ 1^... degrees of relative minor scale:... 1^ 2^ 3^ 4^ 5^ 6^ 7^ 1^ 2^ 3^... Figure 1. Scale relationship. The tonic of a minor scale is always the 6th degree of its relative major. In turn, the tonic of a major scale is always the 3d degree of its relative minor. 14. In a major scale, how do I find the tonic of its relative minor? Start on the tonic of the major scale, boxed on the upper left of the diagram, follow the arrows, counting down to its 6th degree: that s the tonic of the relative minor, circled on the lower left. 15. In a minor scale, how do I find the tonic of its relative major? Start on the tonic of the minor scale, circled on the lower right of the diagram, follow the arrows, counting up to its 3d degree: that s the tonic of the relative major, boxed on the upper right. 16. Key signatures do not mix sharps and flats. When the 6th and 7th degrees are altered in minor scales, the accidentals are applied to the notes themselves. They are not included in the key signature. 17. The key signatures of parallel major and minor keys are different. Writing key signatures 18. As Example 5 shows, keys are arranged so that once a sharp or flat appears in the signature, it appears in the same position in all the following signatures. Compare Examples 5 and 2. The logic according to which the sharps and flats are added is shown in Figure 2. Scales and Keys, -6-
7 APPLY FLATS (1st) (2d) (3d) (4th) (5th) (6th) (7th) B C D E F G A B C D E F G A B C D E F (7th) (6th) (5th) (4th) (3d) (2d) (1st) APPLY SHARPS Figure 2. Building key signatures. The series runs alphabetically from B to F. Every fourth letter is bolded. Apply flats: the key signature with one flat has Bb, the key signature with two flats has Bb and Eb, and so on. Apply sharps: the key signature with one sharp has F#, the key signature with two sharps has F# and C#, and so on. Recognizing key signatures 19. Figure 3 gives the number of sharps or flats in each major key. Keys with SHARPS C major has 0 sharps/flats. Keys with FLATS G major [1] F major D major [2] Bb major A major [3] Eb major E major [4] Ab major B major [5] Db major F# major [6] Gb major C# major. [7] Cb major Figure 3. Number of sharps or flats in major key signatures. Scales and Keys, -7-
8 Modes 20. Mode refers to the particular sequence of half steps and whole steps within a scale of 7 degrees. Major mode, for example, refers to the pattern of the major scale, and minor mode refers to the pattern of the minor scale. There are other modes (Dorian, Phrygian, Lydian, Mixolydian, for example) that are characterized by unique patterns of whole and half steps. They are shown on Example 6. Dorian Lydian Phrygian Mixolydian Example 6. Various modes. Home Scales and Keys, -8-
Chapter 5. Parallel Keys: Shared Tonic. Compare the two examples below and their pentachords (first five notes of the scale).
Chapter 5 Minor Keys and the Diatonic Modes Parallel Keys: Shared Tonic Compare the two examples below and their pentachords (first five notes of the scale). The two passages are written in parallel keys
More informationThe following diagram arranges the sharp keys around the edge of a circle: Example 1 (the circle of fifths, sharp keys only):
Lesson!!!: The Circle of Fifths Introduction: Closely-related keys share six of their seven pitch classes. In Lesson VVV, we saw that if we started with C major we could build another major scale (G major)
More informationCHAPTER 8 MODAL SCALES
CHAPTER 8 MODAL SCALES Scales of eight tones containing half steps and whole steps in specified positions are called modes or modal scales. Historically, the modes have been used in many periods and styles
More informationThe high C that ends the major scale in Example 1 can also act as the beginning of its own major scale. The following example demonstrates:
Lesson UUU: The Major Scale Introduction: The major scale is a cornerstone of pitch organization and structure in tonal music. It consists of an ordered collection of seven pitch classes. (A pitch class
More informationKeys Supplementary Sheet 11. Modes Dorian
Keys Supplementary Sheet 11. Modes Dorian Keys Question 1 Write the dorian mode, ascending and descending, beginning on D. Do not use a key signature. Keys Question 2 Write the dorian mode that is begins
More informationStudy Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder
Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember
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 informationAP Music Theory Westhampton Beach High School Summer 2017 Review Sheet and Exercises
AP Music Theory esthampton Beach High School Summer 2017 Review Sheet and Exercises elcome to AP Music Theory! Our 2017-18 class is relatively small (only 8 students at this time), but you come from a
More informationAP Theory Overview:
AP Theory Overvie: 1. When you miss class, keep up ith assignments on our ebsite: http://saamusictheory.eebly.com/ 2. Take notes using our 'Note-taking paper', or buy: https://scoreclefnotes.com/buy/ 3.
More informationMusic Solo Performance
Music Solo Performance Aural and written examination October/November Introduction The Music Solo performance Aural and written examination (GA 3) will present a series of questions based on Unit 3 Outcome
More informationStudent Guide for SOLO-TUNED HARMONICA (Part II Chromatic)
Student Guide for SOLO-TUNED HARMONICA (Part II Chromatic) Presented by The Gateway Harmonica Club, Inc. St. Louis, Missouri To participate in the course Solo-Tuned Harmonica (Part II Chromatic), the student
More informationTheory of Music. Clefs and Notes. Major and Minor scales. A# Db C D E F G A B. Treble Clef. Bass Clef
Theory of Music Clefs and Notes Treble Clef Bass Clef Major and Minor scales Smallest interval between two notes is a semitone. Two semitones make a tone. C# D# F# G# A# Db Eb Gb Ab Bb C D E F G A B Major
More informationGrade 4 exam questions might include all Simple and Compound duple, triple and quadruple Time. Compound Time signatures:
Time Signatures: Grade 4 exam questions might include all Simple and Compound duple, triple and quadruple Time We have covered so far, Simple Time signatures: 3 2 3 4 2 3 4 8 4 4 4 2 2 2 Compound Time
More informationAP Music Theory Summer Assignment
2017-18 AP Music Theory Summer Assignment Welcome to AP Music Theory! This course is designed to develop your understanding of the fundamentals of music, its structures, forms and the countless other moving
More informationUnderstanding basic tonic chord structure and how the singer can find her note from the pitch blown
Understanding basic tonic chord structure and how the singer can find her note from the pitch blown The goal of the class is to help you find your starting note when the pitch is blown. There will be a
More informationThe Keyboard. the pitch of a note a half step. Flats lower the pitch of a note half of a step. means HIGHER means LOWER
The Keyboard The white note ust to the left of a group of 2 black notes is the note C Each white note is identified by alphabet letter. You can find a note s letter by counting up or down from C. A B D
More informationMinor Keys & Diatonic Modes. Chapter 5
Minor Keys & Diatonic Modes Chapter 5 Parallel Keys: Shared Tonic Parallel Keys: are keys with the same Tonic, ex. E Major & E Minor! Major Pentachord/Minor Pentachord. Only differ by 1 note! Parallel
More informationMUSC 133 Practice Materials Version 1.2
MUSC 133 Practice Materials Version 1.2 2010 Terry B. Ewell; www.terryewell.com Creative Commons Attribution License: http://creativecommons.org/licenses/by/3.0/ Identify the notes in these examples: Practice
More information& w w w w w w # w w. Example A: notes of a scale are identified with Scale Degree numbers or Solfege Syllables
Unit 7 Study Notes Please open Unit 7 Lesson 26 (page 43) You ill need: 1. To revie ho to use your Keyboard hand-out to find hole and half-steps a. Make sure you have a Keyboard hand-out! 2. To revie the
More informationPrimo Theory. Level 7 Revised Edition. by Robert Centeno
Primo Theory Level 7 Revised Edition by Robert Centeno Primo Publishing Copyright 2016 by Robert Centeno All rights reserved. Printed in the U.S.A. www.primopublishing.com version: 2.0 How to Use This
More informationAverMedia Lesson Plan Using document cameras with a Keyboard Lab Classroom
AverMedia Lesson Plan Using document cameras with a Keyboard Lab Classroom Susan Thomas Music Teacher Centerville Elementary School 3601 Carriage Hill Drive Frederick, Maryland 21704 (240)566-0100 Frederick
More informationMusic Theory. Fine Arts Curriculum Framework. Revised 2008
Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course
More informationHow to respell accidentals for better readability # ## 2 # # œ # œ nœ. # œ œ nœ. # œ œ œ # œ ? 2
How to respell accidentals for better readability # # # # # # # # # # #? # # # # notation like the one above is definitely not a good layout. The performers will have a hard time reading the accidentals
More informationExample 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ):
Lesson MMM: The Neapolitan Chord Introduction: In the lesson on mixture (Lesson LLL) we introduced the Neapolitan chord: a type of chromatic chord that is notated as a major triad built on the lowered
More informationKeyboard Theory and Piano Technique
Keyboard Theory and Piano Technique Copyright Longbow Publishing Ltd. 2008 PRINTED IN CANADA First printing, September 2008 ALL RIGHTS RESERVED. No part of this work may be reproduced or used in any form
More information2) Is it a Sharp or a Flat key? a. Flat key Go one Flat Further (use Blanket Explodes) b. Sharp key Go Down a Semitone (use Father Christmas)
SCALES Key Signatures 1) Is it Major or Minor? a. Minor find the relative major 2) Is it a Sharp or a Flat key? a. Flat key Go one Flat Further (use Blanket Explodes) b. Sharp key Go Down a Semitone (use
More informationHomework Booklet. Name: Date:
Homework Booklet Name: Homework 1: Note Names Music is written through symbols called notes. These notes are named after the first seven letters of the alphabet, A-G. Music notes are written on a five
More informationAdditional Theory Resources
UTAH MUSIC TEACHERS ASSOCIATION Additional Theory Resources Open Position/Keyboard Style - Level 6 Names of Scale Degrees - Level 6 Modes and Other Scales - Level 7-10 Figured Bass - Level 7 Chord Symbol
More informationCelebrate Theory. Level 8 Worksheets
Celebrate Theory Level 8 Worksheets Contents Chords and Harmony... Pg. 3 Form and Analysis... Pg. 11 Intervals... Pg. 14 Keys and Scales... Pg. 20 Melody Writing and Composition... Pg. 23 Pitch and Notation...
More informationFUNDAMENTAL MUSICIANSHIP BATTERY Level One
Level One questions completed as directed Warm-Ups and Beyond: Concert Bb Major Major Fives [Memorized] (copy) the Concert Bb Major Fives for your instrument below. Be certain to use the proper clef, key
More informationINTERVALS Ted Greene
1 INTERVALS The interval is to music as the atom is to matter the basic essence of the stuff. All music as we know it is composed of intervals, which in turn make up scales or melodies, which in turn make
More informationGrade One. MyMusicTheory.com
MyMusicTheory.com Grade One Music Theory PREVIEW 1. Complete Course, Exercises & Answers 2. Scales & Key Signatures Supplement 3. Thirty Grade One Tests (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC www.mymusictheory.com
More informationGrade One. MyMusicTheory.com. Music Theory PREVIEW 1. Complete Course, Exercises & Answers 2. Thirty Grade One Tests.
MyMusicTheory.com Grade One Music Theory PREVIEW 1. Complete Course, Exercises & Answers 2. Thirty Grade One Tests (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC www.mymusictheory.com Published: 1st March
More informationTHE BASIC BAND BOOK. a project by Mr. Glynn CLARINET THIS BOOK BELONGS TO
THE BASIC BAND BOOK a project by Mr. Glynn CLARINET THIS BOOK BELONGS TO Before we begin YOU ARE CREATIVE YOU ARE A MUSICIAN YOU CAN DO THIS - 3 - THE MUSICAL ALPHABET FORWARDS BACKWARDS E F G A B C D
More informationChapter 1: Key & Scales A Walkthrough of Music Theory Grade 5 Mr Henry HUNG. Key & Scales
Chapter 1 Key & Scales DEFINITION A key identifies the tonic note and/or chord, it can be understood as the centre of gravity. It may or may not be reflected by the key signature. A scale is a set of musical
More informationPrimo Theory. Level 5 Revised Edition. by Robert Centeno
Primo Theory Level 5 Revised Edition by Robert Centeno Primo Publishing Copyright 2016 by Robert Centeno All rights reserved. Printed in the U.S.A. www.primopublishing.com version: 2.0 How to Use This
More informationCadet Music Theory Workbook. Level One
Name: Unit: Cadet Music Theory Workbook Level One Level One Dotted Notes and Rests 1. In Level Basic you studied the values of notes and rests. 2. There exists another sign of value. It is the dot placed
More informationMusic Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
More informationTHEORY PRACTICE #3 (PIANO)
CSMTA Achievement Day Name : Teacher code: Theory Prep A Practice 3 Piano Page 1 of 2 Score : 100 1. Circle the counts that each note or rest gets. (5x6pts=30) 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 2.
More informationUMT - COMPLETE MUSIC THEORY COURSE FINAL EXAM - ADVANCED RUDIMENTS
Total Score: _ 0 Name: _ UMTS Number: 1. a) Name the following intervals. _ b) Invert the above intervals in the Treble Clef. Use whole notes. Name the inversions. _ c) Write the following harmonic intervals
More informationIonian mode (presently the major scale); has half steps between 3-4 and 7-8. Dorian mode has half steps between 2-3 and 6-7.
APPENDIX 4 MODES The music of Europe from the Middle Ages to the end of the Renaissance (from the Fall of Rome in 476 to around 1600) was based on a system of scales called modes; we identify this music
More informationCredo Theory of Music training programme GRADE 4 By S. J. Cloete
- 56 - Credo Theory of Music training programme GRADE 4 By S. J. Cloete Sc.4 INDEX PAGE 1. Key signatures in the alto clef... 57 2. Major scales... 60 3. Harmonic minor scales... 61 4. Melodic minor scales...
More informationA Review of Fundamentals
Chapter 1 A Review of Fundamentals This chapter summarizes the most important principles of music fundamentals as presented in Finding The Right Pitch: A Guide To The Study Of Music Fundamentals. The creation
More informationPitch and Keyboard. Can you think of some examples of pitched sound in music? Can you think some examples of non-pitched sound in music?
Pitch and Keyboard Music is a combination of sound and silence in time. There are two types of sound that are used in music: pitch, and non-pitched sound. Pitch- In music, pitch refers to sound with a
More informationJohn Reading Balance and Swing - Stellar Days & Nights Feb 2017
John Reading john@rudedogprop.com Balance and Swing - http://bas.gvorch.com Stellar Days & Nights Feb 2017 That all there is to it! Questions? 2300 years of history in 10 minutes Written music notation
More informationIntermediate Concert Band
Grade Level: 10-12 Course #: 4168 Length: Full Year Credits: Two Diploma: Core 40, Academic Honors Prerequisite: Beginning Concert Band COURSE DESCRIPTION: Intermediate Concert Band This is an intermediate
More informationMusic Theory. Solfege Scales and The Piano
Music Theory Solfege Scales and The Piano The Musical Alphabet - Musicians use letters to represent Notes. - Notes range from A to G - Notes higher than G start again at A ex: A B C D E F G A B C. What
More informationHome Account FAQ About Log out My Profile Classes Activities Quizzes Surveys Question Bank Quizzes >> Quiz Editor >> Quiz Preview Welcome, Doctor j Basic Advanced Question Bank 2014 AP MUSIC THEORY FINAL
More informationASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing:
! ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing: Ascending DO-RE DO-MI DO-SOL MI-SOL DO-FA DO-LA RE - FA DO-TI DO-DO LA, - DO SOL. - DO Descending RE-DO MI-DO
More informationHigher National Unit specification: general information
Higher National Unit specification: general information Unit code: H1M8 35 Superclass: LF Publication date: June 2012 Source: Scottish Qualifications Authority Version: 01 Unit purpose This Unit is designed
More informationContents FOREWORD... 5
Contents FOREWORD... 5 2 Unit 1 Lesson 1: The Staff, Notes, and Pitches... 6 Lesson 2: Treble Clef and Staff... 8 Lesson 3: Bass Clef and Staff... 10 Lesson 4: The Grand Staff and Ledger Lines (The Middle
More informationFREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT MUSIC THEORY 1. Grade Level: 9-12.
FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT MUSIC THEORY 1 Grade Level: 9-12 Credits: 5 BOARD OF EDUCATION ADOPTION DATE: AUGUST 30, 2010 SUPPORTING RESOURCES
More informationSPECIAL PUBLICATION. September Notice: NETPDTC is no longer responsible for the content accuracy of the NRTCs.
SPECIAL PUBLICATION September 1980 Basic Music NAVEDTRA 10244 Notice: NETPDTC is no longer responsible for the content accuracy of the NRTCs. For content issues, contact the servicing Center of Excellence:
More informationMelodic Minor Scale Jazz Studies: Introduction
Melodic Minor Scale Jazz Studies: Introduction The Concept As an improvising musician, I ve always been thrilled by one thing in particular: Discovering melodies spontaneously. I love to surprise myself
More informationCHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER 9...
Contents Acknowledgements...ii Preface... iii CHAPTER 1... 1 Clefs, pitches and note values... 1 CHAPTER 2... 8 Time signatures... 8 CHAPTER 3... 15 Grouping... 15 CHAPTER 4... 28 Keys and key signatures...
More informationMusic Theory. Level 3. 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 3 Student s Name: Class: American Language Version Printable Music Theory Books Level Three Published by The Fun Music Company
More informationAnswers THEORY PRACTICE #1 (TREBLE CLEF)
CSMTA Achievement Day Name : Teacher code: Theory Prep Practice 1 Treble Clef Page 1 of 2 Score : 100 1. Circle the counts that each note or rest gets. (5x4pts=20) 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3
More informationLESSON ONE. New Terms. sopra above
LESSON ONE sempre senza NewTerms always without sopra above Scales 1. Write each scale using whole notes. Hint: Remember that half steps are located between scale degrees 3 4 and 7 8. Gb Major Cb Major
More informationModal pitch space COSTAS TSOUGRAS. Affiliation: Aristotle University of Thessaloniki, Faculty of Fine Arts, School of Music
Modal pitch space COSTAS TSOUGRAS Affiliation: Aristotle University of Thessaloniki, Faculty of Fine Arts, School of Music Abstract The Tonal Pitch Space Theory was introduced in 1988 by Fred Lerdahl as
More informationBasics of Music Notation
Chapter Basics of Music Notation A Glimpse of History arly in the 11th century a Benedictine monk named Guido of Arezzo wished to assist his church choir in their singing of Gregorian chants. This led
More informationTutorial 3E: Melodic Patterns
Tutorial 3E: Melodic Patterns Welcome! In this tutorial you ll learn how to: Other Level 3 Tutorials 1. Understand SHAPE & melodic patterns 3A: More Melodic Color 2. Use sequences to build patterns 3B:
More informationStudent Performance Q&A: 2001 AP Music Theory Free-Response Questions
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions The following comments are provided by the Chief Faculty Consultant, Joel Phillips, regarding the 2001 free-response questions for
More informationJazz Mandology with Ted Eschliman
Jazz Mandology with Ted Eschliman Understanding the ii V7 I : Tonal Micro-centers Last month, we touched on the simplicity and "completeness" of one of the most basic elements of Western (European) music,
More informationMUSIC GROUP PERFORMANCE
Victorian Certificate of Education 2010 SUPERVISOR TO ATTACH PROCESSING LABEL HERE STUDENT NUMBER Letter Figures Words MUSIC GROUP PERFORMANCE Aural and written examination Monday 1 November 2010 Reading
More informationSubtle shifts: using the brightest to darkest modal concept to express jazz harmony
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Subtle shifts: using the brightest to darkest modal concept to express jazz harmony John Anthony Madere Louisiana
More informationMUSIC: PAPER II. 2. All questions must be answered on the question paper. Do not answer any questions in an answer booklet.
NATIONAL SENIOR CERTIFICATE EXAMINATION NOVEMBER 2017 MUSIC: PAPER II EXAMINATION NUMBER Time: 1½ hours 50 marks PLEASE READ THE FOLLOWING INSTRUCTIONS CAREFULLY 1. This question paper consists of 8 pages
More informationTheory I (MUSI 1310) Professor: Andrew Davis
Page 1 of 10 Theory I (MUSI 1310) Professor: Andrew Davis Home page and syllabus Daily schedule Daily schedule Shortcut to the current week (assuming I remember to keep the link updated). Microsoft word
More informationevirtuoso-online Lessons
Key Signatures Lesson 2 Circle of Fifths and Fourths evirtuoso-online Lessons www.evirtuoso.com The Major and Minor Keys previously discussed are also used in the Circle of Fifths and Fourths. The circle
More informationMusic Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
More information2011 Music Performance GA 3: Aural and written examination
2011 Music Performance GA 3: Aural and written examination GENERAL COMMENTS The format of the Music Performance examination was consistent with the guidelines in the sample examination material on the
More informationThe 5 Step Visual Guide To Learn How To Play Piano & Keyboards With Chords
The 5 Step Visual Guide To Learn How To Play Piano & Keyboards With Chords Learning to play the piano was once considered one of the most desirable social skills a person could have. Having a piano in
More informationStudent Performance Q&A:
Student Performance Q&A: 2004 AP Music Theory Free-Response Questions The following comments on the 2004 free-response questions for AP Music Theory were written by the Chief Reader, Jo Anne F. Caputo
More informationMusical Modes Cheat Sheets
Musical Modes Cheat Sheets Modes are essentially scales comprising different combinations of semitones and tones. Each mode has a particular set of characteristics that make it distinctive. This series
More informationJazz Line and Augmented Scale Theory: Using Intervallic Sets to Unite Three- and Four-Tonic Systems. by Javier Arau June 14, 2008
INTRODUCTION Jazz Line and Augmented Scale Theory: Using Intervallic Sets to Unite Three- and Four-Tonic Systems by Javier Arau June 14, 2008 Contemporary jazz music is experiencing a renaissance of sorts,
More informationCircle of Fifths - Introduction:
Circle of Fifths - Introduction: I don t consider myself a musician, although I enjoy music, and I don t count myself as an organist, but thoroughly enjoy playing the organ, which I first took up 10 years
More informationAQA A Level Music. Listen to Haydn s 104 Symphony a number of times and follow the score. You will be able to find the score on this website.
AQA A Level Music Listen to Haydn s 104 Symphony a number of times and follow the score. You will be able to find the score on this website. https://musopen.org/sheetmusic/5440/franz-joseph-haydn/symphony-no104-in-d-major-london-hobi104/
More informationMusic Theory Syllabus Course Information: Name: Music Theory (AP) School Year Time: 1:25 pm-2:55 pm (Block 4) Location: Band Room
Music Theory Syllabus Course Information: Name: Music Theory (AP) Year: 2017-2018 School Year Time: 1:25 pm-2:55 pm (Block 4) Location: Band Room Instructor Information: Instructor(s): Mr. Hayslette Room
More informationCHAPTER I BASIC CONCEPTS
CHAPTER I BASIC CONCEPTS Sets and Numbers. We assume familiarity with the basic notions of set theory, such as the concepts of element of a set, subset of a set, union and intersection of sets, and function
More informationKeys: identifying 'DO' Letter names can be determined using "Face" or "AceG"
Keys: identifying 'DO' Letter names can be determined using "Face" or "AceG" &c E C A F G E C A & # # # # In a sharp key, the last sharp is the seventh scale degree ( ti ). Therefore, the key will be one
More informationLesson One. New Terms. a note between two chords, dissonant to the first and consonant to the second. example
Lesson One Anticipation New Terms a note between two chords, dissonant to the first and consonant to the second example Suspension a non-harmonic tone carried over from the previous chord where it was
More informationPast papers. for graded examinations in music theory Grade 6
Past papers for graded examinations in music theory 2011 Grade 6 Theory of Music Grade 6 November 2011 Your full name (as on appointment slip). Please use BLOCK CAPITALS. Your signature Registration number
More informationMusic Theory. created by William Anderson B.A. Music
Music Theory created 2012-13 by William Anderson B.A. Music Music Theory Part 2 The Interval In this section you will learn about how musical intervals or the spaces between notes and how they are used
More informationStudent Performance Q&A:
Student Performance Q&A: 2002 AP Music Theory Free-Response Questions The following comments are provided by the Chief Reader about the 2002 free-response questions for AP Music Theory. They are intended
More informationTHE BASIC BAND BOOK. a project by Mr. Glynn SAXOPHONE THIS BOOK BELONGS TO
THE BASIC BAND BOOK a project by Mr. Glynn SAXOPHONE THIS BOOK BELONGS TO Before we begin YOU ARE CREATIVE YOU ARE A MUSICIAN YOU CAN DO THIS - 3 - THE MUSICAL ALPHABET FORWARDS BACKWARDS E F G A B C
More informationVCE MUSIC PERFORMANCE Reading time: *.** to *.** (15 minutes) Writing time: *.** to *.** (1 hour 30 minutes) QUESTION AND ANSWER BOOK
VERY IMPORTANT - PLEASE READ! These "possible answers" for the VCAA Sample Paper (https://www.vcaa.vic.edu.au/documents/ exams/music/musicperf-samp-w.pdf) have been provided by Deborah Smith Music to assist
More informationIntroduction to Set Theory by Stephen Taylor
Introduction to Set Theory by Stephen Taylor http://composertools.com/tools/pcsets/setfinder.html 1. Pitch Class The 12 notes of the chromatic scale, independent of octaves. C is the same pitch class,
More informationLESSON ONE. New Terms. a key change within a composition. Key Signature Review
LESSON ONE New Terms deceptive cadence meno piu modulation V vi (VI), or V7 vi (VI) less more a key change within a composition Key Signature Review 1. Study the order of sharps and flats as they are written
More information2011 MUSICIANSHIP ATTACH SACE REGISTRATION NUMBER LABEL TO THIS BOX. Part 1: Theory, Aural Recognition, and Musical Techniques
External Examination 2011 2011 MUSICIANSHIP FOR OFFICE USE ONLY SUPERVISOR CHECK ATTACH SACE REGISTRATION NUMBER LABEL TO THIS BOX QUESTION BOOKLET 1 19 pages, 21 questions RE-MARKED Wednesday 16 November:
More informationMusic Fundamentals 1: Pitch and Major Scales and Keys. Collection Editor: Terry B. Ewell
Music Fundamentals 1: Pitch and Major Scales and Keys Collection Editor: Terry B. Ewell Music Fundamentals 1: Pitch and Major Scales and Keys Collection Editor: Terry B. Ewell Authors: Terry B. Ewell
More informationCourse Objectives The objectives for this course have been adapted and expanded from the 2010 AP Music Theory Course Description from:
Course Overview AP Music Theory is rigorous course that expands upon the skills learned in the Music Theory Fundamentals course. The ultimate goal of the AP Music Theory course is to develop a student
More informationStudent Performance Q&A:
Student Performance Q&A: 2012 AP Music Theory Free-Response Questions The following comments on the 2012 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
More information2. ARTICULATION The pupil must be able to able to articulate evenly and clearly at a variety of slow to medium tempos and demonstrate a good posture
Brass Foundation Level 1 The pupil must be able to hold a level tone and be able to pitch low C and G on the 2nd line treble clef (Bb and F bass clef). The pupil should be able to play simple melodies
More informationTheory Bowl. Round 3: Harmony, Voice Leading and Analysis
Theory Bowl Round 3: Harmony, Voice Leading and Analysis 1) Which of the following answers would be an example of the Mixolydian mode? 6) Which Roman numeral analysis below correctly identifies the progression
More informationClass 12, Fri. 2/10 Objectives: Increase speed and accuracy of melodic, rhythmic, and
Syllabus: Advanced Solfege II Advanced Solfege II, 57-186, Spring 2012 10:30 A.M., Room 102 C.F.A. Class 1, Mon.1/16 World drumming - ensembles and improvisation Complete student information forms. Objectives:
More informationAnswers THEORY PRACTICE #2 (TREBLE CLEF)
CSMTA Achievement Day Name : Teacher code: Theory Prep Practice 2 Treble Clef Page 1 of 2 Score : 100 1. Fill in the music alphabet going up and down. (10x2pts=20) 2. Circle the counts that each note or
More informationThe Music Theory Placement Exam consists of three parts: The test is normally offered the Saturday before classes begin.
Theory Placement Exam Information The Theory Placement Exam is designed for transfer students who have already taken college-level music theory and aural skills courses. It is also open to entering freshmen
More informationMusic Ace Deluxe Contents
1. Introduction to Staff define STAFF, LINES and SPACES. Define LEDGER LINE. show higher and lower pitches on an unspecified staff select higher/lower pitch on an unspecified staff define TREBLE and BASS
More informationTable of Contents. Lesson Page Material Major Scales (Up to 4 flats/sharps) Key Signatures
Table of Contents Lesson Page Material 1 Review of Level 3 4.1 4 Major Scales (Up to 4 flats/sharps) Key Signatures 4.2 13 Order of Sharps and Flats Naming Key Signatures 4.3 18 Compound Time (9/8; 12/8)
More informationLetter STUDENT NUMBER MUSIC PERFORMANCE. Aural and written examination. Thursday 16 November 2017
Victorian Certificate of Education 2017 SUPERVISOR TO ATTACH PROCESSING LABEL HERE Letter STUDENT NUMBER MUSIC PERFORMANCE Aural and written examination Thursday 16 November 2017 Reading time: 9.00 am
More informationModes and Ragas: More Than just a Scale
Connexions module: m11633 1 Modes and Ragas: More Than just a Scale Catherine Schmidt-Jones This work is produced by The Connexions Project and licensed under the Creative Commons Attribution License Abstract
More information