Beginning Piano. A B C D E F G A B C D E F G... La Si Do Re... Notice that the letter C (Do) is always on the left side of 2 black keys.

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1 Beginning Piano Pitch- In music, pitch refers to the frequency of sound. Pitch is perceived as the highness or lowness of sound. Pitch names- There are many systems for naming pitches. Solfeggio is the name of a system which uses the syllables do, re, mi, fa, sol, la, si (or ti). Another system more commonly used in the U.S. uses the letters A-G. The alphabet relates to Solfeggio as follows: C=Do, D=Re, E=Mi, and so on. Keyboard layout- The modern piano keyboard has a series of white keys and black keys. The black keys are layed out between the white keys groups of 2 s and 3 s. The white keys of the keyboard are assigned the basic pitch names as shown below: A B C D E F G A B C D E F G... La Si Do Re... Notice that the letter C (Do) is always on the left side of 2 black keys. Middle C- Counting from left to right, middle C is the th C on a full size keyboard. Fingering- The fingers of both hands are indicated in piano music as follows: 1=Thumb 2=Index finger 3=Middle finger =Ring finger 5=Little finger Articulation- Articulation in piano music refers to how a sound starts and stops and how one sound relates to the next. The basic articulations, from Italian, are as follows: Legato=Connected Legatissimo=Overlapped Nonlegato= Not Connected Staccato= Clipped The following diagram will help visualize the articulations. In the diagram, the letter represents the beginning of a pitch, the underline represents when the sound stops: Legato: C D Legatissmo: C D Nonlegato: C D Staccato: C D 1

2 lecture notes up to quiz 1 5 Finger position- A five finger position is a set of 5 adjacent pitches, such as ABCDE, or CDEFG, which can be reached without moving the hand. Staff- A staff is a set of lines for writing music. The standard staff today has 5 lines, as shown below: ==== Ledger Line- A short line to extend the staff either above or below the normal 5 lines of the staff. ==== Ledger lines Clef- A symbol to assign a reference pitch (or some other function, such as percussion) to the staff. Two clefs are in common usage today for the piano: & Treble Clef/G clef is a symbol that assigns G above middle C to the 2nd staff line. Treble means high. In treble clef all the pitches on the staff are higher than middle C. To help learn the treble clef, remember the placement of middle C and the letters of the spaces on the staff: & ======= _ Middle C F A C E? Bass Clef/F clef- assigns F below middle to the th staff line. Bass means low. In bass clef all the pitches on the staff or lower than middle C. To help learn the bass clef, remember the placement of middle C and the letters of the spaces on the staff: _? ======= Middle C A C E G Rhythm- Rhythm refers to regular or ordered timing. Beat- A regular pulse. In current musical slang, it is also common to call a rhythmic pattern beats. Tempo- The speed of the beat. Meter- Meter is patterns of strong and weak beats. The most common meters are duple, triple and quadruple. The counting pattern for these meters is as follows (the stronger beats are indicated by bold in this example, and the first beat is usally the strongest beat of a meter): Duple (2 beat pattern: 1 2), triple (3 beat pattern: 1 2 3) and quadruple ( beat pattern: ). Note- A note is a symbol for length of sound. Rest- A rest is a symbol for length of silence. 2

3 The following chart shows the notes and rests for values of whole, half, and quarter: Whole Note Whole Rest w h Half Note Half Rest Quarter Note Quarter Rest q Tie- A tie is a curved line to combine the value of pairs of notes of the same pitch. Ties can be used to combine notes of any value, including notes that are dotted. Ties can also be used to combine notes across barlines. w h h q w q Augmentation Dot- An augmentation dot is a small dot to the right of a rhythmic value (this includes notes, rests, and other augmentation dots) to increase that value by 50%. w. w h h. h q = = Time Signature- A time signature is a fraction to assign meter and beat value to music. The top number of the fraction represents the meter, and the bottom number the note value of the beat. The following time signature shows a meter of 3 beats (triple meter) and a beat value of 1 quarter: & === 3 Barline- A barline is a vertical line used to divide the staff into measures. Measure- A measure is a division of the staff by barlines. The following example shows a staff broken into measures by barlines: barlines & ================== one measure A complete measure of music is usually the same total value as the time signature of that music. If the time signature were 3/, the total value of any measure would normally be notes and rests totaling 3/. 3

4 Octave- An octave is the distance in pitch from one letter to the next higher or lower occurance of the same letter. When not specified otherwise, an octave refers to a perfect octave, which means the octave is using the same accidental for both letters (for example, from C to the next C, or C# to the next C#). [Technically, the frequency of an octave s upper pitch is double that of the lower pitch.] The following diagram of a keyboard is marked to show some octaves: Octave from Eb to E b Octave from C to C Half Step- A half step is 1/12 of an octave. This is the smallest change of pitch on a piano with standard tuning. The change in pitch from one key to the very next key, regardless of key color (white or black) is a half step. Whole Step- A whole step is 1/6 of an octave (2 half steps). The following diagram shows some half and whole steps: 1/2 step 1/2 step whole step 1/2 step whole step whole step Accidental- An accidental is a symbol to alter pitch. The three accidentals needed for beginning piano are shown below: Natural- the normal pitch name for the white keys of the piano. Sharp- alters pitch 1/2 step above natural. Flat- alters pitch 1/2 step below natural. Accidentals are used either on the staff or with letters. When writing or reading accidentals with letter names remember the following guidelines: 1. A letter by itself is automatically natural: C = C =C natural. 2. Accidentals are written as a superscript (slightly higher) after the letter they affect: A = A flat When accidentals are written on the staff, they are either written as part of a key signature (discussed later), or as individual accidentals in a given measure. Following are the guidelines for understanding individual accidentals: Accidentals written into the measures of a piece of music: 1. affect only the line or space on which they are written, 2. affect from where they are written until the next barline, 3. or until another accidental affects the same line or space.

5 Enharmonic Pitches- Enharmonic means same sound. Enharmonic pitches are different names for the same sound. For example: E b =D#, C=B #. Dynamics- Dynamics refers to the loudness/softness of sound (not to be confused with highness/lowness of pitch). Very common indications for dynamics are as follows: Piano (abrev. p) from Italian for soft. Forte (abrev. f) from Italian for loud/strong. Mezzo (abrev. m) from Italian for medium. These terms are usually used in their abbreviated forms to show dynamic contrast in music. The following chart shows a range of dynamics from very soft to very loud: ppp pp p mp mf f ff fff pianississimo pianissimo piano mezzo piano mezzo forte forte fortissimo fortississimo (very very (very soft) (soft) (medium soft) (medium loud) (loud) (very loud) (very very soft) loud) Notice that piano (p) and forte (f) are used alone or in combination to show increase or decrease in volume, but mezzo (m) is only used to modify piano or forte. There are also indications for gradual change in dynamics: Crescendo (abrev. cresc.) gradually louder from Italian for increasing. Decrescendo (abrev. decresc.) gradually softer from Italian for decreasing. Diminuendo (abrev. dim.) gradually softer from Italian for diminishing. Crescendo is also shown as a wedge shape growing from left to right: Decresc./dim. are also shown by a wedge shape growing smaller from left to right: Dynamic marks are used by a composer to show changes of loudness and softness in music, but they do not indicate exact levels of volume. Dynamics are intrepreted by the performer based on many factors including the performance situation. For example, if you were playing for some friends in a small room you could make your soft dynamics a barely audible whisper, but if you were playing in a very large room for a large crowd your soft dynamics would need to be loud enough to be audible at the edges of the room. 5

6 Interval- The distance between two pitches. An interval describes the distance of steps and letters. Interval Number- Interval number is an ordinal number (2nd, 3rd, th...) which describes the total number of letters from the lower to higher pitch of the interval. To find an interval s number, identify the letter of the two pitches being measured, then count the total distance in letters from the low one to the high one. Example: The two letters are D and F. Since D is the lower of the 2 letters, count & ====l the total distance in letters from this D to this F: D, E, F is a total of 3 D F letters in distance, the interval is a 3rd. Two intervals have special names for their number. When the two pitches are exactly the same, the interval is called a unison instead of a 1st, and an eight letter distance is called an octave (abbreviate 8va) instead of an 8th: & ===l E E unison & ===l E E 8va When counting the letters for an interval s number, accidentals are not counted. In the following examples the pitches are some kind of A and some kind of C:? ====l A B C = 3rd? ====l b A B C = 3rd Interval Quality- Interval quality is based on the normal number of steps for an interval and is expressed as a quality prefix (perfect, minor, major, augmented or diminished) with the interval number. Some intervals have one normal size, which is called perfect, and others have two normal sizes, which are called minor (for small) and major (for large). Intervals can also be larger or smaller than normal (augmented is 1/2 step to large, diminished is 1/2 step to small). The following chart gives the sizes of intervals: Normal sizes for Intervals Perfect Unisons: minor 2nds: Major 2nds: minor 3rds: Major 3rds: Perfect ths: Perfect 5ths: minor 6ths: Major 6ths: minor 7ths: Major 7ths: Perfect Octaves: 0 steps 1/2 step 1 step 1 1/2 steps 2 steps 2 1/2 steps 3 1/2 steps steps 1/2 steps 5 steps 5 1/2 steps 6 steps Abnormal sizes 1/2 larger than normal=augmented 1/2 smaller than normal=diminished To calculate an interval for number and quality, begin by finding the total number of letters. Then find the number of steps (include accidentals for this part). Then compare to the normal size of that number of letters. Examples: & ====l D F ====l? b # 6? ====l # A B C # = 3rd? ====l b # A B C # = 3rd D to F (D E F) is a 3rd. D to F is 1 1/2 steps (D to E is 1 step, E to F is 1/2 step). Compare to 3rds in the chart: mi 3rd. A b to C # (A b B C # ) is a 3rd. A b to C # is 2 1/2 steps (A b to B is 1 1/2 steps and B to C # is 1 step). Compare to 3rds in chart: mi 3rd is 1 1/2 steps, Ma 3rd is 2 steps, this 3rd is 1/2 step larger than a normal 3rd. This is an augmented 3rd.

7 More details about intervals. The pitches of an interval can be played together or seperately. If the pitches are to be played at the same time they are written above each other on the staff (except unisons and 2nds which are written very close together). If they are to be played seperately, they are written with space between them horizontally. The words that describe this are harmony and melody. Harmony- Harmony in its most basic sense, is simultaneous pitches (happeneing together). When an interval is written so the pitches will sound together, it is called a harmonic interval. Melody- Melody in its most general sense is successive pitches (happening one at a time). When an interval is written so the pitches will sound one at a time, it is called a melodic interval. Following are examples of harmonic and melodic intervals: # ===[==[==[===[==[==[===[==[==[ &# # # # #? & Melodic 5ths Harmonic 5th Melodic 7ths Harmonic 7th Melodic 3rds Harmonic 3rd More about Barlines Measures and Meter: Musically, it is important to understand that meter is a pattern of strong and weak beats. The most basic function of barlines in a piece of music is to make the metric pattern visible. Most barlines mark the beginning of a new measure, and the beat pattern of the time signature usually fills exactly one measure. Further, normally the first beat of a metric pattern is the strongest beat of the pattern. There are some other purposes for barlines, and a few types of barlines to become familiar with as well. These are listed below. Normal barline: This is the single vertical line from top to bottom of the staff, or grand staff (grand staff is two staves put together for piano music). Double barline: The double barline is used by composers to mark off sections of a piece of music in the same way in language we indent paragraphs. Final barline: In older music, this was often just an extra thick barline, but some composers made very elaborate final barlines, to clearly show the end of a piece of music. In most modern music the final barline is double barline with the barline on the right extra thick. The following example shows normal, double, and final barlines. &? 5 5 ú ú Ï ú ú Ï Ï Ï Ï Ï Ï ú ú Ï Ï Ï Ï Ï Ï ú ú bï Ï Ï Ï Ï Ï b ú ú. Ï ú. Ï 7

8 The following examples show normal, double and final barlines from a tablature for baroque guitar by Francisco Guerau: Poema Harmonico published in Valencia in Baroque guitar is an older instrument similar to a modern guitar. A tablature is a system of notation which represents the instrument rather than pitch. The staff lines in this case represent the strings of the instrument, and the numbers on the staff lines represent which frets to finger. Notice the very elaborate final barlines on these examples, really pictures rather than lines. Anacrusis/ Pick-up measure/upbeat measure: These are all terms for an incomplete measure which is missing at least the first beat. Since the first beat is usually the strongest one in a metric pattern, the musical effect of an anacrusis is the incomplete measure leads to the first strong beat which occurs after the barline in the measure following it. To get a feeling for an anacrusis clap (or play on a single pitch) with the following rhythm (Counting is provided. Remember, for counts that are not underlined, clap (or play) everything; for counts that are underlined, clap the first of the group (or play at the beginning of the group, and keep jolding until the end of the group), counts in parenthesis represent rests and are not clapped/played. The first example will not have an anacrusis. Remember to clap or play strongest on the first beat with a slight accent on the third beat The next example will give the feeling of an anacrusis, but is not an anacrusis. The first beat is occupied by a rest, but it is still present in the measure, since rests have value the same as notes have value. Since the first beat is not clapped/played, there is no strong accent in the first measure. q q q q l h. q l h h l w q q q l h. q l h h l w (1)

9 The next example will include an anacrusis The anacrusis is recognizable by counting the total value of a measure and comparing with the time signature. The time signature, /, means a quadruple meter (meter with beats) and quarter note is assigned as the beat value. This means a complete measure will be worth exactly quarter notes. The previous example begins with a measure with only three quarter notes total value (always subtract missing beats or parts of beats from the beginning of the measure in an anacrusis). There is a special case when there is a repeat involving an anacrusis which will be explained under Barline with repeat signs. Barline with repeat sign: A barline with 2 dots like a colon (:) on the left side of a barline. Very often in a piece of music, the same musical material is repeated. This happens in songs, when the same melody is used for different verses and in purely instrumental music when the composer wants something be be heard twice before moving to new material (for various possible reasons). In some pieces of music, the repeated material is simply written down again, but this makes a piece of music take up more room on the page. More often, repeat signs are used to tell the performer to do part of a piece of music again. The repeat sign by itself is usally written on a double barline (this makes the repeat easier to see, and shows the division of the music into the section before the repeat and the section after the repeat). Repeat sign The actual repeat sign is on the left side of a barline and it tells the performer to jump back to the beginning, or jump back to the nearest right facing repeat, and play again. The right facing repeat is the same two dots but on the right side of a barline, and this creates a limit for where the repeat sign jumps to. In the example above, there is only the repeat sign, so you would play again from the beginning, before moving to the next section. The example below includes the right facing repeat. You would only repeat back to the beginning of that barline. Repeat sign with anacrusis: If a repeat sign jumps to an anacrusis, the repeat sign is placed so it jumps with out disturbing the meter. In other words, repeat measure will provide whatever counts are missing from the anacrusis measure. Look at the following example: q q q l h. q l h h l w q q q q l h. q l h h l w q h q l h h l q q h l w q q q q h. q l h h l w q h q l h h l q q h l w q q l h. q l h h l h q q l q h q l h h l q q h l w Notice in this example the anacrusis is missing the first two beats. These are provided in the repeat measure. This also means that the repeat measure is incomplete, but it is missing its third and fourth beats. For this reason, the measure after the repeat measure is another anacrusis. On a side note, most modern music has barlines with repeats the same size as regular barlines, even if they happen with an anacrusis and really are not the end of a measure. The following example is from an old tablature again, and shows a more sensible use of the repeat. Notice that the repeat sign is obviously smaller than the regular barline in this instance when it is really happenning in the middle of the measure. This makes it 9

10 easier to see where the pattern of the meter really starts and stops (The example is from Resumen de Acompañar la Parte Con La Guitarra by Santiago de Murcia, published in 171 in Spain for the baroque guitar): Repeat sign Notice in this example the number 3 in the very beginning. This is the time signature (triple meter). Rather than explain the rules of reading the tablature, I will just tell you, the first measure is 2 quarter notes long. The repeat sign occurs between the first and second beats, and notice that you can clearly see it is in the middle of the measure because it is a different size than a regular barline. A shame this style of repeat sign fell out of use. Chord- A chord is a combination of 3 or more pitches. There are many ways to create chords, but chords built from 3rds (tertian chords) are so commonly used that when most people use the word chord they are referring to tertian chords. Following are some types of chords along with examples. Secundal chords: Secundal means built from 2nds, as in the interval. If starting from the letter D, a secundal chord would include at least the letters D, E and F (2nd from D to E, and another 2nd from E to F), but it would be possible to include more 2nds beyond that. A chord built from a lot of 2nds is called a tone cluster. Secundal chords are usually used when a composer wants some degree of tension. & ww w w ww w œœ œ œœ œ Tertian chords: Tertian means built from 3rds. Tertian chords are the most commonly used type of chord from around 1500 to the present. If starting from the letter D, a tertian chord would include at least the letters D, F, and A (a 3rd from D to F, and then another 3rd from F to A). & w w w Quartal chords: Quartal means built from ths. This type of chord is mostly used in a relatively small amount of music starting around If starting from the letter D, A quartal chord would include at least the letters D, G, and C (a th from D to G, and another th from G to C). The basic sound of quartal harmony is very open, and is often used in music written for movies when a wide open space is being shown. & w w w 10

11 More about Tertian Chords- As stated before, tertian chords are the most commonly used chords. Following is the basic information about tertian chords. -When building chords in 3rds, the letters in the chord are numbered as shown (the 3rds are underlined): D E F G A B C D E F G A B If selecting just the 3rds, the letters starting from D are 1st=D, 3rd=F, 5th=A, 7th=C and so on. -Root: The pitch a tertian chord is built from is called the root of the chord. Tertian chords are named by the letter and accidental (if any) of the root. For example: if a tertian chord is built from the letter C, it will be called a C chord (C, E, G = C chord; D, F, A = D chord), a tertian chord built from a C # would be called a C # chord. -Triad: The most basic tertian chord is called a triad. A triad is made of the 1st, 3rd and 5th letter from any starting letter. Triads are labeled based on the letter of the root (including any accidentals with the root), and the quality of intervals measured from the root. The following chart gives the formula for triad quality: Triad Qualities m3rd + m3rd = diminished triad (dim.) m3rd + M3rd = minor triad (m) M3rd + m3rd = Major triad (M) M3rd + M3rd = Augmented triad (aug.) The letters of a triad can be rearranged or duplicated without changing the triad s name. We will look at the C triad to see what this means. The letters of a C triad are C, E and G. The following example shows the letters of the C chord in different arrangements, but always using only the letters C, E and G: ==[ ==[ ==[ ==[ ==[ & & & & & & ==[ C E G C G E E C G E C E G C G C E C E G C E In the first C chord the letters are in their original order from lowest to highest. In the second and third C chords there is one of each letter, but they are not in the original order. In the last three chords some of the letters are repeated. If you examine each chord carefully, you can see that they all use the same letters, C, E and G. Each of these chords is a C chord because they only use the letters that make a C chord. 11

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