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 Materials 1: Note Reading Above: James M. McLaughlin, George A. Veazie, and W. W.Gilchrist, First Music Reader (Boston: Ginn and Company, 1906), p. 1. Digitized by Google. Above: First Music Reader, p. 2. 2
Practice Materials 2: Piano Note Recognition 1. Write the requested note name on the white key or above the black key. There may be repeated note names in the examples: C, E, G D, F, B D#, F#, G#, A# Db, Eb, Ab, Bb 2. Identify whole steps with W and half steps with H The graphics of the keyboard above are modified from Tobias R. Metoc, http://en.wikipedia.org/wiki/file:klaviatur-3-en.svg [Accessed 01 May 09]) 3
Practice Materials 3: Major Scales In the next three staves write an ascending and descending E major, Ab major, and F# major scale using accidentals and no key signature: In the next three staves write an ascending and descending Eb major, B major, and Db major scale using accidentals and no key signature: In the next three staves write an ascending and descending G major, Eb major, and A major scale using accidentals and no key signature: 4
Identify the Major Key: Practice Materials 4: Major Key Signatures Complete the following chart with number of sharps or flats for these major key signatures: A Major: 3 # Bb Major: F Major: Db Major: D Major: Gb Major: Ab Major: G Major: B Major: E Major: C# Major: F# Major C Major: Eb Major: 5
1. Practice Materials 5: Writing Notes and Rests and Clefs Example taken from Ernest A. Dicks, A Handbook of Examinations in Music Containing 650 Questions (London, Novello and Company, Ltd., 1906), pp. 136. Digitized by Google 2. After each note write a rest of equal value: 3. In each measure write a treble clef: 4. In each measure write a bass clef: 6
Practice Materials 6: Writing Notes and Rests in Meters 3. (Note the backward eighth rests in the 2 nd, 3 rd, and 4 th complete measures are an older way of writing quarter rests. Also this method of notation is still found in some French music.) Examples on this page taken from Ernest A. Dicks, A Handbook of Examinations in Music Containing 650 Questions (London, Novello and Company, Ltd., 1906), pp. 129, 135, 137, 156 (modified). Digitized by Google. 7
1. Practice Materials 7: Writing Notes and Rests in Meters 2. 3. Examples 1-3 taken from Ernest A. Dicks, A Handbook of Examinations in Music Containing 650 Questions (London, Novello and Company, Ltd., 1906), pp. 156-157 (modified). Digitized by Google. 4. Rewrite the 9/8 and 3/2 examples in 3. with correct beams: 8
Practice Materials 8: Meters Fill in the chart for the following time signatures: Meter Simple/Compound Note Value of Beat (Pulse) Note Value of Division Note Value of Subdivision 2 4 Simple 3 4 C 3 2 2 * 8 6 8 6 4 6 16 9 16 12 8 9 4 *Assume eighth-note beats, although at times composers use quarter-note beats. 9
Practice Materials 9: Minor Key Signatures Identify the Minor Key: Complete the following chart with number of sharps or flats for these minor key signatures: F# Minor: 3 # G Minor: F Minor: Bb Minor: D Minor: Eb Minor: C Minor: E Minor: B Minor: C# Minor: A# Minor: D# Minor: A Minor: G# Minor: 10
Practice Materials 10: Minor Scales 1 In the next three staves write an ascending and descending natural E minor, F minor, and F# minor scale using accidentals and no key signature: In the next three staves write an ascending and descending harmonic C minor, B minor, and D# minor scale using accidentals and no key signature: In the next three staves write an ascending and descending harmonic G minor, Eb minor, and A minor scale using accidentals and no key signature: 11
Practice Materials 11: Minor Scales 2 In the next three staves write an ascending and descending harmonic E minor, F minor, and F# minor scale using accidentals and no key signature: In the next three staves write an ascending and descending melodic C minor, B minor, and D# minor scale using accidentals and no key signature: In the next three staves write an ascending and descending melodic G minor, D minor, and A minor scale using accidentals and no key signature: 12
Practice Materials 12: Minor Scales 3 In the next three staves write an ascending and descending melodic E minor, F minor, and F# minor scale using accidentals and key signature: In the next three staves write an ascending and descending harmonic C minor, B minor, and C# minor scale using accidentals and key signature: In the next three staves write an ascending and descending melodic E minor, G# minor, and D minor scale using accidentals and key signature: 13
1. Identify the Intervals Practice Materials 13: Intervals 1 2. From the lower tonic to each scale degree, the major scale has these intervals: P1, M2,,,,,, P8. 3. From the lower tonic to each scale degree, the ascending natural minor scale has these intervals: P1, M2,,,,,,. 14
Practice Materials 14: Intervals 2 1. Supply the Intervals Above the Given Notes: 2. From the lower tonic to each scale degree (tonic, super tonic, etc.), the ascending harmonic minor scale has these intervals: P1, M2,,,,,,. 3. From the lower tonic to each scale degree, the ascending melodic minor scale has these intervals: P1, M2,,,,,,. 15
Practice Materials 15: Intervals 3 1. Supply the Intervals Below the Given Notes: 2. From the upper tonic to each scale degree (tonic, leading tone, submediant, etc.), the descending major scale has these intervals: P1, m2, m3,,,,,. 3. From the upper tonic to each scale degree, the descending harmonic minor scale has these intervals: P1, m2,,,,,,. 4. From the upper tonic to each scale degree, the descending melodic minor scale has these intervals: P1, M2,,,,,,. 16
Practice Materials 16: Interval Inversions and Enharmonic Intervals 1. Label, invert intervals upward, and label the inversion: 2. Label, supply interval with lower note altered for enharmonic equivalency, label the new interval: 17
1. Identify the triads: Practice Materials 17: Triads Root Position Ab Major 2. Supply the chords: 18
Practice Materials 18: Triads Root and 1 st Inversions 1. Identify the chords and determine if they are in root position or 1 st inversion. Ab Major, 1 st inversion 19
Practice Materials 19: Triads with Inversions 1. Stack the triad in root position to the right of the chord. Identify each triad by Roman and Arabic numerals with inversions in the given keys (upper case is major, lower case is minor). 20
Practice Materials 20: Seventh Chords 1. Identify the quality of the triad and the 7 th in these root position chords. 2. Write a seventh chord in root position on each scaled degree in D major. Label the quality of the triad and the 7 th. 3. Stack the seventh chord in the treble clef. Label the quality of the triad and the 7 th. 21
Practice Materials 21: Seventh Chords Including Inversions 1. Stack the seventh chord in root position to the right of the chord. Identify the quality of the triad and 7 th in the upper blank. Identify its inversion by Arabic numerals in the lower blank. 22
Practice Materials 22: Non-Harmonic Tones 23
Practice Materials 23: Roman Numeral Analysis 1 24
Practice Materials 24: Roman Numeral Analysis 2 25
Practice Materials 25: Roman Numeral Analysis 3 26
Practice Materials 26: Roman Numeral Analysis 4 27
RHYTHMIC STUDIES, PART 1 By Terry B. Ewell Introduction to Rhythmic Studies This collection of rhythmic studies and text is drawn from a variety of sources. The work is my own unless credited in the text. The core of the rhythmic studies is drawn from this work: George A. Wedge, Advanced Ear-Training and Sight-Singing As Applied to the Study of Harmony: A Continuation of the Practical and Coordinated Course for Schools and Private Study (New York: G. Schirmer, Inc. 1922). Wedge was an outstanding pedagogue who included in his text several interesting methods of mastering rhythms. One of the primary methods was to sing major scales descending and ascending to the given rhythmic patterns. Here is an example he gives in the text (Wedge, p. 10): Wedge recommends singing patterns with la but solfege could be used as well, if desired. Naturally the studies could be played on instruments instead of sung. Occasionally in the studies Wedge supplies designations for pitches. Take for example the following (Wedge, p. 90): The 6, 7, and 8 in line 2 indicate pitches La, Ti, Do. Line 3 reads 5, 3 indicating Sol, Mi. 28
Additionally the Wedge studies could be performed in ensemble exercises by combining select lines of the study. For instance, students could each tap or clap simultaneously these two parts (Wedge, p. 108): Students should be encouraged to subdivide all rhythmic studies in order to better develop rhythmic precision. See these modules available on www.cnx.org for information on subdivisions: Rhythmic Study: Introduction to Subdivisions in Simple Meters (m22810) <http://cnx.org/content/m22810/latest/> Rhythmic Study: Introduction to Subdivisions in Compound Meters (m22811) < http://cnx.org/content/m22811/latest/> 29
Rhythmic Study 1 I. Simple Rhythmic Study in 3/4 II. Simple Rhythmic Study in 4/4 or Common Time 30
Rhythmic Study 2 I. Simple Rhythmic Study in 2/4 31
Rhythmic Study 3 I. Rhythmic Study in 6/8 (Wedge, p. 10) II. Further Rhythmic Study in 6/8 (Wedge, p. 10) 32
Rhythmic Study 4 I. Rhythmic Study with 16th notes in 2/4 (Wedge, p. 108) II. Rhythmic Study with 16th notes in 3/4 (Wedge, p. 109) 33
Rhythmic Study 5 I. Rhythmic Study in 6/8 with 16th notes (Wedge, p. 20) II. Further Rhythmic Study in 6/8 (Wedge, p. 28) III. Rhythmic Study in 6/8 with anacrusis (Wedge, p. 47) 34
Rhythmic Study 6 I. Rhythmic Study with 16th notes in 4/4 (Wedge, p. 58) Red 1 is a continuation of (1), Red 2 is a continuation of (2), etc. 35
II. Rhythmic Study with anacrusis and 16th notes in 4/4 (Wedge, p. 68) Red 1 is a continuation of (1), Red 2 is a continuation of (2), etc. 36