MUSIC THEORY LEARNING GUIDE

MUSIC THEORY LEARNING GUIDE Level IB Edited by Elizabeth Riegert 2017 1

Music Theory Program Level IB The Level IB program is intended for students in Intermediate Concert Band, Junior Orchestra and new members of Concert Choir. The program focuses on very simple skills of reading, notation and the language of music. Activities are noted in each section of this program guide and will be handed out in class. Extra copies can be found on Miss Riegert s teacher blog (under VT Theory Units) at blogs.ubc.ca/elizabethriegert/. Assignments must be submitted on the due date; late assignments will not be accepted (unless due to excused absence or illness). All instruction will take place during class. Students with additional questions are encouraged to ask their classmates for help or to schedule a tutorial with Miss Riegert outside of regular class time. Assessment: 2 Written, Take-home Assignments 1 In-class Quiz 1 Final Test Topics 1. Pitch Naming a. Accidentals b. Clefs c. Enharmonic Names d. Whole Tones and Semitones e. Ledger lines 2. Scale Writing Major/natural minor 3. Scale Degree Identification 4. Key Signature Identification a. Up to 5 sharps (#) and 3 flats (b) 5. Triads Major/minor, inversions 6. Rhythm a. Dotted Rhythm b. Time Signatures c. Counting Systems 7. Musical Term Recognition tempo, dynamics, style, technique, form 2

Grading Rubric Criteria Effort and Participation Homework Examination Meeting Expectations Student is on time for class with all materials (theory package, homework, writing utensils, and instrument) and actively participates in class discussion. Student completes and submits homework on time with all questions answered for a grade of 75% or more. Student completes all exam/quiz questions within allotted time for a grade of 75% or more. Approaching Expectations Student attends class with most of their materials and listens attentively to discussion and lecture. Student completes most of homework questions on time with a grade of 60% or more. Student completes most of exam/quiz questions within allowed time for a grade of 60% or more. Not Meeting Expectations Student is not on time, or does not attend class (without an excused absence) does not bring materials to class and does not pay attention or participate in class discussion. Student does not complete homework on time or receives a grade of 59% or less. Student does not complete most of exam/quiz questions within allotted time and/or receives a grade of 59% or less. Materials to bring to each class: Pencil and eraser Theory Package Homework Band Instrument Additional (optional) resources: Keyboard Theory: Basic Rudiments Grace Vandendool Keys to Music Rudiments (textbook and workbooks) Boris Berlin Harmony and Voice Leading (textbook and workbooks) Edward Aldwell 3

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1. Pitch Naming A: Each key on the piano keyboard will sound as a different pitch. Similarly, all string, brass, woodwind and pitched percussion instruments can sound numerous pitches across a broad pitch range. The pitch names in the musical alphabet are: A B C D E F G B: Accidentals - Each of these pitch names can be modified by adding a sharp or flat sign. The sharp sign will raise the pitch by one semitone from its natural pitch. The flat sign will lower the pitch by one semitone from its natural pitch. To cancel either of these symbols, a natural sign is used. All three of these signs are known collectively as accidentals. FLAT NATURAL SHARP It is important to note that when written in text, we say the pitch name first, followed by the accidental (i.e. B-flat or F-sharp). However, when written on the staff, the accidental will always appear before the actual note. (i.e. ) C: Clefs - Each pitch has a place on the staff. A staff must include a clef to indicate the range in which the pitches should sound. Placing a note on the staff tells a performer which pitches should be played. In our school ensembles, four different clefs are used. Below is a list of all the instruments which use each clef, along with a graphic of the clef itself. Treble Clef Alto Clef Treble Clef (Octave Transposition) Flute (and piccolo) Oboe Clarinet Bass Clarinet All Saxophones Trumpet/Cornet French Horn Violin Sopranos (choir) Altos (choir) Tenor Clef* Viola Tenors (choir) Bassoon Trombone Cello *Tenor clef is only used for these instruments when the written pitch is in a range above the bass clef. Treble clef G clef; Alto/Tenor clef C clef; Bass clef F clef Bass Clef Bassoon Trombone Euphonium Tuba Cello String Bass Basses (choir) 5

D: Ledger Lines The staff is comprised of 5 lines, as shown on the previous page. When a composer makes use of a pitch that goes beyond the top and bottom of the staff, ledger lines are used. E: Enharmonic Names - Every pitch has the possibility of more than one name. Even though the sound of pitch doesn t change, its additional name(s) are called enharmonic names. For example, using the piano keyboard we can easily see that between the white keys for G and A, there exists a black key. The black key can be called either G or A because of its distance relative to the white keys. F: Whole Tones vs. Semitones - The smallest distance between two pitches is a semitone. The distance of two semitones is called a whole tone. On a piano keyboard, you can identify a semitone by playing two immediately adjacent keys. Playing a semitone will sound like the famous opening to the theme song from Jaws. A whole tone will sound like the first two pitches of Happy Birthday. 2. Major Scale Writing A scale is a sequence of pitches, ascending or descending, that follows a pattern of semitones and whole tones. A: Major Scales - A Major scale will contain 8 pitches, exactly one octave in range. For example, if the scale starts on C it will continue up (or down) until you reach the next C. Using your knowledge of whole tones (T) and semitones (ST), you will be able to identify that a pattern exists within all Major scales. The pattern is shown below: 6

B: Minor Scales - Natural minor scales will also contain 8 pitches, exactly one octave in range. However, the pattern of semitones and whole tones is different. Notice that the key signatures of C Major (shown on the previous page) and a natural minor shown above are the same. However, the combination of whole tones and semitones is different in each scale. Every Major scale has a relative natural minor scale, which starts on the 6 th scale degree of the Major scale and continues in sequence for one octave. For example, in the key of C Major, the 6 th scale degree is A, and a minor is the relative minor key to C Major. 3. Scale Degree Identification There are two main ways to identify where a pitch fits into the scale of a given key. For our purposes (solfege and numbers). For our purposes we will only learn the modern system using scale degree numbers. In the example below, you ll see a C Major scale with the scale degree numbers identified below. To ensure that others will understand how you use the numbers, you must always place a caret (^) above the numbers. To identify the first scale degree, you should first look at the name of the key. For example, in C Major, the first scale degree is C. This information will be extra useful when learning about triads. 7

4. Key Signature Identification Key signatures are a collection of the accidentals found in a scale. They tell us which key our music is in and which notes will need to be played flat or sharp. For the purposes of this theory unit, you will be expected to know the Major keys up to 3 flats and 3 sharps. Flat Key Signatures Order of Flats Sharp Key Signatures Order of Sharps F Major B G Major F B Major B E D Major F C E Major B E A A Major F C G A Major B E A D E Major F C G D D Major B E A D G B Major F C G D A To identify the name of a key signature containing flats, look at the second to last flat. For example, if the key signature contains B and E, the name of the key is B but if the key signature contains B E and A then the key is E. To identify to name of a key signature containing sharps, look at the last sharp and count up one semitone. For example, if the key signature contains F C and G, then one semitone up from G is A and therefore the key signature would be A Major. C Major contains no flats or sharps. The Circle of Fifths: This shows all Major keys, their relative minor keys as well as the key signature associated with each key. Notice that if we move right (clockwise) around the circle, the intervals are fifths, but if we move left (counter clockwise) the intervals are fourths. 8

5. Major Triads A triad is a collection of three pitches played simultaneously (harmonic triad) or in sequence (melodic triad). A Major triad is comprised of the first, third and fifth scale degrees. We call this spelling a chord. Triads can also be called chords and are used by composers to add musical interest by accompanying a melody. An inversion is when the lowest note in the triad becomes the 3 rd or 5 th scale degree. When the 3 rd scale degree becomes the bottom note, we call this triad first inversion. When the 5 th scale degree becomes the bottom note, we call this triad second inversion. 9

6. Intervals - The distance between two pitches. Earlier, we looked at whole tones and semitones (the smallest distances between two pitches). We are now going to learn how to identify all Major and Perfect intervals. Intervals can be either ascending or descending; we will only work with ascending intervals. When determining the size of the interval, we measure the distance from the first pitch to the second pitch. In naming intervals, we use two words. The first word determines the quality, and the second word determines the interval. Guide to Naming and Identifying Major/Perfect Intervals: Name of Interval Perfect Unison Minor 2nd Major 2nd Major 3 rd Perfect 4 th Perfect 5 th Major 6 th Major 7 th Perfect Octave Common Melody It s the same pitch! Jaws Theme Happy Birthday Oh When the Saints Here Comes the Bride Twinkle, Twinkle, Little Star My Bonney Lies Over the Ocean First and 3 rd notes of Somewhere Over the Rainbow Somewhere Over the Rainbow 10

7. Rhythm Rhythm is the manner in which sounds are organized. The duration, or value, of each note or rest must reflect rhythmic accuracy by individuals so that different musicians performing different parts maintain strong rhythmic integrity. A: Note and Rest Values - Notes have relationships to each other in the same way as fractions. For example, eight eighth OR four quarters OR two halves will make one whole. We use the same words to describe note and rest values. Similarly, rests have the same relationship (as illustrated above). Observe in the example below the rests shown in sequence from whole rest to eighth rest. *Whole rests are used to indicate an entire bar of rest, no matter what the time signature may be. B: Dotted Note Values A dotted note is held for a longer duration than usual. The dot represents adding half of the rhythmic value of the note to itself. For example, a dotted half note can be considered as a duration of ONE half note plus ONE quarter note totalling to an equivalent of THREE quarter notes. This same formula applies to rests as well. 11

We tend to have common rhythmic pairings of dotted rhythms; an example of this is a dotted quarter and an eighth note pairing. These rhythmic pairings are common in most musical literature such as marches, waltzes and symphonies. Students should become familiar with these patterns as a form of rhythmic vocabulary. Here is an example of a dotted quarter and an eighth note passage: C: Time Signatures The time signature identified in the example above is an important aspect of organizing music. The two numbers provide different information for us. The top number (numerator) tells us how many beats are in a single bar or measure. The bottom number (denominator) tells us what note value gets one beat. To easily read a time signature, simply say it like a fraction. For example, a measure with a time signature of 3/8 consists of three eighths. The key signatures you will be expected to know are 2/2, 2/4, 3/4 and 4/4 (aka C or common time ), 6/8, 5/4 and cut-time. D: Counting System Different musicians rely on different systems of counting their music. As a developing musician, you may have organized a way to count that brings you success. For the purpose of being able to communicate consistently amongst student-musicians at VanTech, the following are examples of the coutning system we will use to represent: Duration of notes that sound Duration of rests Subdivision of each beat Subdivision is when a beat is divided into smaller pieces. For example, when counting a beat as a quarter note, a pair of eighth notes divide a beat into halves. Similarly, sixteenth notes divide a beat into quarters. Triplets are notes that are used when a beat is divided into thirds. 12

It is also absolutey true that the first beat in any measure of music will be represented by 1. Look at the following examples as you come to understand the rules listed below. 1+2+3+4+ 1+2+ 3+4+ 1+ 2+ 3e+a 4+ 1 +2 + 3+ 4e+a 1+ (2+ 3+) 4 + 1+ 2+ (3+ 4+ 1+) 2+ (3+) 4 + (1+ 2+) 3 e + a 4+ 1+ 2+ 3+ (4) + Rule 1: Use a regular (or larger) sized number or + symbol to identify the beat or part of a beat on which the note begins to sound Use smaller numbers of + symbols to identify that the note continues to sound until the end of its value Rule 2: Use parentheses to surround numbers or + symbols to identify the full duration of a rest Rule 3: In every measure, each eighth must be indicated by a number or + symbol to ensure that no part of a measure was left out In a passage of music which uses sixteenth notes or sixteenth rests, you must use the 1 e + a pattern of counting 8. Musical Terms 13

Communicating in a common langauge is an important aspect of musicianship. Composers and performers use an efficient system of expressive terms when describing music or providing instructions for how the music should be interpreted. Most often, these terms are provided in Italian. Some composers like Mahler, Grainger or Debussy are known to also use German, English, and French terms. The list below are terms you are expected to know for the final examination. A. Tempo Italian Term A tempo Tempo Grave Lento Largo Adagio Andante Moderato Allegro Vivace Presto L istesso tempo Accelerando Ritardando Rallentando Mosso English Meaning Return to the original tempo Speed (beats per minute) Slow and solemn Slowly Broadly Slow and stately At a walking pace Moderately Lively and quick Fast Very fast The same tempo Gradually faster Gradually slower Suddenly slower Motion B. Dynamics Italian Term Pianissimo Piano Mezzo piano Mezzo forte Forte Fortissimo Crescendo Decrescendo Diminuendo Sforzando English Meaning Very soft Soft Medium soft Medium strong Strong Very strong Gradually stronger Gradually softer Diminishingly With sudden emphasis C. Style Italian Term Agitato Animato Con brio Calme Dolce English Meaning Agitated Animated With life Calm Sweetly 14

Espressivo Maestoso Pastorale Pesante Expressively Majestically Pastoral Weighted D. Technique Italian Term Pizzicato Arco Legato Marcato Staccato Tenuto English Meaning Plucked strings Bowed Strings Smooth, connected Well marked Separated Held (for full value) E. General Use Italian Term Meno Piu Poco a poco Subito Tutti Solo Soli Sempre Con Senza Molto Troppo Non Simile English Meaning Less More Little by little Suddenly All together One single performer A small group of performers Always With Without Much, very Too much Not In the same manner F. Form Italian Term Attacca Dal segno (D.S.) Da capo (D.C.) Coda Fine English Meaning Begin the next section at once From the sign From the beginning Ending The end 15