Professional Documents
Culture Documents
Level 5
The QR Codes
The QR codes found throughout this series can only be read by using a smart phone or pad which has a QR code reader app installed. If you dont have a QR code reader and dont know where to get one, just follow these directions: Step 1 With your mobile device, open your App Store (iPhone), Market (Android), Marketplace (Windows Mobile), or App World (Blackberry). Step 2 Search for QR reader and download and install any one of the apps available. There are free or paid versions. Read the reviews and star ratings to decide which is best for you. Once installed, its ready to go. Step 3 To scan a QR code, activate the app and center the QR code in the viewfinder as if you are going to take a picture of it. Adjust the distance if necessary. Some code readers scan the code automatically when its in view, and some require you to press a button. Step 4 The app should load in a few seconds. If you want to bookmark the app in your web browser for later use, follow the instructions on your particular code reader on how to switch to your web browser. If, after you read these instructions, you are still unsure what to do, dont give up! Just go to www.primotheory.com for a video tutorial or email robert@primopublishing.com
Online Resources
Be sure to visit www.primotheory.com or www.mytheoryapp.com to find links to an ever-growing list of supplemental materials for each level. Throughout the text you will find directions given as follows: PrimoTheory.com Resources Level 7 Page 10
This means to go to the website primotheory.com where you will be taken to a page containing a Resources link. From there just follow the linksclick on Resources, which will take you to a menu with all the volume levels; click on Level 7, which will take you to a page listing Level 7 resources by page number; finally, click on Page 10 to find the desired resource.
Contents
Section 1 Section 2 Section 3 Section 4 Section 5 Section 6 Section 7 Section 8 Section 9 Section 10 Section 11
Notation Rhythm Accidentals Intervals The Major Scale Ear Training: Intervals Major Key Signatures The Major Triad Sight Singing Melodic Dictation Definitions
page 4 6 18 24 32 34 37 48 54 56 58
Section 1 Notation
Ledger lines are used to extend the range of a staff. Ledger lines are added above or below a staff.
`444444444545 1444444444545
ww w w w w
G A B C D E
ww w w w w w w w w ww
A B C D E F F G A B C D
`4445
w
ledger lines
ww w w w w
B C D E F G
1.
Copy the notes of the first measure. Name the notes that you write.
`444444-4444444-= 1444444-4444444-=
w w w w w w
F G A B C D A B C D E F
w w w w w w
w w w w
A B F
2.
Practice writing notes stepping above the staff. Write your own ledger lines. Use the dotted lines to help you keep the ledger lines in good alignment.
554444446444444466
3.
`444444-4444444-= 1444444-4444444-=
E D C B A G G F E D C B
4.
Copy the notes of the first measure. Name the notes that you write. NOTE: As the notes go down, the letters of the alphabet go backwards.
554444446444444466
5.
Practice writing notes stepping BELOW the staff. Write your own ledger lines. Use the dotted lines to help you keep the ledger lines in good alignment.
w w
E D
w w
G F
w w w w w w w w w w w w
Section 2 Rhythm
whole rest half rest
This graphic shows a hierarchy of note values. whole note half note quarter note eighth note The dotted half note is equal in value to three quarter notes:
=
Q
E
1.
A A A A A A
2.
note equals note equals note equals note equals note equals note equals
A A A A A A
note equals note equals rest equals rest equals rest equals rest equals
Write the one note that is equal in value to the notes and rests given.
= = = = = = = = =
4.
5.
middle C
line A
space E
line G
space C
line D
space F
Write dotted half notes. Add a stem and dot to each note head.
6.
Write dotted quarter notes. Add a stem and dot to each note head.
7.
8.
9.
Write eighth notes. Add a stem and flag to each note head.
half rest
quarter rest
whole rest
8th rest
`54
6 4 3 4
4 4
Example:
`55
4 4
There are four beats per measure. The quarter note ( ) gets one beat.
10.
Write the number of beats per measure according to each time signature. Beats per measure:
5 4
2 4
4 4
11.
12.
Write the top number of the time signature in each measure. The top number should equal the total number of beats in each measure.
qqq
q qqqq q
4 Ee h
4 qqqq 4 Ee e Eq 4eE Ee
4 h.
qqqq
Note: All descriptions of note and rest values in this section assume the bottom number of the time signature is
4.
two beams
qqqq
= =
Four sixteenth notes equal one quarter note. Two sixteenth notes equal one eighth note.
13.
Write the one note that is equal in value to the notes and rests given.
E xx E e h
q q q q Ee
= = = =
xx E E xx
E eqqqq
xx E q q
qqq E
qqqq
x notes. x notes.
= = = =
A sixteenth note gets one fourth the value of a quarter note. A single sixteenth note has two flags. When two or more sixteenth notes appear in succession, they are usually beamed.
x r
two flags
10
4 4q
1 1
beat
beat
beat
beat
4
q q q q q q q q
+
2
q
3
qqqq
1
e+a e +a e +a
qqqqqqqqqqqqqqqq
1
q qq qqq
1 1
e+a
e +a
e +a
e +a
2 4 qqqqq 2 4 q
1 1 1
15.
Clap the rhythms as you count aloud. Repeat each exercise until you can clap and count at a steady pace.
e+a
2
qqqqq
qqqqq q
qqqqq q
qqqqq qqqq
2 4 q qqq
2
qqqq q
e+a
2
2 4 qqq q
e +a
1
q qq q qq q qq q qq q qqq
e+a
2
e+a
e +a
qqq qqq
1
e +a
e +a
qqq qqq
qqq q
3 4 qqq q 3 4 q
Exercises in #4time.
E e q qqq
q q q qqq q qq q q q
E e
qqq
3 4 q qqq
q q qq q q q
E e q
E eqqq q q qqqq E e q
S
=
11
qqqq
SSSS
one beat
one beat
4 4 Sq q q q 4 4 q q q Sq
1 2
at a steady pace.
e+a
2 3
4 4q
1 1
qq S qe q +a
4 4
Sq q q q Sq q q q
q
Sq q q q q Sq q q q
q q Sq q q q q
q S qe q+ qa q S qe q +a
3 2 3
Sq q q q Sq q q
q q q Sq
Sq q q
4 4 q q q Sq
e +a
1
q q q Sq
e +a
4 4
q q q Sq q q q Sq
q q q S q q q q q Sq q q q q S Sq q q q q q S q
e +a
S qe q+ qa q
+
Sq q q q
17.
2 4 q q q q S q q Sq q q q q q q q q q q E e 4 4q
3 4 q
Write the counts of the measure below the notes and rests. Check the time signatures.
2e +a 3
qq qq q q q qq q qq qq e E q
q q q q q q qq q
Sq q q e E Sq q q q q q S
qq q
Sq q q q q q
q q q
E e q qq q qq S
E eq
12
Writing Sixteenth Notes and Rests When writing sixteenth notes, always place the flags to the right of the stem, as with eighth notes. When two or more sixteenth notes appear in succession, they are usually beamed. A sixteenth rest is placed below the 4th line and sits on the 1st line.
18.
45445 45445445
4th line 1st line
45S 5445
19.
444444444444444445 444444444444444445
20.
Add a stem and two flags to each note head. Remember the rules for stem placement and direction.
Connect each group of notes with two beams. The beams should be thicker than the stems.
21.
45445444454444444445 S
q q q q
qqqq
qqqq
qqqq
qqqq
qqqq
q q q q
qqqq
13
eee
The following two-measure drills will help you understand the q. erhythm. You must be able to do three things as you perform these drills: (1) With your foot, tap beats one and two of both measures (marked with x). (2) Count aloud where indicated (one two). (3) Clap the rhythms. You must completely master each line before proceeding to the next.
2 4 q 2 4 q 2 4 q 2 4 q
23.
one
two and
(hold)
q q q q
one
two
one
two and
(hold)
one
two and
e e
one
(hold)
two and
one
two
2 4 q 4 4 q
e q q
e qqq
e qqqq q e q q
q
eq
eq q q
eq
e q q q
14
24.
4 4 q qq q q 4 4
q qq q q q qq q q qq q
25.
qq qq q.
q. e h q. e q q
= = =
Sq q q q .
q. e
e q. qq
= = =
Meter is the pattern of strong and weak beats in a measure. A time signature tells more than just the beats per measure and which note gets the beat; a time signature also indicates that certain beats of the measure are stronger than others.
2 4 1
3 4 1
4 4 1
3
Strong
4
weak
STRONGEST weak
The first beat of the measure is always the strongest. Syncopation occurs when a normally weak beat or part of a beat is emphasized. For example, in 4 $ time, beats 1 and 3 are naturally strong and beats 2 and 4 are naturally weak. A rhythm is syncopated when the normally weak beats (2 and 4) are given more emphasis than the normally strong beats (1 and 3). A common way to emphasize a normally weak beat is to begin the longest note of the measure on it.
4 4 q h.
1 2
long
3 4
q h
1 2
long
3
q
4
q h
1 2
long
3
15
Reading Rhythms
26.
1
Clap the rhythms as you count aloud. Watch the time signatures. Repeat each exercise until you can clap and count at a steady pace.
3 4
#4 q Q q \ h ry\ q q ry\ q Eeq \ ryq Ee\ q Eeq \ h. #4 q Q q \ h ry\ q q ry\ q. eq \ ryq ry\ q. eq \ h.
$4 q q rtty\ q Eeq. e\ q Eeryq \ q. eq ry\ q. eh
@4 rdg rdg \ q q \ rdg rdg \ ryq \ dgydgy \ q q \ dgyq @4 dffgdffg \ q. e\ dffgdffg \ ryq \ dgyrdg \ dffgq
#4 dfgS dgyq \ q S dfgry\ dfgS S dfgry\ S dfgdfgS q
10
16
3 4 3 4 3 4 4 4 4 4
h qqq q h h q
q q qq q q qqq
Level 5
q h
q qq q
qqq q q h
q q qqq
Rhythmic Dictation: Extra Rhythms
More exercises beyond the assignment on this page are available. Scan the code: On your PC:
MyTheoryApp.com
REVIEW: Section 2
1.
17
In each measure write the top number of the time signature. The top number should be equal to the total number of counts in the measure.
4q q Ee
e q qq h.
4 q qqe Eqq qq q
q qq q q
4q q q q
q q q.
2.
In each measure one note is missing. Below each arrow, write one NOTE to complete the measure.
q qq
q qq h
q qq q q
e
3.
In each measure one rest is missing. Below each arrow, write one REST to complete the measure.
2 4 qq qq
1444554444444444444456 Q S 1444556Q4444444444454545 S
4 4 h q q E e h q qq
q qq q qq h q q
h. q qq
Look at the time signatures and draw bar lines where they should go. Draw a double bar line at the end of each line.
3 4 q q q q q e E q. e
E e q
18
Section 3 Accidentals
On the keyboard, a half step is the distance from one key to the very next key.
white to black
1.
black to white
white to white
2.
A whole step is made up of two half steps. On the keyboard, count two half steps from the starting note.
black to black
3.
white to white
4.
19
Sharp (#), flat (b) and natural signs ( ) are called accidentals. On the staff, an accidental is placed to the left of the note that is affected.
Sharp Sign
A sharp sign before a note raises the pitch one half step. On the keyboard, play the very next key to the right.
`445445#w
F
B#
#w
When an F is sharped it is called F-sharp (written as F#). When a B is sharped it is called B-sharp (written as B#), and so on. On a staff, a sharp sign is placed to the left of the note head. The center of the sharp sign should be aligned with the note head.
space notes line notes
5.
`564-44-44-44-44-44-44-= 1564-44-44-44-44-44-44-=
w w q
A
Write a sharp sign before each note. Name the notes. Circle the sharped notes that are played on the white keys.
20
Flat Sign
A flat sign before a note lowers the pitch one half step. On the keyboard, play the very next key to the left.
`445445G
$
w w
Cb
When a G is flatted it is called G-flat (written as Gb). When a C is flatted it is called C-flat (written as Cb), and so on. On the staff, a flat sign is placed to the left of the note head. The head of the flat sign should be aligned with the note head.
space line
`564-44-44-44-44-44-44-= 1564-44-44-44-44-44-44-=
E
`44444444444444466446-=
h h h h
7.
Write an X across the badly written or incorrectly placed sharp or flat signs.
6.
Write a flat sign before each note. Name the notes. Circle the flatted notes that are played on the white keys.
w q
21
Natural Sign
A natural sign cancels a sharp or flat sign. On the keyboard, a natural sign will always indicate a white key.
14454445
+ = space line
Db
When writing a natural sign, use an L shape and a 7 shape and combine them: Align the center of the natural sign with the note head.
`4556-45566-45566-45566-45566-45566-=
h h h h h h
Write a natural sign before the second note of each measure. Name the notes.
`44454544466 -=
F F
The bar line cancels the sharp.
4 4 q q q q
q q h
9.
`44454544444444444446-= `44454544444444444446-=
.h
q q q q
q qq q q q q
4 4 q qqq q 3 4 q
q q
qqqqh
qqqq q q
q q h
h h
8.
22
11.
14.
w w
w w
w w
The distance between each pair of notes is a half or whole step. Write W for whole step and H for half step.
w w
.h
Write a whole step down from each note. Use dotted half notes.
w w
.h
13.
`4566 -4566 -4566 -4566 -4566 -4566 -= 14566 -4566 -4566 -4566 -4566 -4566 -= `4566 -4566 -4566 -4566 -4566 -4566 -= 14566 -4566 -4566 -4566 -4566 -4566 -= `4566 -4566 -4566 -4566 -4566 -4566 -= 14566 -4566 -4566 -4566 -4566 -4566 -=
h
Write a half step down from each note. Use eighth notes. Write a whole step up from each note. Use sixteenth notes.
Write a half step up from each given note. Use half notes.
.h
.h
10.
23
Enharmonic Spellings
Enharmonic notes are two notes that share
the same pitch but are spelled differently. Every key on the piano has more than one name.
D# E$
B C$
`4444444
enharmonic notes
w w
enharmonic notes
w w
15.
Go to the piano and play the following notes: Play F#, then play Gb. Play Ab, then play G#. Play F, then play E#. Play B, then play Cb. On the keyboard, find the key that is named, then complete each statement. Eb can also be called Db can also be called C can also be called E can also be called Write the enharmonic equivalent of each note given. Use half notes. Name the notes.
16.
`4556-4556-4556-4556-4556-45566-= 14556-4556-4556-4556-4556-45566-=
h h
Identify the distance between each pair of notes. Write W (whole step), H (half step), or O (enharmonic, no step).
18.
`446-4466-4466-4466-4466-4466-4466-=
h h h h h h h
h h
h h
h h
17.
24
Section 4 Intervals
An Interval is the distance between two tones. The size of an interval is identified by the total number of letter names it spans. For example, C up to E is called a 3rd because the distance spans three letter names C, D, and E. Melodic Intervals: the two tones are played one at a time.
Harmonic Intervals: the two tones are played at the same time.
`5445-45545-4455-4545-= `5445-4544-4455-4545-=
h h
2nd
h h
3rd
h h
4th
5th
2nd
ww
3rd
w w
4th
w w
5th
w w
h h q q
h h
`4556-4556-4556-4556-4556-4556-=
h
2nd 5th
h 3rd
4th
2nd
4.
Write the indicated melodic interval above each given note. Use half notes.
h h
q q
3.
ww
w w
h h
ww
5th
h h
h h
2.
ww
q q
1.
w w
q q
25
space to line
STEP
skip skip
STEP
skip skip
6.
`455-4556-4556-4556-4556-4556-= 1455-4556-4556-4556-4556-4556-=
h
Write a harmonic 6th below each given note. Use whole notes.
space to space
7.
8.
`455-4556-4556-4556-4556-4556-= 1455-4556-4556-4556-4556-4556-=
Write a harmonic 7th below each given note. Use whole notes.
Write a melodic 7th above each given note. Use eighth notes.
5.
Write a melodic 6th above each given note. Use half notes.
26
`444-444- `4446-44466w
space to line
10.
Write a harmonic octave below each given note. Use whole notes.
`446-4466-4466-4466-4466-4466-4466-= 1446-4466-4466-4466-4466-4466-4466-=
h h q h
12.
`66455-4556-4556-4556-4556-4556-=
8ve
Write the indcated harmonic interval above each given note. Use whole notes.
7th
8ve
6th
8ve
h h
w w
q q
h h
11.
Identify the interval in each measure. For example: 6th, 7th, 8ve.
w w
w w
6th
w w
9.
`66455-4556-4556-4556-4556-45566-= 166455-4556-4556-4556-4556-45566-=
w
Write a melodic octave above each given note. Use half notes.
27
Now start on C#, then play the key a major 2nd higher, D#. Say aloud the names.
`444 `444
w w
w w
starting note
Repeat this sequence on D and continue this pattern each starting key should be a half step higher than the previous starting key.
`44444444444444
w w
starting note
w w
starting note
w w
starting note
w w
etc.
Repeat this exercise, starting on any note, until it becomes easy. You should be able to name the note names as you play. Always spell the interval as a 2nd. Descending 2nds 14. This exercise is similar to 13, but with descending 2nds. Start on middle C. Play C, then play the key a major 2nd lower, Bb. Now start on B, then play the key a major 2nd lower, A. Continue this pattern of ascending 2nds. Note to teacher: Have the student play exercises 13 and 14 for you. The student should name the notes aloud as they are played, spelling each pair as a major 2nd. These drills may be discontinued when the student can perform them with no hesitation.
28
Some more applications of the drills in exercises 13 and 14: 15. A) Call out the note names as you play, using only sharps for accidentals. B) Call out the note names as you play, using only flats for accidentals. C) On a blank sheet of staff paper, practice writing the patterns in exercises 13 and 14. Use whole notes.
Notating Major 2nds on the Staff 16. On the staff, write the note a major 2nd UP from each given note. Make sure the interval of each measure is notated as a 2nd.
`4456-4465-4465-4546-4465-4645`4456-4465-4465-4546-4465-4645`4456-4465-445-=
w w w w w w
w w
w w
w w
17.
On the staff, write the note a major 2nd DOWN from each given note. Make sure the interval of each measure is notated as a 2nd.
14456-4465-4465-4546-4465-464514456-4465-4465-4546-4465-464514456-4465-445-=
w
w w
w
w
w
w
29
7 half steps
7 half steps
The exception to this is the perfect 5th formed with B or Bb as the bottom pitch.
F#
Bb
Keyboard Drill: Playing Perfect 5ths With the right or left hand, play the following exercises in the same manner as drills 13 and 14. Ascending 5ths 18. Play middle C, then play the key a perfect 5th higher, G. Now start on C#, then play the key a perfect 5th higher (G#). Now start on D, and continue the pattern of ascending perfect 5ths.
`4444444444
white to white key
etc.
As you play this exercise, say aloud the letters as you play. Notice that the two keys of a perfect 5th are white-to-white or black-to-black except for 5ths starting on B and Bb. Descending 5ths 19. This exercise is similar to 18, but with descending 5ths. Start on middle C. Play C, then play the key a perfect 5th lower, F. Now start on B, then play the key a perfect 5th lower, E. Continue this pattern each starting key should be a half step lower than the previous starting key. As always, say aloud the note names. Note to teacher: Have the student play exercises 18 and 19 for you. The student should name the notes aloud as they are played. Each pair must be spelled as a perfect 5th.
30
Some more applications of the drills in exercises 18 and 19: 20. For perfect 5ths, use the same processes outlined in exercise 15.
21.
`4456-4465-4465-4546-4465-4645`4456-4465-4465-4546-4465-4645`4456-4465-445-=
w w w
On the staff, write the note a perfect 5th UP from each given note. Make sure the interval of each measure is notated as a 5th.
w w
w w
w w
22.
On the staff, write the note a perfect 5th DOWN from each given note. Make sure the interval of each measure is notated as a 5th.
14456-4465-4465-4546-4465-464514456-4465-4465-4546-4465-464514456-4465-445-=
w
w w
w
w
w
w
If you wish for more practice on exercises 16, 17, 21, and 22 you can find a printable PDF at the following address:
PrimoTheory.com Resources Level 5 page 30: Interval Focus
31
`444465-444566-444565-44645-6
In each musical example, name the interval size formed by each boxed pair of notes. Example: 2nd, 6th, etc. G Major
3 4
`445-56446-444566-444565-4465-6
`444465-444566-444565-44645-6
2.
3
A Major
3 4
C Major
`4566 5-45656 -45566 -45566 -45566 -45566 -= 14566 5-45656 -45566 -45566 -45566 -45566 -=
w w w w w w w w w w w w
w w
w w
The distance between each pair of notes is a half or whole step. Write W for whole step and H for half step.
w w
3 4
w w
w w
w w
32
The major scale is a series of eight successive tones arranged in the following ascending order of whole steps (W) and half steps (H):
C Major scale
`44444444444645-=
Tonic
w
7
w
8
The tone that begins the scale, the first scale degree, is called the tonic or keynote. In a major scale, the half steps occur between scale degrees 3 and 4 and between 7 and 8. Adding Sharps or Flats to a Scale In this volume, you will be asked to add the sharps or flats to the notes of the scale. Use the W-W-H-W-W-W-H pattern to help determine when to use accidentals.
`44444444444645-= `44444444444645-=
w w w w
D to E is a whole step, which fits the pattern
w w w w
w w w w
w w w w
w w w w
w w w w
w w w w
w w w w
W-W-H-W-W-W-H
W-W-H-W-W-W-H
The distance between scale degrees 2 and 3 should be a whole step. Add a sharp to the F. Moving on to the 4th scale degree
`44444444444645-= `44444444444645-=
W W
F# to G is a half step, which fits the pattern
W-W-H-W-W-W-H
Continue the process, adding sharps or flats to the scale degrees when needed.
W-W-H-W-W-W-H
33
1.
On the staves below: a) Add the sharps or flats needed to complete the major scales. b) Write a slur between the notes which are a half step apart.
E Major
G Major
D Major
A Major
Eb Major
F Major
Ab Major
w w
w
w w
w
w w
w
w w
w
w w
w
w w
w
w w
w
w w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
Bb Major
34
Note to teacher: The following drills can be practiced solo or with the teacher. In all instances where the student is instructed to sing tones, the student must first hear the tones in his head, with the inner ear, before attempting to sing themyou should insist on this point. The student may discontinue an assignment only when he or she has demonstrated a mastery of it. When singing these intervals use numbers, solfege or any neutral syllable. The Sound of the Major 2nd The major 2nd is the first interval you hear when a major scale is played. Play the first two tones of a major scale and you will hear a major 2nd. C Major
`444456
1 2 3 4 5
Major 2nd
w w www
Singing The Major 2nd Practice the following drills daily until they can be done easily. Start on any tone that is in your comfortable singing range. Repeat each exercise using different tones.
1.
On the piano, form a major 2nd (anywhere near middle C). a) Play the two tones of a major 2nd. b) Sing and match the tones as you play them on the piano.
When you can sing and match the notes of a major 2nd, discontinue assignment 1 and move on to assignment 2.
2.
Starting on any tone near middle C: a) Play the tone. Sing and match the tone. With your inner ear, hear the second tone a major 2nd higher. b) Sing the second tone. Test pitch accuracy by playing the second tone on the piano. If necessary, play the two tones as you sing them. c) Follow the steps a), b), and c) and go down a major 2nd from the starting tone.
35
`444456445 `444456445
w(
1
w
5
w
1
w
1
( )
3
w
5
w
1
Or, use one of the many melody or themes that begin with the perfect 5th. Write down the melodies you know that begin with a perfect 5th going up (ascending):
____________________________________________________________________________________________________________
List the melodies you know that begin with a perfect 5th going down (descending):
____________________________________________________________________________________________________________
Starting on any tone near middle C: a) Play two tones a perfect 5th apart. b) Sing and match the tones as you play them on the piano.
When you can sing and match the notes of a perfect 5th, discontinue assignment 3 and move on to assignment 4.
4.
Starting on any tone near middle C: a) Play the tone. Sing and match the tone. With your inner ear, hear the second tone a perfect 5th higher. b) Sing the second tone. Test pitch accuracy by playing the second tone on the piano. If necessary, play the two tones as you sing them. c) Follow steps a) and b), and go down a perfect 5th from the starting tone.
36
Teacher/Student Drills 5. You will hear pairs of intervals in broken or blocked form. They will either be a major 2nd or perfect 5th. Write M2nd or P5th in the blank.
A
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
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6.
1.
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6.
1.
2.
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4.
5.
6.
1.
2.
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5.
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37
1.
`4444444-6 `4444444-6
2.
List the sharps of the key signature in order of appearance. F One sharp: Two sharps: Three sharps: Four sharps:
# 3 4
q q q q
## 4 4 q q q
`4444444-6
qq q
## 4 4
`444444-6
q
4 4
38
`4445 14445
F CGD
F#
down a 4th
C#
D#
down a 4th
3.
In each measure, write the key signature of four sharps on both staves. NOTE: Complete only two or three measures at a time.
39
Naming Major Keys from the Key Signatures To find the name of a major key with sharps in the key signature: First, moving from left to right, find the last sharp of the key signature.
From the last sharp, go up a half step to find the name of the major key.
`4644 `4644
wA
A Major
4.
Answer the questions to find the major key from a key signature with sharps. a) Circle the last sharp of the key signature. . b) A half step up from this sharp is c) The major key for this signature is
a) Circle the last sharp of the key signature. . b) A half step up from this sharp is c) The major key for this signature is a) Circle the last sharp of the key signature. . b) A half step up from this sharp is c) The major key for this signature is a) Circle the last sharp of the key signature. . b) A half step up from this sharp is c) The major key for this signature is
40
5.
List the flats of the key signature in order of appearance. B One flat: Two flats: Three flats: Four flats:
`444 1444
BE AD
B$
up a 4th
The first four flats of the order of flats spells the word BEAD.
A$
up a 4th
D$
41
6.
To find the name of a major key with flats in the signature, find the next-to-last flat of the key signature. This flat names the key:
In each measure, write the key signature of four flats on both staves. NOTE: Complete only two or three measures at a time.
NOTE: This method of finding major flat keys does not work with F Major, which has only one flat Bb. Memorize the key signature of this key!
`45 145
F Major
42
7.
Answer the questions to find the major key from a key signature with flats.
a) Circle the second to last flat of the key signature. b) Name the second to last flat. c) The major key for this signature is a) Circle the second to last flat of the key signature. b) Name the second to last flat. c) The major key for this signature is a) Circle the second to last flat of the key signature. b) Name the second to last flat. c) The major key for this signature is a) The major key for this signature is
. .
REMEMBER THESE TWO KEYS: The key of C Major has no sharps or flats in its key signature.
C Major
F Major
43
C
0
UP by 5ths
G
1
D
2
A
3
E
4
In key signatures with flats, the new keys will appear in descending 5ths as you add flats.
DOWN by 5ths Major key: Number of flats:
Ab
4
Eb
3
Bb
2
F
1
C
0
Start here
The series of 5ths for key signatures up to four sharps and four flats is summarized:
Ab - Eb - Bb - F - C - G - D - A - E
down by 5ths
start
up by 5ths
8.
up by 5ths
9.
down by 5ths
10.
start
up by 5ths
44
C Major
`4444444445-=
2 3 6 8 (1)
tonic
w w w w w w w w dominant
1 4 5 7
11.
For each scale: a) identify each key (Example: B Maj, Eb Maj), and b) identify the tonic and dominant notes by their letter name.
w w w w w w w w
Key
Tonic Dominant Tonic Dominant Tonic Dominant Tonic Dominant Tonic Dominant
Key
Key
Key
Key
45
The two exceptions are C majorno sharps or flats, and F majorone flat. Once that is settled, go through one of these two procedures How to Find Major SHARP Key Signatures The question: What is the key signature for E major? Step 1: Start with the key name, and the target E. Step 2: Recall the Series of 5ths studied earlier in this book (p. 42). Use the ascending series C, G, D, A, E. Add sharps as you go up to the target E. C G D
0# 1# A E 2# 3# 4#
How to Find Major FLAT Key Signatures The question: What is the key signature for Eb major? Step 1: Start with the key name, and the target Eb. Step 2: Use the descending Series of 5ths C, F, Bb, Eb, Ab. Add flats as you go down to the target Eb. C The answer: Eb major has three flats.
F Bb Eb 0b 1b 2b 3b
46
1.
2.
3.
Bb Major:
Eb Major:
A Major:
The tonic is
w
.
The tonic is
The tonic is
47
4.
5.
6.
7.
Name the major key for each key signature. Use abbreviations. Example: A Maj, E Maj.
A Major
G Major
D Major
E Major
Name the major key for each key signature. Use abbreviations. Example: A Maj, Bb Maj.
Ab Major
Eb Major
F Major
Bb Major
48
A chord is made up of three or more different tones sounded simultaneously. Chords may be implied when the tones are sounded one at a time (broken chord). A triad is a type of chord that has only three tones stacked in thirds (skips). On the staff, a triad is made up of: a) line notes only, or b) space notes only.
`4444
line notes space notes
w w w
w w w
Major 3rd
From the second tone, go up three half steps to the top note of the triad. This interval is called a minor third.
The major triad is now complete. The chord members are identified as the root, 3rd and 5th.
minor 3rd
D Major Triad
Root
3rd
5th
1.
On the keyboard, build a major triad on each of the tones below. Spell the tones as thirds. Say the name of each tone aloud as you play it.
Db
Eb
Gb
Ab
Bb
Repeat this exercise until you can easily form the chords and name the tones.
49
`4444444445-=
w w w w
I
2 3 4 5 6 7 8 (1)
The tonic triad of a major key is a major triad. The uppercase roman numeral I is used to label the tonic triad.
For each key signature: a) Name the major key. b) Write the tonic triad. c) Write the roman numeral I under each tonic triad. Example: B Major Major
2.
50
`4444444445-=
w w w
1 2 3 4
8 (1)
The dominant triad of a major key is a major triad. The uppercase roman numeral V is used to label the dominant triad.
3.
For each key signature: a) Name the major key. b) Write the dominant triad. c) Write the roman numeral V under each dominant triad. Example: B Major Major
51
4.
For each musical example: a) Identify the major key. b) Write a roman numeral I under each tonic triad. c) Write a roman numeral V under each dominant triad.
4 4 4 4 4 4 4 4 4 4 4 4 3 4 3 4
Major
Major
Major
Major
52
Singing Triad Pitches with Chord Preparation As you practice the following drills, think of the major triad sound as bright or happy, and the minor triad as dark or serious.
5.
Starting on any tone, prepare the tones of a major triad on the piano: a) Play the root only. Sing the root. b) Play the tones of the major triad simultaneously, as a blocked chord. c) Sing as you play the triad tones in the following pattern: root - 3rd - 5th - 3rd - root.
Now lower the 3rd of the triadthe middle tonea half step. This turns the major triad into a minor triad. d) Repeat steps a), b), and c) using the minor triad.
Singing Major Triad Pitches Unaided 6. Starting on any tone, prepare the tones of a major triad on the piano: a) Play the root only. Sing the root. b) Without the piano, sing the tones of the major triad in the following pattern: root - 3rd - 5th - 3rd - root. c) Test accuracy by playing the tones on the piano in the same pattern. If necessary, play the tones as you sing them.
Now lower the 3rd of the chord (middle note) a half step. This turns the major triad into a minor triad. d) Repeat steps a) through c) using the minor triad.
53
Teacher/Student Drills
7.
You will hear two triads in each set. One of them is a major triad. If the major triad is the first chord played, circle 1. If the major triad is the second chord played, circle 2.
1st set 2nd set 3rd set 4th set
1st set
2nd set
3rd set
4th set
1st set
2nd set
3rd set
4th set
1st set
2nd set
3rd set
4th set
54
A melody is a group of notes which sound one at a time and form a complete musical statement, or musical sentence. Another word for melody is tune. Sight singing is singing a melody from a written piece of music without having seeing it before. The following drills are designed for solo practice and serve as excellent preparation for the singing of melodies written on the staff. These drills will also help prepare you to hear simple melodies with such understanding that you can write them down on a staff without the aid of an instrument. Singing Drills: How to Practice These Exercises The numbers used in the exercises in bold font represent the scale degrees. 1 is tonic, 2 is scale degree 2, and so on. Sing using scale degree numbers or solfege, preferably movable Do. Play these exercises in any key in your comfortable singing range. A box is provided that will allow you or your teacher to list these keys. As you sing the exercises, play a major triad or 5-note major scale pattern from time to time to keep the key in your ear or some similar pattern. These exercises should be practiced as you proceed with the other sections of this book. Discontinue these drills only when you can perform them easily and consistently.
Select a key and prepare a 5-note major scale on the piano. a) Play the starting tone of the exercise on the piano. b) Sing and match the starting tone. c) Hear the exercise in your head, with the inner ear. d) Sing the exercise. e) Test accuracy by playing the drill on the piano. If necessary, play the tones as you sing them.
55
Exercises Use the following exercises for assignment 1. Your teacher will note the appropriate range of keys in the box provided..
List the major scales to use: Scale degrees used: 1 2 3 4 5 Students singing range:
3rds
and 5ths:
1 3 1 3 1 3 5 1 3 5 3 1 3 5 1 3 5 3 5 3 1 1 3 5 1 5 1 5 1 3 5 3 5 3 1 1 5 3 5 3 1 5
3 1 3 1 3 1 5 3 1 3 5 3 5 1 3 5 3 5 3 1 3 3 5 3 1 3 1 3 5 3 5 3 5 3 1 5 3 1 5 3 1 5 3 4 5 4 3 2 1 5 4 3 4 5 5 4 3 2 3 4 5 5 4 3 2 1 2 3 4 5 5 4 5 4 3 2 3 2 1 5 4 5 4 3 2 1 2 3 3 2 3 1 5 4 5 3 1 5 4 3 4 5 3 1 2 3 5 4 3 5 3 2 1 3 5 5 1 5 4 3 1 3 2 1 5 1 3 2 1 3 5 4 3
2nds
only:
1 2 3 2 1 1 2 3 4 3 2 1 1 2 3 4 5 4 3 2 1 1 2 3 2 1 2 3 2 1 3 4 5 4 3 4 5 4 3 3 2 1 2 3 4 5
1 3 5 4 3 4 5 3 1 1 5 4 3 2 2 3 2 1 1 5 1 5 4 3 2 2 3 3 1 5 5 4 3 2 2 1 3 5 3 2 1 3 5 4 3
Write exercise of of the columns under the heading 2nds, 3rds and 5ths as notes on the staff in familiar major keys. List the major keys here: a) Study each line until you can sing it from memory. Memorize the sound, or tune, of each example. Do not memorize the numbers! b) Write down the scale degrees as notes on the staff, singing each tone that you write. Write on the treble or bass staff. Use whole notes and no time signature.
56
Melodic dictation is the act of writing on the staff the notes of a melody that is performed. Two things to keep in mind: Develop a good musical memory - always try to quickly memorize what you hear. Keep the sound of the tonic in mind - refer to it with your inner ear when needed. Although you might be tempted, do not begin writing immediately. A good method to follow in any type of dictation exercise is this: At first, just relax and listen carefully to the entire phrase.
1. Each
1
4 4 4 4 4 4
F Major
G Major
57
Bb Major
4 4 4 4
D Major
A Major
3 4 3 4
Eb Major
E Major
3 4
58
Section 11 Definitions
A tempo indicating a moderate walking speed A sharp, flat or natural sign A resting point in the music Three or more tones sounding together Sharp, flat or natural signs; an accidental Growing louder; cresc. or Repeat from the beginning Repeat from the point marked by a sign, usually % Growing softer; dim. or The fifth tone of a scale, scale degree five A triad built on the fifth scale degree Notes which use more than one spelling for the same pitch The distance from one key to the very next key Two tones played at the same time The distance in pitch between two tones The first pitch (degree) of a scale, tonic The arrangement of sharps or flats after the clef sign Lines added above or below the staff to extend it Play in a smooth and connected manner Eight stepping notes made up of the following half and whole step pattern: W-W-H-W-W-W-H A triad which has four half steps (major 3rd) between the bottom and middle tone, and three half steps (minor 3rd) between the middle and top tone Two tones played one at a time
The organizing pattern of strong and weak beats
andante accidental cadence chord chromatic sign crescendo da capo ( ) dal segno ( ) decrescendo diminuendo dominant dominant triad enharmonic notes half step harmonic interval interval keynote key signature ledger line legato major scale major triad melodic interval meter mezzo forte mezzo piano moderato
59
motive, motif natural sign octave order of flats order of sharps ornament pentachord pentatonic scale pianissimo primary chords scale second subdominant
syncopation
A short, distinctive rhythmic or melodic idea used repeatedly A sign that cancels a sharp or flat An interval spanning a distance of eight tones The order in which flats appear in a key signature The order in which sharps appear in a key signature A note or notes added to beat notes of music, embellishing the music A series of five musical tones A scale that has only five tones Very soft Triads built on scale degrees 1, 4 and 5 A sequence of stepping tones A step The fourth tone of a scale, scale degree four
The emphasis of beats which are normally weak in a meter, an off-beat
The speed of steady beats, moving in time A scale of four tones An interval of two steps, a skip Two numbers, one on top of the other, that indicate the number of beats per measure and the note value that receives one beat. A curved line that connects two notes of the same pitch
The first pitch (degree) of a scale, same as keynote A triad built on the first scale degree
A three note chord, stacked in thirds An interval spanning two half steps (Ex. C to D)