Professional Documents
Culture Documents
Level 6
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 Section 12 Section 13 Section 14 Appendix
Rhythm and Meter Simple and Compound Time Notation The Major Scale Intervals Ear Training: Intervals Key Signatures Major and Minor Triads Ear Training: Major and Minor Triads Sight Singing Melodic Dictation Tonic, Dominant and Subdominant Form in Music Definitions Focus on Intervals
page 4 14 18 20 22 25 30 37 42 44 46 48 53 54 56
1445-445-445-445-445-445-=
Draw dotted quarter notes. Add a stem and dot to each note head. Draw eighth notes. Add a stem and flag to each note head. Draw beamed eighth notes. Add stems and connect the notes in each measure with a beam.
2.
3.
4.
5.
6.
7.
half rest
quarter rest
whole rest
16th rest
The top number of a time signature shows The bottom number of a time signature shows Write the number of beats per measure according to each time signature. Beats per measure:
4 4 2 4 3 4 6 4 5 4
. .
11.
14444444444444444545= Q 14444444444444444545= Q
4 q Eee E 4 q q E e 4 h
h
4 h. q q 4 q E e 4 h.
4 q q q q q h. 4 e E Ee
12.
13.
3 4 q q eq
4 4 h q q q h. q q E e q q q 3 4 q q h q q q h. q q q
q h.
qq e E E e
6 Note: All descriptions of note and rest values in this section assume the bottom number of the time signature is
4.
eee
The dotted quarter combined with an eighth note equals 2 counts: q. e= h 14. 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.
2 4 q
one
two and
(hold)
q q q q
one
two
2 4 q 2 4 q 2 4 q
15.
one
two and
(hold)
one
two and
e e
one
(hold)
two and
one
two
q q
qqqq qq
= =
Four sixteenth notes equal one quarter note. Two sixteenth notes equal one eighth note.
16.
Write the number that completes each statement. An e note equals A h . note equals A w note equals
x notes. x notes. x notes.
17.
4 4 dffgq rdgq \ rdgrydgyq \ rydgyq ry \ dffgryq q 4 4 q ryEedgy\ ryEerdgry \ eE dgyEeq \ dffgEeEeq 3 4 dffgryEe\ rdgdgyQ \ rdgryEe\ q dffgdgy\Eedgyq 2 4 eq e\ eq e\ dgyrdg\ q Ee\Eeq \ dffgrdg\ ryEe\ h
Clap the rhythms as you count aloud. Repeat each exercise until you can clap and count at a steady pace.
qqqq
x notes. x notes. x notes.
x r
S
=
qqqq
SSSS
one beat
one beat
18.
Write the number that completes each statement. A x note equals An e note equals A w note equals
S S S
19.
Clap the rhythms as you count aloud. Repeat each exercise until you can clap and count at a steady pace.
4 4 q dgyq S dfg \ ryEeq S dfg \ dgyq S dfgry \ ryEeh 4 4 q. edfgS ry\ dfgS rydgyq \ q. erdgdfgS \ dffgEeh 3 4 rdgEerdg\ q. ery\Eeq dfgS \ EedfgS q \S dfgryq 2 4 rdgdfgS \ ryEe \ dfgS S dfg \ rdgEe \ dgyq \ S dfgq
When drawing sixteenth notes, always place the flags to the right of the stem, as with eighth notes.
45445 45445
q q qqqq q q q q q q q q
q q
A sixteenth rest is placed below the 4th line and sits on the 1st line.
22.
4544544445444444444 S
Draw the one note that is equal in value to the notes and rests given.
23.
qq qq q.
q. e h q. E q q
= = = =
Sq q q q q q
q q
qqqq
21.
45445444456444444444 45445444456444444444
q q q
Connect each group of notes with two beams. The beams should be thicker than the stems.
45S 5445
Sq q q q .
q Ee q. e q.
20.
e qq
= = = =
10
the measure.
3 4 qq qq
q qq q
h
q qq
q q q q q. q qq
q qq q q
qqq
q qq
25.
In each measure one rest is missing. Below each arrow, draw one REST to complete the measure.
2 4 qq qq e
q qq
q qq
q q E qq
q. e q q q q
eq
q qq qq qq q qq q
26. Look at the time signatures and draw bar lines where they should go.
3 4 q. e q q q
q qq h q q q qq
q qq qq q e E
q q q q. e
E e q h q q
E e q
11
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 the weak 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. Syncopation occurs when 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. This same principle applies to the divisions of the beat when the beat is divided into equal units of 2 or 4.
4 4 q h.
1 2
long
q h
1 2
long
q
4
2 4 e q.
1
long
&
&
eq
1
long
&
e e
&
For each time signature a note is circled. In the blanks below each example, write S if the circled note is on a strong beat, W if it is on a weak beat..
4 4 q q q q 2 4 q q 3 4 q q q 4 4 q q q q 2 4 q q
28.
4 4q qh q 2 4
4 4 q q qh 2 4
eq e
3 4 q q. e 3 4
h qq
2 4 e q. 3 4 4 4h
q q qq
qqq
12
Rhythm Review
29.
1
13
You may also use this address to access the app on your mobile device.
Using the web app given above, listen to the rhythms and write the notation on this sheet. You will hear four measures of rhythmic dictation. Fill in measures 2 and 4 of each example.
3 4 3 4 3 4 4 4 4 4
qqqqq q q.
e
q.
qqq
eq q
qqq
q. e q q q qqq h
q qq h q q q. e
More exercises beyond the assignment on this page are available. Scan the code: On your PC:
MyTheoryApp.com Level 6 Rhythmic Dictation: Extra Rhythms
14
In compound time the beat is divided into three equal parts. The top number of a time signature in compound time is 6, 9 or 12.
Compound
The
In compound time, the numbers of the time signature are usually interpreted differently. The upper number of compound time signatures does not directly indicate the number of beats per measure. To find the number of beats per measure, divide the upper number by three. 6 8 3 = 2 beats per measure The lower number of compound time signatures represents the largest possible division of the beat. 6 8 The eighth note eis the division of the beat.
6 8 Time Signature
In ^8time, the dotted quarter note q.is usually perceived as the beat which is divided into three eighth notes.
The upper number of compound time signatures indicates how many divisions of the beat are in each measure.
q q q q q q
1 2 3 4 5 6
6 8 q.
q.
q. = q q q q
Q Q.
e e
15
1.
6 8 h.
1 1
Clap the rhythms as you count aloud. Repeat each two-measure group until you can clap and count at a steady pace.
2 3 4 5 6
6 8 q q q q q q 6 8 eq 6 8 q
1 1 2 2 2 3 4 5 3
h. q q q q q q eq q eq
q.
1 2 3
q.
4 5 6
q. q
q. e q e
q e q
1 2 3
4 5 6
eq
4 5 5
q q q
1 2 3 1 2 3
4 5 6
Q
.
q q q
Q
.
E q 4
E 6
E q E
q q q q.
Eq
q
4 5 6
Eq
Eq
q
Eq
e h. e h. e h. e h.
Mixed Rhythms
6 8 q. 6 8 q 6 8 q
eq q q q eq eq
q q q q.
eq q q
q q q q
e q.
6 8 eq
e eEeeEe eEe
e q q qq e eEe e
6 8 E eE
2.
Eq
e E eE
Eq
E e E E e E E e E E e E h.
Q Q
.
Q Q
.
6 8 q.
Write the counts of the measure below the notes and rests.
6 8 q q q
q q q
eq q q eq
eq
q.
h.
e q
E qqq E q
Q
.
eEe
16
Clap the rhythms as you count aloud. Repeat each two-measure group until you can clap and count at a steady pace. The + symbol is used in place of and or &.
qqqqq qqqqq
1 + 2 + 3 4 + 5 + 6
q qqqq q qqqq
1 2 + 3 + 4 5 + 6 +
q qqq q qqq
1 2 + 3 4 5 + 6
q
1
(2)
qq q
3 + 4
(5)
qq
6 +
4.
6 8 q qqq q
Write the counts of the measure below the notes and rests. Clap and count aloud.
6 8 qqq q e E e
5.
qqqqq q q q q
q q q q q q q.
E q qqqq
e q.
E q
q q q
In each measure one note is missing. Under each arrow, draw the one note needed to complete the measure.
144444444444444444554565-=
qqqqq
6.
6 8 q q q q
In each measure one rest is missing. Under each arrow, draw the one rest needed to complete the measure.
7.
6 8 q qqqq e
Rhythm Review
1
17
^8 h. ^8 h. ^8 h. ^8 h.
8.
\ q. rty\ h. \ q. rty\ h.
\ q. rty\ h. \ q. rty\ h. q. \ h.
^8 q. q. \ Q. rty\ rtyq. \ rtyq. \Q. rty\ rtyq. ^8 q. q. \ q. rty\ rtyq. \ rtyq. \ q. rty\ rtyq. ^8 q. q e\ rtyq e\ q erty\ q eq e\ q. eq \ eq q. ^8 q.
^8 dffgy rty\ dffgy q. \ rty dffgy \ dffgy q e\ h. ^8 rdgyq. \ rdgyeEe\ q erdgy\ rdgyrty\ q erdgy\ h. ^8 q dgq e\ q. dgty \ q dgrty\ dgtyq. \ q eq dg\ h.
10
11
18
Ledger lines are used to extend the range of a staff. These 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.
`44454544444444444446-=
w w w
w w
144454544444444444446-=
w w w w w w
w w
w w
`45556445556445556445556445556-=
w
REVIEW: Accidentals
A half step is the smallest distance between two notes. On the keyboard, it is the distance from one key to the very next key. A whole step is made up of two half steps. On the keyboard, count two half steps from the starting note. A sharp sign before a note raises the pitch one half step. On the keyboard, play the very next key to the right.
19
`445445#w
F F B B#
#w
A flat sign before a note lowers the pitch one half step. On the keyboard, play the very next key to the left.
`445445w
$
G G
Db
Cb C
A natural sign cancels a sharp or flat sign. On the keyboard, a natural sign will always indicate a white key.
14454445
D
Use these staves to practice drawing sharp, flat and natural signs.
20
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
The tone that begins the scalethe first scale degreeis called the tonic or keynote. In a major scale, the half steps occur between scale degrees 3 and 4 and between 7 and 8.
1.
On the staves below, add the sharps or flats needed to complete the major scales.
G Major
E Major
Bb Major
D Major
B Major
Db Major
A Major
Eb Major
F Major
Ab Major
Gb Major
F# Major
21
22
Section 5 Intervals
An interval is the distance in pitch 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.
`4566-4556-4565-4556-4556-4556-45566-=
h h
2nd
h h
3rd
h h
4th
5th
6th
7th
Harmonic Intervals: the two tones are played at the same time.
`4566-4556-4565-4556-4556-4556-45566-=
2nd
ww
3rd
w w
4th
w w
5th
w w
6th
w w
7th
w w
NOTE: The notes of odd-numbered intervals are line to line or space to space.
`45664445-444445-=
3rd
w w
5th
w w
7th
w w
3rd
w w
5th
w w
7th
w w
`4466-4466 -4466 -4466 -4466 -4466 -4466 614466-4466 -4466 -4466 -4466 -4646 -4646 -=
h h h h w w h ww h h h w w h h h h
1.
w w
w w
w w
8ve (octave)
8ve
w w
w w
23
2.
Draw a melodic interval below each given note. Use dotted half notes.
6th
7th
5th
8ve
`446-4466-4466-4466-4466-4466-446-=
8ve 5th 6th 3rd 8ve 7th
4th
`446-4466-4466-4466-4466-4466-446-=
3rd 8ve 7th 4th 8ve 5th
6th
The Perfect Unison or Perfect Prime: two tones of the same pitch and notation. The pitches may sound at the same time (harmonic) or one at a time (melodic).
`444-444Harmonic Unison
ww
Melodic Unison
h h
h h
6.
w w
5.
Draw a harmonic interval below each given note. Use whole notes.
4.
Draw a harmonic interval above each given note. Use whole notes.
3.
`54466-4466 -4466 -4466 -4466 -4466 -= `54466-4466 -4466 -4466 -4466 -4646 -=
3rd 5th 4th 7th 8ve 6th 2nd
Draw a melodic interval above each given note. Use eighth notes.
4th
24
Enharmonic tones share the same pitch but are spelled differently. Every pitch or key on the piano has more than one name.
D# E$
B C$
`4444444
w w
C# can also be called Cb can also be called E# can also be called
w w
7.
On the keyboard, find the key that is named, then complete each statement. Db can also be called F# can also be called Bb can also be called G# can also be called Eb can also be called
8.
In each measure draw the enharmonic equivalent of the given note. Example:
`444
w
w
`4465-4465-4456-4456-4564-45656-= 14465-4465-4456-4456-4564-45656-=
w w w w w
9.
Identify the distance between each pair of notes. Write W (whole step), H (half step), or O (enharmonic, no step).
`446-4466-4466-4466-4466-4466-4466-=
h h h h h h h
h h
h h
h h
25
`444456
1 2 3 4 5
Major 2nd
w w www
The perfect 5th spans a total of 7 half steps. It is the distance between the first and fifth scale degree.
C Major
`444456
1 2 3 4 5
w w w w w
Perfect 5th
Singing the Major 2nd and Perfect 5th Use the procedure outlined in assignment 1 to review the major 2nd and perfect 5th. Start on any tone that is in your comfortable singing range. Repeat each exercise using different tones. You may discontinue this exercise when you can do it easily and consistently. 1. 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 or 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 major 2nd or perfect 5th from the starting tone.
26
`444456
w
Perfect 8ve
The major 7th spans a total of 11 half steps. This interval can be easily recognized by its relation to the octave a major 7th is one half step lower than an octave. Finding a major 7th on the keyboard: 2. a) Play middle C and the octave above it, first one note at a time, then together. b) Lower the top note by a half step. Play one at a time, then together.
()
Db
Eb
Gb
d) Name the keys aloud as you play them. Remember, you should spell a 7th using two different letters. For example, a major 7th up from D is C#, not Db.
Starting on any tone, construct a major 2nd and play the tones as a harmonic interval (at the same time). Notice the harsh, clashing sound. Do the same with a major 7th. The major 2nd and major 7th are dissonant intervals. Starting on any tone, construct a perfect 5th and play the tones as a harmonic interval. Notice the difference in the sound. The tones blend well and produce a pure sound with no harshness. Do the same with a perfect 8ve. The perfect 5th and perfect 8ve are consonant intervals.
4.
`444-445-=
w w
`444-445-=
Major 7th
w w
Ab
Bb
27
You will hear intervals in broken or blocked form. They will either be a major 2nd, perfect 5th, major 7th, or perfect 8ve. Write 2nd, 5th, 7th, 8ve in the blank.
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.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
28
REVIEW: Sections 1 - 5
In each measure, write the top number of the time signature.
1.
`44444444444444445444445-=
q qq
Below each arrow, place the one note needed to complete the measure.
4 q qqqq 4 e E h
qq q 8 qqq q e 4 qqqq
2.
`4464446-4446446-4444664-44446-=
q q q q qqqq q q q e E qqq h h.
3.
4 4 q.
Below each arrow, place the one rest needed to complete the measure.
4.
`4464446-4446446-4Q444664-44446-= `4444444444444444444445-=
q. e q q q e E qqq q. e h. e
Draw bar lines where they are needed.
4 4 qq q
6 8 q q q q. q e E qqqq e E e q.
qqqq E q.
5.
Tones that share the same pitch but are spelled differently are called . The interval name describing two tones of the same pitch and notation.
6.
7.
`44454444444444444444466 144454444444444444444566 6
Label the distance between each pair of notes. Use the following abbreviations: H (half step), W (whole step), 0 (no step enharmonic), and W+H (whole step + half step).
`446-4466-4466-4466-4466-4466-4466h h w w
Write the arrangement of whole steps (W) and half steps (H) found in the major scale.
9.
10.
Add the sharps or flats needed to complete each major scale. E Major
Eb Major
D Major
Db Major
F# Major
8.
w w
w w
w w
29
h h
30
`44454 144454
F CGDAE B
1.
In each measure, write the complete key signature of sharps on both staves. NOTE: Do not complete this exercise in one sitting.
31
`4646-4445-4444566From the last sharp, go up a half step (to the next letter name) to find the name of the major key.
wG
wA
wF
Name the major key for each key signature. Example: A Maj, F# Maj, etc.
`4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-=
3.
`44556-445566-445566-445566-= 144556-445566-445566-445566-=
A Major G Major E Major F# Major D Major C# Major B Major C Major
32
`44454 144454
BE A DGCF
4.
In each measure, write the complete key signature of flats on both staves. NOTE: Do not complete this exercise in one sitting.
33
5.
Name the major key for each key signature. Example: Ab Maj, F Maj, etc.
`4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-=
6.
`44556-445566-445566-445566-= 144556-445566-445566-445566-=
Ab Major Gb Major Eb Major F Major Db Major Cb Major Bb Major Gb Major
34
`45`456`456`4566`46456`4566 Eb Major
Bb Major
D Major
A Major
E Major
Db Major
`4645`4456Gb Major
F# Major
Cb Major
`466`456`465`455`464`4456-
Moving clockwise from C major around the circle of fifths, notice that (1) sharps are added to the signature one at a time, and (2) each new key begins a perfect 5th higher than the previous key. Moving counter-clockwise from C major around the circle of fifths, notice that (1) flats are added to the signature one at a time, and (2) each new key begins a perfect 5th lower. Some sharp and flat keys will overlap at the bottom of the circle. These keys will share the same tonic tone spelled as a sharp and as a flat. These are called enharmonic keys.
35
As you add flats, the key names form a pattern of descending perfect 5ths. (Start on the right and go left.)
perfect 5ths
As you add sharps, the key names form a pattern of ascending perfect 5ths.
perfect 5ths
Cb Gb Db Ab Eb Bb F
7b 6b 5b 4b 3b 2b 1b
C
0b
D
2#
A E
F#
6#
C#
7#
0# 1#
3# 4# 5#
The pattern of descending perfect 5ths is placed counter-clockwise along the circle.
1b 2b Bb 3b Eb 4b Ab 5b Db 6b
The pattern of ascending perfect 5ths is placed clockwise along the circle.
0b
0b
0#
0#
G 1# D 2# A 3# E 4#
Cb 7b Gb
7# C# 6#
B 5# F#
If you need help constructing a chain of ascending or descending perfect 5ths go to the following online resource:
PrimoTheory.com Level 6 Interval Focus: The Perfect 5th
36
From C, write a sequence of perfect fifths going up. Use uppercase letters.
8.
Use the sequence of fifths completed in exercise 7. Start on C. a) Write the letters clockwise along the circle in the spaces provided. b) Write the number of how many sharps are in each key signature.
____#
9.
From C, write a sequence of perfect fifths going down. Use uppercase letters.
end here START HERE
10.
Use the sequence of fifths completed in exercise 9. Start on C. a) Write the letters counter clockwise along the circle in the spaces provided. b) Write the number of how many flats are in each key signature.
11.
Complete the major circle of fifths. Write the major key names in uppercase letters. Write the number of sharps or flats in each key signature.
____ b ____ b ____ b ____ b ____ b ____#
0b
0#
____# ____ b
37
`4444
line notes
w w w
The tones of a triad are called the root, 3rd, and 5th.
w w w
space notes
w w w
5th 3rd
A MAJOR TRIAD consists of a major third and a minor third from the root upwards. The distance from the root to the 5th of the triad is a perfect fifth.
w w root w
5th 3rd
The skip spanning three half steps between minor third the 3rd and 5th is called a minor third. MAJOR third The skip spanning four half steps between the root and 3rd is called a major third.
1.
`46556-4556-4556-4556-4556-4556-=
For each major triad the notes bracketed are either a major third or a minor third apart. Circle the correct choice.
minor 3rd MAJOR 3rd
An arrow is pointing to either the root, 3rd or 5th of each triad. Write the correct answer.
w w w
w w w
w w w
w w w
w w w
w w w
2.
`46556-4556-4556-4556-4556-4556-=
w w w
minor 3rd MAJOR 3rd minor 3rd MAJOR 3rd minor 3rd MAJOR 3rd minor 3rd MAJOR 3rd minor 3rd MAJOR 3rd
w w w
w w w
w w w
w w w
w w w
38
How to construct a major triad from a given tone: There are two methods used to build a major triad. FIRST METHOD: constructing thirds From a given tone (root), From the 3rd of the chord go go up a major third. up a minor third to the 5th.
E
G G G
E Major triad
SECOND METHOD: the major pentachord. From a given tone, construct the first five tones of the major scale (pentachord).
`444444-=
C Major W W H W
w w w w w w w w w w
1 2 3 4 5
`444444-55555-=
C Major triad
w w w
3.
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.
39
4.
`45-44-44-44-44-44-44-= 145-44-44-44-44-44-44-=
w w w w w w w w w w w w
A MINOR TRIAD is formed when the 3rd of a major triad is lowered a half step.
`464
5th 3rd root
C Major
w w w
w w w
The skip spanning four half steps between MAJOR third the 3rd and 5th is a major third. minor third The skip spanning three half steps between the root and 3rd is called a minor third.
w w w
D Major
w w w
d minor
w w w
5.
`45-44-44-44-44-44-44-= 145-44-44-44-44-44-44-=
w w w w w w w w w w w w
40
`4444444444444446 14444444444444446
A Major Eb Major B Major Gb Major
2.
Name the major key for each key signature. Use abbreviations. Example: A Maj, Bb Maj.
`4456-4456-4456-4456-4456-4456-= 14456-4456-4456-4456-4456-4456-=
3.
Complete the major circle of fifths. Write the letter names of the major keys on the lines provided. Use capital letters.
0b 1b 2b 3b 4b 7# 5b 6# 6b 0# 1# 2# 3# 4# 5# 7b
4.
`46556-4556-4556-4556-4556-4556-=
Fill in the blanks. Identify the interval type (MAJOR third or minor third) and the number of half steps (four or three). Major Triad Minor Triad
5th 3rd root 5th 3rd root
An arrow is pointing to either the root, 3rd or 5th of each triad. Write the correct answer.
w w w
w w w
w w w
w w w
41
w w w
w w w
5.
w w w w w w
6.
7.
`46556-4556-4556-4556-4556-4556-= 146556-4556-4556-4556-4556-4556-=
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
8.
`4444444444444444445-= 14444444444444444445-=
w w w w w w w w w w w w w w w
Identify the chords by name and type. Use abbreviations. Example: C Maj, f# min.
w w w
w w w
42
Singing Triad Pitches with Piano Accompaniment 1. Start on any tone. a) Play the root only. Sing the root. b) Play the tones of the major or minor triad on the piano in the following pattern: root - 3rd - 5th - 3rd - root. c) Sing the tones as you play them. (sing: do - mi - sol - mi - do) or 1 - 3 - 5 - 3 - 1 Singing Triad Pitches with Chord Preparation 2. Start on any tone. a) Play the root only. Sing the root. b) Play the triad tones simultaneously, as a blocked chord. c) Sing the triad tones in the following pattern: root - 3rd - 5th - 3rd - root. d) Test accuracy by playing the tones on the piano in the same pattern. Singing Triad Pitches Unaided 3. Start on any tone. a) Play the root note only. Sing the root. b) Without the piano, sing the triad tones in the following pattern: root - 3rd - 5th - 3rd - root. c) Test accuracy by playing the tones on the piano in the same pattern.
43
Teacher/Student Drills
4.
Your teacher will play triads in blocked and arpeggiated form. Identify with abbreviations: major (MAJ), or minor (min).
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.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
1.
2.
3.
4.
5.
6.
44
Sight singing is the singing of a melody from the score, without having seen it before. It involves knowing how a melody should sound before it is sung or performed. The singing exercises in this section serve as preparation for the singing of melodies written on the staff. The ultimate goal of all sight singing practice is (1) to develop the ability to look at a score and hear it inwardly, with the inner ear, without having to sing it out loud or play it, and (2) to develop the ability to hear a melody and notate it without the aid of an instrument. Singing Drills: How to Practice These Exercises The following section contains headings marked assignment and exercises. Each assignment outlines the procedure to be used in practicing the various 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. As you sing the exercises, play a triad and 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 when you can perform them easily and consistently.
Decide on a key and prepare with an arpeggio or scale. a) Play the starting tone of the exercise on the piano. b) Sing and match the starting tone. c) Hear the exercise with your inner ear. d) Sing the exercise with no piano. e) Test accuracy by playing the drill on the piano after you finish singing. If necessary, play the tones as you sing them.
45
Exercises The exercises are divided into three columns with each beginning on scale degree 1, 3 or 5. A line under a number indicates that the scale degree is below scale degree 1.
List the major scales to use: C Major: 7
1 2 3 4 5 6
scale degree 1:
1 3 5 3 1 1 3 1 5 1 1 5 3 1 5 1 2 3 4 5 4 3 2 1 1 2 3 4 5 3 1 71 1 3 5 4 3 2 1 7 1 1 3 5 6 5 4 3 2 1 1 7 1 2 3 4 5 1 7 1 3 5 6 5 1 3 5 8 5 3 1
scale degree 3:
3 5 3 1 3 3 4 5 3 1 3 1 3 5 3 3 2 1 3 5 3 1 5 3 5 3 2 1 2 3 4 5 3 1 3 4 5 6 5 3 2 1 7 1 2 3 3 5 1 7 1 5 1 3 4 5 1 5 4 3
scale degree 5:
5 3 1 3 5 6 5 5 3 1 7 1 2 3 5 3 1 7 1 3 5 5 3 2 1 2 3 5 5 4 3 2 1 3 5 5 4 3 5 6 5 1 5 6 5 8 5 6 5 5 6 5 3 1 2 1 5 6 5 1 3 2 1 5 6 5 4 3 2 1
Write each line of following exercises 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 only and no time signature.
2 3 1 3 4 5 3 5 6 5 4 3 2 3 1 7 1 2
5 6 5 3 1 2 3 3 4 3 2 1 3 5 2 3 4 4 3 4 5
3 4 5 3 4 3 2 5 3 4 3 2 1 2 5 6 5 3 4 3 2
1 1 1
46
The act of writing on the staff the notes of a melody that is performed is called melodic dictation. 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. At first, just relax and listen carefully to the entire phrase.
1.
Each melody is four measures in length. Fill in the blank measures. 1 1 C Major
F Major
G Major
3 4
The symbol
47
`444465-4445546-444566 6-6 465-= `444465-44445566-444566 -6 465-= `444465-4444556-444566 6-6 465-= `444465-4444556-444566 6-6 465-= `444465-4444556-444566 6-6 465-=
5
D Major
3 4
Eb Major
E Major
F Major
C Major
48
The tonic, also called the keynote, is the first scale degree. The tonic is the same as the name of the key and scale. For example, in the key of C major, C is the tonic tone. In a C major scale, C is tonic. The dominant is the fifth scale degree. The subdominant is the fourth scale degree. These three scale degrees play an important role in the formation of cadences. A cadence is a point of repose (rest) in a piece of music.
C Major
`4444444445-=
2 3 6 8 (1)
w w w w w w w w su do
1 4 5 7
ton
ic
bd
om
mi n ina ant nt
1.
For each scale: a) identify each major key (Example: B Maj, Eb Maj), and b) identify the tonic, dominant and subdominant notes by their letter name.
w w w w w w w w
Key
Tonic Dominant Subdominant Tonic Dominant Subdominant Tonic Dominant Subdominant Tonic Dominant Subdominant
Key
Key
Key
49
C Major:
`44444444454-=
I IV V
w w w w w w w w w w w w w w
1 2 3 4 5 6 7
8 (1)
2.
For each staff (provided on the following page) a major key is named. For each staff, follow this procedure: a) Draw the key signature. b) Draw a five-note major scale consisting of scale degrees 1 through 5 (pentachord). Do not add accidentals. They are given in the key signature. c) Build a triad on the first scale degree. Under this triad, label it with the roman numeral I the tonic triad. d) Build a triad on the fourth scale degree. Under this triad, label it with IV the subdominant triad. e) Build a triad on the fifth scale degree. Under this triad, label it with V the dominant triad.
50
A Major
Bb Major
E Major
Db Major
F# Major
3.
For each key signature, name the major key and draw the primary triad indicated.
51
4.
Identify the primary chord for each major key signature. Use roman numerals I for tonic, IV for subdominant and V for dominant.
w w w
w w w
w w w
w w w
w w w
In each measure a major key is given: a) On each staff, draw the key signature of the major key. b) On the bass staff only, draw the root of each chord. Use whole notes. c) On the treble staff only, draw the tonic (I), subdominant (IV) and dominant (V) triads in root position. Use whole notes. Bb Major E Major
`4444444444444446 14444444444444446
I IV V I IV V
52
C# Major
Cb Major
F# Major
Db Major
Ab Major
B Major
IV
IV
Eb Major
IV
IV
Gb Major
IV
IV
53
In music, the term form refers to the structure or plan of a piece of music. Most longer pieces of music contain various levels of forms throughout, with the shorter forms combining and organizing into larger forms. This is very similar to the way a novel is organized the various forms consisting of the phrase, sentence, paragraph, chapter and so on. Binary Form, or AB form, consists of two related sections, both of which are usually repeated.
Sections A and B are usually of the same or similar length. Ternary Form, or ABA form, consists of three sections, the third section normally identical or nearly identical to the first.
A
1.
A chief characteristic of ternary form: statement - contrast - restatement. Go to the following web pages and identify each musical example as binary or ternary form. Write the answer in the spaces provided below. Scan
PrimoTheory.com Resources Level 6 Page 53: Form in Music
1 2 3 4 5
Binary or ternary form? Binary or ternary form? Binary or ternary form? Binary or ternary form? Binary or ternary form?
54
Section 14 Definitions
A slow tempo Play to the point marked fine (end) A fast tempo A piece that has two parts (sections A and B) A resting point in the music A diagram summarizing the relationship of major and minor keys With motion The mixing of sounds that blend together The mixing of sounds that do not blend well together The triad built on the fifth scale degree Notes which use more than one spelling for the same pitch Two tones played at the same time The distance in pitch between two tones Lines added above or below the staff to extend it Eight stepping notes made up of the following half and whole step pattern: W-W-H-W-W-W-H An interval spanning four half steps, spelled as a skip A triad made up of a major third between the root and 3rd of the chord and a minor 3rd between the third and fifth of the chord Two tones played one at a time The organizing patterns of strong and weak beats An interval spanning three half steps, spelled as a skip A triad made up of a minor third between the root and 3rd of the chord and a major third between the 3rd and fifth of the chord A short, distinctive rhythmic or melodic idea used repeatedly An interval spanning a distance of eight tones, sharing the same name The order in which flats appear in a key signature The order in which sharps appear in a key signature
adagio al fine allegro binary form cadence circle of fifths con moto consonant dissonant dominant triad enharmonic notes harmonic interval interval ledger line major scale major third major triad melodic interval meter minor third minor triad motive, motif octave order of flats order of sharps
55
poco a poco rallentando root note subdominant triad syncopation ternary form tonic triad root note unison
Little by little Slowing the tempo The note on which a triad is built, giving the triad its name The triad built on the fourth scale degree The emphasis of beats which are normally weak in a meter, an off-beat A piece that has three parts (ABA form) The first note of a scale, scale degree one; keynote The note on which a triad is built, giving the triad its name An interval that repeats the very same pitch
56
The drills in this section will help you develop a quick recognition of the major 2nd, major 3rd, and perfect 5th as they appear on the keyboard and on the staff. Once you thoroughly master these intervals, they can be used as building blocks in the formation of other intervals.
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 2. This exercise is similar to exercise 1, 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 descending 2nds each starting key should be a half step lower than the previous starting key. Always, say aloud the note names.
57
Now start on Db, then play the key a major 3rd higher, F. 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 3rd (skip). Descending 3rds 4. This exercise is similar to 3, but with descending 3rds. Start on middle C. Play C, then play the key a major 3rd lower, Ab. Now start on B, then play the key a major 3rd lower, G. Continue this pattern of descending 3rds each starting key should be a half step lower than the previous starting key. As always, say aloud the note names.
58
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 1 through 4. Ascending 5ths 5. 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 6. This exercise is similar to 5, 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.
59
Writing exercises 1 through 6 as notes on the staff: The following exercises can be used to practice notating the major 2nd, major 3rd, and perfect 5th on the staff.
7.
`4456-4465-4465-4546-4465-4645`4456-4465-4465-4546-4465-4645`4456-4465-445-=
w w w
w w
w w
w w
8.
On the staff, write the interval DOWN from each given note.
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 the exercises of this page you can find a printable PDF at the following address:
PrimoTheory.com Resources Level 6 Appendix
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