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Music Theory
for
Choirs
by
Laurel Larsen
Volume 1
Masterworks Press
==========================================
6706 Miner Drive SW • Olympia, WA 98512-7259
Phone: 1-800-300-9229 Fax: 1-360-943-6808
www.MasterworksPress.com
Lessons
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issued by Masterworks Press. Any other use constitutes
3 9a violation of Federal and International Copyright Law.
TH101
Introduction
The key to developing intelligent, artistic choral musicians lies in ensuring the
students’ understanding not only of the technique of singing, but also of the rudiments
of music. If students do not understand the musical language in both written and aural
form, they will never proceed beyond rote learning to the ability to learn rewarding
advanced repertoire. This series was created primarily for students who have
previously sung only by rote. It has been successfully used to help those students
become accomplished sight-readers and lifelong choral musicians.
Why a New Theory Course?
For the past five years, I have been the theory teacher in a performing arts
magnet vocal program at a high school outside of Atlanta. During my first year of
teaching, although we used a popular theory method with our choirs, there were many
problems. The pacing of the book was completely wrong for choral students who
have read music only sporadically. Rather than listening to and thoroughly learning
the lesson, students would move ahead in the book on their own. When we wanted to
check their work, we had to collect fifty heavy books which took up a lot of space in
our small office. Then we had to correct all of them and hand them back before
continuing in the book. In addition, the expense of purchasing a new book for each
student every year strained our limited choral budget. I decided that I could create a
better resource for our students that solved these problems.
Each chapter contains several lesson pages that are to be completed in class.
To reduce the teacher time required for checking and grading these lessons, students
can correct their own work as the teacher either reads the correct answers or displays
them with an overhead projector. A graded assignment is included for each chapter,
which can be completed using the previously completed and corrected lesson pages.
These are placed at appropriate intervals so that you can ensure that each student has a
complete understanding of the material. Because the book is reproducible, students
can only complete the pages as they are handed out, so the temptation to wander
ahead in the book is eliminated. Since every class and each choral program is
different, I have included optional quizzes that can also be used as reviews to
supplement the lessons as needed.
The following are some teaching ideas that I have found useful.
i
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TH101
Counting Rhythm
One of the most important concepts to teach ensemble musicians is
rhythm. If students do not truly understand rhythm, they will never achieve
accurate articulation—particularly with plosive consonants such as s, t, and p.
Because it’s not always feasible to listen to each student perform
rhythmic exercises, I have devised a writing method students can use to
demonstrate that they understand the rhythmic concepts.
1. All numbered beats in the measure must be present.
2. If a note lasts more than one beat, students must draw a dash between
the numbers in that note.
3. When there’s a rest in the music, students must write “R” underneath
it and write the beat number in parentheses.
4. All numbers and subdivisions must be written directly below the notes
to which they apply.
5. When writing the counts for sixteenth notes in simple meter, we use
the 1 e + a method, and the students write the counts only for the notes
present. For example, an eighth and two sixteenths would require a
student to write 1 + a, and two sixteenths and an eighth would require
1 e +.
You should be very strict with this. If a student does not follow the
rules, mark the measure wrong. Losing points on an assignment is
sometimes the only way a student will learn the correct method.
ii
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issued by Masterworks Press. Any other use constitutes
4 2a violation of Federal and International Copyright Law.
TH101
Key Signatures
In order to continue studies in theory, students must understand and
memorize key signatures. It is for this reason that I teach key signatures in
every choir, every year, and then again in Advanced Placement Music Theory.
By the time students graduate, major key signatures are second nature; and
they have a much easier time grasping more advanced concepts like intervals,
chords, chord progressions, and harmonic analysis.
One method we use to reinforce the major key signatures is building a
sharp pyramid and a flat pyramid. By memorizing these, students memorize
all of their key signatures in shorthand form and clearly see the addition of a
new sharp or flat with each successive key.
Sharp Pyramid
Flat Pyramid
G ............................F
F.............................. Bb
D ........................ F C
Bb ......................... Bb Eb
A ..................... F C G
Eb ....................... Bb Eb Ab
E ...................F C G D
Ab ................... Bb Eb Ab Db
B ...............F C G D A
Db ...............Bb Eb Ab Db Gb
F ............. F C G D A E
Gb .............Bb Eb Ab Db Gb Cb
C ......... F C G D A E B
Cb ..........Bb Eb Ab Db Gb Cb Fb
iii
Lessons
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TH101
Dictation
Dictation and sight-reading are two very important skills for musicians.
In reality, the two are opposites. Dictation is a student’s ability to turn sound
into notation, and sight-reading is a student’s ability to turn notation into
sound. When combined, they reinforce each other to build students’ aural
abilities exponentially. Both should be introduced at the most basic level to
build students’ confidence and refine their aural perception with a solid
foundation.
This series provides many opportunities to practice these skills. You
can modify the number of practice sessions and the difficulty level to suit your
choir.
Rhythmic dictation is very basic and quite simple for students to grasp.
I have the students write dots above each measure to represent the beats in the
exercise. As I play the example, they follow along with their pencils, marking
a dash each time they hear a sound. They can then transfer those markings
into traditional notation.
Melodic dictation should be given with stepwise motion until students
are extremely comfortable with that level. I encourage students to listen for
the rhythm first; then to write the sight-reading numbers; and, finally, to write
the example on the staff.
Another successful method of teaching melodic dictation is to require
the students to memorize the melody and sing it back before writing anything
down. Each student will have to discover the method that works best for him
or her. As this can be a lengthy process of discovery, you should opt to give
simpler rather than more difficult examples.
iv
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TH101
Sight-Reading
A choir that can sight-read well is every choral director’s dream and
can be every choral director’s accomplishment. Students who can sight-read
enjoy choir more because they can learn a huge amount of music in a short
amount of time.
Each teacher has his or her own preferred method for sight-reading.
My experience has been that the method itself is not the key; what is
important is the frequency with which the skills are practiced. We use a
chromatic number system which has served our students very well. While
the vowels are not as pure as solfège vowels, the numbers are easily grasped
in the beginning and transfer very well later on into AP Music Theory topics
such as scale degrees and Roman numeral analysis.
With a short practice session in sight-reading every other day,
students can improve dramatically in their sight-reading skills. The same is
true of theory lessons. Short theory and sight-reading sessions add variety
to the classroom routine and will increase students’ musicality as well as
their enjoyment of great choral literature.
As students improve in theory and sight-reading skills, less rehearsal
time will be necessary to achieve better results. Literate musicians with
aural training excel in ensemble, blend, and intonation. They are able to
learn more difficult repertoire because they don’t rely solely on rote methods
to learn a new piece. And they enjoy the pieces more because they are able
to sing them at performance level much more quickly.
The key to all of this is consistency. Regular practice of these necessary
skills will help your choir reach new heights of excellence!
— Laurel Larsen
v
Lessons
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4 5a violation of Federal and International Copyright Law.
TH101
Table of Contents
Unit 1
1.1: Beginning Rhythm
1.2: Rests
1.3: Time Signatures, Dotted Half Notes, and Double Bar Lines
Unit 2
2.1:
2.2:
2.3:
2.4:
Clefs
Reading Music
Treble Clef Notes
More Practice with Notes of the Treble Clef
Unit 3
3.1: Music that Moves by Step
3.2: Other Notes in the Treble Clef
3.3: Review
Unit 4
4.1: Bass Clef Notes
4.2: More Practice with the Bass Clef
Unit 5
5.1: More Notes in the Bass Clef
5.2: Crossword Puzzle
5.3: Rhythm Review
Unit 6
6.1: Eighth Notes
6.2: Eighth Rests
Unit 7
7.1: Dynamics
7.2: Ties and Slurs
7.3: Note Review
Unit 8
8.1: Intervals
8.2: Dotted Quarter Notes
8.3: Articulation
Unit 9
9.1:
9.2:
9.3:
9.4:
Half Steps
Accidentals and Half Steps
Whole Steps
More Practice with Dotted Quarter Notes
Unit 10
10.1: Key Signatures
10.2: Key Signatures with Sharps
10.3: Writing Key Signatures with Sharps
Unit 11
11.1: The Major Scale
11.2: Major Scales and Tempo Markings
11.3 Repeat Signs
Unit 12
12.1: Flat Key Signatures
12.2: More Practice with Flat Key Signatures
Lessons
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TH101
1.1 Beginning Rhythm
Music is made up of organized sound moving through time. Musicians not only need to know
what pitches to sing or play; they also need to know when to sing or play them. In music, we
keep a steady pulse or beat upon which we base the lengths of the various pitches. In the
following notation, the music is divided into equal parts, each part containing four beats. These
parts are called MEASURES, and the dividing lines are called BAR LINES.
1
& 44
Measure 1
Measure 3
Measure 2
Bar line
Bar line
Measure 4
Bar line
These are QUARTER NOTES. Each one gets one beat; because there are four beats per
measure, there are four quarter notes per measure. Write the counts underneath, then clap and
count the rhythm.
2
& 44 œ œ œ œ
1
2
3
4
œ œ œ œ
œ œ œ œ
œ œ œ œ
1
These are HALF NOTES. Each one gets two beats, so there can be two per measure. Finish
writing in the counts, then clap and count the rhythm.
3
& 44 ˙
˙
1 - 2
3 - 4
˙
˙
˙
˙
˙
˙
œ œ ˙
˙
1
Write in the counts, then clap and count the rhythm.
4
& 44 ˙
œ œ
œ œ ˙
˙
These are WHOLE NOTES. Each one gets four beats, so there can only be one per measure.
Finish writing in the counts, then clap and count.
5
& 44 w
w
w
w
1 - 2 - 3 - 4
Write in the counts, then clap and count the rhythm.
6
4
&4 ˙
Lessons — 1
œ œ
œ œ œ œ
˙
˙
w
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TH101
1.2 Rests
Along with sounds in music, there is also silence. Each note learned in the previous section has a
corresponding rest that gets the same number of beats.
Quarter notes
1
Whole note
Half note
& 44 œ Œ œ Œ
Ó
˙
Quarter rests
∑
w
Whole rest*
*A whole rest also means to rest
for any whole (complete) measure.
Half rest
Draw the missing quarter rests.
2
& 44 œ
œ
œ
œ
˙ œ
œ
˙
œ
Draw the missing half rests.
3
& 44 ˙
˙
˙
œ
œ
Write your own rhythms on the next two lines. Use all the notes and rests you have learned.
Write the counts underneath the notes.
4
& 44
5
& 44
Rhythmic dictation: Write down the rhythm that is played on the piano.
6
& 44
Lessons — 2
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TH101
1.3 Time Signatures, Dotted Half Notes, and Double Bar Lines
A TIME SIGNATURE occurs at the beginning of each piece of music and describes:
1. How many beats will occur per measure.
2. What kind of note will get one beat.
Here are some examples of TIME SIGNATURES.
1
& 34
44
∑
64
∑
24
∑
∑
The top number usually tells how many beats will occur in each measure.
When the bottom number is a 4, it means that a quarter note gets one beat.
How many beats per measure? / What kind of note gets one beat? Remember, the whole rest in
any measure gets all the counts that are in that measure.
2
& 45
44
∑
34
∑
1. _______/_______ 2. _______/_______
41
∑
3 _______/_______
∑
4. _______/_______
This is a DOTTED HALF NOTE. It gets three beats. Write the counts under the music; then clap
and count. Draw parentheses around counts where rests occur, and place an "R" below the number.
3
& 44 ˙ .
Œ
œ ˙.
1 - 2 - 3 ( 4)
___
____
˙
˙
˙.
œ
____
____
____
____
R
The final bar line in a piece of music is called a DOUBLE
BAR LINE and is made up of a thin line and a thick one.
4
& 34 ˙ .
Œ
___
____
Ó
˙
____
____
∑
œ
____
____
Fill each incomplete measure with only one note.
5
4
&4
Lessons — 3
˙
œ
˙.
œ
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˙
TH101
2.1 Clefs
Staff, staves: The horizontal lines upon which music is written.
The top staff of the following contains a TREBLE CLEF. This clef tells you that the notes after
it will be high notes. It is also called a G CLEF because the curve in the middle of the clef is
around the second line up, which is where the note G is located. Sopranos and altos sing pitches
notated by the treble clef. Music for tenors is usually written in the treble clef as well.
However, the pitches that the tenors actually sing are an octave* lower than written.
Copy the treble clef several times on the top staff below.
& 44 ˙
G
? 44 F˙
The other clef you see here is the BASS CLEF. It notates low pitches, and is also called the F CLEF
because its two dots are on either side of the second line down, which is where the note F is located.
Baritones and basses sing pitches notated by the bass clef.
Copy the bass clef several times on the bottom staff above.
This is the grand staff. It always has two lines of music, and usually uses a treble clef and a bass
clef. Piano music is written on the grand staff. The top line contains notes to be played by the
right hand, while the bottom line contains notes to be played by the left hand. The two staves are
always joined together by a bracket on the left side, and the bar lines are written all the way from
the top of the staff to the bottom. In piano music, they are not broken between staves as above.
In choral music, they are broken between staves, to leave space for the lyrics (as below).
&
?
* Octave: a distance of eight notes above or below.
Lessons — 4
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TH101
2.2 Reading Music
Each note on the staff represents a specific pitch. Here are some basics of music reading.
1. As notes ascend on the staff, their sounds rise in pitch. As they descend on the staff, their
sounds lower in pitch.
Circle the higher pitch in each measure.
1a
4
&4 ˙
˙
˙
˙
Circle the lower pitch in each measure.
1b
&˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
2. Notes are classified as either "line notes" or "space notes." Line notes have a line of the staff
going through them, and space notes are in the spaces.
Draw line notes on all of the lines of the staff. Make the rhythm fit 4/4 time and write counts
underneath.
2a
œ
4
&4 œ
Do the same with space notes. Make sure you are using all of the notes you have learned.
2b
œ
4
&4 œ
3. There are 7 notes in the musical alphabet—A, B, C, D, E, F, and G—which repeat over and
over. When notes move up on the staff from one note to the very next one, they ascend in order
(ex. A, B, C, D) in the musical alphabet. See if you can figure out the missing names of notes in
this example.
3
œ
& 44 œ œ œ
A
Lessons — 5
B
__
__
œ œ œ œ
__
D
__
__
œ œ œ œ
œ œ œ œ
__
__
__
F
__
__
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__
__
TH101
2.3 Treble clef notes
Identify each note below as a line note (L) or a space note (S).
1
& œ
œ
˙
œ
œ
˙
___ ___ ___ ___
œ
___
___
œ
œ
˙
œ
___ ___ ___ ___
˙
___
___
There are easy ways to remember the line and space notes of the treble clef. The lines can be
remembered with the phrase, "Every Good Boy Does Fine."
2
3
˙
˙
w
E
G
B
Name the line notes below.
D
F
& ˙
œ
&
˙
œ œ œ
___ ___ ___ ___
4
œ
&
œ œ
œ
œ
___ ___ ___ ___
œ œ
œ
œ
œ
___ ___ ___ ___
œ
œ
___ ___ ___ ___
___ ___ ___ ___
œ œ
&
œ
___
___
___
___
œ
œ
œ
w
F
A
C
E
& œ œ œ œ
___ ___ ___ ___
œ
œ
œ œ
œ
œ œ
œ
œ
___ ___ ___ ___
w
& œ œ œ œ
Lessons — 6
œ
œ
w
___ ___ ___ ___
7
œ
w
Name the space notes below.
6
œ œ
___ ___ ___ ___
The space notes of the treble clef spell FACE.
5
œ œ
œ œ
œ œ œ
œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
œ œ
œ œ
œ œ
œ
œ
œ
œ œ œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
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TH101
2.4 More practice with notes of the treble clef
Name the notes.
1
4
&4 œ œ œ œ
____ ____ ____ ____
2
& œ œ œ œ
____ ____ ____ ____
3
& œ œ œ œ
____ ____ ____ ____
œ œ œ œ
____ ____ ____ ____
œ œ œ œ
œ œ œ œ
œ œ œ œ
____ ____ ____ ____
____ ____ ____ ____
œ œ œ œ
œ œ œ œ
____ ____ ____ ____
____ ____ ____ ____
œ œ œ œ
œ œ œ œ
____ ____ ____ ____
____ ____ ____ ____
____ ____
____ ____
œ œ œ œ
____ ____
____ ____
Write these notes on the staff; use quarter notes.
* Stem Rule: Stems go up on the right side of the note if the note is below the third (middle)
line on the staff; otherwise stems go down and on the left side of the note.
4
&
F
E
G
D
B
A
C
D
5
F
G
E
A
B
E
D
G
(space)
(line)
(space)
(line) (line)
&
E
F
G
A
G
B
D
E
A
C
(space)
(line) (line)
E
F
(line) (space)
E
B
(space)
C
E
(line)
Write the counts. Clap and count the rhythm.
6
& 44 œ
____
œ
˙
˙.
œ
œ
˙
œ
w
____
____
____
____
____
____
____
____
Rhythmic Dictation
7
& 34
Lessons — 7
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TH101
3.1 Music that moves by step
It is very important to recognize the notes and identify their names. However, reading music is
much easier, especially when sightreading, if you pay attention to the direction in which the notes
are travelling and the distance between the notes.
Notes that are right next to each other in the scale and on the staff are separated by a step.
Passages of stepwise notes are easy to spot if you look for notes that move in the pattern:
line-space-line-space, or space-line-space-line, and that do not skip any lines or spaces.
Here is an example of music moving only in stepwise motion; name the notes underneath.
1
& 44 œ œ œ œ
___
___
___
___
œ œ œ œ
œ œ œ œ
___
___
___
___
___
___
___
___
œ œ œ œ
___
___
___
___
In the next line, fill in the remaining three quarter notes in each measure, making sure to only
move by step. Name the notes underneath.
2
& 44 œ
œ
œ
___ ___ ___ ___
___ ___ ___ ___
œ
œ
___ ___ ___ ___
___ ___ ___ ___
In the following two lines, circle any skips (anywhere the distance between the notes is greater
than a step). Name the notes underneath.
3a
& 44
œ œ œ œ
___
3b
___
___
___
& œ œ œ
___
___
œ
___
___
˙
œ
___
___
œ œ œ œ
˙
___
___
œ
˙
œ
___
___
___
___
___
___
œ œ œ
___
___
___
˙
˙
___
___
œ
___
œ
___
˙
___
Write the counts under the rhythm. Clap and count the rhythm.
4
& 44 œ
___
Œ
___
˙
___
Ó
___
œ
œ
œ
___
___
___
˙.
w
___
___
Rhythmic dictation
5
4
&4
Lessons — 8
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TH101
3.2 Other notes in the treble clef
The lines and spaces contained in the staff are not sufficient to notate all of the pitches that you
will need to sing and play. Therefore, notes can be written above and below the staff with the
addition of LEDGER LINES. These are lines written to identify notes above and below the
staff. Here are some examples of notes written with ledger lines.
1
& 44
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
As you can see, notes with ledger lines can move by step in the same way as notes on the staff.
The second and third measures in the above line show notes moving up and then down by step.
Notes below the staff:
2
&œ
œ
œ
œ
w
D
C
B
A
G
Name the notes.
3
& œ
œ œ œ
___ ___ ___ ___
4
___ ___ ___ ___
œ
&
œ œ œ œ
___ ___ ___ ___
5
œ œ œ œ
&
œ
œ
œ
œ
___ ___ ___ ___
œ
œ œ
___ ___ ___ ___
œ
œ
œ
œ
___ ___ ___ ___
and above:
œ
œ
œ
œ
w
G
A
B
C
D
œ
œ œ œ
œ œ
œ œ
___ ___ ___ ___
___ ___ ___ ___
œ
œ
œ œ
___ ___ ___ ___
œ
œ
œ
œ
œ œ
___ ___ ___ ___
œ
œ œ
___ ___ ___ ___
œ œ œ
___ ___ ___ ___
Name all the notes below.
6
& 44
Lessons — 9
œ œœœœœ œ
œ
œ
œ
œ
œ
œœœ
œœœœœœœœ œœœœ˙
__ __ __ __ __ __ __ __ __ __ ____ __ __ __
__ __ __ __ __ __ __ __ ____ __ __ __
Copyright © 2006 by Masterworks Press. All Rights Reserved.
Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
3.3 Review
Write the counts below the rhythm; clap and count.
1
4
&4 œ
___
Œ
Ó
˙
___
___
___
˙
œ
˙
œ
___
___
___
___
Œ
___
˙.
___
Complete the melody using only quarter notes in stepwise motion and write the names of the
notes below.
2a
4
&4 œ
œ
___ ___ ___ ___
2b
&
œ
___ ___ ___ ___
œ
___ ___ ___ ___
œ
œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
œ
œ
___ ___ ___ ___
___ ___ ___ ___
Circle the skips in the melody; write the names of the notes below.
3a
& 34 œ
___
3b
& œ
___
œ
œ
˙
œ
___
___
___
___
œ
œ
˙
___
___
___
& 44
˙
œ
œ
___
___
___
___
___
___
___
j œ
œ
œ.
___
˙
˙.
___
___
___ ___
œ œ œ œ
œ œ
œ œ
œ œ œ œ
___
___
œ
œ œ œ
Name these notes.
4
œ œ
___
___
___
___
___
___
___
___
___
___
___
___
Rhythmic dictation
5
4
&4
Lessons — 10
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Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
4.1 Bass clef notes
Lower pitched notes are notated using the BASS CLEF. The notes on the lines and spaces of the
bass clef have different names from the ones on the treble clef.
The lines of the bass clef are G - B - D - F - A. You can remember them with the phrase "Good
Boys Do Fine Always."
1
? 44
˙
˙
˙
G
B
D
Name the line notes.
?
2a
œ œ œ
œ
___ ___ ___ ___
2b
? œ œ œ
œ
___ ___ ___ ___
œ
œ
œ
œ
___ ___ ___ ___
œ
œ
œ
œ
___ ___ ___ ___
˙
w
F
A
œ œ
œ œ
___ ___ ___ ___
œ
œ
œ
œ
___ ___ ___ ___
œ
œ œ
œ
___ ___ ___ ___
œ
œ œ œ
___ ___ ___ ___
The space notes are A - C - E - G. They can be remembered with the phrase "All Cows Eat Grass."
3
?
w
w
w
w
A
C
E
G
Name the space notes.
4a
?
œ
œ
œ œ
___ ___ ___ ___
4b
? œ œ œ
œ
___ ___ ___ ___
Lessons — 11
œ œ
œ
œ
œ œ
œ œ
œ
œ œ œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
œ œ œ œ
œ œ œ
œ
œ œ œ
œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
Copyright © 2006 by Masterworks Press. All Rights Reserved.
Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
4.2 More practice with the bass clef
Name the notes.
œ
?4
4 œ œ œ
1a
___ ___ ___ ___
1b
? œ œ œ œ
?
2
œ
œ
œ
œ
œ
œ
___ ___ ___ ___
œ œ
___ ___ ___ ___
œ œ œ œ
œ œ œ œ
œ
œ œ œ
___ ___ ___ ___
œ œ œ œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
œ œ
œ œ
œ œ œ œ
œ œ
œ œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
œ
œ
œ
œ
___ ___ ___ ___
Write the notes; remember the stem rule.
? 44
3a
F
C
E
B
A
D
C
G
B
F
E
C
D
A
(space)
(space)
B
(line)
G
(line)
?
3b
D
A
(space)
B
C
A
G
(line)
(line)
F
E
D
C
G
B
F
A
D
E
(space)
(space)
Write the counts underneath the rhythm.
4
? 44 œ
œ
Ó
___ ___ _____
˙.
Œ
Œ œ Œ œ
w
_____
___
___ ___ ___ ___
_____
Rhythmic dictation
5
? 44
Lessons — 12
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
5.1 More notes in the bass clef
Extra notes can be added onto the bass clef just as they can on the treble clef. Here are the most
common notes added with ledger lines.
1
? 44 ˙
˙
B
C
D
œ
?
2b
œ
œ
___ ___ ___ ___
œ
E
œ
œ
? œ
Name the notes.
2a
˙
˙
œ
œ
___ ___ ___ ___
œ
___ ___ ___ ___
˙
˙
˙
F
E
D
C
œ
œ
œ
___ ___ ___ ___
œ
___ ___ ___ ___
œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
œ œ
___ ___ ___ ___
œ
œ
œ
œ
œ
œ
___ ___ ___ ___
œ
___ ___ ___ ___
Circle the skips in the two melodies; write the names of the notes underneath.
3
4
œ œ œ œ
œ œ ˙
___ ___ ___ __ __ ___ ___ ___
___ ___ ___ ___
___ ___ ___
œ œ œ œ
œ œ œ
œ œ œ œ œ ˙
? 44 œ œ
? 44
___ ___ ___ ___
œ
œ
˙
___ ___ ___
œ
œ
__ __ ___ ___ ___
œ œ ˙
___ ___ ___
Rhythmic dictation
5
? 34
Lessons — 13
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
5.2 Crossword Puzzle
œ œ œ œ
?4
4 œ œ œ
Across
2.
__ __ __ __ __ __ __
? œ œ
10.
&
œ œ
œ
œ
œ
16. __
__
& œ
œ
˙
8. __ __ __
__
œ
˙
œ
˙
11. __ __ __
˙
3. __ __ __
˙
13. __
__ __
__
__
4.
œ
œ œ
œ
18. __
˙
œ
œ œ
__
__
__
œ œ
œ
5. __ __ __ __ __
˙
œ
˙
œ œ
œ œ
__ __ __ __ __
17.
œ
__ __ __ __ 9. __ __ __ __
œ œ œ
1. __ __ __ __ 2. __ __ __ __ __
œ
7.
œ
œ
œ œ œ
˙
œ œ œ
__
˙
œ
__ __ __ __ __ __
Down
__
6.
œ œ œ
œ
œ œ œ
˙
˙
15. __ __ __
œ œ ˙
16. __ __ __
1
2
3
6
4
7
5
8
9
10
11
13
15
16
17
18
Copyright
© 2006 by©Masterworks
Press. All Rights
Reserved.
Copyright
2003 by Masterworks
Press
Use
of this material
in any
form
is restricted
licensee
named on
the original
Reproduction
License
Masterworks
Press
grants
permission
to to
thethe
original
purchaser
hereof
to duplicate
this music
for
issued
Masterworks
Any other with
use constitutes
a violation
of Federal
and
Copyright Law.
usebyby
any choral Press.
group affiliated
original purchaser.
Not
for resale
orInternational
any other distribution.
ACROSS
Lessons — 14
2
baggage
1 6 bag
TH101
5.3 Rhythm review
Write the counts under the rhythms.
1a
& 44 ˙
Œ
___
1b
2a
& 34 œ
___
2b
˙
___ _____
Œ
˙
_____
& ˙.
_______
_____
œ
_______
___
œ
4
Œ
Ó
___
_____
˙.
___ ___
∑
&
œ
___
_____
_______
Œ œ Œ Œ
___
___ ___ ___ ___
œ
___
___
___
w
œ
œ
Œ
˙
œ
___
Œ
___
Œ
___
œ
˙.
___ _____
˙
˙
œ
_____
_____
___
œ
___
Œ
___
˙.
_______
Write a rhythm in 4 time using all the notes and rests you have learned.
3a
& 44
3b
&
Rhythmic dictation
4
& 44
Lessons — 15
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
6.1 Eighth Notes
Eighth notes move twice as fast as quarters. They are counted using numbers with "and" in
between. Here is what they look like.
1
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Eighth notes can be
joined together in
groups of 4.
œ œ œ œ œ œ
They can also be
joined together in
groups of 2.
1 + 2 + 3 + 4 +
1 + 2+ 3 + 4+
Write the counts under the rhythm.
2
& 44 œ œ œ œ
˙
œœœ œ œœ
__ __ __ __ _____
˙.
__ __ __ __ __ __ ______
œ œ œ œ œ œ œ œ
__ __ __ __ __ __ __ __
Fill in the missing beats with eighth notes, and write the counts underneath.
3
& 44 œ Œ
œ
___ ___ ___ ___
˙
˙.
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
Write the counts under the rhythm.
4
5
3
&4 œ
œ œ œ
˙
œ œ
Œ
œ œ œ
œ œ œ œ œ
__
__ __ __
_____
__ __
__
__ __ __
__ __ __ __ __
& 44 œ œ œ œ œ œ
__ __ __
__ __ __
œ œ œ œ œ œ
__
__
˙.
__ __ __ __ _____
œ œ œ Œ œ œ œ
__ __ __ __ __ __ __
Write a four measure rhythm using eighth notes, quarter notes, and half notes.
6
& 34
Rhythmic dictation
7
4
&4
Lessons — 16
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Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
6.2 Eighth Rests
Eighth rests:
1
Quarter rests:
Half rests:
4
&4 ‰‰‰‰ ‰‰‰‰ Œ Œ Œ Œ
1/2 beat each
Ó
1 beat each
Whole rest:
Ó
∑
2 beats each
4 beats each or
any whole measure
Write the counts under the rhythm. Clap and count the rhythm.
2
j j j j
j j j j j
j j ‰ ‰ j ‰ j‰ j j‰ j‰
4
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œœ œ
&4
__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __
Write one rest per measure to complete this rhythm in 4/4 time.
3a
3b
& 44 ˙
œ
&œ œ œ œ œ œ
j
œ
œ
œ
˙
˙.
œ
Write the counts. Clap and count.
4a
œ œ œ œ
œ œ œ
‰ œj œ œ œ
‰ œj ‰ œj ‰ œj œ
‰ œj œ œ
__ __ ___
__ __ __ __ ___
__ __ __ __ __ __
___
__ __ __ __
j
j j
‰
‰
‰ œ œ
œ
œ
œ
œ
œ
œ
&
j
œ œ ‰ œ œ œ
œ
‰ œj œ
__ __ __ __ __ __
___
__ __ ___
& 34 œ
___
4b
j
œ œ œ œ œ
__ __ __ __ __ __
__ __ __ __ __
Rhythmic dictation
5
4
&4
Lessons — 17
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
7.1 Dynamics
DYNAMICS are markings that tell you how loud or soft to play or sing a piece of music. Here
are the most common dynamic markings with their names and translations:
pp
p
mp
mf
f
ff
pianissimo
piano
mezzo piano
mezzo forte
forte
fortissimo
very soft
soft
medium soft
medium loud
loud
very loud
In addition, there are two markings that mean to gradually increase and decrease sound:
crescendo
cresc.
gradually get louder
diminuendo or decrescendo
dim.
gradually get softer
Circle and define all dynamic markings in the next two lines.
1a
#
& 44 ˙
P
1b
#
& ˙
π
˙
˙
œ œœœ œ
œ œœœ
œ
œ œ œ œ
f
œ
œ
œ œ
ƒ
œ œ ˙
p
œ œ ˙
F
Draw the appropriate dynamic markings.
Start very soft, and gradually get louder until the last measure, which is very loud.
2
& b 44 œ œ œ œ
œ œ ˙
œ œœ˙
œ œ œ œ
œ œ ˙
Start loud, and suddenly become soft on the first beat of the third measure.
3
4œ œ œœœ
&4
Lessons — 18
œ œ œ œœ œ œ ˙
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
7.2 Ties and Slurs
Ties and slurs are both curved lines that are drawn above or below the notes (they are drawn on
the opposite side from the stems).
1
& 44 œ œ œ œ
œ œ œ œ
Slur
œ œ œ
œ
Slur
w
Tie
Because they look so similar, it is easy to confuse them. Here is how to tell the difference:
A TIE connects TWO notes that are the SAME PITCH and means to hold that pitch for the
duration of BOTH notes.
2
&˙
œ
w
˙
Hold for: 4 beats
˙
œ
____________________ beats
Ó
˙
_______ beats
A SLUR connects more than two notes, or two notes that are on DIFFERENT PITCHES and
means to sing or play the notes under the slur SMOOTHLY, or LEGATO.
3
&
œ
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
Label each curved line as a tie or slur. If it is a tie, also write the number of beats the pitch will get.
4a
&b œ
4b
&b œ œ œ œ
Lessons — 19
œ
œ
œ
œ
œ
œ
œ œ œ œ
œ
œ
œ
œ œ œ œ
œ
œ
˙
œ œ
w
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Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
7.3 Note Review
Name the notes.
1
4 œ
&4
œ
œ
œ
&
œ œ
œ œ
___ ___ ___ ___
2
? œ œ
œ œ
œ
œ
___ ___ ___ ___
œ œ
œ œ
? œ œ
___ ___ ___ ___
œ œ œ
œ
___ ___ ___ ___
œ
œ
œ œ
œ
œ
___ ___ ___ ___
œ
___ ___ ___ ___
œ
œ œ
___ ___ ___ ___
___ ___ ___ ___
___ ___ ___ ___
œ
œ œ œ
___ ___ ___ ___
œ œ
œ œ
___ ___ ___ ___
œ
œ œ
œ
œ
œ œ œ
œ
___ ___ ___ ___
œ
___ ___ ___ ___
œ
œ
œ œ
œ
___ ___ ___ ___
œ œ
___ ___ ___ ___
œ
œ œ œ
œ
___ ___ ___ ___
Finish the melody with stepwise motion using quarter notes, and fill in the names of the notes.
3
œ
?4 œ
4
___ ___ ___ ___
?
œ
___ ___ ___ ___
œ
___ ___ ___ ___
___ ___ ___ ___
œ
___ ___ ___ ___
œ
___ ___ ___ ___
œ
___ ___ ___ ___
œ
___ ___ ___ ___
Rhythmic dictation
4
? 44
Lessons — 20
Copyright © 2006 by Masterworks Press. All Rights Reserved.
Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
8.1 Intervals
An INTERVAL is the distance between two pitches. It is expressed by a number. Examples of
intervals are seconds, thirds, fourths, and fifths. Figuring out an interval is quite simple. Count
the line or space that the bottom note is on as one, and count every line and space in between the
two notes, ending with the line or space on which you find the top note. The resulting number is
your interval.
1
& 44 ˙
˙
2nd
(same as step)
˙
& ˙
˙
˙
3rd
6th
w
7th
˙
& ˙
8th or octave
1. __________
&
˙
˙
2. __________
˙
˙
˙
˙
5. __________
5th
w
Name the intervals.
2
6. __________
˙
˙
& ˙
3. __________
˙
˙
7. __________
9.
2nd
Lessons — 21
5th
11.
7th
˙
& ˙
13.
10.
14.
4th
15.
˙
˙
8. __________
12.
6th
˙
˙
3rd
4. __________
˙
˙
˙
˙
˙
Add the upper note to form each interval.
3
˙
˙
4th
˙
˙
˙
˙
octave
16.
5th
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
8.2 Dotted Quarter Note
When you add a dot after a note, it increases the value of the note by half. Therefore, a half note
(two beats) + a dot (half of two = one) = three beats. A quarter note (one beat) + a dot (half of
one = half) = one and a half beats. A dotted quarter note gets one and a half beats, and is equal to
three eighth notes.
1
4
& 4 œ.
j
œ œ.
j
œ ˙.
œ
Counts: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
j
œ œ.
j
œ œ.
j
œ˙
œ.
1 + 2 + 3 + 4 +
1 + 2 + 3 + 4 +
Write the counts under the rhythms.
2
& 34 œ .
_____
3
‰ j‰ j
œ œ
j
œ œ
œ œ
__ ___
__ __ __ __ __ __
œ.
j
œ œ œ
j
œ œ œ œ.
_____
__ __ __
__ __ __ _____
j
j
j
j
j
& 44 œ . œ œ . œ ‰ œ œ ‰ œ ‰ ‰ œ œ . œ œ œ œ
Œ œ . œj œ
_____ __ _____ __ __ __ __ __ __ __ __ __ _____ __ __ __ ___ ___ _____ __ ___
4
& 24 œ .
_____
j
œ
‰
j
œ œ
__
__
__
___
Œ
___
œ
œ
j
œ œ ‰ œ
__
__
__
__
__
__
Rhythmic Dictation
5
& 44
Lessons — 22
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
8.3 Articulation
Along with notes, rests, dynamics, slurs, and ties, music is filled with other symbols that tell the
performer how to perform the notes. Here are some symbols that you will encounter in a lot of
your music. Sing the scales while performing all the different articulations.
.
1. Staccato:
& 44
>
ß
&œ œ
ß
4. Tenuto:
&œ œ
5. Fermata:
œ
œ. œ. œ œ
. .
œ. œ. œ œ
. .
Sing notes with accents above or below them louder than the surrounding
notes.
œ
>œ >
œ œ >œ œ
3. Sforzando:
&
. .
œ. œ. œ œ
œ. œ. œ. œ.
2. Accent:
&
A dot above or below a note tells you to sing it short and detached.
œ
œ
>œ
œ
œ
>œ
œ
œ
>œ œ
This is an sudden accent that is stronger than the one above. It means
"with force or emphasis."
œ
œ
-
œ
ß
œ
œ
ß
œ œ
œ
œ
œ œ
ß
œ
œ
This literally means "held." The tenuto mark means to hold a note for its
full value. It is a stress that tells you to lean into a note.
œ
œ-
œ-
U
œ
œ
œ
œ-
œ
œ-
œ
œ
œ
œ-
œ
Hold the note longer than its full value. In choral music, watch the
conductor; he or she will show you the length of the note with the fermata.
œ œ uœ œ
U
œ œ œ œ
œ
œ œ œ
u
œ
œ œ œ
u
Circle and identify the marks in the music.
& b 44 œ œ œ œ œ œ
P
Lessons — 23
œ œ œ. œ. œ œ œ œ œ œ œ
œ
œ
œ
> œ u - œ œ >œ œ œ œ- œ
ƒ
π
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TH101
9.1 Half Steps
C
D
C
#
D
b
E
D
#
(B )
#
#
G
b
b
G A
F
b
#
E F G
#
b
(F ) (E )
A
B
A
#
b
C
D
#
b
D
E
#
b
#
#
G A
b
b
b
G A B
F
#
B C D E F G
#
#
b
b
(C ) (B )
(F ) (E )
A
B
b
(C )
A half step is the distance between two consecutive keys on the
piano keyboard. Each black key has two names, which are
determined by the white keys surrounding it.
The black key between C and D, for example, can be called
either C # (C-sharp) or D b (D-flat).
Two notes that are spelled differently but are actually the same
pitch are called ENHARMONIC TONES.
List five different enharmonic tones that you can see on this
keyboard:
#
b
C
D
____/____
Lessons — 24
____/____
____/____
____/____
____/____
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TH101
9.2 Accidentals and Half Steps
ACCIDENTALS are symbols that are written next to notes that alter their pitch. Three examples
are SHARP, NATURAL, and FLAT. Accidentals last for a single measure. They are only
cancelled by another accidental on the same note or by a bar line.
A SHARP raises a note by a half step. It is always placed before the note on the same line or
space as the note. Draw a sharp before each note.
1
& 44 # ˙
˙
˙
˙
˙
˙
˙
˙
A FLAT lowers a note by a half step. As with the sharp, write it before the note on the same line
or space as the note. Draw a flat before each note.
2
& b˙
˙
˙
˙
˙
˙
˙
˙
A NATURAL cancels a sharp or a flat. It is ALWAYS a white key on the piano. Draw a natural
before the second note in each measure to cancel the sharps and flats.
3
& #˙
n˙
#˙
˙
#˙
˙
b˙
˙
A HALF STEP is the distance between two adjacent notes on the keyboard. It is the smallest
interval in Western Classical music. Here are some examples of half steps.
4
& ˙
#˙
˙
#˙
˙
˙
˙
b˙
Name the notes. Then use your keyboard (Lesson 9.1) to help you find and circle the half steps in
the next three lines, as well as in the following lessons.
5a
& ˙
___
5b
5c
& ˙
&
Lessons — 25
˙
˙
˙
___
___
___
#˙
˙
b˙
___
___
˙
#˙
___
___
___
___
b˙
˙
___
___
˙
b˙
___
___
˙
#˙
___
___
˙
˙
___
___
b˙
˙
___
___
˙
˙
___
___
˙
˙
___
___
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TH101
9.3 Whole steps
A whole step is equivalent to two half steps. On the piano, it is the distance between two keys
that have one key in between them. Here are some examples.
1
4
&4
˙
˙
˙
#˙
b˙
b˙
#˙
#˙
For each pair of pitches, name the notes. Then check your keyboard sheet to determine whether
they are a half step apart from each other, a whole step apart, or enharmonic pitches.
ENHARMONIC notes are two notes that are written differently but that sound the same pitch.
2
& ˙
˙
___
___
_________
3
___
___
_________
4
? ˙
___
_________
5
___
_________
˙
b˙
___
___
_________
#˙
˙
___
?
___
#˙
˙
&
˙
˙
#˙
#˙
___
___
_________
___
b˙
#˙
___
___
_________
˙
___
b˙
___
_________
˙
___
_________
˙
˙
___
___
_________
˙
#˙
___
___
_________
#˙
˙
___
___
_________
˙
b˙
___
___
_________
˙
b˙
___
___
_________
#˙
˙
#˙
˙
___
___
___
___
_________
_________
Melodic dictation: Write down the remaining notes in the melody. HINT: This will move by
stepwise motion.
6
& 34
Lessons — 26
œ
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TH101
9.4 More Practice with Dotted Quarter Notes
Label the type of each note and write the number of counts each receives underneath.
1
4
&4 ˙
˙.
œ
œ.
_________
_________
_________
_________
_________
_________
_________
_________
Write the counts under the rhythms; clap and count.
2a
j
j j
j
& 44 œ . œ œ . œ œ œ . œ œ .
_____
2b
& ˙
__ _____
__
__ _____
__ _____
j j
œ. œ œ œ.
_____
j
j
œ œ. œ. œ
__ __ _____
__ _____ _____
__
j
j
j j
j j
j j
œ. œ ‰ œ. œ ‰ œ ‰ œ ‰ œ œ. œ œ œ œ œ œ.
_____ _____
__
__ _____ ___ __ __
__ __ __ __ _____
__
__ ___ __ __ _____
In each measure, write the equivalent number of eighth notes for each note.
3
&˙
œ
œ.
˙.
Fill each measure with ONE note.
4
j
œ
& 45 ˙ .
jj j
œ. œ œ œ œ
œœœœ
œ
Rhythmic dictation
5
& 44
Lessons — 27
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TH101
10.1 Key Signatures
A KEY SIGNATURE is a collection of sharps or flats immediately to the right of the clef in each
line of music. The sharps or flats contained in the key signature tell you that those pitches will be
sharped or flatted throughout the entire piece unless a natural is added in the music. For example,
an F# in the key signature tells you that every F in the music will be played or sung as an F# unless
a natural is added to cancel it.
Name the notes. If a note is sharp or flat in the key signature, include a
1
### 4
&
4 ˙
___
œ
œ
___
___
œ
___
œ
˙
___
___
nœ
___
# or b in the note's name.
œ
___
œ
___
œ
___
To review:
KEY SIGNATURE: Sharps or flats found next to the clef that apply to the WHOLE piece of music.
ACCIDENTALS: Individual sharps, flats, or naturals found in the music that ONLY apply to a
SINGLE measure.
Answer the questions about this line of music.
2
b
œ nœ #œ œ œ
œ
œ
b
œ
& œ
œ
œ œ œ œ
œ œ œ
1. What is in the key signature?
2. What accidentals do you see?
3. What are the first two notes in the second measure?
As you have noticed during sight-reading, the note that is called "1" or "do" changes in different
pieces. This note, "1" or "do," is also called the TONIC NOTE, or KEY NOTE. The tonic
note in a piece is the note around which the whole piece revolves. When the melody returns to
"1" or "do" at the end of a section, you feel as if you have arrived. Because of this feeling, we
say pieces are written in specific "keys," the key being the same as the tonic note, "1" or "do."
Every key has a key signature. Here you will learn to identify Major keys based on the sharps in
the key signature.
ORDER OF SHARPS: The sharps always go in this order: F# C# G# D# A# E# B#. Memorize it.
They are always written in these places. Copy the order of sharps two times.
3
#### #
# #
&
Lessons — 28
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TH101
10.2 Key Signatures with Sharps
Write the order of sharps:
REMEMBER: The sharps are always written in this order. If you have one sharp, it will be F#. If
you have four sharps, they will be F#, C#, G#, D#.
Every key signature has both a Major and a minor key. For now, we will only work with the
Major keys. The rule for finding the Major key for a sharp key signature is easy:
Find the last sharp. Go up a half step. That is your Major key.
1
&
#
Last sharp = F#
Major key = G Major
Last sharp = C#
Major key = D Major
Name the Major key for each key signature.
2
&
###
#
__________
3
&
####
##
&
5
&
Lessons — 29
#
__________
###
__________
####
__________
__________
__________
__________
##
####
#### #
#
##
#
Last sharp = G#
Major key = A Major
__________
__________
4
###
##
__________
#### #
# #
__________
__________
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TH101
10.3 Writing Key Signatures with Sharps
Copy the order of sharps. Make sure that your sharps are written on the correct lines and spaces.
1
#### #
# #
&
To figure out how many sharps must be written in a key signature:
From the name of the key, go down a half step. This is your last sharp. Find the sharp in the
order of sharps and write all the sharps up to and including that one.
Write the key signature for each Major key.
2
3
4
5
6
&
G Major
D Major
A Major
E Major
B Major
F# Major
C # Major
D Major
E Major
B Major
G Major
F# Major
A Major
C# Major
E Major
&
&
&
&
Lessons — 30
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TH101
11.1 The Major Scale
A scale is a succession of pitches, written and performed in ascending and/or descending order.
The beginning and ending pitches are the most important in the scale, and are called TONIC.
When you sight-read, the pitch you call “do” is TONIC.
A major scale has a particular order of whole and half steps. Here is a C Major scale.
1
&
œ œ œ œ
œ œ œ œ
do
re
mi
fa
sol
la
ti
do
œ œ œ œ
do
ti
la
sol
œ œ œ œ
fa
mi
re
do
Look at your keyboard from Chapter 9. Where are the half steps in this major scale?
HINT: There are two. They are between ____ and ____, and between ____ and ____.
Now look at the G Major scale. Where are the half steps in this major scale?
#
2
& œ œ œ œ
do
re
mi
fa
œ œ #œ œ
sol
la
ti
do
œ #œ œ œ
do
ti
la
sol
œ œ œ œ
fa
mi
re
do
The half steps occur between ____and ____, and between ____ and ____.
Notice that both times, the half steps occured between mi and fa, and ti and do. In a major
scale, this is ALWAYS where the half steps are; every other interval is a whole step.
Draw a D Major scale using a key signature. First draw the D Major key signature next to the
treble clef. Then draw the notes starting and ending with D, and including all the notes in
between.
3
&
Draw an A Major scale using a key signature. Label the solfège syllables, and circle the half
steps. Remember, it is because of these half steps that a major scale sounds the way it does.
Every major scale has the same order of whole and half steps.
4
&
Lessons — 31
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TH101
11.2 Major Scales and Tempo Markings
What major scale is this? ________
Label the solfège syllables underneath. Circle the half steps.
1
&
####
#
œ œ œ œ
____ ____ ____ ____
œ œ œ œ
œ œ œ œ
____ ____ ____ ____
____ ____ ____ ____
œ œ œ œ
____ ____ ____ ____
What major scale is this? ________
Label the solfège syllables underneath. Circle the half steps.
2
&
####
œ œ œ œ
____ ____ ____ ____
œ œ œ œ
œ œ œ œ
____ ____ ____ ____
____ ____ ____ ____
œ œ œ œ
____ ____ ____ ____
TEMPO is a term used to describe the speed of music. At the beginning of a piece of music,
often there will be a word describing the tempo. Here are some common examples.
Largo...........Slow
Andante.......Walking tempo
Moderato.....Medium tempo
Allegro.........Fast
Presto...........Very fast
In addition, there are terms used within a piece of music to tell the performer to change tempos.
Here are some examples.
Accelerando (accel.)............Gradually speed up
Ritardando (rit. or ritard.)...Gradually slow down
A tempo.................................Return to the original tempo
Più mosso.............................More movement (faster)
Meno mosso.........................Less movement (slower)
Un poco................................A little
Molto....................................Very
These words can appear in music and often are paired together. For example, molto rit. would tell
a performer to gradually slow down a lot. What would un poco piu mosso tell a performer to do?
Draw a D Major scale ascending and descending. Label the tempo in the beginning as fast.
Gradually speed up until the third measure, where the tempo should return to the beginning
tempo. Gradually slow down in the last measure. Perform the scale with the markings you have
just written.
3
&
Lessons — 32
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TH101
11.3 Repeat Signs
Each of the examples in this lesson should be sung by the class.
There are several marks that occur in music that tell the performer to repeat sections of the music.
The first of these is the repeat sign.
1
4
&4 œ œ œ œ
Repeat sign
œ œ œ œ
œ œ œ œ
œ œ ˙
..
Repeat from the beginning.
In the following, repeat the section BETWEEN the repeat signs.
2
&
œ œ œ œ
..
œ œ œ œ
œ œ œ œ
œ
œ
..
˙
Sometimes there are first and second endings with the repeat signs.
3
&
œ œ œ œ
.. œ
œ œ œ
2
1
..
œ œ ˙
œ œ ˙
The sequence of measures to be sung: 1, 2, 3, 2, 4. The second time, you skip the first ending
and go directly to the second ending.
The second marking that indicates to repeat material already sung is the D.C. al Fine. D.C.
stands for Da Capo, which means go to the beginning of the piece and sing to the Fine (ending).
4
&œ œ
Fine
œ
œ
œ œ
˙
œ œ œ
œ
œ œ
D.C. al Fine
œ œ
A similar marking to D.C. al Fine is D.S. al Fine. D.S. stands for dal segno, and means to return
to the sign (segno), and al Fine means to continue to the Fine (end).
5
&œ œ
Lessons — 33
œ
œ
%
œ œ
Fine
œ œ
œ œ ˙
D.S. al Fine
œ œ
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œ œ
TH101
11.3 (Continued)
Occasionally you will see "D.C. al Coda" or "D.S. al Coda" towards the end of your music.
When this happens, you will notice a separate section after this sign; this is the coda, or ending.
What that marking means is: after you return to the beginning or to the sign, you continue until
you see the coda sign and then jump directly to the coda.
6
&
œ œ
œ
fi
œ œ œ
D.C. al Coda
œ œ
œ œ ˙
fi
œ œ
˙
In the examples below, write out the measure numbers in the order in which they are performed.
Example 1:
7
&
œ œ ˙
Example 2:
Œ
œ
œ
œ
8
&
9
fi
&œ œ œ œ
Lessons — 34
œ œ ˙
%
œ œ ˙
fi
œ œ œ Œ œ œ œ
œ
..
Œ
œ
œ
œ
D.S. al Fine
Fine
œ œ ˙
D.C. al Coda
œ œ œ
Œ
Œ
œ œ œ Œ .. œ œ
œ
1
2.
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TH101
12.1 Flat Key Signatures
b
b
b
b
b
b
b
This is the order of flats in the flat key signatures: B , E , A , D , G , C , F . You can
remember this order with the phrase, "BEAD, Greatest Common Factor."
Here is where the flats are written on the staff. Copy it several times.
1
bb
& b b bbb
There are two ways to figure out the name of a Major key when there are flats in the key
signature. The first way is to find the last flat. That is the fourth scale degree of the Major key.
2
&b œ
œ
œ
œ
4
3
2
1
bb œ
œ
œ
œ
bbb œ
œ
œ
œ
4
3
2
1
4
3
2
1
Key of F Major
Key of B-flat Major
Key of E-flat Major
The second method is to find the second to last flat. That is your key. With this method, you need
to remember that F Major has one flat. Also remember that all the flat keys EXCEPT F Major have
a flat in the name. For example, the Major key with two flats is B-flat Major, not B Major.
3
bbbb
bb
b
&
Last flat: A-flat
Second to last flat: E-flat
Key of E-flat Major
bbbbb
Last flat: D-flat
Second to last flat: A-flat
Key of A-flat Major
Last flat: G-flat
Second to last flat: D-flat
Key of D-flat Major
There is one more key that you must memorize: C Major has no sharps or flats in the key signature.
Name the following Major keys.
4a
bb
&b
_____________
4b
_____________
bbbbb
&
_____________
Lessons — 35
bbb
_____________
bbbbbbb
_____________
_____________
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TH101
12.2 More Practice with Flat Key Signatures
Write the order of flats.
Name the Major key for each key signature.
1
bb
&
____________
2
____________
3
___________
bbbb
&b
&b
bbb
bbbbbb
___________
bbbbb
b
____________
____________
____________
bbbbbbb
___________
____________
Write the key signature for each Major key below.
Find the name of your key in the order of flats; all flats up to that point plus the one after will be
in your key signature.
4
&
b
A Major
5
b
E Major
&
b
C Major
6
F Major
b
b
D Major
B Major
C Major
E Major
&
b
G Major
Lessons — 36
b
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TH101
1.1 Beginning Rhythm
Music is made up of organized sound moving through time. Musicians not only need to know
what pitches to sing or play; they also need to know when to sing or play them. In music, we
keep a steady pulse or beat upon which we base the lengths of the various pitches. In the
following notation, the music is divided into equal parts, each part containing four beats. These
parts are called MEASURES, and the dividing lines are called BAR LINES.
1
& 44
Measure 1
Measure 3
Measure 2
Bar line
Bar line
Measure 4
Bar line
These are QUARTER NOTES. Each one gets one beat; because there are four beats per
measure, there are four quarter notes per measure. Write the counts underneath, then clap and
count the rhythm.
2
& 44 œ œ œ œ
1
2
3
4
œ œ œ œ
1
2
3
4
œ œ œ œ
œ œ œ œ
1
1
2
3
4
2
3
4
These are HALF NOTES. Each one gets two beats, so there can be two per measure. Finish
writing in the counts, then clap and count the rhythm.
3
& 44 ˙
˙
1 - 2
3 - 4
˙
˙
˙
˙
˙
1- 2
3 - 4
1 - 2
3 - 4
1 - 2
˙
œ œ ˙
3 - 4
1
˙
3 - 4
Write in the counts, then clap and count the rhythm.
4
& 44 ˙
1 - 2
œ œ
œ œ ˙
˙
3
1
1 - 2
4
2
3 - 4
2
3 - 4
These are WHOLE NOTES. Each one gets four beats, so there can only be one per measure.
Finish writing in the counts, then clap and count.
5
& 44 w
1 - 2 - 3 - 4
w
w
1 - 2 - 3 - 4
1 - 2 - 3 - 4
1 - 2 - 3 - 4
w
Write in the counts, then clap and count the rhythm.
6
4
&4 ˙
1 - 2
Lessons — 1
œ œ
œ œ œ œ
˙
˙
w
3
1
1 - 2
3 - 4
1 - 2 - 3 - 4
4
2
3
4
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TH101
1.2 Rests
Along with sounds in music, there is also silence. Each note learned in the previous section has a
corresponding rest that gets the same number of beats.
Quarter notes
1
Whole note
Half note
4
&4 œ Œ œ Œ
Ó
˙
Quarter rests
∑
w
Whole rest*
*A whole rest also means to rest
for any whole (complete) measure.
Half rest
Draw the missing quarter rests.
2
& 44 œ œ œ Œ
œ
Œ
˙
œ Œ œ Œ
˙
œ
Œ
˙
˙
Ó
œ
œ
Draw the missing half rests.
3
& 44 ˙
Ó
Ó
Ó
Write your own rhythms on the next two lines. Use all the notes and rests you have learned.
Write the counts underneath the notes.
4
& 44
5
& 44
Rhythmic dictation: Write down the rhythm that is played on the piano.
6
4
&4 œ œ œ œ
Lessons — 2
˙
˙
œ
œ
˙
w
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TH101
1.3 Time Signatures, Dotted Half Notes, and Double Bar Lines
A TIME SIGNATURE occurs at the beginning of each piece of music and describes:
1. How many beats will occur per measure.
2. What kind of note will get one beat.
Here are some examples of TIME SIGNATURES.
1
& 34
44
∑
64
∑
24
∑
∑
The top number usually tells how many beats will occur in each measure.
When the bottom number is a 4, it means that a quarter note gets one beat.
How many beats per measure? / What kind of note gets one beat? Remember, the whole rest in
any measure gets all the counts that are in that measure.
2
& 45
44
∑
34
∑
41
∑
∑
1. _______/_______
5
Quarter 2. _______/_______
4
Quarter 3. _______/_______
3
Quarter 4. _______/_______
1
Quarter
This is a DOTTED HALF NOTE. It gets three beats. Write the counts under the music; then clap
and count. Draw parentheses around counts where rests occur, and place an "R" below the number.
3
& 44 ˙ .
Œ œ ˙.
(4)
1 - 2 - 3
1
2 - 3 - 4
˙
˙
˙.
œ
1 - 2
3 - 4
1 - 2 - 3
4
R
The final bar line in a piece of music is called a DOUBLE
BAR LINE and is made up of a thin line and a thick one.
4
& 34 ˙ .
1
Œ
-
2
-
3
Ó
˙
(1)
2
- 3
(1
∑
œ
- 2)
3
(1 - 2 - 3)
Fill each incomplete measure with only one note.
5
4
&4 ˙
Lessons — 3
˙
œ
˙.
˙.
œ
œ
œ
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
˙
TH101
2.1 Clefs
Staff, staves: The horizontal lines upon which music is written.
The top staff of the following contains a TREBLE CLEF. This clef tells you that the notes after
it will be high notes. It is also called a G CLEF because the curve in the middle of the clef is
around the second line up, which is where the note G is located. Sopranos and altos sing pitches
notated by the treble clef. Music for tenors is usually written in the treble clef as well.
However, the pitches that the tenors actually sing are an octave* lower than written.
Copy the treble clef several times on the top staff below.
& 44 ˙
&
&
&
&
&
&
&
&
?
?
?
?
?
?
?
?
G
? 44 F˙
The other clef you see here is the BASS CLEF. It notates low pitches, and is also called the F CLEF
because its two dots are on either side of the second line down, which is where the note F is located.
Baritones and basses sing pitches notated by the bass clef.
Copy the bass clef several times on the bottom staff above.
This is the grand staff. It always has two lines of music, and usually uses a treble clef and a bass
clef. Piano music is written on the grand staff. The top line contains notes to be played by the
right hand, while the bottom line contains notes to be played by the left hand. The two staves are
always joined together by a bracket on the left side, and the bar lines are written all the way from
the top of the staff to the bottom. In piano music, they are not broken between staves (as above).
In choral music, they are broken between staves, to leave space for the lyrics (as below).
&
?
* Octave: a distance of eight notes above or below.
Lessons — 4
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TH101
2.2 Reading Music
Each note on the staff represents a specific pitch. Here are some basics of music reading.
1. As notes ascend on the staff, their sounds rise in pitch. As they descend on the staff, their
sounds lower in pitch.
Circle the higher pitch in each measure.
1a
4
&4 ˙
˙
˙
˙
Circle the lower pitch in each measure.
1b
&˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
2. Notes are classified as either "line notes" or "space notes." Line notes have a line of the staff
going through them, and space notes are in the spaces.
Draw line notes on all of the lines of the staff. Make the rhythm fit 4/4 time and write counts
underneath.
2a
œ
4
&4 œ
Do the same with space notes. Make sure you are using all of the notes you have learned.
2b
œ
4
&4 œ
3. There are 7 notes in the musical alphabet—A, B, C, D, E, F, and G—which repeat over and
over. When notes move up on the staff from one note to the very next one, they ascend in order
(ex. A, B, C, D) in the musical alphabet. See if you can figure out the missing names of notes in
this example.
3
œ
& 44 œ œ œ
A
Lessons — 5
B
__
C
__
D
œ œ œ œ
__
E
D
__
C
__
B
œ œ œ œ
œ œ œ œ
__
A
__
A
__
G
F
__
G
__
B
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
__
C
__
D
TH101
2.3 Treble clef notes
Identify each note below as a line note (L) or a space note (S).
1
& œ
œ
˙
œ
œ
˙
___
S ___
L ___
L ___
S
œ
___
S
___
L
œ
œ
˙
œ
___
L ___
S ___
L ___
S
˙
___
S
___
L
There are easy ways to remember the line and space notes of the treble clef. The lines can be
remembered with the phrase, "Every Good Boy Does Fine."
2
&˙
˙
˙
E
G
B
Name the line notes below.
3
&
œ
4
&
œ
œ œ
D
F
œ
œ
œ
D ___
G ___
F ___
E
___
œ œ
œ
œ
œ
F ___
B ___
D ___
E
___
w
œ
œ œ œ
F ___
G ___
B ___
E
___
˙
G ___
D ___
B ___
E
___
B ___
G ___
F ___
D
___
œ œ
&
œ œ
E ___
F ___
G ___
B
___
œ
œ
œ
w
F
A
C
E
& œ œ œ œ
A ___
F ___
C ___
F
___
œ
œ
œ œ
œ
œ œ
œ
œ
E ___
F ___
G ___
D
___
w
& œ œ œ œ
Lessons — 6
œ
w
___
A ___
F ___
C ___
A
7
œ
w
Name the space notes below.
6
œ œ
F ___
D ___
G ___
B
___
The space notes of the treble clef spell FACE.
5
œ œ
œ œ
œ œ œ
œ
___
E ___
F ___
A ___
C
___
E ___
F ___
C ___
A
___
F ___
C ___
A ___
E
œ œ
œ œ
œ œ
œ
œ
œ
œ œ œ
E ___
C ___
A ___
F
___
F ___
A ___
C ___
E
___
A ___
C ___
F ___
E
___
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
2.4 More practice with notes of the treble clef
Name the notes.
1
4
&4 œ œ œ œ
F ____
C ____
G ____
E
____
2
& œ œ œ œ
C ____
A ____
B ____
C
____
3
& œ œ œ œ
E ____
G ____
F ____
B
____
œ œ œ œ
œ œ œ œ
C ____
D ____
E ____
D
____
B ____
C ____
A ____
G
____
œ œ œ œ
œ œ œ œ
œ œ œ œ
F ____
G ____
A ____
B
____
œ œ œ œ
D ____
E ____
F ____
D
____
B ____
G ____
A ____
F
____
œ œ œ œ
œ œ œ œ
G ____
F ____
A ____
C
____
B ____
D ____
G ____
E
____
A ____
C
____
D ____
G
____
œ œ œ œ
D ____
F
____
E ____
A
____
Write these notes on the staff; use quarter notes.
* Stem Rule: Stems go up on the right side of the note if the note is below the third (middle)
line on the staff; otherwise stems go down and on the left side of the note.
4
&
œ
œ œ
F
E
G
œ
œ œ œ œ
D
B
A
C
D
(line) (line)
5
E
œ œ œ œ
F
B
G
E
(space)
œ
& œ
œ œ œ œ
F
œ œ
œ œ
œ
œ
œ
œ
G
G
A
C
A
B
D
(line) (line)
E
A
(line)
(space)
E
D
G
(space)
œ
œ
E
F
œ œ œ
E
(line) (space)
B
C
(space)
œ
E
(line)
Write the counts. Clap and count the rhythm.
6
& 44 œ
1
____
œ
˙
˙.
œ
œ
˙
œ
w
2
____
3–4
____
1–2–3
____
4
____
1
____
2–3
____
4
____
1–2–3–4
____
Rhythmic Dictation
7
& 34 œ
Lessons — 7
œ
œ
˙
œ
˙.
œ
˙
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
3.1 Music that moves by step
It is very important to recognize the notes and identify their names. However, reading music is
much easier, especially when sightreading, if you pay attention to the direction in which the notes
are travelling and the distance between the notes.
Notes that are right next to each other in the scale and on the staff are separated by a step.
Passages of stepwise notes are easy to spot if you look for notes that move in the pattern:
line-space-line-space, or space-line-space-line, and that do not skip any lines or spaces.
Here is an example of music moving only in stepwise motion; name the notes underneath.
1
œ œ œ œ
œ œ œ œ
œ œ œ œ
G
___
G
___
D
___
& 44 œ œ œ œ
E
___
F
___
G
___
A
___
F
___
E
___
F
___
A
___
B
___
C
___
E
___
D
___
C
___
In the next line, fill in the remaining three quarter notes in each measure, making sure to only
move by step. Name the notes underneath.
2
& 44 œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
F ___
G ___
A ___
B
___
C ___
D ___
E ___
F
___
G ___
F ___
E ___
D
___
C ___
D ___
E ___
F
___
In the following two lines, circle any skips (anywhere the distance between the notes is greater
than a step). Name the notes underneath.
3a
3b
& 44
œ œ œ œ
˙
˙
œ œ œ œ
˙
˙
D
___
D
___
B
___
A
___
B
___
A
___
B
___
C
___
œ œ
œ
A
___
G
___
& œ
G
___
C
___
B
___
œ
E
___
B
___
C
___
D
___
œ
˙
œ œ œ
œ
œ
D
___
C
___
D
___
A
___
G
___
C
___
B
___
œ
D
___
˙
G
___
Write the counts under the rhythm. Clap and count the rhythm.
4
& 44 œ
1
___
Œ
Ó
˙
(2)
3–4
___
___
(1–2)
___
œ
œ
œ
˙.
w
3
___
4
___
1
___
2–3–4
___
1–2–3–4
___
R
R
Rhythmic dictation
5
4
&4 ˙
Lessons — 8
œ
œ
œ
˙.
œ
œ
˙
w
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
3.2 Other notes in the treble clef
The lines and spaces contained in the staff are not sufficient to notate all of the pitches that you
will need to sing and play. Therefore, notes can be written above and below the staff with the
addition of LEDGER LINES. These are lines written to identify notes above and below the
staff. Here are some examples of notes written with ledger lines.
1
& 44
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
As you can see, notes with ledger lines can move by step in the same way as notes on the staff.
The second and third measures in the above line show notes moving up and then down by step.
Notes below the staff:
2
&œ
œ
œ
œ
w
D
C
B
A
G
Name the notes.
3
& œ
œ œ œ
D ____
C ____
B ____
E
____
4
G ____
F ____
C ____
G
____
œ
&
œ œ œ œ
G ____
B
____
5
œ œ œ œ
&
œ
œ
A ____
C
____
œ
œ
C ____
C ____
D ____
D
____
œ
D
____
œ
œ œ
G ____
A ____
C
____
œ
œ
œ
G ____
G ____
G ____
C
____
and above:
œ
œ
œ
œ
w
G
A
B
C
D
œ
œ œ œ
G
____
œ
A ____
B
____
D
____
œ
œ œ
E ____
E ____
F ____
B
____
œ
œ
œ œ
œ œ
C ____
A
____
œ
œ
F ____
D
____
œ œ
A ____
B ____
C
____
G
____
œ
œ œ
A ____
D ____
D ____
A
____
œ œ œ
B ____
C ____
E ____
C
____
Name all the notes below.
6
& 44
œ œ œœœ œ œ œœ œ œœœœ œ œ œ œ
œ
œ
œ
œ
œ
œ
˙
œ œ œ
G
__ A
__ B
__ D
__ C
__ D
__ E
__ G
__ A
__ F
__ G
__ E
__ D
__ C
__ D
__ F
__ G
__ A
__ F
__ G
__ F
__ E
__ C
__ E
__ G
__ F
__ D
__ C
__
Lessons — 9
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
3.3 Review
Write the counts below the rhythm; clap and count.
1
4
&4 œ
Œ
1
___
Ó
˙
(2)
3–4
___
___
˙
(1–2)
___
R
3–4
___
œ ˙
œ
1
___
4
___
2–3
___
Œ
(1)
___
R
˙.
2–3–4
___
R
Complete the melody using only quarter notes in stepwise motion and write the names of the
notes below.
2a
4
&4 œ œ œ œ
___
C ___
B ___
A ___
G
2b
œ œœ œœ œœ
&
___
E ___
F ___
E ___
D
D
C
B
œ œœ œœ œœ
œ œ œ œ
___
F ___
G ___
F ___
E
___
D ___
E ___
F ___
G
E
D
C
œ œ œ œ
___
A ___
B ___
C ___
D
œ œœ œœ œœ
œ œœ œœ œœ
œ œ œ œ
___
C ___
D ___
C ___
B
___
A ___
B ___
C ___
D
___
C ___
B ___
A ___
G
B
A
G
G
A
B
Circle the skips in the melody; write the names of the notes below.
3a
3b
& 34 œ
œ
œ
˙
œ
C
___
B
___
A
___
G
___
A
___
œ.
j œ
œ
F
___
G
___
E
___
F ___
G
___
F
___
& œ
œ
œ
˙
œ
œ
˙
˙.
A
___
G
___
F
___
G
___
E
___
F
___
D
___
C
___
Name these notes.
4
˙
œ œ
& 44
œ
œ œ œ
œ œ
œ œ
œ œ œ œ
A
___
B
___
G
___
C
___
œ œ œ œ
G
___
C
___
B
___
D
___
D
___
B
___
G
___
A
___
A
___
œ
œ
œ
B
___
D
___
C
___
Rhythmic dictation
5
4
&4 w
Lessons — 10
œ œ œ œ
˙
˙.
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Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
4.1 Bass clef notes
Lower pitched notes are notated using the BASS CLEF. The notes on the lines and spaces of the
bass clef have different names from the ones on the treble clef.
The lines of the bass clef are G - B - D - F - A. You can remember them with the phrase "Good
Boys Do Fine Always."
1
? 44
˙
˙
˙
G
B
D
Name the line notes.
?
œ œ œ
2a
œ
B ___
D ___
G ___
A
___
2b
? œ œ œ
œ
D ___
F ___
A ___
B
___
œ
œ
œ
œ
F ___
G ___
A ___
D
___
œ
œ
œ
œ
G ___
A ___
B ___
F
___
˙
w
F
A
œ œ
œ œ
B ___
G ___
D ___
F
___
œ
œ
œ
œ
D ___
A ___
G ___
F
___
œ
œ œ
œ
A ___
D ___
F ___
G
___
œ
œ œ œ
B ___
D ___
G ___
F
___
The space notes are A - C - E - G. They can be remembered with the phrase "All Cows Eat Grass."
3
?
w
w
w
w
A
C
E
G
Name the space notes.
4a
?
œ
œ
œ œ
A ___
G ___
C ___
E
___
4b
? œ œ œ
œ
G ___
E ___
C ___
A
___
Lessons — 11
œ œ
œ
œ
œ œ
œ œ
œ
œ œ œ
A ___
C ___
E ___
G
___
E ___
G ___
A ___
C
___
E ___
A ___
C ___
A
___
œ œ œ œ
œ œ œ
œ
œ œ œ
œ
C ___
E ___
C ___
A
___
G ___
E ___
G ___
C
___
A ___
E ___
G ___
C
___
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
4.2 More practice with the bass clef
Name the notes.
œ
œ
?4
4 œ œ œ
1a
B ___
A ___
E ___
G
___
1b
? œ œ œ œ
œ
œ
A ___
D ___
G ___
F
___
œ œ œ œ
œ œ
œ œ
œ œ œ œ
œ œ
œ œ
G ___
A ___
D ___
F
___
G ___
E ___
F ___
D
___
E ___
C ___
A ___
B
___
C
E
B
D
A
B
C
(space)
D ___
C ___
E ___
A
___
œ
œ
œ œ œ
œ
œ
A
B
D
D
C
G
F
E
C
(space)
œ
œ
A
G
(line)
(line)
œ
œ œ œ œ
œ
F
D
F
C
G
œ
œ œ
A
B
(line)
œ œ
E
œ
A ___
G ___
G ___
A
___
œ
œ
œ
œ
(space)
?œ
œ œ œ
A ___
B ___
C ___
G
___
œ œ œ œ
D ___
G ___
A ___
F
___
F
œ
œ œ œ
œ œ œ œ
C ___
B ___
G ___
A
___
? 44 œ œ œ
œ
3b
œ œ
B ___
G ___
C ___
D
___
Write the notes; remember the stem rule.
3a
œ
œ
A ___
F ___
D ___
G
___
?
2
œ
B
(space)
G
(line)
œ
œ œ
A
D
E
(space)
Write the counts underneath the rhythm.
4
? 44 œ
Ó
œ
1 ___
2 (3–4)
___
_____
˙.
Œ
1–2–3
_____
(4)
___
R
Œ
œ
Œ
œ
w
(1)
2 (3)
4 1–2–3–4
___ ___
___ ___
_____
R
R
œ
w
R
Rhythmic dictation
5
? 44 œ
Lessons — 12
œ
˙
œ
˙
˙
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Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
˙
TH101
5.1 More notes in the bass clef
Extra notes can be added onto the bass clef just as they can on the treble clef. Here are the most
common notes added with ledger lines.
1
? 44 ˙
˙
B
C
D
œ
?
œ
2b
œ
œ
B ___
C ___
C ___
C
___
œ
E
œ
œ
? œ
Name the notes.
2a
˙
˙
œ
D ___
D ___
D ___
E
___
œ
œ
œ
œ
E ___
A ___
D ___
F
___
œ
˙
˙
˙
˙
F
E
D
C
œ
œ
E ___
E ___
F ___
F
___
œ
œ
œ
B ___
E ___
E ___
C
___
œ
œ
œ
œ
G ___
G ___
A ___
A
___
œ
œ
œ
œ œ
œ
œ
œ
D ___
A ___
F ___
B
___
œ
E ___
C ___
D ___
D
___
Circle the skips in the two melodies; write the names of the notes underneath.
3
œ œ œ
? 44 œ œ
A ___
B ___
C __
D __
C
___
4
? 44
œ œ ˙
œ œ œ œ
œ œ ˙
B ___
C ___
D
___
E ___
C ___
D ___
B
___
A ___
G ___
A
___
œ œ œ
œ œ œ œ
œ œ ˙
C ___
E ___
F ___
D
___
E ___
C ___
D
___
œ
œ œ ˙
œ
G __
F ___
E ___
F ___
D
__
C ___
E ___
C
___
Rhythmic dictation
5
? 34 œ
Lessons — 13
œ
œ
˙
œ
œ
˙
˙.
Copyright © 2006 by Masterworks Press. All Rights Reserved.
Use of this material in any form is restricted to the licensee named on the original Reproduction License
issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
5.2 Crossword Puzzle
Across
œ œ œ œ
?4
4 œ œ œ
2.
B __
A __
G __
G __
A __
G __
E
__
? œ œ
10.
œ œ
œ
œ
œ
E __
F __
F __
A __
C __
E
__
16. __
B
1. __
F __
A __
C __
E
2. __
B __
A __
D __
G __
E
& œ
œ
œ
˙
8. __
F __
E __
E
˙
7. __
B __
E
œ œ œ
A __
D
__
œ œ œ
&
œ
D
__
œ
œ
œ œ œ
˙
Down
A
__
6.
˙
œ
˙ œ
11. __
F __
E __
D
13.
18. __
G
˙
3. __
G __
A __
B
˙
œ œ
œ œ
˙
œ
4. __
E
œ
œ œ
A __
G __
E __
D
__
15. __
B
œ
E __
F 9. __
E __
D __
G __
E
__
E __
D __
G __
E __
D
__
17.
œ
œ œ œ
œ
œ œ œ
˙ ˙
œ œ
D
__
E
__
œ œ
œ
5. __
C __
A __
G __
E __
D
˙
œ
E
__
˙
E __
E
__
œ œ ˙
16. __
B __
A __
G
1
F
2
3
B
A
4
G G A
A
A
6
C
7
A
D
G
5
E
C
D
A
8
B
E
E
F
G
9
G
10
E
11
E
F
D
G
E
13
F
A
C
E
D
15
E
16
G
B
17
B
A
D
A
E
D
D
G
E
D
E
18
G
E
E
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ACROSS
Lessons — 14
2
baggage
1 6 bag
TH101
5.3 Rhythm review
Write the counts under the rhythms.
1a
& 44 ˙
Œ
1–2
___
œ
Œ
Ó
(4)
___
(1–2)
_____
R
R
˙.
(3)
4
___ ___
1–2–3
_____
R
1b
∑
&
œ
(1–2–3–4)
_______
˙
Œ
œ
1 _____
2–3
___
4
___
2a
& 34 œ
Œ
2–3
_____
(1)
___
œ
œ
&
2
___
2
___
3
___
Œ
1–2–3–4
_______
Œ
Œ
(3)
___
(4)
___
R
R
˙.
œ
1–2–3
_______
1
___
4
˙
(1)
2–3
___ _____
œ
˙.
1 2–3–4
___
_____
˙
œ
1–2
_____
3
___
R
R
2b
3–4
_____
R
˙
1
___
w
œ
(1)
___
R
˙
Œ
(2)
___
œ
3
___
R
Œ
(1)
___
R
œ
2
___
Œ
(3)
___
˙.
1–2–3
_______
R
Write a rhythm in 4 time using all the notes and rests you have learned.
3a
& 44
3b
&
Rhythmic dictation
4
& 44 ˙ .
Lessons — 15
œ
œ
œ
˙
œ œ œ œ
œ
œ
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
˙
TH101
6.1 Eighth Notes
Eighth notes move twice as fast as quarters. They are counted using numbers with "and" in
between. Here is what they look like.
1
& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Eighth notes can be
joined together in
groups of 4.
œœ œ œœ œ
1 + 2 + 3 + 4 + They can also be
joined together in
groups of 2.
1 + 2+ 3 + 4+
Write the counts under the rhythm.
2
& 44 œ œ œ œ ˙
__
1 __
+ __
2 __
+ _____
3+4+
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ œ œ
__
__ 3+
__ __
______ __
__ 4+
__
1 __
+ 2+
4 __
+ 1+2+3+
4 __
+ __
1 __
+ __
2 __
+ 3+
Fill in the missing beats with eighth notes, and write the counts underneath.
3
& 44 œ Œ œ œ œ œ œ œ œ
˙
œ œ œ œ œ œ œ œ œ œ
˙.
___
______
1+ ____
(2+) ___
3+ __
4 __
+ __
1 __
+ __
2 __
+ ______
3+4+ __
1 __
+ __
2 __
+ __
3 __
+ __
4 __
+ __
1 __
+ 2+3+4+
R
Write the counts under the rhythm.
4
& 34 œ
__
1+
œ œ œ
˙
œ œ
Œ
œ œ œ
œ œ œ œ œ
__
__
2 __
+ 3+
_____
1+2+
__
3 __
+
____
(1+)
__
__
2 __
+ 3+
__
__
1 __
+ __
2 __
+ 3+
R
5
& 44 œ œ œ œ œ œ
__
__ __
__
1 __
+ 2+
3 __
+ 4+
œ œ œ œ œ œ
˙.
œ œ œ Œ œ œ œ
__ 2+
__ __
__ (2+)
__ __
__
_______ __
1+
3 __
+ __
4 __
+ 1+2+3+
3 __
+ 4+
4 __
+ 1+
R
Write a four measure rhythm using eighth notes, quarter notes, and half notes.
6
& 34
Rhythmic dictation
7
4
&4 œ œ œ œ œ
Lessons — 16
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ ˙
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TH101
6.2 Eighth Rests
Eighth rests:
1
Quarter rests:
Half rests:
4
&4 ‰‰‰‰ ‰‰‰‰ Œ Œ Œ Œ
1/2 beat each
Ó
1 beat each
Whole rest:
Ó
∑
2 beats each
4 beats each or
any whole measure
Write the counts under the rhythm. Clap and count the rhythm.
2
j j j j
j j j j j
j j ‰ ‰ j ‰ j‰ j j‰ j‰
4
‰
‰
‰
‰
‰
‰
‰
‰
‰
‰
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œœ œ
&4
__
__ __
__ __
__ (1)
__ __
__ __
__ __
__ __
__(2)
__ __
__(4)
__ __
____
____
____
__
1 __
(+) __
2 (+)
3 (+)
4 (+)
+ (2)
+ (3)
+ (4)
+ __
1 (+)
+ __
3 (+)
+ (1)
+(2)
+ __
3(+)
4(+)
R
R
R
R
R
R
R
R
R R
R R
R
R
R
R
Write one rest per measure to complete this rhythm in 4/4 time.
3a
& 44 ˙
Ó
œ œ Œ œ
M
3b
M
j
‰
&œ œ œ œ œ œ œ Œ ˙
M M
œ
4a
___
1+ __
2 __
+ ___
3+
‰ œj œ œ œ
__ __
(1)
+ __
2 __
+ ___
3+
R
4b
j
‰
œ
œ
œ
œ œ
&
__
__ __
1 __
+ (2)
+ __
3 __
+
R
Œ
∑
M
M
j
œ œ œ œ œ ‰ œ œ œ œ Ó
M
M
Write the counts. Clap and count.
& 34 œ œ œ œ
˙.
‰ œj ‰ œj ‰ œj œ
__ __
__ __
__ __
(1)
+ (2)
+ (3)
+
R
R
‰ œj œ œ
___
__ __
1+ (2)
+ __
3 __
+
R
R
‰ œj ‰ œj œ
j
œ œ ‰ œ œ œ
j
œ ‰ œ œ
__ __
__ __
__
(1)
+ (2)
+ 3+
__
__ __
1 __
+ (2)
+ __
3 __
+
___
__ __
1+ (2)
+ ___
3+
R
R
R
R
Rhythmic dictation
5
4
& 4 œ œ œ œ œ œ œ ˙.
Lessons — 17
œ œ œ œ œ œ œ œ
˙
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
œ œ œ
TH101
7.1 Dynamics
DYNAMICS are markings that tell you how loud or soft to play or sing a piece of music. Here
are the most common dynamic markings with their names and translations:
pp
p
mp
mf
f
ff
pianissimo
piano
mezzo piano
mezzo forte
forte
fortissimo
very soft
soft
medium soft
medium loud
loud
very loud
In addition, there are two markings that mean to gradually increase and decrease sound:
crescendo
cresc.
gradually get louder
diminuendo or decrescendo
dim.
gradually get softer
Circle and define all dynamic markings in the next two lines.
1a
#
& 44 ˙
P
1b
#
& ˙
π
˙
˙
œ œœœ œ
œ œœœ
œ
œ œ œ œ
f
œ
œ
œ œ
ƒ
œ œ ˙
p
œ œ ˙
F
Draw the appropriate dynamic markings.
Start very soft, and gradually get louder until the last measure, which is very loud.
2
& b 44 œ œ œ œ
π
œ œ ˙
œ œ œ œ
œ œ ˙
ƒ
œ œœ˙
Start loud, and suddenly become soft on the first beat of the third measure.
3
4œ œ œœœ
&4
f
Lessons — 18
œ œ œ œœ œ œ ˙
p
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TH101
7.2 Ties and Slurs
Ties and slurs are both curved lines that are drawn above or below the notes (they are drawn on
the opposite side from the stems).
1
& 44 œ œ œ œ
œ œ œ œ
Slur
œ œ œ
œ
Slur
w
Tie
Because they look so similar, it is easy to confuse them. Here is how to tell the difference:
A TIE connects TWO notes that are the SAME PITCH and means to hold that pitch for the
duration of BOTH notes.
2
&˙
œ
w
˙
˙
œ
3 beats
_______
5
____________________
beats
Hold for: 4 beats
Ó
˙
A SLUR connects more than two notes, or two notes that are on DIFFERENT PITCHES and
means to sing or play the notes under the slur SMOOTHLY, or LEGATO.
3
&
œ
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
Label each curved line as a tie or slur. If it is a tie, also write the number of beats the pitch will get.
4a
&b œ œ œ œ
Slur
4b
Tie
2 beats
&b œ œ œ œ
Slur
Lessons — 19
œ œ œ œ
Slur
œ œ œ œ
Tie
2 beats
Slur
œ œ œ
œ
Slur
˙
œ
œ
Tie
3 beats
œ œ œ œ
w
Tie
5 beats
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TH101
7.3 Note Review
Name the notes.
1
4 œ œ œ œ
&4
E ___
D ___
C ___
B
___
œ œ
&
œ œ
F ___
G ___
F ___
G
___
2
? œ œ
œ œ
œ
œ
œ
œ œ
A ___
F ___
E ___
C
___
œ œ
œ
œ œ
? œ œ
A ___
B ___
C ___
D
___
œ
F ___
G ___
E ___
E
___
œ
œ œ
G ___
E ___
B ___
C
___
œ œ œ
œ
E ___
E ___
C ___
C
___
œ
œ œ œ
œ
œ
œ
A ___
B ___
F ___
E
___
œ
œ
D ___
C ___
D ___
G
___
œ
œ œ
D ___
D ___
D ___
C
___
œ
œ
C ___
C ___
A ___
A
___
œ œ œ
œ
B ___
G ___
F ___
D
___
œ œ
œ œ
œ œ
E ___
F ___
E ___
D
___
C ___
B ___
C ___
D
___
œ œ œ œ
œ œ œ œ
G ___
A ___
B ___
A
___
G ___
F ___
E ___
D
___
œ œ
œ
œ
A ___
C ___
F ___
A
___
œ œ œ
œ
B ___
A ___
G ___
G
___
Finish the melody with stepwise motion using quarter notes, and fill in the names of the notes.
3
?4 œ œ œ œ
4
C ___
D ___
E ___
F
___
*Some measures in Line 3 have more than one correct answer.
?
œ œ œ œ
œ œ œ œ
F ___
G ___
A ___
G
___
F ___
G ___
A ___
B
___
œ œ œ œ
C ___
B ___
A ___
G
___
œ œ œ œ
œ œ œ œ
C ___
D ___
E ___
F
___
G ___
F ___
E ___
D
___
Rhythmic dictation
4
? 44 ˙
Lessons — 20
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
˙.
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
8.1 Intervals
An INTERVAL is the distance between two pitches. It is expressed by a number. Examples of
intervals are seconds, thirds, fourths, and fifths. Figuring out an interval is quite simple. Count
the line or space that the bottom note is on as one, and count every line and space in between the
two notes, ending with the line or space on which you find the top note. The resulting number is
your interval.
1
& 44 ˙
˙
2nd
(same as step)
6th
w
7th
˙
& ˙
8th or octave
5th
1. __________
4th
2. __________
˙
˙
&
˙
˙
Octave
6. __________
˙
˙
˙
& ˙
6th
7. __________
9.
2nd
13.
Lessons — 21
10.
˙
& ˙
˙
˙
5th
7th
˙
˙
3rd
14.
4th
15.
3rd
8. __________
octave
˙
˙
12.
˙
˙
˙
˙
˙
˙
11.
2nd
4. __________
˙
˙
Add the upper note to form each interval.
3
˙
˙
7th
3. __________
˙
˙
3rd
5. __________
5th
w
Name the intervals.
2
˙
˙
4th
˙
˙
˙
˙
3rd
˙
& ˙
˙
˙
6th
˙
˙
16.
5th
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
8.2 Dotted Quarter Note
When you add a dot after a note, it increases the value of the note by half. Therefore, a half note
(two beats) + a dot (half of two = one) = three beats. A quarter note (one beat) + a dot (half of
one = half) = one and a half beats. A dotted quarter note gets one and a half beats, and is equal to
three eighth notes.
1
4
& 4 œ.
j
œ œ.
j
œ ˙.
j
œ œ.
œ
Counts: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
j
œ œ.
j
œ˙
œ.
1 + 2 + 3 + 4 +
1 + 2 + 3 + 4 +
Write the counts under the rhythms.
2
& 34 œ .
j
œ œ
œ œ
_____
1+2 __
+ ___
3+
‰ j‰ j
œ
œ
__
1 __
+ (2)
__ __
+ (3)
__ __
+
R
3
j
j
œ œ œ œ œ œ œ.
œ.
_____
1+2
__
+ __
3 __
+
__
1 __
+ __
2 _____
+3+
R
j
j
j
j
j
j
& 44 œ . œ œ . œ ‰ œ œ ‰ œ ‰ ‰ œ œ . œ œ œ œ Œ œ . œ œ
_____
1+2 __
+ _____
3+4 __
+ (1)
__ __
+ __
2 (+)
__ __
3 (+)
__ (4)
__ __
+ _____
1+2 __
+ __
3 __
+ ___
4+ (1+)
___ _____
2+3 __
+ ___
4+
R
4
j
œ
& 24 œ .
1+2
_____
+
__
R
‰
R
j
œ œ
(1)
+ ___
2+
__ __
R
Rhythmic Dictation
5
& 44 œ .
Lessons — 22
j
œ œ.
j
œ œ œ œ œ œ œ
R
R
Œ
(1+)
___
œ
œ
j
œ œ ‰ œ
2
__
+
__
1
__
+ (2)
+
__
__ __
R
œ.
R
j
œ œ œ œ œ œ œ œ ˙
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
8.3 Articulation
Along with notes, rests, dynamics, slurs, and ties, music is filled with other symbols that tell the
performer how to perform the notes. Here are some symbols that you will encounter in a lot of
your music. Sing the scales while performing all the different articulations.
.
1. Staccato:
& 44
>
ß
&œ œ
ß
4. Tenuto:
&œ œ
5. Fermata:
œ
œ. œ. œ œ
. .
œ. œ. œ œ
. .
Sing notes with accents above or below them louder than the surrounding
notes.
œ
>œ >
œ œ >œ œ
3. Sforzando:
&
. .
œ. œ. œ œ
œ. œ. œ. œ.
2. Accent:
&
A dot above or below a note tells you to sing it short and detached.
œ
œ
>œ
œ
œ
>œ
œ
œ
>œ œ
This is an sudden accent that is stronger than the one above. It means
"with force or emphasis."
œ
œ
-
œ
ß
œ
œ
ß
œ œ
œ
œ
œ œ
ß
œ
œ
This literally means "held." The tenuto mark means to hold a note for its
full value. It is a stress that tells you to lean into a note.
œ
œ-
œ-
U
œ
œ
œ
œ-
œ
œ-
œ
œ
œ
œ-
œ
Hold the note longer than its full value. In choral music, watch the
conductor; he or she will show you the length of the note with the fermata.
œ œ uœ œ
U
œ œ œ œ
œ
œ œ œ
u
œ
œ œ œ
u
Circle and identify the marks in the music.
& b 44 œ œ œ œ œ œ
P
Lessons — 23
œ œ œ. œ. œ œ œ œ œ œ œ
œ
œ
œ
> œ u - œ œ >œ œ œ œ- œ
ƒ
π
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issued by Masterworks Press. Any other use constitutes a violation of Federal and International Copyright Law.
TH101
9.1 Half Steps
C
D
C
#
D
b
E
D
#
(B )
#
#
G
b
b
G A
F
b
#
E F G
#
b
(F ) (E )
A
B
A
#
b
C
D
#
b
D
E
#
b
#
#
G A
b
b
b
G A B
F
#
B C D E F G
#
#
b
b
(C ) (B )
(F ) (E )
A
B
b
(C )
A half step is the distance between two consecutive keys on the
piano keyboard. Each black key has two names, which are
determined by the white keys surrounding it.
The black key between C and D, for example, can be called
either C # (C-sharp) or D b (D-flat).
Two notes that are spelled differently but are actually the same
pitch are called ENHARMONIC TONES.
List five different enharmonic tones that you can see on this
keyboard:
#
b
C
D
____/____
Lessons — 24
#
b
D
E
____/____
#
b
F
G
____/____
#
b
G
A
____/____
#
b
A
B
____/____
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TH101
9.2 Accidentals and Half Steps
ACCIDENTALS are symbols that are written next to notes that alter their pitch. Three examples
are SHARP, NATURAL, and FLAT. Accidentals last for a single measure. They are only
cancelled by another accidental on the same note or by a bar line.
A SHARP raises a note by a half step. It is always placed before the note on the same line or
space as the note. Draw a sharp before each note.
1
& 44 # ˙
#˙
#˙
#˙
#˙
#˙
#˙
#˙
A FLAT lowers a note by a half step. As with the sharp, write it before the note on the same line
or space as the note. Draw a flat before each note.
2
& b˙
b˙
b˙
b˙
b˙
b˙
b˙
b˙
A NATURAL cancels a sharp or a flat. It is ALWAYS a white key on the piano. Draw a natural
before the second note in each measure to cancel the sharps and flats.
3
& #˙
n˙
#˙
n˙
#˙
n˙
b˙
n˙
A HALF STEP is the distance between two adjacent notes on the keyboard. It is the smallest
interval in Western Classical music. Here are some examples of half steps.
4
& ˙
#˙
˙
#˙
˙
˙
˙
b˙
Name the notes. Then use your keyboard (Lesson 9.1) to help you find and circle the half steps in
the next three lines, as well as in the following lessons.
5a
5b
5c
&
&
&
Lessons — 25
˙
˙
˙
˙
B
___
C
___
A
___
B
___
#˙
˙
˙
b˙
A
___
Gb
___
˙
#˙
E
___
D#
___
F#
___
G
___
b˙
˙
Ab
___
G
___
˙
b˙
D
___
Eb
___
˙
#˙
B
___
C#
___
˙
˙
E
___
C
___
b˙
˙
Eb
___
F
___
˙
˙
C
___
A
___
˙
˙
F
___
E
___
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TH101
9.3 Whole steps
A whole step is equivalent to two half steps. On the piano, it is the distance between two keys
that have one key in between them. Here are some examples.
1
4
&4
b˙
b˙
#˙
˙
˙
˙
#˙
#˙
For each pair of pitches, name the notes. Then check your keyboard sheet to determine whether
they are a half step apart from each other, a whole step apart, or enharmonic pitches.
ENHARMONIC notes are two notes that are written differently but that sound the same pitch.
2
& ˙
˙
C
___
B
___
Half
step
_________
3
&
E
___
F#
___
Whole
step
_________
4
? ˙
˙
b˙
C
___
Bb
___
#˙
Gb
___
F#
___
B
___
Cb
___
Enharmonic
_________ notes
˙
˙
B
___
C#
___
B
___
˙
˙
F#
G#
___
___
_________
Whole
step
B
___
A
___
C#
___
Half
step
_________
A#
___
B
___
˙
b˙
A
___
Bb
___
Half
step
_________
˙
b˙
E
___
Eb
___
Half
step
_________
˙
#˙
C#
D
___
___
Half
step
_________
_________
Whole
step
˙
#˙
C
___
Whole
step
_________
#˙
Half
step
_________
b˙
˙
#˙
#˙
#˙
_________ notes
Enharmonic
Whole
step
_________
Half
step
_________
5
G
___
˙
C
___
?
F
___
Whole
step
_________
#˙
˙
˙
˙
b˙
#˙
˙
E#
___
F
___
_________ notes
Enharmonic
Melodic dictation: Write down the remaining notes in the melody. HINT: This will move by
stepwise motion.
6
& 34
Lessons — 26
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
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TH101
9.4 More Practice with Dotted Quarter Notes
Label the type of each note and write the number of counts each receives underneath.
1
4
&4
˙
˙.
œ
œ.
HALFNOTE
_________
DOTTEDHALFNOTE
_________
QUARTERNOTE
_________
DOTTEDQUARTERNOTE
_________
1BEAT
11/2BEATS
2BEATS
3BEATS
Write the counts under the rhythms; clap and count.
2a
j
j j
j
& 44 œ . œ œ . œ œ œ . œ œ .
j j
œ. œ œ œ.
j
œ œ.
j
œ. œ
1+2
+ _____
3+4 __
+ __
1 _____
+2+ __
3 _____
+4+ _____
1+2 __
+ __
3 _____
+4+ __
1 _____
+2+ _____
3+4 __
+
___ __
2b
& ˙
j
j
j j
j j
j j
œ. œ ‰ œ. œ ‰ œ ‰ œ ‰ œ œ. œ œ œ œ œ œ.
1+2+
3+4 __
+ (1)
+2+ ___
3+ (4)
+ (1)
+ (2)
+ _____
3+4 __
+ __
1 ___
+2 __
+ __
3 _____
+4+
_____ _____
__ _____
__ __
__ __
__ __
R
R
R
R
In each measure, write the equivalent number of eighth notes for each note.
3
&˙
œ œ œ œ œ œ œ
Fill each measure with ONE note.
4
5
& 4 ˙.
j
œ œ.
M
Rhythmic dictation
5
& 44 œ œ œ œ œ .
Lessons — 27
œ.
j
œ œ œ
œ.
j j
j
œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ ˙.
œ w
M
M
M
j j
j
œ œ œ œ œ œ
˙.
œ.
j
œ œ.
j
œ œ œ œ œ ˙
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TH101
10.1 Key Signatures
A KEY SIGNATURE is a collection of sharps or flats immediately to the right of the clef in each
line of music. The sharps or flats contained in the key signature tell you that those pitches will be
sharped or flatted throughout the entire piece unless a natural is added in the music. For example,
an F# in the key signature tells you that every F in the music will be played or sung as an F# unless
a natural is added to cancel it.
Name the notes. If a note is sharp or flat in the key signature, include a
1
### 4
&
4 ˙
œ
œ
A
___
B
___
C#
___
# or b in the note's name.
œ
œ
˙
nœ
F#
___
D
___
E
___
F
___
œ
œ
œ
E
___
C#
___
A
___
To review:
KEY SIGNATURE: Sharps or flats found next to the clef that apply to the WHOLE piece of music.
ACCIDENTALS: Individual sharps, flats, or naturals found in the music that ONLY apply to a
SINGLE measure.
Answer the questions about this line of music.
2
b
œ nœ #œ œ œ
œ
œ
b
œ
& œ
œ
œ œ œ œ
œ
œ
œ
1. What is in the key signature? B b AND E b
2. What accidentals do you see? E n AND F #
3. What are the first two notes in the second measure? F n AND E b
As you have noticed during sight-reading, the note that is called "1" or "do" changes in different
pieces. This note, "1" or "do," is also called the TONIC NOTE, or KEY NOTE. The tonic
note in a piece is the note around which the whole piece revolves. When the melody returns to
"1" or "do" at the end of a section, you feel as if you have arrived. Because of this feeling, we
say pieces are written in specific "keys," the key being the same as the tonic note, "1" or "do."
Every key has a key signature. Here you will learn to identify Major keys based on the sharps in
the key signature.
ORDER OF SHARPS: The sharps always go in this order: F# C# G# D# A# E# B#. Memorize it.
They are always written in these places. Copy the order of sharps two times.
3
#### #
# #
&
Lessons — 28
#### #
# #
#### #
# #
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TH101
10.2 Key Signatures with Sharps
Write the order of sharps: F#
C# G# D# A# E# B#
REMEMBER: The sharps are always written in this order. If you have one sharp, it will be F#. If
you have four sharps, they will be F#, C#, G#, D#.
Every key signature has both a Major and a minor key. For now, we will only work with the
Major keys. The rule for finding the Major key for a sharp key signature is easy:
Find the last sharp. Go up a half step. That is your Major key.
1
&
#
Last sharp = F#
Major key = G Major
Last sharp = C#
Major key = D Major
Name the Major key for each key signature.
2
&
###
#
G Major
3
&
####
##
&
&
D Major
Lessons — 29
#### #
#
#
F# Major
###
D Major
####
##
E Major
B Major
G Major
5
####
##
#
Last sharp = G#
Major key = A Major
A Major
D Major
4
###
##
A Major
#### #
# #
E Major
C# Major
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TH101
10.3 Writing Key Signatures with Sharps
Copy the order of sharps. Make sure that your sharps are written on the correct lines and spaces.
1
#### #
# #
&
#### #
# #
#### #
# #
To figure out how many sharps must be written in a key signature:
From the name of the key, go down a half step. This is your last sharp. Find the sharp in the
order of sharps and write all the sharps up to and including that one.
Write the key signature for each Major key.
2
&
G Major
3
&
D Major
####
####
#### #
# #
&
B Major
5
&
D Major
B Major
6
&
###
Lessons — 30
G Major
#### #
# #
A Major
E Major
#### #
#
#
#
F# Major
####
##
C # Major
####
A Major
#### #
#
#
E Major
4
###
##
#
F# Major
####
C# Major
E Major
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TH101
11.1 The Major Scale
A scale is a succession of pitches, written and performed in ascending and/or descending order.
The beginning and ending pitches are the most important in the scale, and are called TONIC.
When you sight-read, the pitch you call “do” is TONIC.
A major scale has a particular order of whole and half steps. Here is a C Major scale.
1
&
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
do re mi fa
sol la
ti do
do ti
la sol
fa mi re
Look at your keyboard from Chapter 9. Where are the half steps in this major scale?
do
E and ____,
F and between ____
B and ____.
C
HINT: There are two. They are between ____
Now look at the G Major scale. Where are the half steps in this major scale?
#
2
& œ œ œ œ
do
re
mi
fa
œ œ #œ œ
sol
la
ti
do
œ #œ œ œ
do
ti
la
sol
œ œ œ œ
fa
mi
re
do
B
C and between ____
F# and ____.
G
The half steps occur between ____and
____,
Notice that both times, the half steps occured between mi and fa, and ti and do. In a major
scale, this is ALWAYS where the half steps are; every other interval is a whole step.
Draw a D Major scale using a key signature. First draw the D Major key signature next to the
treble clef. Then draw the notes starting and ending with D, and including all the notes in
between.
3
&
##
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
Draw an A Major scale using a key signature. Label the solfège syllables, and circle the half
steps. Remember, it is because of these half steps that a major scale sounds the way it does.
Every major scale has the same order of whole and half steps.
4
&
###
œ œ œ œ
do re mi fa
Lessons — 31
œ œ œ œ
œ œ œ œ
sol la ti do
do ti la sol
œ œ œ œ
fa mi re do
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TH101
11.2 Major Scales and Tempo Markings
B
What major scale is this? ________
Label the solfège syllables underneath. Circle the half steps.
1
&
####
#
œ œ œ œ
do ____
re ____
mi ____
fa
____
œ œ œ œ
œ œ œ œ
sol
la ____
ti ____
do
____ ____
do ____
ti ____
la sol
____
____
œ œ œ œ
fa ____
mi ____
re ____
do
____
E
What major scale is this? ________
Label the solfège syllables underneath. Circle the half steps.
2
&
####
œ œ œ œ
do
re ____
mi ____
fa
____ ____
œ œ œ œ
œ œ œ œ
sol
la ____
ti ____
do
____ ____
do ____
ti ____
la sol
____
____
œ œ œ œ
fa ____
mi ____
re ____
do
____
TEMPO is a term used to describe the speed of music. At the beginning of a piece of music,
often there will be a word describing the tempo. Here are some common examples.
Largo...........Slow
Andante.......Walking tempo
Moderato.....Medium tempo
Allegro.........Fast
Presto...........Very fast
In addition, there are terms used within a piece of music to tell the performer to change tempos.
Here are some examples.
Accelerando (accel.)............Gradually speed up
Ritardando (rit. or ritard.)...Gradually slow down
A tempo.................................Return to the original tempo
Più mosso.............................More movement (faster)
Meno mosso.........................Less movement (slower)
Un poco................................A little
Molto....................................Very
These words can appear in music and often are paired together. For example, molto rit. would tell
a performer to gradually slow down a lot. What would un poco piu mosso tell a performer to do?
Draw a D Major scale ascending and descending. Label the tempo in the beginning as fast.
Gradually speed up until the third measure, where the tempo should return to the beginning
tempo. Gradually slow down in the last measure. Perform the scale with the markings you have
just written.
3
# # Allegro
& œ œ œ œ
accel.
Lessons — 32
œ œ œ œ
a tempo
œ œ œ œ
œ œ œ œ
rit.
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TH101
11.3 Repeat Signs
Each of the examples in this lesson should be sung by the class.
There are several marks that occur in music that tell the performer to repeat sections of the music.
The first of these is the repeat sign.
1
4
&4 œ œ œ œ
Repeat sign
œ œ œ œ
œ œ œ œ
œ œ ˙
..
Repeat from the beginning.
In the following, repeat the section BETWEEN the repeat signs.
2
&
œ œ œ œ
..
œ œ œ œ
œ œ œ œ
œ
œ
..
˙
Sometimes there are first and second endings with the repeat signs.
3
&
œ œ œ œ
.. œ
œ œ œ
2
1
..
œ œ ˙
œ œ ˙
The sequence of measures to be sung: 1, 2, 3, 2, 4. The second time, you skip the first ending
and go directly to the second ending.
The second marking that indicates to repeat material already sung is the D.C. al Fine. D.C.
stands for Da Capo, which means go to the beginning of the piece and sing to the Fine (ending).
4
&œ œ
Fine
œ
œ
œ œ
˙
œ œ œ
œ
œ œ
D.C. al Fine
œ œ
A similar marking to D.C. al Fine is D.S. al Fine. D.S. stands for dal segno, and means to return
to the sign (segno), and al Fine means to continue to the Fine (end).
5
&œ œ
Lessons — 33
œ
œ
%
œ œ
Fine
œ œ
œ œ ˙
D.S. al Fine
œ œ
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œ œ
TH101
11.3 (Continued)
Occasionally you will see "D.C. al Coda" or "D.S. al Coda" towards the end of your music.
When this happens, you will notice a separate section after this sign; this is the coda, or ending.
What that marking means is: after you return to the beginning or to the sign, you continue until
you see the coda sign and then jump directly to the coda.
6
&
œ œ
œ
fi
œ œ œ
D.C. al Coda
œ œ
œ œ ˙
fi
œ œ
˙
In the examples below, write out the measure numbers in the order in which they are performed.
Example 1:
7
&œ œ ˙
œ œ ˙
%
œ œ ˙
Fine
D.S. al Fine
œ œ ˙
PERFORMANCE ORDER: MEASURES 1, 2, 3, 4, 3
Example 2:
Œ
œ
œ
œ
8
&
9
fi
&œ œ œ œ
fi
œ œ œ Œ œ œ œ
œ
..
Œ
œ
œ
œ
D.C. al Coda
œ œ œ
Œ
Œ
œ œ œ Œ .. œ œ
œ
1
2.
PERFORMANCE ORDER: MEASURES 1, 2, 3, 4, 1, 2, 5, 6, 7, 6, 8
Lessons — 34
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TH101
12.1 Flat Key Signatures
b
b
b
b
b
b
b
This is the order of flats in the flat key signatures: B , E , A , D , G , C , F . You can
remember this order with the phrase, "BEAD, Greatest Common Factor."
Here is where the flats are written on the staff. Copy it several times.
1
bbbbbbb
bbbbbbb
bbbbbbb
bb
& b b bbb
There are two ways to figure out the name of a Major key when there are flats in the key
signature. The first way is to find the last flat. That is the fourth scale degree of the Major key.
2
&b œ
œ
œ
œ
4
3
2
1
bb œ
œ
œ
œ
bbb œ
œ
œ
œ
4
3
2
1
4
3
2
1
Key of F Major
Key of B-flat Major
Key of E-flat Major
The second method is to find the second to last flat. That is your key. With this method, you need
to remember that F Major has one flat. Also remember that all the flat keys EXCEPT F Major have
a flat in the name. For example, the Major key with two flats is B-flat Major, not B Major.
3
bbbb
bb
b
&
Last flat: A-flat
Second to last flat: E-flat
Key of E-flat Major
bbbbb
Last flat: D-flat
Second to last flat: A-flat
Key of A-flat Major
Last flat: G-flat
Second to last flat: D-flat
Key of D-flat Major
There is one more key that you must memorize: C Major has no sharps or flats in the key signature.
Name the following Major keys.
4a
bb
&b
B b Major
F Major
4b
bbbbb
&
C Major
Lessons — 35
bbb
E b Major
bbbbbbb
D b Major
C b Major
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TH101
12.2 More Practice with Flat Key Signatures
Write the order of flats.
Bb Eb Ab Db Gb Cb Fb
Name the Major key for each key signature.
1
bb
&
bbb
B b Major
___________
C Major
____________
2
bbbb
&b
bbbbbb
b Major
A
___________
F Major
____________
3
&b
bbbbb
b
E b Major
____________
b Major
B
____________
b
G Major
____________
bbbbbbb
b Major
D
___________
b Major
C
____________
Write the key signature for each Major key below.
Find the name of your key in the order of flats; all flats up to that point plus the one after will be
in your key signature.
4
bb
&b b
b
A Major
5
bb
& b b bbb
b
C Major
6
bb b
b
b bbbb
bb
b
b
B Major
b bb
G Major
Lessons — 36
E Major
D Major
bb
& b b bb
b
b
F Major
C Major
b
E Major
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TH101