Us Navy Course Navedtra 10244 - Basic Music

SPECIAL PUBLICATION September 1980

Basic Music NAVEDTRA 10244

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

ACKNOWLEDGEMENT The contents of this Special Publication were furnished by the courtesy of the United States Army.

DISTRIBUTION STATEMENT A: Approved for public release; distribution is unlimited.

PREFACE Special Publications (SPs) are manuals or catalogs that provide information of general benefit and career development. SPs have no associated assignments or tests. Basic Music provides a basic reference for music theory. This SP is available ONLY in electronic Portable Document Format from the following web site: http://www.advancement.cnet.navy.mil

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1

Sailor’s Creed “I am a United States Sailor. I will support and defend the Constitution of the United States of America and I will obey the orders of those appointed over me. I represent the fighting spirit of the Navy and those who have gone before me to defend freedom and democracy around the world. I proudly serve my country’s Navy combat team with honor, courage and commitment. I am committed to excellence and the fair treatment of all.”

2

BASIC MUSIC CONTENTS Page

CHAPTER

1-Nature

Characteristics

CHAPTER

of a Musical

CHAPTER

of Pitch,

3-Meter

The

Beat,

Stress

Notation

............................. .................

or

Time

2-1

of Duration.

........................... ..............................................

Meter

1-1

Sound.

2- Fundamental Notation

Notation

Signature,

Composite

Meter,

3-1

Metrical

Exceptions.

CHAPTER

4-Rhythm

Regular and

.........................................................

of Sound

............... ..........

Rhythm,

Irregular

Completion,

CHAPTER Scales, CHAPTER

5-Scales

and

Tetrachords, 6-Major

Sharp

Scales,

Major

Keys,

Degree

Related

Activity

Meters,

Rhythmic

Equivalent

Scales Scales,

Enharmonic

Phrase

Construction

Meters.

Using

and

Keys,

Major Names

Key of

5-1

Tetrachords.

............................................... ............... Keys

4-1

Initiation

. .. .. .. . .. . . .. .. . .. .. .. .. .. .. . .. .. .. .. .. . . .. .

Tetrachords Scale

Flat

Rhythm,

................. ....................

Signatures, Scale

Degrees,

Circle

6-1

of

Scale

in Major.

i

CHAPTER

7-Minor

Natural

Minor

Minor

Scales

. .. . .. ... . .. .. .. .. .. .. .. .. .. .. .. . .. .. .. .. .. . . .. .. . .. .. .. .. .. ..

Scales Scale, and

Harmonic

Keys,

Circle

Minor of Minor

Scales Keys,

and

Keys,

Relative

and

7-1

Melodic Parallel

Keys. CHAPTER

8-Modal

Lydian,

Ionian,

Comparison CHAPTER

9-

Chromatic, Scale,

10 -

Qualities

CHAPTER

and

Overtone

Triads, Keys.

Minor

of

a Vibrating

and

Timbre.

Transposition

by

Change

Woodwinds,

Percussion,

Compounding

Dissonant

Intervals,

10-1

and Diatonic

Definite

Diminished

Inversion

String,

Degree, of Key

of Triads,

The

Bass

Triad,

Series,

by

Pitch

12-1

The

13-1

Interval,

Signature.

(Clarinets, Clef

11-1

Diatonic

Overtone

Transposition

Woodwinds,

Instruments Brass,

Triad,

. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ... .. . .. .. .. .. .. . ... .. .. .

Transverse

Clef

9-1

Enharmonic

. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . ... . ... .. .. .. .. .. .. .. . ... .. ..

Instruments

Reed

........

. . .. ... . .. .. .. .. .. .. . .. .. ... . ... . .. .. .. .. .. . . .. .. .. . .

Series

Scale

Single

Scales

Relationships,

Augmented

Transposition

(Treble

Degrees

Scales.

Intervals, and

and

by

14 -

Quality

Dissonant

Transposition

CHAPTER

Pentatonic

Locrian,

.......................................................

Triad,

Overtone Series

13 -

Scale

and Pentatonic

Simple

Chords

Characteristics

CHAPTER

of

Minor

in Major 12 -

to Major

Scale,

Consonant

Triadic

Consonant

Tone

Phrygian,

8-1

Intervals.

Triad,

Triads

Tone,

Inversion

11 -

Major

Whole

Interval

Intervals,

Chromatic

CHAPTER

Degrees

Aeolian,

. . .. .. .. .. .. .. .. .. .. .. .. .. .. . .. .. .. .. .. .. .. .. .. .. .. .. .. . . .. .. .. .

of Intervals,

Reducing

Dorian,

Scale

Whole

Intervals

Intervals, and

Mixolydian,

of Modal

Chromatic CHAPTER

..............................................................

Scales

Brass),

Percussion),

Double

Reed

Saxophones), Percussion Keyboard,

14-1

Instruments, Brasswinds

(Indefinite Rhythm

Pitch Section

Strings.

CHAPTER Chord

ii

15 -

Chord

Symbol

Symbols

Interpretation,

.. .. .. .. .. .. ... . .. .. .. .. . .. .. .. ... .. .. .. .. .. .. .. .. .. .. Chord

Structures.

15-1

CHAPTER

16 -

Major

Chord

Sixth

and

Minor/Major Minor

Chord

Scales,

17 -

Swing

Tones,

CHAPTER

19 -

APPENDIX Clef

Seventh

The

Key Repeat

Rehearsal

Signs,

Time,

Five)

Diminished Scales.

Short

Percussive

17-1

Note,

18-1

...... .........................

19-1

The

Chords Thirteenth,

Flats,

Beams,

Signs,

Signatures,

Dots,

Accidentals,

Specified

Bass

Note.

. . . . . . . . . . . . . . . . . . . . . . . . . . . A-1

Time

Signatures,

Spacing, Directions

Leger Ties,

Lines,

Slurs,

Rests,

for Performance,

Proofreading.

Musical

Abbreviations,

Accents,

Jazz

for

C - Italian

Performance

Melodic

Expressive Italian

of

.......... ........... ........... .............

Techniques

B - Directions

Explanation

Scales,

Pentatonic

Chord

(Flat

Tones.

and Altered

Stems,

Indications,

in Swing

Eleventh,

Numerals,

APPENDIX

Chord

Scale,

Construction

Approach

Signs,

Blues

Seventh

Seventh

and

. .. .. .. . .. .. . . .. .. .. . .. . . .. .. . .. .. .. .. .. . .. .. .. . . .. .. ..

A - Manuscript

Noteheads,

APPENDIX

Minor

Beat

Extended

Ninth,

Dominant

Scales,

Sixth

16-1

Note.

18 -Melody

Chord

Minor

Scales,

The

Divided

Scales,

Chord

Rhythm

Percussive

CHAPTER

The

Scales,

Chord

Chord

Augmented

Anticipation, Long

Seventh

Seventh

Chord

CHAPTER

Major

Seventh

Scales, Seventh

............................. ............. ............. ...

Scales

Terms

Terms

Suffixes,

Devices, (Three

Ornaments, Tempo

. .. . . .. .. .. . . .. . . ... . . Articulations Indications,

B-1

and Dynamic

Lists).

. . . .. . . .. . . .. . . . .. . . .. .. .. .. . . .. . . .. . .

C-1

Listing.

iii

BASIC MUSIC PURPOSE This

AND

SCOPE

training

reference

circular

for

all

conjunction

with

instruction

at

encompasses musical

is the

Army

Bandsmen.

academic

the the

US

basic It

materials, Army

basic

principal

as

Element,

aspects

of

music

may

be

a text

in

for

courses

of

of

Music.

School

sound,

theory used,

pitch,

rhythm

It and

notation.

INTRODUCTION

Users changes

and

should text

this

publication

submit

be keyed which

the

provided

for

each

Form

forwarded School ous

directly of Music,

Base

(Little

page,

is

to

Comments

ATTN: Creek).

recommend

insure should

Commandant,

ATTNG-SM-DTD, Norfolk,

Comments

paragraph

Changes

to the

to

recommended.

comment

(Recommended

encouraged

for its improvement.

specific

change

evaluation. 2028

are

comments

to the

in

complete

iv

of

Virginia

and

line

Reasons

of the will

understanding be prepared to

Publications) US

be and

using

DA and

Army

Element,

US Naval

Amphibi-

23521.

CHAPTER 1 NATURE OF SOUND Sound

is produced

the physical energy The

of vibration.

to the medium

medium,

drum the

state

by vibration;

in

to vibrate. ear

to the

turn, The

brain

there

is no sound

The

vibrating

of transmission

(gas,

transfers human

where

vibrational

body’s the

Figure CHARACTERISTICS

OF

A MUSICAL

in

transfers

vibrational

forcing

it to vibrate.

processes

is interpreted

1.1: Nature

source

source to the

system

a sound

or solid)

energy

nervous

vibration

sound liquid,

without

ear,

forcing

the

the vibration

ear from

as sound.

of Sound. SOUND

Pitch The

number

called

frequency.

second

(CPS)

kilocycles

source

referred

frequency

frequency but

sound

waves

per

is

often

Frequency

or kilohertz

When when

of

is not

to

as

(1 kHz

(Hz).

= 1000

Hz).

When

produced

expressed

hertz

of vibration

is greater.

second

High

as

by the

frequencies

is regular,

it is called

frequency

of vibration

a sounding

number

pitch.

are

The

is irregular,

of

body

is

cycles

per

expressed

in

pitch

is higher

it is a sound

pitched.

1-1

A

regular

vibration

produces

the

pitch

Doubling

the

an

higher.

octave

Halving

440

Hz

(440

CPS)

A.

frequency

the frequency

octave

The

at

(880

(220

Hz)

produces

A

Hz) produces

A an

lower.

approximate

range

of human

hearing

capacity

is from

20 Hz

to 16 kHz.

vibration

is known

Intensity The as

magnitude

intensity.

of force

Intensity,

amplitude

of

the

amplitude

is greater.

Frequency represented

musically

vibration

and by

Frequency, form greater

1-2

and

the

number

horizontally. is represented

amplitude

the

amplitude

a simple

wave

indicates

1.2:

of regular

referred

of

Figure

represented

or energy

to as volume,

sound

(pitch

or irregular

source.

and

is determined

The

volume)

sound

is

may

be

by the

louder

when

graphically

form.

Single

of complete

Cycle

Form.

within

a given

Amplitude

is the displacement

from

vertically.

Greater

indicates

greater

cycles

Wave

volume.

frequency

period center

of time,

is

of the wave higher

pitch;

Figure

1.3:

Wave

Form

Representation Amplitude.

of

Frequency

and

1-3

Duration

The

length

of time

of vibration

is called

duration.

Duration

is the length

of

or a musical

instrument

is

produced

by

sound. Timbre The known

distinctive as timbre.

different tone

('tam-bar

types

or 'tim-bm) tone

or quality

Sounds

identical

of instruments

of a singing in pitch,

are dissimilar

voice

intensity, and

and

reveal

duration

a difference

in timbre

quality. Timbre

is affected

method

of sound

physical

nature

by: production of instrument

condition

of instrument

individual

performance

(bowed, (relative

blown,

plucked,

strength

or struck)

of overtones)

characteristics

SUMMARY

or lowness

of the

sound.

Intensity

volume

of the

sound.

Duration

length

of the

sound.

Pitch

Timbre

1-4

highness

quality

of

the

sound.

or

CHAPTER 2 FUNDAMENTAL NOTATION NOTATION

Pitch

Each

OF

Nomenclature

line

ascending on

of and

repeats.

the

staff

with

is used. staff

are

great

staff

spaces

A note

(Figure

are named

placed

is a theoretical

middle

C as the

Figure The

great

2.1)

from

on the staff

has

a letter-name.

A through

takes

G. After

the name

In G, the

of the line

or

it is placed.

great

spaces

space

the lines

series which

The ten

and

order,

seven-letter space

PITCH

staff

A symbol

is not (clef

to be used

for

used

sign) the

construction middle

2.1:

for the

must notation

consisting

or sixth

Great

notation

be used

of eleven

lines

and

line.

Staff. of music.

to indicate

Instead,

which

five

a five-line lines

staff

of the great

of pitch.

2-1

G,

C,

and

The

lower

F Clefs loop

Converging The

two

them

of the

arms dots

of the

of the

as F below

middle

Grand G clef staff.

This

2.3:

clef

and

commonly

is known

as

encircles

sign

G above

designate

designate

the

middle

middle line

C.

C.

passing between

C.

2.2:

G, C, and F Clefs.

F Clefs

Bass used

treble

Figure 2-2

sign

G, C, and

Staff/Treble is most

sign

C clef

F clef

Figure

Figure

G clef

on the Great

Staff.

Clefs to place

G on the

clef.

2.4:

Treble

Clef.

second

line

of a five-line

F clef This

clef

is most is

commonly

known

as

used

bass

to place

treble

commonly

and

used

Figure

bass

clefs,

in keyboard

2.6:

line

of a five-line

staff.

clef.

Figure The

F on the fourth

2.5:

joined music

Bass together,

and

The Relationship

Clef. form

the

grand

staff

which

is

scoring.

between

the

Great

Staff

and

Grand

Staff. Leger

Lines

It is frequently staff.

These

necessary

temporary

to write

extensions

pitches

above

Figure

2.7:

above

or below

Leger

or below the

staff

a five-line

or grand

are

lines.

leger

Lines.

Keyboard

The Keyboard

keyboard pitch

may

be used

nomenclature

as a visual is similar

demonstrator to staff

pitch

for pitch nomenclature

relationships. (Figure

2.8).

2-3

Note left

that

the black

of each

group

keyboard, name

keys of two

the pitch

A at the

are found black

names

in groups

keys

is found

A through

completion

of the

Pitches names symbols,

the pitch

G are used,

three. C. When

beginning

Immediately

to the

ascending

on the

again

with

‘between’

Additional

2.8:

known

letter

symbols

as chromatic

are

signs,

Sharp

Keyboard.

#

names required are

five

cannot for

be represented

proper

identification.

in number.

Raises the pitch of the letter name a half step

Flat

~

Lowers the pitch of the letter name a half step.

Double sharp

x

Raises the pitch of the letter name two half steps.

Double Flat

bb

Natural

Figure

2-4

the letter

Signs occurring

alone.

and

series.

Figure

Chromatic

of two

h

2.9:

Lowers the pitch of the letter name two half steps. Cancels a previously used chromatic sign (including x and bb).

Chromatic

Signs.

by

letter These

Any When

two

adjacent

expressing

flats,

the

pitches

keys

on the keyboard

the

pitches

occurring

are

expressed

sound

as chromatic

Sharp

a half

‘between’

the

step

letter

alterations

or semitone names

of the

apart.

as sharps letter

or

names.

Alterations

Flat Alterations

Figure Enharmonic A single names

but

pitch sound

2.10:

Chromatic

Pitch

Names.

Pitches may the

have

same

Figure

more are

than

one

enharmonic

2.11:

Enharmonic

name.

Pitches

that

have

different

pitches.

Pitches.

2-5

Adding

double

sharps

and

double

flats

increases

the number

of enharmonic

pitches.

Figure

2.12:

Enharmonic

Pitches

with

Double

Sharps

and Double

Flats. Pitch

Nomenclature

Octave names

designators

in different

without

staff

in the

octaves.

notation

of the

great

staff

grand

staff.

Middle

must

Great

be

This

used

is one

or reference

and

the

to distinguish way

a pitch

to the keyboard.

imaginary

C or c1 is the

Staff

line C closest

between to the

between

maybe

represented

Middle

C is

treble

and

center

of the

keyboard.

Figure

2-6

2.13:

cl

in Great

and

identical

Grand

Staves.

pitch

precisely

the center bass

clefs

standard

line

in the piano

From

Cbb

the octave the

immediately

are designated

number

below first

octave

The

octave

immediately

is identified

by

lower

2.14:

above case

octave

and

The and

octaves fourth

octave

is identified

are numbered octave. immediately by

lower

the

letters

Figure

The

and

c1,

are identified

all pitches by lower

spelled case

within

letters

and

1.

Figure

and

c1 to above

First

first and

2.15:

Octave.

octave the

Second

consecutively

The

highest below

case

Figure

the

pitch first

is designated

number

second

octave

2.

Octave.

in higher on

the

octave

octaves piano

including

keyboard

is designated

a third is

small

octave

letters.

2.16:

Small

Octave.

2-7

The and

octave

immediately

is identified

by capital

where

pitches

are

Subcontra

Octave

The

note

lowest

Figure

Treble but

other

specific

2-8

and clefs

range

letters.

identified where

on

the

2.17:

Single-Staff

below by

pitches piano

Grand

the small Below two are

the

octave Great

capital

Staff

and

are used

more

Octave

is the

Great

Octave

Contra

Octave

letters

identified

keyboard

is designated

by three

is Subcontra

Keyboard

capital

letters

A (AAA).

Pitch

Nomenclature.

Clefs bass are

clefs used.

within

the

Their

ranges

compass

frequently have

of the

than

developed staff.

any from

other the

five-line need

clefs,

to bring

a

Figure

NOTATION Note

OF and

Duration

are

called

value

and

expressed common

Rest

of two notes. symbol

are

Clefs.

Values is the building

elements:

sound

Notational has

block and

symbols

a corresponding

arithmetically and

Single-Staff

DURATION

of sound

is composed

2.18:

generally

as

fractions. a single

for the creation

silence. for

Notational

silences

rest The

of rhythm.

value

are and

symbols

notational

called symbol. have

alteration

symbols

Rhythm for sounds

rests.

Each

These

values

note are

characteristics from

an

in

adjacent

value.

2-9

Figure Notes When pitch.

2-10

and

specific

rests pitches

2.19: indicate

Note the

are desired,

and Rest creation they

Values of sound

are placed

and and

Symbols. silence

in a given

to form clef

rhythm.

to indicate

the

Note and

and

metric

rest

symbols

grouping

are

expressed

by fractional

two

or rests

notes

of the

Notes

Since

only

devices note

are used is the

tie.

multiples to extend A

tie

indicate

indicated.

names.

Figure

Tied

do not

next

They

A given smaller

2.20:

duration.

is a curved

note

do

duration

of time

indicate

or rest

value

until

tempo

relative

duration

as

is equal

in duration

to

value.

Note

of two

actual

and

are

Rest

possible One

line

Equivalents.

with

symbol

joining

basic used

two

note

and

to extend

or more

rest

symbols,

the duration

successive

notes

of a of

2-11

identical rest

pitch.

values

are

Tied

notes

sound

as one note.

Dotted

Notes

Another

symbol

placed

after note

a note or rest

and

with

rests

because

used or rest has

2.21:

Tied Notes.

Rests

to extend

the duration

increases

a value

Figure

2-12

are not used

cumulative.

Figure

dotted

Ties

2.22:

equal

Dotted

duration to three

Notes

of a note by one

half

of the

next

and Rests.

or rest is the dot. A dot the

original

smaller

value.

value.

A

Note after rest

the by

and

rest

original one

half

duration dot. the

Each value

may

be further

additional of the

Figure

dot

previous

2.23:

increased increases

by the

additional duration

dots

placed

of the note

or

dot.

Multiple

Dotted

Notes.

2-13

CHAPTER 3 METER Music

exists

duration

and

in time.

are

replaced

duration.

These

durations

possible

to notate

them.

THE

Sounds, by

interspersed more

with

sound

of sound

and

silence,

or silence silence

occur

of the

must

with

same

specific

or different

be measured

before

it is

BEAT The

standard

of measurement

recurring

pulsations

duration;

they

in music

are of longer

in most

are known

or shorter

the

music.

The

slower

the

music,

the

music,

the

shorter

the

duration

as beats.

duration

the

of the

music,

These

establishing accented The establishes

Beats

is the in music

the

duration

beat.

Regularly

are not

of fixed

by the character of the

beat;

the

of

faster

beat.

of beats and beat combinations. Slow tempi fast tempi are comprised of beats of short

Groupings

In most others.

time

as determined

longer

Tempo refers to the rate of progression are comprised of beats of long duration; duration.

Beat

musical

certain

beats

stronger, groups

of

and

unaccented

term

metrical

groups

more two,

tend

accented three,

pulsations stress

of two,

to assume or

beats four

recur

This

importance with

than

regularity,

recurring

pattern

of

as meter.

these stress

relative

may

beats.

is known

describes

the metrical

more

beat

is duple;

groupings. if three,

If triple;

the

meter

and

if four,

quadruple.

3-1

Figure

Divided

is

or three. normally

normally

3-2

Beat

Groupings.

Beats

In addition two

3.1:

to grouping

Metrical

stress

divisible

by

divisible

by

of beats, also two,

three,

most

describes the

the

metrical

metrical

music

has

the division stress stress

beats

regularly

of the beat. is simple.

is compound.

divisible When

When

the

by

the beat beat

is

Figure

METER

OR

The stress one

meter

(meter) beat.

The

TIME

Division

of Beat.

SIGNATURE

or time and

3.2:

signature

unit

meter

of beat

or time

arranged

vertically

notating

rhythm).

The

numeral

indicates

the

is a musical (notation).

signature

at the beginning upper unit

of beat

unit

which of beat

is represented of a staff

numeral

symbol

The

or rhythm

indicates

or division

the

by

indicates

metrical

is the value two

line metrical

arabic

(single stress;

that

gets

numerals line

used

the

for

lower

of beat. 3-3

In notation, by placing

the stronger,

a bar

line

precedes

the

note

adjacent

bar

lines

mean

more

vertically

that

beat

in a beat

or through

grouping

a rhythm

group.

The

The

word

space bar

is indicated

line.

The

bar

between

line

any

is commonly

two

used

to

measure.

Simple

Any

Time

note

unaltered

note,

except

fourth

note

is impractical).

Duple, numeral

by and

two

commonly

triple,

or

in a time

may

rest values

the sixty-fourth,

16 or 32, corresponding most

3.3: Bar

Lines

and

Measures.

Signatures

divisible

Since

3-4

the

beat

as a measure.

Figure

The

on a staff

begins

is known

accented

The

may lower

to the

be used

be used numeral

in a time

value/name,

used

numerals,

in order

quadruple

simple

metrical

of 2, 3, or 4

unit

of beat

divisible

as the unit

note

signature

as the

are normally

of beat

signature

and stress

is

any

(dividing the are:

indicated

the sixty1, 2, 4, 8,

unit

of

4, 2, 8, by

time.

undotted

is always

specifies

of frequency,

respectively.

in simple

by two,

an

beat.

and

16.

upper

Note time

that

figure

signatures.

symbol

@

functions

The

called

cut

Figure

3.4: simple Time signatures.

3.4 lists

two

symbol time

or

In figure the

divisible division

(C and

called

common

alla

breve

~) as abbreviations time,

(according

for simple

functions

to the

breve

as

4/4.

or half

The note),

as 2/2.

Figure

beat

symbols

C,

3.5, the 2 indicates by two. of beat

The

3.5:

Simple that

4 indicates

represented

by

Time

the music

Example. is in simple

that

the quarter

eighth

notes.

note

duple

time

is the unit

with

each

of beat

with

3-5

Compound Time Signatures Any note divisible by three maybe used as the unit of beat in compound time. Since dotted note and rest values are normally divisible by three, any dotted note, except the dotted sixty-fourth, may be used as the unit of beat (dividing the dotted sixty-fourth is impractical). In compound time, the lower numeral of a time signature will always be 2, 4,8, 16,32 or 64, corresponding to the note valuelname. These numerals usually specify the division of beat. The unit of beat is derived by finding the dotted note value that is equal to three of the notes indicated by the lower numeral. The most commonly used numerals, in order of frequency, are: 8,4,2, and 16. Duple, triple or quadruple metrical stress is indicated by an upper numeral in a time signature of 6 (2 x 3 divisions of beat), 9 (3 x 3 divisions of beat), or 12 (4 x 3 divisions of beat) respectively.

Unit

Divided

of Beat

O*

clt4ci

d:

dd

I

Beat

Duple

Triple

:;y

J

6 64

9 64

Figure 3.6: Compound Time Signatures.

3-6

Quadruple

12 64

“

Figure

In figure each

beat

division

of beat

Some actual

3.7, the

divisible

6 indicates

into with

of beats

Figure

COMPOSITE

When stress two

unit

Compound

that

3.8:

music

The

of beat

composers as the

the

parts.

Time

is in compound

8 indicates

represented

indicate

upper

Example.

by

compound

numeral

Contemporary

that

and

the

Compound

eighth

dotted

time a note

duple

the

time note

quarter.

signatures value

with is the

with

the

below.

Examples.

METER

music

is composite or three

three

the

contemporary

number

3.7:

with

is composed or complex. the

divided

of The beats

beats beats

of

unequal

in composite

having

the

same

beat

lengths,

meters

will

the

metrical

be divisible

by

duration.

3-7

Figure

3-8

3.9:

Composite

Division

of Beat.

Composite Notes beat dotted three

in

Time

divisible

by

composite notes

Signatures two

time.

of the

and

The

same

three

unit

value.

are required

of beat

will

Composite

for

the

representation

be represented

time

by

signatures

may

of the

undotted be notated

and in

ways:

the lower sum the

of divided lower

mixed

as the divided beats

numeral

numeral,

the lower beat

numeral

in the

as the

beat

measure,

unit

of

beat

and

the

upper

numeral

as the

or and

the

upper

numeral

as a

or

numeral

as the divided

beat

and

the upper

numerals

as the

composites.

Figure

3.10:

Composite

Time

Signatures.

3-9

Figure

In figure one

beat

bar

3 and

with

3.11,

divisible

of beat

METRICAL

count

of

one

If tempo for

two

a

beat

and

1 & 2). The

per

is slow, of

Time

the music the

other

8 indicates

by

the

Example.

is in composite divisible

the eighth

quarter

and

duple

into note

dotted

three

time

parts

is the division

with

(2+3 in of beat

quarter.

EXCEPTIONS

a time

stress

count

that

parts

represented

is fast,

metrical

call

into

STRESS

If tempo

Composite

5 indicates

3+2 in bars

unit

This

the

3.11:

signature

measure,

which

is referred

a time 6,

9,

with may

require

to as compound

signature or

an upper

12

with

beats

per

numeral

of 3 may

compound

call

for a

interpretation.

single.

an upper measure,

numeral and

of 6, 9,

may

or 12 may

require

simple

interpretation. If tempo for

a count A time

simple

3-10

signature

or compound

A time composite

is slow,

a time

signature

of 4, 6, or 8 beats

signature interpretation.

with

per

with

an upper

numeral

of 2, 3, or 4 may

call

measure.

an upper

numeral

of

7, 10,

14, 15, 21,

etc.

may

require

or 12 may

require

interpretation. with

an upper

numeral

of 2, 3, 4, 6, 8, 9,

CHAPTER 4 RHYTHM

Rhythm

is the

occurrence

of varying and

the

pattern

of beat

groupings

not

always

coincide

with

The

sum

note

and

indicated

of

by the

time

be shown

in two

REGULAR Regular when present) when

rest

meter.

the The

values

signature,

categories:

lengths nature

two

of the

must

in each

rhythm

divided

not

measure

Relationships

regular

of sound

silence.

beat.

Meter

Rhythm

is

does

be confused. equals

between and

and

the

number

rhythm

irregular

and

of beats meter

can

rhythm.

RHYTHM rhythm long

notes

occur repeating

occurs: coincide

with

as non-syncopated non-syncopated

strong

beats

divisions divisions

and

shorter

of weak occur

on

notes beats;

(when or

all beats.

4-1

Figure Uniform

4-2

rhythm

when

the

when

the measure

is regular

measure

is filled is filled

4.1:

Regular

rhythm

by

that

one

by two

note;

equal

Rhythm. occurs:

or notes

in quadruple

meter;

or

when

the

measure

when

the measure

is divided is divided

Figure

4.2:

equally into

equal

Uniform

into

units

divisions

of beats; of the unit

or of beat.

Rhythm.

4-3

All

uniform

rhythms

IRREGULAR Irregular

are

regular

not

all regular

rhythms

are

RHYTHM rhythm

when

long

when

the

notes

occurs:

coincide

rhythm

has

with weak been

Figure

4-4

but

beats

or weak

parts

syncopated.

4.3:

Irregular

Rhythm.

of beats;

or

uniform.

Syncopated

rhythm

of rhythm,

accent,

Syncopation

may

occurs

or meter

by

when

notes

appearing

alter

the normal

on weak

beats

or expected

or weak

parts

a weak

beat

or weak

part

of a beat

is accented;

or

when

a weak

beat

or weak

part

of a beat

is tied

strong

which

follows

rest

a rest occurs

of beats.

be created:

when

when

pattern

to the

beat

it; or occurs

on

any

on a beat beat

Figure

after

4.4:

after

a note

a weak

part

on a weak

beat

or when

a

of a beat.

Syncopated Rhythm. 4-5

All

syncopated

rhythms

are

irregular,

but

not

all

irregular

rhythms

are

syncopated.

RHYTHMIC

The

first

thought, thetic the

PHRASE

in a measure

normally

two

beginning;

the

down-beat.

conductor An upbeat

to four phrase

measures

unaccented

beat

in a measure

consists

of one

last

measure

measure.

contains

However,

a complete

Normally, some

measure

the

begins

from note

is called

that

the

and

of the material

contained

has

a

called of

a

measure. also

the first

begins that

beat stroke

An anacrusis,

end

musical

is also

downward

precede

values

arrangers

thesis

of the

a composition

(a short

on the first The

an arsis.

notes

rhythmic

composers

regardless

name

or more when

only

that

A phrase

thetically.

accented

or pick-up,

phrase.

thesis.

long)

its

principally

COMPLETION

the

to begin

derives

the

AND

is called

is said

Down-beat

indicating

of a musical the

beat

INITIATION

with

will

their

called

down-beat

an anacrusis,

complete

the first

compositions

in the first

with

(incomplete)

measure.

When

the

last

called

a masculine

ending

is called

4-6

attack ending.

a

feminine

of

a phrase

If the last ending.

coincides attack

does

with

the

not coincide

thesis, with

the

ending

the thesis,

is the

Figure RELATED

signature rhythm choice

Rhythmic

Phrase

Initiation

and

Completion.

METERS

Related related

4.5:

meters

meters,

the

have upper

numeral in more of the

unit

the

is

than

same

time

different. one

time

metrical

signature

stress numeral

Therefore, signature;

it is the

but

a different

is the same possible

notation,

unit

but to

which

of beat.

the lower

In

time

notate

the

differs,

reflects

same a

of beat. 4-7

Figure

EQUIVALENT Equivalent that

have

the

beat.

The

unit

a dotted

4-8

note.

4.6:

Related

Meters

(rhythmic

transcription).

METERS meters same of beat

are

beat

two

different

grouping

in simple

time

and

meters, the

same

is an undotted

one

simple

note note

and

one

to represent and

compound, the

in compound

divided time

is

Figure

By

making

division These and

use

of beat borrowed

the

duplet

of

equivalent

in simple

time

divisions

4.8:

Equivalent

meters,

and

of the

in compound

Figure

4.7:

it is

the simple

beat

Meters.

are

possible

division

notated

to use

of beat

as the

the

compound

in compound

triplet

in simple

time. meter

meter.

Equivalent duplets

Meters and

(metric

conversion):

triplets.

4-9

CHAPTER 5 SCALES AND TETRACHORDS SCALES

A scale musical

(from

tones

interval

scheme.

depends

on

intervals

used

examples,

The whole step. steps) that

the An

the

basic

The

occurs there

no

used

for

and

scale

adjacent

of two

half

steps

sounds

C and

D, D and

between

of

between

tones.

Music

patterns

be extracted

from

of

musical

as scales.

are the half

keys

on

a whole

E, F and

E and

series

to a specified

measurable

may

analysis

two

according

pitch

certain

expressed

Any

keys

in

patterns

tone).

is a graduated

of pitch

difference

pitches

and

or staircase)

in order

These

in order,

between are

of

regularity.

intervals

interval

- ladder

is the

succession

with

(whole

scala

or descending interval

arranged

step

Latin

ascending

F, and

step

(semitone)

the

keyboard

sound

step.

A whole

step (two

G, G and B and

A,

and

C; these

A and intervals

and a half half

B. Observe are half

steps.

Figure

5.1:

Keyboard

Half

Steps

and

Whole

Steps.

5-1

The

note

a whole

step

above

are

# , not F. The

E is F

both

whole

Figure

steps

5.2:

note

below

Whole

a whole

F and

step

above

B is

C respectively.

Steps.

TETRACHORDS The

tetrachord

tetrachord interval the

is a device

is a series of five

major (M),

constructed

half minor

on

of

steps

used

four

tones

between

(m), natural

any

pitch

in the construction on

successive

the first (N),

and

will

and

and

last

and degrees tones.

harmonic (H).

retain

analysis of the

of scales. staff

Tetrachords Any

the

interval

half

steps,

tetrachord relationship

A

with

an

used

are

may

be

of

the

and

one

tetrachord. Major

The half

step

Tetrachord

major

(M)

tetrachord

ascending

on

is composed four

Figure 5-2

successive

5.3:

Major

of two staff

degrees.

Tetrachords.

two

half

steps,

Minor

The half

Tetrachords

minor

steps

(m)

tetrachord

ascending

is composed

on

four

of two

successive

staff

half

steps,

one

half

step,

two

half

steps,

and

two

degrees.

(m - 212)

Figure Natural

The half (N

steps

Tetrachord

natural

on

Minor Tetrachords.

(N)

tetrachord

ascending

5.4:

is composed four

successive

of one staff

half

step,

and

two

degrees.

- 122)

Figure

5.5:

Natural Tetrachords. 5-3

Harmonic The one

Tetrachord

harmonic

half

step

(H)

tetrachord

ascending

is composed

on

four

of one

successive

half

staff

step,

three

half

steps,

and

degrees.

(H - 131)

Figure 5.6: Harmonic Tetrachords.

SCALE

CONSTRUCTION

Scales

constructed

(abbreviated adjacent the

top

that

L). The staff

of the

with link

degrees. scale.

encompasses

an

It is the distance

lower

pitch

with

the

TETRACHORDS

tetrachords

is always

The

The

steps.

5-4

USING

link

composed

may

from same

An any

letter

of two

be placed

combination

octave.

combine

of two octave

pitch name.

two half

tetrachords steps

at the bottom, tetrachords

is an

of a given

interval letter

and

(a whole

a link step)

in the middle, a link

containing name

and

form a

scale

twelve

to the next

on

or at

higher

half or

Figure 5.7: Tetrachords and Link

in Scale

Construction.

5-5

CHAPTER 6 MAJOR SCALES The

formula

The

scale’s

keyboard,

for half

to a white

the

major

scale

step/whole key

is MLM.

step

scale

interval

from

relationship

corresponds,

on

a

C to C.

Scale Formula: MLM

Figure

SHARP

C Major

Scale.

SCALES

To

construct

maintain follows

6.1:

the

a scale scale

specific,

fifth

scale

scale

and

has

formula.

recognizable

degree one

other

ascending

than The

C major,

addition

patterns, in the

When

C major

of

chromatic

signs

must

chromatic

signs

in major

a major scale,

the

scale scale

be used

is constructed formed

to

scales on the

is a G major

sharp:

Scale Formula: MLM

Figure

6.2:

G Major Scale.

6-1

When scale,

a major

the

scale

scale

formed

is constructed

on the

is a D major

scale

and

fifth has

scale two

degree

in the

G major

in the

D major

sharps:

Scale Formula: MLM

Figure When scale,

a major

the

scale

scale

formed

6.3:

D Major

is constructed is an A major

on the scale

and

Scale. fifth has

G#. Scale Formula: MLM

Figure The

6-2

pattern

continues

through

6.4:

A Major the

Scale.

scale

degree

three

sharps:

C#

major

F#,

C#,

scale G#,

with

all

D#,

A#,

seven

pitch

E$,

and

names

sharped:

B#.

Scale Formula: MLM

Figure Although the, scale

a G# major

requires

major

(seven

making

a total

FLAT

SCALES

When fourth

scale

scale

is the

degree

last

has

one

flat:

major)

sharp

scale.

scale

to

be

is possible, Therefore, considered,

sharps.

on the note)

in C8

a theoretical

practical with

is constructed same

ascending

is considered

scales

is the

and

C# Major Scale.

and

major

ascending

is an F major

(fifth

sharp

sharps)

of seven

a major

degree

scale

a double

6.5:

fifth

of the

scale

degree

C major

scale,

descending the scale

(the formed

Bb.

Scale Formula: MLM

Figure

When degree has

two

a major

ascending) flats:

scale

is constructed

of the F major Bb

and

6.6:

scale,

F Major

Scale.

on

fifth

the

degree

the scale

formed

Bb Major

Scale.

descending

is a ~b

major

(fourth scale

and

~b.

Scale Formula: MLM

Figure

6.7:

6-3

The

pattern

continues

through

the

Scale Formula: MLM

Figure Although possible,

an

the, scale

Therefore, seven KEYS In pitches is known within network

MAJOR

most

music,

in motion as the a piece

chromatic

music, signs

the

key.

flats)

KEY one

tonic.

This

flat

and

is the last

becomes

it. This Key

descending

is considered

practical

while than

more

primary

is the

which

rather are

degree

flat

in major)

is

a theoretical scale,

scale.

making

a total

of

SIGNATURES

pitch

around

of music

(fifth

Scale.

flats.

of relationships,

In most

6-4

with

Major

a double

(seven

scales

AND

scale

requires

major

major

indicate

major

6.8:

term

one

arrangement

from

the the

than

to which refers

pitch

to interval

of chromatic

and

of the pitches

signs placed

signs

other relate

relationships A key

involves

list of the pitches

chromatic

scale

any

the other

as the tonic.

is an arranged

notating

extracted

pitch which

establish a scale

important

for after

is a key

each

a

of a key. pitch,

a clef

sign

signature.

the to

The their

scale

addition

of E major

contains

to sharp

scales.

four Arranged

Figure

Achromatic octaves

throughout

measure after

sign

by

a bar

in a key the

a different line

6.9:

for

Figure

6.10:

a note

, C#,

G#,

and

signature

D# in order

of

it is notated:

Signature.

affects

of the

chromatic

F#

as a key

Key

signature

duration

except

sharps:

key

all notes

signature

sign.

The

key

tied

from

an

of that unless

signature altered

letter

name

cancelled is always

note

in

the

in all

within

a

in effect previous

measure.

Sharp

Major

Key

Signatures.

6-5

Figure

CIRCLE Major sharp keys

6-6

keys or the

OF

MAJOR

keys

Flat

Major

Key

Signatures.

KEYS

arranged

clockwise circle

6.11:

and of fifths.

in a circle the flat

starting

keys

with

C and

counterclockwise,

progressing form

through

the circle

the

of major

Figure

ENHARMONIC Keys The

that

have

It is possible continue

direction around

Circle

of Major

Keys.

KEYS

enharmonic

either

6.12:

different

major

keys

to start and the

names

return

but

sound

the

same

are

enharmonic

keys.

are

on

C major

to C major

and

travel

by using

around one

of the

the

circle

enharmonic

of fifths keys

in to

circle.

6-7

NAMES

OF

SCALE

Traditional specific the

names

scale

tonic

DEGREES

degrees.

is called

are The

the

used tonic

the

tonic

tonic)

and

is the fourth

scale

is called

the

mediant

pitch

midway

degree.

The

submediant

is called

and

the supersonic

is called

a leading

two

steps

tone

fifth

pitch

(occurring

scale

the degree.

is the second

The scale

depending the

6.13:

Names

scale

and pitch

The

pitch

degree.

middle) the

and

on whether

tonic.

Degrees.

above

pitch

a fifth

below

the tonic is the

immediately

the

and

third

above

it is one

scale half

the

scale

is called

seventh

to

a fifth

The

subdominant The

is made

dominant

between

degree.

of Scale

reference

the

midway

in the

tonic

step)

below

degree.

(meaning

or subtonic

Figure

6-8

is the

The

between and

(a whole

and

when

scale

subdominant degree.

is the sixth

is called half

the

identification

is the first

dominant

below dominant

for

the

the tonic degree step

or

SCALE

DEGREE

Some ranging

scale

ACTIVITY

degrees

from

IN

serve

a restless

as points

sound

Tones

show

a tendency

Active

Tones

want

to move.

Tendency

Tones

of stability

to a tendency

Stable

specific

MAJOR

are active

towards

tones

or rest;

to move

that

others

are more

to a specific

being

active,

pitch.

at rest.

exhibit

a strong

pull toward

a

pitch.

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Submediant Leading

Tone

Tendency

Figure Normally, adjacent

notes

mediant;

the

not

mean

in

tone in the

move direction.

to

the Note

tones

tones will

scale. will always

tend most

opposite mediant that

Scale

keys,

submediant

Tendency

motion

major

in the

active

leading

6.14:

the That

often

unless tendency

active

tones

the

to the in this

a half to

will

the

Similarly,

but

to an

the

it is

part

of

tones

pull

to stable

to move

to Mediant)

tend

adjacent

unless

scale

of

tone.

the

two

tonic This

or does

to do so regularly.

scale

it is part

subdominant

scalewise

one

to the

or leading

manner

tonic

move will

dominant

step

Tone

in Major.

supersonic

move

move

(pulls to Tonic)

Activity

move

direction.

(pulls

Leading

Degree

is,

to move

Subdominant

motion

will in

degree. of

The

scalewise most

the

often

opposite

degrees.

6-9

CHAPTER 7 MINOR SCALES Three

commonly

harmonic, derive

and

from

the

NATURAL

The step

used

melodic natural

interval

of minor scales.

minor

MINOR

formula

forms

minor

scales

The

are:

harmonic

natural and

(also

called

melodic

pure),

minor

scales

scale.

SCALE

for the natural

relationship

minor

scale

corresponds,

is mLN.

The

on a keyboard,

scale’s

to a white

half key

step/whole scale

from

A to A.

Scale

Formula:

mLN

Figure

Natural When ascending scale

Minor a

natural

in the

and Scale

has

7.1:

Sharp

one

Formula:

Scales

minor

a natural sharp:

The

scale minor

a Natural

and is scale,

Minor

Scale.

Keys

constructed the

scale

on formed

the

fifth

scale

degree

is an enatural minor

F#.

mLN

Figure

7.2: e Natural

Minor

Scale.

7-1

When

a

ascending scale

natural

in the

and

has

minor

scale

e natural

two

minor

sharps:

F~

is

constructed

scale,

and

the

on

the

scale

formed

Minor

Scale.

fifth

scale

degree

is a b natural

minor

C#.

Scale Formula: mLN

Figure This

pattern

If the minor natural from

7-2

pattern

(seven

scales the

through

is continued,

sharps)

minor major,

continues

7.3: b Natural

order

is the with

the

double last

sharps.

of sharps

sharps

practical Although remains

will

sharp the the

result. scale, tonics

same.

Therefore, making

a#

a total

in natural

natural of seven

minor

differ

Figure Natural

When descending formed

Minor

a

natural (fourth

is a d natural

7.4: Sharp Flat

Natural

Scales

minor degree minor

and

scale

is

ascending) scale

and

Minor

Key

Signatures.

Keys

constructed of the has

on

the

a natural

one

flat:

fifth

minor

scale scale,

degree the

scale

Bb.

Scale Formula: mLN

Figure

7.5: d Natural

Minor

Scale.

7-3

When

a natural

(fourth

degree

natural

minor

minor

scale

ascending) scale

Scale Formula:

of the

and

has

If the

pattern

pattern

minor

(seven

minor

scales

major,

the

7-4

flats) with order

d natural

two

flats:

on

minor

Bb

and

Eb

the

fifth

scale,

the

degree scale

descending formed

is a g

.

mLN

Figure This

is constructed

continues

7.6: g Natural through

is continued, is the last flats. of flats

Again, remains

although the

Scale.

the

double practical

Minor

flats flat

will

scale,

making

the tonics same.

result.

Therefore, a total

in natural

ab

of seven minor

natural natural

differ

from

Figure Scale The subtonic

Degree

7.7: Flat

Activity

natural

minor

when

compared

Natural

in Natural

scale

has

to the

Key

Signatures.

Minor

a lowered major

Minor

mediant,

scale

lowered

constructed

on

submediant, the

same

and

a

tonic.

Figure 7.8: Comparison of Major and Natural Minor.

7-5

Since major,

the

the

scale

activity

degree

relationships

of scale

degrees

in

is also

natural

are

different

from

different.

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

minor

Submediant Subtonic

TENDENCY Submediant

Figure HARMONIC The step/whole

7.9: Scale

MINOR

formula step

for

Degree

SCALES the

interval

Activity

AND

harmonic

to Dominant)

in Natural

Minor.

KEYS

minor

relationship

(pulls

does

scale not

is

mLH.

correspond

The to

scale.

Scale Formula: mLH

Figure

7-6

7.10:

The

a Harmonic

Minor

Scale.

any

scale’s white

half key

Harmonic on

the

minor

minor

same scale

tonic, has

Figure

Harmonic They

are

formed

tone.

Chromatic

Figure

scales the

natural

a leading

7.11:

minor by

derive

7.12:

used

natural scale

minor

has

scales.

a subtonic

When while

constructed the

harmonic

tone.

of Natural

share

a chromatic

signs

minor

Comparison

scales

from

the

outside

Harmonic

key

alteration the

Minor

and

signatures of the

key

with

Minor.

of natural

subtonic

signature

Scales

Harmonic

are

Key

minor

upward called

scales.

to a leading accidentals.

Signature.

7-7

Scale The

Degree

Activity

harmonic

tones

in the

better

balance

minor

natural

in Harmonic scale

minor.

evolved

Using

of tendency

tones

Minor

because

of the

the harmonic in minor

relative

form of

lack

of tendency

the scale

develops a

keys.

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Submediant Leading

Tone

TENDENCY Submediant Leading

Figure Although the has

been

found

has

been

MELODIC

interval

on two

minor

The for

natural

the

formula descending

minor

for

in Harmonic

the

has the

melodic

effect

to Tonic)

Minor.

desirable

harmonic

staff

degrees

(augmented

Therefore, of this

a third

features, second) form

of the

interval.

KEYS two

ascending minor

formulas, melodic scale

one minor

is NLm,

scale.

Figure 7.14: The aMelodic Minor Scale.

7-8

to dominant)

(pulls

has

objectionable.

AND

scale

scale

successive

to avoid

SCALES

Activity

of the

to be melodically developed

melodic

descending. formula

Degree form

MINOR

The

Scale

harmonic

three-half-step

scale

the

the

7.13:

(pulls Tone

ascending scale which

and is mLM.

is the

same

one The as

Melodic melodic

minor

eliminates lowered

minor

scales

scale

the

Figure

are

formed

the

subtonic

has

a

objectionable

submediant

Melodic

derive

when

7.15:

minor

scales

by chromatic upward

Figure

from

raised

Melodic

to achieve

of Natural

the key

alterations to a leading

7.16:

interval)

descending

share

minor

submediant

melodic

Comparison

natural

signatures

of the

scales.

and that

leading

return

a more

and

The to

of natural

submediant

tone

(which

a subtonic

minor

Melodic

ascending and

sound.

Minor.

minor

upwards

scales.

a half

step

They and

tone.

Minor

Scales

with

Key

Signatures.

7-9

Scale

Degree

Activity

in Melodic

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Raised

Minor

Submediant

Subtonic

(passes

(passes

to Leading

downward

to lowered

Tone) Submediant)

TENDENCY Lowered Leading

Figure CIRCLE

OF

Since

7.17:

MINOR

the natural,

of key

signatures,

of the

scale.

Scale

Degree

(pulls to Dominant)

(pulls

to Tonic)

Activity

in Melodic

Minor.

KEYS harmonic,

it is possible

Figure

7-10

Submediant Tone

and

melodic

to construct

7.18:

Circle

minor one

circle

of Minor

scales

share

of fifths

Keys.

the same

group

for all three

forms

The

enharmonic

It is possible direction around

and the

to start return

having

have

the

successive

PARALLEL

the

same

Therefore,

To find

and

by using

travel one

around

the circle

of fifths

of the enharmonic

keys

in either

to continue

KEYS

Keys

Keys

of C major

are

on a minor

to a minor

AND

Relative

flats.

keys

circle.

RELATIVE

not

minor

same

tonic.

the

key The

relative

signature keys

major

are

called

relative.

of a minor

and

C major

of a minor

is C major,

and

Relative have

keys

no

will

sharps

the relative

or

minor

is a minor. the relative staff

minor

degrees,

of any

major

or determine

key,

descend

the sixth

degree

Minor

From

three

half

(submediant)

stepson

three

of the major

scale.

Figure

7.19:

Relative

Major.

7-11

To three

find

the

successive

minor

Keys

having

signature.

degrees,

any

minor

or determine

Figure

7.20:

the same

tonic

The

the

minor)

bs and

parallel

of C major

keys

of

major

key,

the

Relative

Major

ascend

third

From

are parallel.

C major of c minor

is c minor.

Note

and

three

degree

half

steps

(mediant)

on

of the

Minor.

Parallel

keys

c minor

have

is C major, that

their

3 ~s).

Figure

7-12

from

KEYS

Therefore, tonic

staff

major

scale.

PARALLEL

key

relative

7.21:

Parallel

Keys.

and

do not have the the

key signatures

same

parallel differ

the same tonic:

C.

minor

(or

(no

#s

or

CHAPTER 8 MODAL SCALES Scales positions used

of are

eight

tones

called

modes

in many

periods

ecclesiastical have

modes,

changed,

half

or modal

and and

they

containing styles medieval

retain

their

steps

scales.

of music. modes. interval

and

whole

Historically, They

are

Although patterns

the also

steps

called

their

specified have

church

the techniques and

in

modes

been modes,

for their

use

traditional

Greek

or minor.

The

with

it tends

toward

names.

Most

modes

can

be classified

major

predominantly

sound

generally

as major

modes

a

are

lydian

ionian

mixolydian The

modes

with

a predominantly

minor

sound

are

dorian aeolian phrygian The

locrian

mode

will

be discussed

sounds with

neither

minor

major

nor

minor;

minor

and

modes.

8-1

MAJOR

MODES

LYDIAN The step

formula

interval

F to F. The

for the lydian

relationship link

mode

corresponds,

(L) occurs

at the

Figure

The

remaining

ascending seven in

sharps

a circle

major

and

and

lydian

lowered

and

flats.

of lydian minor,

fifth This

keys the

order

Figure 8-2

(scale)

beginning

8.1:

are degrees

creates

fifteen

of fifths).

of sharps

Circle

and

scale’s

key

scale

from

Scale.

on

fifth

descending

from

lydian

that

keys

Although

of Lydian

step/whole

scale.

constructed

flats

half

to a white

of this

F Lydian

scale

8.2:

The

on a keyboard,

scales

(circle

is LMM.

lydian

remains

Keys.

the

scale

degrees

F lydian

through

can

be represented

tonics same.

differ

from

C major lydian

and

and

examples

of

The parallel

keys.

of the Degree

lydian (same

are relative

A lydian

relative

(subdominant) Scale

Flydian

F major;

The

major

tonic)

relative

and

lydian

C lydian

Db

tonic

and

lydian

and

is the

fourth

G major; Ab

~b

major

scale

are

degree

in Lydian

has

a raised

major

scale.

Figure

Likewise,

E major;

scale.

Activity scale

keys.

and

8.3:

subdominant

Parallel

Major

when

and

to

its

Lydian.

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Submediant Leading

compared

Tone

TENDENCY Subdominant Leading

Figure

8.4:

for the

ionian

Scale

Degree

Activity

(pulls

Tone

to Dominant)

(pulls to Tonic)

in Lydian.

IONIAN

The

formula

to major

scales.

mode

is MLM,

making

the ionian

mode

identical

8-3

MIXOLYDIAN The

formulas

for

step/whole

step

scale

G to G.

from

the

interval

mixolydian

Figure

The

remaining

ascending This

and

creates

mixolydian as in previous

8-4

mixolydian

descending fifteen

keys

from

mixolydian

(circle

key

mode

relationship

of fifths).

signatures.

are MML

corresponds,

8.5:

G Mixolydian

scales

are

G mixolydian keys The

that order

or MLm.

The

on a keyboard,

scale’s

half

to a white

key

Scale.

constructed

on

through can

be

of sharps

fifth

seven represented

and

flats

scale

sharps in remains

degrees and

flats.

a circle

of

the same

Figure C major is the

fifth

Scale The major

and

G mixolydian

degree

(dominant)

Degree

Activity

mixolydian

8.6:

scale

Circle

of Mixolydian

are relative of the

major

keys.

The

Keys. relative

mixolydian

tonic

scale.

in Mixolydian has

a subtonic

(b7)

when

compared

to its parallel

scale.

Figure

8.7:

Parallel

Major

and

Mixolydian.

8-5

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Submediant Subtonic

TENDENCY Subdominant Mediant Subtonic

Figure

8.8:

Scale

Degree

MINOR

(pulls to Mediant)

(can pull to Subdominant) (pulls to Submediant

Activity

in Mixolydian.

MODES

DORIAN The interval

formula

for

relationship

the

dorian

mode

corresponds,

is mLm.

The

on a keyboard,

scale’s

half

to a white

key

step/whole scale

step

from

D to

D.

Figure

The ascending

remaining and

descending

creates

fifteen

dorian

(circle

of fifths).

The

key

signatures.

8-6

dorian

keys order

8.9:

scales from that

d Dorian

are

d dorian can

of sharps

be and

Scale.

constructed through

on seven

sharps

in

a circle

represented flats

fifth

remains

the

same

scale and

degrees flats.

of dorian

This keys

as in previous

Figure

C major second

Scale The

dorian to scale,

d dorian

degree

Degree

compared minor

and

scale

the

are

Activity

parallel dorian

has

Circle

relative

(supersonic)

scale its

8.10:

of the

of Dorian

keys. major

The

Keys.

relative

dorian

tonic

is the

scale.

in Dorian a lowered major

scale

scale. has

mediant

(~3)

When

compared

a raised

and

a subtonic to its

parallel

(~7)

when

natural

submediant

8-7

Figure

Figure

8.11:

8.12:

STABLE

Parallel

Parallel

Major

Minor

and

and

Dorian.

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Dorian.

Submediant Subtonic

TENDENCY Submediant

Figure

8-8

8.13:

(pulls

Scale Degree Activity in Dorian.

to Subtonic)

AEOLIAN The

formula

identical

for

to natural

the

aeolian

minor

scales.

mode

is

mLN,

mode

is NLN.

making

the

aeolian

mode

PHRYGIAN

The step

formula

interval

for

the

phrygian

relationship

corresponds,

The

on a keyboard,

scale’s

half

to a white

key

step/whole scale

from

E to E.

Figure

The

remaining

ascending

and

This

creates

keys

(circle

previous

key

of

phrygian

descending

fifteen

8.14:

phrygian

fifths).

The

e Phrygian

scales from keys order

are

e phrygian that of

can

sharps

Scale.

constructed through be represented and

flats

on

fifth

seven

scale

sharps

in a circle remains

the

degrees and

flats.

of phrygian same

as

in

signatures.

8-9

Figure

of Phrygian

and

scale

degree

(mediant)

Degree

Activity

in Phrygian

scale

has

a lowered

and

subtonic

Scale The lowered When lowered

phrygian submediant

compared supersonic

e phrygian

Circle

C major third

8-10

8.15:

(~6), to its (bz).

are relative of the

parallel

keys.

major

natural

The

Keys.

relative

phrygian

tonic

is the

mediant

(~3),

scale.

supersonic (~7) when minor

(b2), compared

scale,

the

lowered

to its parallel phrygian

scale

major. has

a

Figure

Figure

8.16:

8.17:

Parallel

Parallel

Major

Minor

and

Phrygian.

and Phrygian.

STABLE

ACTIVE

Tonic

Supersonic

Mediant

Subdominant

Dominant

Submediant Subtonic

TENDENCY Supersonic Submediant

Figure

8.18:

Scale degree Activity in Phrygian.

8-11

LOCRIAN

The interval

formula

for

the

relationship

B. The

link

locrian

mode

corresponds

(L) occurs

at the

end

Figure The

remaining

ascending sharps

and and

locrian fifth

flats.

circle

of locrian

keys

same

as in previous

(circle

locrian The

scale’s

Circle

step/whole

key

step

scale, from

B to

Scale.

order

on raised from keys

fifth

b locrian that

of sharps

signatures.

8.20:

half

to a white

constructed

descending

fifteen

The

scale.

b Locrian

are

of fifths).

Figure

8-12

8.19:

degrees

creates

key

of this

scales

scale

This

is NNL.

on a keyboard,

of Locrian Keys.

can and

scale

degrees

through be represented flats

remain

seven in the

C major leading

and

tone

of the

Parallel

The dominant to the

locrian

major parallel

has

of

lowered

movement. mode

is used

Scale

and

The

keys.

relative

locrian

tonic

is the

I.ocrian

supersonic

submediant Only

major

the

Major

a lowered

scale.

a scale,

relative

scale.

(b(j),

(b~), and

the subdominant

lowered

subtonic remains

mediant (~7) when

unaltered

(b;]),

lowered

compared when

to its

compared

scale.

Figure

As

are

major

Analysis

(bh),

parallel

b locrian

8.21:

locrian

degree

primarily

Parallel

mode activity

Major

and

is unstable. in

locrian

as a performance

Locrian.

It exhibits mode

is not

strong

tendencies

easily

analyzed.

for The

tool.

8-13

COMPARISON

OF

TO

Charting same

tonic

Figure

8-14

the

seven

(parallel)

8.22:

MAJOR

modes

shows

Comparison

their

MODAL

SCALE

SCALE

through

their

scale

degree

of Modal

Scale

DEGREES

DEGREES

alterations relationships

Degrees

as

they

relate

to the

to the

major

scale.

to Major

Scale

Degrees.

CHAPTER 9 CHROMATIC, WHOLE TONE, AND PENTATONIC SCALES Chromatic, tetrachords.

whole These

key

signatures.

are

used

with

key

steps

whole

consists in an

tone

keys; scales

scale. key

notating

as a chromatic

The

entirely

octave.

are represented

of the

When written

scale

pitches)

an octave

regardless

and

scales

regular

cannot therefore,

require

be

analyzed

none

have

accidentals

using regular

when

they

twelve

half

signatures.

chromatic

is a chromatic

pentatonic

form

SCALE

(thirteen

within

and

do not

Chromatic

CHROMATIC

The

tone,

scales

name

of half

If all

steps.

thirteen

in an ascending of the chromatic

There

pitches

(twelve

or descending scale

are

is the first

half

order, note

steps)

the result of the scale

signature. chromatic alteration

Figure

scales,

any

of the

9.1:

pitch

previous

Chromatic

requiring

an

accidental

is

pitch.

Scale.

9-1

Double

sharps

scales.

Therefore,

double

sharps

The determines

same the

and

double

natural and

signs

double

flats.

Figure

9.2:

chromatic

scale

notation

of the

Figure

9-2

flats

should on

adjacent

and can

staff

A Chromatic

be notated

chromatic

9.3: E

be avoided

several

when degrees

are

used

The

key

chromatic to

avoid

Scales. ways.

scale.

Chromatic

notating

Scales.

signature

WHOLE

TONE

The whole

whole

steps.

SCALE tone

The

scale,

whole

as its name tone

scale

implies,

is notated

is a scale using

arranged

accidentals

to sound

to create

in

whole

steps.

The often

whole

determines

Since (including note.

same

The

anywhere

the

tone

the

notation

whole

tone

the octave),

one

whole in the

step

scale

that

can

be notated

of the

scale

whole

consists

of the staff is indicated

degrees

ways.

several tone

of

The

key

signature

scale.

seven within

by non-adjacent

pitches

instead

of

eight

the scale

will

not contain

staff

degrees

may

a

occur

scale.

Figure

9.4:

C and

13b Whole

Tone

Scales.

9-3

PENTATONIC

SCALES

A pentatonic Two

common

minor.

No

scale

consists

pentatonic half

steps

of five

scales

occur in

are

tones

(six

pitches

the pentatonic

either

of these

including

major

and

the

octave).

the pentatonic

scales.

Pentatonic Major

When scale

constructed

contains

scale.

The

scale

from

on

the tonic,

pentatonic Gb

the

supersonic, major

tones

leading

major

scale,

dominant,

corresponds,

on

and

apentatonic

major

submediant

of that

a keyboard,

to a black

key

omitted

are

9.5: the

Pentatonic tendency

Major

tones

States.

in major:

the subdominant and

tone.

When minor

scale minor

lowered

Minor

constructed

of that

to Eb.

on the first

contains scale.

seventh

pentatonic

9-4

of a

to Gb.

Pentatonic

Eb

degree mediant,

scale

Figure The

first

minor

the tonic, This

scale scale

degree

mediant,

corresponds

minor

subdominant,

to the first,

degrees corresponds,

of a natural

on

dominant,

lowered of the

a keyboard,

scale,

third, parallel

to a black

a pentatonic and

fourth, major key

subtonic fifth,

and

scale.

The

scale

from

Figure

The steps

tones

in natural

omitted minor:

9.6:

are the the

Pentatonic

active

supersonic

tone

Minor

and and

Scales.

the tendency

tone

which

form

half

submediant.

9-5

CHAPTER 10 INTERVALS An

interval is

according degrees,

to

the difference

the

number

encompassed

by

of the

in pitch letter

interval.

interval When

tones

interval

sound tones

or

two the

tones. number

Intervals of

are named

successive

staff

interval.

Figure

When

between

names,

10.1:

Names

of Intervals.

simultaneously, sound

in

succession,

the

interval the

interval

is

a harmonic is a melodic

interval.

10-1

Figure

When interval.

interval When

tones interval

10.2:

Harmonic

encompass tones

an

and

octave

encompass

Melodic

or less,

a ninth

or

Intervals.

the more,

interval the

compound interval.

Figure

10-2

10.3:

Simple

and

Compound

Intervals.

is a simple interval

is

a

QUALITIES

OF

To identify quality

of

minor,

a specific

an

interval

augmented,

may

Intervals

A perfect

prime

A perfect

of the

formed

of a major

The

perfect

steps;

contains

the twelve

(PI)

fourth

intervals

octave

interval be

both

its name

described

by

of two

notes

and

one

of

quality five

must

terms:

be stated. perfect,

The

major,

or diminished.

Perfect

degree.

half

INTERVALS

consists (P4),

between

or minor

prime perfect half

a perfect

the tonic

(P5), and

and

pitch

a perfect

on the same octave

the subdominant,

(P8)

dominant,

staff

consist and

scale.

contains fifth

fifth

of the same

no

contains

half

steps;

seven

the

half

perfect steps;

fourth and

the

contains perfect

five octave

steps.

FigurePerfect 10.4:

Intervals.

10-3

Major

Intervals

A major seventh

(Maj

supersonic, The steps; eleven

second 7)

(Maj

the half

second

major

of

consist

mediant, major

2), major

sixth

the

submediant,

(Maj

intervals and

contains

two

contains

nine

leading

half half

steps; steps;

3), major formed tone

10.5:

Major

(Maj

of a major

the major and

sixth between

6), and the

contains

the major

seventh

Intervals.

major

tonic

and

scale.

third

steps.

Figure

10-4

third

four

half

contains

Minor

Intervals

A major (min

2), minor

intervals and

formed

submediant

The steps; ten

interval

minor

the minor

half

made

3rd (min

3), minor

between (b6)

smaller

the

by

6th (min

tonic

of a major

a half

and

scale,

second

contains

one

sixth

contains

eight

step

6), and lowered

and

half

minor

and

third

the minor

A minor 7) consist

(b2),

the tonic

the minor

steps;

minor.

7th (min

supersonic

between

step;

half

becomes

and

2nd of the

mediant subtonic

contains seventh

three

half

contains

steps.

Figure

10.6:

Minor

Intervals.

10-5

Augmenting

A

perfect

augmented contains and

the

Perfect

interval

six

half

Figure

10-6

made

prime (Aug

the

octave

10.7:

greater

1) contains

steps;

augmented

Intervals

by one

augmented

a half

half fifth

(Aug

8) contains

Augmented

Intervals

step

step;

the

(Aug

augmented.

augmented

5) contains

thirteen

from

becomes

half

Perfect

fourth eight

steps.

Intervals.

half

The (Aug

4)

steps;

Diminishing

A

perfect

diminished contains steps.

Perfect

interval fourth

six There

made

(dim

half

smaller

by

4) contains

steps;

is no

Intervals

and

the

diminished

four

a half half

diminished prime

step

becomes

steps;

the

octave

because

diminished.

diminished

(dim

fifth

8) contains

it is impossible

The (dim

eleven

to make

5)

half

a prime

smaller.

Figure

10.8:

Augmenting A

major

Major interval

augmented

second

3) contains

five

and

the

Diminished

half

augmented

from

Perfect

Intervals.

Intervals

made (Aug

Intervals

greater

2) contains

steps; seventh

the

by three

augmented

(Aug

a half half sixth

7) contains

step steps; (Aug twelve

becomes

augmented.

the augmented 6) contains half

third ten half

The (Aug steps;

steps.

10-7

Minor made

intervals

greater

greater

by

by a half a whole

Figure

minor

the

the

(dim

10-8

sixth

7) contains

becomes

augmented;

become

major;

therefore,

major

a minor

intervals

interval

made

augmented.

Intervals

smaller

2) contains

diminished (dim

step

from

Major

Intervals.

Intervals

made (dim

nine

by a half

Augmented

interval second

diminished

step

Minor

diminished same;

greater

step become

10.9:

Diminishing A

made

third

6) contains half

steps.

by

a half

no half (dim seven

step

steps 3)

half

becomes

because

contains steps;

and

diminished.

the two two

half

pitches steps;

the diminished

The sound the seventh

Major

intervals

made

smaller

made

smaller

by by

Figure

made a

half

a whole

10.10:

smaller step step

by a half

become becomes

Diminished

step become

diminished;

minor;

therefore,

minor a major

intervals interval

diminished.

Intervals

from

Minor

Intervals.

10-9

INTERVAL The when

QUALITY following

moved

diagram

by

half

Intervals intervals.

the

relationships

Interval

Quality

of

various

intervals

10.11:

Relationships.

INTERVALS that

have

Enharmonic

but different

notation.

enharmonic

intervals.

10-10

illustrates

steps.

Figure

ENHARMONIC

RELATIONSHIPS

different intervals For Both

names will

example, intervals

but

always the Aug contain

sound have

the

the same

5 and eight

min

same

number

6 shown

half

are

steps.

enharmonic of half

in Fig.

steps

10.12

are

Figure INVERSION

OF

Inversion interval. lower

is

When note

SIMPLE

the

upper the

in note

the

relative

in a simple

upper

by moving

Enharmonic

Intervals.

INTERVALS

a change

becomes

accomplished

10.12:

note,

the lower

the

position interval

interval

note

of

the

becomes has

up an octave

been

notes

in

the lower inverted.

a simple

note,

or the

Inversion

or the upper

note

is

down

an

octave.

Figure Three

simple

augmented

10.13:

intervals

Inversion do not

invert:

Interval

the

perfect

because

there

(P5).

prime,

perfect

octave,

and

octave.

The

perfect

prime

will

not

invert

The

perfect

octave

will

not

invert

which

of Simple

has

no

upper

or lower

because

this

is no

would

upper

create

or lower

a perfect

note.

prime,

note.

10-11

The the

augmented

upper

The interval

note

The

the

it’s

will

lower

of inverted

qualities

perfect

10-12

and

names and

octave

minor

minor

becomes

major

because remain

intervals

2 becomes

7

3 becomes

6

4 becomes

5

5 becomes

4

6 becomes

3

7 becomes

2

8 becomes

1 (when

augmented

becomes

diminished

diminished

becomes

augmented

the

upper lower

note

intervals invertable)

are

The

invertable)

invertable)

also

would

remain

note.

NINE: 8 (when

(when

the

are predictable.

1 becomes

simple

perfect

becomes

would

is always

of inverted

major

invert

note

simple

inversion

remains

not

predictable:

sum

of a simple

Figure

COMPOUNDING

AND

Compounding relative

and

position

accomplished

of the

Moving

reduces

a compound

the

ly,

but

reduction

reducing

inversion

rules

the name

note

interval.

control

Interval

intervals note

down

are

further

of the interval

only

an

octave

until

movement. changes

other

methods

Compounding

up an octave

Compounding

continue

Inversions.

INTERVALS

in an interval.

the upper

upper

can

Simple

REDUCING

notes

by moving

octave.

intervals,

10.14:

or the lower

or the

intervals the

while

lower may

interval

When

of changing a simple note

note

down

an

indefinitesimple,

compounding

the quality

is

up an octave

continue

becomes

the

interval

remains

or

then

reducing the same.

10-13

Compounding

When added the

Intervals

compounding

to the

interval

name

a simple

of the

remains

the

interval

prime

10-14

perfect

compounds

prime,

for

each

interval,

octave

the number

displacement.

SEVEN

is

quality

of

The

same.

Figure The

or compound

10.15:

which

to a perfect

Compounding

is not octave

inverted, (P1+7

Intervals. maybe

equals

compounded. P8).

The

perfect

Reducing When from interval

the

Intervals

reducing name remains

a compound

of the the

interval

interval, for

each

the

octave

number displacement.

SEVEN The

is subtracted quality

of the

same.

Figure

10.16:

Reducing

Intervals. 10-15

Two

simple

augmented perfect

intervals

prime

prime

(Aug

(P8

-7

CONSONANT The

to

be

Seconds, generally

intervals

requiring

dissonant

1) and

may

are

tend

to remain

and

P1,

consonance The

octaves

are

augmented,

minor

steps,

(tonic),

eb

(supersonic). major mediant).

10-16

are

Aug

both

belong

However, G

as

intervals

tend

primes,

thirds,

intervals. intervals

are

the

intervals

5) and

(Maj

musical

are

second the 3 and

context

(3 half

other dim

as

a

4, dim

2

determines

enharmonic.

fourth

Since

referred

both

(Aug

4) contain

these

intervals

to as the tritone

six half contain

(abbreviated

TT).

INTERVALS

or key The

ascending pitch

augmented

consonance,

The

augmented

enharmonic.

Intervals.

intervals

when

are

the a

enharmonic 6, etc.).

to a scale

the

and

min

chromatic.

lydian

intervals

steps)

are commonly

minor

intervals

All diminished

classified

CHROMATIC

called

All augmented

5 and

(dim

and

melodic

(subtonic),

is

of several

P5,

AND

that

one

fifth

whole

or

diminished

and Dissonant

(3 half

dissonance

three

or key

Consonant

third

is true

dissonant,

as consonant

min 2, min 7

10.17:

diminished

Pitches

and

Maj 2, Maj 7

are

to a

consonant

Maj 3, Maj 6

steps,

scale

Perfect

generally

P4,

6 and

to an

reduces

Dissonant

P1, P5, P8,

and

DIATONIC

stable.

Dissonant Intervals

the

reduces

octave

described

Consonant Intervals

This dim

perfect

to a consonance.

perfect sevenths,

enharmonic,

dissonance.

octave

intervals.

Figure

steps)

the

be generally

min 3, min 6

Although

augmented

INTERVALS

movement

and

fourths,

The

P1).

of intervals

sixths,

perfect

Aug

DISSONANT

Consonant

fifths,

be reduced. equals

equals

sound

unstable,

perfect

8-7

AND

basic

dissonant.

may

are called

pitch

(raised

C is chromatic

(lowered

diatonic.

C is diatonic

Pitches

submediant), (not

subdominant),

foreign

to the keys

diatonic) and

to a

of C major

and to the minor

~b

minor

keys

of D

(raised

Intervals are

found

interval ~b

are

diatonic

in the

key.

are foreign

is a diatonic

is a chromatic

when

Intervals

to the key.

interval interval

Figure

both are The

in ~b

Major,

in

major,

Gb

10.18:

the

upper

and

chromatic

simple

Diatonic

lower

when

interval

formed

mixolydian, e minor,

and

and

notes

one and

or both

of the

interval

notes

by the pitches c natural

minor,

of the G up to but it

D lydian.

Chromatic

Intervals.

10-17

CHAPTER 11 TRIADIC CHORDS A chord

is a combination

ly or in succession

of three

(broken

or more

chord).

Chords

Figure A triad any

is a chord

combination

of three

of

these

tones

triad

because

it is a third

tones

is called

the fifth

The

is called

two

written

triad

is notated

line

or a space. Four

a major

the

uses

on adjacent

lines

of

The

middle

major

and

often

simultaneousspelled

It maybe

minor tone

triad.

it is a fifth

staff

or spaces,

and

of the

because

alternate

are

in thirds.

major root

sounded

in thirds.

Chord.

spelled

of the triad.

above

of the triad

combinations

construction

11.1:

tones

tones

in music

superimposed

the root

triad

different

constructed

thirds.

The

is called The

above

in its notation,

depending

on whether

thirds

are

of

of the

of the

the root

degrees

minor

lowest

the third

highest

of

three

of the triad. That

the root

possible

is, the is on a

in

the

of triads: third

as the

lower

interval

with

a minor

third

as the upper

third

as the

lower

interval

with

a major

third

as the upper

interval, a minor interval, major

thirds

as both

upper

and

lower

intervals,

minor

thirds

as both

upper

and

lower

intervals.

11-1

Triads

have

Major

(Maj)

minor

(min)

the

following

Augmented

(Aug)

diminished

(dim)

qualities:

Figure

MAJOR

major steps)

interval.

The

triad as the interval

When

constructed

tonic,

mediant,

and

11-2

Triad

qualities.

TRIAD

The (4 half

11.2:

fifth

has

three

lower

interval

between

on the first and

(1, 3, and

dominant 5) scale

tones

the

on alternate and

a minor

root

and

degree of that degrees

of that

degrees

with

third

(3 half

steps)

fifth

of a major scale.

staff

is a perfect scale,

This major

a major

corresponds scale.

fifth triad

a major

third

as the upper (7 half contains

to the first,

steps). the third,

Figure

MINOR

(3 half

minor steps) The

triad as the

constructed

tonic,

mediant, third,

has

on and and

three

lower

interval

When

lowered

Major

triads.

TRIAD

The

interval.

11.3:

tones

on alternate

interval

between

the

the first

degree

dominant fifth

(1,

and

a major

root

and

Figure

minor 5) scale

11.4:

degrees

with

third

(4 half

steps)

fifth

of a minor

of that b 3, and

staff

Minor

is a perfect scale,

scale.

a minor

This

degrees

fifth triad

corresponds

of the parallel

a minor

third

as the upper (7 half contains

steps). the

to the first, major

scale.

triads. 11-3

AUGMENTED

The major

TRIAD

augmented thirds

between

(4

the root

on the first contains

half and

degree the

steps)

the

and

first

degree

and

dominant

and

lowered

11-4

the

upper

tone

mediant,

scale and

third,

alternate

and fifth

whose

raised

lower

fifth

steps).

is raised,

of

degrees

intervals.

(8 half

dominant

and

staff

that

(1, 3, and

Augmented

triads.

The

When tone

~ 5) scale

two

interval

constructed

the augmented

whole

fifth

with

triad

scale.

This

degrees

of the

11.5:

TRIAD

diminished

thirds

root

on

scale.

DIMINISHED

minor

tones

for

Figure

The

three

is an augmented

of a whole

to the first, major

has

fifth

tonic,

corresponds parallel

triad

triad

(3 half fifth

steps)

three

of that

tones

for the upper

is a diminished

of a locrian fifth

has

scale, locrian

(1, ~ 3, and

the scale.

on

and

fifth

lower

(6 half

diminished This

b 5) scale

alternate interval. steps). triad

of the

degrees

The

When

contains

corresponds

degrees

staff

interval

the

tonic

on the mediant,

lowered

major

two

between

constructed

to the first, parallel

with

scale.

third,

Figure 11.6: Diminished triads. CONSONANT “The

AND

basic

dissonant.

DISSONANT

sound

of

Consonant

unstable

requiring

triads

triads

consonant

dissonant

triads.

Consonant

triads.

may

tend

movement

generally

TRIADS be

generally

described

to remain

stable.

to a consonant

triad.

Augmented

and

quality

of

the

usually

occurs.

11.7:

of the third.

tend

Major

minor

triads

and triads

are

or to be are

generally

Triads

Aug dim

Figure

quality

triads

diminished

Maj min

The

consonant

Dissonant

Dissonant

Triads

as

fifth

When

Consonant

affects the

fifth

and

Dissonant

consonance is augmented

and

Triads.

dissonance or diminished,

more

than

the

dissonance

11-5

INVERSION

OF

When

the

Inversion When

TRIADS

root

of

is a change the

third

regardless

of

a triad

is its

in the

relative

a triad

of the placement note,

the triad

the root

third

above

position.

The

same

Figure

11-6

lowest

is in second

it. The

is true

Figure

the

11.9:

root

of the

11.8:

note,

position

of the root

is the lowest and

is

lowest

and

fifth

the above

inversion

and

Inversions

Inversion

of the

note,

of the triad

third

the

chord

is in

root

position.

notes

from

root

position.

triad

is in first

it. When

regardless remains

the fifth

the root

regardless

of C Major Triad.

Types

of a triad

of the placement

fifth.

of the Four

inversion

of Triads.

of of its

DIATONIC

Writing will

TRIADS

the

IN

diatonic

construct

the

Diatonic

Triads

Constructing

MAJOR

third

triads

and

diatonic

AND

fifth

above

KEYS

each

to a particular

scale scale

degree

of a given

scale

or key.

in Major

diatonic

triads

on

major

triads

on

the

tonic,

minor

triads

on

the

supersonic,

a diminished

MINOR

triad

on

the

Figure

major

scale

subdominant,

leading

11.10:

mediant,

degrees

and

and

produces:

dominant

submediant

tone

Diatonic

Triads

in Major.

11-7

Diatonic

Triads

Constructing

in Natural

diatonic

triads

minor

triads

on the

tonic,

major

triads

on

mediant,

a diminished

the

triad

on

Figure

11-8

the

11.11:

Minor on

natural

minor

subdominant,

and

submediant,

scale

degrees

produces:

dominant

and

subtonic

supersonic

Diatonic

Triads

in Natural

Minor.

Diatonic

Triads

Constructing

diatonic

minor

triads

on

the

tonic

major

triads

on

the

dominant

diminished an

The minor The

in Harmonic

augmented

harmonic

scale third

triads

on

triad

use

its name. of the

triads

of the Altering

dominant

on and

the on

Minor harmonic

major

and

degrees

produces:

submediant and

leading

tone

mediant

quality

the third chord

scale

subdominant

supersonic the

minor

is the

dominant

of the dominant leading

tone

chord chord of the

gives

the harmonic

creates minor

this

scale.

key.

Figure 11.12: Diatonic Triads in Harmonic Minor. 11-9

Diatonic

Triads

Constructing

in Melodic

diatonic

Minor

triads

on

ascending

melodic

minor

scale

degrees

scale

degrees

produces:

minor

triads

on

the

tonic

major

triads

on

the

subdominant

diminished

an

triads

augmented

Constructing produces augmented

triads

triad

triad.

subdominant

triad,

in

the

Using resulting

and

and

descending

of the

ascending the

dominant

leading

tone

mediant on

to those the

supersonic

submediant

triads

identical

second

the

on

diatonic

subdominant

11-10

on

and

descending

in a more

melodic

natural form

minor of

form minor

the of

sound.

minor scale.

scales the

scale

Eliminating creates creates

a

the major

a minor

Figure

11.13:

Diatonic

Triads

in Melodic

Minor.

11-11

CHAPTER 12 OVERTONE SERIES A sound sixths,

etc.,

source

vibrates

continuing

vibrations

as a whole

on indefinitely

produce

are

called

unit,

in halves,

thirds,

by fractions.

The

and

generally

overtones

are

fourths,

sounds

these

fifths,

fractional

present

in varying

strengths. The

vibration

of

generates

overtones)

produced

are

lowest

above

depending

on

The whole

(pitch) the

also

the

and,

vibrates

in

decreases

producing

producing with

the

the

the

of the

vibrating

(second

el ; in sixths

higher

pitches.

higher

partials.

illustrate

C is set into

C (fundamental

partial)

producing (fourth

(sixth Lower

It has

the The

in amplitude

source.

string

g; in fourths

pitches

(intensity). vary

it

STRING

to Great

Great

the

partial.

amplitude and

(because

All

first

frequency

sound

tone

fundamental.

greatest

A VIBRATING

tuned

generating

is the

are of greater

the pitch small

the

fundamental

commonly,

a

a string

halves

producing

sections

of

When

produces is called

nature OF

characteristics

partial)

pitch The

physical

producing

(fifth

unit

fundamental

unit,

partial)

its

partials.

CHARACTERISTICS

relationships.

whole

and

called

frequency

partials

the

partials

and

it vibrates

- first

partial).

small

c;

partial)

partial)

partials motion

in

producing

The thirds

as a string (third

c1 ; in fifths

producing

gl ; and

have

amplitude,

more

their

in smaller which

12-1

12-2

Figure 12.1.

THE

OVERTONE Although

it is necessary sixteen

The 12.2

partials

SERIES

the

overtone

to put are

relationship

and

12.3.

series

continues

with

an upper

limit

on the series

the

most

commonly

ones

between

Understanding

partials their

groupings, individual from which

and

complex

for practical used

scale

relationship partials

vibration

indefinitely,

purposes.

The

first

in music.

degrees

is illustrated

in figures

allows

the formation

of partial

can

be

extracted for musical

performance.

Figure

12.2:

C Overtone

Series.

12-3

Figure Tonic The

first,

second, the

Dominant

The

third upper

12-4

third, of

partial

Degrees

of Partials.

The

first

and

partial),

degrees

starting

(Major)

The

and (5th

twelfth

sixteenth are derived

tenth partial)

is derived

partials

third

series.

Mediant

partial

and

partials

are the tonic

by doubling

partial

degrees numbers

partial.

(3rd

numbers

octave

tonic

sixth,

a given

fifth

eighth,

Partials

octave

partial)

fourth,

octaves.

with

second

Scale

Partials

in successive starting

12.3:

The

are the dominant

octave

(6th

dominant

with

the

third

partial),

degrees

are

and

degrees

found

in the

fourth

octave

(12th

derived

by

doubling

the

partial.

Partials partials and by

are

fourth

doubling

the

mediant

octave the

(major)

(10th lower

partial)

partial.

degrees of a given

found series.

in the The

Subtonic The found

Partials

seventh

and

in the third

series.

The

a minor

The

Fourth

the

partial mediant;

subdominant the

twelfth

equals reduction

21st

fourth

by doubling

the

octave

subtonic (14th

the lower.

to remember

partial)

It may

its scale

degrees of a given

help

degree

to think

of

although

it

fundamental.

Partials fourteenth

intervals,

partials

the scale 2) is the

eleventh

partial

(the

only

the

time

subtonic. it is

fifteenth

considered

numbers

and

the tenth

- 7 equals

is not

is the

out-of-tune

it is raised

and

partial

carried

tone

and That

to

3) is raised

out of tune); partial

(13 -7

(14 -7 equals

through the

then is, the

(10 -7 equals

the thirteenth

the fourteenth leading

partial

4)

occurs

partial the

of as intervals are produced.

5) is the dominant;

(major); The

(11

subdominant

(12 -7 equals

6) is the submediant

are thought

degree

supersonic;

the

process;

are the out-of-tune

and

interval

from

(9 -7 equals

partial

the out-of-tune

partial)

is derived

through

to simple

partials

as a simple

Octave

If the ninth

ninth

(7th

partial

partial

is actually

reduced

octave

upper

the seventh

fourteenth

7) is

the interval

sixteenth

partial

(tonic).

12-5

Figure Converting Overtones Therefore, number;

12-6

do not

to convert from

comparing will

Partials

always

overtones

overtones be one

to

include from

12.4:

Partial

Overtones

less

partials

partials

than

and

the fundamental

the

Overtones

add in an

partial

one

to Partials

as a numbered

to overtones,

to partials, and

Relationships.

subtract to get

overtone number.

the

series,

one

part

to get the overtone

partial the

of the series.

number. overtone

When number

Harmonics

The the first

term

harmonic

partial

the

term

harmonic

the

first

harmonic.

intended

THE

relative

the

factor

overtones quality

of the

For overtones

most

from

Figure

term

the

clarinet

the

These

may

a musical

varies

the as

That

is, the

mean

partial

timbre

first

That

is,

often

use

overtone

is

or overtone,

of

the

are

the

its

Overtone

(3rd

is a

Usually,

variations

in

on the

saxophone

are the

partial), in

alternate

Prominence

instrument.

as

partial),

decrease and

and

the

the

tone

fundamental.

(6th

second

overtones

but

timbre,

instruments

a particular

overtones

fifth

affects

different

pitches

prominent partial),

instrument

with

individual pitch,

fundamental

12.5:

as overtone.

as partial.

instrumentalists

TIMBRE

of

overtones

most (4th

the same

string

harmonic

AND

prominent

third etc.

same

nature

heard

as being

However,

specified.

producing

not

on the

partial),

removed

of

example,

partial),

the be

physical

in

are

the

SERIES

prominence

major

(7th

Since must

OVERTONE

interpreted

harmonic.

as being

meaning

Because

(2nd

is often

is the first

etc.

The

fourth

intensity

most (5th

as

partial),

they

first

prominent are

sixth further

indefinitely.

of Saxophone and Clarinet.

12-7

CHAPTER 13 TRANSPOSITION Transposition higher or

at

is the

or lower

pitch

a different

process

level.

pitch

of moving

To transpose

level.

Pitch

a note is to write

relationships

or group

of notes

or perform must

to a specific

in a different

remain

intact

key during

transposition.

TRANSPOSITION The to identify write

the

most

BY direct

the

means

pattern

pattern

SCALE DEGREE of organizing

of scale

in a different

degrees key.

pitch in the

Using

relationships original

numbers

key, will

for transposition

is

then

or

help

to perform

identify

the

scale

degrees.

Figure

13.1:

Scale

Degree

Transposition

(diatonic

major).

13-1

Transposition that pitch

differ

in minor from

Transposing many The

13-2

the accidentals

relationships

Figure

that

have

accidentals

in the original

may music.

require

The

chromatic

purpose

signs

is to keep

the

intact.

13.2:

diatonic

accidentals pitch

keys

Scale Degree Transposition

melodies

because

relationships

maybe

chromatic must

be kept

easier signs intact.

(harmonic minor).

than

maybe

transposing different

after

melodies

with

transposition.

Figure

TRANSPOSITION

BY

Transposing has

many

degree step

by

transposition above

Scale

Degree

Transposition

intervals

creates

a complex

Interval easier.

or below

(chromatic).

INTERVAL

individual

accidentals,

relationships.

interval

13.3:

transposition A

the

transposition original

will

may key

increase

accuracy

relationship, may

also

written keep

the

make or

pitch

in music

or has

complex

a half

played

the

relationships

step

that scale

or whole

same

exact

intact.

13-3

Figure Melodic melodic

13.4: Interval Transposition

intervals

intervals

in

in the

Figure

TRANSPOSITION When remain

13-4

the

13.5:

BY

a transposition

on the

same

transposed

original

staff

(harmonic).

music

will

correspond

to

the

same

key.

Interval Transposition

(melodic).

CHANGE OF KEY SIGNATURE desired

is a half

step

degrees,

transposition

higher

or lower

by key

signature

and

the

maybe

notes used.

This

is accomplished

staff

degrees,

The

same

accidental chromatic

and

by imagining correcting

accidentals (raising

will or

the different

accidentals not

be used

lowering)

must

key

to keep

signature,

the

pitch

in the transposed be

created

reading

key, by

the same

relationships

intact.

so the effect

means

of

a

of the

different

sign.

Figure 13.6: Key signature Transposition. 13-5

CHAPTER

14

INSTRUMENTS Copying

instrumental

parts

requires

that

a copyist

know

the

following:

clefs

keys

and

written

transpositions ranges

sounding

While more

than actual

ranges

one

instruments clef.

sound;

are

as

only

visualized

when

copying

a complete

likely

a single

clef,

instruments, their much

by

ranges

must

the

ranges for

from

concert

to be

instruments

is written

with

in

for

the

transposing

that

pitches Wind

instrumentalist’s

(particularly

ranges

are

be transposed.

upper

differing

as

registers)

qualified

use

instrument

ability

by

the

cannot

be

instrumentalist

instruments

should

are

be clearly

pitches.

list of instrumental

instruments

there

music

parts

minimum

sounding

Although most

some

Extreme

definitely; The

use

therefore,

itself.

presented.

the

For

determined

instrument stated

ranges

most

from

of instruments

classification

encountered

would

be far longer,

are:

woodwinds keyboard brasswinds rhythm

section

strings

percussion

WOOD

Woodwinds

may

be

woodwinds.

Single

saxophones.

When

name

instrument

E b

of the

instruments

reed

divided

sound

into

woodwinds

a woodwind

WINDS

transverse, may

player

sounds: E b . The

for

double

be further plays

example, interval

written

reed,

divided C on

into the

B ~ instruments between

the

and

written

single

reed

clarinets

and

instrument,

the

sound and

B b , and sounded

14-1

pitches

determines

instrumentalist following

its to use

list

Name

the

same

(Remarks

and

individual

sounding

range

WOODWINDS

- Treble Clef.

Sounds an 8ve higher than written. Written an 8ve lower than it sounds.

Sounds

(C) - Treble Clef.

as written.

(Some flutes have a low B extension).

DOUBLE Oboe Sounds

REED

INSTRUMENTS

(C) - Treble Clef.

as written.

(Some oboes do not have low ~&) key).

14-2

for

Clef(s)

woodwind more

normally

relationship

about

TRANSVERSE

Flute

fingerings

instrument-

Transposition

C Piccolo

the

Transposed

than

gives:

of

Written

transposition.

instrument)

used

parts one

allow

instrument.

the The

F English

Horn

- Treble

Clef.

Sounds a P5th lower than written. Written a P5th higher than it sounds.

Bassoon Sounds

SINGLE

(C) - Bass or Tenor

Clef.

as written.

REED

INSTRUMENTS

CLARINETS Eb

Clarinet

- Treble

Clef.

Sounds

a min 3rd higher

Written

a min 3rd lower than it sounds.

Bb

Clarinet

- Treble

than written.

Clef.

Sounds a Maj 2nd lower than written. Written a Maj 2nd higher than it sounds.

14-3

E b Alto

Clarinet

- Treble

Clef.

Sounds

a Maj 6th lower than written.

Written

a Maj 6th higher

(Most

alto clarinets

Bb Bass

than it sounds.

have a low ~b

key).

Clarinet

Sounds a Maj 9th lower than written. Written a Maj 9th higher than it sounds. (Most bass clarinets

have a low ~b

key).

SAXOPHONES

~b

Soprano

Saxophone

- Treble Clef.

Sounds

a Maj 2nd lower than written.

Written

Maj 2nd higher

Eb

Alto

than it sounds.

Saxophone

- Treble

Clef.

Sounds a Maj 6th lower than written. Written a Maj 6th higher than it sounds.

14-4

Bb

Tenor

Saxophone

-Treble

Clef.

Sounds a Maj 9th lower than written. Written a Maj 9th higher than it sounds.

Eb

Baritone

Saxophone

- Treble Clef.

Sounds a Maj 13th lower than written. Written a Maj 13th higher than it sounds. (Some baritone a low A key).

saxophones

do not have

14-5

Figure

14-6

14.1:

Woodwind

Comparative

Range

Chart.

BRASSWINDS Most than the

brasswinds

one

overtone

same

purpose.

name

or more

allowing

maybe

clef

brasswind

player

instrument

sounds.

of

sound

as

position

an

instrument

written.

The

sounding

are

Cylindrical

conical

tubing

Name

affects

the

the

TREBLE Bb

its

brass C

on

Trombones

and the

between

the

transposition. clef

to produce

bass

use

clef

slides

brass.

instrument, written Bass

brasswind

is its

for

When

the and

clef

more

pitch

sounded

brasswinds open

or first

series. with

conical timbre

various are

more

ratios

of cylindrical

cylindrical

than

than

cylindrical.

The

of the

instrument.

The

(open/first

position

ratio

and conical;

conical

of cylindrical

following

sounding

conical

list

to

gives:

series)

relationships about

and

CLEF Trumpet,

interval

of a bass

instrument

Transposition (Remarks

name

clef

written

The

brasswinds

more

in combination pitches.

treble

plays

constructed

are

of

Written

pitch

bore

brasswinds

into

determines

overtone

Brasswinds bores.

valves

chromatic

grouped

of the

pitches

bore

three

series,

Brasswinds a treble

use

individual

sounding

instrument)

range

BRASS Cornet,

and Flugelhorn.

Sounds a Maj 2nd lower than written. Written a Maj 2nd higher than it sounds. Trumpet

- Cylindrical

Bore (3 valves).

Cornet - Conical Bore (3 valves). Flugelhorn - Conical Bore (3 valves).

14-7

Horn

l?/Bb

(called

Double

Horn).

Sounds a P5th lower than written. Written a P5th higher than it sounds. Conical

Bore (3 valves).

Baritone

Horn.

d *

Sounds

a Maj 9th lower than written.

Written

a Maj 9th higher

Conical

Bore (3 valves).

BASS

CLEF

Bb

BRASS

Baritone

Horn.

Sounds

as written

Conical

Bore (3 valves).

B~

9:

(non-transposing).

Euphonium.

Sounds

as written

Conical

Bore (4 valves).

14-8

than it sounds.

(non-transposing).

13b Tenor Sound

Trombone.

as written

(Makes

use of

Cylindrical

(non-transposing).

tenor and

alto clefs).

Bore (Slide).

13b Tenor

Trombone

with F Attachment. Sounds

as written

(Makes

use of tenor and

Cylindrical

(non-transposing). alto clefs).

Bore (Slide).

Bb /F/D

Bass

Trombone.

Sounds

as written

(non-transposing).

(Makes

use of tenor and alto clefs).

(high extreme of instrument infrequently used). Cylindrical

Bore (slide).

C Tuba. Sounds

as written

Conical

Bore (4 valves).

B~b

(non-transposing).

Sousaphone.

Sounds

as written

Conical

Bore (3 valves).

BBb

(non-transposing).

Tuba.

Sounds

as written

(non-transposing).

Conical

Bore (4 valves).

14-9

Figure 14.2: Brasswind Comparative

Range

Chart.

PERCUSSION The pitch

percussion percussion.

grouping, pitch

14-10

Due

placement

drums

percussion)

instruments

(timpani) instruments

may

to the large in notation are are

be divided number

is very

notated normally

in

into

indefinite

of instruments irregular bass

notated

and

clef.

pitch

and

in the indefinite will

Mallet

in treble

vary

greatly.

percussion clef.

definite pitch Definite

(keyboard

INDEFINITE

The

PITCH

following

Name

list

of

the

PERCUSSION

of indefinite

in notation

Tools

for

(Remarks

Snare

percussion

gives: symbol

instrument

Placement used

pitch

performance

about

individual

instrument)

Drum.

3rd space bass clef, Rhythm Line. Sticks,

mallets,

brushes.

Bass Drum. 1st space bass clef, Rhythm Line. Sticks,

mallets

(May be played

vertically

or horizontally).

Cymbal(s).

Below,

1st space,

4th space,

or

above bass clef Rhythm Line. Hands mallets,

(in pairs),

sticks,

brushes,

etc.

(Sometimes notated or x head notes).

with diamond

14-11

Triangle. 3rd space, 4th space, or above bass clef, Rhythm

Line.

Triangle

beater,

stick.

Tambourine. 3rd space, 4th space, bass clef Rhythm

Line.

Hands,

sticks,

mallets,

Tam-tam

(Gong).

or above

thumb.

Below or 1st space bass clef, Rhythm Line. Gong beater

DEFINITE The

PITCH

following

list

Name

of

PERCUSSION

of definite

the

instrument

pitch

percussion

(symbol)

Transposition Tools

used

(Remarks

14-12

for

about

performance

individual

instrument).

- clef

gives:

Written

range

(Ranges

Timpani

of instruments

may

vary

depending

the

manufacturer.)

- Bass Clef.

Sounds

as written.

Mallets

(felt, wool, wood).

23 inch Timpano

(I)

26 inch Timpano

(II)

29 inch Timpano

(III)

30 inch Timpano

(IV)

Timpani are fully chromatic and have a minimum timpano depends on its condition.

Sounds

on

a P15th higher

range

of a P5th; the upper range

of a

than written.

Brass or hard mallets.

14-13

Sounds

a P15th higher

Hard plastic

Sounds Chime

mallets.

as written. hammer

of wood or rawhide.

(Some instruments

Sounds Wood,

do not extend

a P8ve higher rubber,

as written.

Rubber,

wood, plastic,

as written.

Yarn or cord mallets.

14-14

beyond

than written.

or plastic

Sounds

Sounds

than written.

mallets.

yam,

or cord mallets.

KEYBOARD With

the

exception

of

the

depending

on the manufacturer.

treble

bass

and Name

clefs.

of

the

The

standard

piano,

Keyboard

following

list

keyboard

instruments of keyboard

ranges make

vary

widely

use of notation

instruments

in

gives:

instrument

Transposition Method

of sound

(Remarks

about

Written

Piano Sounds

production individual

instrument)

range

(Pianoforte).

as written.

Struck strings.

Electric Sounds

Piano.

as written.

Range Varies Widely

(Method of sound production varies depending on the manufacturer)

14-15

Celeste. Sounds a

P8ve higher

than written.

Struck metal bars.

Range Varies Widely Organ. Sounds

as written

Compressed electronically The organ

air through generated.

pipes or

uses an extra staff for

the pedal register

as needed.

Synthesizer. Unlimited

Range and Layout Depend on

transposition.

Manufacturer Electronically

RHYTHM

generated.

SECTION

Rhythm Normally,

section they

instruments rhythm

14-16

section

are

sound

STRINGS

strings used

in a rhythm

a perfect

string

include

octave

instruments

guitar, section lower gives:

bass with

than

guitar, piano

written.

and

string

and

drums.

The

following

All

bass. three list

of

Name

of

the

instrument

- Clef

normally

used

Transposition

Remarks

Open

about

individual

instrument

strings

Guitar

written

- Treble

range

Clef.

a P8ve lower than written

Sounds

Base Sounds

Guitar

a P8ve lower than written

String Sounds

- Bass Clef.

Bass

- Bass Clef.

a P8ve lower than written.

Tuned in P4ths. The instument or plucked

may be bowed

(arco)

(pizzacato)

14-17

CHAPTER CHORD Vertical piece

may

expression tones

combinations be

indicated

for

those

are

included

combination

are

CHORD

The

in the

lower

may

a chord

it does

not

is the

root

framework

symbols

are

symbol

indicates

indicate

how

of the

chord.

of

a

a shorthand which

the tones

in the

name

of a chord

symbol

15.1:

of a Chord

Determining from

a Chord

the Symbol.

Third chord

includes

is qualified

it a half

qualifiers

harmonic

INTERPRETATION

Root

The

Although

combination,

the

Chord

used.

Figure

the third

create

symbols.

Root letter

The

that

chord

combinations.

SYMBOL

The

SYMBOLS

of tones by

15

that

the pitch

a major

by the chord

step

(minor

lower

third).

the third.

be expressed

in other

Indicators

for Minor

Indicators

for Diminished

third

symbol. Minor,

The

above

Qualifiers diminished

preferred

the root that and

abbreviations

of the chord

affect half

diminished are min

unless always are the

and

dim

but

ways. min, -, m, mi, minor dim, 0 @

Indicator for Half Diminished Figure

the third

15.2:

Indicators

for

Qualified

Thirds.

15-1

Third not qualified:

Third qualified (lowered):

Figure

15.3:

of a Chord

The The the fifth fifth

and

chord

includes

is qualified

a half

flat

step

is the five

dim

the pitch

qualifier

are qualifiers

and

a perfect

by the chord

(augmented

b 5) but

symbol.

Third

Symbol.

that

raises

that

lower

for Raised Fifth

Indicator

for Lowered

above

Qualifiers

or lower the fifth

maybe

15.4:

fifth

fifth)

Indicator

Figure

15-2

the

a Chord

Fifth

Augmented

(Aug,

Determining from

the the

expressed

fifth.

fifth.

the root that

affect

the fifth

a half

step

(diminished

Diminished,

The

in other

preferred

half

unless raise

abbreviations

Aug, +, (+5), (#5)

for

Qualified

Fifths.

the

fifth).

diminished

ways.

Fifth

Indicators

of the chord

are

Fifth not qualified:

Fifth raised:

Fifth lowered:

Figure The The the

15.5:

Determining

the Fifth

of a Chord

from

a Chord

Symbol.

Sixth chord

numeral

Figure

includes 6 is part

15.6:

the

pitch

of the

Determining

a major

chord

sixth

above

the root

of the chord

when

symbol.

the sixth

of a Chord

from

a Chord

Symbol.

15-3

The

Seventh

The

chord

includes

(subtonic)

unless

affect

seventh

the

seventh

a half

qualifier

that

the

seventh

the step

a minor

is qualified seventh

(diminished

seventh are

may chord

Maj7

and

Indicators

for

Raised

Indicators

for Lowered

Figure

Seventh not qualified:

seventh by the

a half

seventh

seventh.

the tone

a diminished

15-4

the

the

abbreviations

Seventh raised:

pitch

seventh

raise

raises

and

the

may dim7

be but

chord

step

sixth).

Major

seven

qualifier

that

as the sixth.

enharmonically.

be expressed

in other

that

or lower

is the

spelled

chord

Qualifiers

seventh)

The

is the

Pitches preferred

ways.

dim7, °7

for

Qualified

Sevenths.

the

lowers

Maj7, M7, Ma 7, (+7), (#7)

Seventh

Indicators

of the

seven

Seventh

15.7:

root

symbol.

(major

enharmonically may

the

or major

Diminished

be spelled

above

of

Seventh lowered:

Figure

15.8:

The

Delta

The

Delta

Determining

Sign

(A)

has

CHORD

STRUCTURES

nine

of a Chord

from

a Chord

Symbol.

Sign

meaning

In

the Seventh

come

addition

to

commonly

major,

used

major

sixth

major

seventh

minor

sixth

minor/major dominant

was

originally

to include

chord

chords

minor,

used of the

augmented

to indicate sixth

and

and

the major

diminished

use

of a triad.

Its

seventh.

triads,

there

are

structures:

seventh seventh

minor

seventh

minor

seventh

(flat

augmented

seventh

diminished

seventh

five)

15-5

Major

The

Sixth.

chord

indicated

by

Chord

formula a root

for the major

name

and

Figure Major The

Seventh

chord

is indicated

The

chord

is indicated

15-6

Sixth

of a major

scale.

It is

15.9:

Major

Sixth

Chords.

name

and

seventh

Maj

15.10:

chord

is 1,3,5,7

of a major

scale.

It

7.

Major

Seventh

Chords,

Chord

formula by

is 1,3,5,6

6.

for the major

a root

Figure Minor

chord

Chords

formula by

sixth

a root

for the minor name,

rein,

Figure

15.11:

sixth and

chord

is 1,

b3, 5, 6

6.

Minor

Sixth

Chords.

of a major

scale.

It

Minor/Major The major

chord

scale.

Seventh formula

for

Dominant

scale.

by

15.12:

Seventh

chord

formula

It is indicated

for by

The scale.

Seventh chord

a root

seventh

name,

min,

Minor/Major

chord

and

Maj

Seventh

is 7.

Chords.

the

a root

15.13:

dominant name

seventh and

Dominant

chord

is

of a major

7.

Seventh

Chords.

Chord

formula

It is indicated

minor/major

Chord

Figure

Minor

the

It is indicated

Figure

The

Chord

for by

the

a root

Figure

minor

seventh

name,

min,

15.14:

Minor

chord

and

Seventh

is

of a major

7.

Chords.

15-7

Minor The a major

Seventh

chord scale.

is also

called

(Flat

formula

The major

chord

scale.

The major seventh

15-8

chord scale. chords

seventh

It is indicated by aroot a half

15.15:

Seventh formula

min,

chord

chord

7, and

is This

type

of chord

(47).

(flat

Seventh

the by

augmented a root

five)

seventh

name,

Augmented

Chords.

chord

Aug,

and

Seventh

is

1,

3,

$5,

bT of a

of

diminished

7.

Chords.

Chord

for the diminished

It is indicated are

Minor

15.16:

Seventh

formula

seventh

five)

Chord

for

It is indicated

(flat

name,

diminished

Figure Diminished

Chord

for the minor

Figure Augmented

Five)

by

often

spelled

Figure

15.17:

a root

seventh name,

enharmonically

Diminished

dim,

chord and for

Seventh

is 7. Notes

ease

of identification

Chords.

CHAPTER CHORD Chord however, melodic

symbols their

indicate

use

may

application.

be

A given

the

16 SCALES

vertical

expanded chord

or harmonic

by

using

symbol

framework

chord

scales

normally

implies

for

of

a piece;

horizontal

or

use of a particular

scale. MAJOR The

SIXTH major

seventh

chords.

seventh

chords.

AND or

ionian

The

Figure MINOR The descending

SIXTH

minor

scale

lydian

scale

16.1:

AND

ascending on

MAJOR

SEVENTH (MLM)

is used

(LMM)

Major

is used

Sixth

and

MINOR/MAJOR

melodic sixth

minor and

Figure Minor/Major

SCALES

for

major

tonic

for all other

Seventh

scale

(mLM)

Minor

Seventh

is

used

Chord

sixth sixth

or major or major

Scales.

CHORD

seventh

Sixth

major

Chord

SEVENTH

minor/major

16.2:

CHORD

both

SCALES ascending

and

chords.

and Scales.

16-1

DOMINANT

The which all

SEVENTH

mixolydian

move

other

scale

from

minor seventh

dorian

seventh

16.3:

The

is used

for dominant

lydian

seventh

scale

Seventh

Chord

Scales.

Dominant

(LMm)

chords

is used

for

SCALES

scale

(mLm)

is used

chords

should

take

for

other

minor scales,

seventh

chords.

the dorian

scale

chords.

16.4:

seventh

chords.

CHORD

Figure

16-2

SCALES

or MLm)

to tonic.

seventh

SEVENTH

The

(MML

dominant

dominant

Figure MINOR

CHORD

Minor

Seventh

Chord

Scales.

Although will

some

fit all minor

MINOR

SEVENTH

The

locrian

scale

Figure AUGMENTED

The

tone

DIMINISHED

chords

CHORD

(NNL)

is used

for

16.5:

scale

Figure

The

FIVE)

Minor

SEVENTH

whole

(222222)

16.6:

scale

a whole

scale may

step

(flat five)

is used

for

(flat

Chord

augmented

Seventh

CHORD (21212121)

seventh

five)

chords.

Scales.

SCALES

Augmented

be thought

SCALES

minor

Seventh

CHORD

SEVENTH

diminished

diminished

(FLAT

Chord

seventh

chords.

Scales.

SCALES is used

of as

two

for

diminished

superimposed

seventh diminished

chords. seventh

apart.

Figure

16.7:

Diminished

Seventh

Chord

Scales.

16-3

A

THE

BLUES

The cannot

blues be

are

scale

is a scale

analyzed

subdominant third

SCALE

with

(4), and

( b 3), lowered frequently

used

tetrachords.

dominant

fifth

primarily

(5) plus

( b 5), and

lowered

PENTATONIC

and

The substitute

16-4

major

seventh

pentatonic for

scale

“blue

notes”

seventh

contains which

playing the

blues. tonic

It (1),

are the lowered

( b 7). Enharmonic

spellings

The Blues

Scale.

SCALES

pentatonic

dominant

The the

while

used.

Figure 16.8:

The

as a device

the

may

be used

with

major

sixth,

major

seventh,

chords.

minor blues

scale

scale

scale.

may

be used

with

minor

seventh

chords

or as a

Figure

Figure

16.9:

16.10:

Pentatonic

Common

Scales.

Chord

Scale

Usage. 16-5

CHAPTER SWING

17

RHYTHM

ANTICIPATION Anticipation early.

The

result

occurs

when

is melodic,

a note

normally

harmonic,

and

on the beat rhythmic

is attacked

syncopation

a half

beat

(usually

sometimes

Figure

17.1:

Anticipation.

17-1

An

off-beat

eighth

note

followed

by

a

rest

is

a

method

of

notating

anticipation.

Figure

DIVIDED The

BEAT divided

it is notated.

Tempo In extremely

is often

17-2

IN

beat

The

performed

dotted

tempi,

as:

Anticipation

SWING

TIME

in swing

determines slow

17.2:

time

is often

eighth/sixteenth

the

interpretation the

notation:

Created

by Rests.

interpreted or eighth

of the

differently note

divided

pattern

beat

from

the way

in notation:

in swing

time.

In

double

time,

the

same

notation

is often

performed

as:

In medium earlier

tempi,

and

notation

is often

In extremely sounds

The

portion

compound

performed

fast

earlier

notation

the second

requires

tempi,

and

of the beat

sounds

interpretation.

The

as:

the

requires

is often

performed

following

graph

second simple

portion

of the beat

interpretation.

The

as:

illustrates

how

the

second

portion

of the

divided

beat

moves.

Figure

the

Normally,

in rhythmic

beat,

is a breath

there

17.3:

Divided

passages accent

Beat

in Swing

containing

or push

on

Time.

repeated

regular

divisions

of

off-beats.

17-3

SHORT

PERCUSSIVE

Normally, to eighth)

in swing

is a short

determined

NOTE

by

A

quarter

(usually

with

portion

of the

time,

the

percussive

style

and

note

on

beat.

note.

note

The

or its tied

duration

equivalent

of a short

(eighth

percussive

tied

note

is

tempo.

the

a legato

quarter

beat

mark–).

A cap

is a short

percussive

It is performed

accent

is often

note

unless

the

duration

with

used

to indicate

marked

a short

of the

long first

percussive

note.

Figure A quarter note the

unless

note

marked

Short

Percussive

(quarter

note

equivalent)

long.

It is performed

with

Notes off

the

on the Beat. beat

the duration

is a short of the first

beat.

Figure

17-4

17.4:

17.5:

Short

percussive

Notes

off

the

Beat.

percussive portion

of

An short

anticipation

percussive

that note.

is an off-beat

It is performed

eighth with

note

the

followed

duration

by a rest is usually

of the first

portion

a

of the

beat.

Figure

LONG

An percussive

17.6:

PERCUSSIVE

anticipation note

Short

Percussive

duration second

beats

that

in swing

maybe

of the second portion

of the

as Anticipations.

NOTE

is not time.

a short

A long

performed

with

percussive

percussive An

or more

Notes

note note

anticipated

its full

portion

of the divided

divided

beat.

value beat.

is normally

is often,

long

percussive

or it may The

but

along

not

note

be shortened

anticipation

always,

occurs

of two by the on the

17-5

is performed:

is performed:

Figure

A note long

that

may

duration

of the

17-6

occurs

percussive

duration,

17.7:

note be

Long

beginning that

on the

begins

performed

second

Percussive

portion

with

on its

of the

Notes

beat

as Anticipations.

is often

a long

the

beat,

and

full

value

or it may

divided

beat.

is

of

percussive more

than

be shortened

note.

A

a beat’s by

the

Figure

17.8:

Long

Percussive

Notes

on the Beat.

17-7

A

quarter

percussive long

note.

percussive

Figure

17-8

note

(or

equivalent)

It is performed quarter

17.9:

note

Quarter

with occurs

Notes

that

is

marked

the duration on

the

second

as Long

long

is

usually

of the full beat. portion

Percussive

of the

Notes.

An

a

long

off the beat

divided

beat.

CHAPTER MELODY Pitches

used

to construct

18

CONSTRUCTION melodies

may

be chord

tones

or approach

tones.

CHORD TONES

Many Curcaracha

melodies

are

is composed

constructed of chord

primarily tones

in all

of chord but

the

tones. third

For and

example, seventh

La bars.

Figure 18.1: Chord Tones in La Cucaracha

18-1

Chord

tones

of a given

chord

with

any

rhythm

pattern

against

the

harmony

is also

that

played chord.

in any When

anticipated.

Figure

18-2

maybe

18.2:

Chord

Tone

Melodies.

order,

the

in any

melody

octave

and

is anticipated,

APPROACH

TONES

Approach are

tones

usually

approach

tones

Scale Scale approach

of

are

beat scale

Approach

that

approach

tones

are

tones

of that

Figure

18.3:

tones

chord ~

tones

and

tones

by step.

, sometimes chromatic

Approach . Two

J) approach

tones types

of

tones.

Tones

chord

approach

into

(usually

approach

of the

lead

duration

the

Notation scale

half

are tones

chord

non-chord

Scale

scale

chord

tones by

Approach

for

a given

within

a given

chord

scale

that

step.

Tones

chord

in La Cucaracha.

will

make

the identification

of

easier.

18-3

Figure

18-4

18.4:

Scale

Approach

and

Chord

Tone

Melodies.

Chromatic

Approach

Chromatic or scale

approach

approach

Figure A scale if

the

approach

chromatic

tones

tones

18.5:

Tones

by

are

half

Chromatic tone

approach

may

non-chord

tones

that

approach

chord

tones

steps.

Approach move

tone

goes

Tones

in La Cucaracha.

to a chromatic

approach

tone

by half

immediately

to a chord

tone

in the

step same

direction.

Figure

Notation chord,

will

18.6:

Scale

of the make

their

Approach

chromatic

Tone

approach

identification

easier.

to Chromatic

tones, The

with result

Approach

the will

chord

Tone.

scale

of a given

be a chromatic

scale.

18-5

Figure Scale

18-6

18.7:

Approach,

Chromatic and

Chord

Approach, Tone

Melodies.

Figure

18.7:

(continued).

18-7

Figure

18-8

18.7:

(continued).

CHAPTER EXTENDED A chord and

symbol

seventh.

root

often

When

in ascending

chord.

indicates

These The

ALTERED

pitches

additional

thirds.

of the

AND

19

pitches

pitches

other

than

are required,

are expressed

extensions

are the

CHORDS the

first,

the basic

as compound

ninth,

eleventh,

third,

fifth,

chord

is extended

intervals and

sixth,

from

thirteenth

the

above

a root.

Extended in the

chords

are

created

when

eleventh

or thirteenth

are present

chord.

Figure

Altered

the ninth,

chords

chromatically

are

created

19.1:

when

the

Extended

fifth,

Chord.

ninth,

eleventh,

or thirteenth

are

altered.

19-1

THE

NINTH

Natural

The the

Ninth

chord

chord

includes

when

the

the pitch

numeral

9 is part

Figure

Lowered

Ninth

The

includes

chord

seventh

19-2

indicator, type

chords.

19.2:

the pitch is

preferred

but

part (-9)

a major

ninth of the

Natural

a minor of

is also

the

chord

Ninth

ninth

chord

used.

(major

above

the root

of

symbol.

Chords.

(minor symbol.

This

second)

second) The

alteration

above

the root

symbol occurs

on

dominant

of

Figure

Raised

The usually

Flat

Nine

Chords.

Ninth

chord

includes

spelled but

the

pitch

enharmonically

is indicator,

19.3:

part

of

the

(+9) is also

as chord

used.

This

an

augmented

a minor symbol.

ninth

third) The

alteration

(augmented

above

the

root

second,

of the

chord

symbol

occurs

on

dominant

seventh

type

chords.

Figure

THE

Sharp

Nine

Chords.

ELEVENTH

Natural

The root

19.4:

of

Eleventh

chord the

includes

chord

when

the the

pitch

a perfect

numeral

11

eleventh is

part

(perfect of

the

fourth) chord

above

symbol.

the This

19-3

extension ninth

usually

occurs

on

minor

Suspended The when

sus

third

as

major

Fourth

chord

a chord

sixth

(Sus

includes

4 is part and

19.5:

If the symbol

and

diminished

the

of the

tone.

pitch

chord

This

major

sus

Natural

a perfect symbol.

extension

six/nine,

is present

Eleven

Chords.

fourth The

above

perfect

occurs

on

and

major

seventh

19.6:

sus

in a chord

the

fourth

of the

chord

the

major

replaces

dominant and

root

seventh ninth

and

ninth,

chords.

4 Chords. symbol,

it is usually

interpreted

as

4.

Raised The

19-4

ninth

4)

Figure

above

minor

chords.

Figure

Sus

ninth,

the

Eleventh chord root

includes of the chord

the

pitch

when

an augmented is part

eleventh of the chord

(augmented symbol.

The

fourth) symbol

a

is the occurs

preferred

on dominant

chords.

The

seventh

type

altered chord.

indicator,

but

ninth,

augmented

ninth

and

Both

the

(+11)

ninth,

raised

altered

is also

major

eleventh ninth

used.

This

alteration

six/nine,

may

be

and

used

and on

usually

major the

are indicated

ninth

dominant

in the chord

symbol.

Figure THE

19.7:

Sharp

Eleven

Chords.

THIRTEENTH Natural The

of the usually

chord

chord

Thirteenth. includes when

occurs

on

-should included in the

be on the chord

the

the pitch

a major

numeral

13

dominant indicated

dominant

thirteenth

is part

of the

(major chord

sixth)

symbol.

above This

the root extension

ninth in

the

chord

symbol.

The

lowered

ninth

may

be

thirteenth

symbol.

Figure

19.8:

Natural

Thirteen

Chords.

19-5

Lowered The

Thirteenth

chord

includes

the pitch

is

a minor

part

preferred

indicator,

dominant

seventh

but type

(-13)

of the

is

chords

also

with

and on

dominant

(minor

symbol. This

altered

The

and

eleventh

type

chords

Flat

Thirteenth

above

the root

symbol

alteration

ninth

seventh

sixth)

usually

raised

eleventh.

chords.

should

occurs

The

on

It also altered

be indicated

SPECIFIED A bass

BASS note

to notate

Chords.

NOTE

which this

19.9:

is not

the root

is to indicate

the

of the chord chord

is often

structure

over

required

in music.

the

note.

bass

9,

in the

symbol.

Figure

19-6

chord used.

diminished

chord

way

thirteenth

One

Figure

19.10:

Specified

Bass

Note.

19-7

APPENDIX

A

MANUSCRIPT The fine,

importance

of producing

well-prepared

performer.

score

No matter

bound

to make

read.

Composers

manuscript

and

should

with

a reasonable

manuscript

can

technically

correct

confuse

and

for

rate

personal

attention score

attractive

students,

it mandatory,

the

or part

is

easier

to

and

who

A

from

expect

their

an act of professional

possible. the

greatest

the

and

Like

ordinary

of

thought

straight

clarity

speed.

are recommended.

other

more

characteristics

lines,

be overestimated.

more

try to be, a fine or

of copying

conveying

vertical

slurs,

consider

manuscripts

strive

pencils

straight

accidentals,

effect.

and

the student,

(freehand)

Clef

show

may

by being

professionals

should

best

cannot

receives

a reader simply

arrangers,

writer

Every

CLEF

objective

the

manuscript

immediately

impression

to supply

compatible

For

how

a better

good

or part

to be performed

courtesy,

TECHNIQUES

of the

the

horizontal

musical

symbols.

purpose

and

penmanship,

writer

musical

Practice

attractiveness while

content.

manuscript lines,

being

by drawing

circles,

ovals,

clefs,

SIGNS Signs

have

a definite

Strive

for

consistent

the

reader.

Clef

design

signs

Figure

should

A.1:

and

are not inserted avoid

appear

Clef

merely

over-embellished at the

beginning

for decorative designs of every

that line.

Signs.

A-1

KEY

SIGNATURES Key

Signatures

written

in an

are

unchanging

Sharps:

F

Flats: B

following the

signatures

A

signatures

D

C

F

are

G written

Signatures the first are

key note

are

sign.

Sharps

at the

beginning

Key

signatures.

A2:

placed

signature. of

written

within

A bar

the

first

when

the

Figure

A-2

clef

and

flats

are

always

of every

line.

SIGNATURES

Time and

the

order.

Figure TIME

after

CGDAEB E

Key

placed

line

the

is not

limits

placed

measure.

In

meter

changes.

A.3:

Time

of

the

between

addition

Signatures.

to

outer the time

the

staff

lines

signature

beginning,

time

LEGER

LINES

The

distance

printed

staff

between

lines.

leger

A series

lines

must

of leger-lined

be the same

notes

as the distance

inaccurately

placed

between

is difficult

to

read.

Figure

A.4:

Leger

Lines.

NOTEHEADS Noteheads within

the

Noteheads precise notes

are

space. should

location,

nor

in any

slightly

size

never

to be played.

allowed

oval,

The

of the

be so large

should

Strive

slanted,

they

that

that

should

Figure

clearly

centered

is determined they

be so small

for noteheads

notehead

and

notehead

confuse that

of uniform

on

by the size the reader

they

look

size.

like

the

line

regarding cues

or

of the staff.

rather

No “daylight”

their than

should

be

be solid.

A.5:

Noteheads.

STEMS

Stems

are always

octave

in length,

above

the center

vertical,

and normally

never

slanting

extend

line, stems go down

left or right.

Stems

at least to the center

are approximately

line of the staff.

and to the left of the notehead.

For notes

one

For notes below

the

A-3

center

line,

stems group group

may go up or down depending on musical to be beamed, stem direction is determined and distance from the center line.

stems

go up and to the right of the notehead.

Figure

A.6:

For notes

on the center

line,

context. When stemming notes in a by the position of the majority . . in the

Stems.

FLAGS

Flags

always

embellished Flags

are

connected

of the

flag

curving

slightly

go to the right

designs

which

easily

to the stem.

Flags

inward

to accommodate

of the stem

can

toward

Figure

A-4

begin

the

additional

regardless

be confused

at the end

notehead.

flags.

A.7:

with

Flags.

The

of stem rests

direction. or other

of the stem stem

may

with

Avoid symbols. the end

be lengthened

BEAMS

Beams the

link

“proper”

least

that

beaming

of

confusing

the width figure

notes

of the

normally

use flags.

a specific

to the

reader

space

between

note

are best. staff

Although

group,

Beams

beams

should

lines.

Some

A.8:

Beams.

many that

factors look

be approximately

general

guidelines

determine

good

and

are

one-half are shown

in

A.8.

Figure

A-5

DOTS Dots as the

are

placed

note.

above

and

single

dot.

to the

If the

note

right

is on

to the right.

of the notehead

a line,

Double

dots

the

dot

affected

is placed

are placed

Figure

A.9:

and in the

in the same

in

the same

space

relative

space

immediately position

as the

Dots

SPACING Spacing rests

must

of notes

accomplished (quadruple into

two

measure, positioned performed

is generally

be placed

in each

by visually meter parts). not at

into This

from least

on beat

in proportion

measure

dividing four

bar-line one 1 are

each

parts,

division

measure

into

triple

meter

into

from

beat

bar-line.

notehead written

The

distance on beat

Figure

A.10:

values. they

not

beat the

Notes

belong.

imaginary

parts,

1 to beat

first

and

equal

three

from

one,

time

to which

is made to

On individual parts, measure written within it. Thus, a measure

to their

on the beat

in

and

bar-line.

in the center

is

segments duple

1 of the each

and

This

meter

following

measure Whole

is

notes

of a measure.

Spacing.

length is determined by the amount of music to be containing just a whole note should not be as long as

another measure containing running sixteenth notes. A good average line will contain four measures. Avoid crowding. The wise copyist plots the length of each measure on a line, using as a basis the measure with the most notes. A certain amount of give-andtake has to be allowed, and allow

A-6

that all measures too

much

room

so that the last measure are more-or-less than not to allow

on each line ends at the end of the line,

proportionate enough.

in length.

It is always

better

to

TIES

Ties

are usually

placed

question

as to position,

notehead

to notehead.

on the notehead

the

side

tie is inserted

Figure

of the notes

above

A.11:

affected.

the notehead.

Ties

If there extend

is a from

Ties.

SLURS

Slurs slurred slurs

are are

are

placed

on the

stemmed

placed

in

above,

acceptable

to stem

slurs

a specific

from

beginning

and

notehead

the

side

when

same

direction.

regardless

of the

a note

incorrectly

note

to

all notes

division

to justify

a specific

within

If stemming of

stem

slurring

note

so

that

the

group

is in both direction.

below each

It is not

the

slur

to be

directions, staff.

has

Draw

a definite

ending.

Figure

A.12:

Slurs.

RESTS Rests measure fourth

single

specific

proportionate line

Rests indicate

have

to

of a staff,

are one

symbol

not

tied.

whole which

time and

their

values value.

half

rests

A whole

rest

measure

of rest

is placed

and

must

Normally,

sit

on

the

regardless middle

given

whole third

is positioned

in the

be

rests

or middle

in the

of time

space

middle

signature.

within hang

from

each the

line.

of a measure This

to

is the only

of a measure.

A-7

Normally, meter,

rests

multiple are

not

rests

within

combined

from

Figure

When number

it is necessary of

combined

whole must

to indicate

measures be of the

are same

Figure

a measure the

A.13:

A.14:

to the

together.

third

In quadruple

beat

of a measure.

Rests.

more

combined metric

are added

second

than

one

as

figure

in

whole

measure

A.14.

All

of rest, the

the

measures

value.

Combined

Measure

Rests.

NUMERALS

Numerals quadruplets) location

that are

depends

indicate

enclosed upon

artificial

in brackets space

together

need

not be grouped

slurred.

Curved

lines

are

A-8

indicate

articulation

on either

limitations

beamed

may

divisions

sometimes as well

substituted as artificial

side

and

together

(e.

g.

of the

notes

readability.

again

with for

division.

duplets, affected.

Groups a bracket,

brackets.

triplets,

The

Their

normally except curved

when line

Figure REPEAT

measures

measure

1. If the

measure

must

should

measure

be written

If the

repetition

be numbered,

is to be repeated at the

Figure of a two

Single

measure

with

the

on the

beginning

A.16:

subsequent

of the

new

Measure

repeat

notated

measure line,

the

being notated

line.

Repeats.

occurs

more

than

once,

the repeats

be numbered.

Figure

Signs line

Numerals.

SIGNS

Repeated

should

A.15:

with

indicating dots

placed

repetition

A.17:

Two

Measure

of a complete

in the second

and

third

Repeats.

section spaces

are made of the staff.

with

a double

Normally,

bar when

A-9

the repeat is not

is to be made

needed.

more

than

number

If the

twice),

of times

from

the beginning

repeated

the number

of Da Capo

the end of the measure Coda they

( $ take

) are

is to be repeated

of times

the section

it is to be repeated,

Figure Abbreviations

section

in which

placed

above

of a composition,

must

A.18: (D.C.)

than

is to be played,

once

rather

sign

(played than

the

Repeats.

Dal

they take effect. the staff

more

repeat

be indicated.

Section and

the first

Segno The

are placed signs

below

the staff

for Dal Segno

at the beginning

( #

of the measure

at

) and

in which

effect.

Figure

A.19:

Accidentals

appear

before

they

The

Da

Capo,

Dal

Segno

and

Coda.

ACCIDENTALS

which line

alter,

or be entirely

to remind

open

within

the performer

the

portion

the space.

note

on

the

same

of an accidental To avoid

of an accidental’s

confusion cancellation

parenthetically.

Figure

A-10

A.20:

Accidentals.

line

should

or space either

as the

note

be bisected

it is sometimes in the following

advisable measure

by

DIRECTIONS

FOR

Directions system,

for

depending

Tempo above

the

staff

such

are

of the

the

intent

on

such

score

directions

become

and

Marks

Ornament has

performance on

Indications

Metronome follow

PERFORMANCE

Signs customary

Allegro,

to the

such

above,

below,

or

within

a staff

direction: Bouncy

4, Grave,

etc.,

are

located

parts.

used above

as

placed

supplement

tempo

indications

immediately

staff.

as those

for

a mordent

to write

out

ornament

inserted

on

the

or turn

figures

go above

the

to avoid

confusion

of a note

directly

staff.

It

as to

interpretation.

Articulations under

the

sforzato

note the

Fermatas

forte

piano

the the

directions,

staves are

Dynamic between

exact

affect.

@#+ and

or between

below

are they

Marks

first

note

whether

terminal

of

VP) are placed

above

are the

written

volume

the

below music.

passage one

Figure

below

staff

out verbally

level,

side

directions

such

the staff

as

over

sforzando

or (s~),

on instrumental

parts

music.

placed

keyboard of

notehead

accent

of keyboard

placed

staves

Heavy

level

A.21:

regardless

the The

of stem

staff

on

signs

should

affected.

If

Dynamic

instrumental be

crescendo

or by the sign, change

direction.

-

parts

carefully and

>,

and

placed

diminuendo

do not show

an

is understood.

Marks.

A-11

REHEARSAL

SIGNS

Rehearsal These

signs

signs

bar-line

are

musical

phrases

Often,

rehearsal

attention

of

the

to place at

at points

every

staff

measure

arbitrarily

signs

be placed

above

every

it is better

than

may

or circles

numbering

rather

to place special

or numbers)

in boxes

The

necessary.

advisable require

written

affected.

sometimes

(letters

for

eight

and

directly

rehearsal

rehearsal

signs

eight-measure

within

measures. over

the

purposes

is

according

to

intervals.

the arrangement

It

that

is

might

in rehearsal.

PROOFREADING Proofreading must will

proofread

mind

is

be carefully reads Proofread

an

absolute

checked

before

a part what

and

should

for

necessity.

overlook be there

omitted

All

it is submitted certain rather

than

Beams,

signatures

Chord

signs

Dynamics

for

Beats

within

because

is actually

any

the

seen

flags,

stems

errors omitted measures

omitted

for

performance

musical

by the

or dots

symbols

kind

a copyist

measures

Directions

signs

Measures

of

Often

Articulations

signatures

Transposition

work

or incorrect

Key

Repeat

simply

what

Rest

Rehearsal

A-12

errors

Accidentals

Time

Also check

manuscript for performance.

eye.

APPENDIX DIRECTIONS

MUSICAL

PERFORMANCE

ABBREVIATIONS

Divided into

FOR

B

Notes.

equal

lesser

A stroke values

on

through the

the stem

pitch

of a note

or pitches

given.

Divided

Notes.

is used

to divide

that

note

written

performed

written

performed

Figure

Repeated

Beats.

B.1:

Cross-strokes

indicate

repeated

beats

within

a measure.

written

performed

Figure

B.2:

Repeated

Beats.

B-1

Repeated repeated

Measures.

Single-and

Repeated

head)

Capo

and

play

B.3:

Repeated

indicate

Sections al Fine

(D.C.

to the end

al Fine) (fine),

Figure Segno

(D. S.) means

Figure

B-2

signs

Measures.

means

usually

to repeat

indicated

from

B.4:

Da

to repeat

B.5:

Dal

Capo

- Performed.

from

the

Segno

the beginning

by a double

line.

Dal

repeat

measures.

Figure

Da

double-measure

sign.

- Performed.

bar with

(from

the

one heavy

The

coda

to indicate be made

sign

a skip to the

( +$ ) is used

in conjunction

to a different coda

(tail),

ending.

and

Figure Repeat otherwise

signs

are

indicated,

the

used

Octave an

octave

Signs. higher,

Octave an

another

B.6:

octave

B.7: signs

lower,

at the

D.C.

where

and

D.S.,

the skip

is to

coda.

- Performed. repeated

sections

Repeat

the directions,

is put at the point

is put

Coda

to indicate

repeated

Figure

One

with

are

Signs

are used or with

phrases played

strains.

(repeated

Unless once).

- Performed.

to indicate the

twice

and

upper

that

a part

or lower

is to be played octave.

B-3

Figure

MELODIC

Acciaccatura

or Grace

through

must

be subtracted

the beat, As

Handel, from

the

Octave

it. Its time from

taking

its time

used

in music

etc.),

this

succeeding

grace note

Note.

value one

This

is not

- Performed.

is an eighth

counted

of the adjacent

value

from

of the note and

Figure

B-4

Designations

ORNAMENTS

slash

B.9a).

B.8:

the

Baroque

usually is very

B.9:

note

in small

in the rhythm notes.

preceding and

It is usually note

Classic

occurs

on

short

(Figure

Acciaccatura

the

and

B.9b).

- Performed.

with

performed

is very

periods beat,

type

of the measure,

taking

before

short

(Haydn,

(Figure Mozart,

its time

a

but

value

Appoggiatura. rhythm from

of the the

A note measure.

succeeding

If the two,

in small It always

note

one-half

If the

appoggiatura

three,

it receives

below beat, them

note)

depending before

on the the

notes

usually

performed

on

the

whose

value

beat

is not

and

takes

counted

in the

its time

value

time

a note

time

Two

may

character

time

is divisible

by

B.10a).

value

is divisible

(Figure

B.10b).

by

- Performed. notes

be performed

of the

value

(Figure

value

Appoggiatura

(Disjunct). which

value

whose

of the

B.10:

time

music.

(usually either

The

one

above

on the beat

usual

practice

and

one

or before

the

is to perform

beat.

Figure Multiple

a note

precedes

Note

the principal

on

of the

two-thirds

Figure Grace

time

occurs

precedes

it receives

whose

as follows:

appoggiatura

Double

type

Grace

B.11: Note

performed the

beat,

Figure

Double (Conjunct).

before depending

B.12:

Grace

the on

Multiple

Note

A scalewise beat; the

series

although,

character

Grace

- Performed.

Note

of the

of two they

or more are

small

sometimes

music.

- Performed.

B-5

Mordent. neighbor,

A single

or with

it is written

or double

its upper

above

alternation

neighbor

or below

the

of the principal

when

inverted.

When

note

with

its lower

an accidental

applies,

sign.

SINGLE MORDENT

DOUBLE MORDENT

INVERTED

MORDENT

Figure

Turn lower written

or Gruppetto.

neighbor,

If the

sign

neighbor

principal

on the

sign

note;

the

the

principal

its time

between part

with

accidentals

note,

value

two

notes

of the first

between

of the turn second

When

note

its upper

apply,

they

the

from

turn the

begins

first

on the

part

of the

B.14a).

last

is placed

notes.

principal

sign.

takes

(Figure

is placed

notes

over

- performed.

of the

four

the

and

If the sign

three

of

is placed note

Mordent

alternation

below

performed

(Figure

two

notes

are performed

same

pitch

of different (principal) of the

on the last

becomes

the

pitch, note

same part

fourth

the turn

(Figure pitch,

is

B.14b). the

first

of the principal note

of the

turn

B.14c).

If the sign

B-6

An

and/or

upper

If the

B.13:

consisting

above

(Schneller)

is placed

after

it were

between

two

notes

another

way

of writing

a dotted of the a second

note, same

it is performed pitch

similar

since

note

the same the

(Figure

as if

dot is simply B.14d).

and are

If the turn (Figure the

is inverted,

B.14e).

same

the upper

With

as the

this

regular

Figure

Trill. A which the

rapid,

lasts

waved

even

line,

if used.

exception,

lower the

neighbors inverted

change turn

places

is performed

turn.

B.14:

Gruppetto/Turn

alternation

for the entire

and

of the

duration When

- Performed.

principal

note

of the principal

an accidental

note

applies,

with

its upper

or continues

neighbor

to the end

it is written

above

of

the trill

sign.

Often

a trill

leading notes

are

should trill.

by

next

not

present,

a single

be played,

in most

trills

must

long

one

to the

still All

is followed

close

tone

with

or more

short

notes

as a completion alternation cases, the

or grace

to the

with

trill.

the lower

notes If these

neighbor

as an after-turn

to complete

principal

therefore,

tone;

the trills

B-7

beginning tone

by

with

the

on the principal means

tone

of a triplet

after-turn

prior

(Figure

incomplete

with

the

followed trills

trill

has

upper

neighbor.

by

unaccented

an

(Figure.

trilled

waved the

trill;

may

in conjunction

Trill - Performed.

after-turn.

The

It is simply

incomplete

note,

continues

if not,

the

B.15b:

be tied over trill

Figure

B-8

to the principal

trill

or in rapid

an

may

alternation

be used

passages

when

or chains

of

15b).

note

line

a return

to, or a quintuplet

B.15a:

no

Figure The

require

B.15a).

Figure An

will

Trill - Performed.

to a second

the second

stops

at the

B.15c:

note

note, second

of the same

it is performed note

Trill - Performed.

(Figure

pitch. as part B.15c).

If a of

The the

number

of notes

length

of the

in a trill varies

note

being

Figure

Sometimes,

in

performance notation

An

for

such

inverted

principal

(Figure

used

in music

strictly

classic

written

prior

written

a

trill

(Figure

with

This

their

should

as a grace

Figure

time.

note

In be

neighbor

is no

Its special

more

It may

recent

used

Inverted

instead

triplet

Mozart,

preceding

B.15f:

accelerates.

there

before

interpretation

(1770).

of Haydn, only

and and

without

the trill

to Beethoven

readings

B.15d).

slowly

upper

itself

was

and

Trill - Performed.

the

completes

of the music

B.15e).

begins

prior to

begins

B.15e:

B.15f).

(Figure

interpretation

Figure

and

the tempo

Trill - Performed.

trill of

a trill

trill tone

turn

inverted

solos,

trilled

B.15d:

is a matter

with

when the

trill

most be used

Handel,

upper

the

after-

generally in certain

etc., and

music, the

of the

music

however, neighbor

the is

note.

Trill - Performed.

B-9

ARTICULATIONS

When the

AND

the composer

performance

controversy large

part

to the

to contrasting

the

case,

the

markings

simply

In

music

rather

Several suggestions combination Legato tion

for

between

and of

wind

only

a very

emphasis

of special

signs.

of

many

by some

be applied There

of these

to

is much

signs,

due

composers/arrangers

in

and

of the

music

and

any

or suggestions

in

and

for

general

must

be regarded

symbols

or

as the

interpretation

performance.

and

practices

have

markings

and

for

the

been

military

adopted

band

and

in

show

a

acceptance.

common

articulation

as to their with

performance.

accents

- Slurred. notes.

slight

Maximum the

break

with

first

Figure

note

- Leggiero. between

notes

B.16b:

break

B.16c:

follow

along

symbols

with

are used

in

indication.

To be performed

without

interrup-

is attacked.

- Performed.

Held

full

to allow

Articulation Duration

between

accents

articulation

precise

Articulation

- Staccato).

a slight

a more duration.

B.16a:

Legato

(Mezzo

Sometimes

to give

Only

- Non

Portato

B-10

character

instruments

Figure

performed

of them

performance,

standards

Figure

Tenuto

a group

specific

performers.

as reminders

certain

universal

style

that

interpretation use

among

determinants

intends

he uses

indiscriminate

essential

particular,

music,

particular

views

In any

or arranger

of his over

ACCENTS

the

Articulation

value. for

To be performed

the

with

attack.

- Performed. slightly

more

notes.

- Performed.

than

half.

To

be

Staccato. with

the

Duration

character

about

and

tempo

Figure Staccatissimo.

half.

B.16d:

Usually

Performance

of the

varies

from

short

to very

short

music.

Articulation

performed

- Performed.

as

short

as

possible,

with

a slight

emphasis.

Figure

Horizontal decrescendo. on

Accent. Performed

B.16e

Articulation

Attacked louder

with

than

- Performed.

force,

usually

surrounding

followed

dynamic

level.

by Has

a slight no effect

duration.

Figure Vertical dynamic performed

Accent.

level. with

Performed a slight

B.17a:

Attacked louder lessening

Figure

Accents

- Performed.

with

force,

than

surrounding

usually

followed dynamic

by level.

a retention

of

Occasionally

of duration.

B.17b:

Accents

- Performed.

B-11

JAZZ

EXPRESSIVE

Scoop. taken used.

DEVICES

A short

from

the

glissando

previous

Saxophone:

Lip

Trumpet:

Lip

Trombone:

Rip any

Lip

or Flare.

value.

Its

Half

does

not

Plop. value. or

Its

a definite

A glissando time

is normally

Trumpet:

Trombone:

B-12

Half

Slide

down

valve

is

note.

note

usually from

or half

starts the

valve.

a fourth

previous

series

lip

a note

The

of

symbol

slur.

beginning

it is notated

below

or rest,

scale.

or overtone

at the

or fifth

note

or diatonic

movement

usually

is taken

Lip

value

is normally

or

series

lip

of a rip

at a particular

slur.

or flare place

from

starts the

a fourth

previous

or fifth

note

above

or rest.

used.

Saxophone:

Its time

to indicate

on the staff,

it

pitch.

which

value

grace

grace

or overtone

Although

value.

symbol

chromatic

is used

begins.

indicate

that

slide

or

The

of any

movement.

is taken

valve

Longer

Sometimes the effect

slide

up with

to a note

lower

lower

or short

Lip

Trombone:

where

or finger

finger

value

below

or rest.

A glissando

time

Saxophone: Trumpet:

note

up

up,

from

with

chromatic

or overtone

movement

series

or overtone

or diatonic. lip

slur.

series

lip

slur.

The

a note symbol

of any

Sometimes effect

is used

begins.

No

A glissando the first

definite

is often

of the two

Saxophone:

Drop

Slide

or Fall.

of any

value.

Saxophone:

or diatonic

A descending

half

Slide

No

definite

pitch is

Doit,

Doik,

Saxophone: Trumpet:

Trombone:

two

where

the

notes.

Its time

value

is taken

is normally

from used.

scale. scale

or half

glissando

value.

or overtone

movement

value.

Chromatic Half

Slide

begins

on the

second

half

of a

used.

scale. series

or overtone

at the end

slur.

series

of a drop

to indicate

where

the effect

intended.

or Doink. of any

that

is normally

or diatonic

valve

Trombone:

of a note

to indicate

symbol

symbol

is used ends.

of a plop

or scale.

The

Half

The

or diatonic

Chromatic

Trumpet:

between

notes.

Chromatic

Trombone:

at the beginning is intended.

required

connected

Chromatic

Trumpet:

note

pitch

valve

An

ascending

The

symbol

or diatonic or overtone

movement

glissando that begins on the second is normally used.

scale. series

or overtone

lip

slur.

series

lip

slur.

B-13

Flip occurs

or

Turn.

between

A

a note

is

usually Saxophone: note,

available series

Bend.

An

pitch

tightening

using

An Its

Shake. primarily shake

Saxophone trill.

B-14

A

a brass is

lip

by

trill

normally

or gruppetto.

follows

it. The

The

effect

symbol

is notated.

note,

slur to the note

written

the

principal

attacking

above

the principle

note.

principal note,

the

the embouchure, The

by

and

value

turn

note, and

lip

slur slur

to

the

the

first

overtone

note.

produced

effect.

symbol

effect

embouchure.

instrumentalists The

the

written

by relaxing

is normally

that

Perform

produced

time

note

second

above

the

classical

the

to the

embouchure

embouchure.

the

the principal

second

effect

a relaxed

symbol

the

when

Trombone:

effect

the pitch

Smear.

used

overtone to the

lowering by

a lower

glissando

and

of

and

Perform

and

Trumpet

lip

variation

and

in the

bringing

symbol

attacking

bringing

is not

note

from

manner,

the note

backup

is normally

the

the note

taken

normal

note

below

up to pitch

the

previous

to

used.

normal

pitch

by

by tightening note

the

or rest.

The

above.

It is

used.

from The

the shake

note

marked

is normally

determined simulate is normally

by the

up

to an

the

section

shake

with

used.

overtone

measured. The leader a keyed

width or trill

and

speed

of

bandleader. instead

of the

Subtone. relaxing

A saxophone

the

Muting.

effect

embouchure.

Brasswind

that

consists

It is usually

sound

of a soft,

marked

is altered

by

airy

the

following

Hat

Cup

In stand

Harmon

Bucket

Plunger

H. O. B. (hand

required

False fingering

using

harmon,

to alternate

between

Fingerings. or slide

plunger,

position

hat,

closed

Used

to

or H. O. B., the

(+) and

change

is marked

above

open

the

produced

mute

Straight

When

sound

by

subtone.

the

note

over

bell)

instrumentalist

(0) sound

timbre

effects:

of

produced

a note.

or the

maybe by the hand.

The

alternate

symbol

B-15

Swallowed performed by

are

dynamic

the

and

usually

Straight swing marked

B-16

Used

at a lower

fingering

notes

Notes.

eighth straight

note used

Eighths. notes.

level

change than

decreasing

the air

the

effect.

In swing

time,

the

are

indicated

timbre

surrounding

the

to indicate

They

eighths.

to

stream.

straight with

the

of

a

notes,

note.

They

Parentheses

eighth

effect

traditional

They

are

are produced around

the

often

replaces

tenuto

sign

or

TEMPO

INDICATIONS

Slower

Tempi

Largo

Slow,

Broad

Lento

Slow,

Dragging

Adagio

Slow

Medium

Tempi

Andante

Going,

Moderato

Moderate

Faster

Walking

Tempi

Allegro

Cheerful,

Vivace

Lively

Presto

Fast

Momentary Tenuto

Changes

in Tempo

held

(Ten.)

Rubato

-

sustained

robbed,

stolen

- deliberate

tempo,

a slackening

and

for

sake

the

stay,

General

Pause

(G.P.)

Quick

unsteadiness

quickening

of

of tempo

of expression

stop

- unmeasured

a rest

for

the

Grand

Pause

entire

band,

pause

or hold

sometimes

called

B-17

Lunga Cut

Pausa

Off

long

(/()

an

Increasing

pause

abrupt,

- a long

short

pause

pause

Tempo

Accelerando

accelerating

Incalzando

hastening,

Stringendo

suddenly

Piu

more

Mosso

Decreasing

Calando

slowing

(rall.) (rit.)

broader, and

slower

gradually

slower

less

Mosso

slower

decreasing

gradually

suddenly

Ritenuto

Meno

accelerating

Tempo becoming

Ritardando

forward

moved

Allargando

Rallentando

pressing

in loudness

slower

moved

Morendo

slowing

and

decreasing

in loudness

Smorzando

slowing

and

decreasing

in loudness

Returning

A

Tempo

B-18

Tempi in (original)

Tempo

Primo

to Previous

Tempo I

first

tempo

first

tempo

tempo

No

L’istesso Lo

in

Change

Tempo

Tempo

Stesso

Stesso

Tempo

Tempo

Metronome minute

remains note

unit

in the

changes from

4/4

same

tempo

may

be indicated

90 quarter

notes

indicates

60 dotted

quarter

Markings.

half

notes

When

indication

the beat

is made

unit

in terms

of beat

units

per

example:

indicates

the

second

For

120

Tempo

represents

per

minute

per

notes

the

meter

with

special

in the first

minute

meter

per

minute

changes signs

and

but

the

(Figure

the second

tempo

B.18).

note,

The

the beat

meter.

examples (2/4

tempo

indicates

Figure

The

same

markings).

constant,

first

tempo

Markings. Tempo

(metronome

Special

same

B.18:

Special

B.18a

might

at Figure

to 6/8,

6/8

to 3/4,

etc.).

Tempo

Markings.

be encountered

For example,

assume

when that

the

beat

a change

value is made

to 6/8:

if, in the

first

meter,

then,

in the

second

meter,

B-19

The

examples

the same

(4/4

from

to 3/4:

4/4

at Figure

to 3/4,

if, in the

6/8

first

to 9/8,

Those dynamic

would

etc.).

in the

be used

For example,

=

meter,

then,

DYNAMIC

B.18b

second

90,

when

the

assume

beat

that

value

a change

is made

is indicated,

and

meter,

INDICATIONS

terms indications.

and

signs The

which most

deal

common

Symbol

Term

with

intensity

of these

or loudness

follows.

Translation

soft Pianissimo

very

soft

soft

Piano

Mezzo

Piano

medium

soft

Mezzo

Forte

medium

strong

Loud

B-20

remains

Forte

strong

Fortissimo

very

(loud)

(loud)

strong

(loud)

are

called

Increasing

the

Dynamic

Crescendo Forzando, Sforzando,

Translation

Abbreviation

Term

Forzato Sforzato

cresc.

gradually

fz

forced,

strongly

accented

sfz

forced,

strongly

accented

sudden

stress

rfz,

Rinforzando

Decreasing

the

Level

rinf.

Dynamic

increasing

loudness

or emphasis

Level decreasing

Calando

cal.

Decrescendo

decresc.,

Diminuendo

loudness,

slowing

gradually

decreasing

loudness

dim.

gradually

decreasing

loudness

Morendo

mor.

decreasing

loudness,

slowing

Smorzando

smorz.

decreasing

loudness,

slowing

Dynamics The increase

dec.

Signs may

also

be changed

dynamic

level

loudness

for the length

of the

loudness

for the length

of the

by

the

use

of signs

as follows:

sign. decrease sign.

B-21

ITALIAN

TERMS,

PART

1 Moto.

a. To,

at, for,

Alla.

According

Assai.

Very.

by,

in,

etc.

to.

Motion.

Non.

Not.

Piu.

More.

Poco.

Little.

Ben.

Well.

Primo.

Con.

With.

Quasi.

Like,

Secco.

Dry.

Da,

di.

Of,

Doppio.

from.

Double.

Sempre.

e. And.

Senza.

Il.

Sotto.

The.

Ma.

But.

Meno.

First.

Always. Without. Under.

Stesso.

Less.

as.

Same.

Tanto.

As

much,

Mezzo.

Half.

Troppo.

Too

Molto.

Much.

un,

una.

Mosso.

Moved.

Vote.

Voice.

Solo.

Alone,

ITALIAN

TERMS,

Attacca Div

Subito.

a 2(3).

Colla Segue.

the

(three)

subito

part.

Soli.

(s).

(V. S.) Turn

an,

one.

(page)

performed

by

a single

performer.

player

(i). Mute

immediately.

B-22

With

suddenly.

in two

A,

2

Follows.

Sordino Volta

Attack

Divide

Parte.

PART

uno,

so much.

(much)

Plural plays

Tutti. All Ensemble

of

solo,

more

solo

parts.

the together. (Ens).

Full

band.

than

one

ITALIAN

TERMS,

Agitato.

Agitated.

Animato.

Spirited.

Bravura.

Bravery.

Brilliante. Brio.

PART

Brillant.

Brilliance. Singing.

Cantando.

As

Dolce.

if sung.

Decisive. Sweet.

Dolcemente. Dolore.

Sweetly. Grief.

Doloroso.

Pained.

Dolente.

Grieving.

Energico.

Energetic.

Espressivo

(Expressivo).

Expressive. Forza.

Force.

Fuoco.

Fire.

Giusto.

Just,

Grave.

Heavy.

Lacrimoso.

strict,

precise.

Tearful.

Maestoso.

Majestic.

Marcato. Marcia.

Cantabile. Deciso.

3

Marked. March.

Marziale. Passionate,

Martial. Appassionato.

Impassioned. Pesante.

Heavy.

Piacere,

a piacere.

Pomposo. Ponderoso. Religioso. Scherzando. Sostenuto. Strepitoso. Vigoroso.

At

pleasure.

Pompous. Ponderous. Religious. Playful,

joking.

Sustained. Loud,

noisy.

Vigorously.

B-23

APPENDIX

C

ITALIAN

A

large

literature and

of the

reflects

Italian. able

the

In order

to translate An

word,

portion

Italian but

list shows

do not some

of

18th

the

and

music

19th

traditional

word

for

centuries.

practice

to understand them

into may

change

band Most

is

words

inherited

of this

of expressing

these

from

music

the

orchestral

is of European

directions

or phrases,

the

origin

for performance

in

performer

be

must

English. have

different

the basic

of the more

TERMS

common

endings

indication suffixes

which

or level and

change

the

of intensity.

their

normal

form

The or usual

of the

following English

equivalents.

-abile

.. . .. .. . .. .. .. . . . .. . .. . . . . . . .. .. . .. . .. . .. . . . .. . . . .. . . . .. .. . .. .. . . -able

-ando

. .. .. . .. .. . .. .. . . .. . . . . .. .. . .. . . . . .. . .. . . . .. .. . . . .. . .. .. . .. -ing,

-ful

-endo

. .. ... . . . .. . .. .. . .. . .. . .. . .. .. . . . . .. . .. . .. . . .. . . . . .. . . . .. .. -ing,

-ful

-ato

.. . .. . . .. . .. . . . .. .. . . .. . .. . .. .. . . . . .. .. .. . . .. . .. . . . .. .. . .. .. . . . . .. .. . .. .-ed

-Uto . .. .. . .. . . . .. .. . . . . . . . .. . . . .. . .. . . . .. . . . . .. .. . . . . .. .. .. . . . . .. . . . .. .. . .. . -ed ... . . .. .. . .. . .. . . . . . . .. . . . .. . .. . .. .. . . . . .. .. . . . .. . .. . . . .. .. . -y, -ly

-amente -mente

... . .. . . .. .. .. . .. .. . . . . .. . .. .. . . . . .. .. . . . . .. . .. . . .. . . . .. . .. .. . -y, -ly

-atamente

.. .. . .. .. . .. . . . .. .. . .. . . . . . . . .. . . . .. . .. .. . .. . . . .. .. . .. . . . -edly

-utamente

.. .. . . .. .. . . . .. .. . .. . .. . .. .. . . . . .. .. . . . . .. . . .. . .. . .. . . . .. -edly

-enza

. .... . .. . . .. .. .. . . .. . .. . .. . .. .. . . . . . . . .. .. . .. . .. .. . .. . . . .. .. . .. .. -ence

-evole

. .. .. . . .. . .. .. . .. .. .. .. . . . . . . . .. .. . . .. .. . .. . . . . . . .. .. . .. .. . -ing,

-ezza -mento

. . .. .. . .. .. . .. . ... . . . .. . . . .. . .. . .. . . . .. . . .. .. .. . .. .. . . . .. . -ity, .. .. . . .. .. .. . .. .. . .. . .. .. . .. . . . . .. . .. . . . .-ment,

-oso . .. . .. .. . .. .. . . . .. .. . . .. .. .. .. . . .. with

-tion, -ful,

-ful

-ness -ness -ate,

-y

C-1

Examples:

Some

suffixes

do

change

-issimo. the

the

level

Superlative

basic

-ino,

the

-etto. basic

of intensity

suffix.

of the

Increases

the

basic

indication:

intensity

of

the intensity

of

indication. Diminutive

suffixes.

Lessen

indication.

Examples:

piano very

soft, largo

etto

In

the

repertoire a. to, a-2.

section

have

at, for, two

on

by, the

accarezzevole.

been in,

acciacato.

crushed,

C-2

or extremely means

large,

means

less

slow.

which

follows,

selected

and

the their

etc.

caressing. accented.

performed

adagietto.

soft;

part.

accentato.

gether,

means

less

means

soft. broad,

slow;

words

translations

most

largh-

often

extremely

addolorato.

grieved,

the

band

slow. melancholy.

of dolore).

affannoso.

angered, anxious,

less. affetto.

in

given.

adagissimo.

(form

to-

therefore,

found

adirato. jammed

violently. slow.

therefore

affection.

irritated. distressed,

rest-

affettuoso. affettuosamente. afflizione.

afflicted,

affrettando.

agevole.

easy,

asprezza.

easily,

aggiustatamente.

assai.

lightly. strictly

agiatamente.

(in

time).

agitation,

agitatamente.

agitatedly,

hurriedly,

agitated,

agitazione. alla.

hurried,

less

allegrezza.

liveliness.

allegria.

cheerful,

very

allegrissimamente.

ben.

lively,

amabile.

sweetness,

amarevole.

bitter.

amarezza. amaro.

time

tenderness.

bitterness, bitter,

amorevole.

(encore).

tender.

amabilita.

ancora.

again,

andantino.

less

yet,

still

walking,

faster

angoscia. anima.

time.

boldness.

brilliant. with

brilliance,

spirit.

pressing,

hastening.

singable,

songlike.

cantando.

as if sung. capricious,

parte,

colla

indicates to yield

parte. to

to and

free. with

the

accompaniment not

overshadow

soloist.

comodo.

accommodating,

comfor-

table.

andante. andare

bravery,

a second

cantabile.

the than

play

calcando.

parts

(encore).

time.

brilliance.

part, loving.

sign.

a duet. to repeat,

brioso.

col.

grieved.

amorous,

in strict

sign.

natural

a second

capriccioso.

grief.

loving.

amoroso.

again,

brio.

flat

the

brillante.

another

sweet,

the

bravura.

slowing.

another.

volta.

beat,

well.

biscanto.

fast.

retarded.

altro.

the

beauty.

bissare.

retarding,

allentato. altra,

lively,

slowness.

allentando.

a. with

biquadro. bis.

fast.

allentamento.

bold.

beat.

bimmolle.

very

sec-

dance.

bellezza.

quick.

liveliness.

allegrissimo.

next

time.

to.

allegretto.

the

dancingly.

battatura,

agitation.

according

altra

audacious,

ballabile.

battuta.

excited.

begin

immediately.

ballo.

excitedly. agitato.

absolute. subito.

audace.

excitement.

articulation.

very.

assoluto. tion

agility.

manner.

harshness.

attacca

easily.

agitamento.

in a singing

articolazione.

light.

agevolmente.

ardent.

arioso.

hurried.

lively.

distressed.

ardente.

sorrowful.

spirited,

impassioned.

appenato.

sorrow.

hurrying.

affrettato.

animated,

appassionato.

affectionately.

affliction,

afflitto.

agilita.

animato.

affectionate.

diritto.

go

anguish. animation.

straight

on.

compiacevole. con.

pleasing.

with.

consolante. corrente.

consoling. running.

C-3

cupo. da.

dark, of,

dal.

obscure,

of the,

from

franchezza.

the.

decisive.

delicatezza.

delicacy.

delicato.

delirium,

desto.

brisk,

frenzy,

excitement.

sprightly.

devozione.

disaccentato.

easily.

distinto.

divided,

staff

are

to

two be

parts

played

on the same by

separate

instruments. divozione. dolce.

devotion.

sweet,

sweetly,

dolente.

due. e.

giusto.

just,

strict,

grave.

heavy,

with

solemn.

grace.

grazioso.

graceful.

il. the. indeciso.

undecided.

inquieto.

restless,

uneasy.

intrepidity,

boldness.

tearful. broadly, less

slowly.

broad.

largeness,

broadness.

extremely

broad.

light. increasing

slowness,

slowed. l’istesso.

energetic.

ma.

enthusiasm.

esecuzione. espirando.

expiring,

espressivo.

dying

away.

estinto.

hushed,

facilmente.

all

easily,

fantastico.

but with

fantastic,

fastoso.

proud,

stately.

forza.

force.

mancando.

facility.

marcia

dying funebre.

martellato. marziale.

mezzo.

away. funeral

hammered. martial.

medesimo.

meno. concluded.

seductive.

marked.

same.

melodioso.

end. finished,

silent.

whimsical.

fierce.

finito.

coaxing,

majestic.

marcato.

expressive.

same.

but.

maestoso.

execution.

same.

the

lusingando.

introduction.

entusiasmo.

the

lo stesso.

emphasis.

entrata.

preci-

precise.

somber,

lentando.

two.

enfasi.

C-4

strictly,

leggiero.

after.

energico.

fine.

merry.

joyous.

largissimo.

and.

feroce.

playful,

larghezza.

pathetic.

double.

dopo.

giocoso.

larghetto.

painful,

doppio.

firey.

largamente.

grief.

doloroso.

boldness.

gay.

lacrimoso.

softly.

grieving.

dolore.

gaio.

intrepidezza.

soft.

dolcemente.

fire.

grazia.

distinct.

divisi.

empha-

sion.

away. unaccented.

disinvolto.

fuoco.

giustamente.

of, from. fading

haste.

gioioso.

devotion.

diluendo.

forced,

freedom,

fretta.

fuocoso.

delicate.

delirio.

forzato.

sized.

from.

deciso.

di.

forzando,

reserved.

melodious.

less. half.

militarmente.

militarily.

march.

misterioso.

mysterious,

misurato.

rabbia.

measured,

mobile.

in strict

time.

movable.

modo.

mode,

mollemente.

softly,

molto.

very.

morendo.

replicate.

slower,

dying

murmuring.

moved. etc.).

ordinary,

partitura.

full

pastorale.

pastoral,

pauentoso.

fearful,

common.

score. rural.

heavy,

marked. smooth.

full. more.

very

pochissimo. poco.

little.

dry,

segue.

follows.

senza.

vigorously

impressive. precise,

prestamente. prestissimo.

as fast

volta.

ornament.

simple.

serene,

tranquil.

sforzando.

first

silence, suave,

forced,

empha-

al.

solo.

a rest.

soft.

as usual.

plural

of

solo,

plays

the

alone,

sonabile. as possible.

first.

pointed, like,

without

more solo

performed

than

one

parts. by

a

single

performer.

exact. rapidly.

prima

neat.

without.

performer

ponderous,

primo.

plain,

always.

solito,

pompous.

prima,

joking.

of tune.

plain,

semplice.

soli.

ponderoso.

puntato.

secco.

soave.

little.

little.

precise.

out

silenzio.

little.

very

pomposo.

in volume.

sized.

very

pochetto.

(tone).

rural. playful,

sforzato, placid.

resounding,

diminishing simple,

sereno.

pochettino.

supplementary

or full

rustic,

sempre.

pleasing,

placido.

rustico.

schietto.

a. at pleasure.

piacevole. piena.

heavily

round

scordato.

perpetual.

pesante.

time).

romance.

scherzando.

timid.

disappearing.

perpetuo.

or

resonant,

scemando.

for.

perdendosi.

(the

ringing.

rotondo.

ordinario.

time.

resolute.

romanza.

not.

piacere,

fill-in

risonante. (instruments,

noble.

non.

quasi.

relaxing

risoluto.

change

nobile.

piu.

rilasciando.

exact

part.

motion.

muta.

per.

repeated. rigorous,

ripieno.

mormorando.

religiously.

religious.

rigoroso.

away.

moto.

rapidly.

religioso.

gently.

gradually

mosso.

fury,

religiosamente.

manner.

much,

rage,

rapidamente.

time. detached.

sonare. sono.

sounding, to sound,

sound,

sorda. sordino. sostenuto.

resonant. play

upon.

play.

muffle,

veil.

mute. sustained.

as.

C-5

sotto.

under.

spianato. out

smooth,

level,

even,

with-

stormily,

passion.

spiccato.

separated,

detached

(stac-

stabile.

stable,

firm,

staccato.

separated,

stentato.

forced,

stesso.

detached.

stretto.

drawn

gliding,

term

for

a smooth

suave.

soft,

what

is

The

commonly

together,

usually

tace,

tacit.

taci,

as much,

be silent.

una,

uno.

variamente.

so much.

follows

when

a, an,

band solo

one.

variedly,

freely.

vigorous.

voce.

voice.

volti

subito.

ately.

full

equal.

vivacissimo.

on.

with

ends.

uguale. un,

reiteration

(much).

all,

vigoroso.

sweet. animated.

C-6

soli

hurried. smooth.

glissando.

svegliato. tanto.

too

section,

noisy.

together,

strisciando. correct

loud,

value.

trembling,

tutti. very

full

speed.

troppo.

emphasized.

same.

strepitoso.

called

great

tenderly.

held

tremolo.

steady.

tempestuously,

passionately.

teneramente. tenuto.

cato).

sul.

tempestosamente.

extremely

turn

fast.

(page)

immedi-

or or

INDEX -A-

Accidentals Active

6-6

Minor

7-10

Mixolydian

7-7

Clef

6-9

Minor

7-10

Modal

8-3

Baritone

Mode

2-9

Bass

8-9

1-2

Contra

Anacrusis

4-6

Mezzo

17-1

Melody/Harmony Approach

18-2

Tones

Beat

Line

2-9

Treble

Tenor

2-9

2-9

2-9

Composite

Meter

3-7

Compound

Meter

3-3

(Cycles

Per

Second,

Hz)

1-1

-D-

3-4

3-1

Division

3-3,

Division Blues

Super

CPS

-B-

2-9

2-9

Treble

18-3

4-6

Bar/Bar

Bass Soprano

Soprano

Anticipation

Arsis

2-9

2-9

Amplitude

Swing

8-9

2-2

Alto

Aeolian

8-4

Phrygian

Tones

Major

Major

3-5,

3-6,

(Swing)

Scale

Brasswinds

3-8

17-2

Delta

Sign

Dorian

15-5

Mode

16-4

Duple

Meter

14-7

Duple

4-9

Duration

8-6 3-1

1-4

-CChord

Scales

Chord

Structures

Chord

Symbols

16-1

Enharmonic 15-5

Specified Circle

Bass

19-6

Signs

2-4

(see

Dorian

8-6

Ionian

(see

Locrian Lydian

Pitches Meter

2-5

4-8 -F-

19-1

of Keys

Aeolian

Equivalent

15-1

Altered/Extended

Chromatic

-E-

minor)

Feminine

Ending

Frequency

1-1

Fundamental

4-6

12-1 -G-

major)

8-12 8-7

Generating

Tone

12-1

INDEX-1

-H-

Half

Step

(Semitone)

Harmonics Hz

-L2-5,

5-1

12-7

(Hertz,

Leger Link

CPS)

1-1

Lines

2-3

5-4

Locrian

Mode

Lydian

8-12

Mode

8-2

-I-MIntensity

1-2

Interval

5-1,

10-1

Augmented

Masculine

10-6,

Compound

10-7

Measure

10-2

Compounding

Meter 10-13,

Consonant

& Dissonant

Diatonic

& Chromatic

Diminished

10-7,

Enharmonic

10-14 10-16 10-16

10-9

3-1

Composite

3-7

Compound

3-6

Duple

3-1

Equivalent

10-10

Related

Inversion

10-11

Simple

10-4

Perfect Simple

10-13,

Mode

Italian

Terms

Stress

10-15

Modes

Mode

B-22,

C-2

8-4

8-1

Aeolian 8-3

3-1 3-10

Mixolydian

10-2

Ionion

3-1

Exceptions

10-3

Reducing

3-7

Metrical

10-5

3-1 3-4

Triple

10-1

Minor

4-8

Quadruple

10-1

Major

4-6

3-4

Harmonic

Melodic

Ending

8-9

Dorian

8-6

Ionian

8-3

Locrian 8-12 Lydian -J-

8-2

Mixolydian Phrygian

Jazz

Devices

(Symbols)

B-12

Muting

8-4 8-9

B-15

-K-

Keyboard Ranges Keys

(see

Parallel Relative

INDEX-2

2-3,

Octave

5-1

& Transposition circle

-O-

14-15

5-4

Designation

2-6,

2-8

6-6,

7-5

of keys)

7-12

Order

of Flats

7-11

Order

of Sharps

6-5,

7-3

Overtones

12-1

Overtone

Series

Scale 12-3 -P-

12-1,

12-3

Pentatonic

Scale

Percussion

14-10

Phrygian

Mode

Pitch

2-1,

1-1,

16-4 8-9

2-6 -Q-

6-9

Minor

7-5,

7-8,

7-10

Modal

8-3,

8-5,

8-7,

Meter

Degree Meter

Sound

1-1

Stable

Tones 6-9

Minor

7-6,

7-8,

7-10

Modal

8-3,

8-6,

8-8,

6-8

8-11

2-1 2-2

Great

2-1

Strings

-R-

8-10

3-4

Major

Grand

3-1

Names

Simple

Staff Quadruple

Activity

Major

Scale Partials

Degree

14-6

Suffixes

C-1

Ranges Brasswinds Keyboard

14-15

Percussion

14-16 14-1

Meter

Rhythm

4-7

4-1

Irregular

Syncopated Rhythm

4-5 4-2

line

Major

6-9

Minor

7-6,

7-8,

7-10

Modal

8-3,

8-6,

8-8,

5-4

Major

5-2

Minor

5-3

Natural

3-4

Thesis

15-1

Timbre

5-3

4-6 1-4,

12-7

Transposition

-S-

13-1

Brasswinds Scale

5-1

Strings

Minor

(Harmonic)

Woodwinds

Minor

(Melodic)

7-8

Minor

(Natural)

7-1

Pentatonic Whole

Tone

9-4 9-3

14-15

Percussion

9-1

6-1

Major

14-7

Keyboard

Chromatic

7-6

Triads

8-11

5-2

Harmonic

4-1

Uniform

Tones

Tetrachords

4-4

Regular

3-1

Tendency

Woodwinds

Root

Tempo

14-10

Strings

Related

-T-

14-7

14-10 14-16 14-1

11-1

Augmented Consonant Diatonic

11-4 & Dissonant

11-5

11-7

INDEX-3

Diminished

11-4

Inversion

11-6

Major

11-2

Minor

11-3

Triple

Meter

Triplet

4-9

3-1

-V-

Values

(Note

Dotted Tied

& Rest)

2-12 2-11

Vibration

1-1,

12-1

-WWoodwinds

INDEX-4

14-1

2-9

TC

12-41

29 SEPTEMBER 1978

By Order of the Secretary

of the Army:

BERNARD W. ROGERS General, United States Army Chief of Staff

Official: J. C. PENNINGTON Brigadier General, United States Army The Adjutant General