orchestra · 2019. 8. 11. · orchestra music theory . instrument anatomy here is a stringed...

Orchestra Music Theory

Instrument Anatomy

Here is a stringed instrument. It is

important to know the parts of your instrument, and

how they work together to help your instrument create music!

Instrument Anatomy

BODY: the main resonant chamber of the instrument.

Instrument Anatomy

SCROLL: an ornamental piece of wood found at the top of the instrument.

Instrument Anatomy

PEGS: used to tune the instrument. Small adjustments make a big difference. Do not touch these until told to.

Instrument Anatomy

FINGER BOARD: Made of ebony to withstand centuries of fingering. Here our left hands press down the strings in precise places to make different notes.

Instrument Anatomy

C-BOUTS: Make the violin a unique shape so that the bow can more easily play the lowest and highest strings.

Instrument Anatomy

CHIN REST: a device which helps us to hold the instrument under our jaw.

Instrument Anatomy

BRIDGE: Made of a thin wedge of wood. The bridge is held on by pressure alone. It transfers vibrations from the strings into the body of the violin.

Instrument Anatomy

TAIL PIECE: helps to suspend the strings over the bridge. It holds an amazing amount of pressure.

Instrument Anatomy

F-HOLES: allow sound to escape out of the body of the instrument.

Instrument Anatomy

Now you label the Instrument in your

Very own MUSIC THEORY JOURNAL

The Staff

Music is written on a staff. A staff consists of five lines equally spaced.

The distance between any two lines of the staff is called a space. There are four spaces in the staff.

The Staff

Draw a staff on your paper.

How many lines does it have?

How many spaces?

Notes

Notes are placed on the lines or the spaces of the music staff.

Line notes are exactly on the line.

Space notes are written

exactly between two lines.

Notes

Notes are placed on the lines or the spaces of the music staff.

Line notes are exactly on the line.

Trace the two notes on the staff,

Then draw two just like it.

Space notes are written

exactly between two lines.

Trace the two notes on the staff,

Then draw two just like it.

Notes

Notes have separate parts which tell us how long or short they are.

Label the parts of the notes below:

Notes



HEAD HEAD HEAD

Notes



HEAD HEAD HEAD

STEM STEM

STEM

Notes



HEAD HEAD HEAD

STEM STEM

STEM

FLAG

The Clef Signs

Violinists read music with a Treble Clef *Its nickname is the “G” clef because it circles around the G line.

Violists read music with an Alto Clef *Its nickname is the “C” clef because the curves surround the middle C line.

Cellists and Bassists read music with a Bass Clef *Its nickname is the “F” clef because the dots surround the F line.

Draw your clef on the staff 5 times.

Pay attention to detail…

The Clef Signs

What is your clef’s nickname?

Letter Names

Each line and space of the staff has a letter name in relation to its clef sign.

The first seven letters of the alphabet are used in naming the lines and spaces of both clefs:

A – B – C – D – E – F – G

Letter Names

Violin players notes are named as follows:

Letter Names

Viola players notes are named as follows:

Letter Names

Cello and Bass players notes are named as follows:

Letter Names

Draw in your instruments clef sign.

Write the names of the notes for the following line. (SPACE notes) (LINE notes)

.

Letter Names

Draw in your instruments clef sign.

Write the names of the notes for the following line.

Open Strings

Orchestra instruments have

four open strings.

Each instrument is tuned with

four unique pitches.

Copy down the notes as they

appear on the music staff for

your specific instrument.

Open Strings

Violins are tuned as follows:

G D A E

Open Strings

Violas are tuned as follows:

C G D A

Open Strings

Cellos are tuned as follows:

C G D A

Open Strings

Basses are tuned as follows:

E A D G

Beginning Bow Hold

Be patient as your director passes out frogs to the class.

Keep the frog on your music stand until instructed to do differently.

Beginning Bow Hold

1. RELAX your fingers/hand

2. Rest the stick in your finger fat between first and second knuckles

3. Thumb kisses the lip of the frog like a mountain

4. Violinists/violists tap pinky on top

5. Track straight back and forth or up and down as if traveling through a tube

At the beginning of every piece of music there is a time signature. It is made up of two numbers placed one above the other like this: -

The upper number tells us the number of beats in a measure. (What we count to)

The lower number tells us what kind of note gets a beat.

Time Signatures

Time Signature

When looking at the denominator of the time signature the numbers represent the following note values:

2 – half note

4 – quarter note

8 – eighth note

Time Signatures Identify what kind of note gets the beat and how many beats per measure for each of the following time signatures:

Time Signatures

Write the top number for these incomplete time signatures:

Quarter Notes

Each note in western music notation receives a certain number of beats. *Remember the denominator of the Time Signature determines the value of each note.

When the lower number of the time signature is 4

the quarter note ( ) receives one beat.

Quarter Notes

Let’s count the following example of quarter notes together:

Quarter Notes


*First we need to look at the time signature to find out how many beats there are in a measure and what kind of note gets the beat.

Quarter Notes


*First we need to look at the time signature to find out how many beats there are in a measure and what kind of note gets the beat.

FOUR BEATS

QUARTER NOTE

Quarter Notes


1

Quarter Notes


1 2

Quarter Notes


1 2 3

Quarter Notes


1 2 3 4

Quarter Notes


1 2 3 4 1

We start counting over when we cross a BAR LINE into a new measure.

Quarter Notes


1 2 3 4 1 2

Quarter Notes


1 2 3 4 1 2 3

Quarter Notes


1 2 3 4 1 2 3 4

Quarter Notes Write the beat for all of the quarter notes in the following examples:

Half Notes


It takes two quarter notes ( ) to make one half note:

+ =

When the lower number of the time signature is 4 the half note ( ) receives two beats.

Half Notes

Let’s count the following example of half notes together as a class: *First we need to look at the time signature to find out how many beats there are in a measure and what kind of note gets the beat.

Half Notes

Let’s count the following example of half notes together as a class: *First we need to look at the time signature to find out how many beats there are in a measure and what kind of note gets the beat.

Four beats in a measure.

The quarter note gets the beat.

Half Notes

Let’s count the following example of half notes together as a class:

1-2

When more than one beat occurs within a note we show this by combining the beats with a dash. We count these rhythms in a continuous sound.

Half Notes


1-2 3-4

Half Notes


1-2 3-4 1-2

Half Notes


1-2 3-4 1-2 3-4

Half Notes


1-2 3-4 1-2 3-4 1

Half Notes


1-2 3-4 1-2 3-4 1 2

Half Notes


1-2 3-4 1-2 3-4 1 2 3-4

Half Notes Write the beat for all of the notes in the following examples:

Basic Note Values


When the lower number of the time signature is 4 the quarter note ( ) receives one beat,

the half note ( ) receives two beats,

and the whole note ( ) receives four beats.

Basic Note Values

The beats may be written under the notes like this:

1 2 3 4 1-2 3-4 1-2-3-4

The numbers connected by a dash apply to the same note and should be counted in a continuous sound.

Basic Note Values

In 4/4 time how many beats does a quarter note receive?

In 3/4 time how many beats does the half note receive?

Basic Note Values Write in the rhythm under each of the following examples according to the written time signature.

Basic Rest Values

For each note value in music there is an equal rest value. The time signature determines the value of each note or rest.

When the lower number of the time signature is 4

the quarter rest ( ) receives one beat,

the half rest ( ) receives two beats,

and the whole rest ( ) receives four beats.

The beats may be written under the rests enclosed in parenthesis like this:

(1) (2) (3) (4) (1-2) (3-4) (1-2-3-4)

The numbers connected by a dash apply to the same rest and should be counted in a continuous silence.

Basic Rest Values

When both notes and rests occur within the measure the beats may be written like this:

(1) 2 (3) 4 1-2 (3-4) (1-2) 3 (4)

When counting allowed you only speak the numbers written outside the parenthesis. In this example you would only say 2 4/1-2 / 3

Basic Rest Values

Basic Rest Values

In 4/4 time how many beats does a whole rest receive?

In 6/4 time how many beats does the half note receive?

Basic Rest Values Draw your clef at the beginning of each line. Write in the rhythm under each of the following examples according to the written time signature.

Counting Quarter Notes Review

Counting Quarter & Half Notes Review

Basic Counting Review

Music Symbols Draw a line to match the musical symbols to their definitions.

Whole note Time signature Half note Measure Quarter note Bar line Quarter rest

Pizzicato

Pizzicato is the term used to define the technique of “plucking the string.” When you pluck the string you must anchor your thumb against the fingerboard for leverage. Primarily the pointer finger is used to pluck the strings. The pinky, ring, and middle fingers stay tucked away. (no spider fingers!)

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Pizzicato

Pizzicato is a technique unique to string playing.

In our music “pizz.” is written before the notes that are to be plucked.

Pizzicato

Pizzicato is a technique unique to string playing.

In our music “pizz.” is written before the notes that are to be plucked.

The red section of this music would be plucked because

of the pizz. written before the notes.

Pizzicato

What finger is primarily used to pluck the strings?

Can a clarinetist pizzicato?

What is written before notes that should be plucked in our music?

Ledger Lines

Ledger lines extend the staff so that notes with a higher or lower pitch can be represented in music notation. Notes that rest in the middle of the ledger line are line notes.

Notes that rest on top of the ledger line or underneath the ledger line are space notes.

Ledger Lines

All string players need ledger lines to extend below the staff in order to play the lowest notes on their instruments.

Violin Viola Cello Bass

Ledger Lines

All string players need ledger lines to extend above the staff in order to play in the upper octaves of their instruments.

Violin Viola

Cello Bass

Ledger Lines

Draw your clef sign on the large staff. Then draw the lowest note that your instrument can play using ledger lines to extend below the staff.

On top of the staff draw a space note two ledger lines high.

A half step is the smallest distance between two notes. Example: F# to G (there is no room for another note in- between.

A whole step is two half steps combined.

Example E to F# (there is room for another note in-

between… we call this note F natural)

Half Steps and Whole Steps

A half step is the smallest distance between two notes. A half step can be shown by drawing part of a triangle in the space between to notes.

A whole step is two half steps combined. A whole step can be shown by drawing the top of a rectangle in the space between to notes.

.

Half Steps and Whole Steps

Half Steps and Whole Steps What is the exact definition of a whole step? In your own words what is a half step? If you want to show that two notes are a half step apart what

do you draw between the notes? If you want to show that two notes are a whole step apart

what do you draw between the notes? .

Major Scale

Each note of a Major Scale is assigned to a specific syllable or sound.

1 2 3 4 5 6 7 8 Do Re Mi Fa Sol La Ti Do

Major Scale

The 1st and 8th notes of the scale share the same syllable “Do.” Do is also called the tonic.


Major Scale

The third step of the scale is called “Mi.” The third note determines whether a scale is Major or minor.


Major Scale

If the third note of the scale was lowered half a step it would be called Me instead of Mi. Then the scale would be minor.

1 2 3 4 5 6 7 8 Do Re Me Fa Sol La Ti Do

Major Scale

The third step of a scale is also called the mediant.


Major Scale

The fifth step in a Major Scale is called “Sol.” It is also called the dominant because it is next in importance harmonically to the tonic (1st & 8th steps)


Major Scale

The Major Scale always has whole steps and half steps in the same place, no matter what the starting pitch may be.


Major Scale

Whole steps are shown by drawing the top of a rectangle between steps like this:


Major Scale


Here we can see that there are five whole steps in a Major Scale


Major Scale

Half steps are shown by drawing the top of a triangle between steps like this:


Major Scale


Here we can see that there are two half steps in a Major Scale


Major Scale

Here are all of the whole steps and half steps as they occur in every Major Scale found in music:

Copy the markings in your theory journal.


Major Scale Which scale degree is called the dominant? Which scale degree is called the tonic? Which scale degree determines whether a scale is major or

minor? What syllable is assigned to the seventh scale degree? The half steps in a Major scale occur between syllables ___ and ____ as well as ___ and ___.

D-Major Scale

Remember, the Major Scale always has whole steps and half steps in the same place, no matter what the starting pitch may be.

1 2 3 4 5 6 7 8 D E F# G A B C# D

D-Major Scale

Draw your clef sign on the staff.

Write the D-Major one octave scale beginning with the open D string.

Write the finger numbers under the scale.

Label the tonic, mediant, and dominant.

First Composition

A person who writes music is

called a composer.

When you are writing

music you are composing.

First Composition

Your composition must: 1. include your clef at the beginning. 2. have a 4/4 time signature. 3. have four complete measures. 4. use two open strings. 5. have at least one quarter note. 6. have at least one half note. 7. have at least one quarter rest.

First Composition

1 2 3 4 Your composition must:

1. include your clef at the beginning.

2. have a 4/4 time signature.

3. have four complete measures.

4. use two open strings.

5. have at least one quarter note.

6. have at least one half note.

7. have at least one quarter rest.

First Composition

Your composition must: 1. include your clef at the beginning. 2. have a 4/4 time signature. 3. have four complete measures. 4. use two open strings. 5. have at least one quarter note. 6. have at least one half note. 7. have at least one quarter rest.

Bar lines divide music into measures.

The distance between any two bar lines is called a measure. Bar Line Bar Line

Measure Measure Measure

When any part of the music is complete, we use a

double bar to mark its end. Double Bar

Marking Measures

Marking Measures

After observing the time signature we can decide where the bar lines ought to go to form full measures within a line of music.

Let’s do an example of 4/4 time as a class:

Marking Measures



Don’t forget to draw a double bar at the end of the line!

Marking Measures

What does the double bar indicate?

What is the space between any two bar lines called?

Marking Measures Draw in the bar lines for each of the examples according to the

written time signature at the beginning of the line

Repeat Signs

A repeat sign consists of two dots placed before or after a double bar.

Repeat Signs


This musical symbol tells us to repeat the music enclosed by these symbols.

Repeat Signs


Repeat back to the last repeat sign.

Repeat Signs


After the section is repeated we continue to read the musical line after the repeat signs.

Repeat Signs

A repeated section is often marked with a first and second ending.

Repeat Signs


If multiple endings are marked you play the 1st ending the first time, then repeat the music.

Repeat Signs


The second time through skip the 1st ending and play the 2nd ending.

Repeat Signs

Draw two repeat signs facing each other on the blank staff:

In your own words, what does a repeat sign tell us to do?

When there is a repeated section with 1st and 2nd endings, what do we do after we have played the 1st ending and repeated the line?

.

What is Rosin?

As orchestra musicians we can use a bow to play our instruments. But without rosin the bow wouldn’t make the strings sound. Rosin is made from pine sap or pine resin. Rosin is what aids the bow in gripping the slippery metal strings.

What is Rosin?

You should NEVER touch your rosin, or your bow hair.

It is important to rosin your bow every time you play. Two or three passes along the hair should do.

It is equally important to clean the rosin off of your instrument’s strings after you play. This way no rosin remains caked on the metal strings or varnish as it will eat away at the materials over time.

What is Rosin?

How many times should you drag the rosin block across the bow hair when you play?

What is rosin made of?

How often should you touch the hair of your bow?

.

Dotted Notes A Dot ( . ) may be added to any note used in music. The dot extends the notes duration by one-half the value of the note it follows. Example: A whole note ( ) receives 4 beats. The dot ( . ) half as many or 2 beats.

The two together receive 6 beats: . = 1-2-3-4-5-6

A half note ( ) receives 2 beats. The dot ( . ) half as many or 1 beat.

The two together receive 3 beats: . = 1-2-3

Dotted Notes

Let’s count through this excerpt including dotted notes together:

1

Dotted Notes


1 2

Dotted Notes


1 2 (3)

Dotted Notes


1 2 (3) 4

Dotted Notes


1 2 (3) 4 5

Dotted Notes


1 2 (3) 4 5 6

Dotted Notes


1 2 (3) 4 5 6 1

Dotted Notes


1 2 (3) 4 5 6 1 2-3

Dotted Notes


1 2 (3) 4 5 6 1 2-3 4-5-6

Dotted Notes


1 2 (3) 4 5 6 1 2-3 4-5-6 1

Dotted Notes


1 2 (3) 4 5 6 1 2-3 4-5-6 1 2-3-4

Dotted Notes


1 2 (3) 4 5 6 1 2-3 4-5-6 1 2-3-4 5

Dotted Notes


1 2 (3) 4 5 6 1 2-3 4-5-6 1 2-3-4 5 6

Dotted Notes


1 2 (3) 4 5 6 1 2-3 4-5-6 1 2-3-4 5 6 1-2-3-4-5-6

Dotted Notes

The dot is equal to ______ the value of the note it follows.

How many beats does a dotted half note get?

How many beats does a dotted whole note get?

Dotted Notes Write in the rhythm under each of the following examples according to the written time signature. Don’t forget the dash between the numbers and rests.

G-Major Scale


1 2 3 4 5 6 7 8 G A B C D E F# G

G-Major Scale


Write the G-Major one octave scale beginning with the open G string. (Basses 2nd finger on the E string).



Round

A round is a musical form where instrumentalists or singers perform the same melody, entering at different times.

This is a kind of harmony which can also be called counterpoint.

You need two or more musicians to perform a round.

Round

Let’s play the D-Major Scale in a round.

Group A: Violins

Group B: Violas, Cellos, and Basses

When Group A reaches Group B begins at

Round

Let’s add another Group!

Group A: Violins Group B: Violas

Group C: Cellos and Basses

When Group A reaches Group B begins at When

group A reaches Group C begins at

Round

In your own words define a musical round:

How many musicians are needed to perform a round?

Slurs and Ties

A slur combines two or more different pitches in the same bow stroke.

Here is an example of a slur:

A tie combines two or more of the same pitch in the same bow stroke. A tie usually occurs over the bar line.

Here is an example of a tie:

Slurs and Ties

Circle the Ties in the first excerpt:

Circle the Slurs in the second excerpt:

Draw two slurs and two ties in the following excerpt:

Bowings

We play our instruments by drawing the bow across the strings. In order to articulate in the proper direction we follow Bow Markings or “Bowings”.

When we see a down bow marking ( ) we pull the

bows to the right and away from the instrument.

When we see an up bow marking ( ) we push the

bows to the left toward the instrument.

Bowings

Most songs begin with a down bow.

After a down bow is played the very next articulation is

an up bow, unless a bow lift ( ) is marked.

Let’s mark the bowings for the following excerpt together:

Bowings

A slur combines two different pitches in the same bow stroke. Let’s look at the following excerpt including slurs together:

Bowings

A beat that occurs before the first full measure of a work of music is called a pick-up or an anacrusis. Traditionally in string playing you play this note with an up bow.

Example:

Bowings

What is another name for a pick-up?

Which bowing do we use for a pick-up?

Bowings

Mark the appropriate bowings in the following excerpts:

Basic Bow Distribution

When orchestra musicians perform they constantly have to think about the bow. It seems simple enough… pull the bow across the strings in a straight path and sound will come out! This is only scratching the surface of what bowing is all about. Playing with the bow has everything to do with precision and purpose.


Bow distribution refers to the intentional placement and use of the different parts of the bow to create exact rhythms and sounds.

Let’s review the anatomy of the bow:

What is this called?




Stick/Wood




Hair (from the tail of a horse)




Tip




Frog




Screw (it tightens or loosens the bow)




What is this called? (metal part)




Ferrel


If you had a passage with quarter notes half notes and whole notes you could play them with the following bow distribution:

Quarter notes use about a quarter of the bow.

“Long” or “Long”



Half notes use about half of the bow.

“Long-er” or “Long-er”



Whole notes use all of the bow.

“Really-Really-Really-Long”


Label all the parts of the bow:

Bow distribution refers to the __________ __________and use of the different parts of the bow to create exact rhythms and sounds.

Composition #2

Your composition must: 1. include your clef at the beginning. 2. have a 4/4 time signature. 3. have six complete measures. 4. hold at least one ledger line note 5. use at least one slur. 6. have at least one dotted note. 7. end with a repeat sign. 8. have the bowings marked in.

Composition #2

1 2 3 4 5 6 Your composition must: 1. include your clef at the beginning. 2. have a 4/4 time signature. 3. have six complete measures. 4. hold at least one ledger line note 5. use at least one slur. 6. have at least one dotted note. 7. end with a repeat sign. 8. have the bowings marked in.

Composition #2

Your composition must: 1. include your clef at the beginning. 2. have a 4/4 time signature. 3. have six complete measures. 4. hold at least one ledger line note 5. use at least one slur. 6. have at least one dotted note. 7. end with a repeat sign. 8. have the bowings marked in.

Ensemble Names

Musicians play in multiple groupings and ensembles.

These varied group sizes and types have specific names.

Ensemble Names

When one musician plays alone or with a written piano accompaniment it is called a solo.

Ensemble Names

When two musicians play together it is called a duet.

*A duet where two pianists play on the same piano is also called “piano four-hands.”

Ensemble Names When three musicians play together the group is called a trio.

*A string trio is most commonly comprised of a violin, cello, and piano. The next most common grouping is violin, viola, cello.

Ensemble Names When four musicians play together the group is called a quartet.

*A string quartet is most commonly comprised of two violins, a viola, and a cello. Many famous composers including Mozart, Beethoven, Mendelssohn, and Tchaikovsky wrote for the string quartet.

Ensemble Names

When five musicians play together the group is called a quintet.

*Many rock, pop, and metal bands are made up of five people. Usually the five people involved include two guitarists, one bassist, one percussionist, and a lead vocalist.

Ensemble Names

When six musicians play together the group is called a sextet.

*A string sextet is most commonly comprised of two violins, two violas, and two cellos. Many famous composers including Dvorak, Brahms, Schoenberg, and Tchaikovsky wrote for the string sextet.

Ensemble Names

Other ensemble groupings:

7-septet

8-octet

9-nonet

10-decet

12-duodecet

Ensemble Names

Count to ten by ensemble groupings:

Eighth Notes

Add a flag to the stem of a quarter note ( ) and it becomes and eighth note ( )

Two eighth notes equal one quarter note: + =

An eighth note is equal to one-half of a beat.

Rhythm + = Beat ½ ½ 1

Eighth Notes

When two or more eighth notes are next to one

another like this:

They may be written like this: or

The line that connects the stems is called a “beam.” Therefore these are beamed eighth notes.

Eighth Notes

Because an eighth note alone does not create a full beat in any time signature with a denominator of 4 we must use the word (and) to divide the beat like so:

1 and 2 and 3 and 4 and 1 and 2 3 and 4

Eighth Notes

Instead of writing the whole word “and” we just draw a + to symbolize the word “and.” Then our rhythmic counting sounds the same, but looks like this:

1 + 2 + 3 + 4 + 1 + 2 3 + 4

Eighth Notes

Draw a flag at the top of a quarter note to create an eighth note:

.

How much of a beat does an eighth note get?

What is the line that connects eighth notes together called?

Eighth Notes

Let’s count a rhythmic line of eighth notes together:

Remember because the time signature is 4/4 there needs to be 4 beats in every measure.

Eighth Notes



1

Eighth Notes



1 2 +

Eighth Notes



1 2 + 3

Eighth Notes



1 2 + 3 4

Eighth Notes



1 2 + 3 4 1

Eighth Notes



1 2 + 3 4 1 2 +

Eighth Notes



1 2 + 3 4 1 2 + 3 +

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 +

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 +

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2 3

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2 3 4 +

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2 3 4 + 1 +

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2 3 4 + 1 + 2 +

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2 3 4 + 1 + 2 + 3

Eighth Notes



1 2 + 3 4 1 2 + 3 + 4 + 1 + 2 3 4 + 1 + 2 + 3 4

Eighth Notes Write the beats under each note and rest in the following excerpts:

Eighth Rests

Like the eighth note, the eighth rest has one flag. These are eighth rests:

Two eighth rests equal one quarter rest: + = An eighth rest is equal to one-half of a beat.

Rhythm + =

Beat ½ ½ 1

When both eighth notes and eighth rests occur within the measure the beats may be written like this:

1 (+) 2 (+) 3 + (4) + (1) + 2 (+) 3 + 4 +

When counting allowed you only speak the numbers written outside the parenthesis. In this example you would only say 1 2 3 + + / + 2 3 + 4 +

Eighth Rests

Eighth Rests

Draw four eighth rests:

How many beats do the four eighth rests cover?

Eighth Rests

Lets count our way through the following excerpt as a class:

Eighth Rests


1 +

Eighth Rests


1 + 2 +

Eighth Rests


1 + 2 + 3 +

Eighth Rests


1 + 2 + 3 + 4 (+)

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+)

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+)

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 +

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) +

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) +

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) + 2 (+)

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) + 2 (+) 3 +

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) + 2 (+) 3 + 4 +

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) + 2 (+) 3 + 4 + 1

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) + 2 (+) 3 + 4 + 1 2 +

Eighth Rests


1 + 2 + 3 + 4 (+) 1 (+) 2 (+) 3 + (4) + (1) + 2 (+) 3 + 4 + 1 2 + 3-4

Eighth Rest

Write the beats under each note and rest in the following excerpt:

Eight Note Review

D.C./D.S. al Fine

Some times in music you can play straight through from the first note to the last note without jumping around the page.

As the difficulty of the music increases the

likelihood of encountering “musical roadmaps” becomes greater.

In your music you may begin to see more repeat

signs with 1st and 2nd endings, as well as other more complex and involved directions.

D.C./D.S. al Fine

D.C. al Fine is one of the more complex roadmaps.

D.C. stands for “Da Capo” (meaning “the head” in Italian)

“Fine” in the Italian language means “Finish.”

The literal translation for D.C. al Fine is, go back to the head and play until you see Finish.

D.C./D.S. al Fine The literal translation for D.C. al Fine is, go back to the head and

play until you see Finish.

D.C./D.S. al Fine Begin at the beginning and play to the end.

D.C./D.S. al Fine At the end D.C. al Fine is marked, instructing us to

return to “the head” or beginning.

D.C./D.S. al Fine At the end D.C. al Fine is marked, instructing us to return to “the

head” or beginning. And we stop when we see the word “Fine”

D.C./D.S. al Fine

D.S. al Fine is another of the more complex roadmaps.

D.S. stands for “Da Segno” (meaning “the sign” in

Italian) “Fine” in the Italian language means “Finish.” The literal translation for D.S. al Fine is, go back to

the sign ( )and play until you see Finish.

D.C./D.S. al Fine Begin at the beginning and play to the end.

D.C./D.S. al Fine At the end D.S. al Fine is marked, instructing us to

return to “the sign.”

D.C./D.S. al Fine At the end D.S. al Fine is marked, instructing us to

return to “the sign.” And we stop when we see the word “Fine”

D.C./D.S. al Fine

What is the translation of D.C. al Fine?

Go back to the head and play until you see finish.

What is the translation of D.S. al Fine?

Go back to the sign and play until you see finish.

Draw a picture of the Segno:

The Coda

In Italian “Coda” means “tail.”

In music Coda refers to a passage found at the end which prolongs the ending of the piece.

The musical symbol for coda looks like this:

The Coda

A coda can be inserted into a piece as a roadmap in two ways:

D.C. al Coda- return to the beginning and play until you see the coda, then jump to it.

D.S. al Coda- return to the sign and play until you see the coda, then jump to it.

The Coda Begin at the beginning and play until you read “D.C. al Coda.”

Return to the beginning and play until you come across the first Coda, then jump to the actual Coda or “tail” of the music.

The Coda Begin at the beginning and play until you read “D.S. al Coda.”

Return to the sign and play until you come across the first Coda, then jump to the actual Coda or “tail” of the music.

The Coda

What is the English translation for Coda?

Draw a picture of a Coda:

What are the two phrases we must be on the lookout for in music that refer to a Coda at its end?

Staccato

Staccato is a type of articulation found in music.

In Italian Staccato means “detached” or separated.

Staccato notes are marked with a dot above or below the note.

Staccato A staccato note is played with a stopped bow stroke, leaving a

small space between each pitch in succession.

Let’s play the following notes together. The first three are regular detache’ stroke while the next three are to be played staccato with a stopped bow stroke. The last note is not staccato, it gets three beats because the dot is to the right of the note.

F G A F G A A

Staccato

What is the English translation for Staccato?

detached/separated

Draw four staccato notes on the staff. Make sure the dot is underneath or above the note head.

In your own words describe what staccato means:

Dotted notes that require a stopped bow stroke. The notes sound separate from one another.

Legato

Legato is a type of articulation found in music.

In Italian Legato means “tied together.”

Legato notes are marked with a horizontal line above or below the note.

Legato A legato note is played with a smooth bow stroke, connecting all

pitches in succession.

Let’s play the following notes together. The first three are regular detache’ stroke while the next three are to be played legato with a smooth bow stroke. Notes with a legato marking are to be given the FULL value of their rhythm without exception. There should be no silence between legato pitches (as if they were slurred together).

F G A F G A A

Legato

What is the English translation for Legato?

Tied Together detached/separated

Draw four Legato notes on the staff. Make sure the horizontal line is underneath or above the note head.

In your own words describe what legato means:

Notes that receive their full rhythmic value without exception, that are played with a connected bow stroke, and sound as if they were slurred.

Hooked Bowings

Hooked bowings are required when two or more notes need to be played in the same directional bow stroke with a stop in between.

Hooked Bowings

When we mark bowings for slurs we use one marking to represent all notes within the slur. When a hooked bowing occurs we mark all of the notes with the same directional symbol (multiple down bows, or multiple up bows).

Hooked Bowings

Let’s write in the bowings for the following passage together:

Hooked Bowings

Mark in the appropriate bowings for the following passage:

Conducting

Conducting is a mystery to most people, but it doesn't have to be. It's very simple, and very necessary to ensembles.

It tells them when to play, how to play, when to get louder or softer, and much more.

Anyone can learn to read or use basic conducting gestures with just a few simple lessons.

Conducting

Music is measured in beats.

The conductor indicates the beat by following the written time signature.

The conductor always holds the baton in their right hand to show the beats in a song.

Conducting

We are about to study the three most basic conducting patterns used in modern music.

In each of these patterns, emphasize each beat by

bouncing your hand slightly. Doing this allows the musicians to know when you're actually ON that beat, and not still traveling to it.

The moment when the baton bounces is called the

ictus.

Conducting

First we will study the conducting pattern that shows 2 beats per measure.

Draw this shape above the 2/4 time signature in your theory journal.

Let’s practice the pattern together while singing “Yankee Doodle.”

Conducting

First we will study the conducting pattern that shows 2 beats per measure.


Let’s practice the pattern together while singing “Yankee Doodle.”

Ictus (bounce your

baton to show the beat)

Conducting

Next we will study the conducting pattern that shows 4 beats per measure.


Let’s practice the pattern together while singing “Twinkle Twinkle Little Star.”

Conducting

Next we will study the conducting pattern that shows 4 beats per measure.


Let’s practice the pattern together while singing “Twinkle Twinkle Little Star.”

Ictus (bounce your


Conducting

Last, we will study the conducting pattern that shows 3 beats per measure.

Draw this shape above the

3/4 time signature in your theory journal.

Let’s practice the pattern

together while singing “Amazing Grace.”

Conducting

Last, we will study the conducting pattern that shows 3 beats per measure.

Draw this shape above the

3/4 time signature in your theory journal.

Let’s practice the pattern

together while singing “Amazing Grace.”

Ictus (bounce your


C-Major Scale


1 2 3 4 5 6 7 8 C D E F G A B C

C-Major Scale


Write the C-Major one octave scale beginning with the open C string. (violins 3rd finger C on the G string, basses 2nd finger on the A string)



Bar lines divide music into measures.

The distance between any two bar lines is called a measure. Bar Line Bar Line

Measure Measure Measure

When any part of the music is complete, we use a

double bar to mark its end. Double Bar

Marking Measures

Marking Measures



Marking Measures



Don’t forget to draw a double bar at the end of the line!

Marking Measures

What does the double bar indicate?

What is the space between any two bar lines called?

Marking Measures Draw in the bar lines for each of the examples according to the

written time signature at the beginning of the line

Dynamics

Definition of Dynamics: the varying and contrasting degrees of intensity or loudness in musical tones.

Basically, dynamics tell us how loud or soft to play the written notes.

Dynamics

These are the varying dynamic markings we find in music from softest to loudest:

pp p mp mf f ff

Dynamics

The two most basic forms of dynamics are soft (piano) and loud (forte)

pp p mp mf f ff

piano forte

Dynamics

Then we look at the medium dynamics, which are medium soft (mezzo piano) and medium loud (mezzo forte)

pp p mp mf f ff

mezzo piano mezzo forte

Dynamics

The most dramatic dynamics are very soft (pianissimo) and very loud (fortissimo)

pp p mp mf f ff

pianissimo fortissimo

Dynamics

These varied volumes allow us to express music in dramatic exciting ways.

pp p mp mf f ff

Dynamics

What is the softest dynamic?

What is the Italian word for “medium” as in medium loud.

What is the loudest dynamic?

Dynamics

There are two different kind of dynamic transitions in music:

1. Sudden transitions

2. Gradual transitions

Dynamics

Sudden transitions take place when the music changes suddenly from piano to forte or visa versa.

In your music it would look like this:

“Mary Had a Little Lamb”

Dynamics

Gradual transitions take place when the music changes gradually from piano to forte or visa versa. These gradual changes have specific names.

When notes start soft and gradually get louder that is called a crescendo.

When notes start loud and gradually get softer that is called a decrescendo.

Dynamics

When notes start soft and gradually get louder that is called a crescendo.

In your music a crescendo would look like this:


Dynamics

When notes start loud and gradually get softer that is called a decrescendo.

In your music a decrescendo would look like this:


Dynamics

What is the Italian term for gradually getting louder?

What is the Italian term for gradually getting softer?

Draw both symbols:

Accidentals

is called sharp. A sharp raises the pitch by ½ step.

is called flat. A flat lowers the pitch by ½ step.

is called natural. A natural cancels the effect of a flat or

a sharp.

Accidentals We always speak of the flat, sharp, or natural after the

note, such as “B flat” “C sharp” or “F natural.” However when the notes are written on the music staff the accidentals appear before the notes. They are written on the line or space of the note they belong to.

Before the notes

B C F

After the letter names

Accidentals

When a sharp, flat, or natural sign is placed before a note, every note by the same letter name which follows within that same measure is also affected.

As soon as you cross a bar line all accidentals in the previous measure are neutralized.

B B D C C B F G

B B D C C B F G

B B D C C B F G

Accidentals

When a sharp, flat, or natural sign is placed before a note, every note by the same letter name which follows within that same measure is also affected.

As soon as you cross a bar line all accidentals in the previous measure are neutralized.

B B D C C B F G

B B D C C B F G

B B D C C B F G

Bar line

Accidentals

Draw a sharp sign _______ A sharp _________ the pitch by a ½ step.

Draw a flat sign _______ A flat ______ the pitch by a ½ step.

Draw a natural sign _______ A natural ______ the effect of a sharp or

flat.

The accidental is written _________ the notes on the music staff. As soon as you cross a _______ all accidentals in the previous measure

are ____________.

Accidentals

Draw your instruments clef sign at the beginning of the staff. Then write the following notes with the accidentals on the same line or space:

G E F C B D A

Intonation

Intonation is playing the exact note you intend to rather than something close to it.

For example, if you intended to play E, but your first

finger fell short of the pitch, you would be “out of tune.” A mature musician would realize their error and fix it simultaneously.

NEVER settle for where your finger falls. Playing

with good intonation has everything to do with concentration and critical listening.

Intonation

Intonation is a skill that a musician must constantly seek to improve and perfect.

With fretless string instruments like violin, viola, cello, and bass intonation depends on the exact placement of your finger on the string.

Intonation

In your own words define intonation:

What is an example of a fretless string instrument?

Playing with good intonation has everything to do with ____________and _____________.

Composition #3

Your composition must: 1. include your clef at the beginning. 2. have a time signature other than 4/4. 3. have at least one marked accidental. 4. contain eighth notes. 5. use at least one tie. 6. have at least one dotted note. 7. Have at least two dynamic markings. 8. have the beats written in for all notes and rests.

Composition #3

Your composition must: 1. include your clef at the beginning. 2. have a time signature other than 4/4. 3. have at least one marked accidental. 4. contain eighth notes. 5. use at least one tie. 6. have at least one dotted note. 7. Have at least two dynamic markings. 8. have the beats written in for all notes and rests.

1-2-3 1 2 + 3 1 2 3-1-2-3 1 (2) 3 (1) 2-3

Dotted Quarter Notes

We learned that a dot placed after any note is equal to one-half the value of the note it follows.

Therefore whenever a quarter note receives one beat (as in 2/4, 3/4, 4/4, time) a dotted quarter note receives one and a half beats.

A quarter note ( ) receives 1 beat. The dot ( . )

half of this or ½ beat.

The two together receive 1 ½ beats. ( . = 1 + 2(+))

Since a quarter note is equal to two eighth notes: ( = )

A dotted quarter note is equal to three eighth notes: ( . = )

Here is how we write the beat for the dotted quarter note in music:

1-+-2 + 3-+-4 + 1-+-2 (+) 3-+-4 (+)



Let’s write the rhythm for two examples together. First mark in the subdivisions.



*Each beam represents two eighth notes. The beams help us to divide the measures into smaller parts.



1-+-2

Don’t forget to write dashes between counts belonging to the same note or rest.



1-+-2 +




1-+-2 + 3-+-4




1-+-2 + 3-+-4 +




1-+-2 + 3-+-4 + 1




1-+-2 + 3-+-4 + 1 (+)




1-+-2 + 3-+-4 + 1 (+) 2-+-3




1-+-2 + 3-+-4 + 1 (+) 2-+-3 (+)




1-+-2 + 3-+-4 + 1 (+) 2-+-3 (+) 4




1-+-2 + 3-+-4 + 1 (+) 2-+-3 (+) 4 +




1-+-2 + 3-+-4 + 1 (+) 2-+-3 (+) 4 + 1-+




1-+-2 + 3-+-4 + 1 (+) 2-+-3 (+) 4 + 1-+ 2-+-3




1-+-2 + 3-+-4 + 1 (+) 2-+-3 (+) 4 + 1-+ 2-+-3 +-4-+




1




1 +




1 + 2




1 + 2 +-3-+




1 + 2 +-3-+ 1-+-2




1 + 2 +-3-+ 1-+-2 +-3-+




1 + 2 +-3-+ 1-+-2 +-3-+ 1

[1-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2

[1-+] [2-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2 3

[1-+] [2-+] [3-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2 3 1

[1-+] [2-+] [3-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2 3 1 (+)

[1-+] [2-+] [3-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2 3 1 (+) 2-+-3

[1-+] [2-+] [3-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2 3 1 (+) 2-+-3 +

[1-+] [2-+] [3-+]




1 + 2 +-3-+ 1-+-2 +-3-+ 1 2 3 1 (+) 2-+-3 + 1-2-3

[1-+] [2-+] [3-+] [1-+-2-+-3-+]



How many eighth notes equal one dotted quarter note?

If the time signature is 4/4, how many beats does a dotted quarter note receive?

Draw a dotted quarter note, dotted half note, and dotted whole note:

Dotted Quarter Notes Write the beats under each note and rest in the following examples:

Key Signatures

The Key Signature is found in the space between the Clef Sign and the Time Signature.

Key Signatures

The Key Signature is found in the space between the Clef Sign and the Time Signature. If no accidentals appear it is the Key of C-Major (the natural key)

KEY SIGNATURE

Key Signatures

These accidentals effect every note that share the letter name of the line or space they are written on during the entire piece of music.

F-sharp C-sharp

Notice how the accidentals rest on the lines or spaces where their notes are found. In the Key of D-Major for example we have two sharps. The first sharp always rests where note F is written. The second sharp always rests where note C is written.

This way we know that F and C are sharp during the entire piece of music.

Key Signatures

The original Key Signature effects all notes in the entire piece unless one of two things happens:

1. An accidental is placed in front of one of the effected notes

F# E D E C# D E F E D C D

2. There is a Key Change in the middle of the piece, notated by a new Key Signature.

D C# B A B C# B F# F# B C D G F F

Key Signatures

Where is the Key Signature found in a piece of music?

Why does it matter where the accidentals are written?

There are two things that can cancel the original key signature what are they?

Key Signatures

What notes are sharp in this key?

What notes are flat in this key?

Which Major key has no sharps or flats?

Sharp Key Signatures

Draw your Clef Sign at the beginning of the large staff. Then copy the order of sharps for YOUR CLEF SIGN:


D-Major has 2 sharps in its Key Signature. If we remember the order of sharps we can determine which two notes will be sharp:

F# C# G# D# A# E# B#

A-Major has 3 sharps in its Key Signature. If we remember the order of sharps we can determine which three notes will be sharp:

F# C# G# D# A# E# B#


If the key signature has five sharps in it what notes are effected? (write them IN ORDER)

If the key signature has seven sharps in it what notes are effected? (write them IN ORDER)


To find the NAME of any Major key containing sharps, count up to the next line or space above the last sharp (sharp farthest to the right)



D-MAJOR



B-MAJOR


First draw your clef sign on every staff. Then write in and name all of the sharp key signatures as directed:

1 sharp: 2 sharps: 3 sharps:

4 sharps: 5 sharps: 6 sharps:

Flat Key Signatures

Draw your Clef Sign at the beginning of the second staff. Then copy the order of flats for YOUR CLEF SIGN:

Flat Key Signatures

F-Major has 1 flat in its Key Signature. If we remember the order of flats we can determine which note will be flat:

B E A D G C F

B -Major has 2 flats in its Key Signature. If we

remember the order of flats we can determine which two notes will be flat:

B E A D G C F

Flat Key Signatures

If the key signature has three flats in it what notes are effected? (write them IN ORDER)

If the key signature has four flats in it what notes are effected? (write them IN ORDER)

Flat Key Signatures

To find the NAME of any Major key containing flats, look at the second to last flat: ***If there is only one flat in the key signature it is F-Major.

Flat Key Signatures


E -Major

Flat Key Signatures


Flat Key Signatures


G -Major

Flat Key Signatures

First draw your clef sign on every staff. Then write in and name all of the flat key signatures as directed:

1 flat: 2 flats: 3 flats:

4 flats: 5 flats: 6 flats:

Key Signatures Review

We will circle and write the names of the notes effected by the key signature as a class:



C#



C# G#



C# G# F#



C# G# F# G#



C# G# F# G# F#



C# G# F# G# F# G#

Key Signature Review

Draw your Clef at the beginning of each line.

On the first line draw the key signature with 4 sharps (in order of sharps). Than circle and write the names of the notes effected by the key signature.

On the second line draw the key signature with 3 flats (in order of flats). Than circle and write the names of the notes effected by the key signature.

Arpeggios

An arpeggio is also known as a broken chord.

An arpeggio is performed by playing the notes in a chord in succession rather than sounding simultaneously.

Block Chord Arpeggio

Arpeggios

The most common form of arpeggio is a broken 1 chord.

This arpeggio involves all of the most important scale degrees (1 3 5 1) and is called the “Tonic Chord” made from the tonic, mediant, and dominant pitches in any scale. It is the final resolution tone in music.

Arpeggios



1

3

5

1

Arpeggios



1

3

5

1

DO MI

SOL DO

Arpeggios

What is another name for an arpeggio?

What are the official names for the 1st, 3rd, and 5th scale degrees?

What is the final resolution tone in music?

.

Arpeggios


In the first measure write the tonic chord arpeggio for C Major.

In the second measure write the tonic chord arpeggio for G Major.

In the third measure write the tonic chord arpeggio for D Major.

A-Major Scale


1 2 3 4 5 6 7 8 A B C# D E F# G# A

A-Major Scale

Draw your clef sign on the staff. Write the A-Major one octave scale beginning with

first finger A on the G string. Write the finger numbers under the scale. Label the tonic, mediant, and dominant.

Accents

In music notes that are to be emphasized are marked with an Accent.

An accent is written above or below the note head depending on which direction the stem is pointing:

Accents

To emphasize a note in a line of music you must add weight to the beginning of the bow stroke, or pull the bow faster at the beginning.

An accent occurs at the front of the designated beat, and does not last the entire duration of the written rhythm.

Accents

Lets play the C-Major Scale and accent the following pitches together as a class:

C D E F G A B C B A G F E D C

Accents

Lets play the C-Major Scale and accent the following pitches together as a class:

C D E F G A B C B A G F E D C

The up-bow accents need even more weight added to be as effective as the down-bows.

Accents Where is an accent written in relation to the note it

effects? What two things can we do with our bow to produce a

written accent? 1. 2. Up-bow accents need ______________ to be as effective

as down-bow accents. Does an accent effect the note for it’s entire duration? .

Composition #4

Your composition must: 1. include your clef at the beginning. 2. have a 3/4 time signature. 3. have a key signature with two flats. 4. contain one arpeggio. 5. have at least one accented note. 6. have at least one dotted quarter note. 7. have at least one gradual dynamic. 8. include at least one hooked bowing.

Tempo

At the beginning of all music there is a tempo marking.

Tempos can be written as note value = beats per minute

Or they can be written with a word that refer to a specified range of bpm. These tempo definitions are written in the Italian language.

= 90bpm

Tempo

Largo- very slow and broad

Adagio- slow and stately

Andante- at a walking pace

Moderato- moderately fast

Allegro- fast, quick, and bright

Vivace- very fast and lively

Presto- extremely fast

Tempo

Copy the following tempos from slowest to fastest and include their range of bpm:

Largo- very slow and broad







Tempo


Largo- very slow and broad (45-50bpm)







Tempo



Adagio- slow and stately (55-65bpm)






Tempo




Andante- at a walking pace (70-80bpm)





Tempo





Moderato- moderately fast (85-100bpm)




Tempo






Allegro- fast, quick, and bright (105-125bpm)



Tempo







Vivace- very fast and lively (130-150bpm)


Tempo







Vivace- very fast and lively (130-150bpm)

Presto- extremely fast (160-?bpm)

Changing Tempos

Just as dynamics have fixed and gradual variations, tempos can have both fixed and gradual variations.

We know the fixed variety of tempos: Largo, Adagio, Andante, Moderato, Allegro, Vivace, Presto.

But what are the gradual tempos? How are they marked and how are they executed?

Changing Tempos

Gradual tempos come in two types:

1. Getting slower

2. Getting faster

The most basic reference to tempo change involves the word “mosso” meaning motion in Italian.

Meno mosso- less motion

Piu mosso- more motion

Changing Tempos

Here are specific words for the gradual slowing of tempo:

Ritardando (rit.)

Allargando

Rallentando (rall.)

Calando

Rubato

Changing Tempos

Here are specific words for the gradual quickening of tempo:

Accelerando (accel.)

Stringendo

Precipitando

Stretto

Changing Tempos

After a gradual tempo change occurs (getting faster or slower) a composer can indicate to return to the original tempo in one of two ways:

1. A Tempo

2. Tempo Primo

Both terms refer to the original tempo of the piece. Performers should immediately transition back to this tempo.

Changing Tempos

Name two gradually slowing Italian terms: Name two gradually quickening Italian terms: What does mosso mean in Italian? What is the abbreviation for Accelerando? How does the composer indicate to return to the original tempo?

Fermatas and Grand Pauses

In music there are two different kinds of holds.

A fermata holds sound.

A grand pause holds silence.

Both events require you to look at the director

in order to proceed in unison as an ensemble.


A fermata is written over the note which is to be held.

The designated note must be held at least as long as the rhythm that is written. Beyond that the note can be held as long as the conductor desires.

The conductor continues to move their hands apart

or together until the cut-off of the note.


A grand pause is written between the notes where silence is to be held.

The designated space can be held as long as the conductor desires.

The conductor continues to keep their hands perfectly still until the cue of the next beat.


Draw a fermata somewhere in the third measure of this excerpt.

Draw a grand pause somewhere in the fourth measure of this excerpt.

Conducting Review

The conductor indicates the beat by following the written time signature.

The conductor always holds the baton in their right hand to

show the beats in a song. Remember to emphasize each beat by bouncing your hand

slightly. Doing this allows the musicians to know when you're actually ON that beat, and not still traveling to it.

The moment when the baton bounces is called the ictus.

Conducting Review

Conducting Review

Practice watching your conductor and counting the beats as they conduct them.

Remember that beat “1” will be obvious as it falls just after the highest peak in the pattern.

Now play the D scale with each pitch taking a full measure… no matter how many beats there are inside it.

Conducting Review

Conduct the following song in mixed meter:

Sixteenth Notes

Add a second flag to the stem of an eighth note ( ) and it

becomes a sixteenth note ( ).

Two sixteenth notes equal one eighth note:

+ =

It takes 4 sixteenth notes to make a quarter note:

Rhythm: + + + =

Beat: ¼ + ¼ + ¼ + ¼ = 1

Sixteenth Notes

When two or more sixteenth notes are next to

one another like this:

They may be written like this: or

The lines that connect the stems are called “beams.” Therefore these are beamed sixteenth notes.

Sixteenth Notes

Draw a second flag at the top of an eighth note to create a sixteenth note:

.

How much of a beat does a sixteenth note get?

What are the lines that connect sixteenth notes together called?

Sixteenth Notes

Here is a breakdown of how sixteenth notes are counted:

1 e + a 2 e +-a 3 e -+ a 4-e + a

Sixteenth Notes

Instead of using dashes to show multiple sixteenth notes belonging to a single eighth note we just omit the subdivision. Then the counting looks like this:

1 e + a 2 e +-a 3 e -+ a 4-e + a

Sixteenth Notes

We will count the following line of sixteenth notes and eighth notes as a class:

1

Sixteenth Notes


1 e

Sixteenth Notes


1 e +

Sixteenth Notes


1 e + a

Sixteenth Notes


1 e + a 2

Sixteenth Notes


1 e + a 2 e

Sixteenth Notes


1 e + a 2 e +

Sixteenth Notes


1 e + a 2 e + 3

Sixteenth Notes


1 e + a 2 e + 3 e

Sixteenth Notes


1 e + a 2 e + 3 e +

Sixteenth Notes


1 e + a 2 e + 3 e + a

Sixteenth Notes


1 e + a 2 e + 3 e + a 4

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 +

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+)

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 +

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3 e

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3 e a

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3 e a 4

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3 e a 4 e

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3 e a 4 e +

Sixteenth Notes


1 e + a 2 e + 3 e + a 4 + 1 (+) 2 + a 3 e a 4 e + a

Sixteenth Notes

Write the beats under each note and rest in the following excerpts:

Sixteenth Rests

Add a second flag to the stem of an eighth rest ( ) and it

becomes a sixteenth rest ( ).

Two sixteenth rest equal one eighth rest:

+ =

It takes 4 sixteenth rests to make a quarter rest:

Rhythm: + + + = Beat: ¼ + ¼ + ¼ + ¼ = 1

When both sixteenth notes and sixteenth rests occur within the measure the beats may be written like this:

1 e + a 2 (e) + a (1) e + a 2 e (+) a

When counting allowed you only speak the numbers and syllables written outside the parenthesis.

Sixteenth Rests

Sixteenth Rests

Let’s look at some of the sixteenth note/rest possibilities:

1 e + a


(1) e + a

Sixteenth Rests

Sixteenth Rests


1 (e) + a

Sixteenth Rests


1 e (+) a

Sixteenth Rests


1 e + (a)

Sixteenth Rests

Draw a second flag at the top of an eighth rest to create a sixteenth rest:

.

How much of a beat does a sixteenth rest get?

Sixteenth Rests

Let’s count through an example of sixteenth notes and rests together as a class:

1

When counting allowed you only speak the numbers written outside the parenthesis.

Sixteenth Rests


1 e


Sixteenth Rests


1 e +


Sixteenth Rests


1 e + a


Sixteenth Rests


1 e + a 2


Sixteenth Rests


1 e + a 2 (e)


Sixteenth Rests


1 e + a 2 (e) +


Sixteenth Rests


1 e + a 2 (e) + a


Sixteenth Rests


1 e + a 2 (e) + a 3


Sixteenth Rests


1 e + a 2 (e) + a 3 e


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+)


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e +


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a)


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e +


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e)


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) +


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3)


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e +


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e + a


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e + a 4


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e + a 4 e


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e + a 4 e +


Sixteenth Rests


1 e + a 2 (e) + a 3 e (+) a 4 e + (a) 1 e + a 2 (e) + a (3) e + a 4 e + a

Let’s count the line together as a class.


Sixteenth Rests

On the staff below fill the first measure with as many ______ as needed.

Fill in the second measure with as many ______ as needed.

Fill in the third measure with as many ______ as needed.

Fill in the fourth measure with as many _____ as needed.

Sixteenth Rests Write out the beats for the following sixteenth notes and rests:

F-Major Scale


1 2 3 4 5 6 7 8 F G A B C D E F

F-Major Scale


Write the F-Major one octave scale violists and cellists beginning with the F on the C string. violinists F on the D string, bassists F on the E string.



Advanced Bowing Techniques

Besides the standard deteche’ bow stroke, we have learned about staccato and legato bow markings and how to execute them.

As string players we have even more, unique, and exciting advanced bowing techniques that are commonly found in music.


First let’s look at the trill.

A trill is an ornamental technique that involves pulling the bow in one direction while the left hand oscillates between two neighboring pitches.

In music a trill is marked like this:


Next let’s look at the tremolo.

A tremolo is an dramatic technique that involves moving the bow back and forth at the tip as fast as you can. It creates a kind of shimmering unsettled sound over whatever note is being held.

In music a tremolo is marked like this:


Finally let’s look at the col legno.

Col legno in Italian means literally (hit with the wood). When these words are written in the music you should turn your bow over and play the notes by bouncing the wood of the bow on the strings rather than pulling them with the hair.

Advanced Bowing Techniques Match the following Italian words to their music notation counterpart. Then

define each of these symbols in your own words.

Staccato:_______________________

Accent:________________________

Trill:___________________________

Tremolo:_______________________

Col Legno:______________________

Legato:________________________

Sixteenth Note Review

Composition #5

Your composition must: 1. include your clef at the beginning. 2. have a 3/4 time signature. 3. have a key signature with three sharps. 4. contain one arpeggio. 5. show a tempo marking at the start. 6. contain sixteenth notes. 7. have a fermata in the middle. 8. include at least one advanced bowing technique.

Composition #5

Your composition must: 1. include your clef at the beginning. 2. have a 2/4 time signature. 3. have a key signature with three sharps. 4. contain one arpeggio. 5. show a tempo marking at the start. 6. contain sixteenth notes. 7. have a fermata in the middle. 8. include at least one advanced bowing technique.

Improvisation

To improvise means to compose, play, recite, or sing on the spur of the moment.

Improvisation is an important aspect of the jazz genre.

The ensemble will play a bass line (basso continuo) harmonic progression while a soloist improvises on top of that musical line.

Improvisation

This is the orchestra’s basso continuo:

Let’s play it together.

Improvisation

Now we will play as a class while soloists chosen by the director improvise melodies with the following notes:

G A B D E G

Adding rests can be as exciting as playing notes if they are placed effectively…

Syncopation

A syncopation is a sort of special accent, created by placing emphasis on the weak part of a beat.

This unexpected shift of emphasis is also called the

“off-beat.” As early as the Baroque Era composers like J.S. Bach

and Handel used syncopations to make their music exciting, although today syncopation is widely associated with pop music.

Syncopation

Here is an example of the natural emphasis of beat compared to its syncopated counterpart:

Natural Beat Syncopation

1-+ 2-+ 3-+ 4-+ 1 +-2 +-3 +-4 +

Syncopation

Here is an example of the natural emphasis of beat compared to its syncopated counterpart:

Natural Beat Syncopation

1-+ 2-+ 3-+ 4-+ 1 +-2 +-3 +-4 +

Anytime a rhythm covers a natural beat (a numbered count) we have a syncopation.

Syncopation

We mark our awareness of these syncopations by writing an accent above the syncopated rhythms like so:

1-+ 2-+ 3-+ 4-+ 1 +-2 +-3 +-4 +

Anytime a rhythm covers a natural beat (a numbered count) we have a syncopation.

Syncopation Let’s write in the beats for every note and rest in

the following exercise, as well as accent all syncopated rhythms:

1



1 2



1 2 3



1 2 3 +-4



1 2 3 +-4 (+)



1 2 3 +-4 (+) 1



1 2 3 +-4 (+) 1 +-2



1 2 3 +-4 (+) 1 +-2 +-3-4



1 2 3 +-4 (+) 1 +-2 +-3-4 +



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 +



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 +



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 +



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3)



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3) 4



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3) 4 1



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3) 4 1 +-2



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3) 4 1 +-2 +-3



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3) 4 1 +-2 +-3 (+)



1 2 3 +-4 (+) 1 +-2 +-3-4 + 1 2 + 3 + 4

1 +-2 +-3 +-4 + 1 2 (3) 4 1 +-2 +-3 (+) 4

Syncopation Write in the beats for every note and rest in the following

exercise, as well as accent all syncopated rhythms:

6/8 Time

Remember that the top note of a time signature tells us how many beats there are in a measure.

And the denominator tells us what kind of note gets the beat.

6/8 Time

Remember that the top note of a time signature tells us how many beats there are in a measure.

6 beats per measure

eighth note ( ) gets the beat

And the denominator tells us what kind of note gets the beat.

6/8 Time

Because the eighth note ( ) gets 1 beat the following statements are true:

The quarter note ( ) gets 2 beats.

The dotted quarter note ( . ) gets 3 beats.

The dotted half note ( . ) gets 6 beats.

6/8 Time

Let’s write the beats for the following notes and rests together as a class:

6/8 Time


1

6/8 Time


1 2

6/8 Time


1 2 3

6/8 Time


1 2 3 4

6/8 Time


1 2 3 4 5

6/8 Time


1 2 3 4 5 6

6/8 Time


1 2 3 4 5 6 1-2

6/8 Time


1 2 3 4 5 6 1-2 3-4

6/8 Time


1 2 3 4 5 6 1-2 3-4 5-6

6/8 Time


1 2 3 4 5 6 1-2 3-4 5-6 1-2-3

6/8 Time


1 2 3 4 5 6 1-2 3-4 5-6 1-2-3 4-5-6

6/8 Time


1 2 3 4 5 6 1-2 3-4 5-6 1-2-3 4-5-6 1-2-3-4-5-6

6/8 Time

Another common rhythm/bowing you will see in 6/8 time is the quarter slurred or hooked to an eighth note.

6/8 Time


Let’s write the beats for the following notes together.

1-2

6/8 Time



1-2 3

6/8 Time



1-2 3 4-5

6/8 Time



1-2 3 4-5 6

6/8 Time



1-2 3 4-5 6 1-2

6/8 Time



1-2 3 4-5 6 1-2 3

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6 1

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6 1 2

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6 1 2 3

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6 1 2 3 4-5

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6 1 2 3 4-5 6

6/8 Time



1-2 3 4-5 6 1-2 3 4-5-6 1 2 3 4-5 6 1-2-3-4-5-6

6/8 Time


Now let’s write in the bowings for this excerpt of 6/8 time:

1-2 3 4-5 6 1-2 3 4-5-6 1 2 3 4-5 6 1-2-3-4-5-6

6/8 Time Write the beats under each note and rest in the following 6/8 time

signature examples:

Tetrachords

The early Greeks devised scales which had only four notes, or tones. These scales were called Tetrachords, the word “Tetra” meaning four.

The tetrachord progression of ascending tones is as follows: whole step – whole step – half step

D tetrachord would have the following notes:

D E F# G

Tetrachords In your journal draw your instruments clef at the

beginning of the staff. In the first measure write the D Tetrachord in music

notation specific to your instrument. Mark the whole steps and half steps.

Write the C Tetrachord and the F Tetrachord in

music notation in the other two measures. Mark the whole steps and half steps.

Major Scale Review

A scale is a series of notes ascending or descending from a given note to its octave.

For example: open G to the G on the D string

Did you know that Major Scales are created by connecting two tetrachords with a whole step?

For example the D Tetrachord plus the A Tetrachord equals

the D Major Scale.

D –E–F#–G + A–B–C#–D

Major Scale Review

There are 8 notes in a major scale.

The 1st and 8th notes of the scale is called “Tonic” because it is the tonal center of the key.

The 3rd note of the scale is called the “Mediant” it is important because it determines the scales Major sound. If it was lowered by

half a step it would cause the scale to become minor.

The 5th note of the scale is called the “Dominant” because it is the most common note to modulate (change key).

Major Scale Review

Here are the solfedge syllables as they are assigned to each step of the Major scale:

Compare them to the markings in your theory journal.


Major Scale Review

Here are all of the whole steps and half steps as they occur in every Major Scale found in music:



Major Scale Review Which scale degree is called the dominant? Which scale degree is called the tonic? Which scale degree determines whether a scale is major or

minor? What syllable is assigned to the seventh scale degree? The half steps in a Major scale occur between syllables ___ and ____ as well as ___ and ___.

Triplets

In time signatures with a denominator of 2 or 4 a rhythmic anomaly called the triplet may occur.

A triplet is marked by a 3 above or below the notes which are beamed together.

Triplets

When a triplet is marked the three notes split the beat (or beats) they cover evenly, and feel like a mini syncopation.

Triplets are used to create rhythmic tension, cause drama, or romance within a melody or harmony.

Triplets

Triplets are counted 1 + a

Let’s count the following example together:

1

Triplets



1 2

Triplets



1 2 3

Triplets



1 2 3 +

Triplets



1 2 3 + a

Triplets



1 2 3 + a 4

Triplets



1 2 3 + a 4 1

Triplets



1 2 3 + a 4 1 +

Triplets



1 2 3 + a 4 1 + a

Triplets



1 2 3 + a 4 1 + a 2

Triplets



1 2 3 + a 4 1 + a 2 3-4

Triplets Write in the beats under all of the notes and rests in the following

examples:

Cut Time “Alla Breve”

The letter C is often used for the time signature: It is called common time and means exactly the same

as 4/4 time. When a vertical line is drawn through the common

time letter the value of both the upper number

four and the lower number four is cut in half and the time signature becomes 2/2.

This is known as “Alla Breve” or Cut Time.


Therefore:

=

In Cut Time there are two beats in every measure

and the half note receives the beat.

Beats per measure

What note gets the beat


In Alle Breve, or Cut Time, the beats are written like this:

1-2 1 2 1 + 2 + 1 e + a 2 e + a

1-2 (1) 2 1 (+) 2 + 1 e (+) a 2 e + (a)

Cut Time “Alla Breve” Let’s write the beats for the following notes and

rests together as a class:

1-2



1-2 1



1-2 1 2



1-2 1 2 1



1-2 1 2 1 2



1-2 1 2 1 2 +



1-2 1 2 1 2 +

1



1-2 1 2 1 2 +

1 e



1-2 1 2 1 2 +

1 e +



1-2 1 2 1 2 +

1 e + a



1-2 1 2 1 2 +

1 e + a 2



1-2 1 2 1 2 +

1 e + a 2 +



1-2 1 2 1 2 +

1 e + a 2 + a



1-2 1 2 1 2 +

1 e + a 2 + a 1



1-2 1 2 1 2 +

1 e + a 2 + a 1 2



1-2 1 2 1 2 +

1 e + a 2 + a 1 2 +



1-2 1 2 1 2 +

1 e + a 2 + a 1 2 + 1-2

Cut Time “Alla Breve” Write the beats for the following notes and rests in Cut Time:

Natural Minor Scale

Each note of a minor scale is assigned to a specific syllable or sound.

1 2 3 4 5 6 7 8 Do Re Me Fa Sol Le Te Do

Natural Minor Scale

There are three types of Minor Scales:

1. Natural Minor

2. Melodic Minor

3. Harmonic Minor

Natural Minor Scale


1. Natural Minor

2. Melodic Minor

3. Harmonic Minor

We will study Natural Minor first

Natural Minor Scale



Natural Minor Scale

The third step of the scale is called “Me.” The third note determines whether a scale is Major or minor.


Natural Minor Scale



Natural Minor Scale

The fifth step in a minor scale is called “Sol.” It is also called the dominant because it is next in importance harmonically to the tonic (1st & 8th steps)


Natural Minor Scale

The natural minor scale always has whole steps and half steps in the same place, no matter what the starting pitch may be.


Natural Minor Scale



Natural Minor Scale


Here we can see that there are five whole steps in a minor scale


Natural Minor Scale



Natural Minor Scale


Here we can see that there are two half steps in a minor Scale


Natural Minor Scale

Here are all of the whole steps and half steps as they occur in every natural minor scale found in music:



Natural Minor Scale Which scale degree determines whether a scale is major

or minor?

What syllable is assigned to the sixth scale degree?

What syllable is assigned to the seventh scale degree?

The half steps in a minor scale occur between syllables

___ and ____ as well as ___ and ___.

Natural Minor Scale Let’s write the Natural D-minor scale together as

a class:

First draw your clef sign at the beginning of the staff:


a class:


do re me fa sol le te do do te le sol fa me re do

D


a class:



D E

Natural Minor Scale Let’s write the Natural D-minor scale together as a

class:



D E F


a class:



D E F G A B


a class:



D E F G A B C


a class:



D E F G A B C D D


a class:



D E F G A B C D D C


a class:



D E F G A B C D D C B


a class:



D E F G A B C D D C B A

Melodic Minor Scale



Melodic Minor Scale


1. Natural Minor

2. Melodic Minor

3. Harmonic Minor

Melodic Minor Scale


1. Natural Minor

2. Melodic Minor

3. Harmonic Minor

We will study Harmonic Minor next.

Melodic Minor Scale



Melodic Minor Scale The melodic minor scale has whole steps and half steps in a different sequence ascending and descending.


8 7 6 5 4 3 2 1 Do Te Le Sol Fa Me Re Do

Melodic Minor Scale Notice how the solfedge is different on the way up than on the way down...



Melodic Minor Scale If we look at the ascending part of the melodic minor scale it almost looks like the Major Scale.



Melodic Minor Scale Here’s the Major Scale half steps and whole steps:



Melodic Minor Scale If we look at the descending part of the melodic minor scale it has exactly the same solfedge syllables as natural minor.



Melodic Minor Scale

Based on these observations we can conclude that:

The ascending part of the melodic minor scale will sound very similar to the Major Scale.

The descending part of the melodic minor scale will sound exactly like the descending part of the natural minor scale.

Melodic Minor Scale Copy the different patterns of whole steps and half steps in your theory journal:



Melodic Minor Scale The ascending sounds almost the same as what?

The descending scale sounds exactly like what?

What syllables are different ascending vs. descending?

Melodic Minor Scale Let’s write the melodic D-minor scale together

as a class:


Melodic Minor Scale Let’s write the Natural D-minor scale together as

a class:


do re me fa sol la ti do do te le sol fa me re do

D


a class:



D E


a class:



D E F


a class:



D E F G


a class:



D E F G A


a class:



D E F G A B


a class:



D E F G A B C


a class:



D E F G A B C D


a class:



D E F G A B C D D


a class:



D E F G A B C D D C


a class:




Harmonic Minor Scale


1 2 3 4 5 6 7 8 Do Re Me Fa Sol Le Ti Do



1. Natural Minor

2. Melodic Minor

3. Harmonic Minor


The harmonic minor scale always has whole steps and half steps in the same place, no matter what the starting pitch may be.



There are three whole steps and three half steps in a harmonic minor scale.



There are three whole steps and three half steps in a harmonic minor scale. Notice the space between 6 & 7 is still empty.



There are three whole steps and three half steps in a harmonic minor scale. There is also a step-and-a-half in the harmonic minor scale between notes 6 & 7.



Copy the half steps, whole steps, and step-and-a-half over the harmonic minor scale syllables in your theory journal.



The ascending and descending forms of the harmonic minor scale are the same.



The step-and-a-half occurs between which two notes in the harmonic minor scale?

Harmonic Minor Scale Let’s write the harmonic D-minor scale together

as a class:



as a class:


do re me fa sol le ti do do ti le sol fa me re do

D


as a class:



D E


as a class:



D E F


as a class:



D E F G


as a class:



D E F G A


as a class:



D E F G A B


as a class:



D E F G A B C


as a class:



D E F G A B C D


as a class:



D E F G A B C D D


as a class:



D E F G A B C D D C


as a class:




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