Download Fundamentals of Music G9-12

FUNDAMENTALS OF MUSIC
GRADES 9-12
EWING PUBLIC SCHOOLS
2099 Pennington Road
Ewing, NJ 08618
Board Approval Date:
Produced by:
August 29, 2016
Music Teachers
Michael Nitti
Superintendent
In accordance with The Ewing Public Schools’ Policy 2230, Course Guides, this curriculum has been
reviewed and found to be in compliance with all policies and all affirmative action criteria.
Table of Contents
Page
Focus
1
Scope and Sequence of Essential Learning:
Unit 1:
Unit 2:
Unit 3:
Unit 4:
Unit 5:
Unit 6:
Unit 7:
Properties of Sound-Basic Notation
Rhythm
Meter and Meter Signatures
Scale Structures and Scales
Intervals
Key Signatures
Triads
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5
8
12
16
20
24
1
Focus
The focus of your work in Music Fundamentals will be to understand and learn to use
the basic set of musical building blocks, or elements, that inform all music. This is
important regardless of the type of musician you consider yourself to be, because no
matter what the style, the fundamentals of music always stay the same. What changes
are the many different ways that composers have emphasized and combined these
elements. To put it more succinctly, musical styles change over time, but the
fundamentals of music do not. So, no matter what kind of music you listen to, and want
to write and play, the way to begin is to learn the fundamentals. You will always be able
to apply them to any style of music you may come to love, including ones that haven’t
even been imagined yet.
But what exactly do we need to learn that will make us more musical? Fortunately there
are certain aspects of music so fundamental that all musicians, regardless of the style of
music they play, will profit from a deeper understanding of them. These are the four
characteristics of musical sound and the six basic elements of music. No matter what
style of music you like - from metal, rap, electronic and hip hop, to Broadway, gospel,
Tin Pan Alley and pop, all the way to classical music by Bach, Mozart, Beethoven and
Mahler - all musical sound has the same four characteristics and all styles of music use
the same six basic elements. Learning about these building blocks of music will help all
of us become better musicians.
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Unit 1: Properties of Sound-Basic Notation
Why Is This Unit Important?
Sound is created when an object vibrates. These vibrations are received by our ears
and then sent to our brain. Our brain, in turn, analyzes these signals and lets us know
what type of sound we are hearing.
Music is differentiated from other sounds because it has certain qualities. All music must
be written before it can be read, understood and played by musicians. To do this, a
system of notation has been developed that gives musicians the information they need
to play music as the composer intended.
Enduring Understandings:
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Students will understand that music is a universal language that expresses
human experiences and values.
Students will understand that creating and performing music are forms of selfexpression.
Students will understand that everyone has the opportunity and ability to
experience music in a unique and personal way.
Students will understand that the creation of new music and the performance of
new and existing music are essential.
Students will understand that music has a fundamental connection with history
and culture.
Students will understand that cooperation and collaboration shape all musical
experiences.
Students will understand that individual life experiences influence the
appreciation and enjoyment of music.
Students will understand that music can be analyzed and evaluated.
Essential Questions:
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What is sound? What causes it and how do we hear it?
Sounds may be perceived as pleasant or unpleasant. What are these sounds
that we hear?
What are vibrations?
How do I use the tools I have to produce the sound I want?
What does quality music look and/or sound like?
What makes a piece of music, performance, composer or musician enduring?
How does knowing the context of the piece affect how I listen to it?
Why do people have different interpretations of the same piece?
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Acquired Knowledge:
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Humans from a young age have robust knowledge and sensitivity to the music in
their culture.
The vertical and horizontal aspects of organization in music together form a set
of grammatical rules which a listener must use in order to understand and
appreciate music as an art form.
The material essence of music lies with its melody, harmony, rhythm and
dynamics.
Sound begins with the vibration of an object.
Music is based on definite pitches.
Music has several different characteristics.
Music is differentiated from other sounds because it has certain qualities.
Acquired Skills:
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Distinguish music from other sounds by recognizing the four main properties of
musical sounds: Pitch, dynamics (loudness or softness), tone color and duration.
Identify the four elements of music.
Identify the four main properties of musical sound.
Demonstrate and apply critical listening skills to increase musical sensitivity.
Use and apply critical listening skills to describe the characteristics of music.
Recognize rhythms when they are played.
Major Assessments:
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Complete oral examination demonstrating the musical dynamics at random, as
well as in order of volume level (piano, forte, etc.)
Define concepts of intervals, music notation, chord structure and rhythm/meter
Instructional Strategies:
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Discuss the basics
The Staff
The Treble Clef
The Bass Clef
Time Signature
Review the parts of a note (note head, the stem, and flags)
Instructional Materials:
http://www.wikihow.com/Read-Music
http://www.musictheory.net/
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Accommodations or Modifications for Special Education, ESL or Gifted Learners:
Demonstrate Skills and have students model them
Give Short oral directions
Make verbal instructions clear, short and to the point
Make assignments that call for original work, independent learning, critical thinking,
problem solving and experimentation
Use concrete examples to introduce concepts
List of Applicable NJCCCS/CPIs Covered in This Unit:
1.1.12.B.1-2
1.3.12.B.1-3
Suggested Learning Experiences:
Provide each student with a music notebook that they will utilize to take notes and
complete activities related to:
The Staff:
Clefs
The Grand Staff
Measures
Notes
Notes written on the Staff
Ledger Lines
Repeats
Note Durations:
Dotted Notes
Rests
Accidentals
Ties and Slurs
Articulation
Dynamics
Time Signatures
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Unit 2: Rhythm
Why Is This Unit Important?
Rhythm, like a new language, has a notational system all its own. It offers a way for
composers to show how long each of the musical notes should last and how the notes
should relate to one another in time. Rhythm is the essential ingredient in all music. You
can mix together any sounds you want, but if there is no underlying rhythm to the
sounds, there is no music. For example, listen to the intro of “Money” by Pink Floyd.
They took the unusual sounds of a cash register and set them to a consistent rhythmic
pulse. Suddenly sounds that never sounded like music before sound like music. Rhythm
is the key element of music.
Enduring Understandings:
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Students will understand that listeners tune into rhythm more than anything else.
Understand that rhythm is, and will always be, a large part of the evolution of
music.
Rhythm is the common denominator in music.
Understand that anytime something doesn’t seem to be working the first thing
you should question is the rhythm.
Understand the rhythm section is the backbone of the band.
Understand that rhythm adds a whole new dimension to music.
Understand that rhythms can be simple or complicated.
Understand that rhythm is the timing of the notes.
Essential Questions:
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What is rhythm?
What is a quarter note?
What are silences?
What are rests?
What is meter?
What are measures?
What are tempo markings?
What are the three manifestations of rhythm?
How do humans perceive rhythm?
Acquired Knowledge:
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Every rhythm is made of two elements: something odd and something even.
Rhythmic hierarchy is divided into three regions: foreground, middle-ground and
background.
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The more one listens to a particular stimulus, such as a song, the more
dimensions of rhythm one is able to perceive.
There are as many rhythms in the world as there are stars in the sky.
Every culture has dozens, if not thousands, of rhythms related to dance and
language.
Rhythm is implicit in every musical gesture.
Acquired Skills:
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Read and create rhythmic notation.
Recognize rhythms when they are played.
Perform specific rhythms accurately, either while reading them or immediately
after hearing them.
Perform a rhythmic ostinato (suitable to the student’s age and musical
experience) as an accompaniment to a recording, keeping an accurate rhythm
and beat.
Major Assessments:
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Students will receive slips of staff paper with bar lines creating a 4-bar single
score pre-marked in ¾ time. Students will then receive 2 minutes to create a
rhythmic composition with eighth, quarter, half, dotted quarter and dotted half
notes.
They will then randomly be assigned to groups of 4 and practice their two
compositions together to reinforce ensemble playing with rhythms that are the
same and different.
Instructional Strategies:
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Clap or play (on a rhythm instrument) any short rhythm (or, for students learning
to read music, have the student read a written rhythm).
Have a student clap or play the same rhythm back to you, at the same speed.
Make the rhythm a collection of claps, stomps and other sounds. Have the
students copy it using the correct sounds.
Make the rhythm a collection of sounds on any percussion instrument.
Let the students have their turn making up short rhythms for each other to
imitate.
Instructional Materials:
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Rhythm http://cnx.org/content/m11646/latest/
http://cnx.org/content/m11031/latest
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Accommodations or Modifications for Special Education, ESL or Gifted Learners:
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Demonstrate skills and have students model them.
Give short oral directions.
Make verbal instructions clear, short and to the point.
Make assignments that call for original work, independent learning, critical
thinking, problem solving and experimentation.
Use concrete examples to introduce concepts.
List of Applicable NJCCCS/CPIs Covered in This Unit:
1.1.12.B.1-2
1.3.12.B.1-3
Suggested Learning Experiences:
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Have students echo the rhythms as a group rather, than individually. Count off for
them. Count 2 or 4 beats and then give them exactly the same count to start
theirs.
Give students simple rhythm parts to accompany music they are learning. Have
students identify the elements (instruments? A particular rhythm? Meter?) that
most strongly suggests that style or genre.
As much as possible, students should play different, complementary rhythms,
instead of all playing the same rhythm. Break the class into smaller performing
groups (with one student from each rhythm group) once the rhythms are learned,
and allow the groups to perform for each other, giving each student a chance to
play their rhythm independently.
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Unit 3: Meter and Meter Signatures
Why Is This Unit Important?
At the beginning of a piece of music, you will find two numbers resembling a fraction.
This is called the time signature or meter. The top indicates the number of beats per
bar. The bottom number gives the type of note which gets the basic beat. The most
common time signature used is 4/4. The top 4 shows there are four beats in every bar.
The bottom states that the crotchet or quarter note gets one beat. It is important to
remember that the time signature shows the number of beats and not the number of
notes per bar. Notes of various lengths are mixed together and must add up to the
proper number of beats required by the meter. In order to participate in making music, it
is important to understand how to count in various meters. A melody is completely
unrecognizable if the rhythm is incorrect.
Enduring Understandings:
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Meter is a recurring pattern of stresses or accents that provide the pulse or beat
of music.
Meter is notated at the beginning of a composition with a time signature.
Time signatures are always notated with two numbers, one on top of the other,
much like a fraction in math.
Once the meter is established, each beat can be subdivided into faster note
values and these can be used with longer note values to create the specific
rhythms of a musical composition.
In any meter, the subdivision can be divided down further to create faster
rhythms as needed.
Meter can be categorized as simple, compound or complex.
Meter signature is typically located at the beginning of the first musical staff of a
piece or movement.
Essential Questions:
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What is subdivision?
What is a compound meter?
What is a complex meter?
How is meter specified?
What is musical meter?
What is a meter signature?
What is a triplet symbol?
How can meters be classified?
What is a borrowed division?
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Acquired Knowledge:
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Conducting depends on the meter of the piece; conductors use different
conducting patterns for the different meters.
Meters can be classified by counting the number of beats from one strong beat to
the next.
To learn to recognize meter, you are basically listening for a running, even pulse
underlying the rhythms of the music.
Meters are not the same as time signature.
Some music does not have a meter.
Meters can be classified by counting the number of beats from one strong beat to
the next.
Meter organizes music by phrase, rhythm or by chord changes.
The most common meter in music is 4/4.
Acquired Skills:
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Identify the numerator and denominator of a time signature.
Identify several common meters and their notations.
Identify the three categories of meters.
Identify odd meters.
Identify the basic four or duplet meters.
Identify the three common triplet meters.
Major Assessments:
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Complete a Meter Table:
Name
Meaning
Rhythmic Notation
Two-four meter
Three-four meter
Four-four meter
Five-four meter
Six-eight meter
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Complete the chart on the basic subdivision of Simple Meters: Double Whole
Note, Whole Note, Half Note, Quarter Note, Eighth Note, Sixteenth Note, ThirtySecond Note, Sixty-Fourth Note, One Hundred and Twenty-Eighth Note
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Instructional Strategies:
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Define Musical Meter
Provide structured overview of Meter Signature:
3/8 – Three beats in one measure-Eighth note receives one beat
2/2 – Two beats in one measure – Half note receives one beat
4/4 - Four beats in one measure – Quarter note receives one beat
Explain Simple Meter
Examples include: common time, cut time, 2/4 time, and 3/4 time
Explain Compound Meter
Examples include 6/8 time; for example, which contains two groups of three
eighth notes.
12/8 time has four groups of three eighth notes, not three groups of four.
Explain the difference between 3/4 & 6/8 Time:
3/4 time is counted: One-and-Two-and-Three and…
6/8 time is counted: One-two-three, Four, f-five, six…
Instructional Materials:
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http://www.musicteacher.com
http://www.musictheory.net
http://fiddlerman.com/tutorials/beginners
Accommodations/Modifications:
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Demonstrate skills and have students model them
Give short oral directions
Make verbal instructions clear, short and to the point
Make assignments that call for original work, independent learning, critical
thinking, problem solving and experimentation
Use concrete examples to introduce concepts.
List of Applicable NJCCS/CPIs covered in this Unit:
1.1.12.B.1-2
1.3.12.B.1-3
Suggested Learning Experiences:
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Given an aural example of music, the student will clap to the beat, distinguish
weak from strong beats, and clap only on strong beats.
The student will identify the meter of the music by determining the number of
weak beats for every strong beat.
Students will distinguish heard beat subdivisions by vocalizing with them, and to
identify whether the meter is simple or compound.
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Explain double, triple and quadruple meters. Have students listen to a song.
Encourage them to tap their toes on all of the beats. Then ask them to clap on
the strong beats and/or count 1-2-1-2, or 1-2-3-1-2-3 or 1-2-3-4.
Students will decide as a group, based on their clapping or counting, the meter of
the song.
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Unit 4: Scale Structures and Scales
Why Is This Unit Important?
Music scales are the structures that make up which notes are used and how chords are
constructed within all the key signatures. All the world’s melodies are made from scales.
The scale is the fundamental building block of music, much as the skeleton is the
foundation of the human body. Scales have the ability to define and color music. Today,
the two most important scales of Western music are the major scale and minor scale.
Both of them are built from different combinations of whole steps and half steps. The
major scale and minor scale are both seven-note scales having five whole steps and
two half steps, yet they sound strikingly unlike each other because of the pattern of
whole steps and half step is different. Scales contain the fundamental patterns upon
which tonal music is built.
Enduring Understandings:
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The major scale seems familiar because so many of the melodies and so much
of the harmony you have heard throughout your life are based on it.
The major scale is an interval patter of five whole steps and two diatonic half
steps.
There are fifteen different major scales-seven that use flatted notes, seven that
use sharped notes, and one natural scale.
Another way to think of major scales is as two tetra chords; that is, as two fournote patterns.
As long as you reproduce the whole/half step pattern, you create a major scale
from any pitch.
Ancient Greeks, especially Plato, saw a strong connection between musical
scales and human emotions.
Musical scales are more than just ‘schemes of pitches’.
The pentatonic scale is the basis for most of the world’s folk music and some of
its classical music.
“Auld Lang Syne” is one of the many well-known pentatonic folk melodies.
Pentatonic scale is a scale with five tones per octave. It may have been one of
the first scales ever used.
The minor scale sounds less stable than the major scale.
If you change a note of the major scale, you can destroy it.
If you change a note in the minor scale it can sound more interesting.
Essential Questions:
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What are scales and why are they important to music?
What is tonal music?
What is a pentatonic scale?
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What is the name given to a group of pitches?
What patterns create major scales?
What is a chromatic scale?
How can you create a major scale from any pitch?
What is another name for the first tone?
What is another way to think of major scales?
How many forms make up the minor scale?
What are blues scales?
Acquired Knowledge:
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A thorough knowledge of scales is basic to understanding and performing music.
The major scale is the first of the diatonic scales.
Another name for the major scale: the Ionian Mode
A major scale has seven notes
The first and simplest major scale is the C major scale.
The C major scale is the only major scale that doesn’t have sharps (#) or flats
(b).
In solfege, the notes of the major scale are named like this: Do, Re, Mi, Fa, Sol,
La, Ti.
All major scales have a typical structure.
Musical scales are used in the music of most cultures.
One of the most common scales is called a Major Scale.
Scales are basic; there is no substitute for knowing them.
Acquired Skills:
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List the series of seven notes that make up the Major Scale.
Describe the two most important scales of Western music.
Create a major scale using the lower and upper Tetrachord pattern.
List the three forms of the minor scale.
Describe the difference between ascending scales and descending scales.
Label the sharp sign and the flat sign.
Recognize and write the major and minor pentatonic scales.
Recognize and write the blues scale.
Major Assessments:
Finding the tonic:
As a group, make a list of five melodies that most class members know well. These can
be themes from your favorite television shows or songs from the movies, as well as
melodies from classical, popular or folk music. Two things are important in making your
choices. The first is to choose only songs in major keys. The second is to choose
melodies that the class knows well and can sing.
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1.
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3.
4.
5.
As a group, sing the melodies you have chosen and identify the tonic of each by sound.
Notice how often and in what places the tonic occurs. Are these places restful or active?
After you have sung each melody and located the tonic, sing a major scale beginning on
the tonic, and sing a major scale beginning on the tonic of that melody. Did you notice a
relationship between the scale and tonic?
Name the following scale degrees.
1.
2.
3.
4.
third degree
fifth degree
sixth degree
first degree
5. seventh degree
6. second degree
7. fourth degree
Spell the following ascending major scales using letter names and any necessary
accidentals. Remember that, when written, accidentals follow the letter name.
Example: A
1.
A
2.
C
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E.
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D
5.
F
6.
C#
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B
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C
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B
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G
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D
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G
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F#
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E.
B
C#
D
E
F#
G#
A
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Instructional Strategies:
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Discuss and label on board the scale degrees in ascending order:
Tonic
Supertonic
Mediant
Subdominant
Dominant
Submediant
Leading tone
Tonic
Have students sing the following melodies (“Michael, Row the Boat Ashore” or
“Barbara Allen”) using a neutral syllable like la, the letter names of the pitches, or
the scale degree numbers. Locate the tonic by sound. Write the sight-singing
syllables below each note.
Instructional Materials:
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http://www.bandnotes.info/tidbits/scales/half-whl.htm
http://www.musicteacher.com/music
http://www.scales-chords.com/choralscalefinder
http://www.musiclearningworkshop.com
Accommodations or Modifications for Special Education, ESL or Gifted Learners:
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Demonstrate skills and have students model them
Give short oral directions
Make verbal instructions clear, short and to the point
Make assignments that call for original work, independent learning, critical
thinking, problem solving and experimentation
Use concrete examples to introduce concepts
List of Applicable NJCCCS/CPIs Covered in This Unit:
1.1.12.B.1-2
1.3.12.B.1-3
Suggested Learning Experiences:
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Write major scales with proper accidentals on board
Identify harmonic and melodic minor scales by raided scale degrees
Write minor scales in all 3 forms on board with proper accidentals
Write the major scales by major scale formula: 1, 1, 1/2, 1, 1, 1 and 1/2
Write and identify scale degrees in major and minor keys in treble and bass clefs
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Unit 5: Intervals
Why Is This Unit Important?
An interval is a measure of the distance between two pitches. It is referred to by both
basic interval (number) and quality. The number of note names (or lines and spaces)
spanned determines the basic interval, while the exact number of half steps determines
the quality. Intervals are always read as ordinal numbers, so when you see a 2 you say
second, when you see a 4 you say fourth, etc. The exceptions to the rule are unisons
(1) and octaves (8). The intervals that can have a perfect quality are unisons, fourths,
fifths and octaves. The intervals that can have either major or minor quality are
seconds, thirds, sixths and sevenths. All intervals can be augmented or diminished.
Inversions of intervals will always have a symmetrical relationship and add up to 9.
Enduring Understandings:
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An interval is a measure of the specific distance between two pitches.
We label intervals by basic interval and quality.
The basic interval is the number, while the word (or letter) that precedes the
number tells us the quality.
The specific quality of an interval is determined by the number of half steps it
contains.
The smallest interval in traditional western music is the half step.
If you play every note on the piano in order, including all the black keys, you are
playing half steps.
The interval is one of the basic units of tonal music.
The first step in identifying an interval is to determine the size of the interval.
The quality or color of an interval is related to the number of half steps contained
between the two pitches.
Only four kinds of intervals are called perfect intervals: the unison, the fourth, the
fifth and the octave.
For any particular interval, both the size and the quality must be correct for the
interval itself to be correct.
Essential Questions:
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What are the two elements to the labeling of intervals in music?
Why is it important to count the half step distance between two notes?
What scale is used as a model to define the perfect and major intervals?
What determines a perfect interval?
What diminishes a perfect interval?
What is the most common diminished interval?
In more rare musical situations, what intervals might you encounter?
How does a perfect interval become augmented?
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What determines a major interval?
What are major seconds?
What are the more common augmented intervals in music?
How do major intervals become minor?
Acquired Knowledge:
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Intervals are classified two ways: The basic interval of the unison, second, third,
fourth, fifth, sixth, seventh and octave; the type of basic interval (perfect, major,
minor, augmented and diminished).
An interval can be inverted by placing the upper note under the lower note and
vice versa. For example, the interval C-E can be inverted by placing the E below
the C or the C above the E.
Intervals beyond an octave are usually referred to as compound intervals.
Intervals are measured according to the spelling of each pitch.
The basic intervals can be thought of as the letters of the musical alphabet.
Basic intervals are counted from ‘one’.
The basic intervals types are major, augmented, diminished and perfect.
Always remember to determine the basic interval first, and then figure the type of
interval.
All major intervals invert to minor intervals; e.g., major second inverts to minor
seventh.
All minor intervals invert to major intervals.
All perfect intervals invert to perfect intervals.
All augmented intervals invert to diminished intervals. All diminished intervals
invert to augmented intervals.
Acquired Skills:
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List the interval types.
List the interval qualities.
List the four perfect intervals.
Explain the difference between simple interval and compound interval.
List the five different terms used as the interval prefix.
Identify and notate intervals by number and quality.
Identify and notate intervals with numbers and quality by ear as dictated by the
piano.
Identify and notate inversions of intervals numerically and qualitatively.
Identify and notate compound intervals numerically and qualitatively.
Major Assessments:
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Write intervals with proper accidentals for quality on board and at seats.
Identify intervals both numerically and qualitatively with flashcards.
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Write and aurally identify intervals as dictated by the keyboard.
Write inverted and compound intervals with proper quality.
Instructional Strategies:
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Examine how aspects of meter, rhythm, tonality, intervals, chords and harmonic
progressions are organized and manipulated to establish unity and variety in
genres of musical compositions.
Identify major intervals by writing scales.
Write major scales by recalling key signatures.
Write the top notes of intervals.
Identify intervals whose bottom notes are not key notes.
Identify intervals in musical phrases.
List and discuss the terms used to describe the quality of intervals:
Interval
Abbreviation
Perfect
P
Major
M
Minor
m
Augmented
A or +
Diminished
d or o
Instructional Materials:
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http://www.musictheory.net
http://www.teoria.com
Accommodations or Modifications for Special Education, ESL or Gifted Learners:
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Demonstrate skills and have students model them.
Give short oral directions.
Make verbal instructions clear, short and to the point.
Make assignments that call for original work, independent learning, critical
thinking, problem solving and experimentation.
Use concrete examples to introduce concepts.
List of Applicable NJCCCS/CPIs Covered in This Unit:
1.1.12.B.1-2
1.3.12.B.1-3
Suggested Learning Experiences:
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Identify intervals by interval size.
Complete intervals by writing the pitch that is the correct interval size above the
given pitch.
19
•
•
•
•
•
Complete harmonic intervals by writing the pitch that is the correct interval size
below the given pitch.
Identify interval size between pitches in identified sets.
In harmonic intervals circle the perfect unisons, fourth, fifths and octaves.
Teacher or student will play various intervals, beginning on different pitches
recognizable by ear.
These will be played as either harmonic (sounding simultaneously) or melodic
(sounding in succession) intervals. The following intervals have been grouped in
limited combinations according to size and quality.
Major 2nds and Major 3rds
Major 3rds and Perfect 5ths
1.
4.
7.
1.
4.
7.
2.
5.
8.
2.
5.
8.
3.
6.
9.
3.
6.
9.
Perfect 4ths and Perfect 5ths
Major 2nds, Perfect 4ths and Major 6ths
1.
4.
7.
1.
4.
7.
2.
5.
8.
2.
5.
8.
3.
6.
9.
3.
6.
9.
All intervals from the major scale, including the Major 7th
•
1.
4.
7.
1.
4.
7.
2.
5.
8.
2.
5.
8.
3.
6.
9.
3.
6.
9.
Identify the interval size between the pitches in each of the following sets. In lines
1 to 3, consider the second pitch to be above the first pitch.
1.
E-F
D-A
G-B
F-E
3.
G-E
B-E
D-F
A-D
2.
F-A
F-B
A-B
C-B
4.
E-A
G-B
F-G
F-A
20
Unit 6: Key Signatures
Why Is This Unit Important?
Key signatures tell us what notes are sharp or flat in a scale. When we say we are in the
Key of F Major, we are saying that we are using the notes of the F Major scale. The Key
Signature for the Key of F Major would be one flat, because there is one flat in the F
Major scale. Any single Key Signature symbol will identify both a Major and (Natural)
Minor scale, for example C Major and A (natural) Minor have the same Key Signature
symbol. The Key Signature is a grouping, at the beginning of each staff, of all the
accidentals found in the scale on which the piece is based.
Key signatures are a very important concept to understanding the overall structure and
form of songs and compositions.
Enduring Understandings:
•
•
•
•
•
•
•
•
Key signatures express the key of a song by displaying which notes have sharps
or flats, if any.
Key signatures imply accidentals throughout a song, sit sharps or flats will not be
marked in the body of the music.
In common notation, clef and key signature are the only symbols that normally
appear on every staff.
Key signature and clef tell you what note is found on each line and space of the
staff.
Any key signature can also represent a minor key.
Minor keys share a key signature with a major key.
Key signatures contain a great deal of information that helps composers write
their music, and help musicians understand it faster and more in-depth.
Key signatures can specify major or minor keys.
Essential Questions:
•
•
•
•
•
•
•
•
The key signatures used in major keys are split between what two keys?
Why is it a good idea to look at the first line of a song?
Why is it important to study the circle of Fifths and Fourths?
What two signatures have a consistent order and location on the staff?
What is the Circle of Fifths?
What is the primary concept to remember about key signatures?
If one key signature can represent two different keys, how can we tell which key
a piece is?
What are related keys?
21
Acquired Knowledge:
•
•
•
•
•
•
•
•
•
•
How key signatures can represent multiple accidentals within the music.
The placement and order of sharps in sharp key signatures.
The placement and order of flats in flat key signatures.
The circle of fifths for major keys.
How key signatures are often perplexing at the beginning, they never change,
and are quickly mastered with practice.
Without key signatures, most music would be sprinkled with an incredible number
of accidentals, and the resulting clutter would make the music more difficult to
read.
How key signatures are important when reading tonal music.
In identifying major key signatures that use sharp, the key is always the pitch a
half step above the last sharp indicated in the signature.
One key signature can represent two different scales-one major, one minor.
Key signatures tell you which key you are in and which set of notes you are
working with in a given passage of music.
Acquired Skills:
•
•
•
•
•
•
Write key signatures, using either sharps or flats.
Identify the correct major key, based on the number of sharps or flats.
Identify the relative minor key for major keys.
Identify the relative major key for minor keys.
Identify minor keys represented by stated key signatures.
Describe the parallel major-parallel minor relationship.
Major Assessments:
•
Write out major key signatures, using either sharps or flats. It is helpful to
remember that the order of flats – B-E-A-D-G-C-F is the reverse of the order of
sharps-F-C-G-D-A-E-B.
•
Identify the correct major key, based on the number of sharps or flats indicated:
1. three sharps
8. two flats
2. six sharps
9. seven flats
3. one sharp
10. one flat
4. four sharps
11. five sharps
5. three flats
12. five flats
6. six flats
13. four flats
7. two sharps
14. seven sharps
22
•
Teacher will play on the keyboard several of the musical excerpts listed below.
After listening to each excerpt, decide whether it is a major or minor key.
Composer
Bach
Bach
Bach
Kuhlau
Mozart
Scarlatti
Traditional
Title
Chorale from Cantata No. 180
Courante from French Suite No. 2
Minuet in G Minor
Rondo from Sonatina, Op. 20, No. 1
Sonata in B Major, K. 570, III
Sonata in C Minor
“St. James Infirmary”
Instructional Strategies:
•
•
•
•
Introduce the circle of fifths key signatures with sharps and key signatures with
flats.
Use a diagram to show how all the major keys relate in the circle of fifths.
List the fifteen different ways to write key signatures.
Use staves to demonstrate the pattern of sharps for the sharp major keys,
placing them in the right octave.
Instructional Materials:
•
•
•
•
http://www.Circleoffifths.net
http://www.MusicTheory.net
http://www.eMusicTheory.com
http://www.Method-behind-the-music.com/theory/scales/keys
Accommodations or Modifications for Special Education, ESL or Gifted Learners:
•
•
•
•
•
Demonstrate skills and have students model them.
Give short oral directions.
Make verbal instructions clear, short and to the point.
Make assignments that call for original work, independent learning, critical
thinking, problem solving and experimentation.
Use concrete examples to introduce concepts.
List of Applicable NJCCCS and Standards/CPIs Covered in this Unit:
1.1.12.B.1-2
1.3.12.B.1-3
23
Suggested Learning Experiences and Instructional Activities:
•
Identify the relative minor key for the following major keys.
1. E major
8. A major
2. D major
9. C major
3. G major
10. B major
4. F major
11. F# major
5. C# major
12. D major
6. G major
13. E major
7. A major
14. B major
•
Identify the major key and the relative minor key that have the given number of
sharps or flats.
Major
Relative Minor
1.
two flats
2.
two sharps
3.
three sharps
4.
four flats
5.
seven sharps
6.
five flats
7.
six sharps
8.
three flats
9.
one sharp
10.
six flats
11.
five sharps
12.
one flat
13.
four sharps
14.
seven flats
•
Identify the relative major key for the following minor keys.
1.
2.
3.
4.
5.
6.
7.
F# minor
D minor
A minor
C# minor
A# minor
G minor
B minor
8.
9.
10.
11.
12.
13.
14.
E minor
D# minor
F minor
B minor
E minor
C minor
G# minor
24
Unit 7: Triads
Why Is This Unit Important?
Like the primary colors to the painter, the triads provide a fundamental musical element
for the creative musician. Triad in music, a chord made up of three tones, called chord
factors, of the diatonic scale; root, third and fifth. The system of diatonic triads is the
basis of tonal harmony in music. Triads are among the primary building blocks of tonal
music. In studying triads, two things are important to keep in mind.
Enduring Understandings:
•
•
•
•
•
•
•
•
•
•
Understanding theory and executing the major triad is potentially of great
importance to the emerging player of American music.
Understanding the theory of the triad provides a solid basis for expansion of
ideas for the emerging theorist.
The triad is the basic chord of tonal music.
Other chords-such as sevenths, ninths and elevenths are extensions of the triad.
The quality of a triad is determined by the kinds of thirds it contains.
Triads are three-note chords built of two superimposed thirds.
When the triad is written in root position-that is, as two superimposed thirds-we
identify the three notes of the triad from the lowest to the highest as the root, the
third and the fifth.
Triads take their name from the name of the root; that is, the lowest sounding
pitch when the triad is constructed as superimposed thirds.
When triads appear as two superimposed thirds, they are said to be in close
position. That is, the three notes of the triad are all contained within an octave.
Triads can be built on any note of the major and minor scale.
Essential Questions:
•
•
•
•
•
•
•
•
•
What are triads?
What is close position?
What is an augmented triad?
What is a diminished triad?
How many triads does the major scale produce?
How do musicians identify triads?
What are two other positions triads can appear?
Of all the musical resources, what triad is the most widely used to create western
music?
Can we create a major triad on each of the pitches of the chromatic scale?
25
Acquired Knowledge:
•
•
•
•
•
•
•
•
•
The basic structure of triads.
In music theory, a major chord is a chord having a root, a major third and a
perfect fifth.
A major triad is a chord with a root, major third and perfect fifth.
A minor chord differs from a major chord in having a minor third above the root
instead of a major third.
The major chord, along with the minor chord, is one of the basic building blocks
of tonal music.
In tonal music, the augmented triad differs from the other kinds of triad in that it
does not naturally arise in a diatonic scale.
How dominant triads must always be major.
All dominant chords must be major, whether you are in a major key or a minor
key.
How triads are related to scales.
Acquired Skills:
•
•
•
•
•
•
•
•
Writing triads in close and open positions.
Recognize and label inversions of triads.
Identify the four types of triads.
Identify the three ways of labeling triads.
Describe how to invert seventh chords.
How to recognize triads in actual music.
Ability to identify chord progressions or even individual chords by ear.
Identify the five main types of seventh chords
Major Assessments:
•
•
•
•
Practice writing major and minor triads in root position from the same given tonic
note. Remember that major tonic note. Remember that major triads have a major
third on the bottom while minor triads have a minor third as the lower third.
Remember also that the interval between the root and the fifth always be a
perfect fifth.
Labeling triads in both major and minor keys.
Write indicated triads in each key.
Write indicated triads in root position.
Ear Training:
•
Teacher will play various chords. Some chords will be played as seventh chords,
others as triads. In the following space, indicate whether you hear a seventh
chord or a triad.
26
1.
2.
3.
4.
5.
Instructional Strategies:
•
•
•
•
•
Construct triads on scale degrees.
Label inversions to indicate whether a triad is in root position or in an inversion.
Label augmented and diminished triads.
Practice playing triads on the piano.
Play a traditional hymn several times and have students try to identify the quality
of each chord by its sound (major, minor, augmented or diminished.
Instructional Materials:
•
•
•
•
http://www.mymusictheory.com
http://www.musictheorysite.com
http://www.musictheory.net/lesson
http://www.teoria.com/reference
Accommodations or Modifications for Special Education, ESL or Gifted Learners:
•
•
•
•
•
Demonstrate skills and have students model them.
Give short oral directions.
Make verbal instructions clear, short and to the point.
Make assignments that call for original work, independent learning, critical
thinking, problem solving and experimentation.
Use concrete examples to introduce concepts.
List of Applicable NJCCCS/CPIs Covered in This Unit:
1.1.12.B.1-2
1.3.12.B.1-3
Suggested Learning Experiences:
•
•
•
•
Identify the root of triads, and label each as major (M) or minor (m) in quality.
Complete close-position major or minor triads.
Identify the roots of triads and label the triads as augmented (A) or diminished (d)
in quality.
Provide five or six triads that will either be first inversion or second inversion.
Identify the inversion, the root of the triad, and the quality of the triad.