Download VAN TECH MUSIC MUSIC THEORY LEARNING GUIDE Level IIA

VAN TECH MUSIC
MUSIC THEORY LEARNING GUIDE
Level IIA
Edited by Elizabeth Riegert 2017
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VAN TECH MUSIC
Music Theory Program – Level IIA
The Level IIA program is intended for students in Senior Concert Band, Senior Orchestra
and members of Concert Choir, Chamber Choir and Vocal Jazz. The program focuses on simple
skills of reading, notation and the language of music.
Activities are noted in each section of this program guide and will be handed out in
class. Extra copies can be found on Miss Riegert’s teacher blog (under VT Theory Units) at
blogs.ubc.ca/elizabethriegert/. Assignments must be submitted on the due date, late
assignments will not be accepted (unless due to excused absence or illness).
All instruction will take place during class. Students with additional questions are
encouraged to ask their classmates for help or to schedule a tutorial with Miss Riegert outside
of regular class time.
Assessment:
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

2 Written, Take-home Assignments
1 In-class Quiz
1 Final Test
Topics
1. Pitch Naming
2. Scale Writing
a. Major
b. Natural minor
c. Harmonic minor
d. Melodic minor
3. Scale Degree Identification
4. Key Signature Identification
a. All flat and sharp Major keys
and their relative minors
5. Triads
a. Major
b. Minor
6.
7.
8.
9.
c. Inversions
Intervals
Rhythm
a. Dotted Rhythm
b. Time Signatures
c. Counting Systems
Musical Term Recognition – tempo,
dynamics, style, technique, form
Aural Skills
a. Scales – Major or minor?
b. Triads – Major or minor?
c. Intervals
d. Rhythmic Dictation
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Grading Rubric
Criteria
Effort and
Participation
Homework
Examination
Meeting
Expectations
Student is on time for
class with all
materials (theory
package, homework,
writing utensils, and
instrument) and
actively participates
in class discussion.
Approaching
Expectations
Student attends class
with most of their
materials and listens
attentively to
discussion and
lecture.
Student completes
and submits
homework on time
with all questions
answered for a grade
of 75% or more.
Student completes all
exam/quiz questions
within allotted time
for a grade of 75% or
more.
Student completes
most of homework
questions on time
with a grade of 60%
or more.
Student completes
most of exam/quiz
questions within
allowed time for a
grade of 60% or
more.
Not Meeting
Expectations
Student is not on
time, or does not
attend class (without
an excused absence)
does not bring
materials to class and
does not pay
attention or
participate in class
discussion.
Student does not
complete homework
on time or receives a
grade of 59% or less.
Student does not
complete most of
exam/quiz questions
within allotted time
and/or receives a
grade of 59% or less.
Materials to bring to each class:




Pencil and eraser
Theory Package
Homework
Band Instrument
Additional (optional) resources:



Keyboard Theory: Basic Rudiments – Grace Vandendool
Keys to Music Rudiments (textbook and workbooks) – Boris Berlin
Harmony and Voice Leading (textbook and workbooks) – Edward Aldwell
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1. Pitch Naming
A: Each key on the piano keyboard will sound as a different pitch. Similarly, all string, brass,
woodwind and pitched percussion instruments can sound numerous pitches across a broad
pitch range.
The pitch names in the “musical alphabet” are:
A B C D E F G
B: Accidentals - Each of these pitch names can be modified by adding a sharp or flat sign.
The sharp sign will raise the pitch by one semitone from its natural pitch. The flat sign will lower
the pitch by one semitone from its natural pitch. To cancel either of these symbols, a natural
sign is used. All three of these signs are known collectively as accidentals.
SHARP
FLAT
NATURAL
DOUBLE
SHARP
DOUBLE
FLAT
It is important to note that when written in text, we say the pitch name first, followed
by the accidental (i.e. B-flat or F-sharp). However, when written on the staff, the accidental will
always appear before the actual note. (i.e. ♭♩)
C: Clefs - Each pitch has a place on the staff. A staff must include a clef to indicate the
range in which the pitches should sound. Placing a note on the staff tells a performer which
pitches should be played. In our school ensembles, four different clefs are used. Below is a list
of all the instruments which use each clef, along with a graphic of the clef itself.
Treble Clef
Alto Clef
Flute (and piccolo)
Oboe
Clarinet
Bass Clarinet
All Saxophones
Trumpet/Cornet
French Horn
Violin
Sopranos (choir)
Altos (choir)
Viola
Treble Clef (Octave
Transposition)
Tenors (choir)
Tenor Clef*
Bass Clef
Bassoon
Trombone
Cello
Bassoon
Trombone
Euphonium
Tuba
Cello
String Bass
Basses (choir)
*Tenor clef is only
used for these
instruments when
the written pitch is in
a range above the
bass clef.
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D: Enharmonic Names - Every pitch has the possibility of more than one name. Even
though the sound of pitch doesn’t change, its additional name(s) are called enharmonic names.
For example, using the piano keyboard we can easily see that between the white keys for G and
A, there exists a black key. The black key can be called either G♯ or A♭ because of its distance
relative to the white keys.
E: Whole Tones vs. Semitones - The smallest distance between two pitches is a
semitone. The distance of two semitones is called a whole tone. On a piano keyboard, you can
identify a semitone by playing two immediately adjacent keys. Playing a semitone will sound
like the famous opening to the theme song from Jaws. A whole tone will sound like the first two
pitches of Happy Birthday.
F: Ledger Lines – The staff is comprised of 5 lines, as shown on the previous page. When
a composer makes use of a pitch that goes beyond the rand of the staff, ledger lines are used.
2. Major Scale Writing
A scale is a sequence of pitches, ascending or descending, that follows a pattern of
semitones and whole tones.
A: Major Scales - A Major scale will contain 8 pitches, exactly one octave in range. For
example, if the scale starts on C it will continue up (or down) until you reach the next C.
Using your knowledge of whole tones (T) and semitones (ST), you will be able to identify
that a pattern exists within all Major scales. The pattern is shown below:
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B: Minor Scales - Natural minor scales will also contain 8 pitches, exactly one octave in
range. However, the pattern of semitones and whole tones is different.
Harmonic minor scales still contain 8 pitches, one octave in range, however, they also
show a new pattern of semitones including a minor third (the same distance as 3 semitones).
Notice that the 7th scale degree is raised.
Melodic minor scales also still contain 8 pitches, one octave in range. Notice that the 6 th
and 7th scale degrees are raised when the scale is ascending, but the scale is played as a natural
minor scale when descending. See below.
Notice that the key signatures of “C Major” (shown on the previous page) and “a natural
minor” shown above are the same. However, the combination of whole tones and semitones is
different in each scale. Every Major scale has a relative natural minor scale, which starts on the
6th scale degree of the Major scale and continues in sequence for one octave. For example, in
the key of C Major, the 6th scale degree is A, and a minor is the relative minor key to C Major.
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3. Scale Degree Identification
There are two main ways to identify where a pitch fits into the scale of a given key
(solfege and numbers). For our purposes we will only learn the modern system using scale
degree numbers. In the example below, you’ll see a C Major scale with the scale degree
numbers identified below. To ensure that others will understand how you use the numbers,
you must always place a caret (^) above the numbers.
To identify the first scale degree, you should first look at the name of the key. For
example, in C Major, the first scale degree is C. This information will be extra useful when
learning about triads.
4. Key Signature Identification
Key signatures are a collection of the accidentals found in a scale. They tell us which key
our music is in and which notes will need to be played flat or sharp. For the purposes of this
theory unit, you will be expected to know the Major keys up to 3 flats and 3 sharps.
Flat Key Signatures
F Major/d minor
Order of Flats
Order of Sharps
B♭
Sharp Key Signatures
G Major/e minor
B♭ Major/g minor
B♭ E♭
D Major/b minor
F♯ C♯
E♭ Major/c minor
B♭ E♭ A♭
A Major/f♯ minor
F♯ C♯ G♯
A♭ Major/ f minor
B♭ E♭ A♭ D♭
E Major/c♯ minor
F♯ C♯ G♯ D♯
D♭ Major/ c minor
B♭ E♭ A♭ D♭ G♭
B Major/g♯ minor
F♯ C♯ G♯ D♯ A♯
G♭ Major/ e♭ minor
B♭ E♭ A♭ D♭ G♭ C♭
F♯ Major/d♯ minor
F♯ C♯ G♯ D♯ A♯ E♯
C♭ Major/a♭ minor
B♭ E♭ A♭ D♭ G♭ C♭ F♭
C♯ Major/a♯ minor
F♯ C♯ G♯ D♯ A♯ E♯ B♯
To identify the name of a key signature
containing flats, look at the second to last flat.
For example, if the key signature contains B♭ and
E♭, the name of the key is B♭ but if the key
signature contains B♭ E♭ and A♭ then the key
is E♭.
F♯
To identify to name of a key signature containing
sharps, look at the last sharp and count up one
semitone. For example, if the key signature contains
F♯ C♯ and G♯, then one semitone up from G♯ is A
and therefore the key signature would be A
Major.
C Major/a minor contain no flats or sharps.
🎼
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5. Triads
A triad is a collection of three pitches played simultaneously (harmonic triad) or in
sequence (melodic triad). A Major triad is comprised of the first, third and fifth scale degrees.
We call this “spelling a chord”. Triads can also be called chords and are used by composers to
add musical interest by accompanying a melody.
An inversion is when the lowest note in the triad becomes the 3rd or 5th scale degree.
When the 3rd scale degree becomes the bottom note, we call this triad first inversion. When the
5th scale degree becomes the bottom note, we call this triad second inversion.
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6. Intervals - The distance between two pitches. Earlier, we looked at whole tones and
semitones (the smallest distances between two pitches). We are now going to learn how to
identify all Major and Perfect intervals. Intervals can be either ascending or descending, we will
only work with ascending intervals in this unit.
When determining the size of the interval, we measure the distance from the first pitch
to the second pitch. In naming intervals, we use two words. The first word determines the
quality, and the second word determines the interval.
Guide to Naming and Identifying Intervals:
Name of Interval
Perfect Unison
Minor 2nd
Major 2nd
Minor 3rd
Major 3rd
Perfect 4th
Tritone
Perfect 5th
Minor 6th
Major 6th
Minor 7th
Major 7th
Perfect Octave
Common Melody
It’s the same pitch!
Jaws Theme
Happy Birthday
Greensleeves
Oh When the Saints
Here Comes the Bride
The Simpsons
Twinkle, Twinkle, Little Star
3rd and 4th notes of The Entertainer
My Bonney Lies Over the Ocean
Somewhere (West Side Story)
First and 3rd notes of Somewhere Over the Rainbow
Somewhere Over the Rainbow
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7. Rhythm
Rhythm is the manner in which sounds are organized. The duration, or value, of each
note or rest must reflect rhythmic accuracy by individuals so that different musicians
performing different parts maintain strong rhythmic integrity.
A: Note and Rest Values - Notes have relationships to each other in the same way as
fractions. For example, eight “eighth” OR four “quarters” OR two “halves” will make one
“whole”. We use the same words to describe note and rest values.
Similarly, rests have the same relationship (as illustrated above). Observe in the example below
the rests shown in sequence from whole rest to eighth rest.
*Whole rests are used to indicate an entire bar of rest, no matter what the time signature may be.
B: Dotted Note Values – A dotted note is held for a longer duration than usual. The dot
represents adding half of the rhythmic value of the note to itself. For example, a dotted half note can be
considered as a diration of ONE half note plus ONE quarter note totalling to an equivalent of THREE
quarter notes. This same formula applies to rests as well.
We tend to have common rhythmic pairings of dotted rhythms; an example of this is a dotted
quarter and an eighth note pairing. These rhythmic pairings are common in most musical literature such
as marches, waltzes and symphonies. Students should become familiar with thesepatterns as a form of
“rhythmic vocabulary”. Here is an example of a dotted quarter and an eighth note passage:
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C: Time Signatures – The time signature identified in the example above is an important aspect
of organizing music. The two numbers provice different information for us. The top number (numerator)
tells us how many beats are in a single bar or measure. The bottom number (denominator) tells us what
note value gets one beat.
To easily read a time signature, simply say it like a fraction. For example, a measure with a time
signature of 3/8 consists of three eighths. The key signatures you will be expected to know are 2/2, 2/4,
3/4 and 4/4 (aka C or “common time”), 6/8, 5/4, 7/8, 9/8, 12/8 and “cut-time”.
2 2 3 4 5 6 7 9 12
2 4 4 4 4 8 8 8 8
D: Counting System – Different musicians rely on different systems of counting their music. As a
developing musician, you may have organized a way to count that brings you success. For the purpose of
being able to communicate consistently amongst student-musicians at VanTech, the following are
examples of the coutning system we will use to represent:



Duration of notes that sound
Duration of rests
Subdivision of each beat
Subdivision is when a beat is divided into smaller pieces. For example, when counting a beat as a
quarter note, a pair of eighth notes divide a beat into halves. Similarly, sixteenth notes divide a beat into
quarters. Triplets are notes that are used when a beat is divided into thirds.
It is also absolutey true that the first beat in any measure of music will be represented by “1”.
Look at the following examples as you come to understand the rules listed below.
1+2+3+4+
1+ 2+
(3+ 4+
1+2+ 3+4+
1+) 2+
1+ 2+ 3e+a 4+
(3+)
4
+
(1+
2+)
1 +2 + 3+ 4e+a
3 e + a 4+
1+ (2+ 3+) 4 +
1+ 2+ 3+
(4)
+
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Rule 1:


Use a regular (or larger) sized number or ‘+’ symbol to identify the beat or part of a beat
on which the note begins to sound
Use smaller numbers of ‘+’ symbols to identify that the note continues to sound until
the end of its value
Rule 2:

Use parentheses to surround numbers or ‘+’ symbols to identify the full duration of a
rest
Rule 3:


In every measure, each eighth must be indicated by a number or ‘+’ symbol to ensure
that no part of a measure was left out
In a passage of music uses sixteenth notes or sixteenth rests, you must the the ‘1 e + a’
pattern of counting
8. Aural Skills – For each of the above areas of learning, it is very important that you spend time
practicing your ability to recognize the musical ideas by playing them on your instrument or
singing them to yourself (it is recommended to use a piano, or pitched percussion instrument
for tonal accuracy). Aural skills are the key top discovering important musical information
independently. Just like your ability to read and listen to language, the ability to identify and
understand the music you are hearing will help you be a better musician!
A. Scales – Major and
natural/harmonic minor
B. Triads – Major and minor
C. Intervals – Major, triton and
Perfect (ascending only)
Major scales, natural/harmonic scales,
Major/minor triads and Major/Perfect
intervals (including the tritone) will be
played and you will be expected to identify
them by quality and name.
D. Rhythmic Dictation – A rhythmic passage will be performed for you in class. Given the
time signature, you will be expected to write out the rhythm on a grand staff. The ability to
identify a rhythm that is being played for you is an effective way to ensure that musicians
understand rhythmic relationships, patterns and values. This skill is useful for identifying the
music you are hearing. If a musician should ever become ‘lost’ in the music and unsure of when
to jump back in, the ability to identify the rhythm being heard will provide a means for getting
back on track. The strategy for practicing this skill is to listen carefully to the division of each
beat within each rhythmic passage. Each passage will be played three times. See the next page.
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Helpful approaches to rhythmic dictation:
1. Use the first time to analyze the first half of the passage.
2. Use the second time to check the first measure and analyze the second half of the
passage.
3. Use the third time to check both halves of the passage and make final selections.
You will quickly recognize that this skill area combines aural skills and your ability to read the
rhythm. It will be very important to practice this complex skill with a friend or a partner.
9. Musical Terms
Communicating in a common langauge is an important aspect of musicianship. Composers and
performers use an efficient system of expressive terms when describing music or providing
instructions for how the music should be interpreted. Most often, these terms are provided in
Italian. Some composers like Mahler, Grainger or Debussy are known to also use German, English,
and French terms. The list below are terms you are expected to know for the final examination.
A. Tempo
Italian Term
A tempo
Tempo
Grave
Lento
Largo
Adagio
Andante
Moderato
Allegro
Vivace
Presto
L’istesso tempo
Accelerando
Ritardando
Rallentando
Mosso
English Meaning
Return to the original tempo
Speed (beats per minute)
Slow and solemn
Slowly
Broadly
Slow and stately
At a walking pace
Moderately
Lively and quick
Fast
Very fast
The same tempo
Gradually faster
Gradually slower
Suddenly slower
Motion
B. Dynamics
Italian Term
Pianissimo
Piano
Mezzo piano
Mezzo forte
English Meaning
Very soft
Soft
Medium soft
Medium strong
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Forte
Fortissimo
Crescendo
Decrescendo
Diminuendo
Sforzando
Strong
Very strong
Gradually stronger
Gradually softer
Diminishingly
With sudden emphasis
C. Style
Italian Term
Ad libitum
Agitato
Alla marcia
Animato
Appassionato
Cantabile
Con brio
Con forza
Con spirito
Calme
Dolce
Espressivo
Grandioso
Grazioso
Leggiero
Maestoso
Pastorale
Pesante
English Meaning
At liberty
Agitated
Like a march
Animated
With passion
In a singing style
With life
With first
With spirit
Calm
Sweetly
Expressively
Grandly
Gracefully
Lightly
Majestically
Pastoral
Weighted
D. Technique
Italian Term
Pizzicato
Arco
Legato
Marcato
Staccato
Tenuto
English Meaning
Plucked strings
Bowed Strings
Smooth, connected
Well marked
Separated
Held (for full value)
E. General Use
Italian Term
Meno
Piu
Poco a poco
Subito
Tutti
Solo
English Meaning
Less
More
Little by little
Suddenly
All together
One single performer
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Soli
Sempre
Con
Senza
Molto
Troppo
Non
Simile
Ma
A small group of performers
Always
With
Without
Much, very
Too much
Not
In the same manner
But
F. Form
Italian Term
Attacca
Dal segno (D.S.)
Da capo (D.C.)
Coda
Fine
Tacet
G.P.
Caesura ( // )
English Meaning
Begin the next section at once
From the sign
From the beginning
Ending
The end
Silent; Don’t play this section
Grand/General Pause
Pause
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